The music of "Agnes of God"

Throughout “Agnes of God,” Sister Agnes is heard singing the songs that make up the Latin Mass liturgy. Her voice is one of the mysterious, haunting things about her; is her beautiful voice a sign that she is chosen by God? Why does she sing only when she is alone? Agnes prefers to praise God and ask His forgiveness by singing the music from the Mass service that is familiar and comforting to her.

Services for the liturgical churches (Roman Catholic, Anglican/Episcopalian, and Lutheran) are different from other Christian denominations. The service is very structured, following a written text that has been used for centuries. The service is divided into two parts. The first part, which borrows from the traditional Jewish synagogue service, includes Bible readings, prayers, a sermon, and the asking and receiving of forgiveness. The second part is the Mass, or communion, ritual. Parts of the service may be sung instead of spoken.

There are two types of music for Mass services. The propers are the parts that change according to which Sunday of the church calendar is being celebrated; this includes the Introit, Gradual, Tract, and Communion Verse. The second type, the ordinary, is the core of the Mass liturgy; the text does not change, although the musical setting might do so. The songs might be set to a Gregorian chant style, or follow one of the many composers of the Renaissance, Baroque or Romantic Eras.

Sister Agnes sings many of the key pieces from the ordinary. The parts of the ordinary are (in the order they are heard in the service):

Kyrie 
The Kyrie, alone of all the Mass components, is not written in Latin but in ancient Greek. The chant Kyrie eleison, Christe eleison, Kyrie eleison means “Lord have mercy on us, Christ have mercy on us, Lord have mercy on us.”

Gloria 
 The Gloria praises God and Jesus Christ:

Gloria in excelsis Deo et in terra pax hominibus bonae voluntatis. Laudamus te, benedicimus te, adoramus te, glorificamus te, gratias agimus tibi
Glory to God in the highest, and on earth peace to men of good will. We praise You, we bless You, we adore You, we glorify You, we give thanks

propter magnam gloriam tuam, Domine Deus, Rex caelestis [coelestis], Deus Pater omnipotens.
to You for Your great glory, Lord God, heavenly King, almighty God the Father.

Domine Fili unigenite, Jesu Christe, Domine Deus, Agnus Dei, Filius Patris, qui tollis peccata mundi,
Lord Jesus Christ, only begotten Son, Lord God, Lamb of God, Son of the Father, who taketh away the sins of the world,

miserere nobis; qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dexteram Patris, miserere nobis.
Have mercy on us; You who take away the sins of the world, hear our prayers. Who sits at the right hand of the Father, have mercy upon us.

Quoniam tu solus Sanctus, tu solus Dominus, tu solus Altissimus, Jesu Christe, cum Sancto Spiritu in gloria Dei Patris. Amen.
For You are the only Holy One, the only Lord, the only Most High, Jesus Christ, with the Holy Spirit in the glory of God the Father, Amen.

Credo 
The Credo is a sung version of the Nicene Creed, which states the beliefs of the catholic church (“catholic” in this sense meaning the entire Christian religion, which is how the Roman Catholic denomination got its name). Most modern services prefer this section to be recited and not sung.

Sanctus 
 The Sanctus praises the trinity of the Father, Son and the Holy Spirit.

Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth; pleni sunt coeli et terra gloria tua
Holy, Holy, Holy, Lord God of Hosts; Heaven and earth are full of Your glory.

Hosanna in excelsis
Hosanna in the highest.

Benedictus 
The Benedictus continues the thread of the Sanctus:

Benedictus qui venit in nomine Domini.
Blessed is He who comes in the name of the Lord.

Agnus Dei 
The Agnus Dei means “lamb of God,” and asks for God to grant the congregation peace. The title “Agnes of God” is a play on this wording.

Agnus Dei, qui tollis peccata mundi,
Lamb of God, who takes away the sins of the world,

miserere nobis. 
have mercy upon us.

Agnus Dei, qui tollis peccata mundi,
Lamb of God, who takes away the sins of the world,

miserere nobis. 
have mercy upon us.

Agnus Dei, qui tollis peccata mundi,
Lamb of God, who takes away the sins of the world,

dona nobis pacem. 
grant us peace.

The Mass is sometimes ended by the Nunc Dimittis (“Lord Dismiss Us”), which asks the Lord’s blessing in departure back into the world.

The Mass service has inspired some of the most beautiful music in the world, moving composers like Mozart, Bach, Beethoven, Schubert, Gounod and Verdi to create works that have lasted for centuries. Although it is a different style than is usually heard on stage at the Gainesville Community Playhouse, it illustrates how character and story can be revealed and supported through music, even in a serious drama. I think Dr. Livingstone would agree.

xo xo GCP Girl

Sources: Wikipedia, CatholicLatinMass.org

2012-2013 GCP season announced!

It's been a long wait, but we're finally ready to announce the 2012-2013 season! There's something for everyone coming up next year!

ALL MY SONS

A drama by Arthur Miller

Directed by Margery Pierson

Sept. 14-30

Audition dates: July 15-16

*Cheater's note: You can read part of this play on Google Books!

OUTREACH SHOW - TBA

Directed by Rhonda Wilson

Oct. 5-7

DARK NIGHT SHOW - TBA

Directed by Jerry Brewington

Oct. 8-14

WHITE CHRISTMAS

A musical by David Ives and Paul Blake, with music and lyrics by Irving Berlin

Directed by Ted Lewis and Bob Garrigues

Nov. 23-Dec. 23

(Preview night Wednesday, Nov. 21 due to Thanksgiving)

Audition dates: Sept. 16-17

CHASING MANET

a comedy by Tina Howe

Directed by Jan Cohen

Jan. 25-Feb.10

Audition dates: Nov. 25-26

9 TO 5

A musical by by Patricia Resnick, with music and lyrics by Dolly Parton

Directed by Rhonda Wilson

Mar. 22-Apr. 14

Audition dates: Jan. 27-28

MOONLIGHT AND MAGNOLIAS

A comedy by Ron Hutchinson

Directed by Carlos Asse

May 17-June 2

Audition dates: March 24-25

THE ADVENTURES OF TOM SAWYER

A musical by Ken Ludwig, with music and lyrics by Don Schlitz

Directed by Dan Christophy

July 12-Aug. 4

Audition dates: May 19-20

"Hairspray" cast list!

Congrats to the new cast of "Hairspray"! I can't wait to see this show!

Tracy Turnblad – Danielle Pagliara

Penny Pingleton – Brittney Kelly

Amber Von Tussle – Rikki Baynard

Link Larkin – Manny Marical

Seaweed J. Stubbs – Marcellis Cutler

Little Inez – C’Javia Jones

Edna Turnblad – Esteban Alvarez

Velma Von Tussle – Kristin Mercer

Motormouth Maybelle – Kathy L. Williams

Corny Collins – Thomas Sanders

Wilbur Turnblad – Henry Wihnyk

Prudy Pingleton/Matron – Hannah Everette

Harriet Spritzer – Carolyn Caracausa

Mr. Pinky/Principal/Wilbur understudy – Ed Hunter

Guard/Gym Teacher/Chorus – John Palmer

Tammy – Belle Kissinger

Brenda/Beatnik Chick -TBA

Shelly – Samantha Fundenburg

Lou Ann – Patricia Kee

Brad – Stephen Griffin

Fender – Michael Tremaine

Sketch – Blake Matchett

IQ/Corny understudy – Alan Medrano

Dynamites – Rhonda Wilson, Desiree Salter, Kelli McGill

Gilbert – Howard Anderson

Duane/Seaweed understudy – Isiah Blount

Thad – Charlie Brown

Stooie – Kevin Anderson

Cindy Watkins – Lauren Wright

General chorus/understudy swing – Caitlin Hunter

"Agnes of God" cast profile: Jan Cohen

Jan Cohen plays Mother Miriam Ruth, who tries to protect Agnes from Dr. Livingstone and the world in "Agnes of God"!

GCP Girl: Tell me a bit about your character.
JC: I play Mother Miriam Ruth, Mother Superior of the Convent. She joined the Convent late in life, after marriage and family. Her dearest wish is for the Church to provide her with the "simplicity and peace" that she failed to find "outside." Unfortunately, she discovers that nothing can ever be that simple.

GCP Girl: Tell me about some of your previous shows.
JC: Audiences at GCP may have seen me as Willie Mae in "The Sugar Bean Sisters," Madame Arcati in "Blithe Spirit," Mama Wheelis in "Daddy's Dyin...," and Lottie in "The Murder Room." The closest role in intensity to playing Mother was playing Hecuba in Sartre's version of "Trojan Women," staged in an old palace in Kathmandu, Nepal.

GCP Girl: Why did you audition for "Agnes of God"?
JC: I auditioned for "Agnes of God" because I love drama best of all.

GCP Girl: What is your favorite scene in the show?
JC: A scene at the end of the first act where we learn about what motivates Mother Miriam, and also what drives Doctor Livingstone's responses to life. The scene is respectfully dedicated, in my head, to William Wordsworth. I would be very, very surprised to learn that our playwright was NOT an English major at University!

GCP Girl: What do you hope audiences take away from "Agnes of God"? Why should people see it?
JC: "The mind is a remarkable thing," says the Mother. Essentially, her opponent, Dr. Livingstone, agrees. But keeping an open mind about things is a lot harder. This closed-mindedness sometimes causes us to do terrible things to each other and to ourselves.

GCP Girl: Why do you think “Agnes of God” has had such success on stage and in film?
JC: The play is actually a bit of a "thriller"--the audience hopefully will be riveted to their seats waiting to see what the "answer" is. Or, actually, have to come up with their own answers, because there are no easy ones. In my mind, the success of a play is how long you discuss it afterwards and how passionate you become over what you see as the message of the play (all of this done, preferable, over wine!).

GCP Girl: What about this show has challenged or inspired you, as an actor and as a person?
JC: I need to be "regal"--I am not. I need to be "still"--I am not. I need to move when and where Carlos tells me to move--a grade of C so far, I would estimate! I need to learn not just the lines, but when to break in on others' lines as demanded by the script. And I need to make my very literary lines ring with true conviction. I may never be regal (sorry, Carlos), but I hope to make that truth a reality.

GCP Girl: What has been your favorite part of this experience so far?
JC: Working with Carlos [Asse] and Jennie [Stringfellow] (again). And also David Aiken, a superb stage manager.

GCP Girl: Tell me something you'd like everyone to know!
JC: The Box Office is open, and in my other "career" as daytime box office manager for GCP, I would be so very happy to sell you tickets to "Agnes of God."

Thanks, Jan! Everyone should take her up on that offer and get their tickets to "Agnes of God"!

xo xo GCP Girl

Why should you see "Agnes of God"?

“Agnes of God” opens this weekend at the GCP’s Vam York Theater. The questions I’ve been asked most frequently about the show are “What is it about?” and “Why should I see it?”

“Agnes of God,” written by John Pielmeier, is a three-person play in which Dr. Livingstone, a court-appointed psychiatrist, is sent to a convent to evaluate the mental stability of Agnes, a young nun who is accused of murdering her newborn baby. Dr. Livingstone must battle her own personal demons while weighing the statements of both Agnes and Mother Miriam Ruth to find out what really happened that night.

The drama in this play lies in the suspense created by the unanswered plot questions. Who fathered the baby? Did Agnes murder the baby, or was it someone else? What does Mother Miriam Ruth know that she’s not telling? The power of this show lies in the basic questions of innocence and guilt, faith and skepticism. If Agnes did commit the crime without being aware of it, can she be held responsible? Do the dramatic outward manifestations of holy mysteries mean Agnes really is favored by God, and that her child could have been conceived by the Holy Spirit? Can miracles happen?

Film critic Roger Ebert had this to say about the 1985 film version starring Jane Fonda, Anne Bancroft and Meg Tilly:

“The solution to the crime hardly seems to be the point of the movie. It reaches for a far loftier philosophical subject, which is, I think, the possibility of miracles… the implications of the miracle are horrifying: If God indeed conceived the child in Sister Agnes' womb, then why did he in his omnipotence allow her to kill it? But of course (you argue) God also gave Sister Agnes free will, so she was free to kill the child no matter what the details of its conception. True, and yet then, we must ask, why did God create a baby to be killed? Here we enter, of course, into the still larger question of why God has created all of us and placed us in this life where we will most assuredly all die.”

“Agnes of God” is a psychological drama and an intense character study, with three roles that are very demanding of the women playing them. The original 1982 cast was Elizabeth Ashley as Dr. Livingstone, Geraldine Page as Mother Miriam Ruth and Amanda Plummer as Agnes. Plummer received the Tony Award for Best Featured Actress in a Play and Page was nominated for Best Actress in a Play. The film was nominated for Academy Awards for Best Actress in a Leading Role (Bancroft), Best Actress in a Supporting Role (Tilly) and Best Music, Original Score. Meg Tilly also won a Golden Globe for her performance.

“Agnes of God” stars Leannis Maxwell, Jan Cohen and Veronica Camille Vuturo. Experience the drama and the power for yourself this weekend at the GCP!

xo xo GCP Girl

"Hairspray" auditions are this weekend!

Auditions for the hit musical "Hairspray" are Sunday, May 20 and Monday, May 21 at the GCP! Director Pat Thomson stopped by to give me the inside info on what she's looking for!

GCP Girl: Why did you want to direct "Hairspray"?
PT: I wanted to direct "Hairspray" because it offers lots of great roles to a diverse group of actors and, to be honest, it should bring in much needed money for the GCP. Additionally, it’s been a while since I’ve directed a musical and this should be a fun one to get back into it.  

GCP Girl: Tell me about your vision for the production.
PT: My vision is “embrace the cheese.”  

GCP Girl: Is there anything specific you are looking for in the actors who audition? If someone wants to impress you, what should she or he do?
PT: I want actors who are confident, have a good sense of humor and who, when on the stage, stay focused and in character (this means everybody, even the “chorus”). Obviously, they also must meet basic singing and dancing requirements. Other than that, it is very important that every actor recognizes that, although we will have fun, that fun begins with following all of the basic rules about being on time and prepared for rehearsals, being off book by the deadline I will give and treating everyone with respect. Pasted below is a list of the rehearsal rules.
I want entertainers, not just people who can sing. So, sing to the audience. The more energy and pizzazz I see, the more you will impress me.

GCP Girl: Is there anything special auditioners should be prepared to do?
PT: Just be prepared with appropriate clothing to sing, dance and act.

GCP Girl: Any songs you do NOT want to hear?
PT: I do not want to hear you sing songs that you are not comfortable with. Also, I am not a fan of songs that do not have a strong melody, not for this show. Chose an upbeat, snappy song you are comfortable with. For those who are going for leads, these roles often involve songs that require a good belt.

GCP Girl: Anything else you'd like to add?
PT: I know I sound very rule-oriented, but I do this to avoid problems. I have an undergraduate degree in directing and have directed more than 30 shows in the last 24 years. I have learned that an “ounce of prevention” is truly worth “a pound of cure.” I want your experience to be an enjoyable one and I want us to do the best job we possibly can. The whole production team will work hard to use your time wisely.

REHEARSAL RULES
Don’t want to be a pain, but we find that if we set the grounds rules at the beginning, everyone tends to get along better and rehearsals run more smoothly. So ......
Generally:
Hardly anyone gets paid** at GCP. We all volunteer our time and efforts because we love theater and want to put on quality shows. For the last 80 plus years, this group of unpaid volunteers have managed to do this just that. And build a new state-of-the-art theater. We are very proud of this. (** Just recently, we hired a part-time technical director - Thomas Muhn. Also, we pay our musicians.)
Because we are all volunteers and all have other demands on our time, we must all respect each other and the show.
This begins with respect for the people in charge. The Director is the overall authority in the show until tech week. After that, the Asst. Director, Head Production Asst. and State Manager is in charge. The Costumer, Props, Set and Lighting Designers all have control over their respective areas. Treat these people with the utmost respect. They have years of theatrical experience and training and have worked for many months to make your show possible. Following the rules listed below will help you show this respect.
It is also very important to respect each other as actors. Coming to rehearsal on times, prepared and ready to go is paramount to this respect. When you are late or (heaven forbid) miss a rehearsal, you are telling your fellow actors that they aren’t worth your time. The other actors get angry because they either have: 1. to wait around for you, 2. have someone else read your lines, or 3. have to adjust for and pretend someone is moving around. Most plays are all about the ensemble - you can’t really rehearse anything well w/out everyone being there and prepared.
Keeping all of this in mind, here are a few rules a matters of etiquette:
I. Rehearsals begin promptly. Late actors should just get on-stage and join the group. Explanations for lateness can be made during a break.
- Please sign-in when you come to rehearsal: the sign-in sheet will be on the board in the greenroom.
- Once you sign-in, you should not leave the theater without telling the Assistant Director, Head Production Assistant or Stage Manager.
2. As a courtesy to your fellow actors, please, no talking during rehearsals, backstage or in the audience - if you need to talk, go to the green room or lobby.
3. You must be off-book by xxx; no calling for lines after xxx.
4. When you call for lines, you must stay in character.
5. No one but the Director, Choreographer or Music Director may stop a scene.
6. Actors must write down all notes.
7. When the Director, Choreographer or Music Director gives notes, just accept the note without explanation or excuses - you can give explanations later if necessary.
8. Actors may not give directions to another actor without the express permission of the Director, Choreographer or Music Director.
9. Treat each other respectfully please. Remember that we are all volunteers. If you have a problem with another actor that can’t be resolved politely and diplomatically with the other actor, discuss it with the Director, an Assistant Director or Stage Manager, rather than the rest of the cast.
10. Do not give any other actor negative comments.
11. Do not interrupt the Director once rehearsal begins unless there is a break - instead go to an Assistant Director, Production Assistant or Stage Manager.
12. Unless it’s an emergency, personal phone calls should only be made during rehearsal breaks. Do not use the GCP phone for more than 2-3 minutes at a time.
13. All cell phones should be turned off, or set to vibrate, during rehearsals and performances.
14. There is no paid cleaning staff for the backstage or audience areas of GCP. Each show assumes responsibility for the theater cleanliness when it occupies the theater. All cast members must assist in keeping the theater clean. Do not leave empty food or drink containers or other trash, laying about. We will have a cleaning list posted during later rehearsals and during performances so we can rotate cleaning duties.
15. You are responsible for closing any of the side or back doors you prop open.
16. Food, candy drinks etc... may only be consumed in the green room. Only bottled water may be brought into the auditorium.
17. Actors and staff should use the bathrooms in the dressing rooms.
18. During rehearsals, actors must stay on the stage, lobby, audience areas, the green room or the dressing rooms. Other backstage areas are off limits.
19. Actors are responsible for keeping track of the action on stage so that they make their entrances on time.
20. When we start doing warm-ups, everyone must be on-stage for warm-ups, even if they don’t participate.
21. Please do not criticize the set, costumes, lights or props. It’s not your place. These people work for free, and negative comments are considered highly unprofessional. If you see a problem in those areas that the Director may have overlooked, you may talk with the Director about it in private.
22. A special note on costumes. GCP, like all community theaters, has problems getting volunteers to do costumes for shows, often because it is difficult dealing with some of the actors. So, when you get your costume, just say ‘I love it - thank you.’ No hidden tears, no passive-aggressive behavior, just a cheery smile. Keep in mind the following: 1. The Costumer is responsible for what you look like on stage - her name is the one on the program for costuming, not yours. 2. The Costumer does not get paid and, like-you, has a full-time job during the day, plus a family. Thus, she is often up very, very late doing these costumes and puts way more time into them then you have into rehearsals. 3. You are not portraying yourself on stage, you are your character. The Costumer and Director will pick costuming, hair and make-up that is appropriate for your character, the historical period and their vision.
23. It’s important that you get use to the shoes you will be wearing in the show. So, during rehearsals, we would like you to wear either the actual shoes you will be wearing or something similar. Guys, that means lace-up dress shoes. Girls, that means character shoes. In any event, absolutely no sandals and no going barefoot.
24. No rough-housing around the theater - we want everyone to stay safe and sound.
25. To avoid missing props when they start arriving, do not touch a prop unless it’s yours.
26. The Costumers will be working in the costume construction room and the dressing rooms during rehearsals. They welcome offers of help, but try not to interrupt them too much. And although everyone is very curious about their costumes, it’s hands-off until the Costumer gives her permission.
27. Make an effort to help everyone feel part of the ensemble. Some people may be shy, so (especially you old GCPers) befriend each other. A smile goes a long way!