Bringing contemporary concepts to classic works

Tommy Gomez tackles the TASC of launching a new theater company

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Tommy Gomez does not appear to tire easily. He exudes passionate, kinetic energy about theater. Introduced to the bawdy side of William Shakespeare in high school, Gomez took to the stage  to perform with such companies as  the Purple Rose Theatre, the California Shakespeare Festival, Berkeley Repertory Theatre,  L.A. Theatre Works and the San Francisco Shakespeare Festival.

Now Gomez hopes to invigorate Lansing ’s interest in the classics by bringing together unique interpretations of well-known works and bringing in established theater veterans from across the country for his new project, The American Shakespeare Collective.

Even with co-artistic director John Neville-Andrews on board, there is virtually no comparison between TASC and Jackson’s Michigan Shakespeare Festival where Neville-Andrews was artistic producer for 12 years before resigning in 2009. Conceived jointly by Neville-Andrews and Gomez, TASC seeks to pursue what it calls “brave new interpretations of the classics … synthesizing the work of its artists both locally and from around the country.”

It sounds impressive — but what does that entail?

For Gomez, that means providing the space and resources to nationally renowned artists who wish to produce fresh and daring adaptations of the classics (not just Shakespeare), exposing new ideas that traditional productions might not explore.

“All these people have a similar philosophy of theater — for educating — as a tool for change,” Gomez says. He hopes that through the productions, the actors and audiences will discover the meaning of the play

“It’s like good ballet: You get it so thought out and so smooth that through that you get the message, but it’s not until you reach that point that something transcends.”

Considering the collective that Gomez and Neville-Andrews assembled, transcending looks highly possible. Robert Benedetti, Tim Ocel and MaryBeth Cavanaugh may not be household names, but their biographies include phrases like “multiple Emmy- and Peabody Award-winning,” as well as leadership roles at the Yale School of Drama, Sacramento Theatre Co. and Berkeley Rep School of Theatre.

In total, 12 distinguished names from across the nation make up the team. But they won’t be relocating to Lansing.

 “The idea of this model is that none of them have to move here,” Gomez says. “All of these people will live and work wherever they are now, except me and John.

“When we do a show, one or two of them come (and) be a part of the show, plus people that are here. The idea is that we’re hiring both locally and nationally. That’s the collective. There’s not another model that I know of.”

But there are other professional theater companies in Lansing, which might make one wonder if the venues will compete against each other, like sprawling pharmacies on opposite street corners.

Not really. Williamston Theatre executive director John Lepard explains that while there may be some overlap, each company caters to niche audiences.

“I think we’re all establishing what we do best,” Lepard says. “Peppermint Creek (a community theater) does shows that we couldn’t do here (with) shorter runs (and) edgier work. We do stuff for a boutique audience that wants the kind of stuff that they have a feeling they are going to see here (at Williamston Theatre).”

Lepard wants the entire theater audience to expand and thinks that more theater options could bring in new patrons and jobs for actors and directors. 

Stormfield Theater artistic director Kristine Thatcher agrees.

“Welcome into the fray, Tommy,” says Thatcher, via email. “The more the merrier. Any vibrant community, any civilized community understands, not only how the arts drive jobs, but how the arts add quality of life.” 

“The population here can handle it,” Gomez says, expressing certainty that Lansing’s diverse population of white-collar and blue-collar workers can all connect with the universal themes present in the classics, including Shakespeare.

“The history of Shakespeare is meant for all classes of people. I’m as working class as it gets, and I’ll always be working class. But I still see Shakespeare in my life.” 

Longtime Michigan Shakespeare Festival actor Mark Gmazel offers another perspective.

“If people were to see a real professional classic done successfully, they would love it as much as ‘Hairspray,’” he says. “I know at MSF, I always felt like we had to make up for the every bad, boring, clunky Shakespeare (production) anyone had ever seen — but I am telling you, with a good or great show, people get hooked.”

TASC’s debut performance is a six-actor adaptation of “Othello,” focusing on the primary male and female relationships throughout the play. Lansing audiences can get a taste of TASC on July 18 at a staged reading at Schuler Books and Music at the Eastwood Towne Center.

Fully staged productions are tentatively scheduled to begin next May.  

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