A View of A VIEW FROM THE BRIDGE: Preshow Actor Rituals and Superstitions!

Ever wonder what goes through an actor's head before they go on stage? Well wonder no more! Today the cast of A View From The Bridge, now open at Artes de la Rosa takes us through their preshow rituals and superstitions.

Alyssa Maldonado – “Before a show I like to do a lot of little stretching exercises! And i usually pray either on my way there or backstage like 15 minutes before the show. While I'm doing hair & makeup i like to just clear my mind of everything & just think about the show & each one of my scenes...Oh & breathing exercises help me stay calm too. ”

Fredy Edward Quiroga – “I usually workout before a show and then meditate…”

Laura L Watson – “I pray on the drive there- about 30 minutes worth- for everyone and everything. Once at the theatre, I do my hair and make up. Then I do my warm up on the stage- a mixture of dance stretches, pilates, and Linklater vocal work. It takes about 45 minutes. Once I'm warmed up, the house is open and I am banished to backstage where I finish dressing and review my entire script. I am often asked to lead a group warm up and energizer, which is always fun. Right before the SM calls places, it's breath mints, breath mints, breath mints! I am a creature of habit- it comfort and calms. I have no superstitions per se, but I respect and participate in any others have.”

Stephanie Cleghorn – “Prayer and lucky underwear.”

Eddie Zertuche – “Health first. Make sure I am fed and rested. Early in the day, I will scan my script for reinforcement of lines, blocking, direction, notes, etc... There is usually prayer/meditation all day long....basically trying to let my will go and put in the hands of something greater. This prevents any unnecessary thinking from occurring lol. The thinking is inevitable sometimes though. Warm ups prior to the show are helpful... stretching, breathing, vocals, etc. I do my best to welcome in the nerves. I treat it like its a normal, good thing because it is. No superstitions. Right before the show starts, I will find a quiet place, all to myself, and I will snap my fingers in comfortable rhythm and chant the words "It's gonna be right" over and over again. Smell the roses. Blow out the candle.”

Jacqui Rash - “This is my first play so I will pray for a wonderful show and that everyone will be happy with their performance. No stressful work, "Well, take it easy."

Jp Cano – “A lit bit of everything... some pray to God/Universe and some stretching/vocalization. I always have that Love/hate feeling for opening night that is amazing...I always feel like I need to go to the bathroom just before my first entrance to the stage, so I do go to the bathroom hehe!! No superstitions at all... life is acting... acting is life!! Oh something else...just before we start I really like to express to my cast members "break a leg" or "mierda" (I know, disgusting, but that's a Spanish ritual word)."

Carlos Iruegas – “I spend time with family and friends and make sure I laugh, so i remember to have fun and not take myself to seriously.”

Yvonne Duque – “I burn sage and face the four directions…”


Cole Spivey – “I used to be afraid of the color purple. I am no longer afraid of the color purple because I was overloaded with so much purple during this show that I became cured. On the other hand, I'll never say The Scottish Play cursed name anywhere near a stage. It starts with Mc. . .”

A View From The Bridge - TEASER TRAILER

A View of A VIEW FROM THE BRIDGE with Chorus Member Laura Watson

One of Director Adam Adolfo's goals in the bold staging of A VIEW FROM THE BRIDGE includes the inclusion of a 'community Greek chorus'. Today we blog with a member of the chorus, Laura Watson, as she share's with us her insight into this take on the modern Greek Tragedy.

One of the many hats I wear, in addition to working actor, is the as the (dreaded) theatre critic. But the reason I do it (despite the obvious conflict of interest it can create inside this tight knit theatre community of DFW) is more than a compulsive need to share my humble opinion which I respect very much. Imagine- it’s actually my job to sit and watch theatre! To react as I see fit- with laughter or tears, and at times loathing. I am asked by both the production and my readers to go with complete abandon on whatever journey lies ahead of me. The review is simply a reflection of this journey in hopes of making future journeys better.

Ironically, the job of the Greek chorus is, among others, “to show how an ideal audience might react to the drama” (August Wilhelm Schlegel). Now, not only am I part of this amazing production, but my job night after night as a member of the chorus is to sit and watch it- reacting as I feel motivated to, and thereby guiding the audience through the multiple reactions they themselves might be experiencing. All of this heightens the experience for both the audience and the actors.

As the ever excited about her latest project actor, I find myself constantly promoting the show to family, friends, and complete strangers on the street.
“How wonderful!” they all say, “I love A View from the Bridge. What role are you playing?”
I proudly beam and say, “Chorus.”
Dead silence follows.
“Did you make it into a musical?”
“No, it’s the original text.”
“Um, Laura? There’s no chorus in A View from the Bridge.”
“There is now!!”

In his research, our Director Adam Adolfo came across interviews and essays by Arthur Miller about how A View from the Bridge was his attempt at a modern Greek tragedy. Adam took it one step forward by adding the traditional Greek chorus. Not just a traditional Greek chorus, but a purposefully multi-racial chorus centered on a Dominican family.

This is only the tip of the iceberg- Adam is adding layers upon layers to this production, all of which we as actors are discovering were within this text all along.

As the Irish chorus girl, I might stand out a little in a play about Dominican immigrants. However, my cast mates made me an honorary north side Latina, and Adam makes sure that I’m in the head of my character- a recent 20-something Irish immigrant new to life in Red Hook so that I can give the Irish viewpoint and reactions to the story.

As actors, we often sit around talking about things we observe during rehearsals, new revelations that are fueling a brief moment in the play. Perhaps over a pint of Ben and Jerry’s Clusterfluff ice cream, the different racial, ethnic, and cultural viewpoints are all openly and honestly discussed. It’s enlightening to me, both as an actor and as a member of this diverse society. This may not be 1957 Red Hook, but, relatively, few things are different.

In the end, our audience- regardless of color- will have a wide variety of reactions to this story. Some will love Eddie, others will hate him, and others will simply mourn for him. There is a character for everyone to identify with, and their personal attachments will shape their ultimate judgment of both these characters and this production.

So, come see Artes de la Rosa’s A View from the Bridge. It is our modern Greek tragedy. Or justice. Or absurdism. It depends on what your view is.

A View of COSTUMES with A VIEW FROM THE BRIDGE Costume Designer Carl Ramsey

Today Costume Designer Carl Ramsey returns to blog about the continuing process of costuming A View From The Bridge and shares a few preliminary pencil sketches, called renderings, that served as inspiration and the start of discussions with Director Adam Adolfo.

It is interesting, after so much research on one topic, the subject begins to become automatic. Especially in terms of fashion history, you become so accustomed to seeing certain silhouettes, certain lines and shapes, that things become readily identifiable. So when shopping for apparel, regardless if the clothing is vintage or modern, one can confidently grab or pass on a garment that may or may not be suitable for the period, only with a quick glance. This is all fun and games, however, when it comes to the real challenge; narrowing things down to the color palette and thematic elements of the play.

Something perhaps more challenging is trying to understand costumes from the audience’s point of view. One can argue that a particular ‘look’ did exist in the period, but if the audience does not recognize it, then its presence in the play becomes pointless. Therefore, in selecting costumes, I am learning that literal translations are not always the prerogative, but audience perception is key. In the theatre, the audience assumes things are present on stage for a reason, and if something looks like it is out of place, it is perceived either as a mistake or having some function at some point in time of the production.

As the production grows, so do the people involved with it. This show is beginning to come together, and interestingly enough, what the characters in the script learn about themselves, and about each other, so do the actors, the designers, and director, walk away with some notion that the qualities of these characters are not distant from what they would find within the real world, andpotentially, within themselves. Of course, nobody wants to admit to being an Eddie, having gone raging mad at the thought of losing his ward, Catherine. But we all must admit that we possess emotions that can overtake us, if it wasn’t for that fine line of control within our minds, that which we call ‘sanity’.

In terms of costumes, I am not saying that the character’s emotions and thought processes are going leap onto their clothing (giving another meaning to wearing one’s heart on their sleeve), but the fact is their clothes do make up an integral part of them, and they do make up some kind of subconscious character trait as a result. Eddie is always checking his watch, and so the watch has a purpose for his character. Catherine wears high heels at the beginning of the play, which tells us she is in transition into becoming a woman. Eddie forces her into a shorter pair of heels, giving us clear indication of his willingness to subjugate her and make her his own. Miller left no stone unturned when it comes to details, and things like pocket watches and high heels are embodied with important meaning for their respective characters; and as a result for the play as a whole.

A View of A VIEW FROM THE BRIDGE with Actor JP CANO

Actor JP Cano plays the fiercely loyal immigrant Marco in Artes de la Rosa's production of Arthur Miller's A VIEW FROM THE BRIDGE. Today he blogs to us about the experience he's having in rehearsal and how personal of a story this is for him. Also at the bottom see a sneak peak photo from the photo shoot featuring the cast of A View From The Bridge.

Every time I step onto a stage, I always remember myself, in my hometown of Parral Mexico, doing my first play when I was 11yo. Now almost 2 decades later, I feel the same love for acting that I did then. That love of story-telling is an aspect of acting that is more then just a great feeling. By telling stories we try to find out and define who we are and also what we aspire to be. On a personal level, during a performance, I love to connect with other human beings (my fellow actors) in a way that I don’t get to connect with in “real” everyday life. I get to love, hate, inspire and experience life to the fullest, like no human being can in “normal” life. This August Artes de la Rosa and director Adam Adolfo makes my acting dream to be reborn come true again.

When I read for a first time “A View from the Bridge”, I was not familiar with the script. Being born and raised in México, as an actor I grew up with writers like Lope de Vega, Garcia Lorca, Cervantes, Jose Revueltas ,and Emilio Carballido but never Arthur Miller. Director Adam Adolfo made such a great effort at research that I felt I knew Miller for years. The story could be so simple but complex at the same time; very unique, and of course full of a beautiful real life drama.

Family and Immigration are the subjects of this award winning masterpiece. Being an immigrant myself, I felt so connected to the story and of course with my character. Marco is not the good guy or the bad guy. He is just a normal person with such strong brotherhood feelings and family bonds that have put him into a very difficult situation. The main character, Eddie, has so many shades that it is impossible not to love and hate him at the same time. That’s what is so wonderful about this play, its complexity of the human condition. All the characters are so normal, searching for their own dreams or may I say nightmares; also they make mistakes like everyone else.

Immigration has been a subject and issue for so many decades and theater is not the exception in talking about it. Miller’s vision about immigration is so wonderful that makes the narration for all type of immigrants accessible no matter the nationality. Adam makes a great twist with Latinos and a good investigation of history to be believable. The cast is magnificent… actors with very different backgrounds and natural talent that make you fall in love with the story telling of Miller. Don’t miss this beautiful, but dramatic “View from the Bridge”.


Actors Abel Flores Jr. and JP Cano play brothers Rodolpho & Marco in Arthur Miller's A View From The Bridge. Photo by Shannon Atkinson on location at the Trinity River Bridge in Dallas.

A View of A VIEW FROM THE BRIDGE with Star Eddie Zertuche

Today we blog with actor Eddie Zertuche as he talks abit about the rehearsal process, the journey, and the hope for our lavish staging of Arthur Miller's A View From the Bridge.

Well I'll start by saying I am completely looking forward to this production of A View From the Bridge. We got a fine cast, a fantastically imaginative director, and a wickedly fierce design team! My journey into this play has been one of excitement, a little fear (the good kind), and an anxiousness that just doesn't want to cease. I am playing the character of Eddie Carbone. Not to divulge too much of this man, but I will tell you this...He's all heart! I think that is what I love about him the most. What you see is what you get. If you're gonna say something, then say it. If you're gonna do something, then do it. I'll leave him alone for now.

Rehearsals have been going as smooth as can be for the most part; getting the show on its feet, sinking our claws into the script, and staying focused on the task at hand. I feel that a very healthy bond and trust are on the horizon as our cast members get more and more familiar with this show and its importance. I think that is crucial to have a "family" type feeling when putting a show together. For one thing, it makes the progress that much more enjoyable. I think we have a cast that is chomping at the bit to put this show up. I mean, come on, its Arthur Miller; its strong, its compelling, its intense, and its live baby! I will admit, this is one of the more complicated roles that I have ever had to play in my life, but being the competitive person that I am, my words are simple; bring it on!!!

I think I want to talk about that theatre a little, The Rose Marine. That place holds a pretty good chunk of my heart in it. I used to perform there a lot years back and I can't seem to stop feeling the gratitude for being able to perform there again. I walk in that place and it seems to blanket me with a comforting homey feeling (no pun intended). I love it. I love what it does for the Hispanic community and I love what it does for Fort Worth. I don't ever want to see it go away. So, I don't want to share to much about the show itself for I want you to come and see what we are doing. The production is innovative. It might seem a touch unorthodox, as we are stylizing it up some. Arthur Miller had a few ideas up his sleeve and I think we are going to look up it and see what we see. But again, I won't get too detailed. I want to lure you in so you can make your own decision. It will be entertaining though for that is what we do! Our cast consists of 13 wonderfully talented people and I hope I don't get in trouble for my nicknames; their not too bad. We got Alyssa Maldonado (the princess), Yvonne Duque (the mom), Jacqui Rash (the clown), Stephanie Cleghorn (the beauty), Tyler Cochran (the teacher), Abel Flores (the hot 'Rista'), Laura Watson (the 'working' actor), J.P. Cano (the stud), Cole Spivey (the actor's actor), Fredy Quiroga (el guapo vato), Carlos Iruegas (the brain), and Jimmy Moreno (the hustler), and me (the insurance man) We got a nice mix in this cast; ages, colors, etc... I really love watching, sharing, and being a part of the process with this group. I think this show definitely requires the right kind of focus.

As far as our production team goes, I am completely confident that the skills and talent they bring to this show wil be as magnificent as they will be fascinating. Adam Adolfo has found some very creative people to work on this show and it will be reflected in our final product. Oliver Luke is in charge of creating our physical "world" as it were. Carl Ramsey will come in and make sure we got our best 1957 gear on. And let us not forget Justin Treece who will be providing the illumination to what has been called a 'living watercolor' stage. Adam Adolfo, of course, will be doing something that we like to call "Directing!" Come and check it out!!

A View of A View From The Bridge with Scenic Designer Oliver Luke

Today we spend a few minutes with Scenic Designer Oliver Luke as he discusses the long journery he and director Adam Adolfo have had in getting a firm grasp on design for A View From The Bridge.

In approaching the design for A View from the Bridge my first thought was to start literal and make it a traditional set.

However after pouring over designs of previous productions, reading the script and researching the time period, I had hit a roadblock. The designs I was working on just didn't feel right. The designs seem to be missing something. The designs just didn't seem to flow, or feel inspired.

When director Adam Adolfo first asked for the designs he had given me a packet of research and a color scheme, he wanted something to embody this dark oily image of dirty water, yet still containing some muddled blues and greens. The problem was the feel of the colors and the designs of the set just didn't seem to work in a traditional setting and design.

So after weeks of racking my brain trying to come up with something interesting but conventional I was still stumped. Then one Sunday morning weeks ago Adam and I sat down and started discussing our concerns and the fact that we both just weren't happy with the looks of my designs - they all just seemed to be missing something we could not put our fingers on. Then suddenly it hit us both - but at different times.

One of the reasons I like designing for Adam is that we both seem to be on the same page when it come to creative inspiration. Adam suddenly turned to his computer and started looking up images of early New York, picture after picture the ideas started to form between us and he handed me one image in particular. It was a picture done in charcoal of the cities building and the bridge, and then he handed me a second picture one of just the iconic Brooklyn Bridge.

At that moment we both come to the conclusion, it needed to be the bridge. We would take the title and idea behind it literally creating a beautiful metaphor, the set would be the bridge. So as I sit writing this blog I now have the daunting, yet exciting task of interpreting and recreating the bridge for this show. It will be fun!

~Oliver Luke

A View of A VIEW FROM THE BRIDGE with Actress Yvonne Duque

Today former Teatro de la Rosa's Artistic Director Yvonne Duque talks about returning to the stage at the Rose Marine Theater, this time as an actress and not a director. We also hear about one of director Adam Adolfo's post rehearsal rituals that leaves everyone asking themselves a rather personal question.

"How do you feel?"


"Yvonne, How do you feel?" How do I feel? After rehearsal our director likes to ask the actors this simple question. It's a kind of round robin, check-in, if you will... It was interesting hearing the responses from the other actors and to hear the new responses at rehearsals to follow. The first time, as the answers were coming around the circle, I tried to focus not on my own answer, but listen to the others. Suddenly, it was my turn to respond. "So, Yvonne, how do you feel?" asked Adam Adolfo. After a quick self evaluation, the word resurrected came out of my mouth. Resurrected?? A bit dramatic, perhaps I overshot?

It has really stuck with me and continues to be true. I feel like I've been brought back to my self. I haven't been on stage in a long time and never have I been on the Rose Marine Theatre stage as just an actress for Artes de la Rosa. My theatre life for Artes de la Rosa, formally known as Teatro de la Rosa, and further formally known as The Latin Arts Association has had many twists, turns and responsibilities that far reached just acting. What a joy to be part of the renaissance of theatre at the Rose. What a joy to be working with a director who has really done his homework. What a joy to be working for a organization that has such passion for the arts. So, how do I feel? That's right, resurrected, like I've been brought back to life.

A View of A VIEW FROM THE BRIDGE with actor Abel Flores Jr.

In today's blog, actor Abel Flores Jr., who last appeared on the Artes de la Rosa stage as Father Tooker in last years Cat on a Hot Tin Roof, talks about the relevancy of the story and the importance of seeing ourselves in this story. Abel returns to ADLR as the young, romantic (and illegal) immigrant, Rudolpho. As a special treat, he's included some photos from rehearsals thus far!

When I read plays, I often find myself empathizing with one or two characters. Finding the relationship between yourself and a character in a story is important when studying a script or being cast in a role. What’s so powerful about the story and characters in A View from the Bridge is that not only is every character relatable but every element of the story is too. This play is one important story with many different sides to it. I’ve read this script multiple times and I find myself hoping for each character to achieve what they so desperately want each time. Real people exist in this story. The issues brought to light by this show and how our director, Adam Adolfo, transforms them through Latin eyes, makes them local, relevant, and applicable to where we as a community find ourselves today. Artes de la Rosa’s production of A View from the Bridge is an ambitious and important one; with the consistent dedication and hard work that each member of the company gives, it is a story worth telling and listening to.

A View of A VIEW FROM THE BRIDGE with Actor Carlos Iruegas

Today's blog is a truly special. One of the highest compliments an actor can be paid is the one that comes from a fellow actor. After all, who better would understand the in's and out's of the creative process then a fellow collegue. Spend a few minutes with the talented and charming Carlos Iruegas who plays A View From the Bridge's formidable voice of reason, the lawyer Alfieri.

In the coming weeks you’ll hear much about the production of A View From the Bridge. You’ll hear a lot about the production and the idea behind the show. It is ambitious and it is very important. You’ll hear about the intentions that Miller had in the show and hopefully debate the relevance that it still has on the current immigration issues facing our cultures. But today I wanted to talk about something a little different.

I cannot add a word about the Production itself. I fully trust in the vision of director Adam Adolfo and the costume designs of Carl Ramsey and the many people behind the scenes. You’ll see and hear the impact of Miller’s word as you witness the saga itself on the stage.

I wanted to take a few minutes and walk you through our amazing cast. These are the people that will come together and tell you a very powerful story on the stage. Miller is not easy, because Miller is real. These amazing actors will have to draw from tough places in order to tell a story that is not easy to tell, and watching them do it in rehearsal has been a very special treat.

Our Chorus is amazing. Simply put. We have a cast of people who each can tell a story given an hour or only a minute.

Our youngest is a very promising young actress named Alyssa Maldonado. Her innocence and bright smile and her willingness to take on difficult material give her scenes an energy that can’t be put into words. When she is on stage you want the story to turn out all right because you don’t want to see her frown.

Ms. Jacqui Rash is an amazing person to be around. Her bevy of experience makes each scene she is in very real and very powerful. Regal yet warm she is one of those that can tell a whole story in only a few words.

Tyler Cochran very talented and very energetic actor who is able to completely step outside himself and be anything you need him to be. An actor without limits is incredibly hard to come by.

Laura Watson is literally one of the smartest actresses or actor I have ever known. She has an amazing gift of being able to analyze and understand any material given to her and break it down to its very raw and very real form. She is able to draw from a wealth of knowledge few actors have but all should strive for.

Cole Spivey digs very deep into everything he is given. Not a single word or movement is wasted on him as he delves to completely understand each moment he is given. Each second on stage is important and he completely understands that.

Fredy Edward Quiroga has an energy that doesn’t just come from being young but also young at heart. An actor who shows no fear in the material he is given he is willing to work as hard as he can and push himself to best tell a story.

Jimmy Moreno has been a pleasure to work with. Laid back and undaunted by the heavy work ahead, he keeps things fresh. A great listener who doesn’t lose any bit of detail in the material he has.

The chorus is amazing and just as amazing is the rest of the cast. With an array of talents and experience they have the task of bringing Millers characters to life.

JP Cano himself is funny and energetic, but as Marco transforms into a pillar of strength. His presence on stage is powerful and felt from the instant he makes his entrance. He brings dignity and passion that the role needs and that the show cannot survive without.

Abel Flores, Jr. is perfectly cast as Rodolpho. He is that light that everyone wants to be close too. His warmth and likeability translates perfectly to the stage. Abel takes every scene and every rehearsal at a pace and energy that is hard not be motivated by it.

I dare you as an audience member not to fall in love with Stephanie Cleghorn. She brings such wonderful innocence and awe to the role of Catherine. Within a few moments of seeing her on stage you complete understand the motivation that drives this story and it will bring you to tears.

Yvonne Duque is a kind and honest and loyal cast member. Those are the qualities that bleed into this story and make Beatrice one of the most heartbreaking roles I have ever read. Yvonne is able to turn Bea’s story into the forefront and it will break your heart

Last but not least is Eddie Zertuche. I have had the pleasure of being on stage with Eddie before. Eddie is a powerful actor who brings passion and intensity to each role he is given. He has the ability to bring out all the layers of each character so that they are never one dimensional. In this show you will Love Eddie and you will Hate him, you will also never forget him.


THE CAST OF ARTES DE LA ROSA'S
A VIEW FROM THE BRIDGE