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<\/a>Bradford, who became head of the Department of Dramatic Arts last year, is directing \u201cWaiting for Lefty,\u201d the Clifford Odets play set in 1935 New York City that centers on a meeting of cab drivers planning a labor strike during the Great Depression. He also is directing a curtain closer by UConn alum Levi Alpert \u201915 (SFA), \u201cSeverance,\u201d a new one-act work that addresses similar themes of making choices. Each work includes a series of vignettes. The original \u201cLefty\u201d production used blackouts between each individual scene, but the CRT production will not.<\/p>\n
He says he is not generally a fan of using the blackout. \u201cI try to find a way to move theatrically from one moment to the next without really having to take the audience out of the play and bring them back in. Because the Katter [Theatre] is so intimate, I want to get into the world and stay in that world for the time that I\u2019m in that theater. It\u2019s in my structural focus to move the play around the stage and go from one world to the next.\u201d<\/p>\n
He says when \u201cWaiting for Lefty\u201d was first presented on Broadway by the Group Theatre, Odets was asked by the theater company to write a one-act curtain raiser to precede it. For the CRT production, Bradford felt there was no need to set the stage for the Odets play, but thought there was an opportunity to address the play\u2019s issues in a more current presentation afterward.<\/p>\n
\u201cWe really started with two plays sitting on the table, and they didn\u2019t have an inherent relationship,\u201d Bradford says. \u201cThe more I dug into the plays, the more I began to think about kind of a spine, or a metaphor, that was related to in both plays. We\u2019re following a lot of the same issues, themes, and problems that \u2018Lefty\u2019 had. Some of the actors are in both plays. They begin to see them connected in lots of different ways. The more we rehearse, the more they feel like one play.\u201d<\/p>\n Leading the cast are veteran actors Michael Lewis and Robin Haynes, who have performed in New York City, major regional theaters, television, and film. Lewis was Carson in the original cast of Horton Foote’s Pulitzer-Prize winning \u201cYoung Man From Atlanta,\u201d and in featured acting roles at the Metropolitan Opera. His television and film work includes \u201cBlue Bloods,\u201d \u201cLaw and Order,\u201d and \u201cBillions,\u201d and the feature films \u201cDarrow\u201d and \u201cSigns of Life.\u201d Haynes\u2019 Broadway credits include the original cast of \u201cBlood Brothers\u201d and \u201cThe Best Little Whorehouse in Texas.\u201d He performed in the national tours of \u201cMy Fair Lady,\u201d \u201cBuddy,\u201d and \u201cJekyll & Hyde,\u201d and his Off-Broadway credits include: \u201cCollaborators,\u201d \u201cThe Return of The Prodigal,\u201d and Billy Bishop Goes To War.\u201d<\/p>\n Bradford, a professor of dramatic arts whose work as a playwright is performed around the United States and in London, says CRT productions such as those presented this year reflect how contemporary theater is evolving, and he wants to continue down that path. He says CRT has established itself as a regional theater, not just a university theater, but the challenge is to stay relevant.<\/p>\n \u201cWe have, and want to keep, this wonderful reputation in the world of theater,\u201d Bradford says. \u201cWhat do we do to make sure we are relevant in how we produce and direct the kind of stories we want to tell, and the kind of training we give our students?”<\/p>\n For example, as more folks are auditioning on video and then being called in, students need to be prepared for that reality. Another issue is to recognize who the contemporary writers are that the department needs to know and support. Here, Bradford taps into his experience as a writer. “That\u2019s always been the biggest thing for me,” he says, “not to do one production at a theater, but to create a relationship that continues to come back to that theater.\u201d<\/p>\n He notes that the Department of Dramatic Arts has resources in the School of Fine Arts not readily available to most other theater programs, including departments of Art, Digital Media Design, Music, and Puppet Arts that when utilized can \u201cexplode a play.\u201d Plans are developing to establish a \u201ccreative incubator\u201d to bring together the various resources within the School to collaborate on plays. \u201cWe want to see how we can take advantage of all these elements we have,\u201d Bradford says.<\/p>\n Discussions are also taking place with several regional theaters about collaborating with the Department of Dramatic Arts to provide internships for students to prepare for positions such as stage designers, stage managers, and assistant directors.<\/p>\n Bradford says the department aims to create a national presence for its students, so that when they graduate they have relationships across the country, not just in New York or Chicago.<\/p>\n “All of these possibilities are on the table for us,\u201d he says.<\/p>\n<\/a>