Interview: Louis Farber of PETER AND THE STARCATCHER at Brelby Theatre Company

By: Jan. 03, 2017
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Louis Farber

I interviewed Louis Farber via email. Catching up with him wasn't easy, but he took the time to answer a few questions. Thanks for giving me a few minutes, Louis!

You have a theatre of your own - Stray Cat Theatre, in Tempe. Your work is pretty edgy. My BWW colleague, Erin Kong, gave you an unqualified rave for your recent production of Anything You Hear and Only Half of What You See. What attracted you to Peter and the Starcatcher?

The truth is, that I don't have a theatre of my own. I have a theatre company that I call home, which is Stray Cat Theatre in Tempe. That is Ron May's theatre company. I am the Associate Artistic Director for Stray Cat. My first experience, outside of being an audience member, with Stray Cat was an actor. I was cast in the two shows that rounded out season 8, The Play About the Naked Guy and 12th Night of the Living Dead. Interestingly enough, both of those shows were directed by guest directors and not Ron May. Then Ron encouraged me to audition for Abraham Lincoln's Big Gay Dance Party. I was cast and I finally got to be directed by Ron. Then, in the fall of 2011, I heard that the original guest director for MilkMilkLemonade by Joshua Conkel was going to be unable to make it out from New York and I contacted Ron May to see if he might be interested in bringing me on as the guest director. We met at Four Peaks in Tempe and discussed the play and our respective thoughts, and after a few beers Ron decided to give me a chance. The show did well financially, critically and even garnered a few ariZoni awards. I was then cast in both of the shows that rounded out that season, The Last Days of Judas Iscariot and Heddatron. The following season Ron and I sat down, again at Four Peaks, and he pitched me the idea of me joining the company in a more official capacity as Associate Artistic Director. He said he felt that I understood the aesthetic of the company and we discussed how we both felt that we read plays in the same way. I left that conversation feeling flattered and overwhelmed. I was being asked by Ron May to join Stray Cat Theatre. Both Ron and his company are incredibly well respected by the local theatre community and by me personally. I had begun to feel at home there as an artist, but I never expected to be asked to join the company. However unexpected, I knew that Ron and I worked well together and that we were interested in and excited by provocative contemporary material. Since then I have been fortunate enough to help craft four seasons, act in three incredible plays, and have directed All New People by Zach Braff, The TomKat Project by Brandon Ogborn, Heathers: the musical by Kevin Murphy and Laurence O'Keefe and most recently the world premiere of Anything You Hear and Only Half of What You See by Ron Hunting. My responsibilities at Stray Cat include reading and selecting plays for our season and directing one of the four plays we produce. Ultimately, I feel my job is to help produce the best possible version of the play.

I was attracted to Peter and the Starcatcher because of the script. It is an extremely well-crafted and an exceptionally inventive grown-up's prequel to Peter Pan where twelve actors play over 100 assorted characters, through the use animated characterization and the boundless limits of imagination. The actors enter a sparse stage and create a world for us where we face high adventure, big dreams, tough choices and flying; and the audience is asked to employ their imaginations immediately. The script is smart, tight, heartwarming and hilarious.

Black Stache - Brian Maticic

I was also drawn to the ensemble aspect of the show. This show can be done with a minimum of twelve actors, however if one chooses to go that route, the actors must be highly adaptable, perceptive and sharp. We have an ensemble of thirteen actors. The idea that an ensemble of thirteen can craft something out of nothing right before you very eyes is extremely compelling to me. It can be very entertaining and engaging for audiences as well to watch actors embody several different characters throughout the show.

What's your process, and how did you approach this project as a guest director differently from the way you would at Stray Cat?

I tried not to approach this differently. Again, I feel my job is to help deliver the best possible version of the play, especially as a guest. Before our first rehearsal I sent the cast a very lengthy email about my process as a director. I felt it was important to set clear expectations before we began and I knew that my process would be new for anyone who had not worked with me before.

During the rehearsal process there have been some small adjustments made to accommodate our tight schedule and level of experience for some of the actors, but overall I approach any project in the same way. I tend to work pretty fast. My initial goals are to give the actors a traffic pattern (i.e. their blocking) and to get the script out of their hands a quickly as possible. It is extremely difficult to use rehearsals to do the fun work of discovering and playing until we get the memorization of the words and blocking out of the way. I want everyone to have a good time and enjoy the process too. That is very important to me. Most people I know that work in theatre don't do it for the money or the glory, they do it because they love it and it is fun. So with that in mind, the sooner we get to the fun work the better.

What are the most challenging aspects of this project?

The most challenging aspect has been the schedule. Given the busy nature of the Brelby season calendar and the complications associated with coordinating the schedules of thirteen actors, five designers, an assistant stage manager, a stage manager and a director, designing a rehearsal schedule has been nothing short of arduous. This play demands accuracy from every ensemble member in their timing, physicality and delivery of the words on the page. Those demands require time and we have been very ambitious in our attempts to use the time that we have together to its fullest.

In addition, unlike a lot of shows, this particular show requires a great deal from the ensemble. The way we are staging it the ensemble needs to be present, engaged and on stage at all times. That means all of the actors are called at all of the rehearsals, which is an incredible requirement to ask of thirteen actors as well as a considerable burden to shoulder. All of these actors are doing this project because they love performing, which shines through and speaks volumes about them as individuals and as an ensemble.

What was the biggest surprise about working at Brelby?

The two biggest surprises have been how much work they produce and how committed their core is.

For their 2016 season, Brelby produced six Main Stage shows, four Studio Series shows and two TYA (Theatre for Young Audiences) shows. That is a massive undertaking. It should also be noted that eight of those twelve shows produced in the 2016 season were original works. On top of that they have the Results May Vary Improv Team, which performs regularly almost every Friday night.

Brelby also has an incredible group of core artists and volunteers that believe in the mission of the company and who will show up to help for anything. Whether it is staffing a promotional table outside the theatre during Glendale Glitters, helping to build or paint a set, filling in for an assistant stage manager or manning the concessions window during performances, these artists and volunteers are literally up for any task and beyond that they are more than happy to do it.

Moving on - how do you feel about the world as a whole? Just kidding. Sort of. But, seriously, folks - what, in your view, is the best way forward for the theatre and the arts in the political climate today?

The best way to move forward is fearlessly. We need to produce bold and challenging work. Work that makes audiences think intensely, feel viscerally and debate their experiences.

I also believe that more financial and political investment in the arts is needed. Investments would lead to more visibility and better resources for the arts community. There are lots of wonderful organizations and talented individuals doing excellent and important work here in the Valley and I think it would be great if there was a significant and deliberate investment to support them and the arts overall.

What's next for you?

Next up for me is helping to facilitate the auditions for Stray Cat Theatre's production of Native Son by Nambi E. Kelly. I'm also going to try and take a nap at some point.

Thanks again, Louis, now go get some sleep!

Folks - I recommend that you get your tickets ASAP. The theatre only seats 75, and the run is limited. Look at Brelby's ShowGo program. It's the best value I've ever seen - look at the details here.

Peter and the Starcatcher
A Play by Rick Elice
Music by Wayne Barker
Based on the Novel by Dave Barry and Ridley Pearson
Directed by Louis Farber

Jan 20-21, 27-28, Feb 3-4, Feb 10-11 @ 7:30PM
Jan 22, 29, Feb 5, 12 @ 2PM

boxoffice@brelby.com 623-282-2781



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