AT Theatre Capstone Projects Spring 2023

AT Theatre Capstone Projects

FEATURING: ELLIS BREHME, FIONA BROOKS, ASH

EHRENPREIS, KRISAANA

GUNSAGAR, EMMA HOLMES, CLAIRE WONG, ZOE ZAPPAS

May 11, 12, 2023

CHAPEL THEATRE

Capstone Projects

"Theatre: The Seeing Place"

Directed and performed by Emma Holmes

“Tiger’s Eye”

Written and directed by Ellis Brehme

“Failure: A Story of Hidden Easter Eggs"

Claire Wong, Assistant Director of "Failure"

“Machinal”

Written by sophie treadwell

Directed by Ash Ehrenpreis – Intermission –

"My Charades"

Written by Zoe Zappas

“The Fearsome Four”

Written and directed by Krisaana Gunsagar

“Dissection of My Mind”

Written and directed by Fiona Brooks

heatre: The Seeing Place "

Artistic Vision Statements

Emma Holmes

My AT Project brings together four shows I love to illustrate the importance of theatre and the magical experiences the art form has brought to my life. I chose this project to spend more time working with shows that I am passionate about – even if it is only for a scene or two. Also, I wanted to be able to spend time exploring genres of theatre that I enjoy watching but have never gotten the chance to direct or act in. Through this project, I have been able to learn more about the style of each of my pieces and gain comfort as an artist working in these disciplines. I hope that this project can introduce you all to the joy that these specific shows have shown me, and will demonstrate the variety of theatre and theatrical genres that exist. I believe everyone can connect to at least one play or style of theatre, the same way I have with each of the pieces I am sharing. Of course, these are not the only four plays that I love (or are wholly representative of theatre as an art form), and there are many shows that are not matches for me or this community to be the ones to share. I am listing a few more of my favorites below, that I encourage you to check out!

"How to Catch Creation, " by Christina Anderson

"Indecent, " by Paula Vogel

"Camelot, " by Lerner & Loewe – book rewritten by Aaron Sorkin

"Native Gardens, " by Karen Zacarías

Ellis Brehme

I had a dream about going to the Kingdom of Eternal Light and saving it with the help of a girl. When I told my mom about this dream in relentless detail, as I usually do, I think to get me off her back, she said, “Wow, this sounds interesting. You should write a book based on this. ” And so I did. Well, I wrote a play, but close enough. I wrote the character Elde based off of myself. I first monologued about my internal condition in a fantasy land, creating the foundation of Elde’s world. I built Elde’s house and their mountain and the wind that ebbs and flows around them. And then I built their companion, Ochre. Because in the dream, the girl betrayed me in the end, I was considering creating a character who would betray Elde, but I realized that what Elde needed was a friend, so I gave them that instead Fun fact: I was inspired by a book I read in African American Women Writers called Sassafras, Cypress, and Indigo, and I liked the idea of color names. Ochre came easily enough, a warm color for a warm person. Elde was harder, probably because I had a larger personal connection to them, since at that point, they hadn’t completely detached from me. But after going through lots and lots of color names, I found Elderberry, and so I cut off the “rberry, ” leaving Elde. Elde is pronounced eel-d. I knew that it would be incredibly narcissistic to write an entire play about how I was the start of the show, called by a higher power to save the world, which is how Elde became the assistant to Ochre, helping Ochre save their kingdom. With the two characters set, their stories began to fall into place. I have to say, the biggest challenges were realistically sticking to deadlines, and also naming characters and countries.

Artistic Vision Statements

Claire Wong

In all my years at Castilleja, I’ve never quite seen a production like Failure: A Love Story. It’s a tale of love & loss that incites laughter, tears, and laughter through tears all at the same time I hope you brought some tissues

With the heavily narration-based script, we wanted to take a different route from Castilleja’s previous dialoguecentric plays by directing under a style of theatre less familiar to the Castilleja community: physical theatre.

Physical theatre involves a dance-like element that, although appearing smooth and natural, requires coordination and rhythmic prowess. As you will soon see, our actors have executed this beautifully.

Another unique aspect about Failure is its unique stage configuration. This play is in a style of stage known as the round, where audience members are seated on all sides of the stage, mimicking the traditional campfirestyle storytelling format. In the round, there is no fourth wall, making the audience’s presence, energy, and attention a crucial part of the story.

I could go on and on about what makes this production special to me, but I believe the most standout part of Failure: A Love Story is its poignant message. As we’ve seen with current events after current events detailing yet another mass shooting or racially motivated murder, loss may come when and where you least expect it. Such is the story of the play, yet it also portrays the journey of finding love again after loss We’ve all lost something precious to us, whether it be an opportunity or a loved one. This play teaches us that it is okay to be affected by loss, and it is okay to be angry and hurt by that loss. Nevertheless, it is also possible to move past your hurt and find your light again.

After all, the play’s name itself contains the word “failure, ” but also the word “love. ”

Ash Ehrenpreis

For my AT Capstone Project, I have pared down Sophie Treadwell’s play, Machinal, to explore Brechtian theatrical critique. Machinal reimagines the real story of Ruth Snyder through the lens of Helen (the main protagonist of the play). The play is commentary on the relentless machine of capitalist society and the oppression of women amidst industrialization. Bertolt Brecht (1898 – 1956), was a German Theatre practitioner largely influenced by the rise of facism in Germany and his imminent exile after publicly opposing the German regime Brecht’s works consider theatre as a political vehicle, exposing audiences to divisive, often uncomfortable, points of view. I have kept the overall arch of the show intact and used my shortened version to experiment with Bertolt Brecht’s theatrical frameworks and theories. I used Brecht’s book, Brecht on Theatre (translated by John Willett), to complete close-reading analyses for each section I read. I compiled my findings into two short Brechtian guides to acting and directing, respectively. These simplified guides aim at making the work I do accessible & useful regardless of the level and experience of the actor. Directing Machinal, I have been faced with an essential concept raised by Brecht: Will one let themself be changed by the Machine, or will they change the Machine themself? I hope to use Brecht’s techniques to bridge the Castilleja community and with the story of Machinal, illuminate the ongoing issues relevant in both the 1920s and today.

Artistic Vision Statements

Krisaana Gunsager

The Fearsome Four is an original play, exploring the lives of four, teenage best friends who reconnect to open a time capsule they buried as children. The play delves into themes of mental health, family, disability, and friendship. It follows each girl's journey of growing up, emphasizing the power of connection, despite their different paths.

The inspiration for the play originated from the author's personal experiences with her friends, who have dealt with mental health issues and the pressures of academic, social, and familial life. The author hopes to humanize the Bay Area mental health crisis and offer a glimpse into the daily struggles of those grappling with it.

Despite the play's heavy themes, the author aims to leave the audience with a message of hope. She believes that through friendship, support, and the struggle towards recovery, it's possible to overcome this crisis. The Fearsome Four embodies the idea that "you are not alone, no matter how alone you may feel. "

Tonight, a staged reading of the first act of the play will be performed. Please note, there are references to eating disorders, self-harm, suicide, and sexual assault, which may be triggering to some. If at any point you need to step outside, please do so.

Zoe Zappas

“My Charades” is my dip into the waters of solo performance. It is an exploration of my voice as a storyteller in the context of my personal anecdotes that inform the larger message I hope to convey. In an attempt to connect to my inner child, little Zoe, I venture through some of my childhood memories through middle school up until the present moment, tracing the development of my perfectionism and anxiety. I wanted to take a risk with this piece, so although I generated entirely original material in a script to guide my performance, much of the content I will share is spontaneous. Each night will be a different version of my story, depending on the energy I give and receive Nowhere near perfection, my piece defies all expectations I had for myself. It is exactly what I need to share here and now, and that is what matters most. I hope to connect with each member of the audience, so eye contact is a crucial part in maintaining the atmosphere. Although this is a one woman show, my vision would not have been possible without continuous conversation with Ms. Hanson, in an attempt to find the heart of my story, and director’s feedback from Krisaana, who helped me transform my thoughts into action. Combining improvisation, physical theater, music, humor, and a classy dose of vulnerability, I invite you too to tap into your own imagination and remember the power and the magic of childhood.

Artistic Vision Statements

Fiona Brooks

My very first memory is the day that my little sister was born I remember holding her body in my arms, looking at her little blob of a face, and smiling. Siena has been such an important part of my entire life that I am unable to imagine myself without her by my side. But next year, I’ll be in a whole new state and for the first time in my life, she won’t be there. My piece, Dissection of My Mind, at its core, is a thank-you letter to my sister. Thank you for supporting me through my moments of grief, anger, and happiness. As soon as Siena and I were old enough to stand, we were choreographing dances together and making movies, performing to our unassuming family members every moment we could. Dissection of My Mind is a concoction of the artistic mediums I explore my identity with. I wrote the script, acted, and did the choreography for dances (with the help of Siena). This project walks you, the audience, through my four years of Castilleja: through new schools, pandemics, music, and death This project is a time capsule of my high school years As you can probably tell, this piece is very personal to me. I hope through my vulnerability, you are able to look into the most important relationship in my life and leave tonight able to reflect on how the people in your life change you for the better.

TECH TEAM

Stage manager........................................................................................................

Assistant Stage Manager....................................................................................

Technical Director..........................................................................................

Claire Wong

Ellis Brehme

Aya Matsutomo

Thank you!

Thanks for attending the Capstone Project Performances, presented by the AT Theatre: Production class This showcase allows our advanced student directors and actors to take on a creative project of their choice.

The projects include playwriting, solo performance, and directing, allowing students to deepen their skills in various areas. These projects focus more on process than product. The AT students this semester have been committed to creating projects that reflect their deep desires to create and tell stories in a variety of ways.

I’m immensely proud of how far they have come in such a short time. It’s taken a lot of creativity, time, and hard work. We appreciate your support; without an audience, theatre doesn’t happen.