10 Out of 12 is a Love Letter to Creating Theater

by Aimee Ferenz

Every performer has experienced it, the hours-long technical rehearsal that stops and starts with no warning, feeling like it might go on forever. It is when the designers of lights, sound, set, props, costumes, and choreography come together with the stage managers, producers, directors, and cast to glue all of their personal efforts into a collective work of art. This rehearsal is mentally exhausting, emotionally demanding, often repetitive, and is one of my favorite parts of the creation process in theater. The play 10 Out of 12 by Anne Washburn follows this technical rehearsal process during the “tech week” that leads up to opening night. The audience has rare access to the inner workings of this rehearsal by piping in the sounds of the crew’s headsets through the sound system. This access creates an authentic representation of the world that these artists live in and allows the audience to relish in the chaos.

Another wonderfully rare opportunity of this play is that many of the production staff are in the show, often as themselves. Director Richard Farella has created a wonderfully raw and genuine depiction of this rehearsal with the help of Assistant Director Mike Sokolowski, who are some of the only people not on stage. The natural overlapping quality of the scene is exquisitely guided so that it feels as real as possible. These two are depicted in the play by Colin Mallee and Matt Stickel respectively who have created their own characters rather than embodying the real duo. While Mallee plays the director as a fiery and indecisive leader, in real life he is actually the props designer of the show. Mallee has excellent comedic timing within his lines as he ranges through various levels of emotional intensity. Stickel counters Mallee’s explosiveness with an overly pleasant and accommodating character which balances beautifully in front of the audience. Stickel has created a well formed character who embodies the excited, but less helpful, half of the directing team. Lighting designer Bob Iodice has followed the hands-on script beautifully as many of the lighting cues are written into the script as dialogue. Hillary Kissinger performs as the lighting designer during the performance from the booth, often coming through as a disembodied voice throughout the performance. Set Constructor Dave Zaffarano has created a fully functional set that is both believable to the “play within the play” and works well with the production staff’s locations throughout the house. The final member of the production staff that is not on stage is Kristin Hegel who acts as producer of the production.

The Stage Manager, Sound Designer/Operator, and Costume Designer all perform as themselves throughout the show. Becca Begnaud is fantastic in this role, feeling so genuinely at ease as SM that I found myself subconsciously waiting to follow her direction. Begnaud’s depiction is exactly what I have experienced in many stage managers during these rehearsals: both overwhelmed but keeping a firm hold of the lid on the boiling pot. Begnaud’s ASM, Michael Murphy, is equally realistic as he provides the much needed comedic moments in times of stress. Sound Designer Michelle Kilmer is the second half to the Statler and Waldorf of the tech booth and serves as another excellent example of strong comedic timing. Costume Designer Arlowe Willingham completes the ensemble of the production staff with excellent grace, showing the same stress and frustration that I have seen many times through interactions of costumes and director. The costumes within the show are cut into two sections, either matching the period piece of the performance they are rehearsing, or the “human clothes” of the cast and staff. I have almost no comprehension of where Willingham’s work ends and real life begins, giving evidence of a fantastic job done. E2, Jess Saunders, and E3 Viki Hansen-Landis work as two “techies” in the show whose voices are also heard above the scenes. Saunders and Hansen-Landis are often seen throughout scenes as they adjust the set, handle issues as they arise, and offer another layer to the realism within the scene. Their interactions with Begnaud and Murphy also furthers the realistic lifeblood of the show, blurring the lines of what is “real” and what is “play”. 

Speaking of the play, during all of these character connections in the crew there is still a full performance deep in the rehearsal process at the same time. Five actors carry the fictional plot while still representing the actor that they are portraying as well. Ben/Charles is portrayed by Max Segarnick beautifully as he walks this line of fiction and reality. While all of the actors have mastered the juxtaposition between their two characters, I found that Segarnick balanced these two the best by showing a dramatic difference between the two halves of his role. In particular I loved his raw interactions with Paul/Carstairs (John B. Hedges) and Jake/Richard (Paul Henry). Hedges is magnificent from start to finish, capturing the desperation of Paul and the inevitable impact on his depiction of Carstairs. I was particularly impressed by Hedges’ final monologue which encapsulates a deep and genuine love for the art of creating theater. The audience can feel how deeply Hedges connects with this monologue; it is a profoundly beautiful moment that exists outside of the time of the show. Henry counters the “larger than life” performances of Segarnick and Hedges with an appreciated cool and collected demeanor. I really appreciated the differentiation here and how it modeled real life unique qualities between different actors. I also loved how Henry’s warm and charming performance made Jake/Richard so likeable. His relationship with the other characters, particularly his love interest Eva/Marie (Sandy Lawler) feel lifelike and joyful.

Sandy Lawler plays the ingénue both in rehearsal and in the story and shares multiple moments with Henry. Lawler is a lively and deeply entertaining individual on stage. Her performance is real and deeply relatable as she maneuvers through the delicacies of working with different, complicated personalities. Her interactions with Hedges and Henry in particular are very fine tuned, playing in perfect harmony with the rest of the show. The cast is completed by Victoria Anne, who performs as Siget/Old Lady/Lucille. Anne shows an extensive range as she balances various roles between the scenes. A wonderful example of this range is when she “forgets” her line while running a scene as the Old Lady. Her performance is explosive and dripping with energy until that moment, then she flips a switch and becomes her bona fide “original” self. It is incredibly relatable to watch her interactions with the directors, staff, and cast members. Her personality blends beautifully with the other “actors” as they experience the ebb and flow of the rehearsal process. 

The entire 10 Out of 12 cast has a true, deep rapport with one another. Whether they are presenting themselves as crew members, production staff, or actors, they all show their deep love of the craft. The play itself is a love letter not only to the theater but to the late long nights, the stressful rehearsals, and to every heart beat that brings the show to life. It is a wonderful depiction of the sacrifice and the joy that all theater veterans experience.

While opening weekend has already come to a close, the performances will continue through January 24th and tickets can be purchased at https://ci.ovationtix.com/117/production/1238819.