From Intern to Actor: One Performer’s Journey with Profile

When I first found out about an open audition at Profile Theatre to be an acting intern, I was thrilled!  Then, when I found out that the roles for the interns were movement based, I panicked. Believing that I was possibly one of the most awkward and uninspiring “movers” anyone would ever have to witness, I immediately felt like I had no chance. I imagined that I would take my stiff and awkward self right out of my comfort zone and I would fail. Miserably. It seems crazy to me now to think about the fear that the word “movement” made me feel. Because of that fear, I decided I wasn’t going to go to the audition. The only problem was that I kept hearing the voice of my acting professor in my head. She wanted her students to do this audition. It was a great opportunity for us. Honestly, the only reason I decided to go was because I could not bear to disappoint her.

When the audition began, I was shocked at how scary it… wasn’t. I didn’t feel judged. I didn’t feel like a joke. I actually had….fun. Fun. I had fun moving my rugged and ungraceful body all over the room.  I saw my peers cutting loose and being fearless, and I forced myself to do the same. I walked out of that room smiling. I had triumphed over my fears that day and no matter the outcome, I had won. Then I was actually offered an internship. I was utterly shocked, completely overjoyed, and flooded with nervousness. But I accepted. And it was one of the best decisions I have ever made for myself.

Ms. Holt with fellow intern Jake Turner in DEAD MAN'S CELL PHONE

Ms. Holt with fellow intern Jake Turner in DEAD MAN’S CELL PHONE

The rehearsal process for Dead Man’s Cell Phone was an intensive training for me, that broke me down in order to build me back up. I had to use my body and brain together like I never did before. I had to teach my muscles to move in completely foreign ways. In every rehearsal, I felt myself changing.

I had discovered a new outlet for my creativity. By the time we started performing I was fully embracing my role as a mover. My athletic, strong, boyish body changed from something I was uncomfortable with to an instrument that I adored. What I didn’t know at the time was that this training as a mover was making me a better actor. A true chameleon.

After Dead Man’s Cell Phone, I was invited to audition for other Profile shows. I managed to get a call back for Passion Play. I don’t think that I have ever been that nervous in my life. I didn’t know anyone at the audition and sat quietly on my own, waiting for my turn. I was grateful to be given the chance to hold my own against much more seasoned actors. When I received an offer for the role of Violet/The Village Idiot, I could not believe it. I jumped off of my couch screaming, threw my arms around my friend and jumped up and down, tears welling up in my eyes. Everything I had gone through had gotten me to this point. Facing my fears, pushing myself outside of my comfort zone, taking every opportunity given to me no matter how scary it seemed. I went from acting intern to paid cast member in less than a year. I never thought that was possible for me.

Ms. Holt rehearses the role of Village Idiot in PASSION PLAY

Ms. Holt rehearses the role of Village Idiot in PASSION PLAY

What’s more, I feel like I gained a whole family in the process. Having moved to Portland from New Hampshire by myself, I can walk into that theatre and see comforting and familiar faces and it feels like home.

Now, I have the opportunity to work with a wonderful new group of people at Shaking The Tree Theatre. From the cast and crew, to the theatre space, to the whimsical, brilliant mind of director Samantha Van Der Merwe, the people that I get to work with are constantly inspiring me. All of my movement training is being utilized and I have never felt better about myself as an actor and about what I can bring to the table. I feel free and fearless. I am learning to push myself and I am having fun doing it. I never would have thought than an acting internship would teach me to love my body, give me a family, and ignite a fierce passion for my art. But it did just that.

In Dialogue Events: Passion Play

During Passion PlayProfile is thrilled to be partnering with local artists and with the Geezer Gallery in an exploration of the impact of religious art and iconography on visual artists.  Join us prior to each performance to hear from a different artist about their work and about how religion informs their process, be it to move them towards or away from an expression of faith. Presentations will begin at approximately 6:40pm for evening performances and 1:20 pm for matinee performances.  

For the duration of the festival, we invite you to enjoy the display on the wall in our lobby of work by each of the artists we are featuring. Like Passion Play itself, the pieces reveal that religion and art continue to inform and affect one another, producing work we can all engage with, experience and ponder.

Wednesday, September 9th @ 6:40pm: Eva MacLowry (Paint/Collage)
Thursday, September 10th @ 6:40pm: Eva MacLowry (Paint/Collage)
Friday, September 11th @ 6:40pm: Stephen Graham (Watercolor)
Saturday, September 12th @ 1:20pm: Mary Pacios (Printmaking)
Saturday, September 12th @ 6:40pm: Mary Tapogna (Mosaic)
Sunday, September 13th @ 1:20pm: Mary Pacios (Printmaking)
 -This presentation will be ASL interpreted

Click here to see past In Dialogue Events.

Passion Plays: A Historical Tradition, An Exploration of Faith and Community

What is a Passion Play?

A “Passion Play” is a dramatic presentation depicting the Passion of Jesus Christ: his trial, suffering and death. Passion Plays originated in Europe during the Middle Ages as a way of teaching the populace about Christianity.  The tradition of a Passion Play has its roots in the ritual of the Church.   Initially, Passion Plays were performed in Latin by monks, but eventually community members started taking over the roles and performing in the common vernacular.  As time passed, the content and style of presentation continued to shift, with different communities adapting more and more to audience expectations, adding characters and freely translating hymns and scripture.  By the fifteenth century the transition from Church ritual to dramatic performance was complete. 

A performance of the Passion Play in Oberammergau, Germany

The tradition of performing a Passion Play was common in several cities and regions throughout Europe, particularly Germany and Austria.  The productions often expanded to include many more stories from the bible.  Performances of some versions began to last multiple days and became closely connected with the growth, identity and increasing self-confidence of the cities in which they were presented.

The Passion Plays of the 15th century, with their peculiar blending of religious, artistic, and increasingly secular elements gave a true picture of contemporary life in those times.  However, with the advent of 16th-century European religious conflict, the uneasiness with liturgical drama increased. The Passion Plays came to be presented more and more rarely, with the Reformation causing them to disappear almost completely.

However, public interest in Passion Plays was revived in the last decades of the 19th century.  Since then, cities in countries all around the world have developed robust Passion Play traditions that continue to this day, including in England, Brazil, Australia, Canada, the Philippines, the Netherlands, Sri Lanka, Poland, Slovenia and the United States.

The stage for the Passion Play of Black Hills, South Dakota

What is Sarah Ruhl’s Passion Play?

Sarah Ruhl took the history of Passion Plays and their role as a community cultural event, and used them as inspiration to create an epic, magical and moving piece of theatre.  Sarah Ruhl’s Passion Play is three individual plays that each examine a distinct and individual community as they prepare to perform their annual Passion Play.  The first part takes place in the north of England during the reign of Queen Elizabeth I, the second part takes place in Oberammergau, Germany at the start of World War II and the third part takes place in Black Hills, South Dakota during the Vietnam War.  Each of these locations historically has a rich tradition of community Passion Plays and Ms. Ruhl draws on that tradition to explore themes of identity, faith, love, power, and community against the distinct background of each individual play.

Passion Play Media Kit

For additional information, please contact Marketing and Communications Manager Natalie Genter-Gilmore at natalie@profiletheatre.org or call 503.242.0080.

Passion Play Press Release

Passion Play Program

PHOTOS

Click on the thumbnails below for full-sized files.

The cast of  Fall Festival: Passion Play by Sarah Ruhl at Profile Theatre. Directed by Samantha van der Merwe and running September 9-13, 2015. Photo by David Kinder.

 

Alex Leigh Ramirez and Foss Curtis in Fall Festival: Passion Play by Sarah Ruhl at Profile Theatre. Directed by Samantha van der Merwe and running September 9-13, 2015. Photo by David Kinder.

 

The cast of  Fall Festival: Passion Play by Sarah Ruhl at Profile Theatre. Directed by Samantha van der Merwe and running September 9-13, 2015. Photo by David Kinder.

 

Garland Lyons in Fall Festival: Passion Play by Sarah Ruhl at Profile Theatre. Directed by Samantha van der Merwe and running September 9-13, 2015. Photo by David Kinder.

 

Matthew Kerrigan in Fall Festival: Passion Play by Sarah Ruhl at Profile Theatre. Directed by Samantha van der Merwe and running September 9-13, 2015. Photo by David Kinder.

 

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Diane Kondrat in Fall Festival: Passion Play by Sarah Ruhl at Profile Theatre. Directed by Samantha van der Merwe and running September 9-13, 2015. Photo by David Kinder.

 

Garland Lyons and Matthew Kerrigan in Fall Festival: Passion Play by Sarah Ruhl at Profile Theatre. Directed by Samantha van der Merwe and running September 9-13, 2015. Photo by David Kinder.

 

The cast of Fall Festival: Passion Play by Sarah Ruhl at Profile Theatre. Directed by Samantha van der Merwe and running September 9-13, 2015. Photo by David Kinder.

 

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Matthew Kerrigan and Alex Leigh Ramirez in Fall Festival: Passion Play by Sarah Ruhl at Profile Theatre. Directed by Samantha van der Merwe and running September 9-13, 2015. Photo by David Kinder.

 

Shawna Holt and Matthew Kerrigan in Fall Festival: Passion Play by Sarah Ruhl at Profile Theatre. Directed by Samantha van der Merwe and running September 9-13, 2015. Photo by David Kinder.

In Dialogue: The Lady Onstage

The Lady Onstage
by Erin Bregman
Directed by M. Graham Smith
July 13 & 14, 2015

Featuring: Lauren Bloom*
Stage Manager: D Westerholm*

The Lady Onstage takes us into the psyche Olga Knipper, leading actress of the Moscow Art Theater in Chekhov’s day, and gives us an inside perspective on the radical choices artists make in the name of art and love at the moment when theater changed forever.

*Member Actors’ Equity Association, the professional union of actors and stage managers.

In Dialogue Events: In the Next Room, or the vibrator play

Arrive early and enjoy the exhibit ‘Sublime Influence’, presented alongside our production by The Geezer Gallery.  Artists Jeanette Nuxoll, Suzanne Vaughan and Don MacLane’s work has all been influenced by science, engineering, and mechanics – themes that are central to In the Next Room, or the vibrator play.  The exhibit runs June 11th-June 28th in the lobby.

Saturday, June 13th:
Opening Night Reception | Post-Show
Join us immediately following the performance for nibbles, drinks and music.
Theatre lobby

Sunday, June 14th:
Mat Chat with In the Next Room, or the vibrator play director Adriana Baer | Post-show

Wednesday, June 17th:
Brave New World: Achieving Gender Equity in the Performing Arts | 7:30pm
Profile and Oregon Humanities are partnering to facilitate a discussion about issues of gender equity across performing arts disciplines. Moderated by Kimberly Howard, the conversation will discuss the current state of affairs and explore specific ways to effect change moving forward.
Morrison Stage | Reserve Tickets Here

Thursday, June 18th:
Dinner Dialogue (additional tickets required) | 5:15pm
Join Artistic Director Adriana Baer and a member of our production team for an intimate dinner at one of our favorite local restaurants, Gracie’s. Enjoy a three course meal while engaging in great conversation about the process of bringing Ms. Ruhl’s words to life.

Friday, June 19th:
Sarah Gahagan: Costuming In the Next Room, or the vibrator play | 6:45pm
Join costume designer Sarah Gahagan as she discusses the practical challenges and creative inspiration behind creating clothing that reveals layer upon layer of the story and the characters- not only figuratively, but also literally.
Theatre Lobby

Saturday, June 20th:
Julie Jeske, LPC: Embracing Pleasure In and Out of the Bedroom | 6:45pm
Julie Jeske is a sex and relationship counselor. She has a private practice where she helps clients increase intimacy and deepen their connection to themselves and others.  She teaches the Human Sexuality class for the Graduate Program in Counseling at Portland State University. She is a frequent contributor for online articles, magazine articles and TV segments. She also offers online classes in sexuality, self-love and intimacy.
Theatre Lobby

Sunday, June 21st:
Mat Chat with In the Next Room, or the vibrator play cast | Post-Show

Monday, June 22nd:
Staged Reading of Shakespeare’s Measure for Measure | 7:30pm
An all female company, including members of the cast of In the Next Room, or the vibrator play will explore issues of sex, morality and female agency from another perspective – Shakespeare’s – in this one-night-only event.

Featuring: Foss Curtis, Jacklyn Maddux*, Lauren Modica, Nelda Reyes, Amanda Soden*, Beth Thompson, Katie Watkins, Ashley Williams
Morrison Stage

Wednesday, June 24th and Thursday June 25th:
45th Parallel Chamber Music | 6:45 PM
Our year-long collaboration with 45th Parallel Chamber Music continues with two performances of a specially curated concert inspired by In the Next Room, or the vibrator play.
Theatre Lobby

Friday, June 26th:
Professor Richard Beyler, PhD: The Heyday of Hysteria: Gender and Nervousness in the Late 1800’s |  6:45pm
Richard Beyler is a professor of the history of science and intellectual history at Portland State University.  He earned a PhD in the history of science from Harvard University.
Theatre Lobby

Saturday, June 27th:
Mix and Mingle with the Cast & HYSTERIA BINGO | Post-Show
Enjoy refreshments with the cast after the show, and play a few rounds of Hysteria Bingo!  Fill out a provided card with your choice of the various symptoms and treatments used for this once pervasive affliction, keep track as our caller leads the game, and win some fun prizes!
Theatre Lobby

Sunday, June 28th:
2016 Season Announcement | Post-Show
Join us immediately following the final performance of In the Next Room, or the vibrator play for the reveal of our 2016 featured playwright and roster of plays!
Theatre Lobby

Click here for more information about In the Next Room, or the vibrator play.

2016 Tanya Barfield Season

Having an entire season devoted to my own work is a true gift – and the fact that
Profile Theatre is in my home town makes it all the more magical.” ~ TB

 

Portland native Tanya Barfield’s plays intertwine subjective memory, truthful relationships and poetic language like fingers clasped together. Barfield’s work is infused with a sensitivity toward characters that are human beings rather than mouthpieces. They flicker through time in an exploration of how we define ourselves. Through sexuality, class, race, gender, politics, and love, Barfield’s plays focus on a microcosm while examining the macrocosm of the world we live in, the lies we tell to protect ourselves and those we care about, and the truths we must face to grow. Through snarled arguments and honest conversations, Barfield expresses the difficulty and the necessity of authentic dialogue. LEARN MORE ABOUT TANYA HERE.

THE CALL
2.4.2016 – 2.21.2016
Morrison Stage

Annie and Peter have it all: successful careers, a lovely home and a good marriage, until failed attempts to start a family begin to turn their lives inside out. The choice to expand beyond the American border and adopt a child from Africa reveals to the couple new insight into their marriage, their identities, and their community. Faced with an ever more complex set of circumstances, they must decide together if they are willing to embark upon a most unexpected path to parenthood.

BLUE DOOR
4.7.2016 – 4.24.2016
Alder Stage
Lewis, a highly successful mathematician, has never found himself up against a problem he cannot solve. But underneath his veneer of success lies a soul troubled by questions of personal and cultural identity. On a night of disorienting insomnia, Lewis inadvertently conjures three generations of ancestors and finds he must take in the wholeness of his history and face the life he has chosen. With beautiful songs and haunting imagery, Pulitzer Prize-nominated Blue Door resonates with anyone who has ever struggled to live with – or escape – the past.

Fall Festival: ANTIGONE PROJECT
9.7.2016 – 9.11.2016
Alder Stage
Antigone Project is a collection of short plays written by five of America’s top playwrights: Tanya Barfield, Karen Hartman, Chiori Miyagawa, Lynn Nottage and Caridad Svich. Based on the ancient Greek play by Sophocles, the five pieces are a modern retelling that confirms an ancient story can be both contemporary and relevant.

Antigone fights for justice, peace and religious and political freedom in a world that intends to keep her and her family enslaved. Revisiting this myth in light of our nation’s present civic unrest encourages audiences both young and old to examine their own roles in our society and how we may rise out of conflict to create new hope for the future.

BRIGHT HALF LIFE
10.27.2016 – 11.13.2016
Morrison Stage
Time stops when you meet the love of your life. Vicky and Erica are catapulted through a lifetime of love and heartbreak as they navigate an ever-shifting present.  Through courtship, children, marriage, conflict and the whisper of mortality, this kaleidoscopic journey is a stunningly honest depiction of the fortitude and courage it takes to fight for love.

IN DIALOGUE STAGED READINGS
In Dialogue Staged Readings include new and contemporary plays in conversation with Tanya Barfield’s body of work, as well as readings of Barfield plays not included in our Main Stage season. Readings will be announced throughout the season. These staged readings are free and general admission, but do require reservations. Subscribers receive exclusive early seating for staged readings.

About Tanya Barfield

Having an entire season devoted to my own work is a true gift – and the fact that
Profile Theatre is in my home town makes it all the more magical.” ~ TB

Tanya Barfield is from Portland, Oregon. Her play Bright Half Life premiered at the Women’s Project Theater and was a TimeOut Critic’s Pick. Her play The Call premiered at Playwrights Horizons in co-production with Primary Stages and was a Critic’s Pick for the New York Times. Blue Door (South Coast Rep, Playwrights Horizons) was nominated for a Pulitzer Prize. Other work includes: Feast (co-writer, Young Vic/Royal Court), Of Equal Measure (Center Theatre Group), Chat (New Dramatists’ Playtime Festival), and The Quick (New York Stage & Film). A recipient of a Lilly Award, the inaugural Lilly Award Commission and a Helen Merrill Award, Tanya is a proud alumna of New Dramatists and a member of The Dramatist Guild Council. She has written for the upcoming Starz series, The One Percent. She currently writes for The Americans on FX.

Learn about the 2016 Season here.

Like Fingers Clasped Together: The Work of Tanya Barfield
by Hannah Fattor, Profile Theatre Dramaturgy Intern

Like fingers clasped together, relationships and conversations overlap in Tanya Barfield’s plays.  Characters speak over their past and future selves, interact with forefathers long dead, and flicker through time in an exploration of how human beings define themselves through personal history or ancestral memory.  Barfield’s own experiences as a bi-racial, gay woman and the depth of her research into historical and social contexts have infused her work with a sensitivity toward characters that are human beings rather than mouthpieces.  Instead of relying on patterns of storytelling to get across well-worn messages about the oppression of women or African-Americans or people in poverty, Barfield examines issues of sexuality, class, race, gender, politics, and love by focusing on details: the lies we tell to protect ourselves and those we care about; the truths we must face to grow as human beings; the people who challenge us in exciting or difficult ways; how we rise to meet those challenges, and fail, and rise again and again until the lesson is learned.  Barfield’s eyes are wide open, curious, seeking the nuances that affect large and painful issues of discrimination.  Her deep, careful research shines through in the complex characters she creates to communicate the struggles within her plays.

Above all, Tanya Barfield places a deep trust in her actors. She initially went to school for acting (before she learned that playwrighting was not a dead profession), and her minimalist staging, tight back-and-forth dialogue, and tight character shifts rely on skilled performers to bring her ideas to life.  Barfield’s plays are filled with conversations both halting and harried, insightful and disjointed, honest and oblivious.  She skillfully clips words too painful to speak and tangles dialogue together as characters either connect with each other to the point of finishing each other’s sentences, or fail to understand each other when grievances are ignored.  Through snarled arguments and honest, uncomfortable dialogues Barfield expresses how difficult and yet how necessary conversation is.  Not every exchange is a debate with a clear winner at the end; at times it is simply necessary to speak with one another.

In these conversations, Barfield interweaves the many identities that one character inhabits with the many identities that other characters inhabit.  These various identities do not contradict each other; they intersect and conflict but they make up a whole human being.  People suffer when they reject aspects of themselves, from racial and class backgrounds to sexuality and love. Yet, as she folds the past and present together, Barfield reveals that no one is incapable of change if they can recognize and discuss their perspective on the world, however flawed it may be.  Through connection and honest conversation, progress is possible.

In Dialogue Community Events

In Dialogue Community Events are opportunities to come together to discuss, explore or experience themes and ideas that lie at the heart of the work of our featured playwright. Often presented through partnerships with other local organizations, these events are free to the public.

There are no currently scheduled Community Events.  Stay tuned for updates!

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PAST COMMUNITY EVENTS:

Staged Reading of Shakespeare’s Measure for Measure
June 22, 2015
Morrison Stage
An all female company, including members of the cast of In the Next Room, or the vibrator play will explore issues of sex, morality and female agency from another perspective – Shakespeare’s – in this one-night-only event.  Featuring: Foss Curtis, Jacklyn Maddux*, Lauren Modica, Nelda Reyes, Amanda Soden*, Beth Thompson, Katie Watkins, Ashley Williams

Brave New World: Achieving Gender Equity in the Performing Arts
June 17, 2015
Morrison Stage
Profile and Oregon Humanities are partnering to facilitate a discussion about issues of gender equity across performing arts disciplines. Moderated by Kimberly Howard, the conversation will discuss the current state of affairs and explore specific ways to effect change moving forward.

Hysteria at Hollywood Theatre
May 25, 2015
Profile Theatre is thrilled to be partnering with Hollywood Theatre to help you end your Memorial Day weekend with a bang – or a buzz – by bringing you Hysteria, starring Hugh Dancy, Maggie Gyllenhaal and Jonathan Pryce.  A perfect film to help get you in the mood for Profile’s next main stage production, Hysteria is a fun and funny look at the creation of the first electrically powered vibrator, and the relief it provided not just to women suffering from hysteria, but to the exhausted men treating them.

In the Next Room, or the vibrator play Media Kit

For further information contact Marketing and Communications Manager  Natalie Genter-Gilmore at natalie@profiletheatre.org

In the Next Room, or the vibrator play Media Release.

Production photos can be downloaded here. Click on the image to obtain a larger file.

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Foss Curtis, Beth Thompson and Leif Norby in In the Next Room, or the vibrator play at Profile Theatre running through June 28, 2015. Photo by David Kinder.

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Lauren Bloom and Leif Norby in In the Next Room, or the vibrator play at Profile Theatre running through June 28, 2015. Photo by David Kinder.

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Foss Curtis, Lauren Bloom and Ashley Williams in In the Next Room, or the vibrator play at Profile Theatre running through June 28, 2015. Photo by David Kinder.

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Foss Curtis, Lauren Bloom and Leif Norby in In the Next Room, or the vibrator play at Profile Theatre running through June 28, 2015. Photo by David Kinder.

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Lauren Bloom in In the Next Room, or the vibrator play at Profile Theatre running through June 28, 2015. Photo by David Kinder.

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Foss Curtis and Lauren Bloom in In the Next Room, or the vibrator play at Profile Theatre running through June 28, 2015. Photo by David Kinder.

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Matthew Kerrigan and Lauren Bloom in In the Next Room, or the vibrator play at Profile Theatre running through June 28, 2015. Photo by David Kinder.

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Karl Hanover and Lauren Bloom in In the Next Room, or the vibrator play at Profile Theatre running through June 28, 2015. Photo by David Kinder.