A Christmas Story

You’ll shoot your eye out! ─ ‘A Christmas Story’ returns to WICA in Langley

by Patricia Duff

One boy, one holiday wish, and a world that seems to be conspiring to make certain it doesn’t come true.

Bring the whole family to the hilarious American classic, “A Christmas Story,” which opens at Whidbey Island Center for the Arts in Langley on Friday, Dec. 5 and includes live audience participation!

You may recognize author and radio raconteur Jean Shepherd's memoir of growing up in the Midwest in the 1940s from the movie that became an instant hit upon its release in 1983. The play, adapted by Philip Grecian, also follows 9-year-old Ralphie Parker in his quest to get a genuine Red Ryder BB gun under the tree for Christmas. Ralphie pleads his case to his mother, his teacher and even Santa Claus at Higbee's Department Store. "You'll shoot your eye out!" is the only response Ralphie gets and it begins to wear thin.

Directed by Deana Duncan, WICA is thrilled to bring back this beloved holiday production after 10 years. Duncan remembers her now grown sons playing Randy and Flick back in 2004.

“I loved watching them on stage,” she said. (They laughed about one particularly wild moment when Nicholas as “Randy” got a little overly exuberant with the piggy-eating oatmeal scene.) “I'm looking forward to sitting there on closing night with my two boys, remembering when they were small and walked this stage in these roles.”

It’s appropriate that Duncan reminisces about that previous production of “A Christmas Story.” It was part of her sons’ childhoods, the part of life we can’t wait to grow out of, yet pine for when we do.  

“Jean Shepherd once said, ‘I write about American rituals. Things you’ll find nowhere else in the world.’ He was talking a lot about the way we celebrate and how he remembers his childhood. To him ‘A Christmas Story’ became ‘a reminder of humanity through comedy,’” Duncan said.

“A Christmas Story” represents what Americans remember of our childhoods; what traditions stay with us when we think about the holidays, our family and the place where we grew up. Phil Jordan, who plays the grown-up Ralph (the narrator), grew up in the Midwest, not far from Indiana where the play is set.

“I grew up in the Midwest. My dad was an avid amateur photographer, so I have a voluminous pictorial record of each and every Christmas that extends back before I was born into the mid-1940s.  I have my dad’s entire collection of thousands of slides and his 50-year old slide projector,” Jordan said. 

“The impulse to look back and re-experience the times we were happy is a soothing activity and I think that is why human beings do it,” he added.

Jordan said that, when the play opens, Ralph is reflecting on what he remembers of that one Christmas in the middle of winter in mythical Hohman, Indiana.

“Christmas was a time for snow and hot chocolate and brilliantly white, sunny, blue days of 15 degree weather,” Jordan said. But also bitter-cold winds, the snowball fights and the daily-challenge of living with a harsh winter are all a part of Jordan’s vivid memories of Christmas in the Midwest, which seem to blend in easily with Ralph’s.

“It is a testament to Ralph’s resilience that he knows how to deal with moments of sorrow, by remembering the moments in his life where optimism and youthful invulnerability prevailed over the everyday catastrophes that assail children on a regular basis: the bullies, the disappointments, the exploded myths, the adults in their world failing to understand them.”

Duncan said that nostalgia plays a huge part in this production, which she hopes to evoke with both its whimsical and sentimental sides.

“The play is a snapshot of a time. We, the audience, will sort through the memories with Ralph and hopefully walk out remembering favorite Christmas moments and looking forward to the holiday just around the corner.”

Just don’t shoot your eye out.

Speaking of “just around the corner,” in the lobby before and after the show there will be plenty of holiday fun and games for the whole family circa 1940s Indiana, including Ralphie’s Shooting Gallery, “A Christmas Story” trivia game, and the Triple Dog Dare Hangman Bar with libations for all ages!

The cast of “A Christmas Story” also includes Soren Bratrude, Tess Patty Caldwell, Kristin Carlson, Jim Castaneda, Hillel Coates, Joe Davies, Patricia Duff, Ada Rose Faith-Feyma, Justus Lester, Phoenix Lester, Meghan Parker, Rob Prosch, Jordan Schierbeek, Leo Smith and Bonnie Stinson. Valerie Johnson is the costume designer and Bonnie Stinson designed the sets.

The show plays at 7:30 p.m. Friday and Saturdays; and at 2 p.m. Sundays from Friday, Dec. 5 through Saturday, Dec. 20.

Tickets are $22 for adults; $18 for seniors; $15 for youths; $15 for matinees.

Click Here for Online Purchases. Online tickets are available until noon the day of the show. For tickets by phone, call the Box Office at 800.638.7631 or 360.221.8268. You can also buy tickets in person at the Box Office at 565 Camano Ave in Langley between 1 and 6 p.m. Wednesday through Saturday, or two hours before any show. Season tickets for the Theatre Series are available at a discount through the Box Office.


Whidbey Island journalist Patricia Duff began Patricia Duff Writing Services in 2013. Patricia was the Island Life Editor and arts and entertainment reporter for the South Whidbey Record for six years, followed by almost two years as the start-up editor for the online arts publication, Whidbey Life Magazine.  She has been writing about the island community and its artists for about 9 years. Patricia Duff Writing Services creates effective copy for anyone who needs it, including profiles, features, ads, brochures, press releases and web content.

My Tell-Tale Heart

My Tell-Tale Heart

by Lucy Pearce

As I sit down to write this, I think back on the people I have channeled in plays and how if there wasn’t an instant correlation between me and them, there soon became one. So as I prepare for the dramatic reading of The Tell-Tale Heart and Annabel Lee by Edgar Allan Poe for Masters of The Pen at WICA on October 30th I begin to think on this some more. Anyone who knows Tell-Tale Heart will be thinking, “I hope she doesn't have too much in common with that.” For those who don't know it, I wont spoil it for you.

I find myself drawn though to Edgar himself. My eyes pulled like lasers to him enlisting in the army under an assumed name and publishing a collection of poems anonymously. I myself have spent the past three years, in many ways, anonymous. After almost twenty years as an actress I was burnt out, depressed, insecure and then pulled down a seemingly different path. I was convinced that was it for me, I was done with acting. It was a very painful decision but it also felt right. The next three years I followed a new route, often as lost as a GPS on an English country road (as an English person I have compassion for the GPS). My days once filled with learning lines (which to me is really just discovering how they feel) now became full of music. If I wasn't sound-healing for people, I was busy writing music. It was a time of rediscovering a part of me that had been somewhat dormant. I remembered the poet in me, the musician in me and mostly kept it all to myself (my husband and dog had no choice but to hear it). After much self-healing work and moving to South Whidbey Island, a place as chock-full of creative folks as a jar of PNW pickles, I began to feel the pull to share my poetry and music with people. Anyone who knows this beautiful island knows that it is an incredibly supportive space, rooting for each individuals self-expression a daily pastime, with a shot of espresso for fuel of course.

Lucy Pearce and Ensemble in Into the Woods, photo by j shu images

Then this year my heart suddenly decided to partake in the WICA general auditions. I say my heart decided as my mind was busy saying, “erm, yo, you said you’d given up acting” (yes my mind is an Eminem wannabe). So I followed my heart….yep I’m rolling my eyes at that overused term myself, but hey, ho, thats how it was. Just like that I find myself in the role of the Steward in Into The Woods and now here I am readying for this evening with Edgar (eek, what would an evening with Edgar really be like?).

Lucy Pearce as The Steward with Hannah McConnaughey as Lucinda and Ethan Berkley as Cinderella's Prince in Into the Woods, October 2014 - photo by j shu images

I guess my heart knew me much better than my mind did because I am over the moon to be back acting, I have come back into it with many of the same insecurities and impostor syndrome fears as before but these past few years have prepared me to be able to face these insecurities, to slowly peel away the layers of that burning onion. Whereas before I was consumed by them I now feel in a place to take a cold hard look at it all and work with them to replace them with a more empowered space. I am so happy that my journey back into channeling these people of the plays has begun at WICA, I have never felt more supported, respected and embraced than I have here. Working with Gwen Jones (director of Masters of the Pen) is quite honestly a dream. Her first words, “I have only expectations of greatness”. That wording so profoundly different to saying I expect greatness. As many actors do, I thrive in a more collaborative environment with directors and Gwen’s middle name is collaboration (no, not literally). The endlessly generous actor Ethan Berkley will be reading on the night also.

Masters of the Pen: An Evening with Edgar Allan Poe directed by Gwen Jones
Thursday, October 30 @ 7:30
Michael Nutt Mainstage, WICA
Tickets: $10

I have been asked what the difference is between a dramatic reading and a regular acting role? The Merriam-Webster description is this: a public reading or recitation of a work of literature (as a poem or play) with an interpretative or dramatic use of the voice and often of gestures. For me though, the only difference is I have the material in front of me in case I am not sure what comes next. Otherwise it’s the same, I am channeling a person that the writer channeled. Our interpretations may be different but our goals may well be the same, to be truthful, to share deeply, to connect profoundly and to forge through the flames of fear.

I hope that Poe is there on the night (if anyone is going to be a ghost, it’s gonna be him), I hope he enjoys it and mostly I hope he enjoys our dance. Our tango together out of anonymity into sharing our authentic divine lights with the world, offering up our Tell-Tale Hearts.  


Lucy Pearce is an Actress, Singer/Songwriter and Poet who lives on Whidbey Island with her husband Sean and pup Billy. When not working creatively she enjoys growing food, walks in the woods and watching way too much TV and film. 

 

Under the Hood, Volume 4

by Katie Woodzick

Saturday:

Hour 1: We are called to the theatre at 1:30 PM. When actors arrive, the director and crew are running tests on pyrotechnic events and we're not allowed onstage. The cast goes to our assigned dressing rooms, putting on rehearsal skirts and shoes and reviewing our lines, lyrics and blocking.

Hour 2: Programming and Production Director (and our producer) Deana Duncan introduces us to the crew: in addition to our stage manager, Rich, we have two assistant stage managers on headset who are stationed on either side of the stage, and light and sound board operators who sit in the booth on either side of Rich. WICA's Technical Director, Tyler Raymond, is also in the booth, adjusting sound cues as needed.

Hour 3: We're finally ready to start the cue to cue rehearsal! We begin running the show from the top, jumping to spots in the script where lighting, sound, fog and pyrotechnic cues occur. This rehearsal is for the tech crew to refine their process and we actors are not in costume. 

Hour 4: Our director, Rob, sits in the house, next to our Assistant Director and Lighting Designer Annie Deacon. By the end of tech weekend, his yellow legal pad will be full of notes on editing sound and light cues.

Hour 5: We're roughly halfway through Act I at this point. There's no way to predict how long tech rehearsals will go. Normally, both the cue to cue rehearsal and first full tech rehearsal happen in the same day. Since Into the Woods is such a complex show, we've been scheduled for two days of tech. At the beginning of the day, we thought we would get through both Act I and Act II cue to cue rehearsal. Now, it's looking like we'll need to either run late tonight or come in early on Sunday.

Hour 6: Dinner break! Cast members have all brought items for a potluck, which we share in Zech Hall. Deana and Rob let the cast know that the plan is to finish the Act I cue to cue rehearsal after dinner and that our call time is moved from 11:30 AM to 10 AM on Sunday, when we'll continue with the Act II cue to cue.

Hour 7: Back to work! We resume the Act I cue to cue. A climbing wall has been built onto the stage left box boom to represent Jack's beanstalk. Rob talks the actors who climb up and down the wall through a safety check list,

Hour 8: We're about to start the Act I finale! Members of the cast are released between 8:45 and 9:30, and that's the end of day one of tech!

 

Sunday:  

Hour 9: We return to the theatre at 10:00 on Sunday. Rob gives the cast notes before we begin the cue to cue rehearsal for Act II, which we're hoping will run roughly two and a half hours.

Hour 10: Several "holds" are called during cue to cue rehearsals. The stage manager calls holds from the booth over a "god mic," which can be heard throughout the entire theatre. Holds can be called for safety purposes, or ask actors to go back to an earlier part of the script refine the placement of cues.

Hour 11: Our accompanist, Kathy Fox, has her keyboard set up in the stage right box, next to the sound and lighting booth. This is also where Morgan Bondelid plays her scenes as the Giant's Wife, watching the actors onstage and interacting with them on a microphone that's fed into the sound system.

Hour 12: Some of the most complicated cues in the show happen during the song "The Last Midnight." There are sound, lighting, fog and pyrotechnic cues, meaning that at certain points during the song, the stage manager is giving four simultaneous "go" cues to four different crew members. We go over this sequence several times, which...

... triggers the fire alarm. All cast and crew leave the building until we're cleared to go back inside. We finish up the Act II cue to cue and break for lunch.

Hour 13: Time for hair, make up and costumes! Each character has a unique makeup and hair design, which the individual actors are responsible for executing for themselves, or finding fellow cast members to help them. Stage makeup needs to be able to withstand the heat of stage lighting--Ben Nye and Max Factor are the most common types of thick foundation that actors use. It can take between 20 and 45 minutes to apply stage make up, depending on how complicated the design is.

Hour 14: Everyone's in costume and ready to go! We're 15 minutes away from starting the first full tech run through--all the lights, costumes--everything! 

Hour 15: The first tech rehearsal takes longer than a normal show does, as the actors are getting used to moving in their costumes, doing quick changes, and the stage manager can still call holds.

Hour 16: We take a 15 minute break for intermission. I've brought a knitting project to help pass the time--Morgan Bondelid and Nancy Pfeiffer can also be seen knitting away at various times during the weekend. 

Hours 17 & 18: We finish Act II! We change out of our costumes and head into the house to receive acting notes from Rob and hair, makeup and costume notes from Mira. We leave the theatre around 7:30 PM. Whew! Tech weekend is over! Only four more full runs and then we get to share the show with YOU, the audience! 

In the words of Little Red Riding Hood, "I'm excited!"


Katie Woodzick is an actor, director, writer and feminist who lives on Whidbey Island. By day, she can be found working for Hedgebrook as an External Relations Manager. By night, she can be found rehearsing at local theatres, writing for Whidbey Life Magazine and singing karaoke. Learn more at katiewoodzick.squarespace.com and woodzickwrites.wordpress.com

Into the Woods by Stephen Sondheim and James Lapine is directed by Robert W. Prosch. It runs October 10-25. Visit the event page for more information.

Under the Hood, Volume 3

Ligeia R. Lester (Cinderella) during Into the Woods rehearsal, by Kathryn Lynn Morgen

An interview with Ligeia R. Lester by Katie Woodzick

You're a new face on the WICA stage! Where did you come from? I grew up in Missoula Montana and did about a dozen shows with Missoula Children's Theater. My dad and I would do a show together every year, and it's one of my fondest memories of growing up in MT. I didn't care for the mountains or the weather or the horses, but I loved the theater! This is my first show on Whidbey Island, though over been here for almost ten years.

We hear that theatre runs in the family! Will we be seeing your kiddos on the WICA stage anytime soon? Yes! Both of my children will be in "A Christmas Story" directed by Deana Duncan. And who knows? Maybe we'll wind up doing a show a year and start a new family tradition!

What has been the most rewarding aspect of this production? Meeting so many talented and amazing actors!  I've seen several shows here on Whidbey Island and I'm just thrilled to finally be a part of one of them.

The Slipper as Pure as Gold by cos1163 on deviantart

Cinderella is such an iconic role. What has been your process of getting into character? Well, Cinderella is just NICE. She's the kind of girl I would like to be.  I'm not really that nice, but I think if I draw on the sweetest parts of myself and repress the rest, I can get pretty close to how nice Cinderella is.

I've also spent a lot of time thinking about why she is so nice.  What kind of parents must she have had to raise such a sweet, forgiving little lamb?  What kind of upbringing fosters such genuine goodness?

I'm looking into that part of the character to see if I can get it for my own life. But I also have to remember that this is a fairy tale.  No one in real life is actually that good or sweet, and no parent in real life is perfect. So as much as I want to be the perfect mother, perfect daughter, perfect wife, I have to settle for just playing perfect on stage.

What do you want audience members to know about the show? The music is ridiculously difficult. Sondheim is a genius and a bastard. (Can I say that out loud?!)

And, in the spirit of Bernard Pivot and James Lipton (of Inside the Actor's Studio fame):

What is your favorite word? Peanut. And boogle. That's a tough choice.

What is your least favorite word? But-

What turns you on creatively, spiritually or emotionally? A challenge.

What turns you off? Unreliable people. 

What is your favorite curse word? SONOFA....

What sound or noise do you love? Rain on a tin roof. What sound or noise do you hate? Can I say noisy children? I feel like that's a really mean thing to say, but it's the truth right now. 

What profession other than your own would you like to attempt? I wanna be a rock star! 

What profession would you not like to do? House keeping. OMG I hate house work. The only thing worse than cleaning my dirty house is cleaning someone else's! 

If Heaven exists, what would you like to hear God say when you arrive at the Pearly Gates? I want to hear Him sing "Ligeia! Ligeia, Ligeia, Ligeia!" To the tune of "Maria" from West Side Story.


Katie Woodzick is an actor, director, writer and feminist who lives on Whidbey Island. By day, she can be found working for Hedgebrook as an External Relations Manager. By night, she can be found rehearsing at local theatres, writing for Whidbey Life Magazine and singing karaoke. Learn more at katiewoodzick.squarespace.com and woodzickwrites.wordpress.com

Into the Woods by Stephen Sondheim and James Lapine is directed by Robert W. Prosch. It runs October 10-25. Visit the event page for more information.

Everyone Can Dance at WICA

We are so thrilled to announce the newest addition to our arts and education programming. Walter and Celina Dill of Everyone Can Dance will be leading two five-week Swing Class Sessions beginning on Sunday, September 28! Read all about it below:

Everyone Can Dance at WICA

part of WICA’s Arts and Education programming
with Walter Dill & Daughter, Celina
in Zech Hall @ Whidbey Island Center for the Arts

5 Sundays: September 28–October 26

Swing 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5:30-6:30pm

East Coast Swing is the best place to start learning partner dance and is probably the most useful and fun dance in our culture. Most local bands that play Swing. There is an immense variety of music that inspires Swing dancing – Rock and Roll, Rhythm and Blues, Pop, Western, and even Big Band! No prerequisite.

Swing 2: Double-time . . . . . . . . . . . . . . . . . . . . . . . . . 6:45-7:45pm

There is a marvelous selection of rockin’ out music that is too fast for Triple-time Swing and too slow for Single-time Swing. If you want to feel good about life, this is the dance for you. Prerequisite: Any Swing class.

Registration

$60/person for a 5-week class series; $45 for 18 & under. $30 for 12 & under with paying adult.

Pay online at www.EveryoneCanDance.com or download registration form here.

Pre-registration encouraged.

Make checks to: WALTER DILL.
Mail to or drop off at Whidbey Island Center for the Arts
565 Camano Ave, Langley, WA 98260. 

More info: 360-301-4755, walter@everyonecandance.com

Why dance?

• Contrary to popular belief, everyone can dance. The Dills have proven this thousands of times. All you have to do is show up and try.

• Get exercise and develop “plays-well-with-others” skills. Name another activity where people of all ages can collaborate and respectfully touch. Bring your kids, parents, partner and friends.

• Find the joy of being creative and experience the satisfaction of finding your own “groove”.

• Dancing was the only physical activity associated with a lower risk of dementia, as reported in a study in the New England Journal of Medicine, 6/19/2003

Walter & Celina

Walter, whose formal education was in art and design (see www.WalterDill.com), co-created Living Traditions Dance (1990-2004) in Seattle, which taught dance to over 14,000 people. Many dance instructors in Seattle took their first dance classes with Walter. Since moving to Whidbey Island in 2006, the Dill’s have hosted over 1,000 islanders in their classes. Celina has now taught with her dad for a decade and is a deeply knowledgeable, skilled and caring instructor. They have been teaching together in Seattle for the past two years and are ready to offer classes again on Whidbey Island.

Dancing for the Dill’s is about becoming conscious of how we move through life, relating creatively and in harmony (non-competitvely) with our partners, friends, families and community as a whole, and of course, having fun.