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on stage. I’m providing clues and suggestions but when we reach the rehearsal process, I’m expecting them to before. Becky Fly, my predecessor, who is fantastic and has helped tremendously with our play. However, she
bring something of themselves to rehearsal every day. How they view the character, their interpretation of the does “Grease” and “Guys and Dolls” as they were written initially and so she sticks with the original layout. I like
script and the story, how their character fits in the story. At this point, I become somewhat of a glorified audience to change it up, to dimmish the ability of the audience to compare the story, and more importantly the actors to
member ensuring their words are heard and communicated effectively to attendees. To assist this effort, there is those who have played that role before. At Northside, I put on the 1981 Pulitzer Prize winning, “Crimes of the
a game we play “emotional rollercoaster” where I throw out an emotion and let’s be Sad 1 and now let’s be Sad Heart” by Beth Henley. I appreciate and try different styles of theatre such as constructivism and absurdism. It is
10, what is the physical embodiment of that difference. So, when I need a part of the script enhanced – I’ll say important to expose my students to a broad range of theater styles. Thus, going back to our production of Romeo
you at Anxious 2, but I need you at Anxious 10. Their choice may be correct, they just need to ramp it up for a and Juliet, setting it way in the future, with characters spray painting graffiti on the walls of their adversaries,
house full of theatre goers. The people in the back paid just as much as those in the front. Allowing the students now it becomes, “Wow, what am I watching? It is fun and places a new energy on the play for the performer and
to bring themselves to the production establishes an investment whereby they can own their piece as well as the the audience.”
overall success of the play.

ZGP
ZGP Can theatre bring humanity together?
Today you play the role of a teacher and mentor, how is that different or perhaps the same as a role you have Jeremy
played on stage? Absolutely, one of the things I always teach in my classes when we are going over the production crew, people
Jeremy behind the scenes of a play I really feel like there is a place for any personality type, any walk of life. There is place
I do find I have to shift and change dynamics depending on the students I’m working with. Students range in in the theatre for everyone: out front on stage, behind the scenes creating, or in the audience viewing the whole
personalities as you would find in everyday life outside the classroom. Some need more of a push, some need production; theatre is diverse by nature. Theatre is a mirror of everyday life, our similar and different experienc-
more of a leading by the hand, while others can take a mere suggestion and find their way. So, the similarity is es, including mirroring what the audience looks like physically.
that when playing a part, you are also shifting and changing in respect to the other characters. For example, one
of the acting techniques I teach by Robert Cohen called G.O.T.E. (Goal, Obstacle, Tactic, and Expectation). As an ZGP
actor I know tactic plays into how I am I trying to interact with my fellow actors, am I forcing them or seducing What would the world look like without the theatre?
them to do something. So as a teacher and actor, tactic is a marriage that works in both roles. Jeremy
I don’t know, I hate to think about it even. Life would become fearfully one-dimensional. Life would be dictated
ZGP by ‘in the box’ thinkers rather than a collective of creatives.
As an art that depends so much on face-to-face interaction, how has COVID impacted theatre, especially here at
Madison? More importantly, what have you all done to positively offset the impact of COVID? Closing Scene
Jeremy Jeremy walked Tammy from the theatre back to the highschool lobby. Tammy waved and smiled after having a
COVID has been devastating for theatre. Like with other programs, such as girls’ soccer where I am a coach, great conversation with a super talented, compassionate teacher of theatre. His students are super lucky to have
governing bodies were implementing restrictions and COVID protocols. Immediately all plays and rehearsals such an inspirational mentor to guide them on their acting journeys.
were placed on hold, we were barely meeting in class as it were. Students were on campus divided up by last FADE TO BLACK
name. I had an acting class in the Fall, and we were attempting to put on a play however, only half the students
chose to come to in-person class and the others were virtual. I wanted them to do some scene work and do it by
looking at each other in computer boxes. We attempted several things as the would do on stage via a computer
screen, such as improvisation exercises, and things that would mimic what we do in the theatre via computer
screens, but it just didn’t work for me, theatre is a shared experience, together on stage face-to-face. After a year,
we are finally able to do a play but with lots of restrictions – masks in every rehearsal, clear face shields for the
show, but unclear how that will work with floor mics which might go over ok with the face shields being opened
on the bottom. But we are learning as we go, and it is still all unclear at this point.

ZGP
Where do you draw artistic inspiration from?
Jeremy
I like to look for things I’ve not seen before. When I first got to Union, David Burke was a major influence on
my artistic, theatrical views. We were doing all sort of shows there and like “Comedy of Errors” where we did
it in clown makeup and we did Antigone, a Greek Tragedy by Sophocles written around 441 BC, but we set it
in a militaristic, sort of a like a 1930’s almost Nazi Germany feel to it, where Antigone was standing to Creon
dictatorship. Burke influenced me to look at stories from all different types of genres and angle. When I start-
ed teaching that is what I gravitated toward, let me find a play that is interesting and unique that I haven’t’ seen

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