LA Stage
Jan./Feb. 2004
CORNERSTONE'S JEWISH
PROJECT
Yehuda Hyman & Tracy
Young Join Forces
by
Rob Kendt
Artistic collaboration has
no hard-and-fast rules, although the professional theatre, like the
professional film set, has developed its own hierarchies and job descriptions:
director, playwright, actor, designer, audience.
Cornerstone Theater Company has spent the last 17 years playing
musical chairs with the division of labor most theatre pros take for granted.
Founded by Harvard students with theatre training but no degrees (Harvard
doesn't offer one) and based in L.A. since 1992, Cornerstone has made it its
mission to involve non-professionals from diverse and variously defined
communities at every step of its process, from writing to performing to crewing
their shows.
The leap of faith Cornerstone has made is that this give-and-take
between community members and sympathetic, imaginative artists will make
better, more challenging, more relevant art--and not, as some might imagine,
compromised, liberal-minded edu-tainment that offends no one.
Recently theyÕve been making an even more daring leap of faith,
literally, with a series of plays about, and developed with, religious
communities, from Catholic immigrants (Crossings) to
gay/lesbian/transgender believers (Body of Faith) to Muslims
(the recent contemporary remix of Kaufman and HartÕs You CanÕt Take It With
You).
CornerstoneÕs Jewish project, The Center of the Star (opening
Jan. 29), is being co-produced by Greenway Arts Alliance. It is helmed by two
non-member guest artists, playwright Yehuda Hyman and director Tracy Young,
both of whom face an inevitable learning curve in working the Cornerstone way.
In recent interviews, both sounded flexible enough to bend with that curve.
Hyman had attended several Cornerstone shows and knew he wanted
in. ÒI
particularly wanted to do this kind of work,Ó says Hyman, who wrote Center after meeting with
representatives of diverse Jewish communities from around L.A. ÒI knew going in
that itÕs a collaboration--I donÕt get to do whatever I want. Including the
community is the whole ball of wax.Ó
Hyman
didnÕt arrive with a pre-existing story outline, or, as is often CornerstoneÕs
practice, with a classic to adapt. That made HymanÕs work especially arduous:
He went to 17 Òstory circlesÓ--informal gatherings of community members and
artists where thoughts, concerns, and, yes, even stories are shared--and
conducted 48 private interviews to shape his play. He was interested in
including as much ethnic, geographic, and observational diversity as possible,
from Persian to Russian, secular to Orthodox Jews.
ÒItÕs
been a real courtship, a dance,Ó he says. ÒWith the different levels of
observance, it gets really tricky. We decided we wouldn't have shows on Friday
night, and some of the people who turned up for the auditions said it was the
first play they could audition for--they were Orthodox people whoÕve want to
perform and never could.Ó
The
central inspiration for HymanÕs story, about a Jewish family riven by tragedy,
came from a visit to Beit TÕShuvah, a recovery/rehab facility in West L.A. that
incorporates Jewish spirituality into traditional 12-step and other therapeutic
regimens. ÒI went to a Friday service at TÕShuvah and was totally blown away by
the experience in that room,Ó he recalls. ÒIt was families from every class,
ethnicity, and level of observance--every spectrum of the Jewish rainbow.Ó
This
sense of common Jewishness, shared across many divides, informed his vision of
the playÕs diverse 31-member cast. And the facilityÕs name, ÒTÕShuvah,Ó which
means Òto return,Ó gave him his central theme.
For
the non-Jewish Tracy Young--a writer/director who previously worked with
Cornerstone on a co-production with the ActorsÕ Gang of Medea/Macbeth/Cinderella, and who wrote its
workplace-community piece Candude--the learning curve is less about conforming to
CornerstoneÕs process than about approaching this community as an outsider.
ÒSpiritual and religious themes have definitely come up in
my work,Ó says Young, whose Dreamplay touched
on both Jung and Mormonism, and whose recent direction of Shishir KurupÕs Shakespeare
update The Merchant on Venice explored
the Hindu/Muslim divide among L.A.Õs South Asian community. ÒItÕs like IÕm
making a tour of world religions in my work, which is really exciting to me.Ó
And intimidating: ÒItÕs a good thing, and a difficult thing, that
everyone has passionate feelings about their faith and about the representation
of Jews in a public, artistic form. Not being Jewish myself, I think I have a
useful perspective--I have a theatrical language to communicate. But I do feel
sometimes, Wow, how are we all going to negotiate this?Ó
Indeed, CornerstoneÕs current cycle of plays defining community in
terms of faith traditions has been especially fraught with negotiation and
challenge. Previous collaborations defined community by neighborhoods (Beverly
Hills, Pacoima, South Central), ethnicity (Arab-Americans) or workplaces
(postal workers, cops, bus drivers), and as such followed relatively a clear
arc from ignorance to understanding. The troupeÕs L.A. work to date culminated
in 2000 with a "bridge" show, For Here or To Go?, at the Mark
Taper Forum, which brought members of all these communities together.
But getting people to talk about their faith is a challenge of a
different order than getting them to open up about class, politics, even race.
Religious beliefs are so personal and foundational that discourse among
disparate groups, even with the guidance of artists and experienced
facilitators, can be more minefield than cakewalk--especially when the ultimate
goal of the dialogue is to make a great piece of theatrical art together.
ÒThis has been a tough cycle,Ó admits Mark Valdez, CornerstoneÕs acting
artistic director. ÒThe questions that are coming up over and over in this
collaboration are so emotional and personal. It definitely ups the stakes.Ó
The Cornerstone play-development process involves sharing the
writerÕs first draft with members of the community, and this can either be a
productive exchange, as Hyman said it has been with Center of the Star, or a
deal-breaker. The first play commissioned for the recent Muslim project, for
instance, was rejected out of hand by community partners, so the Kaufman/Hart
adaptation was chosen instead.
Even if, like Hyman, outside artists come in with a willingness to
compromise, an attitude adjustment is often required.
ÒWe try to brief artists
about what they're getting into,Ó says Valdez. ÒBut then they get into
rehearsals and somebody's father whose child is in the show has a lot of
comments about the play. In Cornerstone, we will actually take these kind of
notes. There have been some cases where this has been a big problem for the
artists. So we do a lot mediating.Ó
ItÕs not all endless struggle, though; there are breakthroughs.
During a recent collaboration with African-American churches around the issue
of AIDS, some community partners had concerns that homosexuality was too
prevalent a theme in Tracy Scott WilsonÕs play, Order My Steps.
ÒWe engaged in many long conversations,Ó Valdez says. ÒWe tried to
convince them, 'This is why we're working on this,' and we listened to why that
could be a problem for the community. Things were often uncomfortable, but
people heard us, and we got to hear them. Some of these were conversations that
they, and we, had never had before.
ÒAnd there are clear examples of change. One reverend who had
refused to talk about AIDS came to see Order My Steps with his
congregants. Two weeks later he talked about it from his pulpit, and preached
compassion. ThatÕs a big deal.Ó
Faith can move mountains, as the old song goes. It helps to have
people, like the artists and associates of Cornerstone, willing to rise to the
challenge of climbing them.