Salted with Sharks

A Brefe, Tempestuous Historie of Lakeside Shakespeare in which Our Brave Players—and Manye Volontiers—Battle the Elementf, with Engineering Mofte Civill

In Culture Bluffs, Historic Elberta, Kid Stuff, Lakeside Shakespeare on August 2, 2013 at 6:37 pm

Lakeside Shakespeare’s last performance of the season, The Comedy of Errors, takes place tonight on Tank Hill at 7 pm. On July 5, Emily Votruba interviewed Janet La Rue Buck, Elizabeth Laidlaw, Amy Daniels Moehle, and Peter Dully, on the porch of the La Rue House Bed & Breakfast, where the Bucks have hosted six seasons’ worth of these Chicago thespians. She learned how Lakeside Shakespeare got started, how it continues with the help of our community, and why the troupe isn’t performing in Elberta … for now.

Elizabeth Laidlaw, founder and director of Lakeside Shakespeare, Frankfort and Elberta’s very own summer theater troupe

Janet La Rue Buck, proprietor of the La Rue House Bed & Breakfast, born and raised in the Village, and very widely traveled beyond

Amy Daniels Moehle, outreach coordinator for Lakeside Shakespeare, in charge of year-round programming, volunteers, and publicity for the organization

Peter Dully, managing director of Lakeside Shakespeare, oversees all physical aspects of the production

Owen, son of Elizabeth Laidlaw

Emily Votruba, a reporter for the Elberta Alert

 (Emily turns on the recording device.)

Amy: I think the first I heard about it was when we were in Chicago, and I thought, Oh God, these guys are dreamers, we’re going to have a balcony? And of course my mind goes to, OK, how are we going to get this donated? Who are we going to ask? And then I realized… I get to ask people if they want to help build Juliet’s balcony. And sure enough, people came forward. It fills that soul part. “You know Juliet’s balcony? I helped build that.”

And we had an amazing team last year that helped build the steps up Tank Hill.

Peter: Amy put together the team of people—I didn’t even know what I needed and Amy figured out what I needed and provided it. They were the perfect group of people.

Amy: Certain volunteers just show up and say, I’m going to make this happen. Last year, we had that drought, and of course, the day we’re going to build the steps, it rained. It was spitting rain all day. But they showed up, they were cutting and digging. And then some more, some fresh people came. Honestly, this community, when they realize they’re needed, they’re there.

Emily: Pete, what’s your job?

Peter: Managing director encompasses a lot of things. In practice I do production management, all the physical aspects of the production, the scenery, costumes, props—we have a costume designer, so I’m not building the costumes, but I help facilitate that. I also dig steps into hills, create drainage, and mow the lawn!

Emily: I was going to say…you guys aren’t union, are you?

Peter: No. Not at all.

Amy: And they get paid the big bucks, right? How much? Multiply zero times zero…

Peter: My whole professional background is in theater production. I’ve done stage management and production management, scenery building, lighting design.

(Elizabeth arrives with Owen; Janet arrives; greetings all around)

Janet: Tonight we have a full house, I just came over to make the beds.

Emily: I hope you don’t mind we’re crashing the porch, I thought the troupe was already staying here. Do you have a few minutes to sit in? (Conversation about a missed email, in which Janet answered some of Emily’s initial questions.) So how did you all first get acquainted?

Janet: I first really got to know Elizabeth the first summer her actors came to the La Rue House to stay, in 2008—2007 was our first season at the La Rue House. Of course I’d seen her troupe act at the Waterfront Park before that, but didn’t really know her.

Emily: So what’s it like having a houseful of actors around for a couple of weeks each summer?

Janet: We have a lot of fun. Their friendliness, joie de vivre…we enjoy catching up on their activities during the year, as several of them have returned each year. Also, the entire troupe, or many, gathers here most days, either during the day, or after the performance, so that is fun. We enjoy getting to know them, and miss those whose careers have taken them in different directions.

Emily: When Lakeside Shakespeare started, the performances were held in the Elberta Waterfront Park Amphitheater. Why did you end up moving to Tank Hill?

Elizabeth: It became pretty clear at a certain point that the village needed the rental income from the Life Saving Station, and we couldn’t compete financially with the rates they were renting it out for. Most of the nights we were there weren’t wedding nights, but on a Friday or Saturday, if there was a wedding, we couldn’t have a show that night, so we were having to move out and not have shows on weekend nights, which are usually when we have our biggest take. The village needs the revenue.

The Tank Hill space is free, and it’s not being used for anything else. Another advantage is there’s absolutely no visual distraction. The Elberta space is beautiful, but there’s a lot going on. There are boats coming in, sounding their horns; there are children playing; there are people who ride their bikes right through the space and almost crash into actors—it’s an openly accessible public park, after all! It’s a great space for a one-night event like a concert that doesn’t require the same visual attention.

Emily: I heard there was some issue with glare from the setting sun.

Elizabeth: Well, all other things being equal we would have figured that out. We were starting our shows at 7:30 because of the angle of the sun at 7… We did Julius Caesar in modern dress and we all did the first scene wearing sunglasses. We did that in Love’s Labour’s Lost, too.

Amy: I remember Shawn [Pfautch] coming out in sunglasses and we thought it was part of the costume.

Elizabeth: It became part of the costume. We integrate things like that. The flip side of it is that, that same night of Julius Caesar, we had a big battle scene in the second half of the show…and the sun was setting bloodred over the back of the hill. The battle scene was happening all around the audience. I was playing Mark Antony, we’re all yelling, with these big swords, and and I came over the back of the stage into this bloodred light from the sun. It was gorgeous. A friend of mine, Michael Phillips, who’s a film critic for the Chicago Tribune happened to be there on the same night. He was writing about Midwest Shakespeare festivals.

Amy: I’m hearing that people weren’t able to put chairs on the hill whereas at Tank Hill they can bring chairs they’re comfortable in. So there’s an all-ages factor there.

Elizabeth: And also we’re providing transportation. [A golf cart shuttles people from their cars up the hill if needed.]

Janet: I’ve heard people say they can’t see as well on Tank Hill.

Elizabeth: I think we’ve addressed that this year. We had a flooding problem last year and we’ve graded the space. We literally had to bail the place out six hours before the show. It started raining and the space filled up like a lake—there was no drainage. We think it was because the logging trucks had been there for some tree clearing. The trucks packed the earth down into hard clay. And there was no grass because of the drought. And so when it finally rained one day…

Amy: We put down mulch but it wasn’t enough.

Elizabeth: And Josh [Mills] came in with a pump—that saved us about two hours of bailing.

Amy: Then we needed something to dry the space so that people could sit. So I called Crystal Gardens and said, “You guys, could you pleeeease donate some mulch?” I think it was Cheryl, and she had already sent everyone home. She not only called people in but she donated it and delivered it.

Elizabeth: We had just finished smoothing out the mulch when people started coming in, at about 6:30.

Amy: They’re like, “Wow, it didn’t rain here?” And we’re like [sobbing].

Janet: They all came back here exhausted.

Elizabeth: My stage manager did this—I’m not joking—she picked up a two-liter plastic water bottle, and we’re talking, 1,000 gallons of water in the middle of the performance space; it was a pool. She fills the bottle up, walks to the edge of the hill, dumps it, comes back… I’m like, Claire!

Amy: She was determined.

Elizabeth: And she said, “Well, I guess you better call some people up here and tell them to bring some buckets.” Then Josh came in with the pump. Then all these people showed up with various vessels. I started crying.

Amy: We have this great recording of Elizabeth trying to get everyone to stop dealing with the flood and start the show, because they were so bent on getting it right.

Elizabeth: I mean it you guys, put the rakes down, now!

Peter: So as a result of that, this year we worked with the city and put in a drainage catch basin under the stage, the kind that takes the water away, and we graded the audience area so the water would flow that way. And a second benefit of that is that it’s a little easier to see.

Elizabeth: I said, “We may have some sort of emergency next summer, but it can’t be this one. I will never be able to get people to come down here with buckets again.”

Our second season, when we did Romeo and Juliet the first time, over here in Elberta, we got to the second act or the very end of the first act with Mercutio and Tybalt lying dead in the street—Romeo was banishèd—I’m lying there playing Mercutio and I feel plink, plink, plink… It rained so hard we had to stop for a few minutes, and a good chunk of people left. We weren’t far enough into Act 2 to plow through till the end—we were just about halfway through. We announced we’d wait a few minutes and if it stopped raining we’d resume, but it was raining so hard the actors couldn’t see. And the audience stayed, and they waited for us. It was the saddest Romeo and Juliet ever. Juliet looked like a drowned rat. Then the same thing happened for Macbeth…Macbeth and McDuff were fighting—

Amy: That was the best. It’s literally a downpour, we couldn’t believe people showed. People brought tarps. Not a person moved. There was this feeling afterward … everybody was just… My hair was standing on end, I was terrified for the actors. Because the were fighting on that hill…

Elizabeth: I was like, If you guys slip, I’m going to kill you both.

Amy: So what they did, is they slowed it down. What you’re watching is the rain, hitting the swords, and the action in slow motion, like in the movies.

Elizabeth: I was going to stop it. The two actors are old friends of mine and they’re good friends with each other. They were also both in their late 40s at the time. Guys in their late 40s don’t end up with big, huge set-piece sword fights like this very often, they’re usually given to the younger guys. So both of them are like, This may well be my last huge gorgeous fight. And they’re wearing kilts, you know, and these huge swords they were given to fight with, and so I’m about to run down the hill and stop them, because it’s raining. It was coming straight down like a shower. And one of the witches, Danny [Taylor], grabs me and says, “Look at those two…” The rain’s coming down and the two actors look at each other like, [makes “Bring it on” face] and I’m like, I’m not running into the middle of that!

Amy: Everyone who was there, who witnessed that, there’s this camaraderie. “I was there! I sat through it!”

Janet: I think we all went to the Cabbage Shed afterwards and dried off.

Elizabeth: I had a friend who used to say there’s no bad weather up here there’s just different kinds of beautiful weather.

Janet: If you live in Michigan and you don’t like the weather, wait five minutes and it’ll change.

Elizabeth: That’s also said in Chicago. It’s tempestuous there too.

Emily: That brings me to the question, what’s your connection to the area?

Elizabeth: My son and I are the fourth and fifth generations of my family to come up here. My great-grandfather John Laidlaw used to take a sleeper car from Chicago and come in to Elberta station, where my great-grandmother would pick him up and they would go to what amounted to a cottage with a tent roof on the CSA [Congregational Summer Assembly]. My great-grandparents were some of the original members.

Janet: That would have been about 1902.

Elizabeth: Yes, when it started. So my grandfather and his three siblings grew up here in the summers. My great grandfather had a book publishing company that my grandfather and his brother took over when he grew up. You can still find Laidlaw-published schoolbooks up here. I think this may have been on his sales circuit, and that was how he landed here. My impression is that the people who started the CSA were part of this wave. There were also shipping magnates who had places in Chicago and in downtown Frankfort. They migrated to that part of the woods because it’s one of the only parts of Crystal Lake that has a wide beach. We all grew up in Chicago and came up here every year like salmon. I have second, third, and fourth cousins who come up here. I just ran into somebody who was like, Are you a Laidlaw? and I said Yeah, you’re a Hall, aren’t you? We all caught the bug. You know it—you came back here. The same thing that drove you to come back is what made me want to bring people up here. There’s soul food here. It would be very hard for me to make a living here as an actor. [In Chicago] I do voiceovers, I do stage acting; theater is very long hours, and when you have a school-age child you have to pick your projects carefully because at least half the hours happen at night. When he was a baby I could bring him to the theater, but as he’s gotten older I’ve been a little choosier about my projects.

I love the theater in Chicago, the variety, the competition, but it’s nice to work here where there’s not a ton of theater. I like being able to present Shakespeare to a relatively unjaded audience. Particularly in Chicago, if you’re doing Shakespeare the audience is like, I’ve seen twelve hamlets and I don’t think you’re going to do anything to surprise me. It’s weird, there’s a magical cyclical thing that happens—[theater companies in Chicago] will pick their play in secret and then it turns out everyone’s doing As You Like It. So it’s fun to produce Shakespeare for people who are maybe a little hungry for it as opposed to people who are overfed.

I like the constraint of the outdoor setting. We have to be smart about the way we produce our shows and make them accessible to all ages, which doesn’t mean dumbing them down.

Emily: Is there a little bit of abridging?

Elizabeth: I think so. Our Hamlet wasn’t directed for kids necessarily, but plenty of kids came and loved it. Since we know there’ll be kids, obviously there’s not going to be any naked people, there’s not going to be any… You know, Macbeth’s head is chopped off at the end of Macbeth, and it’s presented in a scene, quite clearly in the text. So we’re like, well, that’s kind of scary, how do we present that in a way that doesn’t dumb down the play? So we ended up having the beheading happen offstage and then we brought in a bloody bag.

Emily: That seems better anyway! Even scarier, kind of.

Amy: The first experience my daughters had with Shakespeare was King Lear, and my mother was worried that it would be too much for them. But they attended the workshops where themes were discussed and my daughter who was 10 at the time was explaining the themes to my mom and dad. That’s part of why I’m sold on what you guys do. The workshop teachers will say to the kids, “These themes happen over and over in your life. Which of these themes are happening to you?”

Elizabeth: Titus Andronicus is going to be a tough one. I don’t know how we’re going to do that. That is a horror play. There’s no way around it, there’s incredibly vicious violence in that play.

Emily: Is that one slated to come up?

Elizabeth: Well, it’s going to come up eventually. My idea would be to do it as a Kabuki theater piece. I think that would be really elegant. The violence in Kabuki is very symbolic. They don’t use blood, they use ribbons or scarves. My kid and kids his age, they’ll do that when they’re playing, so that fits in with their scope of imagination. Kabuki is so beautiful. It’s very violent but very stylized.

Emily: So the plan is to work your way through the entire canon?

Elizabeth: Yes. There are plays that are trickier. There are weaker plays. Plays that Shakespeare wrote toward the end of his career. As Shakespeare got older and was retiring he would sort of sketch something out and hand it to his apprentices. So some of the later plays are clearly written by two or three authors. The Two Noble Kinsmen got admitted into the canon quite recently. It was agreed Shakespeare had enough invested in it … In Two Noble Kinsmen the frame story is kind of a disaster—it was probably written by five people. The best part of it was probably written by [John] Fletcher, the jailor’s daughter story. It’s a fascinating story of a woman’s descent into madness, and it’s kind of wedged into the frame story. It almost has nothing to do with the rest of the play, but it’s the best part. With the later plays you run into these issues. King Henry VIII. They early and late plays are difficult because they don’t have the strength and the unity of the middle period, when he was doing all his own writing. You’ve got the beginning when he didn’t know what he was doing and you’ve got the end when he sort of didn’t care. It’s our first time doing Comedy of Errors, this year. It’s one of his earlier plays, and it’s a direct steal from Commedia dell’arte, the story line, Pulcinella, Pantalone, they’re all in there. So it’s choppy, and the way we’ve solved it is Scott Cummins is directing it for this age group [indicates Owen], so it’s very broad, very crass. This is Scott’s third year. We’ve known each other for twenty years. He’s an excellent actor and director. His first year he directed Midsummer and was not in either of the shows, and last year he directed Hamlet and played Benedict. This year he plays Lord Capulet.

Emily: Is anybody else a Michigan-based person?

Elizabeth: John Gray this year is. He’s got people in Whitehall, I think.

Amy: He said he used to work at WKLT.

Elizabeth: A few years ago Michael Norton helped me produce a season and he’s got a similar story, his family has been coming here for years. And then Pete…

Peter: I’m from the Detroit area. A large portion of Chicago theater people come from Michigan.

Elizabeth: Pete and I have worked together at the Court Theater in Chicago. Pete came up to us after a performance of As You Like It, our first year in the new space.

Peter: I happened to be in Leelanau County visiting friends and so I popped down to say hello.

Elizabeth: We talked about his daughter Serena being an intern for us—which she did, she was our stage manager for a couple of years in a row—and then Pete threw in, “If you guys could use some help…” And he ended up volunteering himself for managing director.

The big change that’s happened for us this year is that we recognize, since Pete’s a faculty member at Northwestern and I have to be there too, we just can’t be here to fundraise.

Janet: I think your Evening in Verona [fundraiser at the Oliver Art Center, May 25] was a brilliant idea.

Elizabeth: That was all Amy. She has woven so many relationships in this area and it was really terrific, it really did a lot for us. We’re still run into people who confuse us with Riverside—I mean, the more Shakespeare, the more theater there is going on, the better, but we don’t want people to get confused and think they’ve seen our show.

Amy: One of the conversations I have a lot is where people assume Lakeside is a traveling company performing in various places. They don’t understand what a special thing it is. I’ve been trying to figure out a way to express this, that Lakeside only performs here, and that we have these amazing teachers, and the workshops are free.

Elizabeth: To sort of bring this back to Elberta, the long range goal of all this, our hope, is that this mushrooms into a full-blown festival. One of the biggest problems in this community is it’s a six-week economy. Most of the money made here is made between Memorial Day and mid-August. There’s an American Players theater in Spring Green Wisconsin. Spring Green is a little farm community. It’s outside Madison, but it’s relatively in the middle of nowhere; it doesn’t have as much as Frankfort has to recommend it. But what it does have is this theater that runs May through October, with a year round staff.

Janet: But it is an outside theater also, and they have the problem of weather too—it’s cold and it snows.

Elizabeth: And yet they’ve been pulling it off for 25 years. We’ve already got people coming here. We’d like to build toward that. Coming back to Elberta, the Roundhouse, or what remains of the Roundhouse, still stands, and I can see a full black box theater, a pub, and retaining those original walls, losing nothing. Richard II, one of my favorite plays, has a gorgeous scene. It’s the beginning of the War of the Roses, when Richard was deposed, it’s the very beginning of that cycle, of that battle over the God-given right to be king. Richard II was raised to believe that no matter what kind of king he was, he had the divine right to be king. He gives a speech that begins “I am amazed…,” and there’s this window up at the top of the square part of the Roundhouse, where I picture him delivering that speech.

I am amazed; and thus long have I stood
To watch the fearful bending of thy knee,
[To NORTHUMBERLAND]
Because I thought myself thy lawful king:
And if I am, how dare thy joints forget
To pay their awful duty to my presence?
If I am not, show me the hand of God
That hath dismissed me from my stewardship;
For well I know, no hand of blood and bone
Can gripe the sacred handle of my sceptre,
Unless he do profane, steal, or usurp.
And though you think that all, as you have done,
Have torn their souls by turning them from me,
And I am barren and bereft of friends;
Yet know, my master, God omnipotent,
Is mustering in his clouds on my behalf
Armies of pestilence; and they shall strike
Your children yet unborn and unbegot… (Adapted from Richard II, Act 3, Scene 3)

The space in Elberta, if we were able to raise the funds for it, would be a completely indoor theater, where you wouldn’t have to worry about weather. Theater people are environmentalists, generally. We don’t want to build some big theater that is completely not in keeping with what’s around, we want to do the opposite. And we’d like to partner with the Watershed Council on some things. I’d love to build a theater entirely of reclaimed wood.

Janet: And I know at one point you were thinking about the old motel [the Bay Valley Inn].

Elizabeth: We actually looked at it with a real estate agent. But we figured first of all there’s an asbestos issue, so it would all have to be gutted and cleared out, and there was mold.

Emily: Yes, if there was asbestos, Loy Putney didn’t have to remove it. “Afix in place” is the state agriculture regulation on asbestos.

Elizabeth: I will tell you exactly how Lakeside Shakespeare began. I don’t like to wait around when I have an idea. I went to London to do some postgraduate work in Shakespeare at the Royal Academy of Dramatic Art, and that gave me a student ID that allowed me to see tons of theater. Much of theater in England is state funded, and student rates are really cheap, less than it costs to see a movie. The Globe Theater does something marvelous: you can get a groundling ticket, which is standing room only at the front. The psychological advantage is that people who pay the least amount of money for a ticket and were also technically the least comfortable were also close to the action. People who paid more were further away. People who paid less want to be there more, are willing to put up with more, and that enthusiasm infects the whole space. Laurence Olivier followed that principle with the National Theater. The cheapest seats are in the front. If the people in the front are laughing and enjoying themselves it ripples backwards.

I saw a production of The Tempest. The Globe is a complete re-creation. Other than some electrical lighting for safety, it’s historically accurate down to the wooden pegs in the walls. It’s London, and so it sprinkled on us. Vanessa Redgrave was playing Prospero. You get there early and you grab some stage. People in front use the stage to lean on. I was right up front, and Vanessa Redgrave knelt down inches from me, and gives this speech right to me, and I’m like, this is the best thing that’s ever happened to me. I’m looking around and I’m seeing that a good 40 percent of this audience is American tourists. My experience with American tourists is that they’re not keen to stand through a performance of Shakespeare, but that’s what people did here, and they had a great time, even though they got rained on. Even at The Tempest, which is sort of a weird show. It was a real mix of people, but they all agreed to stand shoulder to shoulder, in the elements; the weather is similar to northern Michigan—it’s hot for a while during the day and then it gets cold all of the sudden in the evening.

Shakespeare was a popular writer. His plays were pop entertainment and this production really showed me that. At the end of it, I thought, this is how Shakespeare should be presented. It should be something anyone can see. Productions in Chicago are like $55 a ticket. The really amazing thing was at the end when the artistic director, Mark Rylance, and the actors came out to say it was Sam Wanamaker’s birthday. Sam Wanamaker was an American actor who went to London for a production in the ’60s and when people asked what he wanted to see while he was there, he said he wanted to see the Globe Theater. And they said, “Um, it burned down 300 years ago. There’s a plaque in Southwark… I think…”

And Southwark at the time was very down at the heels. And over the next twenty-five years Sam raised a ton of money. The first fundraiser production happened in a tent on the location where they intended to build. The first production show was Vanessa Redgrave playing Cleopatra. It’s a huge institution now. And he said Sam died just before the first production happened. “So,” he said, “if you have a dream, look around you, it can happen, even if it’s a really big.” I was 29 then. And when I got home I got proposed to. And so around 2000 I was planning my wedding and at my wedding up here I said to Jeff Christian, look around. And he and I started talking about it. So I talked to my dad about having a fundraising party. We invited some people I’ve known well since childhood who travel a lot and see a lot of theater. They hooked me up with the Seabury Foundation for some initial grants and other people made private donations, and someone mentioned that Elberta had just redone [the Waterfront Park]. And that’s how it took off.

We were here for a week in 2003. The first season was a very bare bones production of Midsummer Night’s Dream. Jeff and I were standing there in the Elberta park before the show, and I looked at him and I said, I have no idea if anybody’s going to come. And then these people started coming. A hundred people showed up the first night. And the next night, 300 people. So that’s where it started.

How many people come up to me and say they’ve never seen Shakespeare, or they say, I would come but I haven’t read it. And I say, you’re not supposed to read it. Shakespeare’s audience didn’t read the plays.  If you can’t understand what’s going on, that’s our fault not yours.

Amy: Can I add a little thing about this that breaks my heart open every time? One of the things I love about Lakeside is the family aspect of it. Just yesterday we finished walking in the Fourth of July Parade and Elizabeth and Owen were there and Pete and his two daughters and my husband and our daughters…the kids are welcome. It’s very rare to have something that’s for kids and family and it’s not dumbed down; it’s bringing them up. It makes me so happy to see these opportunities for our community where we can share something that’s so rich, but at the same time such a blast.

Elizabeth: Owen sat through Hamlet last year. He didn’t like the end. He liked watching the practice but the actual performance was scarier because I looked so upset. One of my favorite anecdotes from Hamlet last year was from a woman, a summer resident, who brought her 10-year-old grandson to see the show. Hamlet‘s not a kids’ show—it’s one of our longer ones, there are very tough themes, a lot of psychological complexity. This 10-year-old sat through Hamlet, stood up at the end, led the standing ovation, and said, “Shakespeare is so cool!” and insisted she bring him back. I’m pretty sure he’s going to grow up being involved in the arts in some way.

(Owen, who was being very patient, was starting to get fidgety, and it was agreed some beachgoing needed to be done.)

Emily: So, any last message for our readers ahead of the shows?

Amy: I’ve called around to all the libraries to make sure they have copies of the plays and other resources on hand. I’m always amazed at the “art of the picnic” that takes place on Tank Hill—so one of our fundraisers this year during the show is auctioning off picnic baskets filled by local restaurants. And we’re going to be selling wineglasses as well, with our cool new logo. The logo is a silhouette of Shawn Pfautch from the production of Henry V.

Elizabeth: The intention is for us to be up here more and more. We’re still talking to Than [Buck, Janet’s son, a filmmaker] about filming a thriller in this house…

Amy: And we really do need volunteers. We have really fun things to do. Tell them they can go to this volunteer siteΨ

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