ABOUT
Hydeware Mission Statement
Hydeware will raise global awareness, reflect society's diversity
and overthrow the preconceptions of theatre and its presentation.
Hydeware
Bio Season 1, 2, 3, 4, 5, 6, 7
(For detailed descriptions of each and every Hydeware show, please click here.)
Hydeware Theatre is a young, vibrant theatre company dedicated to the pursuit of radically revised theatre, of a theatre that is at once entertaining and enlightening, experimental and simple, luminescent and dark. From its inception, Hydeware has been challenging Saint Louis audiences.
Originally conceived at Simpson College in Indianola, Iowa, Hydeware officially “opened its doors” to Saint Louis in September of 1999 with its first Shakespeare In the Park production of “Macbeth.” By utilizing a beautiful found park space, and by eschewing traditional Shakespearian trappings, streamlining the script, and strongly conceptualizing this wickedly tragic play, Hydeware set a precedent for cutting-edge outdoor retellings of the classic works of the Bard.
Following “Macbeth,” Hydeware withdrew for a time to make plans and gather resources, and reemerged in May of 2001 intent on becoming an exciting mainstay addition to the Saint Louis theatre community. Hydeware staged its playful, provocative version of “The Tempest" that August in Forest Park, reimagining this classic as a critique of slavery. "The Tempest" garnered favorable attention from the press, and served to fully introduce Hydeware to the audiences of Saint Louis. Hydeware followed "The Tempest" with a barebones telling of Harold Pinter’s temporally convoluted story of marital deceit, “Betrayal,” in November. This production moved Hydeware indoors for the first time, and established a minimalist foundation that Hydeware would continue to build on in future productions.
Before producing another full-length play, Hydeware joined with the Everywhen music collective to produce an artistic event labeled “Person 1.” This event sought to combine live musical performance with theatre in an improvisational environment, and further exhibited Hydeware’s willingness and desire to explore new ways of performing theatre. Hydeware followed “Person 1” with what was its most compelling production to date: a searing production of David Mamet’s “Oleanna.” A play that centers on sexism, elitism, and the reality of political correctness, “Oleanna” has traditionally been a controversial work, and Hydeware’s production was no exception. Anchored by riveting performances, “Oleanna” challenged all who attended it by incorporating provocative choices in nearly every aspect of the production’s design, from the lighting to the seating arrangement. “Oleanna” was well received by critics and audiences alike, and firmly established the conceptual direction that Hydeware would continue to pursue.
Hydeware's second season began with a Shakespearian work given the Hydeware treatment through updating, tightening and gender-bending. “Othello” took everything known about the Moor of Venice and threw it into sharp new relief. Casting Iago as female, placing the action in early 1980's Afghanistan, making Othello a general in the United States Army; these bold choices proved, once again, Hydeware's commitment to spirited, perception-altering theatre. The second season rolled on into 2003, as Hydeware took a moment for introspection and individual expression with a collection of short pieces chosen and mid-wived by the unique visions of the members of Hydeware's artistic board. Dubbed "A Hot Dish" as a testament to its potluck diversity, this casserole of pieces moved effortlessly across the theatrical palate from pounding dance to potent monologue, original interactive ten minute play to originally chosen startling one-act, and was a hit with audiences. Later that spring, Hydeware would close this provocative second season with what was arguably the most challenging theatrical offering in Saint Louis all year, Edward Albee's "The Zoo Story." In performing this fast-paced, crackling play about human connection, and its attendant consequences, as a two part theatrical mirror, Hydeware stretched the limits of onstage expression and harnessed that tension for an explosive evening of up-close-and-personal lingual acrobatics.
Choosing a slight departure, Hydeware opened its third season with an indoor "Shakespearian" work, "Good Night Desdemona, Good Morning Juliet." This comedy by Ann-Marie McDonald had all the twisting of "traditional" Shakespeare that Hydeware audiences have come to know and love: Were Romeo and Juliet simply moronic, impulsive, bi-curious teenagers? Was Desdemona really just as insanely bloodthirsty as Othello? And, most importantly, were these tragedies actually comedies? "Good Night Desdemona," performed in the fall of 2003, found Hydeware flexing its comedic muscles in a new home, The Soulard Theatre. Located in historic Soulard, this exciting new performance-space-in-development hosts several "resident" companies, including Hydeware, and provides another performance alternative for various companies in Saint Louis. Hydeware returned at the Soulard Theatre early in 2004 with a stark look at political torture, Ariel Dorfman's "Death and the Maiden." Incorporating every moment of time spent in the theatre, from front door to seat and back, this disturbing look at the consequences of oppression, both fictive and disoncertingly real, expanded Hydeware's mission to "encourage exploration, debate, and awareness" into literally new areas.
Throughout Hydeware's third season, the company sponsored and participated in many "side" projects, including a touring production of Kathryn Blume's "The Accidental Activist" and several staged readings by both local playwrights and previously produced non-native works. Closing this third season of expansive theater, "Phyro-Giants!" blended Hydeware's cutting edge sensibilites with dinner theatre, confirming that everything is indeed better after (or during) a good meal. Hydeware transformed the Soulard Theatre, with astounding inventiveness, into an intimate bistro restaurant, complete with a lively wait staff and voyeuristic dinner conversation. A smash hit with both audiences and critics, "Phyro-Giants!" closed Hydeware's third season with a touch of elegance, a pinch of zest, and, as always, a heap of the provocative.
The first show of Hydeware’s 4th season was produced in what was to become the permanent home of the “Hydeware in the Park” productions, Tower Grove Park. After years of searching for a park that didn’t view Hydeware as a burden or cash cow, they finally found a home. Hydeware’s “Taming of the Shrew” would prove to be the most concept oriented Shakespeare put on by Hydeware to date. By gender switching the lead characters, Hydeware turned the shrew on its head and created a matriarchal society in which women are the dominant gender and the men are coy and submissive. Megan Kelly, who played Katherine, won a Judy award for Best Actress, and J.C. Pierce, who played Petruchio, won the hearts and minds of the woman in attendance as this “man’s man” came galloping onstage holding a broomstick horse between his legs.
Next Hydeware settled down with a full cast for “The Woman in Black” to be performed at the Soulard Theatre. However a few weeks into rehearsal for this macabre English thriller, one of the lead characters decided he could not continue with the role. In what was quickly becoming commonplace for Hydeware, it was time to fill a vacant role. In a daring move, Richard Strelinger, the shows director, leapt into the role of Kipps and John Shepherd, previously unassociated with the show stepped in as director, and they were off. Performed at Halloween Hydeware would capitalize twice in a row on the whims of the season for a holiday oriented show.
The next, of course, being Jeff Goode’s “The Eight Reindeer Monologues,” part 1 of Hydeware’s 2-show Goode series. The Eight was performed at a new space in town: “The Spot,” a small relatively unknown bar\performance box on the fringes of the West End. The show marked the first guest director for Hydeware; under the direction of Jerry McAdams, “The Eight” was performed for one weekend only at two shows a night. Due to the small nature of the show and large number of performers, Hydeware shocked two audiences a night by revealing the dastardly deeds of a touchy feely Santa we’ve all suspected but never had the guts to believe or expose.
To continue on with
Goode plays,
Hydeware produced the smash hit “Poona the Fuckdog: And Other
Plays for Children” at the Soulard
Theatre. This fast paced, large cast,
politically and
socially relevant fairy tale for grown ups gone wrong had Hydewarians
singing
and dancing for the first time on stage.
The show was updated by Hydeware and the cast in an
improvisational
rehearsal process that ended up reflecting the nature of performance as
well. All of the actors ended up playing
several roles in the show: from rabbits and aliens, to god and the
devil, and
one audience member per night was treated to a specially designed hell
filled
with demon actors and general scenes of horror.
Despite some angry citizens over the “pornographic” publicity
design,
the show was well accepted by St.
Louis, and for the first time, Hydeware had to
stop
taking calls for reservations for the entire last weekend, which was
standing
room only by the end.
Hydeware’s 5th season brought them back to Tower Grove Park, but this time they settled in the Whitaker Theatre, a space much more theatre friendly. Positioned by a large pool pavilion, Hydeware was now at the Mecca of Tower Grove, and in what was to become their permanent space at the park, showing one of Shakespeare’s most beloved classics “A Midsummer Night’s Dream.” Taken to the limit of Mr. Strelinger’s humorous fast paced “bitty” direction, “Midsummer” featured a Puck played as a cheerleader, a clown for Bottom complete with pink wig, and Oberon munching from a large tub of popcorn. This witty production earned Hydeware’s second Judy with Most Ambitious Production. This was also the first Hydeware production with child actors, and probably the only one as of yet suitable for children. The Groh children’s debut performances went nearly flawlessly, with the exception of one splinter and one unfortunately timed bathroom break.
Wallace Shawn’s “The Fever” came next and with Ember diving headfirst into rehearsal, Brian was approached by local nomad Byron Kerman to perform his new one-man one act, “Man With Shotgun.” The two shows were the perfect fit; both one person plays, and both raging with political commentary. “The Fever” dealt with one woman exploring the blind eye that she and the world turns to poverty and suffering in underdeveloped nations, and “Man With Shotgun” delved into one man’s exploration into the blind eye he cast upon himself as a result of his own personal suffering. “The Fever” marked Hydeware’s second time working with an outside director, G.P. Hunsaker. Performed at the Tin Ceiling, an intimate and expressive space nestled on the outskirts of Soulard and South Grand, Hydeware treated audiences to a tender and yet fiercely political evening of self exploration and awareness.
Next Hydeware was to undertake its most ambitious and completely overwhelming show to date, Eugene O’Neill’s mammoth classic “The Iceman Cometh.” After weeks of lucubration and rewrites, John Shepherd, the shows director, had successfully cut this 4-and-a-half hour epic down to a 2-hour show. Cutting many characters and side plots, this “Iceman” was to be a glorious affirmation of his hard work and study. However cold feet and the threat of lawsuits caused the minds behind the show to conclude that a true, full showing of the piece was in the best interest of those involved, except of course John and as it turned out Brian as well. This show was notably marked by a cast change at two weeks before opening. The gentleman cast as the lead, Theodore Hickman, was unable to commit his lines to memory, and Brian was thrust into this large and complex role. As a result the role of Jimmy Tomorrow was filled most admirably at the last minute by Doug Hettich. Despite that, this show’s enormity, a cast of 18, a space less than ideal for theatre, and a critic who reviewed the show despite having left after the 3rd act, Hydeware’s nearly 5-hour production of “The Iceman Cometh” was released to audiences without a hitch or a hint of the tribulation behind the scenes. A pinnacle of achievement for this small company, and an important lesson learned in credulous casting.
For the final show of this mammoth season, Hydeware staged the Organic Theatre Company’s, “Bleacher Bums” in the black box at COCA. The play shows the exploits of Cubs fans in the bleachers of a Cub\Cardinal game at Wrigley field, and St Louis, being the baseball town that it is, was the perfect place for such a play. Audience fans came decked in red and blue to see a little bit of baseball on stage; and Hydeware provided beer and cracker jacks to help them feel at home. The show, comprised of 9 innings, gave Hydeware the chance to give St Louis what it really wants, baseball, gambling and women in bikinis. Hydeware received a “Best Revival” honor in the RFT for this production.
The sixth season for Hydeware would prove to be a monumental cornerstone in the foundation of the company. Beginning at the Whitaker Theatre in Tower Grove Park, Hydeware staged a production of “Hamlet” unparalleled in its conceptual design. Richard Strelinger, the shows director, cut and tweaked the show down to an astonishing 90 minutes and focused entirely on the character of Hamlet. Using the five senses, Richard devised a way to express the loss of each character’s sanity or control and expressed it by way of a lost sense. Hamlet’s father was represented by a 3-faced mask of happy, sad and neutral and bled constantly while on stage through the eyes and mouth. If you would’ve put any more concept or symbolism in the show, it would’ve burst.
The next show for Hydeware was "Glengarry Glenn Ross" which was performed nowhere, as a suitable space with the right dates could not be located, and for the first time, the biggest problem with St Louis theatre (its lack of performance spaces) hit Hydeware where it hurts the most. It was a difficult time and things seemed bleak. After an attempt to transfer the rights to another set of dates were unsuccessful, Hydeware made the difficult decision to cancel the show.
For “Insignificant Others…A Love Story” though, Hydeware came back in full force and with renewed vigor. For the first time, Hydeware got the chance to produce a full-length original piece, and not only that, but it was by a local playwright as well, which is something that has always been on the wish list of projects. Performed at “The Tin Ceiling” IO was produced with the bare minimum of technical gimmicks, due to the demands of the space, but the show was full of explosive and electric performances to fill that tiny space. Audiences left with splitting sides and expanded life spans as they laughed themselves through the show and out the door. This also marked the third show with a director outside of the company; Nick Kelly treated the show and actors to his easy going yet disciplined style of creation, which of course was represented in the show.
The final show of this season was “Stop Kiss,” which was shown at the black box at COCA and directed by Ember Hyde, her first Hydeware directing contribution. This play of 23 scenes which tells a love story, but more specifically a story about same sex love and the hate in the world surrounding it, bounces back and forth in time from hospital, after the attack, to apartment, before. To ease the lengthy transitions needed between scenes, Hydeware played a series of slideshows portraying images derived directly from the script and taken symbolically from ideas raised by the script. The projections were on the set, which was one large projector screen, and was accompanied by a moving and thought provoking soundtrack. Hydeware provided a seamless multimedia presentation to complement the play, which was something else on the wish list of creative ideas.
These final
two shows of the 6th season also helped to give Hydeware
some
perspective for the transition it would make from Hydeware Theatre to
the newly
redesigned and reformed Hydeware. With
the company now being run by Ember and Brian Hyde, a new chapter in its
existence was about to unfold. Contemporary work and plays by, for, and
about women, in
addition to
socially and politically responsibly theatre were now at the forefront
of
Hydeware’s ambition. Of course, the
desire to experiment and try new and exciting devices for theatre and
its
performance is something that will never leave the hearts and minds of
those
creating for Hydeware, but some prioritizing and a refining of goals
and ideas
by the two Hyde’s would catapult Hydeware into it next generation of
theatrical
endeavors.
For the beginning of Hydeware’s seventh season,
Hydeware
decided to go back to where it all began and restage its very first
production
of Macbeth with only three actors.
Richard stayed on as director, and with Brian and Ember and
Hydeware
veteran, Ken Haller, playing all the roles, they were in fine form. The Tower Grove community again welcomed them
to The Whitaker Theatre. With Nick Kelly’s
fight choreography, the three actors got to delve into the fun part of
imaginative stage fighting: the weapons.
Seen on stage were three swords, a battle axe, two
Hydeware moved to the brand, new Ivory Theatre for
its last
two shows of the 7th season. The
first was The Boycott, written and performed by Kathryn Blume. In 2003, Hydeware brought Kathryn to
Hydeware’s last show of the 7th season was The Caucasian Chalk Circle, and they felt blessed to see many people turn out for this risk-taking production. Frustrations ran high as nine people (cast and crew) were replaced through out the rehearsal process all the way up to the Thursday before tech week started. But the final cast and crew pulled together to perform an amazingly beautiful show - Hydeware style. By using four actors’ silhouettes behind a backdrop, adding dimensions to the action that was taking place on stage, they created a Chalk Circle that has never been seen in St. Louis and may not be seen for another 30 years.
As season seven closed, the original members of
Hydeware
Theatre have taken their bows. Some have
moved on in