[Oona Haaranen, a Finnish-born dancer and choreographer
who came to this country 30 years ago, was a graduate student in a dance
program whom I tutored in writing in 2007. I then began editing her writing and
coaching her when she worked on the staff of the Dance Notation Bureau as education director. (English, she’s
quipped, isn’t her second language. It’s
her fourth!) She’s not only a performer
and a choreographer, but she teaches and directs dance, both to adult
professionals (New York Theatre Ballet) and children, and she teaches and
writes about Labanotation and several other notational languages as methods of
documenting and creating dances.
[Oona
performed as a child for other children in her school in Finland and also performed
a play for children with professional actors at the Finnish National Theatre
when she was about 12 years old. She
also danced in shows with children who studied ballet in private school for a
children’s story ballet company. Later,
Oona performed in professional productions for children at the Helsinki City
Theatre where she did musical and dance productions as well. In addition to her
professional dance credits, performance for and by children is something Oona
knows well from direct experience.
[Oona’s been taking a memoir
writing class and her goal is to document in a written form the important life
experiences of her husband, her son, and herself. “Nobody Wants to See a Tired Bat on Stage” represents
a very recent memoir by Oona Haaranen which she wrote up in April, May, and June
2013, just weeks and months after the experience itself. Since she and her
husband are older parents, she says, she hopes that her stories will be around
to answer some of Sebastian’s questions about their lives. She says that she thinks it’s nice to learn to
write, and it’s been interesting to learn about the art of memoir writing,
which is very different from writing about her usual subject, dance theory.
[This is Oona’s first attempt to write about
Sebastian’s important early life experiences.
(I’m personally delighted that theater is counted as one of them.) Earlier, Oona wrote about her and her husband’s earliest days with their son. “I am also curious about when I write
something and what I remember,” she told me. “I felt it was important to write about [Sebastian’s]
first theater experience and, luckily, it was a very positive experience not
only for Sebastian, but also for me and my husband! I think we all loved it!”]
The middle of March 2013 had been an exciting
and busy week with the Oysterponds Public School’s production of Snow White and the Seven Dwarfs
presented by the Missoula Children’s Theatre (MCT) from Montana. The children
had their fantastic performance at the Greenport School auditorium on Saturday,
March 16.
In the fall of 2012, the Oysterponds
Elementary School’s PTA parents were talking about bringing a professional
theatre company to Orient, New York, in Suffolk County, Long Island, for the second
time to work with the kids at my son’s school. (MCT was at Oysterponds School the year before but Sebastian was in
pre-school at the Orient Congregational Church. Oysterponds did not have
pre-school at that time, though they do now, so Sebastian was not eligible to participate
until this visit.) My
hand went up because this was exactly what I was looking for for my son. It’s
not easy to find this kind of opportunity in the North Fork. Parents who have
time and can afford to, travel long distance to take their children to certain
activities; they just aren’t available locally.
My six-year-old son, Sebastian, and I looked
at the calendar and I told him that the theatre week at his school started
Monday. He’d been counting days and nights until this special week started.
Sebastian asked, “Mom, when are we going to see the performance?” I said, “No,
you’re not going to see the performance—you’re going to be in it.” With a funny
voice and face, he repeated, “Be in it?” “Yes,” I said. He didn’t quite know
what that meant because, though he has seen ballet performances since he was three
years old and has been observing rehearsals in ballet, he’d never been in nor
even seen a theatre performance.
The Missoula Children’s Theatre, which I’d
never heard of before, has been touring for 40 years from their home base to
Japan (and beyond) and just during this year alone they’ll visit nearly 1,200
communities. As their flyer says: “A tour team arrives in a given town with a
set, lights, costumes, props and make-up, everything to put on a play . . .
except the cast.” The actors would come from Oysterponds Elementary School’s
student body. (The performers in MCT shows are usually from five to 18 years
old, but in this show, they were only between ages 5½ and 12 because Oysterponds
only serves grades K-6.) The whole show was put together in six days.
Monday,
March 11 (day of the audition) – Day 1
The gym at Oysterponds Elementary was filled
with children, excitement and loud noise.
I didn’t want to stay because I felt that this was Sebastian’s time and
experience and I didn’t want him to be conscious of me watching him. Before I
left, I gave Sebastian my first professional advice for the audition. I told
him to “have fun and show them what you can do!” I was very nervous and went
home. I came back for the parents’ meeting in the end where other parents told
me that Sebastian did well with the audition and that he was going to be one of
the Bats. They also told me that my son had a really great time in the
audition. When we came home that day, Sebastian asked, “Do I have theatre
practice tomorrow?” I said, “No, Bats don’t rehearse on Tuesday.” He couldn’t
wait for the Wednesday practice.
Wednesday,
March 13 (three days before the performance) – Day 2 for Bats
When I picked him up from the theatre
practice, Sebastian wasn’t feeling well and threw up when we got home. I had
heard that a virus was going around Kindergarten this week; I hoped that this
wouldn’t mean that his career as a Bat was over, since he seemed to enjoy being
a one.
Thursday,
March 14 (two days before the performance)
I called the school nurse and told her that
Sebastian had gotten sick yesterday, but that he was feeling better today.
Sebastian insisted that he wanted to go to school and that he was feeling “fine.”
The school’s policy is that if a child does not attend school, he is not
allowed to attend the after-school activities. The nurse told me that due to
the performance they were going to be more flexible with the rules this week
and to bring him in later that afternoon if he felt okay. Sebastian couldn’t
wait to go back to school and then take the bus to the big Greenport High
School auditorium nearby.
I observed a little of the end of Thursday’s
practice and all the Bats seemed confused. I saw that the children had a hard
time getting adjusted to being on stage, since the previous rehearsals had
taken place in the school gym; now they were lost with directions and placement
on stage—something that also happens to professionals. It is not easy to remember
all the lines and movements in the play, especially when you’ve changed
practice space. When I picked Sebastian up, however, he was skipping out of the
rehearsal and was very happy.
Friday,
March 15 – Day 5 (day 4 for Bats)
On Friday morning, Sebastian asked, “Do I
have practice in the Greenport School? I said, “Yes, and costumes, too.” He
jumped in the air and said, “With Bat costumes!” “Yes,” I repeated, “with Bat
costumes.”
I was able to see a little bit of the end of
rehearsal on stage. Sebastian’s practice didn’t look so good. He was not doing
everything fully out, but was mostly marking his movements and seemed a bit confused.
I asked Sebastian, “Why wasn’t it good? What was wrong today?” He
said, “Because I was tired and that’s the reason I was slow.” I offered my
second professional advice: “No one will want to see a tired Bat on stage. If
you’re tired, you really can’t show that in a performance!” I remembered the
countless times I was tired of smiling during a show, especially when I’d performed
the same thing over forty times.
Saturday,
March 16 (day of dress rehearsal and performance) – Day 6
Saturday morning we drove to a piano class.
After class we picked up muffins and a lunch from Eric’s Restaurant in
Southold. I noticed the local newspaper, the Suffolk Times, and found an article regarding the Snow White production. I showed it to
Sebastian and he said, “Look, Mom, my head is in the newspaper!” I’m not sure
it really was his head. We went home and I told Sebastian to relax, rest and play
because he had a long fun day ahead at the Greenport School dress rehearsal and
performance.
Sebastian’s dress rehearsal at the Greenport
School auditorium started at 2 p.m. There was a huge improvement since I’d seen
part of the run-through on Friday. Every child and role had improved, like a
miracle in just one day. All the children were quiet, focused and well-behaved.
I didn’t see even one moment of that nasty stuff where older kids put down the
younger kids. There was none of that; just the opposite: all the children were
working together respectfully. The older students were helping and assisting
the younger ones with costumes or escorting them to bathrooms. This must be part of MCT’s
philosophy—everyone works together to accomplish the project (that is, the
play) and no one teases or bullies anyone else for mistakes or difficulties.
Instead, those who know more, help and teach those who are new or less
experienced. Those children who do not want to perform can become assistants to
the directors, sharing the production responsibilities. There is a “role” for
everyone. That’s how they can do this both so quickly and with only two (young)
adult directors (who, incidentally, I think did a terrific job).
The dress rehearsal was followed by a pizza
lunch during which the children socialized with each other. Sebastian told me
to go away and leave him with his friends.
I helped the children with make-up while those who were waiting were
doing a second run-through reading in the same room. From the make-up powder I
applied on every child’s face, I remembered the numerous times I’d prepared for
a performance. After the make-up followed a short photo shoot with all cast
members. The children had twenty minutes before the performance would start at
6 p.m. Five minutes before the
performance, I ran to the auditorium, where my husband, Sy, was holding a seat
for me. It turned out to be a fairly big crowd. I was very excited for the
children and of course for Sebastian.
The performance went extremely well. Only at
one point did one cast member forget lines and the storyteller, Witless the
Woodsman (the only professional cast member), said, “Aren't you supposed to say
something like. . .,” and the child remembered her lines and the story
continued. There was another interesting moment when the audience heard a big
bang from stage right. It was probably the evil Queen’s mirror set that fell
during the exit and Witless the Woodsman shouted, “I hope everyone is okay back
there!” The audience laughed and hoped the same thing and the performance continued .
. . . The children were able to keep the performance together and the audience
was very responsive to everything that took place during the show.
I’ve seen and performed in countless theatre
and dance productions both as a child performer and as a professional
performing for children and grownups. I must say that this was not a typical
children’s performance during which you sometimes wish it was over. This was a
high-level theatre production performed by amateur children. All the children
were singing, dancing and acting very well. My husband and I, long-time
theatregoers, were pleased with this experience and totally amazed how well the
show was put together.
The only nitpick I had with this show was
Snow White’s costume. It was a little bit baggy. I asked the young directors,
Ashlan Stephenson and Melody Waters, about this. They told me that a
ninth-grader usually performs Snow White’s role, but Oysterponds only goes up
to sixth grade. Perhaps this was also a nice twist, that Snow White
actually wasn’t wearing the usual “Disney” dress with a collar we’re used to
seeing.
After the show, I asked Sebastian, “Would you
like to be in another theatre production?” He said, “Yes, are we going to the
Greenport School tomorrow for theatre practice?” I said, “No, the show’s over
for now, but maybe in the future.” I hoped the Oysterponds PTA would bring the
Missoula Children’s Theatre back to Orient or anywhere on the North Fork.
At nine o’clock Saturday evening after the
performance, the tired Bat just fell asleep. I had asked Sebastian, “What book
do you want to read before going to sleep?” “ Do you want me to read you Snow White?” “No, Mom, Cinderella. Look, Mom, Cinderella looks
like Snow White!” Perhaps it was because of Snow White’s baggy and peasant-like
costume in the show that he told me that Cinderella looked like Snow White. . .
. I read him Cinderella. Usually we
read three books at bedtime but by nine, the tired and happy Bat was asleep. No
other books were needed, just music.
Two-and-a-half months after Sebastian’s
theatre debut, I’m typing final rewrites to
this ‘work-in-progress’ story while sitting in an audition for another Missoula
Children’s Theatre production, Rapunzel
at the Mattituck High School auditorium, a little farther west than Greenport.
Sebastian is going to be one of the nine little Mushrooms in this June’s
production while I’ll be a stage mom.
[“I am
curious how different mediums act as a form of documentation,” Oona wrote me, “not
just writing but the way photos can tell a story or music recording can tell a
story of how Sebastian has improved from the first piano class.” “I would love to mix mediums and find an
interesting collage form in which I could mix photos, written words, sound
recordings and video together, and perhaps also art.” She says that just before
Christmas she wrote a new piece about how she came to the U.S. “Since it was something that happened so long
ago, it was very different to write” compared to “Tired Bat,” a very recent memory,
Oona found. “These were things that I
haven’t been thinking about for very long, but Sebastian’s story is something
that happened very recently and writing something recent is very different,”
she observed.
[I hope
Oona will continue to send me stories of her family and her life as well as
articles about her dance work, both as a teacher and as a choreographer. I don’t cover dance much on ROT because it’s a field in which I’m ignorant,
and I hope Oona will favor the blog with discussions of her art, especially her
work with children—which, readers of ROT
will know, is a subject I care about a great deal. In the past, I’ve written on this blog about
art in schools and theater by and for children (see “Degrading the Arts,” 13 August 2009; “The Legend of Sleepy Hollow: Children's Theater in America,” 25 November
2009; “Making
Broadway Babies” [from Allegro], 25 November 2013; “Kids on the
Broadway Boards” [from assorted sources], 30 November 2013.) I also posted a report on the Missoula
Children’s Theatre on 25 August 2009, which I urge interested ROTters to
read in connection to Oona’s account of the company’s work on Long Island (http://rickontheater.blogspot.com/2009/08/missoula-childrens-theatre.html).]
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