Worth noting... the performance of Jens Rasmussen

Ebenezer Scrooge has been immortalized in popular culture over the years, from the earliest surviving screen adaptation — a British short film from 1901 — to last year’s Disney motion-capture animated picture featuring comedian Jim Carrey.

All could have provided a template for Terry Weber, a professional actor and instructor of various performance classes at the University of Tennessee who stars in this season’s production of the Charles Dickens classic, taking place at the Clarence Brown Theatre through Dec. 19.

Weber, however, discarded those who did the part before him, and in doing so makes the role entirely his own.

“I guess I didn’t worry too much about what other people had done and decided to work with whatever was given from the script,” Weber told The Daily Times this week. “I really like this adaptation a lot by Joe Hanreddy and Edward Morgan because it’s one that allows the transformation of Scrooge to be more gradual than some of the other adaptations that are out there.”

That transformation is at the heart of this year’s Clarence Brown production, an annual affair that remains true to the original Dickens story but, by all accounts, finds a new way to tell the tale every year. Such comparisons, however, are moot — because Weber takes the character of Ebenezer Scrooge and acts out his journey of transformation with an eye for both tradition and innovation.

“One of the dangers is that in the original adaptation, Scrooge has made his complete transformation at the end of Act 1 — but when he is finally able to feel again, you have to make certain that that’s not the end of the journey,” Weber said. “The feeling he gets at the end of Act 1 is mostly pain, and the pain isn’t necessarily where he wants to stay.”

That pain, however, is the motivation for the transformation that is at the heart of “A Christmas Carol.” When the production opens, Weber’s Scrooge has all the hallmarks of the class character and then some — stern, unrelenting in his devotion to making money, hard-hearted, flinty-eyed.

Weber, however, plays the part with a certain weariness of posture and expression that belies his gruff exterior. Like his dead partner, Jacob Marley — whose spectral appearance sparks the journey Scrooge will take with the three spirits of Christmas — he seems shackled with chains, albeit metaphorical ones. It’s a little thing, but it’s part of the beauty of Weber’s performance.

“One makes choices early in rehearsal that one ends up discarding by the time the show opens, and by the same token small discoveries are made after the show opens,” Weber said. “You discover how a moment or gesture can work; you look at the physical mask of the character and what kind of energy would be appropriate for him. I found myself thinking of those things — how the description of Scrooge as ‘squeezing, wrenching, grasping, scraping, clutching’ would affect how I held my hands and carry over as unconscious mannerisms in the character.

“It’s a long process of sketching a physical and vocal mask for the character. But you don’t want to be a slave to that mask either — you want to be in the moment for each performance.”

An actor, of course, is limited by certain things — the direction of the production, the performances of his fellow actors, the work of the behind-the-scenes crew and volunteers that make the play possible. In “A Christmas Carol,” Weber is in good company — aside from a few timid performances by a couple of the younger actors, the work in this year’s production is first-rate. Worth noting are the performances of Jens Rasmussen as the put-upon Bob Cratchit, who maintains a certain dignity while staring down the twin barrels of poverty and Scrooge’s neverending scorn; and Conrad Ricamora as Fred Scrooge, the nephew of Ebenezer and the optimistic yin to his uncle’s dour yang.

Although they don’t appear in front of the audience, the works of guest artist/Jim Kronzer, guest artist/set designer Katherine Rohe and guest lighting designer Beverly Emmons are spectacular. Rustic, warm and Victorian, their efforts serve as a backdrop that both enhances the story and draws the viewer in. The special effects are fantastic as well — Jacob Marley’s ghostly appearance and the Ghost of Christmas Yet to Come both are capable of inspiring fright in young audience members.

“It’s a blessing to be able to work with the design and production support at the Clarence Brown Theatre, which is the flagship professional theater in this area,” Weber said. “I’m humbled at the chance to work with such great designers and technicians and volunteers. We are blessed with the university’s support as well and their ability to bring in top-notch designers. As an actor, it’s always a great privilege to be a part of something like this. Theater is one of the most collaborative art forms there is.”

And “A Christmas Carol,” he added, is more collaborative than many other plays — especially when performed during the holiday season. Director Edward Morgan writes in the program notes about how “A Christmas Carol,” when first published in 1843, took America by storm and helped to elevate Christmas into the most revered holiday of the year; such a legacy, Weber said, is humbling to uphold.

“It’s a familiar story, one that’s universal in terms of renewal, redemption, rebirth — a journey someone takes from darkness into light, if you will,” he said. “For most people, regardless of how many times you’ve seen it, it still is an uplifting kind of journey and really is a part of our fabric in Western culture. It’s a story that sort of defined Christmas in Western culture from the mid-19th century through the present day.

“When you say Scrooge, everybody knows who you’re talking about, and when you’re playing the role, it definitely adds to it. There’s definitely a sense of being connected with the community and years of tradition of our culture that you don’t get otherwise, because it really is a story that reaches across the last 160 or 170 years. There’s a connection to our community here in 2010 Knoxville, but a sense of being connected to all of Western culture as well.”

By Steve Wildsmith of the Daily Times

Rasmussen's Bob Cratchit Brings Much Appreciated Humor

Jens Rasmussen in A Christmas Carol

Clarence Brown Christmas Carol Review

KNOXVILLE — The holiday season has officially begun. Turkey, Black Friday and television holiday specials tend to mark the advent of a seemingly compartmentalized mindset focused on vacations, gifts and - if we're lucky - a quiet moment to reflect and remember the reason for it all.

With modern schedules as they are, taking this moment can be impossible, but the Clarence Brown Theatre's perennial production of "A Christmas Carol" provides a genuine opportunity.

Tightly adapted by Edward Morgan and Joseph Hanreddy, this rendition of Charles Dickens' novel moves smoothly through the well-trodden tale of the miserly Ebenezer Scrooge "bah-humbugging" his way through tradition until, by the gift of spirit (and spirits), he comes to learn his micromanaged ways are in fact a horrible miscalculation of his eternal soul.

The cast is wonderful, especially Terry Weber's portrayal of Scrooge. From his stomping and imposing Act 1 to his supplicating finale, Weber skillfully walks the tightrope where one missed step could drop his Scrooge into a stereotypical caricature. Jens Rasmussen's Bob Cratchit, Neil Friedman's Mr. Fezziwig, and the courtship between Ricardo Birnbaum's Mr. Topo and Magan Wiles' Miss Lucy bring much appreciated humor.

James Kronzer's set, Kathryn Rohe's costumes and Beverly Emmons' lighting provide an ideal context, color and focus.

And, of course, the music. "A Christmas Carol" without Christmas carols would be something else entirely, and the sonorous voicing of seasonal tunes is welcoming.

However, on opening night Friday, a surprising moment occurred possibly by happenstance but more likely by design. Throughout the evening, as the ensemble harmonized Christian tradition, a voice or two could be heard from the seats. A crackled soprano here and a dusty bass there tried to contain their impulses to join in and, much to the delight of some fellow patrons, failed.

It was in this moment that Clarence Brown's "A Christmas Carol" reached its most profound mark. For a few members of the audience to become so engaged as to forget the theatrical protocol of only clapping, laughing and standing when culturally appropriate is not only theater at its best, but also a reminder of what is at the heart of the holiday season: a happiness and joy readily at hand for each and every one of us, should we have the opportunity to remember, embrace and share it.

Inherit the Wind opens

Jens Rasmussen in Inherit the Wind

‘Inherit the Wind,” the classic play opening tonight at the Springer Opera House is not a history lesson about the 1925 Scopes “Monkey Trial,” director Ron Anderson said.

The play is based on the true story of John Scopes, a 24-year-old high school science teacher in Dayton, Tenn., who was put on trial for teaching evolution, while the most of community believed in creationism.

Four characters in the play — Bertram T. Cates, Matthew Harrison Brady, Henry Drummond and E.K. Hornbeck — are based on real people — Scopes, prosecutor William Jennings Bryan, defense attorney Clarence Darrow and journalist H.L. Mencken, respectfully. All of the others in the play are fictional, and that’s one reason why Anderson said it’s not a history lesson.

In fact, actor Adam Archer said, the people who live in Dayton detest the play and every year present a different version called, “Inherit the Truth.” Archer plays Elijah in the Springer production.

Why did Springer choose this play?

“Because of its timeliness,” Anderson said. People, especially in the South, continue to debate creationism vs. evolution.

“And I think it is a wonderful play,” Anderson said. “This is a great courtroom drama. And there’s the debate between evolution and the Bible.”

Two powerful voices

Steve Valentini plays Brady, the prosecutor, and John Ammerman plays Drummond, the defense attorney. When the actors get on stage to go head-to-head with each other, Anderson said they definitely do not need microphones to be heard.

Archer, who wrote a study guide for the play, said Bryan was known for his booming voice, which Valentini has.

Valentini didn’t have the chance to do the play in 1970 or 1992 at the Springer. He was too young in 1970 and was not available in 1992.

“When they announced the season, I went to them and told them, ‘I want to do that show,’” Valentini said.

“It was not difficult to hear Steve’s voice” in that role, Anderson said.

Anderson had to think about who would play Drummond.

“John was here to see ‘Red, White and Tuna,’” Anderson said. They talked about the role, and Anderson said he jumped at the chance to work with Ammerman again.

“Inherit the Wind” was a play Ammerman said he definitely wanted to do. The opportunity never came up until now.

“Some plays, you hope you have a chance to do,” he said. “The opportunity all worked out. It is a classic American play and one that I hoped I could do. I just got lucky.”

Anderson said it was the Springer who got lucky to have Ammerman here.

Valentini said the play is timely because 2009 was the 200th anniversary of Charles Darwin’s birth and the 150th anniversary of the publication of his “On the Origin of Species.”

Jens Rasmussen, who plays journalist E.K. Hornbeck, had never performed this play, either.

“This role is perfect for me, so I’m glad I’m doing it. Hornbeck (H.L. Mencken) is a great historic figure” he said.

Center of the debate

Cates, played by Russ Yoe, is at the center of the play.

“This is the biggest role yet for me,” Yoe said. “It’s very exciting to be a part of it.”

Anderson said he had several actors he was considering for the roles of Cates and Rachel, who is his fiancee.

“With Russ and Melissa (Saint-Amand), I had the right combination of chemistry and innocence,” Anderson said. “They seemed to be perfect.”

Yoe is a 19-year-old Columbus State University theater major; Saint-Amand is a Columbus High School junior.

Rachel is the local preacher’s daughter who supports Cates through the trial. During the real trial, Scopes did not have a fiancee at his side.

Tim Wilson, the associate pastor of Wynnbrook Baptist Church, plays Rachel’s father. It’s his first time on the Springer stage.

“It’s intimidating and exciting,” Wilson said. While it was easy memorizing his lines, he said he is finding that playing a mean-spirited person was very difficult.

The two youngest actors

Joey Goldman and Callie Hampton are Columbus High freshmen.

Joey, a former Springer Theater Academy student, spent the last year in Los Angeles trying to kick-start a professional acting career.

“Everyone has been welcoming me back,” he said.

Callie and Joey essentially open the show, discussing the possibility that their families were once worms or blobs of jelly.

With the addition of academy students, Anderson, who heads up the theater program, is hoping youngsters will come see the play.

“It’s touching and quite thought-provoking,” he said. “It’s very theatrical and raises the issue of people having the freedom of thought or is there?”







Read more here: http://www.ledger-enquirer.com/2010/01/21/982302/inherit-the-wind-opens-tonight.html#storylink=cpy

Petruchio, expertly portrayed by Jens Rasmussen

At the outset, you’d think an umpire had yelled “play ball!” The antics, cavorting, double entendres, and mistaken identities in the wickedly funny opening production of Virginia Shakespeare Festival’s 2008 season, “The Taming of the Shrew”, never stop. This rascally

entertaining comedy of misdemeanors and intentions is off and running from the moment you sit down.

Kevin Stidham as Lucentio and Matt McGloin as Tranio

In the Italian city of Padua, a rich young man named Lucentio, (perfectly cast in Kevin Stidham), arrives with his servants, Tranio, (near–genius comic timing by Matthew McGloin) and Biondello, (a winning performance by Connor Hogan), to attend the local university. Lucentio is excited to begin his studies, but his priorities change when he sees Bianca, a beautiful, mild young woman (charmingly played by Amaree Cluff), with whom Lucentio instantly falls in love.

There are two problems: first, Bianca already has two suitors, Gremio and Hortensio; second, Bianca's father, a wealthy man named Baptista Minola, has declared that no one may court Bianca until first her older sister, the vicious, ill-tempered Katharina gets married. Lucentio

decides to overcome this problem by disguising himself as Bianca's Latin tutor to gain an excuse to be in her company. Hortensio disguises himself as her music teacher for the same reason. While Lucentio pretends to be Bianca's tutor, Tranio dresses up as Lucentio and begins to confer

with Baptista about the possibility of marrying his daughter.

The “Katharina problem” is solved for Bianca's suitors when Hortensio's friend Petruchio, (expertly portrayed by Jens Rasmussen), a brash young man from Verona, arrives in Padua with the intention of marrying a rich woman. He does not care what she is like as long as she will bring him a fortune. He agrees to marry Katharina sight unseen. Let the games begin.

Now we are into the next round of mayhem, which ceases only with the final curtain call bows.

This is a fast-paced, warmly funny, deftly acted and directed company of performers interpret the Bard with glee and endless humor. Director James Alexander Bond has brought much intelligence to the text without updating, altering or resetting the play. No need to reinvent the

wheel. (This too often is the case with productions of Shakespeare and sometimes not successful.)

Bond has brought out many honed, well-defined performances from his cast.

(Sorry, I can’t write about each one of them but my compliments to all and to the departments.)

With lightning agility, the actors execute cleverly staged action sequences designed by David Doersch. Their comic vaudevillian feats are performed with razor-sharp precision. Always in character, the actors leap, cavort and hurtle their bodies and things toward one another with

complete abandon: a theatrical cousin to “Crouching Tiger, Hidden Dragon” without wires.

Though “Shrew” is oftentimes criticized for its misogynistic, anti-feminist views, the resolution at the end found in Katharina’s long final speech, (well-delivered by Catherine Gowl), shows us that the tamer can be tamed because, as with everything, politics underlie all: that winning doesn’t always mean you have laid down the highest hand. Rather, if you listen well to Shakespeare’s text and glean from it his pearls of wisdom on the ways of the world, you may learn this: It’s how you use the cards in all the hands you are dealt that brings meaning and success to your life.

Whatever critics and academics argue from both sides of the aisle over what Shakespeare was saying about women and gender divide, in the end, Bond gives us a satisfying conclusion in that both Petruchio and Katharina consider themselves equal to one another. That’s evolution.

by Victoria Racimo for the Williamsburg Yorktown Daily

To Kill A Mockingbird Opens

Jens Rasmussen in To Kill a Mockingbird

For the first time, the Springer Opera House will presents the stage version of "To Kill a Mockingbird." Directed by Springer associate artistic director and director of the Springer Theater Academy Ron Anderson, it opens tonight.

"It was the right time to do it," Anderson said. "There are still pockets of prejudice. We need to stop and remind ourselves of that.

"This is the story of a man and his children, raising them during the turmoil of racial strife in the 1930s."

"This is such an American story," said Jens Rasmussen, who plays Bob Ewell, Mayella's father. Mayella is the young woman who accused Tom of raping her. The themes of the novel is such that it's good to remember, he said. There's the good vs. evil, social inequality, racism and bravery to stand up to community perspectives.

Anderson said the cast is rarely without a copy of the book. Many of the actors have also marked their scripts with notes.

"At every rehearsal, some one will pull out the book and ask a question," Anderson said.

"The richness of the book is layered into the sparseness of the script."

Because Brian Mani, who plays Finch, has made copious notes, Rasmussen laughs when he thought Mani was a genius.

Mani is an actor Anderson worked with when he was in Milwaukee. He's seen the play once and saw the movie years ago, Mani said.

"I knew a lot of actors in Milwaukee," Anderson said. "Brian was the first actor I thought of and it worked out."

There are many touching scenes, Mani said. "It's just a good story."

Springer favorite Raymond Campbell plays Judge Taylor. As a Columbus court reporter, Campbell has been essential to the court scenes, said Anderson.

"I gave them some of my knowledge," Campbell said modestly.

"No, all the courtroom stuff is from Raymond," Rasmussen said.

"This is such a good ensemble cast," Campbell said. "We're almost ready to produce a show. The cast all relate to each other."

Amy Bishop is another long-time Springer actor and musician. Bishop, the Academy's education coordinator, has been on the stage or in the orchestra pit for more than 65 musicals.

"This is the first straight play I've been in," she said. "It takes us to a time that none of us experienced. It reminded me of real family values and relationships. It's very special and I'm honored to be part of it."

Going from "A Christmas Carol," the holiday favorite, to a serious drama like "To Kill a Mockingbird" sounds tough, but Rasmussen said it's not.

"It's a pleasure," he said. "Variety is the spice of life for an actor."

From this show, he goes into rehearsal for "Doubt," and then will be in "Carousel."

Caroline Garcia is playing Mayella, alternating performances with Kara Ann Felton. Felton is a Columbus High School senior while Garcia is a Columbus State University freshman.

It's Caroline Garcia second time in "To Kill a Mockingbird." In 2002, when she was 12, played Scout in The Human Experience Theatre's production.

The Springer's Scout is Blake Blackmon, a 14-year-old eighth grader at St. Anne School, who says she's learned a lot, "and so does Scout."



BY SANDRA OKAMOTO