Hey Folks,
Wanna hear me take on Nardwuar the Human Serviette. Go to the link below and scroll down to Feb 1st.
http://nardwuar.com/radio/
enjoy,
Michael
Wednesday, September 24, 2008
Sunday, August 31, 2008
Behind the fiery curtain
Hey cyber freaks,
I'm not sure who is gonna be reading this, or why anyone would read this but I love to write (when I get the time). So here goes. The first of hopefully many looks behind the scenes of November Theatre's production of The Black Rider. You can always check out our website for lots of info and videos and press clippings and photos and stuff (www.novembertheatre.com). Not sure how much of that is gonna end up here. Oh and by the way, I don't think I'll be proof reading so if you catch any typos please feel free to forget about it.
I guess I should introduce myself. I'm Michael Scholar, Jr. actor/director/producer and sometimes scribe. I'm the Artistic Producer of November Theatre and I also play the devil (Peg-Leg) in The Black Rider. What is The Black Rider? Well here's a time line.
Early 1800’s - Der Freischutz, a dark German folktale by Johann August Apel and Friedrich Laun is published in a collection of ghost stories called Gespensterbuch.
1820’s - Carl Maria von Weber adapts the folktale into a widely celebrated opera also named Der Freischutz. Thomas de Quincy, English opium eating writer, pens The Fatal Marksman based on the original ghost story.
1990 - Rock icon Tom Waits, beat poet William S Burroughs, and theatrical maverick Robert Wilson collaborate on a new operatic adaptation of the German folktale and The Fatal Marksman, entitled The Black Rider. The show premieres in German at the Thalia Theater in Hamburg.
Although the production was written in English by three American creators, the piece was translated into German for the local audience and that production went on to tour the world with one brief North American stint at the Brooklyn Academy of Music. The show played in German without any sub or supertitles. The show was a huge success for Wilson who had been flirting with attaining a wider audience for years with his grand scale avant garde pieces. According to Waits, the production went onto becoming the underground Cats of Europe because it was produced to often. Throughout the 90's it was produced 32 productions in 7 different languages. But none of them in English. And that's where we come in.
In 1997, I was getting my BFA in acting at the University of Alberta and I was sick of doing theatre for other people. I didn't like the pieces that I was working on, or maybe I was going through a difficult phase of my training, and thought I needed to do something drastic, something fun. I need to work on a piece that I thought was cool, and if I was still bored afterwards, I would give up the theatre all together and sell lamps at the Bay or something. So going through my CD collection at home I started reading the liner notes to one of my favourite and under appreciated Tom Waits CD's. His 1993 recording of The Black Rider. Tom had recorded demo versions of the songs for the rehearsals in Germany and he had also recorded later versions of the tracks in the studio state side. Keep in mind these songs weren't written for his voice, but for operatic singers. So the album remains under apreciated because it's so different from the rest of his stuff, sounding a lot like the compositions of Kurt Weill. The bluesy folks didn't know how to take it nor his new found alt rocker following. Anyway I loved the album and was excited to read that the CD was a soundtrack to this theatre piece he had created with my favourite writer (Burroughs) and Robert Wilson who I had been learning about and curious about from courses at school. I decided this would be the piece I need to put on. I spent the next few months driving up my phone bill (this was before the internet was really cooking) and tracked down Tom Waits' agent in California, and then tracked Robert Wilson himself in Paris. Burroughs had just died and there wasn't much chance of tracking him down. Through sheer persistence I finally was at my goal. Wilson's assistant sent me the script in English and told me that by pure luck our production would not only going to be the first created in North America, but it would be the world English premiere. I was a happy little producer. So I lined up for a spot at the Fringe and enlisted the help of my father, Michael Scholar Sr., who was a drama professor at the University of Regina to direct the piece. We gathered a crazy band of Edmonton artists who were all gung ho to explore the work. We had an 8 member on stage orchestra led by Jeff Unger our pianist. The cast was mostly made up of U of A students, grads, an old friend from Montreal and our choreographer Marie Nychka who was also a great singer. In the band were members of the Edmonton indie rock scene Corinne Kessel, trombonist for ska favs Mad Bomber Society, and Dale Ladouceur bassist for the Painting Daisies (who basically assaulted me when she heard I was doing the show and told me no other musician knew Waits the way she did. I'm glad I listened to her.) So in August of 1998 we produced the world English premier of The Black Rider at the Edmonton Fringe. The show was a runaway success, garnering rave reviews, sell-out houses and an extended run at Theatre Network’s Holdovers at The Roxy.
In 1999, we were invited to bring the show to New York as part of the juried New York Fringe Festival. During the remount, the show and company went through some changes. My dad wasn't available to direct so we hired local genius Ron Jenkins. Corinne had become my girlfriend and co-producer and co-musical director (funny how that worked). With Ron on board we had a new sleeker more expressionist concept and brought on Marissa Kochanski to design and the band was streamlined down to 3 players to tour. Corinne, Jeff and Dale. Dale was now playing the chapman stick along with the bass to add some melody lines. The chapman stick is a percussive stringed instrument that blends elements of a guitar, a base, a balalaika and a piano (sort of). With a new cast featuring Rachael Johnston, Clinton Carew and Kevin Corey, Marie and myself remained the only actors from the first production. So we went to New York to do the American English Premiere. The show was the toast of Off-Broadway, won the praise of the press, received the festival award for Best Direction and became the highest selling show in festival history. We beat out a then unknown Urinetown which also played the festival. This production defined November Theatre as an ensemble of like-minded artists who wish to create dynamic pieces with a unique theatrical language through text, movement and song. New York was the one place that had seen the multi-million dollar Wilson production, and audiences that saw both said our chamber was much clearer. I think that may have just been the language. Wilson's production is stunning. I own the video made for Austrian TV and it makes me weep each time. I later saw Wilson's 2004 English production starring Marianne Faithful, and while I don't think she had really pulled off my role, the production was still breath taking. Even more so seeing it live. Wilson is one of the greatest artists of our times. I started out working on this project because I was a huge Waits fan, now I'm a huge Wilson fan and have traveled across the globe to see his work.
In 2000, our revamped version of The Black Rider returned to Canada and toured to the Winnipeg Fringe Festival and back to the Edmonton Fringe Festival, with more accolades and another extension at The Roxy Theatre. In Winnipeg, the show was named #1 Pick of the Fringe by CBC Radio and TV. In Edmonton, the production received Sterling Awards for Best Fringe Production and Best Fringe Director (Ron Jenkins). It was also nominated for Best Fringe Performance by an Actress (Rachael Johnston), and received two nominations for Best Fringe Performance by an Actor, (Clinton Carew and Kevin Corey).
In late 2004 early 2005, with the approval and praise of Tom Waits and Robert Wilson, the show jumped out of the Festival circuit and into the mainstage seasons of theatres across Western Canada: Theatre Network (Edmonton), Yukon Arts Centre (Whitehorse), Persephone Theatre (Saskatoon), Calgary Opera and Ground Zero Theatre at The Big Secret Theatre (Calgary), PuSh Festival (Vancouver) and Intrepid Theatre (Victoria). One of the leaps forward for the show came with the addition of Toronto lighting designer Michael Kruse who gave the show that last layer of magic that makes our show look so hot, if I do say so myself.
November Theatre took home top prizes at Edmonton’s 2005 Sterling Awards winning Best Production of a Musical (November Theatre/Theatre Network), Best Director (Ron Jenkins), Best Musical Director (Corinne Kessel), and Best Supporting Actor (Clinton Carew), while also being nominated for Best Lighting Design (Michael Kruse) and Best Choreography (Marie Nychka).
November Theatre then took home top prizes at the 2005 Betty Mitchell Awards in Calgary; Best Production of a Musical, Best Director (Ron Jenkins), Best Musical Director (Corinne Kessel), Best Costume Design (Marissa Kochanski), Best Poster and FFWD's Readers Choice Award. While also being nominated for Best Choreography (Marie Nychka) and two nominations for Best Performance in a Musical (Rachael Johnston and one for myself).
In 2006 The Black Rider was remounted for the Magnetic North Theatre Festival, which was being held in St. John's, Newfoundland. The show was also invited to be presented at the Edmonton Fringe Festival 25th Anniversary Gala. Later in November, November Theatre was honoured by receiving the City of Edmonton's Salute to Excellence "Performance and Citation Award".
In January 2008 The Black Rider returned to Vancouver with a run at the Arts Club, co-presented by the PuSh Festival. We hired on two new actors Mackenzie Gray and Colleen Winton from Vancouver who brought new blood into the piece. The run won November Theatre the top prize at the 26th Annual Jessie Richardson Theatre Awards: "Best Production (Large Theatre)". The show was also nominated for: "Best Lead Actor" (Kevin Corey), “Best Lead Actress” (Rachael Johnston) and the "Critic's Choice Innovation Award". In fact, November Theatre made Canadian theatre history as The Black Rider became the only show to have ever won the "BEST PRODUCTION" at the Jessie Awards (Vancouver), the Betty Mitchell Awards (Calgary) and the Sterling Awards (Edmonton).
So now we're bringing the show to Toronto to finally put it to rest after a decade of touring. I wonder how Toronto audiences and critics are going to react. Toronto is known for having very different tastes from the rest of the country, and also being a little more reserved when it comes to productions from out of town. So is this the production that will transcend the invisible theatre barrier? Or will our huge success fizzle under Toronto's gaze? We'll see...
A lot has changed over the years personally and professionally for us and the show. Design: the expressionist wood cut backdrop of the New York production, morphed into three red vinyl banners for the 2000 Fringe tour, which then morphed into 3 red crushed velvet banners with 4 dark blue velvet banners interspersed. The infusion of some new actors along the way have always kept the piece fresh. A lot of the romances have become friendships and not everyone lives in Edmonton anymore. Michael Kruse has even started a whole new career as an EMT. The company office has moved from Edmonton to Vancouver. Future works from November Theatre are going to be based out of BC, but The Black Rider will always be an Edmonton show. The show has been in a constant state of evolution from the beginning and this time won't be any different.
For the Toronto run we have one new actor who was a part of our Edmonton creative family, but who now calls Toronto home. Tarragon audiences may have seen him a few times already: Ashley Wright will now be playing the role of Bertram (the father) and the ever confusing role of the Man on the Stag. We also have two new band members joining Corinne, singer/songwriter Bryce Kulak on piano (he lives in Toronto but is also another former Edmontonian) and Duane Elias who once filled in for Dale on base/chapman stick way back in 1998. Other than that it's going to be the same folks who did the Vancouver run this January: Kevin Corey, Mackenzie Gray, Rachael Johnston, Colleen Winton and myself. Corinne is still musical director and Jeff Unger will be helping out with some vocal coaching. Joanne PB Smith who joined us in Vancouver in January will be stage managing again and keeping us all in line. And Scott Peters who's been everything from sound designer, stage manager and live mixer for the show will be back. Marissa will be tweaking her costume and set design as Michael Kruse finally be unveiling his work to his home town crowd. All of course under the masterful direction of Ron Jenkins, who is assisted by our choreographer Marie Nychka.
So here we go, four weeks away from rehearsals in Edmonton, six weeks away from our first preview and 7 weeks from opening. This is a busy time for me when I'm arranging travel, accommodations, schedules, rehearsal halls and whole pile of administrative stuff that stands between me and the stage. But here I am 10 years after I tried to find an exciting show to do at the Fringe. All those years ago I didn't know if I even wanted to stay in theatre. I guess now I can say that I truly love theatre, for better and for worse. I just need to be doing dynamic work. The devil can be very convincing. After all, he has a lot of good songs.
Talk to you soon I hope and check out the Tarragon site to buy tickets. (www.tarragontheatre.com/season/0809/blackrider/).
See you in hell,
Michael
I'm not sure who is gonna be reading this, or why anyone would read this but I love to write (when I get the time). So here goes. The first of hopefully many looks behind the scenes of November Theatre's production of The Black Rider. You can always check out our website for lots of info and videos and press clippings and photos and stuff (www.novembertheatre.com). Not sure how much of that is gonna end up here. Oh and by the way, I don't think I'll be proof reading so if you catch any typos please feel free to forget about it.
I guess I should introduce myself. I'm Michael Scholar, Jr. actor/director/producer and sometimes scribe. I'm the Artistic Producer of November Theatre and I also play the devil (Peg-Leg) in The Black Rider. What is The Black Rider? Well here's a time line.
Early 1800’s - Der Freischutz, a dark German folktale by Johann August Apel and Friedrich Laun is published in a collection of ghost stories called Gespensterbuch.
1820’s - Carl Maria von Weber adapts the folktale into a widely celebrated opera also named Der Freischutz. Thomas de Quincy, English opium eating writer, pens The Fatal Marksman based on the original ghost story.
1990 - Rock icon Tom Waits, beat poet William S Burroughs, and theatrical maverick Robert Wilson collaborate on a new operatic adaptation of the German folktale and The Fatal Marksman, entitled The Black Rider. The show premieres in German at the Thalia Theater in Hamburg.
Although the production was written in English by three American creators, the piece was translated into German for the local audience and that production went on to tour the world with one brief North American stint at the Brooklyn Academy of Music. The show played in German without any sub or supertitles. The show was a huge success for Wilson who had been flirting with attaining a wider audience for years with his grand scale avant garde pieces. According to Waits, the production went onto becoming the underground Cats of Europe because it was produced to often. Throughout the 90's it was produced 32 productions in 7 different languages. But none of them in English. And that's where we come in.
In 1997, I was getting my BFA in acting at the University of Alberta and I was sick of doing theatre for other people. I didn't like the pieces that I was working on, or maybe I was going through a difficult phase of my training, and thought I needed to do something drastic, something fun. I need to work on a piece that I thought was cool, and if I was still bored afterwards, I would give up the theatre all together and sell lamps at the Bay or something. So going through my CD collection at home I started reading the liner notes to one of my favourite and under appreciated Tom Waits CD's. His 1993 recording of The Black Rider. Tom had recorded demo versions of the songs for the rehearsals in Germany and he had also recorded later versions of the tracks in the studio state side. Keep in mind these songs weren't written for his voice, but for operatic singers. So the album remains under apreciated because it's so different from the rest of his stuff, sounding a lot like the compositions of Kurt Weill. The bluesy folks didn't know how to take it nor his new found alt rocker following. Anyway I loved the album and was excited to read that the CD was a soundtrack to this theatre piece he had created with my favourite writer (Burroughs) and Robert Wilson who I had been learning about and curious about from courses at school. I decided this would be the piece I need to put on. I spent the next few months driving up my phone bill (this was before the internet was really cooking) and tracked down Tom Waits' agent in California, and then tracked Robert Wilson himself in Paris. Burroughs had just died and there wasn't much chance of tracking him down. Through sheer persistence I finally was at my goal. Wilson's assistant sent me the script in English and told me that by pure luck our production would not only going to be the first created in North America, but it would be the world English premiere. I was a happy little producer. So I lined up for a spot at the Fringe and enlisted the help of my father, Michael Scholar Sr., who was a drama professor at the University of Regina to direct the piece. We gathered a crazy band of Edmonton artists who were all gung ho to explore the work. We had an 8 member on stage orchestra led by Jeff Unger our pianist. The cast was mostly made up of U of A students, grads, an old friend from Montreal and our choreographer Marie Nychka who was also a great singer. In the band were members of the Edmonton indie rock scene Corinne Kessel, trombonist for ska favs Mad Bomber Society, and Dale Ladouceur bassist for the Painting Daisies (who basically assaulted me when she heard I was doing the show and told me no other musician knew Waits the way she did. I'm glad I listened to her.) So in August of 1998 we produced the world English premier of The Black Rider at the Edmonton Fringe. The show was a runaway success, garnering rave reviews, sell-out houses and an extended run at Theatre Network’s Holdovers at The Roxy.
In 1999, we were invited to bring the show to New York as part of the juried New York Fringe Festival. During the remount, the show and company went through some changes. My dad wasn't available to direct so we hired local genius Ron Jenkins. Corinne had become my girlfriend and co-producer and co-musical director (funny how that worked). With Ron on board we had a new sleeker more expressionist concept and brought on Marissa Kochanski to design and the band was streamlined down to 3 players to tour. Corinne, Jeff and Dale. Dale was now playing the chapman stick along with the bass to add some melody lines. The chapman stick is a percussive stringed instrument that blends elements of a guitar, a base, a balalaika and a piano (sort of). With a new cast featuring Rachael Johnston, Clinton Carew and Kevin Corey, Marie and myself remained the only actors from the first production. So we went to New York to do the American English Premiere. The show was the toast of Off-Broadway, won the praise of the press, received the festival award for Best Direction and became the highest selling show in festival history. We beat out a then unknown Urinetown which also played the festival. This production defined November Theatre as an ensemble of like-minded artists who wish to create dynamic pieces with a unique theatrical language through text, movement and song. New York was the one place that had seen the multi-million dollar Wilson production, and audiences that saw both said our chamber was much clearer. I think that may have just been the language. Wilson's production is stunning. I own the video made for Austrian TV and it makes me weep each time. I later saw Wilson's 2004 English production starring Marianne Faithful, and while I don't think she had really pulled off my role, the production was still breath taking. Even more so seeing it live. Wilson is one of the greatest artists of our times. I started out working on this project because I was a huge Waits fan, now I'm a huge Wilson fan and have traveled across the globe to see his work.
In 2000, our revamped version of The Black Rider returned to Canada and toured to the Winnipeg Fringe Festival and back to the Edmonton Fringe Festival, with more accolades and another extension at The Roxy Theatre. In Winnipeg, the show was named #1 Pick of the Fringe by CBC Radio and TV. In Edmonton, the production received Sterling Awards for Best Fringe Production and Best Fringe Director (Ron Jenkins). It was also nominated for Best Fringe Performance by an Actress (Rachael Johnston), and received two nominations for Best Fringe Performance by an Actor, (Clinton Carew and Kevin Corey).
In late 2004 early 2005, with the approval and praise of Tom Waits and Robert Wilson, the show jumped out of the Festival circuit and into the mainstage seasons of theatres across Western Canada: Theatre Network (Edmonton), Yukon Arts Centre (Whitehorse), Persephone Theatre (Saskatoon), Calgary Opera and Ground Zero Theatre at The Big Secret Theatre (Calgary), PuSh Festival (Vancouver) and Intrepid Theatre (Victoria). One of the leaps forward for the show came with the addition of Toronto lighting designer Michael Kruse who gave the show that last layer of magic that makes our show look so hot, if I do say so myself.
November Theatre took home top prizes at Edmonton’s 2005 Sterling Awards winning Best Production of a Musical (November Theatre/Theatre Network), Best Director (Ron Jenkins), Best Musical Director (Corinne Kessel), and Best Supporting Actor (Clinton Carew), while also being nominated for Best Lighting Design (Michael Kruse) and Best Choreography (Marie Nychka).
November Theatre then took home top prizes at the 2005 Betty Mitchell Awards in Calgary; Best Production of a Musical, Best Director (Ron Jenkins), Best Musical Director (Corinne Kessel), Best Costume Design (Marissa Kochanski), Best Poster and FFWD's Readers Choice Award. While also being nominated for Best Choreography (Marie Nychka) and two nominations for Best Performance in a Musical (Rachael Johnston and one for myself).
In 2006 The Black Rider was remounted for the Magnetic North Theatre Festival, which was being held in St. John's, Newfoundland. The show was also invited to be presented at the Edmonton Fringe Festival 25th Anniversary Gala. Later in November, November Theatre was honoured by receiving the City of Edmonton's Salute to Excellence "Performance and Citation Award".
In January 2008 The Black Rider returned to Vancouver with a run at the Arts Club, co-presented by the PuSh Festival. We hired on two new actors Mackenzie Gray and Colleen Winton from Vancouver who brought new blood into the piece. The run won November Theatre the top prize at the 26th Annual Jessie Richardson Theatre Awards: "Best Production (Large Theatre)". The show was also nominated for: "Best Lead Actor" (Kevin Corey), “Best Lead Actress” (Rachael Johnston) and the "Critic's Choice Innovation Award". In fact, November Theatre made Canadian theatre history as The Black Rider became the only show to have ever won the "BEST PRODUCTION" at the Jessie Awards (Vancouver), the Betty Mitchell Awards (Calgary) and the Sterling Awards (Edmonton).
So now we're bringing the show to Toronto to finally put it to rest after a decade of touring. I wonder how Toronto audiences and critics are going to react. Toronto is known for having very different tastes from the rest of the country, and also being a little more reserved when it comes to productions from out of town. So is this the production that will transcend the invisible theatre barrier? Or will our huge success fizzle under Toronto's gaze? We'll see...
A lot has changed over the years personally and professionally for us and the show. Design: the expressionist wood cut backdrop of the New York production, morphed into three red vinyl banners for the 2000 Fringe tour, which then morphed into 3 red crushed velvet banners with 4 dark blue velvet banners interspersed. The infusion of some new actors along the way have always kept the piece fresh. A lot of the romances have become friendships and not everyone lives in Edmonton anymore. Michael Kruse has even started a whole new career as an EMT. The company office has moved from Edmonton to Vancouver. Future works from November Theatre are going to be based out of BC, but The Black Rider will always be an Edmonton show. The show has been in a constant state of evolution from the beginning and this time won't be any different.
For the Toronto run we have one new actor who was a part of our Edmonton creative family, but who now calls Toronto home. Tarragon audiences may have seen him a few times already: Ashley Wright will now be playing the role of Bertram (the father) and the ever confusing role of the Man on the Stag. We also have two new band members joining Corinne, singer/songwriter Bryce Kulak on piano (he lives in Toronto but is also another former Edmontonian) and Duane Elias who once filled in for Dale on base/chapman stick way back in 1998. Other than that it's going to be the same folks who did the Vancouver run this January: Kevin Corey, Mackenzie Gray, Rachael Johnston, Colleen Winton and myself. Corinne is still musical director and Jeff Unger will be helping out with some vocal coaching. Joanne PB Smith who joined us in Vancouver in January will be stage managing again and keeping us all in line. And Scott Peters who's been everything from sound designer, stage manager and live mixer for the show will be back. Marissa will be tweaking her costume and set design as Michael Kruse finally be unveiling his work to his home town crowd. All of course under the masterful direction of Ron Jenkins, who is assisted by our choreographer Marie Nychka.
So here we go, four weeks away from rehearsals in Edmonton, six weeks away from our first preview and 7 weeks from opening. This is a busy time for me when I'm arranging travel, accommodations, schedules, rehearsal halls and whole pile of administrative stuff that stands between me and the stage. But here I am 10 years after I tried to find an exciting show to do at the Fringe. All those years ago I didn't know if I even wanted to stay in theatre. I guess now I can say that I truly love theatre, for better and for worse. I just need to be doing dynamic work. The devil can be very convincing. After all, he has a lot of good songs.
Talk to you soon I hope and check out the Tarragon site to buy tickets. (www.tarragontheatre.com/season/0809/blackrider/).
See you in hell,
Michael
the story
The Fable of the Free-Shooter (Synopsis)
Once upon a time there was a young servant named Kuno who was in attendance at the Duke's royal hunting party. During the hunt, the Duke had witnessed a terrible sight - a man tied to the back of a wild stag. The stag raced through thickets and over stones, cutting and tearing at the man's flesh. It was a cruel form of punishment that the Duke had long since forbidden. The Duke decreed that any man who could shoot the stag and free the man would be named the Royal Huntsman. "But should the man be hit", declared the Duke, "then the shooter will likewise pay with his life."
Brave Kuno dared the shot that nobody dared. His shot found its mark, and the stag fell to the ground, leaving the man unharmed. To prove his bullets were not enchanted, Kuno made the test shot: hitting a bird from the sky. Thus, Kuno was given his royal title, which passed from father to son for generations...
Now many years later, Kuno's descendant Bertram has become the Royal Huntsman. It is time for his daughter Katchen to marry, and he has chosen for her a suitor named Robert - a worthy hunter. But Katchen is in love with Wilhelm, a city clerk. In order to marry her he must prove himself to be a worthy hunter, a skill at which the fumbling clerk is inept. While attempting to hunt, Wilhelm meets a devilish Peg Leg man who offers him help in the form of magic bullets - guaranteed to always hit their mark. With these bullets, Wilhelm brings home enough dead game to satisfy Kathchen’s father. Their wedding day is announced, as is the test that Wilhelm must pass - the shooting of a wooden bird from a tree. Having spent all of his magic bullets, Wilhelm returns to the crossroads with hopes of meeting Peg Leg to get one more special bullet for this final shot. Peg Leg gives him the desired bullets, but with a warning: “Six are yours and hit the mark, but one is mine and hits the dark.” At the wedding, all of the guests are gathered in anticipation as Wilhelm takes aim and fires a shot that can’t miss...
Once upon a time there was a young servant named Kuno who was in attendance at the Duke's royal hunting party. During the hunt, the Duke had witnessed a terrible sight - a man tied to the back of a wild stag. The stag raced through thickets and over stones, cutting and tearing at the man's flesh. It was a cruel form of punishment that the Duke had long since forbidden. The Duke decreed that any man who could shoot the stag and free the man would be named the Royal Huntsman. "But should the man be hit", declared the Duke, "then the shooter will likewise pay with his life."
Brave Kuno dared the shot that nobody dared. His shot found its mark, and the stag fell to the ground, leaving the man unharmed. To prove his bullets were not enchanted, Kuno made the test shot: hitting a bird from the sky. Thus, Kuno was given his royal title, which passed from father to son for generations...
Now many years later, Kuno's descendant Bertram has become the Royal Huntsman. It is time for his daughter Katchen to marry, and he has chosen for her a suitor named Robert - a worthy hunter. But Katchen is in love with Wilhelm, a city clerk. In order to marry her he must prove himself to be a worthy hunter, a skill at which the fumbling clerk is inept. While attempting to hunt, Wilhelm meets a devilish Peg Leg man who offers him help in the form of magic bullets - guaranteed to always hit their mark. With these bullets, Wilhelm brings home enough dead game to satisfy Kathchen’s father. Their wedding day is announced, as is the test that Wilhelm must pass - the shooting of a wooden bird from a tree. Having spent all of his magic bullets, Wilhelm returns to the crossroads with hopes of meeting Peg Leg to get one more special bullet for this final shot. Peg Leg gives him the desired bullets, but with a warning: “Six are yours and hit the mark, but one is mine and hits the dark.” At the wedding, all of the guests are gathered in anticipation as Wilhelm takes aim and fires a shot that can’t miss...
Thursday, August 21, 2008
And it begins ...
November Theatre's acclaimed production of THE BLACK RIDER - The Casting of the Magic Bullets is coming to Tarragon Theatre! How excited are we? THIS excited!
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