New York Neo-Classical Ensemble - As You Like It Reading #3

Hi, we're the New York Neo-Classical Ensemble.

We're a theatre company in New York City.

Want to contact us? Have Questions?
E-Mail info@newyorkneo.org.

We're just beginning production on our 2010 season: AS YOU LIKE IT and ROMEO AND JULIET/IMPROVISED.

We hope you'll come out and see our work!

Our other website is newyorkneo.org

This site is generally updated by Stephen Stout, Artistic Director of NYNEO. Other people contribute as well, they'll typically sign their post with their name.

"Positive action means that the actor/character focuses on the success of the enterprise rather than allowing the fear of failure to enter the mind or consciousness – every character plays to win at every moment....

The inclination of creativity – both on stage and in life – is to celebrate and to praise life and existence.....

With positive action, the characters hang on not only to the hope but also to the belief that they will get what they want. When they fail to achieve their goals, the effect will be psychologically and emotionally devastating; when they achieve their goals, the effect will be miraculous, exhilarating, and transporting."

- Louis Scheeder, Neo-Classical Training, Training of the American Actor.

As You Like It Reading #3

We have our third reading for As You Like It this Saturday the 20th at 12pm at The Public (finally was able to wrangle that one).

And in a change of pace, the actors are mostly drawn from The Bat Theater Company at The Flea. I did this for 2 reasons. 1) To hear the newer script with new voices. 2) To hear what I have with actors who don’t have the same exact approach to the text.

I know that when we go into the eventual rehearsal process, I’m going to have to devote the first portion of rehearsal to ensuring that the text is spoken in the same manner by each actor involved. I usually forgo this step because of the limited rehearsal time afforded by a showcase contract, but I feel that the text possess some of the most complex arguments and imagery I’ve ever attempted as a director. Measure for Measure was a complicated script but the rigors of performing outside require a different set of skills than performing in a more intimate space.

Questions I have going in:

1) I’ve reinstated two arguments in their entirety. Rosalind and Celia’s fortune vs. nature debate, and Touchstone and Corin’s Court vs. Country debate. Do these sequences work and do they add to the myriad questions the play raises?

2) How long is it? I’ll never know this until we’re rehearsing. But a boy can dream.

3) With the new edits, will I get a clearer idea of the thematic purposes of the song “There was a lover and his lass.” It’s the only song I don’t have a clue what to “do” with. As NYNEO, we use the songs to explore the thematic and emotional underpinnings of the play. I’ve made my peace with remaining ignorant to its purpose until later in the process but I’m hoping for at least SOME inspiration.

Very excited. Here’s hoping it goes well.

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