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The Lady from the Sea  June 13-15, 2003  The classic play by the Father of Modern Drama, Henrik Ibsen The Lady from the Sea tells the story of Ellida, the second wife of a respected small-town physician.  Try as she may, Ellida can't settle into her new life as spouse and stepmother because she cannot shake the longing she feels for her old home by the sea.  When a mysterious stranger comes to town, Ellida must finally confront her emotional ghosts. Recognized by the Theatre Association of New York State with a Meritorious Achievement Award, presented to the show's design staff "for creating a bucolic atmosphere." (click here for details)  The Setting  |  The Cast  |  The Crew  |  From the Director  |  Special Thanks

Act IV The following day, mid-morning.
Act V   That night.

Acts I-III run a combined hour and ten minutes.
Acts IV-V run a combined 50 minutes.
(times approximate)

(In the Photo: Ballested [Jessica Bailey, left] talks art with sculptor Lyngstrand [Chad Young].)
 

The Cast   Dr. Wangel  Eric Brown Ellida Dr. Wangel’s wife Heather Grace Bollette Wangel’s daughter by his first mariage Ardyth Van Scoy Hilde Bollette’s younger sister Jessica Stoddard Arnholm Bollette’s former tutor  Jeffrey Carson Lygstrand a young sculptor Chad Young Ballested a jack of all trades  Jessica Bailey A Stranger  Gaberiel Potter Townspeople Celinda Austin, Nicole Clark,  Stephanie Mackowski, Dan Ostrander We’re pleased to welcome Eric, Heather, Chad, Jessica Bailey, Celinda, and Dan to the BLT stage for the first time. For Heather, this is her first time performing ever! Of course, we’re always glad to have our veterans return, as well. It’s the fourth time out with us for Ardyth; it’s the third time on stage for Jeff; and it’s the second time out for Jessica Stoddard, Gabe, Nicole, and Steph. Ardyth, Jessica S., and Stephanie are all award-winning performers for their work with BLT. (In the Photo: Front--Jessie Stoddard, Stephanie Mackowski, Heather Grace, Jessica Bailey, Nicole Clark; Middle--Eric Brown, Ardyth Van Scoy; Back--Jeff Carson, Chad Young, Chris Mackowski, Gabe Potter, and Dan Ostrander.)

The Crew   Director and Production Designer Chris Mackowski Producer  Jeff Carson Assistant Director Dick Marcott Technical Director and Stage Manager  Earth Mother Scenic Designer and Assistant Stage Manager  Anne Davenport-Leete Master Carpenters Richard S. Blair, Tom Leete Set Builders Diane Arnett, Celinda Austin, Jessica Bailey, Kathy Blair, Rebekah D. Blair, Jeff Carson, Charles Church, Heather Grace, Regina Knapp, Rachel Knapp, Anne Davenport-Leete, Chris Mackowski, Leasa Maley, Dick Marcott, Gabriel Potter, Whitney Race, Jody Randolph, Chance Reinerd, Ken & Charlotte Roberts, Jesse Stoddard, Ardyth Van Scoy Lighting Set-Up and Board Programmer Anthony Atti Lighting Set-Up Nikki Deforno Light Board Operator Richard S. Blair Sound Pottsy Costume Designer Marlene Kijowski additional costumes by Ardyth Van Scoy Dresser Nicole Clark Properties Mistress Regina Knapp Properties Assistant Rachel Knapp Public Relations Sharie Radzavich with Peggy Karrasch, Chris Mackowski Hair Stylist Elizabeth Fesenmeyer Hospitality Carol and Dick Marcott Box Office Melissa Fredeen Artwork by Dan Wintermantel of Studio 4 East Poster and Program printing by Ferguson Printing Lobby photography by Glenn Melvin, a true gentleman, scholar, and all-around groovy guy. (In the Photo: Assistant Director Dick Marcott helps the actors with their lines.)

From the Director  When Ibsen wrote The Lady from the Sea in 1888, he was in the process of redefining the world of drama, although no one realized it at the time. He was tackling real social issues and writing about three-dimensional characters, something no other playwright had done before him. Looking at the script more than 100 years later, it’s as relevant as ever. We didn’t feel the need to do a modernization because the play speaks to us clearly across those years. So, when we put this production together, we wanted to capture the flavor and texture of the time period Ibsen was writing in. The house, for instance, is based on the architectural style of the time and location. To get a sense of colors, we looked at the paintings of Edvard Munch, a Norwegian contemporary of Ibsen’s. (Most famous for The Scream, Munch did a painting called The Lady from the Sea inspired by Ballested’s painting in Act I.) Our final model turned out to be the home of composer Edvard Grieg, another of Ibsen’s homeland contemporaries. Grieg’s home is now a museum, preserved to look the way it did when he was alive. As it happens, Grieg wrote incidental music for some of Ibsen’s work. You’ll hear some of Grieg’s music in this production. We’ve also used music from two more of Ibsen’s Scandanavian contemporaries, Niels Gade and Jean Sibelius. The flag is not only Norwegian, it’s accurate for the time period. Likewise for the costumes. And the foliage. We had a native Norwegian help us with the pronunciations and translations. Why is all this attention to detail so important? Two reasons: First, Ibsen strove for realism. Details give life to that realism. By paying attention to the details, we create an on-stage reality that stays true to Ibsen’s original vision. Secondly, and perhaps more importantly, the more attention we pay to detail, the richer the theatrical experience is for you as an audience. One of the miracles of theatre—and I don’t use that phrase lightly—is that it takes us to other places and other times. Theatre does that successfully only if it portrays those places and times with truth and honesty. This little slice of Norway would not be possible if not for the work of two of my closest theatre pals, Rebekah "Earth Mother" Blair and Anne "ADL" Davenport-Leete. They were even ready to time-travel in order to get the details right. Dick Marcott served as my indispensable right hand throughout and, I hope, learned something positive from the experience. Producer Jeff Carson, as always, did a skippy job.  I’d also like to thank Bill Graham for all the greenery, which has made this set so extraordinarily special. I’d also like to thank Kenny Fries, my former MFA mentor, for introducing me to Ibsen and this play. So sit back and enjoy your trip back in time…and see just how timeless Ibsen really is.  -- Chris Mackowski (In the Photos: Top--Munch's The Lady from the Sea; Bottom--Mackowski, right, with designer Anne Davenport-Leete)

Thanks, as always, to our ticket outlets: Brausers, Graham Florist, Horizons, Ott & McHenry Pharmacy, and Tina’s Hallmark.

Most of all, the director would like to thank his wife, Heidi Mackowski. For everything. Because she is my everything.

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