Interview: Richard Gallagher of "Fabulation"

It’s been nearly a week since the cast of Fabulation, or The Re-education of Undine departed from CENTERSTAGE’s Head Theater. Still, even after two days of previews for 'Tis Pity She’s a Whore, Lynn Nottage’s beloved characters from Fabulation continue to linger in the hearts of our patrons and staff. Perhaps it is due to the pretentiously hysterical situations that the title character, Undine Barnes Calles, constantly found herself in; or maybe it’s because there is always something heartwarming about watching an individual reunite with his or her estranged family. Whatever the reason, it is certain that a much deeper, more meaningful message was meant to be heard through Undine’s sarcastic narration of her own satirical fall from social grace.

As the show approached its final performance, I had the opportunity to sit with Richard Gallagher, a member of Fabulation’s ensemble cast. He greeted me with a smile as he sat at one of the round coffee tables where his green baseball cap and coffee mug were already settled and waiting. Before long we were chatting like old acquaintances.

“So, did you study theater in college?” I asked, expecting to know the answer. How surprised was I to discover that Richard Gallagher, who plays Undine’s slightly nervous yet demanding accountant among his roles, received his undergrad in English and History?

“I wanted to be a professor,” he confessed. And how did he find his way into acting? “I took an Acting I class my senior year of college for fun,” he explained. “I got such a good response from my professors that I decided to take Acting II my final semester and had a blast.”

After graduation, Richard signed up for Acting III classes as a continuing education student before being offered a full-ride into the M.F.A program of his alma-mater.

“It was a disaster,” he claimed. “Due to a number of reasons. I only stayed for a year.”

Following his short-lived first experience as a graduate student, Richard moved to San Francisco in attempts to pursue an acting career. It was there that Richard had his first run in with Lynn Nottage’s work. He auditioned for Nottage’s play Las Meninas and was called back three times before eventually losing the role to a Yale graduate. He took it as a sign to return to graduate school and after thorough research and only one audition, was accepted to Yale School of Drama’s graduate program, where he studied for three years.

When it came time for our production, director Jackson Gay inquired specifically about him through his agency when casting first began. He had several friends who had worked for CENTERSTAGE in past productions, and had heard nothing but praises of their experiences with the Theater. Although he had never read Fabulation, clearly Mr. Gallagher was familiar with Lynn Nottage’s work.

“I loved Intimate Apparel!” he oozed. Despite his fondness of Nottage’s previous plays, Richard confessed later that he was still relieved to find that Fabulation was one he knew he would enjoy doing. “I thought it was honest [and] found the story inspiring.”

Carefully, I mentioned a review of the production in which the critic claimed Nottage to be unsympathetic to the title character.

“I guess [Nottage] probably isn’t sympathetic,” he pondered. “But does it matter? It’s about a crisis... The sky is falling!” He gets excited. “If you don’t know who you are then what’s left?”

There is something endearing about Undine’s misfortunes, I must admit, and the fact that such a seemingly indestructible character could be broken in so many ways. Watching Fabulation for the very first time, I remember wondering how many of us in the audience could sympathize with Undine. How many of us have lost our jobs in these troubled times? Who of us has not said and done something to hurt our loved ones? And how many of us refuse to see past our own personal tragedies?

“There’s a very interesting button at the end of this play,” Richard adds. “‘I breathe’…If you are breathing, you can listen. You can change. So much goes by Undine. Even her accountant says ‘You don’t listen to anyone.’”

I asked what sort of impact he hoped Fabulation might have had on its audiences.

“I hope it’s a chance for them to re-evaluate where they are in life… there is a sense [throughout the play] of ‘That’s not gonna happen to me.’ But it does. When that happens, what do you do? You can choose to stay angry at the world or move on. There’s not a lot of sympathy about the fall. It’s about how you re-evaluate yourself after.”

For Undine, that new sense of self was found in the forgiving arms of her abandoned family. Perhaps that is what made this show so memorable. Despite all of Undine’s desperate attempts to hang on to what little she had left of her “fierce” lifestyle, in the end, she finally found that moment to breathe and realize for the first time the true meaning of unconditional love. And hopefully, our audiences were also able to find that moment to breathe in their own lives.

~Cori

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Photos: Richard Gallagher in Fabulation, photo by Richard Anderson; Richard Gallagher.

Interview: Maria-Christina Oliveras of "Fabulation"

The curtain may be down on Fabulation, but we couldn't resist getting a few final words from some of the talented actors who visited our theater and city for this fantastic show!

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Working in the Box Office, I received phone calls over the last month requesting tickets not for Fabulation, but for "Fabulocity," "Fabulosis," “Fabulon,” "Fabucation," among various other inventive titles. These creative titles echo the meaning of fabulation itself; the act of inventing or relating false or fantastic tales. Our patrons have not gone to the extremes in inventing false tales about Fabulation, but many have inquired exactly what it is about. After viewing the show myself, I have been tempted to ramble off Flow's final verse of his compelling epic, yet unfinished poem about Brer Rabbit:

"It be 'bout who we be today/ And in our fabulating way/ 'Bout saying that we be/ Without a-pology/ It is a circle that been run /That aint no one ever won/ It that silly rabbit grin,/ 'Bout running from your skin..."

But instead, I explain that Fabulation is about a career driven woman who has worked her way to the top of a PR firm and suddenly finds herself broke, on the verge of a divorce, and pregnant, forced to face her roots and go home to her family in the projects. "It's a comedy," I explain, but then rethink; how is that description I just explained comical?

It is the satirical punchy moments that have brought laughter to our audiences, while leaving them contemplating issues of race, social class, identity, and even the definition of success.

As Undine Barnes Calles bosses about her Post-it wearing secretary and listens to her accountant inform her that her Argentine husband has left her with nothing, the audience watches a social climbing woman's true identity unravel. She is forced to go back to Brooklyn where she has not seen her family for 14 years. When Undine reluctantly returns to her mother, father, brother, heroin-addicted grandmother, and even the jump-rope champion girlfriends of her youth, she begins to shed layers to what might be a social fall, but might also be a moral rise.

As I had the opportunity to sit down with Maria-Christina Oliveras, who played the post-it-clad assistant Stephie, among her multiple roles in the show, we discussed the major themes in Fabulation such as the notion if image, the meaning of success, the ideas of perception of race and class, as well as the pressures to blend and assimilate within society.

"The script is wonderful in that it touches upon interracial class issues that have been explored, but not yet produced." Oliveras admits it is indeed a challenge, but a challenge that forces her to evaluate not only herself, but humanity as a whole in illuminating different types of people through her multiple character roles. "It’s about finding a tone, honoring the character, and finding moments larger than life, but staying grounded in truth and reality."

Oliveras concurs with me in that "[Fabulation] is funny, yet tragic." She hopes the audience is able to watch these different characters and go beyond their comic caricatures. "I hope they are able to see another dimension, and see them as human beings struggling." Moreover, she hopes audience members can evaluate what is truly important to them and what makes their identity. What if, like Undine, everything you have is taken away from you? What would you really do? Where would you go? Overall, Oliveras would like the audience to expand their sense of empathy. "Everyone struggles; the person sitting next to you in the theatre might be the person who just lost their job, or the person taking the extra shift so that their child can have that new winter coat."

The Education and Community Department at CENERSTAGE has given Oliveras the opportunity to speak about these important issues highlighted in Fabulation in local high schools and universities. Within her discussions, she encourages students to think about stereotypes and how people are perceived. "I think this show really pushes you to think about perception and how you are perceived, something that many youth deal with on their path to self discovery." Along with that, she has asked these students to think about success; what does success really mean, and who defines success?

Perhaps success for a character like Undine's brother Flow it means concluding that epic poem on Br'er rabbit. We can only imagine how Flow ended his epic poem, but possibly it might be something like this: "...It is a circle that been run /That aint no one ever won/ It that silly rabbit grin,/ 'Bout running from your skin/And underneath, you find that identity clinging from within."

~Emily

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Photos: Crystal Anne Dickinson and Maria-Christina Oliveras in Fabulation, photo by Richard Anderson; Maria-Christina Oliveras.

What is a BAP?

While tossing about impressions of the characters in Fabulation or, The Re-education of Undine, we were struck by the characterization of the “BAP”, or Black American Princess, as represented, maybe not so much by Undine, but by her equally status-seeking, nouveau-rich friend Allison. But what is the stereotype of a BAP?

Tossed onto the desk of our Promotions Director came the clever, if tongue-in-check, book:
The BAP Handbook: The Official Guide to the Black American Princess (at amazon.com).This humorous slant by Kalyn Johnson, Tracey Lewis, Karla Lightfoot, and Ginger Wilson looks at the definitions of the Black American Princess as:

1 : a pampered female of African American descent, born to an upper-middle or upper-class family;
2 : an African American female whose life experiences give her a sense of royalty and entitlement;
3 : BAP (acronym) : colloquial expression; or
4 : an African American female accustomed to the best and nothing less.

A whimsical look into “BAP speak, BAP style, and BAP history,” the BAP Handbook, also includes lists of so-called BAP colleges, famous BAPs and a glossary (who doesn’t need to know the crème-de-la-crème of French phrases to toss about?).Our particular favorite feature? A break down of the leading “types” of BAPs:

Betty \’bede, ‘bete, -i\n., usually cap B [short for continuous betterment]: a. A BAP by birthright who strives for perfection in everything she undertakes. B. a BAP whose life expectations are based on a sense of entitlement. C. the Quintessential BAP.

Boho \‘’bo-ho\n. usually cap B [diminutive of bohemian]: a. a BAP by birthright who lives an unorthodox lifestyle. B. A funky-fresh sister with a decidedly unique if not outrageous approach to life. C. A majorette in her one-woman band.

Butterfly \ ‘be·ter·fli\n., usually cap B: A BAP who evolved from a dormant state at any point during her life. B. A BAP who is often presumed to be a Betty. A BAP who may protest the categorization.

We found this satirical book quite amusing, and hope you do too!

~Heather

Photo: Crystal Anne Dickinson, photo by Richard Anderson

Caroline & The Ravens

In the two weeks before the closing curtain of Caroline, or Change, I found myself chatting with Eddie, our tailor, in the third floor break room as I dried my feet of the rain and satisfied my craving for Indian food with vegetables and Naan. As our conversation progressed, it somehow evolved from the Akbar’s wonderful buffet menu, to ticket sales for Fabulation and Caroline, and then to the Ravens upcoming game against the Titans. I’m not even a real fan of football; however, it is a topic one can not readily avoid, especially in this town.

Football season is like a pandemic of purple for Baltimore and every year, without fail, the city finds itself draped in the color. Those last two weeks before Caroline, or Change closed its curtains at CENTERSTAGE, there were only two topics of conversation: Caroline and The Ravens.

As a fan of the arts and friend to many a Ravens fan, I wanted to be able to relate to both sides of the spectrum. But where should I even begin? Yes, I can discuss Caroline, or Change with a passion all my own, but the Ravens? I feel almost entirely dislocated from the matter. So, with a desperate urge to understand this obsession that had practically consumed nearly all of my closest associates, family and friends, I read. I read, not just about the Ravens, but of the Colts, their history with Baltimore, Johnny Unitas, Robert Irsay, and those infamous Mayflower buses.

As I researched, I became engrossed in the history of football in this town. Although I cannot say that I fully understand, at the very least I have begun to empathize with the Ravens cult. I mean, the Colts just left us, and in the middle of the night, nonetheless. I get now, just a little bit, this sense of Ravens pride and the excitement that filled the hearts of all fans at the thought that we were so close to reaching our second Super Bowl!

In the end, I somehow became invested in our final game against the Steelers and was bitterly disappointed at our loss. Despite the upset, it was still exhilarating to witness that same enthusiasm and fervor burst through the doorways of CENTERSTAGE and fill our hallways with the same Ravens fanfare that was thrown all over the city. We had Ravens promotions on ticket sales and drink specials offered to all who walk into our theater wearing any type of Ravens attire—plus a specialty drink so lovingly named “The Interceptor” after Ravens jersey number 20, Mr. Ed Reed, and yes, it was purple!

What was most fascinating to me, however, was not all of the purple, nor was it all of the media, nor our attempts to keep our patrons coming back to see Caroline one last time. But what surprised me the most was the fact that our city’s love for football never wiped out its love for the theater.

The weekend the Ravens played the Titans, our house was consistently full despite the game. In fact, not only did we offer drink specials that day, CENTERSTAGE went the extra mile for our patrons and played the actual game in both of our cafes prior to the show. As the game ended just twenty minutes before curtain, a new energy filled the lobbies. It was the kind of energy that could only come with a three point and one field kick victory over the opponent and to watch it enter the Pearlstone that night really was a unique experience.

The next day, our house was booked solid for our Sunday post-Ravens-game matinee, and patrons waited outside our box office for any canceled tickets to the show that had earned rave reviews from The Sun, BroadwayWorld.com, and our audiences.

It humbles me to know that, not only do our patrons love us as passionately as their favorite team, but that there were those who saw our show three, four, even five times and always with a new person. One of our patrons came to see Caroline a record of six times during its run. And our seats never stopped selling, which is a testament that the most powerful advertisement was not any sort of public media; it was word of mouth. It gives everyone involved here at CENTERSTAGE the genuine feeling that we are doing something extremely right.

I am so overjoyed to see such a response. It encourages and fills me with hope that in spite of our troubled economic times, there are still some things in our immediate universe that manage to bring us happiness and cause for celebration—and even those that help us laugh through our troubles, such as our new show, Fabulation.

Sure, we have may not have made it to the Super Bowl this season, but we will still cheer for the Ravens, for Caroline and, most importantly, for Change.

~Cori

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Photos- Aaron Bell, Bradley Bowers, Kelly McCreary, Roland Haywood, and Renn Woods in Caroline, or Change (top); The Interceptor (middle); Robert Montano and Natalie Venetia Belcon in Fabulation (bottom). Show photos by Richard Anderson.