CALIFORNIA STATE UNIVERSITY 1 NORTHRIIX;E
DIRECI'ING
WENDY WASSERSTEIN Is
UNCCMvlON YX:MEN AND OI'HERS
An abstract suhni tted in partial satisfaction of the
requirements for the degree of Master of Arts in
Theatre
by
Barbara A. Hancock
January, 1982
The Abstract of Barbara A. Hancock is approved:
Prof. Ot.ren W. Srni th
california State University I Northridge
ii
TABLE OF CONTENTS
Page
Introduction
1
The Play
2
The Research Procedure
6
The Uses of Improvisation
12
Evaluation of My Experience
20
Notes
23
Bibliography
24
Appendix A
27
Appendix B
31
iii
IN'IRODUCI'ION
The purpose of this abstract is to provide the reader with an
analysis of the techniques employed in directing a CSUN production
of Uncaruron Women and Others.
The play opened in the Studio Theatre
on October 17, 1980, running for a total of eight perfo:rmances.
The first section, "The Play," contains infonnation bearing on
an overview of the thesis project.
In addition, this section briefly
explains the thrust or message of the play.
The second section, "The
Research Procedure," outlines the various areas of research engaged in
by the cast and myself during the rehearsal process.
The third
section, "The Uses of Improvisation," serves as a detailed examination of the use of improvisation as a rehearsal technique.
Examples
are provided explaining hON the improvisational technique contributed
solutions to problems encountered during rehearsals.
A final section,
"Evalutation of My Experience," includes personal observations of the
shaw in performance and of the entire experience.
l
2
THE PLAY
An essential factor in selecting a play to direct for the 1980-81
theatre season at CSUN was that I feel a certain passion for the play.
It was necessary to feel a challenge and excitement in the directing
of it.
It was important for me to care deeply about the characters.
Most of all, it was important for me to show and say sanething to the
audience.
I wanted a play that would encourage the audiences to think
seriously about the issues and questions it contained.
Other factors helped to narrow my search for such a play.
ViThen
I was approached to direct by the Chairman of the Theatre Department,
I was informed that the playwright should be American, to remain in
keeping with the focus of the scheduled season.
I also learned that
the other plays in the season were heavily dominated by male roles.
I was advised to keep this in mind and to try to choose a script with
predominantly female characters.
After much searching, reading, and
deliberation, I decided that Uncommon Women and Others, by Wendy
Wasserstein, best fit these requirements.
The play was scheduled to be produced in the "Limited Edition"
series of the 1980-81 theatre season.
In a brochure which was mailed
to the public 1 the department explained the purpose of "Limited
Editions: " "For the sophisticated theatre-goer 1 these experimental 1
esoteric, or re-created productions offer an escape from the commercial necessities of non-university theatre."
The "Limited Edition"
series was developed to enable students and faculty to explore and
experiment with new concepts 1 problems 1 and potentials in the areas of
3
acting, directing, and technical theatre.
These productions might
include plays written by students, experimentation with different
staging techniques, or plays which are created out of a workshop or
acting seminar offered during the semester.
Students learn by doing.
Success is based more upon the insights achieved through trial and
error, and less upon attendance figures and box office receipts.
Happily, Uncommon Women and Others was successful in both areas.
The play deals with eight women attending Mount Holyoke college
and their House Mother at North Stimson Hall.
This story is in turn
set in a framework by the first and last scenes of the play when five
of the eight women meet each other at a six year reunion from college.
During the reunion the wcmen discuss the quality of their lives since
their college days.
They reminisce and speak of the changes in their
lives: their relationships, achievements, failures, dreams that have
carne true, and those which have faded.
As the five graduates remember
wannly the not-so-distant "good old days, " the stage is transfonned
into their living quarters at college.
It is 1972 and the effects of
the counter-culture and the revolution of the 1960s remain to be resolved by a new generation.
Also at this time, the philosophies of
"new Feminism" were contradicting the more traditional ideas of a
woman 1 s role in her society.
This new-found identity and sense of
pride for women brought about new opportunities and choices in what
was originally considered to be a "man 1 s world."
The title of the play suggests that these "uncanmon" wanen are
perhaps unlike most women in the world.
definitely unique, the irony seems clear.
Although each character is
Their problems are the
4
problems faced by wanen everywhere and are by no means
to the rest of the world.
11
unccmnon 11
The title invites the audience to distance
themselves fran what they are seeing.
the beauty of this play lies.
However, this is precisely where
It allows the audience to identify with
the revelations made by each character as she contends with her changing world.
Coping with change can be a terrifying and frustrating proposition.
Such is the dilermta of the wanen at Mount Holyoke.
graduation draws near,
decision~ing
As their
for the future becanes more
difficult.
The rapid changes in society have brought about additional
pressures.
Men and wanen were, and still are, canpelled to be many
different persons rnolded into one.
The irony and absurdity of these
"unccmnon 11 wanen is that none of them have been groaned fran birth to
cope with these changes.
The importance of this play then, seems to
be in showing these wanen in transition and the painful process that
accompanies new awarenesses and change.
In the play we encounter different personalities attempting to
deal with the emotions that accompany growth and change.
lious Rita repeats at various points in the play,
11
•••
The rebelwhen we're 25
(later thirty, then thirty-five, and at the end of the play, fortyfive) we're going to be pretty fucking incredible. 111
By projecting
this dream farther into the future, she refuses to deal with the present reality outside her safe environment, a reality revolving around
the traditional morals and values which have daninated her life from
childhood on.
Instead, she continues to hope, and depends on time
itself to provide all the solutions.
5
This play is important as it attempts to define who a woman is.
It probes into the most private thoughts each woman has.
Wasserstein
shows us wanen who are canpelled by society to question their sexuality.
She explores the relationships among
men.
The play shows wanen rebelling against mediocrity but searching
\f.lCITlel1
and between wanen and
to find a balance in their lives that still allows them to function in
their society.
Most importantly, the play illustrates the depth of
a woman's sensitivity and intelligence.
6
THE RESEARCH PROCEDURE
Unccmnon Wcmen and Others is set during the transition frc:rn the
late 1960s through the early 1970s.
Although this period was rela-
tively recent in our history, the research involved was substantial.
As it happened, most of the cast and myself were too young or sheltered
by family at the time to gauge the impact that this period would have
on our future.
However, even if one were actively involved in the
feminist movement, the politics of the Vietnam war, and/or the counterculture revolution of the '60s and early '70s, it would be impossible
to assess their effects on society without research.
\Ale began rehearsals in July.
Since we had almost four months to
produce the shCM, the cast and I decided to use the first month for
research.
We met once a week, and for three hours shared assorted bits
of information.
I assigned each actress a research project in hopes
that they might assimilate sane of the information into the subtext
of their characters' lives.
During this stage of production we carne to understand the confusion that raged in the minds of young people seeking an identity and
a purpose.
We realized too, the inevitable ways that young people
vented their confusion and frustration.
With the emergence of the
hippie movement, drug abuse, draft evasion, and feminism, young people
demonstrated their need to be acknowledged and respected.
They pro-
tested against hatred, discrimination, lies, and deceit, and begged
for a "higher truth" tha.t might bring a better future.
We started by bringing in magazines of that period.
how trends in fashion had changed.
We discovered
We canpared the collegiate apparel
7
of the east and west coasts.
At sane schools in the East, the look
leaned tc:Mard a heightened sophistication of the "preppy" Ivyleaguers.
At other schools on the East coast, the style illustrated
the "Armie Hall" look which seemed also to give a clear picture of
the early '70s.
With the help of the costume designer we agreed that
this latter style would fit the characters of Holly and Rita.
The
"mish-mash" of clothing and accessories thrCMn together in a sloppy
yet tailored fashion seemed appropriate for both wcrnen.
girls seemed to better fit the "preppy" look.
The other
One actress brought in
a copy of Holiday magazine, the basis for costuming Kate Quinn, who is
described as ". • • boiTI in Holiday magazine. "
2
Another phase of research included sharing information which we
found on the "Seven Sister" schools and more importantly, Mount
Holyoke.
As we examined the way of life at an EasteiTI wanan 's college
we discovered very quickly that attending a "Seven Sister" school was
indeed very different from the college experience of most of the cast
attending CSUN.
This information generated ideas for establishing a
"back life" or a history and background for each character.
We real-
ized that each girl must have cane from an upper middle class background in order to afford this private education.
In addition, their
high school grades and college entrance examinations as well would
have to prove them worthy of this education.
We decided that the
schools must have been rather selective regarding their acceptance of
new students.
Sanetimes the wanen were interviewed personally by the
administration to determine each student's ability to fit the school's
standards.
In short, these girls were in most cases the "cream of
the crop" of their high school graduating classes.
8
Since the core of Uncommon Women and Others dealt with the changing role of wanen in society, it was important to research the major
writers dealing with this issue at the time.
The script provided
specific references to Germain Greer's The Female Eunuch, Betty
Friedan 's The Feminine Mystique, The Group by Mary McCarthy, and other
casual references to Simone de Beauvior and Doris Lessing.
Several of
the actresses chose one of these works or writers to read and report
on during our sessions.
Our discussions concerning the contexts and tenets of feminism
proved to be rewarding and valuable.
We carne to realize the pressures
faced by the characters in the play.
Their changing society demanded
that they be "part-time mothers, part-time workers, part-time cooks,
and part-time intellectuals. "
3
At the same time, a wanan was expected
to "organize it all with time to blOW' dry [her] hair every rnoming.'.4
However, as Germaine Greer pointed out, these expectations were
ludicrous unless a woman's enculturation included, from child birth,
the freedom to discover her "true individuality and sexuality ... s
Later in the improvisational exercises we found that our research
in this area had laid an important foundation for the production.
We
wanted to "show" the characters exploring their individuality and
sexuality.
We wanted our audiences to experience the exhilarating,
frustrating, and painful process of becoming a wanan, of attempting
to make choices and decisions in the hopes of making a better future.
The script offered the opportunity of incorporating a substantial
amount of music, indicative of the period, and included specific songs
used in the original production.
The cast brought selections from
9
their personal music libraries so that we could decide together which
would be most appropriate for the message we wanted to convey and the
feelings we hoped to evoke fran the audience.
We wanted the songs to
suggest themes of wananhood, love, friendship, pacifism, and social
change.
songs.
We tried to maintain a balance between ballads and "up-tempo"
We were also concerned that the lyrics would be understood by
the audience, and decided against using "hard" rock 'n' roll music.
Also, we envisioned an audience of varying age groups.
In order not
to offend anyone, we tried to keep the rhythms and tones pleasing to
the majority.
However, we also knew that the social significance of
several songs would only be understood by a part of the audience.
This pleasure-filled experience of choosing music gave us a nondiscursive common ground, an image to which we could all relate usefully in our later discussions and improvisations.
As a result of
our research, we decided to include two of the suggested songs since
they were an integral part of the stage action.
These were "Both Sides
Now" by Judy Collins and "Fire and Rain" by James Taylor.
We chose to
use "Wedding Bell Blues" by The 5th Dimension for the dance number in
Act I, Scene 8.
I decided to use additional selections for pre-show
and intermission music.
These included Carol King's "Natural Wanan,"
Cat Steven's "Wild World," Leonard Cohen's "Suzanne" (which is referred
to in the script) , "Aquarius" fran the rock-musical, Hair, and
Bette Midler' s "Friends. "
I collected and circulated among the cast reviews of the original
New York production in 1977.
The reviews tended to strengthen our
perceptions of each of the characters.
For example, we had discussed
10
the potential danger of each character becaning a stereot:ype.
We
did not want the audience to watch a cartoon but to be sensitive to
each character's canplexity as individuals and thus appreciate their
ccrnradeship and need for each other as v.unen friends.
In a review of
the original production Edith Oliver says, "The characters are never
allowed to becane t:ypes, and, for all their funny talk and behavior,
they are sympathetically drawn. "
6
A specific example of such texture
in characterization is found in Edmund Newton's rumination of Carter:
"The humorless future has already arrived, in the person of Carter,
• • . the cerebal out-of-synch freshman, who gazes dourly into the
distance while the seniors ranp. " 7
This insight reinforced our belief
that Carter was more than the "catatonic" Ms. Wasserstein described.
As the youngest of all the students, Carter embodies
illusionment with the present.
wanen 's dis-
In the midst of a changing society,
encapsulated in the abolishment of outmoded traditions at Mount
Holyoke, Carter lacks a sense of humor.
She is supposedly the wave of
the future, but seen in this light, the future beccrnes frightening.
The reviews also affirmed the direction we had taken in interpreting the script.
Although one reviewer said that Ms. Wasserstein
"seems to have written her first play with a Polariod"--a rather condescending remark--the remainder of the critics confirmed the validity
and purpose of Wasserstein's play. 8
In a sensitive review, Richard
Eder illustrates an intelligent canprehension of the play:
"Although
the play deals with feminist ideas, it is not so much interested in
the traps as in the wanen.
It does not disassociate itself fran the
march but it concerns itself with the blisters • .,g
As Mr. Eder sug-
gested, we did not see this play as radical or anti-male.
Instead we
11
had hoped for a large male audience so that with the wanen in the
audience, they could cane to understand hCM both sexes experience
the pressures of grCMing up and to observe hCM the process of adulthood unfolds.
It was canforting to be reassured of the play's potential for a
successful run by reading these reviews.
On the other hand, it also
made the process a little more terrifying because we knew such high
standards would be hard to achieve.
12
THE USES OF IMPROVISATION
After this first rronth of rehearsal, devoted to research, we
began to experiment with improvisation.
The decision to use im-
provisation as the rehearsal technique for Uncommon Women and Others
was both frightening and challenging.
In a previous directing project
I had used improvisation in rehearsals for a one-act play.
Even
though my technique was limited, I discovered that the intended results
came much more rapidly and naturally than if I had used a more traditional directing approach.
I became anxious to expand my use of the
improvisational approach in Uncanmon Wanen and Others.
sibilities for creativity seemed endless.
The pos-
I was positive that given
the right script, cast, and environment, this method would prove to
be one of the most useful tools for both director and actors.
I learned that, to varying degrees each actress had used improvisational techniques in the past.
ln most cases their experience
with improvisation was limited to acting classes and workshops.
None
of the actresses had used this approach as the main rehearsal technique
in preparing a role.
It was important to discover each actress' level
of expertise with solo and group improvisation.
I wanted to be sure
that those with less experience would neither be intimidated by the
others, nor rely on the more experienced to create and daninate the
improvs.
I began by designing situations to include the whole group.
For
example, in one such improv the actresses fonmed a circle with one
actress in the middle.
The central actress perfonns sane kind of an
activity accompanied by a definite movement or motion.
Another actress
13
goes into the center and joins in the activity.
create dialogue to accanpany this activity.
altered as the improv proceeds.
The activity can be
A third actress gets a different
idea from what she sees happening.
She goes into the space, taps
one of the actresses and assumes her motion.
tapped goes out.
The actresses then
The actress who is
The third actress creates a new situation as she
slowly changes the movement or activty.
The exercise can continue
indefinitely.
Most of the additional improvs at this stage were loosely structured.
An actress would be told to create any envirorunent using any
props and set pieces that were around.
to join the irnprovs as they wished.
arise in these improvs.
Other actresses were allowed
Fascinating discussions would
Many times two or three different group
improvs would take place within the original situation.
The actresses
were thus able to put themselves into a creative state almost immediately.
They were challenged to continually concentrate on what they
were doing and feeling.
They grew to feel canfortable with one
another and a mutual trust and respect became more and more evident.
I later introduced improvisation situations which were directly
related to the play.
The irnprovs at this stage dealt with a range of
student-related situations such as discussions of the characters'
professors, their feelings about classes, activities or rallies on
campus, organizing activities, getting ready to go out on a date,
discussions of wanen 's issues as relevant to campus life, and discussions of lx>oks which the characters read in the play.
I tried to
avoid intimidating actresses into feeling they had to prove their
capabilities or provide a solution or a specific end to an improv.
14
Instead, I stressed that the irnprovs should not be result-oriented,
and that our purpose was to explore and establish relationships without canpeting with each other in finding answers.
'Ihe cast was also
advised not to create a plot or conflict in the irnprovs but to let
what was inevitable evolve organically from their own views and
feelings.
It became clear that it was difficult for a couple of the
actresses to put themselves into these irnprov situations.
me to potential problem areas in the script.
'Ihis alerted
For example, in one
imprav, the actress playing Kate Quinn was instructed to deliver a
valedictory speech to her graduating class though this never actually
occurs on stage.
All of the information found in the script pointed
to the fact that Kate would be the logical candidate for this task.
However, once the improv began, the actress was lost.
She felt
inadequate, self-conscious, and lacked the confidence in herself to
continue the irnprov.
The character is eloquent, logical, clear
thinking, and confident, but the actress felt she was not.
indeed untrue.
This was
The actress was too concerned with "acting" or "pre-
tending" the part.
We discovered, by returning again and again to
this improv in the rehearsal process, that what was important was not
the "words" she chose but the sincereity of her feeling.
Once the
actress believed her o,..m words and feelings, the qualities characteristic of Kate emerged in the actress.
The irnprov allowed the actress
to grow and realize these attributes in herself.
With this realiza-
tion, the problem was solved.
The majority of the irnprovs dealt with the situations which
occurred from living together as college students.
At this stage the
15
improvisations included situations with the wcmen sharing manents
together, watching T.V., listening to Imlsic, discussing men friends,
sex, their hopes for the future, the agenda of their weekly house
meetings, of jobs and other responsibilities, and of their dreams.
The improvs took place in a number of locales including the home,
their local bar, in Mrs. Pl1..IIm1's garden, Kate's future law office,
at a football game, in stores and numerous other locations.
In these
improvs ImlCh of the growth and spontaneity I had hoped for evolved.
The actresses were beginning to feel more secure.
characters were becaning more vi tal and believable.
The evolving
Their relation-
ships were beginning to make sense.
Another scrpt problem that was solved through improvisation was
the role of Carter, specifically her relationships with the other
characters in the play.
The character has only four or five lines
in the entire play but is on stage for nine of the play's sixteen
scenes.
Although Wendy Wasserstein describes carter as a "catatonic,"
we envisioned the character to be ImlCh more life-like.
The cast
needed to feel that they each had same sort of relationship with
carter.
The character needed a purpose for being on stage, and need-
less to say, the actress playing carter needed to feel as if she were
more than a decoration.
For example, in Act I, Scene 4, Muffet pours
out her inner most feelings to carter as does Kate in Act II, Scene 6.
HCMever, Carter never utters a word.
She just sits and listens.
The
three actresses playing Kate, Muffet, and carter had difficulty in
discovering their feelings towards each other because carter almost
never responds to the others verbally.
16
A major breakthrough in establishing these relationships occurred when the cast suggested that carter speak to them while they
improvised several conversations.
The actress playing carter would
agree, disagree, argue, laugh, give her own opinion, and talk about
herself with the other characters.
By allowing the actress to re-
spond verbally in the improvs, the character came to life for everyone.
In performance the characters responded to Carter's non-verbal
behavior just as if she were actually speaking to them in nonnal
conversation.
Fairly early in the rehearsal period I emphasized the need for
discovering a "back life" for each character.
I encouraged each
actress to write down anything that her character said about herself
or things that were said about her by another character.
The dis-
coveries made here were not all necessarily played for truth in performance, but helped in enhancing the back life and the subtext of
each character and to give the actresses same type of a starting
place in approaching their roles.
helpful at this stage.
Our earlier research again proved
Improvisations included interviews with the
administration prior to each woman's acceptance to Mount Holyoke
and discussions of parents and family life including their childhoods, economic status, religious affiliations, high school experiences, past friendships and past ranances, their reasons for going
to college, and the like.
Not only was the back life of each character important in determining individual characterizations, but it was necessary for
understanding the present relationships between the wanen.
For
example, we learn through scattered information in the script
17
(es:pecially in Act I, Scene 6), that Kate and Leilah's once-cemented
realtionship has soured.
Aside from allusions to their competition
for the same man in the past, there is little else in the script to
explain the breakdown of their friendship.
In rehearsal we explored
the many ways this competition may have vented itself in the characters relationship.
We began improvising several possiblities in-
eluding Leilah's lack of self confidence, her inability to make
friends easily, her tendency to idolize Kate, a possible hanosexual
fantasy or involvement with Kate, her jealousy and resentment of
Kate's accomplishments, her tendency toward being easily intimidated
'
by Kate, her infatuation with Kate's high sense of self-esteem,
and
her longing to be more attractive.
We also experimented with the idea
that Kate may have purposefully or nonpurposefully manipulated Leilah's
feelings.
During the improvs, the actresses uncovered numerous
reasons why this may have hap:pened.
This included the possibility
that Kate was also insecure and may have allayed her awn insecurities
by making Leilah feel inadequate.
We felt that Kate's carnpetitiv-
ness about law school reinforced this belief as did Kate's need to be
the center of activity and to maintain her reputation for being the
"ideal wanan. "
Although we never made a definite decision as to
what ultimately caused their friendship to fail, we felt that the
subtext we explored and elaborated would add important nuances in
perfonnance.
We wanted the audience to sense that there were more
complicated reasons for their break other than the obvious one
mentioned in the script.
18
The examples cited above are but a small sampling of how improvisation can be used in rehearsal.
The possibilities are bounded
only by one's imagination and the benefits are augmented by consistent
and successful perfor.mances.
Through this approach, I was able to
monitor the growth and development of each actress during the rehearsal process.
Each improvisation served as a stepping stone in
discovering sane new facet of the dramatic text and its characters.
It enabled us to analyze and solve problem situations in the script.
Through improvising alternative solutions to these problems, each
actress learned how her character would think, feel, and respond.
The actresses learned to recall and draw on the feelings and emotions
which each one might experience in these and similar situations
found in the text.
perfor.mance.
They could then incorporate these attitudes in
The process culminated in an honest and realistic
portrayal of character.
The actresses did not
11
put on
11
another
character but used the instincts and feelings which already existed
within their personalities.
Improvisation also helped the actresses to create and embellish
stage business.
I did not provide the actresses with choreographed
movement, gesture, and blocking.
Instead, my task was to shape stage
business, movement, and canposition which had already been created
by each actress during rehearsal.
Additionally in perfor.mances, the actresses were able to deal
spontaneously with any mistakes or problems which occurred on stage.
Their experience with improvisation had prepared them to trust their
19
own
intuitions and their fellow actresses.
They were able to
encounter problems without alarming each other and without interrupting their concentration.
20
EVALUATION OF MY EXPERIENCE
During the last month of rehearsals I experienced a great deal
of frustration.
There were specific moments, qualities in character,
and relationships between characters that were either not working or
were missing sanething.
I could not put my finger on what was miss-
ing, and thus I was unable to ccmnunicate what was needed to my ac ...
tresses.
Although I realized that this was not uncommon in pro-
ductions 2-3 weeks before opening night, I continued to doubt myself
and the show.
about it.
Everything looked the same.
Nothing seemed special
I began asking myself if this was art or purely self
indulgence.
It was then that I invited, on separate occasions, two
members of my thesis committee to give me same feedback and fresh
perceptions of the sh<J'vV.
This was most helpful and soon I regained
my lost confidence.
The observations and ideas which I received from my committee
helped me to focus my attention and energy on other aspects of the
show.
I was able to feel a sense of "newness" again which in turn
renewed my energy and enabled me to feel positive.
There were
obvious problems to solve, but they were not so large as I had thought.
The key was to stop looking for them and second-guessing myself and
to trust my intuition.
After approximately four months of rehearsals, Uncarrnon Women
and Others opened on October 17, 1980.
performances.
The production ran for eight
Almost all performances were sold out.
until this time,
I suppose I didn't believe the production would really happen, that
we would actually have an audience, a set, lights, and sound.
It
21
never ceases to amaze me ha.v a production begins, much like a seed,
and blossans into sanething so beautiful that all you can feel is
pride that you helped to create it.
This was my experience with the
production.
However, it was very difficult to sit through the run of perfonnances.
One reason was because I couldn't say anything to the
actresses.
I couldn't give notes or if I was dissatisfied with a
particular manent say, "Alright, now stop and try that again."
almost had to sit on my hands during the show.
I
My heart pounded
each night and the nervousness I experienced was overwhelming.
I
would like to becane the kind of director who can draw the line when
rehearsals end and perfonnances begin.
say (and believe it),
over."
I need to learn to be able to
"It's your sha.v, it's in your hands, my work is
Ha.vever, I'm still not able to let go.
I feel that there is
so much of me on the stage, too--except that anxiety seems worse than
if I really were.
It's still hard for me to channel that nervous
energy when I sit in an audience of a show I have directed.
becane the audience.
I, too,
I am emotionally moved or disappointed.
laugh or cry with the rest of the audience.
I
The big exception is
that I make myself responsible for everything that happens and thereby
place enormous pressure on myself at the same time.
I do not believe that a successful production happens accidentally
or with luck.
It happens for a number of reasons, all of which have
much to do with discipline.
I set extremely high standards for
Uncarmon Wauen and Others, both in rehearsal and in performance.
At the beginning I impressed upon the cast a need for respect toward
the director, the play, and each other.
I wanted the show to serve
22
as an example to other students in the department that attitude,
as well as the obvious necessities, can really have an effect on the
success or failure of a production.
secure such a cooperative cast.
for the show.
I was extremely fortunate to
'Ihey believed in me and my concept
'Ihey were helpful and patient when I didn 1 t have the
answers to all of their questions or problems.
'Ihey stretched them-
selves physically, emotionally, intellectually, and imaginatively in
hope of making our dream a reality.
In the end, the audiences appeared to love the production.
seemed to truly understand the wcmen on stage.
with the characters on stage.
'Ihey
'Ihey laughed and cried
Many nodded their approval and sighed
the kind of sighs that I interpreted as meaning, "Yes, yes, I 1 ve
been there before, I 1 Ve experienced the same thing.
is feeling that way then its okay for me to also.
yet I am still unique. "
If this character
I 1 m nonnal and
NarES
~endy Wasserstein, Uncarmon Wanen and Others (New York:
Dramatists Play Service, Inc., 1978), p. 33.
~asserstein, p. 11.
3wasserstein, p.
20.
\vasserstein, p. 44.
5L.P. Freilicher, Interview, ed. "Authors and Editors,"
Publishers weekly, 10 May 1971, p. 13.
6Edith Oliver, "The Theatre: Off Broadway," rev. of Uncanmon
Wanen and Others, by Wendy Wasserstein, New Yorker, 5 Dec. 1977,
p. ll5.
7Edmund Newton,
II
'Wanen I One
can
It
Forget, II rev. of Uncanmon
Wanen and Others, by Wendy Wasserstein, New York Post, 22 Nov. 1977.
In New York Theatre Critics' Reviews, (Vol. 38, No. 22, 1977), p. 140.
8
T.E. Kalem, "The Theatre," rev. of Uncarmon Wanen and Others,
by Wendy Wasserstein, Time, 5 Dec. 1977, p. 111.
9Richard Eder, "Dramatic Wit and Wisdan Unite In 'Uncamnon
Wanen and Others ' , " rev. of Uncarmon Wanen and Others, by Wendy
Wasserstein, The New York Times, 22 Nov. 1977, p. 1.
23
BIBLI03RAPHY
Theatrical Background
Ephron, Nora.
"Wanen Alumnae Reunion."
Esquire, Oct. 1972,
pp. 57-62.
Freilicher, L.P. Interview, ed.
"Authors and Editors,"
Publishers
Weekly, 10 May 1971, pp. 13-14.
Friedan, Betty,
The Feminine Mystique.
New York: W. W. Norton
and Co. Inc., 1963.
Greer, Gennaine.
The Female Eunuch.
I.Dndon: MacGibbon and Kee
Limited, 1970.
McCarthy, Mary.
The Group.
New York: Harcourt, Brace and World,
Inc., 1963.
McKean, W.J.
"Meanwhile • • • back at Vassar."
Look, 24 Feb. 1970,
p. 28.
Rosen, Nonna.
"Mount Holyoke forever will be for Women only."
New York Times Magazine, 9 Apr. 1972, pp. 36-7.
Stretch, B.B.
"Eldest Sister Starts to SWing."
Saturday Review,
15 Feb. 1969, p. 98.
Tynan, Kathleen.
Tynan."
Interview, ed.
"Gennain Greer talks with Kathleen
Vogue, 1 Jan. 1972, pp. 68-71.
24
25
Improvisation
Gtmkle, George.
"Sane Guidlines for Rehearsing When Improvisation
is used."
Lecture notes for Theatre 496L, Golden Boy, Calif-
ornia State University, Northridge, October, 1980.
Gtmkle, George.
"Sane Uses of Improvisation."
Lecture notes for
Theatre 496L, Golden Boy, California State University, Northridge.
October, 1980.
King, Nancy.
Giving Fonn To Feeling.
New York: Drama Book
Specialists/publishers, 1975.
Spolin, Viola.
Improvisation for the Theatre: a handbook of teaching
and directing techniques.
Evanston, Illinois:
Northwestern
University Press, 1963.
Reviews of Original New York Production
Beaufort, John.
"A Wry Reunion."
by Wendy Wasserstein.
Rev. of Uncarmon Wanen and Others,
The Christian Science Monitor, 30 Nov.
1977. p. 30.
Clunnan, Harold.
"Theatre."
by Wendy Wasserstein.
Eder, Richard.
Nation, 17 Dec. 1977, pp. 667-68.
"Dramatic Wit and Wisdan Unite In 'Uncanmon Wanen
and Others ' • "
Wasserstein.
Kalem, T.E.
Rev. of Unccmuon Wanen and Others,
Rev. of Uncarrnon Wanen and Others, by Wendy
The New York Times, 22 Nov. 1977, p. 1.
"The Theatre."
by Wendy Wasserstein.
Rev. of Uncarmon Wanen and Others,
~'
5 Dec. 1977, p. 111.
26
Newton, Edmund.
II
'Wanen I One can It Forget. II
and Others, by Wendy Wasserstein.
Rev. of Unccmuon Wanen
New York Post, 22 Nov. 1977.
In New York Theatre Critics' Reviews.
(vol. 38, no. 22, 1977),
p. 140.
Oliver, Edith.
"The Theatre: Off Broadway."
and Others, by Wendy Wasserstein.
Rev. of Uncanmon Women
New Yorker, 5 Dec. 1977,
p. 115.
Watt, Douglas.
"Holyoke Hen Session."
Others, by Wendy Wasserstein.
Rev. of Uncanmon Women and
Daily News, 22 Nov. 1977.
New York Theatre Critics' Reviews.
In
(vol. 38, no. 22, 1977),
p. 139.
Script
Wasserstein, Wendy.
Uncanmon Women and Others.
Play Service, Inc., 1978.
New York: Dramatists
APPENDIX A
Program fran the
california State University, Northridge
production of
Unccmnon Wanen and Others
27
CALIFORNIA STATE UNIVERSITY) NORTHRIDGE
DEPARTMENT OF THEATRE
PRESENTS
Directed by
BARBARA HANCOCK
Scenery and Lights Designed by
OWEN W. SMITH
Costumes by
TIM BURNS
28
DIRECTOR'S NOTES
Uncommon Women and Others marks the beginning of a
new series of productions at CSUN entitled "Limited
Editions." These productions enable students and
faculty to experiment and explore new ideas, problems
and potentials in the areas of acting, directing, and
technical theatre.
In directing Uncommon Women, I have employed improvisational techniques in the rehearsal process. Improvisation allows the director and actresses to create alternative solutions to problems found in the script. It
also expands the context of the script to situations
which occur off stage. Personal experience, intuitive
knowledge and investigative research help the actress
to learn how her "character" thinks, feels and responds.
The actress, therefore, does not nput on" another character but uses information, instinct and emotion which
already exist.
The selection of this play is especially appropriate
for educational theatre. It explores the feelings and
ideas of young women in transition from the late 60's
through the 70's. The issues suggested by the script
are contemporary and universal, not only for women but
for men in today's society, as all of us embark on a
new decade.
Barbara Hancock
This play was directed by Barbara Hancock
in partial fullfillment of the requirements
for a Master of Arts Degree in Theatre Arts.
GRADUATE THESIS COMMITTEE
Professor George Gunkle, Chairman
Professor Owen W. Smith
Professor Craig Nieuwenhuyse
Professor Christie Logan
(Speech Communication)
29
CAST
KATE QUIN ............................... Cathy Thomas
SAMANTHA STEWART ....................... Shari Feldman
HOLLY KAPLAN ........................... Gayle Feldman
MUFFET DINICOLA ..................... Valerie Spencer
RITA ALTABEL ............................ Jann Goldsby
MRS. PLUMM ............................ Naomi Heschong
SUSIE FRIEND ........................... Barrie Nedler
CARTER ................................... Elise Cohen
LEILAH .................................... Laura Loyd
MAN'S VOICE ............................ Bob Gallagher
SETTING
A restaurant in 1978, and six years earlier
at Mount Holyoke College for women.
THERE WILL BE ONE 15 MINUTE INTERMISSION
********
Produced as part of the
Southern California
Educational Theatre Association,
THEATRE OF FOCUS
****
Produced by
special arrangement with
Dramatists Play Service, Inc.
New York, New York
Oct. 17, 18, 19, 22, 23, 24, 25, 26, 1980
Studio Theatre
8 p.m.
Sundays 5 p.m.
30
PRODUCTION STAFF
Production Manager .................... Peter Roderick
Stage Manager .............................. Liz Irons
Technical Director ...................... Jerry Abbitt
Asst. Technical Director ................. Randy Lyman
Sound Design ............................. Nick Dudzak
Set Decoration ........................... Karin Neitz
Costume Supervisor ..................... Rella Burrell
Shop Supervisor ........................ Dennis Dillon
Director of Theatre ................... John S. Furman
Theatre Manager/
Publicity/Photography ................... Jeffrey Levy
House Manager ........................... Tony Frankel
Card Design ........................... Don Rohrbacker
Program Preparation .................... Sally Shulman
PRODUCTION CREWS
PROPS
Ted Greeniaus''~
Pam Fitzgerald
STAGE CREW
John Burros
Gary Saperstein
SOUND
Randy Jones*
LIGHTING
Mike Silverstien*
Kathy Conrad
Wendy Corwin
Tonya Dietz
Carolyn Hennesy
MAKEUP
Debbie Liekkio
COSTUMES
Cyndi Bradley*
Sherrie Walton
*Crew Chief
Shop Construction Crew: Karyn Shields, Don Rohrbacker,
Neal Penso, Sandy Patrick.
APPENDIX B
Photographs from the
California State University, Northridge
productin of
Unccmnon Wanen and others
31
32
33
34