Love's Labour's Lost
nytheatre.com q&a preview by Sybille Bruun
May 26, 2013
What is your job on this show?
What is your show about?
The King of Navarre and his court make a vow to not speak to women for three years in order to dedicate their time to the finer pursuits of academia. The Princess of France arrives on urgent business and chaos ensues.
Where were you born? Where were you raised? Where did you go to school?
I was born in Copenhagen, Denmark and raised all over Europe. As a result, I have an eclectic blend of theatrical influences ranging from Peter Brook's Theatre des Bouffes du Nord to the Nordic Theatre Laboratory/ Odin Theatret.
What are some of your previous theater credits? (Be specific! Name shows, etc.)
My acting credits include: Helena in A Midsummer Night’s Dream, Constanze in Amadeus, Desdemona in Othello, Heidi in The Heidi Chronicles, Tamora in Titus Andronicus, Rosalind in As You Like It, Roberta in Danny and the Deep Blue Sea, and Laura in The Glass Menagerie. Directing credits include Titanic (Christopher Durang), Hamlet, The Taming of the Shrew and Macbeth. I am the co-founder and Executive Director of The Shakespeare Forum. I was the recipient of the Actress of the Year award in Arizona in 2004 and subsequently received MAC nominations for my performances in Danny and the Deep Blue Sea and The Heidi Chronicles. I studied at The Stella Adler Studio of Acting with teachers such as Jedd Diamond, Slava Dolgachev and Yoshi Oida.
How did you meet your fellow artists/collaborators on this show?
Most of the team was assembled through The Shakespeare Forum. To explain - once a week, actors, directors, producers and artists from all walks of life come together to work and play with the words of Shakespeare. Okay, so sometimes it’s not Shakespeare, but the spirit of exploration is ever-present as we delve into the text, challenging ourselves and each other to grow and change. No reservation or advance notice is necessary - all are welcome. Over the course of a typical Tuesday night 6-7 people will get up and work on a monologue (sometimes a scene) and they will get feedback from the rest of the room, facilitated by Tyler Moss, myself and Claire Warden. They will then get to rework the piece after receiving feedback. There's usually between 50-60 people in the room. There's no pressure to perform, or to even get up and work if that's not something you're interested in. It's a space to play and to help each other. It is through this space that most of our collaborators for Love's Labour's Lost were assembled. We welcome everyone and you can go to www.theshakespeareforum.org for more information.
Which “S” word best describes your show: SMOOTH, SEXY, SMART, SURPRISING?
I think this production is a pleasant mix of all four. We have a smart and sexy cast, the process has been incredibly smooth and this particular production will be, I believe, a surprising version of the play.
How important is diversity to you in the theater you see/make?
One of the joys of working in New York is the diversity which exists here. We wanted this play to reflect that diversity and hope that the production will therefore more accurately portray the human experience as we see it in New York City in 2013