Listen in as director Jessica Burr and performer Nancy McArthur (“Gerda”) of Blessed Unrest‘s original adaptation of The Snow Queen discuss how the company came to create a show geared toward young people, working with 10-year-old collaborators in the rehearsal room, “dulling as we age,” Blessed Unrest’s devising techniques, the importance of having your designers involved all through the process, workshops on devising & physical theatre (2/13–3/6), and why kids can be the perfect audience for abstract storytelling.
“…for me, it’s the story of a really courageous young girl, who displays her power in a way that is actually very feminine…she isn’t violent, she doesn’t have to fight for what she wants, in fact she’s really smart…”
A Christmas Carol is produced everywhere, every year; so often that most of us in the theatre world could recite the lines along with the actors. We know exactly what we’re going to see, and willingly submit to having our heartstrings plucked by the familiar story of one man’s awakening to the Christmas spirit.
Blessed Unrest‘s A Christmas Carol is not one of those productions — though the story is familiar, the way of telling it is not. And this Scrooge’s awakening…well, let’s just say it doesn’t end the way you’re used to. It’s emotional, and beautiful, in a way you probably haven’t seen.
Listen in as adaptor/playwright Matt Opatrny, multi-character actress Jessi Blue Gormezano, and the show’s Ebenezer, Damen Scranton, discuss how easy it is to change, building trust within the cast, bringing in a Lady Gaga dance number, why Blessed Unrest would do a play most of the company didn’t like, and what happens when Scrooge goes home, alone.
“I’m really glad I came. It’s always a risk with A Christmas Carol…”