Meet Rebekah Brockman, who plays Thomasina Coverly in Arcadia

-
Name: Rebekah Brockman
Role: Thomasina Coverly
Rebekah Brockman
Arcadia runs through June 16.
Learn more about the production and order tickets.
What are your preshow/postshow rituals?
Preshow: I never step foot onstage without a splash of my mum's perfume (it reminds me of home), but this show I am wearing a perfume Allegra Edwards [who plays Chloë Coverly] gave me since it is our last show together.
Postshow: A nice cold drink . . . lately it has been a Black & Tan.

 What is your favorite thing about San Francisco?
When I am able to go home and watch the sun set and hear the fog horns from the ships coming in.

If you could live during a different cultural period, what period would it be and why?
I think I would choose sometime in the distant future. I am curious to see what is built upon the foundation we are creating today.

What was your favorite discovery during the rehearsal process for Arcadia?
Honestly, my favorite discoveries come from being with the audience. Each audience is unique and the beauty of live theater is that we are all in the moments together and communicating with each other. They are just as much a part of the storytelling as the actors.

Rebekah Brockman (Thomasina Coverly) and Jack Cutmore-Scott (Septimus Hodge) in A.C.T.’s production of Tom Stoppard’s Arcadia, directed by Carey Perloff. Photo by Kevin Berne.
What is the most difficult aspect of speaking with an accent? Do you use any fun tricks?
Jack Cutmore-Scott [who plays Septimus Hodge] is a blessing to have as a scene partner because I can go to him when I have a question about a sound, and he comes to me with words that stand out to his ear.

What is your favorite part of working on a Stoppard play?
By far it is the passion in each character and how that passion manifests in each character.

Popular posts from this blog

“To Be or Not to Be”: The Iconic Speech’s Origins, Interpretations, and Impact

-
Image
By A.C.T. Publications Staff The opening line of Hamlet ’s “To be or not to be” soliloquy is theater’s most iconic, most referenced quote. What’s less known is the famous speech’s history, with Hamlet ’s earliest publications offering varying versions of its language. Also questioned is its meaning—is Hamlet contemplating suicide or is he weighing the consequences of murder? Though definitive answers are unlikely to arise, the questions “To be or not to be” asks have kept audiences, scholars, and actors engaged for centuries. Hamlet ’ s "To be or not to be" speech as it appears in the three original editions of the play. Photo by Georgelazenby. Courtesy Wikimedia Commons. The first edition, or First Quarto (Q1), of Hamlet was published in 1603. Because the text is much shorter than later editions and its language is less poetic, it is nicknamed the “Bad Quarto” by scholars. “To be or not to be” in Q1 reads as: To be, or not to be—ay, there’s the point. To die,
Read more

The American Sound: The Evolution of Jazz

-
Image
By Cecilia Padilla There is nothing so uniquely American as jazz music. In its simplest form, jazz embodies the essence of the American people: bold and inventive. The improvisation of the jazz ensemble can even be seen as a metaphor for the American democratic ideal: musicians playing solos have the liberty to express themselves as long as they adhere to the overall structure of the tune—individual freedom but with responsibility to the group. The evolution of jazz music also carries with it the social development of our nation from slavery to the swinging songs of World War II. Musically, jazz contributed immensely to the way contemporary musicians approach instrumentation, composition, and vocal arrangements. It is difficult to find a popular tune today that does not derive from such jazz icons as Joe Oliver, Louis Armstrong, Duke Ellington, and Thelonious Monk. Jazz is the great equalizer; for more than a hundred years, it has been the common ground between blacks and whites, me
Read more

Purely Pinteresque: The Elements of Pinter's Language

-
Image
By Taylor Steinbeck Most artists take years to establish their voice and style. This wasn’t the case for playwright Harold Pinter. His first West End play, The Birthday Party, showcases the elements of Pinter’s aesthetic that would later be evident throughout his 29 plays and 23 screenplays: the rhythm of colloquial language punctuated by pauses and silences, mysterious characters who rarely say what they mean, and the unsettling, yet witty juxtaposition of comedy and terror. Suspenseful and comical, familiar and foreign, disturbing and alluring, The Birthday Party is quintessential Pinter. Graphite drawing of Harold Pinter. By A.C.T. Senior Graphic Designer Brad Amorosino. Pinter is a playwright who uses the back-and-forth of everyday conversation to create conflict and shape power dynamics between characters. “My characters tend to use words not to express what they think or feel,” said Pinter in a 1995 speech, “but to disguise what they think or feel, to mask their actual
Read more