This article was written in May 2005, when Circus Theatricals was in residence at the Odyssey Theatre. The company has since relocated to a new theatre: Circus Theatricals at the Hayworth Theatre Center, in the Historic Wilshire District.
Excerpted from:
Back Stage West - May 26, 2005
Join the Club
Three membership companies share tales of growth.
By Les Spindle
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Circus Troupe
The roots of Circus Theatricals Studio Ensemble date back to 1983, when Founder–Artistic Director Jack Stehlin launched an early version of his company in New York. Born into a family of multigenerational circus performers, Stehlin chose a name for the company that pays tribute to the family tradition from which he—rather guiltily—chose to depart to pursue his passion for acting.
In 1995, he moved to L.A. in search of television- and film work. He was instantly sidetracked when he met Gary Blumsack, manager of Hollywood's Hudson Guild Theatre. Almost before Stehlin had time to unpack, he had accepted Blumsack's offer to establish a company similar to his prior New York operation in the Guild space. In short order, Stehlin met Jeannine Welles, producing director at the Guild. They married soon after and became producing partners in the company, which reverted back to the Circus Theatricals moniker. In 1999, they accepted an offer from Ron Sossi of the Odyssey Theatre to become a resident producing company, and Circus Theatricals has been happily ensconced there ever since.
The company has an affinity for classics, particularly Molière, though it also offers contemporary world premieres and works from American masters, such as Mamet and Shepard. The troupe has been honored multiple times with nominations and awards from the L.A. Weekly, Back Stage West, and the Los Angeles Drama Critics Circle. In 1998, its production of Shem Bitterman's The Job won the LADCC's prestigious Ted Schmitt award for a world-premiere play, and then went on to an Off-Broadway run. Among other highlights have been two stagings of Tartuffe (one at the Hudson Guild and one at the Odyssey).
Jack is artistic director and Jeannine is managing director. As the only full-time staffers, they oversee productions and other ensemble activities. "We invite designers, directors, and playwrights to work with us—some repeatedly," says Stehlin, "but the organization is centered on acting. Some of our acting members also act, direct, and write. Beginning that very first Saturday 10 years ago when I started at the Hudson Guild—and never missing a Saturday since—I have held studio sessions with our members from 10 a.m. to 1 p.m. Our group is all about the serious chasing of acting. We study acting and create a language that we share. It's based on the comprehensive teachings of Stanislavsky. We tore through all three of his books, chapter by chapter, and presented workshops based on them in the studio. Alfred Molina works with me in this process, and he has brought great things to the company."
Stehlin says the current membership of 21 is the largest it has been; he chooses to keep it small and tightly focused. Membership is by audition and interview. (Check the accompanying listing for details.) "All of our actors are currently involved in one of our current projects," says Stehlin. "In the early part of the week we are performing Modigliani at the Elephant Theatre, we open a series of one-acts this Wednesday at the Elephant, and our mainstage production of The Misanthrope continues at the Odyssey. It's very important to keep our actors working. The one-acts are devised to give members more acting opportunities, and what's great about them is that they are written and directed by members as well." He also conducts a Monday evening scene-study workshop, which is open to the public, with material ranging from Chekhov, Ibsen, and Strindberg, to old and new American plays.
Stehlin strives to keep casting within the organization, but will go outside the ranks when necessary to fill particular roles. All Circus Theatricals mainstage productions at the Odyssey are co-productions, with Sossi and Stehlin enjoying a simpatico artistic relationship. "[Sossi] gives us incredible leeway and support," says Stehlin. He adds that his members tend to stay with him a long time, with a new person joining every four to six months. He believes what makes his group distinctive is his intensive approach to training in the studio sessions. Also, because the group is small, there are more opportunities to accept roles in the mainstage shows and the weeknight productions. He takes pride that his members are not required to work box office, scrub toilets, or do mass mailings. "We charge $155 a month, but there are no chores, and they get the benefit of the in-depth three-hour sessions," he says. "We want the actors to focus on their craft. It's often hard enough in this game for actors to feel like artists."