With the opening of the 2014/15 Season and Rapture, Blister, Burn, we are thrilled to launch Wilma WynTix: Big Theater. Small Prices. Subsidized tickets by the Wyncote Foundation. Our goal is to make the living, adventurous art we create on our stage affordable and available to a much broader audience. This new initiative complements and builds upon the highly successful Virginia and Harvey Kimmel Family Campaign to Build the Audiences of Tomorrow.
All tickets for the four-week subscription run of Wilma productions are now enjoyed by the general public at the subsidized rate of $25 and $10 for students and theater artists. What happens if we extend a show beyond four weeks? Ticket prices will revert to the standard Philadelphia regional theater price of $45 and upgrade fees will apply. That is why we encourage you to come early and come often! We also enlist your support to spread the word: bring friends, family, and colleagues, and help promote the vitality of living, adventurous art in Greater Philadelphia.
Founding Artistic Director Blanka Zizka gives us a few thoughts on our upcoming production of Rapture, Blister, Burn.
In her foreword to The Feminine Mystique (1963), Betty Friedan suggested there was one unspoken question American women asked themselves at night: Is this all? Fifty years later, in Gina Gionfriddo’s Rapture, Blister, Burn, the question is asked again by two forty-something women who have more opportunities than their predecessors had to change their lives. But will they? Can they? And are they truly determined to do so? Gina Gionfriddo, whose Becky Shaw we produced a few years ago, takes on feminist theories and juxtaposes them with messy human desires, needs and wants. She creates a witty, smart, and emotionally-charged comedy that asks many probing questions about sexual freedom, relationships, feminism, careers, love, horror movies, academia, and desires to be fulfilled.
Director Joanna Settle has just moved to Philadelphia to become the new director of the Ira Brind School of Theater Arts at The University of the Arts. Joanna has done lots of developmental work on new plays, including Nine Parts of Desire (which the Wilma created in a seperate production in 2006). Until recently she was the Artistic Director of Shakespeare on the Sound, where she collaborated with composer and rock’n’roll musician Stew. Joanna and Stew are presently working on two different projects; one has just premiered at the Oregon Shakespeare Festival, and the other will open at The Public Theater next fall. I’m very happy to welcome Joanna to Philadelphia and the Wilma.
Wilma audiences swooned over Gina Gionfriddo’s Becky Shaw in the 2009/10 Season. The 2014/15 season opens with Rapture, Blister, Burn, Gionfriddo’s newest play (and, like Becky Shaw, a Pulitzer finalist). The play follows Catherine, a celebrity academic, who returns to her hometown after her mother’s heart attack, and reunites with her best friends from graduate school, who are now married. Gina Gionfriddo talks with Wilma Dramaturg Walter Bilderback about the play.
Walter Bilderback You've said that Rapture, Blister, Burn isn't the play you set out to write. Could you tell our audience a little about that?
Gina Gionfriddo I actually set out to write a play about the impact of Internet pornography on the American psyche. I had a pre-Internet childhood. When we became curious about sex, we had to work so hard for every little scrap of information. Now it’s just, as one of my characters says, point-and-click to see full penetration online. So I went chasing after some wisdom about how this colossal change in access to porn has impacted us. I read a lot of great books like The Porning of America, but I wasn’t able, finally, to translate a sociological inquiry into a living, breathing drama. But when you read about the history of porn, you inevitably read about feminism because pornography as an issue really split the movement in the eighties. Now, I had attended a women’s college, but never taken a Women’s Studies course. (I was a bit like Avery, the young girl in my play, and felt it was all antiquated and not relevant to me.) So I found myself reading these feminist texts for the first time at forty. That led me to start thinking about different generations of women in conversation about their lives.
“Entire generations falsify themselves to themselves; that is to say, they wrap themselves up in artistic styles, in doctrines, in political movements, which are insincere and which fill the lack of genuine conviction.” José Ortega y Gasset (1883 - 1955), quoted in W. H. Auden, A Certain Time, under the heading “Commitment.”
From its premiere, The Real Thing has challenged Rosencrantz & Guildenstern Are Dead for the title of “Tom Stoppard’s most popular play.” Although Night and Day had ventured into similar territory, The Real Thing was more recognizably “realistic” in both setting and character psychology. Affairs of the heart take precedence over intellectual brio and sparkling wordplay. In an interview with critic Mel Gussow, Tom Stoppard suggests that the initial inspiration for writing The Real Thing was the Ortega y Gasset quote prefacing this note. Much has been written about the ways in which The Real Thing differs from other works by Stoppard (and more will be coming shortly), but this origin story points to something that makes this a very “Stoppardian” play. What is “the real real thing”? How do you know it? How do you prove it?
Desert Island Discs is a British radio program started in 1942 that continues to the present. A well-known person is asked the question: “if you were to be cast away alone on a desert island, which eight gramophone records would you choose to have with you? Assuming of course, that you had a gramophone and an inexhaustible supply of needles.” In addition to eight pieces of music, the “castaways” were allowed to choose one book and one luxury item of their choice, as long as the “luxury” could not help them escape the island.
Famous “castaways” have included Noel Coward, John Cleese, James Cameron, Colin Firth, Margaret Thatcher, and all Prime Ministers and potential Prime Ministers. John Cleese got special dispensation to have Michael Palin as his “luxury,” as long as Palin was stuffed.
Tom Stoppard appeared on Desert Island Discs on January 12, 1985, near the end of the The Real Thing’s original West End run. His choices:
Bessie Smith, “Careless Love”
Avon Cities Jazz Band (from Bristol, England), “Jump For Joyce”
The Beatles, “Love Me Do”
William Balkein, “Graceful Ghost” (a ragtime tune used in
Sondheim and Bernstein, “America” (from West Side Story)
André Previn, score for Every Good Boy Deserves Favor
Vaughn Williams, “Fantasia on a Theme” by Thomas Tallis (which
Stoppard called “the most English sound one could possibly have”)
Keith Jarrett, Cologne Concert
Biographer Ira Nadel writes that Stoppard “chose a book in two languages, with a dual translation from English into Italian, ‘something like Dante’s Inferno,’” and his luxury was a “small plastic football for him to kick repeatedly without it hitting the ground, a practice he has often followed when he has the ‘delusion that a change of activity and scene would unblock me’ when writing.”