Merin Frank, Development Associate extraordinaire at Cultural Development Corporation sat down this week with Constellation Theater’s luminous artistic director and founder, Allison Stockman, for some tall, skinny, extra foam cappuccino’s and all things Constellation, Source and Arabian Nights…
“While working at a nonprofit arts organization probably won’t afford you that house in the Hamptons, it often affords you the opportunity to see some great art. I was lucky enough to recently attend the opening night of Constellation Theater Company’s Arabian Nights at Source. I had a chance to sit down with Allison Stockman, the company’s founder and artistic director, and ask her a few questions about Arabian Nights, Constellation and Source.
Merin: Why a new theatre company and why now?
Allison: Well, I wanted to direct and actually select the work I was directing. I had a great team of people that was dedicated to the same things. We wanted to present work with heightened, elevated language and a wide scope. And work that didn’t necessarily get produced as often as, perhaps, it should.
Merin: As a relative theatre outsider, your first two plays, Dream Play and Arabian Nights, seem so different. Why did you choose them as Constellation’s first two productions?
Allison: I found that they had certain similarities. They both present much told stories in a different light. They have a certain longevity of perspective, Dream Play being 100 years old and Arabian Nights even longer. I am also really drawn to ensemble casts with actors playing multiple roles. I think that allow[s] an actor to explore their range, but it also speaks to our potential to transform ourselves as people.
Since we are about epic and expansive theatre, I liked that they are both set in worlds that inspire bold visual design. And they both have an element of humor to them. They show that theatre can be comic and epic. Epic theatre doesn’t have to be dark.
Merin: I saw a lot of parallels between the character of Scheherazade and Constellation. She is one lone woman who takes on the establishment, a sort of the masses vs. the mighty, and I was wondering if you/Constellation identified with that at all, as a newcomer to the theatre scene?
Allison: I hadn’t thought of that, but in a way, Constellation is much like Scheherazade. We both believe that stories – and art – can lead to change or transformation in people. Stories can open people up, help them be more understanding and compassionate. I think that’s why theatre remains significant today.
Merin: I found Mary Zimmerman’s adaptation, particularly the ending, very powerful. Why did you choose her version of Arabian Nights?
Allison: Well, with the ending, people either like it – it is compelling to them – or they hate it. It is actually written in her stage directions and while a director doesn’t approach the stage directions as binding, I kept the ending because I felt that it was a big idea and a compelling point to make. Two theatre companies have produced her adaptation, one in 1992 (when she wrote it) and on in 1994. It’s funny that neither of the reviews for either production mentioned the ending, but every review we have gotten has mentioned it.
There is a quote early in the play, when the characters are talking of the culture of arts, learning and knowledge in Baghdad, which goes something like “but everyone is at war with us.” And this is set in the 9th century. It is fascinating to me that the play is still so relevant today, particularly Mary Zimmerman’s adaptation.
Merin: Why Source?
Allison: I have loved Source since the first time I walked into it. It was actually during the Festival and it was the first time that I had been selected to direct something. This is my 7th show at Source, after shows with the Source Theatre Company and the In Series.
I love the flexibility of the space. It can be a lot of different worlds.
I had been living in the East Village and this area had that gritty feeling to it. Unfortunately, during my first show here three of my actors were held up on the same block as the theatre. But its changed so much, its amazing. My mom goes shopping on the same street where people were robbed!
I also love the idea of it. The original mission of the Source Theatre Company was about being a source of creativity and great theatre, but also about being a resource for people, for young actors and directors and people interested in theatre.
I’m so excited about the renovation. There is a lot to be said for “gritty,” but I am more interested in people walking into the theatre and walking into another world, feeling that the space has been transformed. Not just people walking in and thinking, “oh, poor artists, they have no money.”
Merin: What is the future of Constellation?
Allison: Eventually, to have our own theatre space with shows running year-round. But in the more immediate future, we’d like to do better and better shows as our resources grow. Anything from expanding the use of music, bolder, larger sets, working with equity actors and really strengthening our team. With every show, we get better as collaborators, as a team. I’d love to keep pushing past our boundaries.
Merin: Is there anything in Arabian Nights that you feel hasn’t been given its due in all of the great reviews you have received? Any hidden gem?
Allison: I have to say that the most rewarding reviews have all mentioned the ensemble element. That is so important to me. But… something that hasn’t been mentioned – I really like the confusion of stories.
Merin: Thanks, Allison, for coming and letting me ineptly interview you.”
“While working at a nonprofit arts organization probably won’t afford you that house in the Hamptons, it often affords you the opportunity to see some great art. I was lucky enough to recently attend the opening night of Constellation Theater Company’s Arabian Nights at Source. I had a chance to sit down with Allison Stockman, the company’s founder and artistic director, and ask her a few questions about Arabian Nights, Constellation and Source.
Merin: Why a new theatre company and why now?
Allison: Well, I wanted to direct and actually select the work I was directing. I had a great team of people that was dedicated to the same things. We wanted to present work with heightened, elevated language and a wide scope. And work that didn’t necessarily get produced as often as, perhaps, it should.
Merin: As a relative theatre outsider, your first two plays, Dream Play and Arabian Nights, seem so different. Why did you choose them as Constellation’s first two productions?
Allison: I found that they had certain similarities. They both present much told stories in a different light. They have a certain longevity of perspective, Dream Play being 100 years old and Arabian Nights even longer. I am also really drawn to ensemble casts with actors playing multiple roles. I think that allow[s] an actor to explore their range, but it also speaks to our potential to transform ourselves as people.
Since we are about epic and expansive theatre, I liked that they are both set in worlds that inspire bold visual design. And they both have an element of humor to them. They show that theatre can be comic and epic. Epic theatre doesn’t have to be dark.
Merin: I saw a lot of parallels between the character of Scheherazade and Constellation. She is one lone woman who takes on the establishment, a sort of the masses vs. the mighty, and I was wondering if you/Constellation identified with that at all, as a newcomer to the theatre scene?
Allison: I hadn’t thought of that, but in a way, Constellation is much like Scheherazade. We both believe that stories – and art – can lead to change or transformation in people. Stories can open people up, help them be more understanding and compassionate. I think that’s why theatre remains significant today.
Merin: I found Mary Zimmerman’s adaptation, particularly the ending, very powerful. Why did you choose her version of Arabian Nights?
Allison: Well, with the ending, people either like it – it is compelling to them – or they hate it. It is actually written in her stage directions and while a director doesn’t approach the stage directions as binding, I kept the ending because I felt that it was a big idea and a compelling point to make. Two theatre companies have produced her adaptation, one in 1992 (when she wrote it) and on in 1994. It’s funny that neither of the reviews for either production mentioned the ending, but every review we have gotten has mentioned it.
There is a quote early in the play, when the characters are talking of the culture of arts, learning and knowledge in Baghdad, which goes something like “but everyone is at war with us.” And this is set in the 9th century. It is fascinating to me that the play is still so relevant today, particularly Mary Zimmerman’s adaptation.
Merin: Why Source?
Allison: I have loved Source since the first time I walked into it. It was actually during the Festival and it was the first time that I had been selected to direct something. This is my 7th show at Source, after shows with the Source Theatre Company and the In Series.
I love the flexibility of the space. It can be a lot of different worlds.
I had been living in the East Village and this area had that gritty feeling to it. Unfortunately, during my first show here three of my actors were held up on the same block as the theatre. But its changed so much, its amazing. My mom goes shopping on the same street where people were robbed!
I also love the idea of it. The original mission of the Source Theatre Company was about being a source of creativity and great theatre, but also about being a resource for people, for young actors and directors and people interested in theatre.
I’m so excited about the renovation. There is a lot to be said for “gritty,” but I am more interested in people walking into the theatre and walking into another world, feeling that the space has been transformed. Not just people walking in and thinking, “oh, poor artists, they have no money.”
Merin: What is the future of Constellation?
Allison: Eventually, to have our own theatre space with shows running year-round. But in the more immediate future, we’d like to do better and better shows as our resources grow. Anything from expanding the use of music, bolder, larger sets, working with equity actors and really strengthening our team. With every show, we get better as collaborators, as a team. I’d love to keep pushing past our boundaries.
Merin: Is there anything in Arabian Nights that you feel hasn’t been given its due in all of the great reviews you have received? Any hidden gem?
Allison: I have to say that the most rewarding reviews have all mentioned the ensemble element. That is so important to me. But… something that hasn’t been mentioned – I really like the confusion of stories.
Merin: Thanks, Allison, for coming and letting me ineptly interview you.”
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