Lenny Hernandez, Gregory R. Faupel
Original Director Concept
A Theatre Company is putting on a production of The Triumph of Love.The Uber Company is comprised of 12 people. They exist in the here and now. They are a little rough and tumble. They are a little punk. A little hipster. The Uber Company has this giant empty theatre space. The Uber company seems to have had access to some kind of fire sale at an old movie studio lot. They have cinematic costumes, set pieces, props, and lights from the 1920’s & 1930’s. They will use this stuff to create their production of The Triumph of Love. The Uber Company will use most items traditionally, but in a pinch can think outside of the box and use the items they do have to create an item or set piece they need. The Uber Company doesn’t have a lot of money for fancy stage magic, but they do have a fantastic Uber Crew (played by an ensemble that will be cast at auditions). The crew of 5 set the stage, move the set pieces around, and function as catch all, theatrical problem solvers.
Director's Notes:
Cards on the table- I did not choose this script, nor, in all honesty, would I have chosen this script. This is not the kind of play that I am typically drawn to. My first gut response to reading it was “Oh NO! Really?? REALLY???” Then I took a breath and sat down and wrote out the big questions/challenges I had about directing this particular play- Why would a contemporary audience want to see this play?
If this is indeed a comedy, what is funny about this play?
What is fresh, new, and interesting?
What can students learn from working on this production?
And then I read it again.
Okay, so on second & third reads I began to see some possibilities in terms of answering the above questions. Not ANSWERS, but possibilities.
A Theatre Company is putting on a production of The Triumph of Love.The Uber Company is comprised of 12 people. They exist in the here and now. They are a little rough and tumble. They are a little punk. A little hipster. The Uber Company has this giant empty theatre space. The Uber company seems to have had access to some kind of fire sale at an old movie studio lot. They have cinematic costumes, set pieces, props, and lights from the 1920’s & 1930’s. They will use this stuff to create their production of The Triumph of Love. The Uber Company will use most items traditionally, but in a pinch can think outside of the box and use the items they do have to create an item or set piece they need. The Uber Company doesn’t have a lot of money for fancy stage magic, but they do have a fantastic Uber Crew (played by an ensemble that will be cast at auditions). The crew of 5 set the stage, move the set pieces around, and function as catch all, theatrical problem solvers.
Director's Notes:
Cards on the table- I did not choose this script, nor, in all honesty, would I have chosen this script. This is not the kind of play that I am typically drawn to. My first gut response to reading it was “Oh NO! Really?? REALLY???” Then I took a breath and sat down and wrote out the big questions/challenges I had about directing this particular play- Why would a contemporary audience want to see this play?
If this is indeed a comedy, what is funny about this play?
What is fresh, new, and interesting?
What can students learn from working on this production?
And then I read it again.
Okay, so on second & third reads I began to see some possibilities in terms of answering the above questions. Not ANSWERS, but possibilities.
Chelsea Russell, Matthew Emerick
What became MOST interesting to me and began to form the framework in my mind for how to approach this production is how Leonide’s journey to make these people fall in love with her parallels the actor/director/designer’s journey to make an audience fall in love with their production. We, too, often have an altruistic desire for a greater good that combines with our own selfish personal interests in terms of our reasons for putting on a show for an audience and making them fall in love with it. We, too, use deception, humor, disguise and our ability to play on the emotions of our subjects to lure them in. And at the end of the show, we too take off our disguises, put away our sets and props, take down our lights and go home, leaving our subject, the audience, to ponder what has happened. As a result I would like to add a metatheatrical element to this production. This production is a group of artists putting on a production of Triumph of Love.
I also was interested in how Marivaux was obviously inspired by the Commedia dell’Arte and then how HIS 18th century characters and situations are familiar to contemporary popular entertainment. They are found all over 20th and 21st century pop culture, from the Vaudeville & Burlesque houses of the early 20th century, to the situation comedies of today. So as a result I am interested in having these actors who exist in the here and now create a world for their production of Triumph of Love that is inspired by Vaudeville and films of the late 1920’s-late 1930’s. They will not “set” the play in the 1930’s. I am not concerned with historical accuracy. I am interested in a world created specifically for this story that is inspired by these elements. I would also love if a few homages to the Commedia dell’Arte find their way into the world.
I also was interested in how Marivaux was obviously inspired by the Commedia dell’Arte and then how HIS 18th century characters and situations are familiar to contemporary popular entertainment. They are found all over 20th and 21st century pop culture, from the Vaudeville & Burlesque houses of the early 20th century, to the situation comedies of today. So as a result I am interested in having these actors who exist in the here and now create a world for their production of Triumph of Love that is inspired by Vaudeville and films of the late 1920’s-late 1930’s. They will not “set” the play in the 1930’s. I am not concerned with historical accuracy. I am interested in a world created specifically for this story that is inspired by these elements. I would also love if a few homages to the Commedia dell’Arte find their way into the world.
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Scenic Design By — Robert Little
Costume Design By — Cynthia Winstead Lighting Design By — Matthew Wilson Sound Design By — Ryan Matthew Hall Assistant Director — Alexander Murphy Dramaturg — Christopher Herr Stage Manager — Holly Marshall Production Photos- Loyal Auterson 
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Cast
Leonide — Chelsea Russell Corine — Cassie Tweten Hermocrate — Adam Gilgour Leontine — Addie Barnhart Agis — Matthew Emerick Harlequin — Lenny Hernandez Dimas — Gregory R. Faupel Crew — Marnie Liesel Williams Crew — Geovonday Jones Crew — Elizabeth Finder Crew — Jessica Teliczan Crew — Carolyn Lacy Morris 
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