BETWEEN THE LINES: We Will Not Be Silent

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ACTOR SPOTLIGHT: Amy Helms Returns To Her Theatrical Home

This is your first Jewell Mainstage production, but you’re no stranger to Taproot. Tell us a bit about your history with Taproot.
I grew up at Taproot, from attending mainstage shows and seeing the touring company at school to taking classes and performing with Taproot’s Acting Studio. My earliest acting memory was in a summer camp at Taproot: I was the White Dog in Brown Bear, Brown Bear! Taproot Theatre is definitely my home theatre and holds a very special place in my heart.

What was the first thing you did when you found out you got the role?
I jumped up and down and screamed a little! My parents were out of the country so I sent them a text and then called my brother. I had to tell my family!

How do you prepare for such an emotionally demanding role?
I give myself a lot of grace! On the most basic level: there’s a lot of text to memorize! Trying to get words to stick in your brain can be a long and frustrating process so giving yourself grace, and knowing when to take a break, is key! This role is very emotional and Sophie is struggling with a lot: fear, doubt, courage and right and wrong. In order to embody those things, I go through a very specific process of relaxing and opening myself up so I can live this story truthfully. I also acknowledge to myself, that I am willing to feel each of those emotions—this helps me fully engage with each emotion as I’m telling Sophie’s story.

What is one thing people may not know about Sophie or her family?
This is my favorite description of the White Rose’s leadership: Hans is the leader of the White Rose and Sophie is the heart of the White Rose. Another fact that I love: Sophie asked to receive the same punishment as Hans. She believed that she should be held just as responsible for their actions as him.

What do you hope patrons are thinking after they see the show?
I hope that patrons walk out of the theatre reflecting on how Sophie’s courage can inspire courage in their lives. It might be something large or it might be something small, but I hope patrons are inspired to have the courage to assess their own lives and to take action!

Taproot is exploring Family Ties this year, how does family affect your character?
Sophie was very close to her family. They were the ones who encouraged her to think critically and stand up for what she believed. In fact, Sophie first became critical of the Nazi regime during Hans’ first arrest. All of her siblings were arrested while the police were looking for Hans and the injustice of that arrest started Sophie down her path of resistance. Family gave Sophie the strong foundation that supported her as she followed her convictions.

What’s the best piece of advice you’ve ever received, theatrical or otherwise?
The best piece of advice I’ve ever received was this: “Don’t be afraid to excel.” No matter what you’re doing, give it your best and don’t be afraid to strive for excellence!

AMY’S FAVORITE THINGS:

Rehearsal Snack: Chex mix and a piece of fruit
Hiding Spot: The drama section of bookstores (I can disappear there for hours!)
Drink: Diet Coke
Book: Jane Eyre
TV Show: Great British Bake Off

RAISED VOICES

Raised Voices: A Conversations Series at Taproot Theatre Company
We Will Not Be Silent examines the story of Sophie Scholl, a young woman who raised her voice in protest against the Nazi regime in the 1940s. Scholl’s story is a remarkable tale of courage, but it’s important to remember that history is full of heroes like Sophie—ordinary people who raised their voices to protest injustice and who paid a cost for speaking out.

Taproot Theatre is excited to partner with the Church Council of Greater Seattle and The Sheri and Les Biller Family Foundation to present Raised Voices—a series of events celebrating the stories of Seattle activists who are speaking into specific areas of injustice in our city.

Raised Voices is a chance to learn, a chance to share and a chance to put real faces onto issues that are all too often impersonalized in the news. Join us!

Monday, March 25 Raised Voices: The Power of Youth Activism
Location: Taproot’s Isaac Studio 7:00 PM – 10:00 PM
Discussion Moderator: Pastor Ruby Varghese, Youth & College Ministries, Quest Church
This kick-off event for the Raised Voices will feature a panel of local youth activists and
representatives from various youth organizations in Seattle. A reception will follow directly after the event. Doors open at 6:30 PM. Event is free, but space is limited.

Thursday, March 28 Raised Voices: Homelessness
Location: Taproot’s Jewell Mainstage Theatre
Discussion Moderator: Rev. David Bloom, Inter-Faith Taskforce on Homelessness
Event begins directly after the performance of We Will Not Be Silent.

Thursday, April 4 Raised Voices: Immigration
Location: Taproot’s Jewell Mainstage Theatre
Discussion Moderator: Michael Ramos, Executive Director, Church Council of Greater Seattle
Event begins directly after the performance of We Will Not Be Silent.

Thursday, April 11 Raised Voices: Environmental Justice
Location: Taproot’s Jewell Mainstage Theatre
Discussion Moderator: Beth Amsbary, Philanthropy Manager, Church Council of Greater Seattle
Event begins directly after the performance of We Will Not Be Silent.

Thursday, April 25 Raised Voices: Racism & White Privilege
Location: Taproot’s Jewell Mainstage Theatre
Discussion Moderator: Michael Ramos, Executive Director, Church Council of Greater Seattle
Event begins directly after the performance of We Will Not Be Silent.

To learn more about these Conversations visit taproottheatre.org/we-will-not-be-silent

PRODUCTION SPOTLIGHT: Resident Dramaturg, Sonja Lowe, Explains It All

Can you give a brief explanation of a dramaturg’s duties?
I often describe dramaturgs as the librarians of the theatre. A rehearsal dramaturg does research regarding the time period and the historical setting of the play in order to help the artistic team create a believable world for the audience. Dramaturgs spend a lot of time thinking about the “whys” of storytelling. Why did a playwright choose to tell this story at that time? And why is this story relevant to our audience in our time?

You’ve helped develop new scripts for Taproot like Dracula and Persuasion; how is your role as dramaturg different for We Will Not Be Silent?
When developing a new play, like Dracula or Persuasion, in addition to regular historical research, you’re also providing feedback to the playwright about changes in the script that might help to tell the story better.

A dramaturg’s job in these situations is to understand the playwright’s vision for the story as clearly as possible and then serve as a kind of editor–giving feedback about changes in dialogue or scenes that will help keep the story clear and communicate the playwright’s vision more effectively. But, the true test of good storytelling always comes when you get in front of an audience. Neither the playwright nor the dramaturg can know for sure what’s working in a script until they hear an audience respond to it. In the case of both Dracula and Persuasion, the playwrights learned a lot from the Taproot audiences’ response. In both cases, the playwrights wrote changes into their scripts after the original Taproot production.

We Will Not Be Silent is a new script, but the process is different because Taproot is not the first production of this show. So, the playwright, David Meyers has already learned a lot about what works and what doesn’t from previous audiences in Boston, Florida, West Virginia, etc. He has already made some significant changes to the first production draft of his script and now he’s focusing on smaller edits—changing a few words here and there to make sure the story is clear.

What do you hope patrons are thinking after they see the show?
I hope that patrons walk out of the theatre thinking about small actions that can have a big impact. On the surface of Sophie Scholl’s story, it seems like six anonymous leaflets aren’t much when going up against the power of the Nazi regime. But those words had impact and continue to have impact. Too often, I allow myself to be apathetic in the face of injustice because, “What difference can I make?” I forget that resistance against injustice is rarely about one big dramatic action. It’s much more often a series of small actions; a continuous choosing of resistance.

If someone was interested in dramaturgy work, how would you suggest they start?
Give yourself a test research project. Pick a script set in a historical time period set in a place you are not familiar with, read through it and write down all the things that you think an actor would need to know in order to understand this story. What questions would you be asking if you had to perform a role in this play? Then do some research to try and answer some of those questions. If you discover that this project was really fun for you, then you might enjoy being a rehearsal dramaturg! You should contact a dramaturg and take them out to coffee and ask them about their work. You can email me at Taproot anytime.

SONJA’S FAVORITE THINGS:

Rehearsal Snack: Dove Dark Chocolates
Hiding Spot: In the Jewell Mainstage Theatre, in the upstairs lobby, on the floor, in the corner, underneath the dramaturgy board, with a book, during lunchtime.
Drink: Stash Double Spice Chai Tea
Book: Whatever is on my Kindle at the moment
TV Show: Doctor Who
Podcast: Not really a podcast listener, but I like TedTalks.

NOW PLAYING IN THE ISAAC STUDIO THEATRE

Tickets are on sale now! Save $7 per ticket when you call the Box Office at 206.781.9707 to purchase tickets. This discount is not available online. Please note that Always… Patsy Cline will be performed in the Isaac Studio Theatre. Seating is General Admission, there are no reserved seats.

BONUS ACTOR SPOTLIGHT: Regional Favorite Cayman Ilika Stars In Always… Patsy Cline

Can you share a favorite memory from your time in Persuasion?
Persuasion was an exceptional experience for me in a number of ways. It was exciting to get to originate the role of Anne Elliot and to immerse myself in one of my favorite novels. I loved Chris Jeffries’ dreamy score and the masterful way Harold Taw adapted the book. Karen Lund is such a smart, creative, inclusive, and supportive director. The cast was comprised of many of my favorite actors and humans in Seattle. It really couldn’t have been better. My favorite thing about the experience was being reunited with Kate. I have loved her and been in awe of her array of talents ever since we met in 2008 – the first time we did Always… Patsy Cline. Getting to spend the entire summer with her was an absolute blast. She is one of the kindest, funniest, smartest, most fiercely loyal people I’ve ever known. I love her so much!

What most people may not know is that you asked Taproot to produce this show. Why did you pick Taproot?
People who saw the production of Always… Patsy Cline we did at Centerstage in 2008 and 2009 have been asking us to remount it since the day we closed. We’re not producers ourselves, so we didn’t really have the power to make that happen on our own. During Persuasion’s rehearsal process, Karen expressed that Taproot was looking for small musicals that might be right for their stage and audience. “THIS IS OUR CHANCE,” I thought! It’s a show that really lends itself to an intimate space (like the one here). With the audience so close, we get to invite them to feel like they’re really there with Louise and Patsy. We loved Karen both as a human being and as a director, so it felt like destiny. We also believed it would be mutually beneficial. Kate and I would have a really fun job, and Taproot would have a super fun show that really brings in an audience.

It’s been 10 years since you last performed these roles, do you think your portrayals of the characters will change?
It’s hard to say. In the ten years that have passed, I know I have learned a lot about my voice and have grown as an actor. Hopefully, the decade of life experiences I’ve gained will make my performance richer and more nuanced. Also, Kate and I have now been friends for a full decade – so our chemistry will be even more palpable and authentic.

What song do you feel the strongest connection to?
Revisiting the score in rehearsal, I find myself saying “This is my favorite song!” pretty much every time I turn the page. The most fun songs for me are “Three Cigarettes in an Ashtray,” “Come On In” and “Lovesick Blues.” The most emotionally satisfying songs for me are “You Belong to Me,” “Sweet Dreams” and “Faded Love.” I love a good ballad, and Patsy sure sang a lot of them.

What makes this musical special?
It’s a story that celebrates how art can connect people. I think most people have a fantasy of meeting and befriending their favorite singer, actor, author, etc. Louise’s experience is the ultimate fulfillment of that fantasy. It’s such a joyful show – and Patsy’s music is divine. I think it’s impossible to leave the theatre without a smile on your face.

What’s the best piece of advice you’ve ever received, theatrical or otherwise?
Be kind. Be present. Don’t be afraid to ask for the things you need. Hydrate.

CAYMAN’S FAVORITE THINGS:

Rehearsal Snack: Chocolate!
Hiding Spot: My bathtub.
Patsy Outfit: Her old cowgirl outfits were pretty amazing. The thing I’m most excited to wear this time around is the wig by Dennis Milam Bensie! For me, the right hair really helps me drop into a character – and Dennis has done an incredible job bringing Patsy’s hair to life.
Karaoke Song: Patsy’s version of “Crazy.”
Book: The Harry Potter series, The Guernsey Literary and Potato Peel Pie Society, A Tree Grows in Brooklyn, The Wizard of Oz, The Crimson Petal and the White, anything by David Sedaris, Roald Dahl, or Jane Austen.

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