The FHC theatre department is always looking for new ways to challenge themselves and take their aptitude for life on the stage to the next level.
The fall play, The Curious Savage, has allowed them to do just that.
As Jessi Dykstra enters her first year at FHC as both Theatre Director and English teacher, her ambitious background in the field has deemed her more than capable of taking on the job. Spending three years at Calvin Christian High School and her background at Western Michigan Christian High show how much she can bring to the table in terms of experience.
This year’s theatrical calendar provides quite a different schedule—especially compared to last year. Junior Keegan Redmond, an avid theater performer portraying Hannibal, a former mathematician, in this play, shares his thoughts on the difference between productions.
“The musical last year, [The Wizard of Oz], was ginormous, so this year, it’s definitely more relaxed,” Keegan said. “Up until this point, it’s just been us on the stage, but now we’re adding in sets, costumes, and lights. I’m sure [the intensity] is going to pick up a little bit, but probably not as aggressively as it did last year.”
This time around, the play won’t have quite the level of audience interaction that The Wizard of Oz did. Unfortunately, no flying monkeys, fairies, or even set changes will make an appearance.
The Curious Savage consists of one stationary set, meaning there will only be one background for the entirety of the show. Senior Gia Monterusso, taking on the lead role of Mrs. Savage—who is on her sixth show with FHC—has become quite fond of the single-set scenario; not just because it alleviates some stress for the actors but also how it will impact the audience as well.
“I think the audience will be able to get more invested because they’re not always like, ‘What’s coming next?’” Gia said. “It’s all about the characters, not what’s going on around them.”
The play, set in the 1950s, takes place solely in the patient wards of a mental hospital where Mrs. Savage—a recently widowed elderly woman—has been sent to live by her three stepchildren: Titus (Toby Cameron), Samuel (Sully Lower), and Lily Belle (Audrey Vanskiver). Following the death of her husband and the 10 million dollars he left in her occupancy, her dreams to give the fortune to “unworthy people” have led to her living situation and an unexpected game of cat and mouse as her stepchildren beg for the money.
Although the production for this play won’t be as grandiose as The Wizard of Oz, the preparation is no different, and neither is the commitment shown by each of the cast members. Sophomore Audrey Vanskiver embodies this fact: her heart will always be in her performance.
“I was on the dive team, so when I tried out, I did not really think I was going to get in the play,” Audrey said. “It was kind of a last-minute decision to try out, but I got in and had to drop [diving]. There was a time when I was able to juggle both, but the play was always the priority.”
Any sport has an aspect of teamwork; however, theatre requires a level of dedication and diligence that goes beyond playing a round of a sports game. Collaboration takes on a whole different meaning behind the curtains of a production. Every single cast member has to show up with a perfect mixture of passion and dedication that creates the perfect on-stage chemistry.
Working on a fictional relationship of any matter is sure to grow bonds off-stage as well.
“The rehearsals with the people who play my stepchildren are so much fun,” Gia said. “They are the funniest people, and we play really interesting characters where we all hate each other. The chemistry is insane because we all love each other so it’s really fun to dig deep into them.”
Establishing a good rapport with the people you are working alongside in a production can look different for everyone. For Keegan, favorite bonding moments are ones that consist of the cast getting chocolate cake from Forest Hills Foods to snack on during a prolonged rehearsal; many connections are built upon an understanding of the characters in the script.
Practicing lines as a group is beneficial to everyone in the long run, but for Gia, her experience on sixteen productions in total has taught her what works best.
“I memorize my lines by writing them down like a thousand times,” Gia said. “I write all of them out; I have a notebook in my backpack that’s just full of me writing down my lines. It’s sort of a weird approach, but I find if I’m able to [write them out], it ends up sticking better than just trying to run them with a friend.”
Although Gia has encouraged others to try her approach—and many have found it helpful—she is setting the perfect example of the variation in technique the director encourages behind the scenes.
Dykstra tries to provide as many avenues to facilitate both growing relations and evolving dramatic ability.
“I watch them do what they do; a lot of times I’ll let them direct themselves because they have really good ideas,” Dykstra said. “Otherwise, being an English teacher is really helpful because I can look at the script and kind of get what the writer wants us to get out of it. Then I can help [the cast] understand and set them up with the way they deliver their lines and use their movement.”
When it comes down to the very backbone of the production, the director sets the example for how relationships flourish on and off the stage. The ability to be easygoing in guiding manners provides the perfect ecosystem for cast members to deeply understand their character.
“[Dykstra] is so attentive and so great, letting us have free range with the character and getting to make it our own,” Audrey said. “She’s just been so sweet and you can just tell that she wants to be here. It’s such a safe environment to be in.”
