We are three weeks into our rehearsal process, but it has been several years since Michael first approached me with a draft of this play. afO hosted a first read-through with some of our actor friends in July of 2016.…
The 26th season of shows produced by local faith-driven theatre company, all for One productions, is soon to begin. But behind the scenes we've been hard at work all summer to ensure that our audiences will enjoy the same excellent,…
Part of our mission at all for One is to educate as well as entertain and inspire. This blog and the dramaturgy in each program are among our efforts to enlighten and educate our audience. We hope to deepen your understanding of the background and implications of the stories we present on stage.
Here are some topics which may raise questions in the minds of our audience: Why India? What is cholera? Why are gardens walled at Misselthwaite? Are English and American robins the same? These are addressed briefly in the program, but we hope you will take the time to “read more about it” on this page, and share what you learn with your children who have enjoyed The Secret Garden.
The Golden Age of British children’s literature refers to a remarkable period during which a vast number of western literature’s best-loved books were written. Consider that between 1900 and 1930:
Beatrix Potter wrote and illustrated her many picture books for young children, beginning with The Tale of Peter Rabbit.
A.A. Milne created Winnie the Pooh.
E. Nesbit wrote her wonderful children’s novels, including The Railway Children, Five Children and It, and The Enchanted Castle.
Frances Hodgson Burnett wrote A Little Princess, The Secret Garden and Little Lord Fauntleroy.
J.M. Barrie created Peter Pan.
And this list is not exhaustive at all. There was also an explosion of American children’s literature at around the same time: The Wizard of Oz, Rebecca of Sunnybrook Farm, The Call of the Wild and Pollyanna, to name a few.
The wonderful thing about all these books, to my mind, is that they are not written “down” to children, over-simplified and dripping with moral lessons. Rather, they are strong original stories which are amusing, engaging and often thought-provoking, but which are most appropriate to the genre (fairly new at the time) of children’s literature.
We are excited to announce the cast for the closing production of our 25th anniversary season, Frances Hodgson Burnett's The Secret Garden (adapted by Sylvia Ashby): MARY LENNOX--Violet Park* COLIN CRAVEN--Micah Gilliom DICKON SOWERBY--Jack Voirol* MARTHA SOWERBY--Tori Beth Bowman* ARCHIBALD…
Most of us have heard the term ‘Regency England’ at some point. You may associate it with a particular kind of romance novel, or with the novels of Jane Austen. You might even rightly recognize that the women’s fashions of the time included high-waisted (“Empire”) dresses with fairly slender skirts (no hoops or bustles).
The Regency in Great Britain has both a broad and a technical definition.
All the period music used in our production was recorded on a Casio Privia (PX 350M) digital keyboard. The pieces marked “arranged” had added instrumentation (french horn, contra bass, bassoon, etc). For the two Beethoven Symphonies, a one-piano four-hand edition was used to create the orchestrations. The pieces marked “altered” were amended in some way: measures removed, tempos significantly changed.
It is always a challenge to take a script developed by another company, for their stage and their actors. Bedlam Theatre’s innovative production of member Kate Hamill’s adaptation has received rave reviews for its lively and unusual devices. Their cast of 10 required far more doubling of roles, and their script suggested using a puppet for one character. But the script itself is robust, well-constructed, and lends itself to a variety of interpretations and flexibility in cast size, making it ideal for any company with more imagination than money.
afO was blessed by Tod Mohr’s willingness to construct our rolling tables, which attach securely with near-invisible magnets. We ended up using them a bit less than originally intended, but they still managed to serve us well as desks, dining tables, a piano forte and a bed, as well as several different horse-drawn carriages. Our Lady Middleton was the only actress to be wheeled about (our tip of the hat to the original production, in which ALL the furniture was on wheels).
One of the more significant changes to our production was the prologue.