We are excited to welcome David Girard to Perry-Mansfield, and we can not wait to see our PPI Theatre students take the stage under David’s direction in Macbeth. David calls his concepts for the production “neo-medieval, or post-apocalyptic chic.” Saying it will maintain the spirit of the medieval genre, with a contemporary edge.
Intrigued? We are! We asked director David Girard to share more about his ideas for Macbeth 2117, and what he hopes his cast will achieve.
“I’ll have a dynamic and fast-paced adaptation bursting with suspense and theatrical magic. The rigor and muscularity of the text combined with the kind of energy and unbridled enthusiasm younger actors can bring should make it a treat. We’re lucky insofar that Macbeth is a wonderfully accessible play and offers a great diversity of voices, styles, and fresh perspectives on the concept of ambition, loss and power. Macbeth is always relevant. And there’s a lot of good old fashioned theatre to be made; we’ll have large battle scenes on the front and back end, more intimate haunting scenes throughout, magical moments, as well as some of the better known iconic moments in the play: the dagger speech, the three witches, Banquo’s ghost, Lady Macbeth’s sleepwalking scene, the three apparitions, the final Macbeth/Macduff confrontation. Good stuff!”
“Having previously directed Macbeth, and given that I teach it quite a bit, the inspiration is just try to root it in a world that is both accessible and exciting for the students. Certainly, the post-apocalyptic aesthetic is something the students will have direct experience with seeing movies like the most recent Mad Max, I Am Legend, or really any zombie movie, or the dearth of television shows – particularly those based on comics – that also lend themselves to an edgier, post-modern, dangerous world.”
“I recently directed a production of Romeo & Juliet, which incorporated a lot of contemporary music and sound throughout, most of which was created by the actors. Any students we have with musical abilities are a big plus. I’d like as much of the sound to be foley/actor-centric. This also creates a wonderful ensemble spirit among both the larger and smaller roles.”
o “Guide them in how to play objectives, obstacles, actions/strategies and beats in given circumstances with the highest stakes possible.
o Introduce terms such as scanning, meter, iambic pentameter, etc.
o Understand the difference between rhymed verse, blank verse and prose.
o Recognize where and how verse/prose functions Act to Act, scene to scene, character to character.
o Introduce concepts such as metaphor, imagery, personification, irony, oxymorons, puns, malapropisms, hyperbole, etc. and identify how and where such concepts work in play.
o Discover in Macbeth parallels to our world today…”
Coming to Camp
“I didn’t go to camp as a kid (I came from a big family – we WERE like our own camp). Although, I have taught a lot of summer theatres and training programs. Most recently, with Saratoga Shakespeare Company. I’m just really looking forward to getting the students jazzed by the magic and mystery of Shakespeare.”