THE WOMEN OF TROY

Bruns Amphitheatre, California Shakespeare Festival

In 1996 Randall served as an Associate Director of the California Shakespeare Festival's Apprentice Program - a diverse group of 16 actors and 8 production interns who participate in four rigorous months of studio classes, production projects, mainstage rehearsals & understudy performances. In an adaptation facilitated by Mr. Stuart and created collectively by the ensemble, Euripides' blood-pumping tale was enacted in a production rich with ritual, drumming & chant, and large-scale object work.

Collaborators included Katy Stephan (music), Dawn Lisell (text), Kathleen Turco-Lyon (gesture) and Mary Beth Cavanaugh (movement).

"It truly was one of the most powerful and enriching theatre experiences I've ever had. The movement and gesture work (and the singing) really enhanced everything we researched. It all seemed to come from the soul. I did more research for Andromache than I have ever done for a role; had visions of her watching Achilles drag Hector's body around the walls of Troy; could feel her pain, passion, desperation and the love for her son as he was thrown from the walls. Her strength and her pride are still a part of me. A favorite role." - Sarah McKereghan

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"Lift up your head!" This haunting phrase leapt off the page of nearly every translation of The Women of Troy that the ensemble studied. The phrase was an action, a directive, the very thing I hoped that the actors would discover, so as to produce the full range of sound & motion which an ancient amphitheatre demands. "Lift up your head!" A social action. Defiance in the face of oppression. Hecabe's deeply poetic cry.

Returning to one's ancient tradition is a wise course. Actors are supreme investigators, (supplied, I think, with certain mysterious tools for an archaeological dig such as this one.) There is always so much to discover for the interested student. What are the roots of Theatre, and why did the Greeks perfect the craft? Why was this story of the Trojan siege a story which they felt compelled to tell and then re-tell. Why do we? Rehearsals for this particular project began with a discussion of what 'personal wars' we may have each endured. From what tribe had we each come? Had our people felt the lash of enslavement? Then experimentationand improvisation began, and theatrical unity was created as many ensemble members and guest artists brought ideas to the process. Dawn Lisell took us through a masterful workshop The Madwoman Within. Kathleen Turco-Lyon dazzled us with the detail of Psychological Gesture. Katy Stephan created the inspiring musical strains you will hear this evening. These beautiful threads, these gifts, all helped in the weaving of Hecabe's flowing red robe (endowed with sorrow, motherhood and widowhood) and Cassandra's oceanic silk (endowed with the power of the sea and flowing prophecy) - powerful theatrical tools in our storytelling.

Returning to the Bay Area is for me to walk through the shadows from the Vietnam Era, whose ghosts tap my shoulder and implore me to use my Art to link their hands with those of Hector, Achilles, Helen and Andromache...and then, both the ancient and fresh spectres, guide this ensemble through the ritualistic dance, calling out to us to never let War have its day again. They are all calling out to us. Right now. Tonight. We have released their ancient blood-pumping story. But we're certain the arms of this extraordinary mountain amphitheatre (temple?) will wrap around us all and make it safe for us to hear of the character's terror.

This play itches with politics & war and intrigues with its choral anthem. The women may fall but they lift up their heads, teach us to arise when we are thrown down by circumstance. May these fine young actors always know how to arise, dust themselves off, look up and open their eyes so as to stay awake - wide awake - to thank all of the goddesses for the power of Live Theatre.