Set Rendering by John C. Stark, Set Designer

CRITICAL RESPONSE

"...a smart. vivid and often surprising one-woman show ...performed with skill, fervor and intelligence by Lori Adams...a work of impressive sweep, as was the life of its subject ...on the evidence of the excerpts laced throughout Ludlam's script - and brought to life with impressive clarity by Adams --you may very well want to head out and find a copy of the complete work...." 

Hedy Weiss - Chicago Sun-Times

"... Adams, with a fine command of island dialects and an eye to distinct and individualized personalities ... the superlative craftsmanship rendered manifest in this Stockyards Theatre Project production ... "  

Mary Shen Barnidge - Windy City Times (Chicago)

"Adams brings intelligence and class to the piece...Lauren M. Lowell's period-perfect dress..."

Kelly Kleiman - Chicago Reader

"Actress Adams keenly kindles her connection with her audience… Confident and assured, she ably moves through a variety of emotions as the spirited Fanny ... "  

Larry L. Kubert - Lincoln Journal Star

"Adams embodies the charisma and charm of the character.  To see her elegant handling of a teacup and to hear her recite snippets of Shakespeare is to know we are in the presence of a creature of the theater."                            

Susan Haubenstock - Richmond Times-Dispatch

"Adams as the remarkable Kemble is able to seize the attention of the audience and hold them spellbound while she spins Fanny’s story.  It is a tour-de-force performance not to be missed, celebrating the bravery and steadfastness of this unsung American heroine." 

Marcia Weiss - The Pantagraph

"Direction by Janet Wilson keeps the play moving seamlessly...Wilson certainly understands the social daring of Fanny Kemble and her radical take on the world around her... Lori Adams provides an unapologetic emotional dimension that carries the audience between events in a way that the script cannot."

Kate Smith - The Indy 

"Historical figures the size of Fanny Kemble are usually prohibited from a life on our stage because of the painstaking necessities in costume and properties that our budgets will not support...  What a terrific opportunity for Heartland Theatre."

 Letter from E. Mike Dobbins, Managing Artistic Director, Heartland Theatre Company  

"... one of those rare performances in which the actor seems in a state of seamless and timeless flow... the balance between telling the story and re-living it was near perfect.  This is certainly a credit to both the acting and the direction, for it takes a keen directorial eye as well as an actress in full command of her technique to achieve this level of clarity, subtlety, and power.  In addition, Janet kept the staging consistently lively and engaging, no small feat in a piece like this, and orchestrated an overall mise-en-scene that supported the performance wonderfully."

Roger Bechtel, Associate Professor of Theatre, Illinois Wesleyan University

 "The actor’s and director’s willingness to take time – somewhat risky for a theatrical production, where we have come to expect a quick pace – was one of the most compelling elements to the piece."

Dr. Nancy Taylor, Illinois College

Excerpt of Laura Kennedy's (WGLT) interview with Lori Adams (mp3 625k)

DIRECTOR’S NOTES: 

Fanny Kemble (1809 - 1893) was a controversial figure in her time and continues to be so today.  The public of her day followed the ups and downs of her tumultuous professional and personal life as we might search the tabloids for gossip about our favorite movie star.  Fanny was alternately cheered and jeered by a fickle public that never lost interest in the varied chapters of her life and artistic career.  Interestingly enough, two current biographers draw different conclusions about her character and motivations.  To further cloud the picture, a Hallmark television movie released this past May was factually inaccurate and both sanitized and sensationalized Fanny’s story.    

Indeed, Fanny is an extraordinary puzzle!  Her life was, in many ways, a paradox.  She was profoundly shaped by the beliefs and prejudices of her time and yet her deep faith and vivid imagination allowed her to envision a world in which all men and women, black and white, would be free and equal.  She was an English woman who both despised and revered the American experiment.  An astonishing actress who believed that a life on the stage was not a respectable career for a woman, Fanny returned to the stage in mid-life out of necessity.  Although a dutiful daughter, she became a “disobedient” wife.  Despite her upper class education and refined demeanor, she found herself called to care for sick slaves on her husband’s plantation.  But most inexplicable of all, Fanny was a loving, nurturing mother who was destined to be separated from her children.   

I find the theatrical form of this script intriguing for two reasons.  First, the drama unfolds intentionally through a single point of view.  There is no attempt to contrast Fanny’s account of her experiences.  Instead, the other characters in the play are seen and heard through Fanny’s keen senses, meticulous memory, and, of course, a flair for the dramatic.  Secondly, the audience plays a crucial role in this production.   During the play Fanny invites you to listen to her story in order to judge her character.  It is my hope that you will also discover how and why this complicated woman continues to fascinate.   

SYNOPSIS OF PLAY: 

Late on an October evening in 1850, Fanny Kemble bursts into her Manhattan parlor—terrified and angry. Her former husband has published a scurrilous attack on her character and she fears this will not only damage her personal reputation, but ruin her chances for a new career—she just that night debuted as a solo reader of plays. To defend herself, Fanny proceeds to tell her story, utilizing material from her intellectual companion, William Shakespeare. She takes us through her dazzling youthful career as a member of the great Kemble-Siddons theatrical family, her courtship and marriage to Pierce Butler, the birth of her children, and the discovery that her husband is a slave owner. Fanny recreates for us her life on her husband's Sea Island plantation. She visits the rice fields, calls at slave cabins, inspects the infirmary—and she is galvanized into action. She agitated for fair work rules, distributes forbidden goods, nurses the sick and injured. She even teaches a slave to read —a serious crime. In a climactic revelation, she realizes that "the misery of the slave has a counterpart the moral wretchedness of the master." Then she faces the consequences of making public her confirmed opposition to slavery: divorce, the loss of her children, and the need to make her own living as a middle-aged, single woman.

Taken from Dramaticpublishing

 A NOTE ABOUT THE LANGUAGE IN THIS PLAY:

“It is too dreadful to have those whom we love accomplices to this wickedness; it is too intolerable to find myself an involuntary accomplice to it.”                                  

~ Fanny Kemble, February 14, 1839

Although the racial slurs of the slavery era are considered offensive to enlightened Americans today, I strongly believe that revisionist history serves no one.  A sanitized version of history denies and minimizes the severe wound that was inflicted upon African-Americans and lightens the yoke of responsibility for white Americans.  If history could be contained safely in the past, this language would not be such a flammable issue.  Unfortunately, we find ourselves “involuntary accomplices” to slavery today.  We still, consciously or unconsciously, carry prejudices in our fears, attitudes, language, and behaviors.  By confronting the racism in this play, we allow ourselves to experience the “wickedness” of the past in order to understand its origins.  It is only through honest remembrance and understanding of our nation’s history that we can have any hope of healing racial relations in the present. 

Janet Wilson - Director

SCENIC NOTES:

The needs for a scenic environment in Shame the Devil are relatively straight forward as suggested by the playwright Ms. Ludlum. The scene is located in an elegant hotel room in New York City circa 1852. The suite would have included a reception area (where the action of this piece takes place) and of course a sleeping area (not called for in the script). Historically accurate decor would be steeped in "American Early Victorian" taking its lead from England. This style was characterized by an obsession with pattern, color and collection. What is usually identified as "Victorian" today is associated with the latter part of this period of furnishing and fashion. In the 1850's we would have seen the roots of what we label today as "Victorian".

The scenic environment created for our production of Shame the Devil was less concerned with historical accuracy and more concerned with a theatrical suggestion of "place". Our challenge was to provide a relatively simple setting in order to help our actor to feel rooted and connected to her world without pulling focus from the character in her highly detailed costume. The original design was performed in a thrust configuration (3/4 round) which invited simplicity in the setting. The floor featured a painted hard wood and a wool rug near the settee and armchair. A paneled wall stretched across the rear of the playing area that provided a wash of color and detail reminiscent of the time period without pretending to capture it faithfully. A dressing screen and the aforementioned rug provided a splash of pattern and color indicative of early Victorian period furnishings.

The props and furniture were selected with more of a concern for historical accuracy. The props of great importance are the ones handled and touched by the actor. In those instances we strove to provide her with as realistic of props as possible. This was also necessary because of the close proximity of the props to the audience. Shame the Devil on tour is presented with those all important props but without the original set. Each performance on tour will be unique as determined by the performance space. The rendering pictured on this web site provides visual reference for our initial production at the Heartland Theatre in Normal, IL.

John C. Stark - Scenic Designer

COSTUME NOTES:

Fanny Kemble was a strong, upright lady who loved fashion.  My intent with this design was to capture her strength, pride, and determination in her clothing.  These things are reflected in the cut and colors of her garments, and overall silhouette. However, historical accuracy was the key motivator in the approach to designing the garments of Fanny Kemble. Initially it was the desire to realize this approach in all aspects — down to the appropriate undergarments.  I can proudly say that I achieved this—almost.  I found myself struggling with historical accuracy in regard to theatrical reality.

Sources say that during the Crinoline Era (Civil War Era in the United States) a fashionably corseted waist measured 16-19" in circumference.  To achieve these startling numbers women underwent practices of corset training beginning at a very young age (as we do today with training bras).  I have come across recounts of advertisements for various young girls’ boarding schools, including one school nicknamed "The Whalebone House Establishment."  The advertisement of the Whalebone House claimed that a girl coming to the school at the age of 15 with a 23" waist could achieve over the course of 2 years a 13" waist!  Thankfully, we no longer follow these practices in modern fashion.  Today, a fashionable 1850s waist is unachievable for the average woman.  With concern for my actress’s safety and the fact that FANNY is a one-woman show (requiring much physical energy and breath), I made the decision to set my goal for a much more attainable waist size. My first breech of historical accuracy comes in the fact that we have settled for a very un-fashionable (according to 1850s & 1860s fashion) waist measurement of 27" (down from 29").

My second deviation from historical accuracy involves the construction of Fanny’s drawers.  It was common practice during this time period for ladies drawers to be open between the legs.  There were a couple of reasons for this.  First, skirts and dresses were quite cumbersome during the 19^th Century.  The separation between the legs allowed a lady to relieve herself without getting completely undressed. Initially, the new practice of ladies wearing drawers was not favored by the men in their lives.  (Prior to the 19^th Century women did not wear anything underneath their petticoats.)  Conservative minds felt that a woman wearing any sort of bifurcated garment (pants) was immoral.  Plus, the presence of drawers (as worn by men) on a lady made it very difficult for a man to have his way with her.  Women embraced their larceny from the male wardrobe—enjoying newly found protection, warmth, and hygiene.  They wore them proudly. Eventually, the crotch-less female version found acceptance with both sexes—they made everyone happy due to their convenience. Initially, I tried to give Fanny crotch-less drawers.  I soon grew concerned because the actress was blocked to show off her drawers during the course of the action. This being a family show, I made the decision to seam the two legs together to ensure that all of her layers stayed where we put them, making it impossible for Fanny to unknowingly expose herself.

The third step away from historical accuracy involved the deletion of a layer of clothing.  I knew that we were going to tour this show in a variety of venues.  I could not know if all venues would have adequate air-conditioning.  Also, the actress has to wear this costume for the entire duration of the play.  Upon completing the skirt—which contains approximately 14 yards of fabric—I found that it weighed close to 30 pounds.  With these facts, I opted to eliminate a critical layer of her undergarments—the petticoat.  I provided a cage crinoline (hoop skirt) to support the skirt.  Historically, the cage crinoline is covered by a petticoat and the skirt is worn on top of all the layers.  To eliminate some of the weight of the costume, I chose to leave out the petticoat.

The final breech of historical accuracy involves the construction of the garments.  At the time of our play the sewing machine had just been invented, and was still a novelty.  This garment would have most likely been constructed by hand.  I must admit, I did not create this dress by hand.  I used a sewing machine.  Nonetheless, it took an excess of 300 woman hours to create Fanny’s attire.  I shudder to think how long it would have taken to construct by hand.

With the exception of these four alterations, I strove to create the most accurate costume for Fanny as possible.  The choice of fabric, the construction, and the undergarments represent those of a fashionable Crinoline Era lady.

Lauren Lowell - Costume Designer

LIGHTING DESIGN NOTES:

As I approach a new piece, I begin by giving the audience clues as to the world of the play through lighting:  location, time of day, and quality of light.  At the first reading, it is apparent that Fanny Kemble is in her New York apartment, awaiting reviews of her evening’s performance.  Interior, late evening, mid-1800s.  However, as she begins to tell us the story of her experiences in Georgia, she actually makes us see, hear, and feel the world of the plantation.  It seems that in those moments when she takes on the characters she encountered, we are right there with her.  As those moments occur, the director, Janet Wilson, and I thought it might be interesting to change the drawing room into the plantation house, slave quarters, or infirmary, without going so far as to lose the drawing room completely.  It still was just Fanny telling us her story. 

The greatest contrast for me was that between the interior drawing room and the exterior of the plantation.  I wanted to give the audience a sense of the heat, humidity, and lushness of the vegetation.  The other, more emotional, location was the slave’s quarters and infirmary.  The dankness, dimness, and cold tone of the shacks combined with Fanny’s overwhelming horror at the conditions was a counterpoint to the bright, textured exterior.  And while we never leave the drawing room, it can subtly take on the qualities and emotions that Fanny remembers.  It is my hope that the audience, too, will feel some of the same.

Julie Mack - Lighting Designer

SOUND DESIGN NOTES: 

In her journals, Fanny described the sights and sounds she experienced in her daily life in great detail.  As a director it made sense to me that as Fanny tells her story she not only sees images in her mind, but also hears the sounds associated with those memories.  Thus, I wanted a sound design that could both trigger and underscore her memories. 

In this play the sound design is critical in helping to establish the setting.  Although, in reality, Fanny is in her hotel room as she tells the story of her life, the sound design (consisting of music and sound effects) helps to transport her from England to various northern American cities to her husband’s slave plantation on Butler Island, Georgia.  The sound design allows the audience to hear the tumultuous applause after Fanny’s acting debut, the stodgy harpsichord playing at a Boston dinner party, and the chirping birds and squawking chickens on Butler Island.  All of these sounds serve to communicate Fanny’s location at a particular moment in time. 

The sound design also helps to highlight important events in Fanny’s story.  The sound of a newborn baby crying, the singing of the slaves, and the striking of the judge’s gavel are each deeply connected to the emotional memory of a significant event.  When sounds are repeated in the play they serve to deepen the audience’s connection with Fanny’s emotional life. 

I worked with my expert sound designer, Aaron Paolucci, to find the right sounds at the right moments in the play to bring Fanny’s physically and emotionally complex story vividly to life.  Aaron’s vast technical expertise allowed him to blend and overlay a series of sounds into a unique and theatrically compelling design that enriches the text.

Janet Wilson - Director