Paul Kampf’s Q&A with Debra Eckerling of Write On! Online

Check out Paul’s Q&A about the writing process on Write On! Online.

The Breadline Experience – January 2010

by G. D. Coleman, Breadline Productions Director of Social Media

I was recently in Los Angeles and had the pleasure of attending “11, September.” Overall, it was a great experience. Wonderful production, powerful storytelling and strong performances from Paul Kampf and Liz Rebert. I’d like to share a couple of more personal thoughts about the play from among the many thought provoking moments that the play left me with.

In spite of the fact that I’ve known Paul Kampf for 35 years, I “lost” that connection for most of the play. I think that when we know someone on stage or in a film, we tend to focus on the performance of that person, rarely losing sight of the fact that it’s that person that we’ve known for such a long time. Conversely, we tend to lose the character being portrayed. This wasn’t true in watching “11, September.” A couple of times during the performance, I thought to myself, “Oh, yeah. That’s Paul on stage.” The story and the performances were so strong that it pulled me in and kept me focused on the characters rather than on the fact that my oldest friend was on stage.

There’s a point in the play where there’s a major realization. (I don’t think I’m giving anything away by stating that the play has a realization, although I won’t tell you when it happens.) As this realization occurred, I felt a chill go through my body. My eyes teared up. It was very powerful!

Why is this significant? I knew it was coming. I read the script well before the production and I knew it was coming. Because of the all-around powerful production, I was swept up in the moment. Swept up in the emotion between the two characters. Well done!

I also had the privilege of getting an advance screening copy of Breadline’s upcoming film “From Grace.” Until it’s completed and available for viewing, I don’t want to provide any specific details. But, I do want to say that it’s a story that doesn’t get told often enough. And, it’s told in dignified manner, which isn’t always the case with this story. I admit that I’m biased, but I also know that I am capable of providing a truthful critique of film and theater productions, even if they’re the product of someone I know. “From Grace” is very well done. I’m anxious for post-production to be completed, and for Breadline to find a distributor to get it out there to be seen.

One last item. Liz Rebert was in both “11, September” and “From Grace.” She is a very talented actor. I admit that I am not an expert on acting. I do, however, have some background in (graduate school) film and (community – hey, it was an award-winning play!) theater. My opinion, again, is obviously biased, and Liz recently friended me on Facebook. That said, she has real talent. Watch for her in upcoming Breadline projects and hopefully in other venues.

Thoughts on “11, September” from Gita Donovan, Director

About “11, September”:

11, September deals with the lies and senseless pain that can come from unconsciously imposing one’s ideals and “truths” onto others. The play centers on the relationship born from a chance meeting between a man and a woman. They are each people with an initial pain at their core. From there, rings of defenses have formed, attitudes and beliefs have formed, lies have formed.

When they meet, the rings of lives start to overlap, surprising them both. Their chance meeting offers them both the hope of redeeming their pain. How many coincidences around a given situation occur before we chose to take it as “fate” or “God” moving us toward an inevitable outcome? What is it in this belief that seduces us to give up personal responsibility for our actions? When our “truths” are based on defensive lies, our actions have the power to destroy ourselves and those close to us. And when combined on a larger scale, to result in the 3000 senseless deaths that occurred in 2001.

The directing process and working with Breadline:

Directing the play was an amazing experience. I got to know Paul about three years ago and we both appreciated in the other our love for theatre in a town that’s focused on film. In fact, we both directed an obscure Bulgakov novella called Heart Of A Dog which is a truly bizarre coincidence. However, given the topic of the play and the chain of events leading up to you asking these questions, there’s nothing unusual about that.

When Paul decided to restart Breadline in LA, he thought it might be something I’d be interested in. When I first read the script, I was blown away by his sense of plot, his dialogue, and the depth of his characters. I had seen his film, Brother’s Three, years before, so I knew how talented he was. But it was a thrill to read a script as great as this that was brand new. I was ecstatic when Paul asked if I would direct it.

It was an amazing experience to work with an actor as talented and flexible as Paul. Plus, it was fascinating to be able to question the writer when things came up in rehearsal that seemed to not work. It gave us a real freedom to explore during the process. Throughout the rehearsal process, we came upon more than the normal set backs that usually accompany a play going up. But each solution seemed to bring us actually closer to a better production. It has been truly miraculous in so many ways, and I’m sure more miracles will be revealed as time goes on. That seems to be the way things work around Paul, partly because of the complete optimism and acceptance he brings to life, and I’m so glad to be a part of it.

Gita Donovan was the Artistic Director of Alchemy Theatre Company in New York City. Founded by fellow Northwestern University graduates, Alchemy focused on adaptations of literature. There, Ms. Donovan produced, directed, and performed in numerous productions, including Heart of a Dog, adapted by Frank Galati, Madame Bovary, Runyon on Wry, and Savage Amusement. She performed for years with the New York State Theatre Institute in upstate New York, Other New York credits include her one-person show, The Silver Thread, based on the life of socialite Edie Sedgwick. In Los Angeles, she has been a member of Theatre 40, in Beverly Hills, performing in numerous readings and shows, including Bits and Pieces and Doing Something for Sally. In 1998, she wrote and directed a short film, The Gift, which won Best of the Fest , Movies on a Shoestring festival and was shown on WGBH television in Boston and throughout New England. Her television credits include The Pretender and Days of Our Lives. She is enthused and honored to have the opportunity to work on 11, September as her Los Angeles directing debut.

Liz Rebert, “11, September” Co-star Interview

Tell us a little about your background. Previous theater or film work. Where you’re from. Love life – past and present (kidding, of course…unless you want to go into details). Whatever you’d like to share.

I come from a very artistic family. My Dad was the DA in my hometown of York, PA for 26 years but always said being a lawyer was just being a frustrated actor! My mother was a visual artist growing up and used her artistic eye in children’s and women’s retail! My brother is an Emmy Award winning special effects makeup artist and my sister is the lead singer for three bands in Pittsburgh. I began acting at a young age and was very involved in my school and at York little theatre. I graduated from Emerson College in Boston where I studied with Kristin Linklater. I studied with Shakespeare and Company in Lenox, MA. I lived in NYC for many years and performed in both known plays as well as new works as well as a few short films and commercials and a small role on “Law and Order: Criminal Intent”. I worked as a teaching artist in schools throughout the five boroughs teaching kids acting and playwriting. In Los Angeles, I’ve had the pleasure of acting in Breadline’s new feature, “FromG” along with the short, “Life Preserver”. Other than that, I’m still fighting the good fight! Waiting tables and living the dream! And, about my personal life, I’m getting married to my very long time boyfriend in May!

How did you get involved in working with Paul Kampf and Breadline?

Paul was one of the first people I met in Los Angeles. It would be a couple of years before we really got to know each other but I think it was fate that I met him upon my arrival here.

I was feeling very stuck and uninspired as far as acting was concerned and decided to take Paul’s six week workshop as a barometer of whether or not I would continue in this business. I loved his class so much that it became undeniable that I still had the fire in my belly and there was no way I could walk away from my art! I’ve been studying with him ever since.

“From Grace” was my first Breadline experience, which came out of class. My involvement in “11, September” came out of an invitation to audition and ultimately accepting an offer to understudy the role of Angela. Lucky for me, the opportunity arose for me to take on the role. It’s been a staggeringly amazing experience for me. It’s actually been a gift to me to only have a couple of weeks to prepare. No time to doubt. The play is a living, breathing entity and I just pray that I fill myself with Angela as bravely and truthfully as I can every night! I learn more with each day that goes by and I don’t know if I’ll every feel like I “got it” but I’m so blessed to have the opportunity to try!

Thoughts about “11, September.” Process. Script. Story.

Well…I sort of addressed that above. The play is pretty all encompassing. Angela experiences the whole range of human emotion; love, lust, rage, grief, joy, humor, you name it! My process is hard to describe but I’ve learned through my work with Paul that my imagination is a more reliable and potent tool than drawing from my past experiences, which was how I used to work. Not that I don’t use that too. I try different things and use whatever works. I’ve always looked at acting technique the same way I approach religion. I educate myself and then pick and choose what feels right for me!

I understand that you’re a student of Paul’s. What’s it like to go from being a student to working closely with your teacher? How have you made the transition from having Paul critique your acting to being with him on stage – you developing trust with him and him with you? Again, take this in whatever direction you’d like to.

Paul’s energy in class is so open, friendly and supportive that the transition to working with him was fairly easy. Not effortless. I definitely spent the first couple rehearsals in my head watching myself through his eyes, wondering if he thought I was doing a good job. I had to get over that. And I think I was more nervous about kissing him that I would’ve been a “regular” actor! I got over that too!

It’s been an incredible experience to already trust your acting partner right from the start. I knew I could try anything and, if I failed, it was okay and I wouldn’t be judged. I knew that if I jumped off track or lost my focus, I had someone across from me who would guide me back. And since he’s worked with me in class for a couple of years and directed me in “From Grace” he speaks my language. If I’m struggling, he will say something so concise and subtle which usually gets me to the place I need to be without me feeling scolded or “wrong”. On stage, and I’ve told him this, he is my north star. I just have to focus on him and know I will arrive at my destination safely! Not that we play anything safe, at least that’s what I aspire to!!

“11, September” Reviews and Audience Comments

“We absolutely LOVED the play! [Paul] was incredible and the writing was phenomenal. I am an author and so, I appreciate writing that moves and inspires…Absolutely use my comments. I will tell everyone I know about the show. We see a lot of shows and this is truly one of the best we’ve ever ever seen!”

–Lysa

“11, September revives a faith in the possibility of excellent original theater in Los Angeles – extraordinary two-person cast, imaginative and wonderful use of words and space. If you are an actor, you must see this play – the work of these actors will ground and inspire you. If you are a writer, you must see this play – these actors and their talent will compel you to write. If you are weary of prepackaged, blandly acted television and film stories that pander to the lowest denominator, you must see this play – your intellect and sense of humanity will thank you. In sum, you owe it to yourself not to miss the acclaimed Breadline Theatre Group’s first production in LA!”

–Jaisey Bates

“A rising tension from the violence in the air and some very

intriguing inter-connections add to the play’s capacity to entrance,

and Chris Cash’s musical compositions help segue the many scenes with

a delicate solemnity, giving the event a cinematic feel.”

– LA Weekly

“Kampf and Rebert’s performances are on the nose… This production, by Chicago’s Breadline Company, of which Kampf is a founder, shows the capability of this company.”

– Reviewplays.com

“11, SEPTEMBER seems to be developing into a May/September love story, only to take several unexpected twists and turns. The play keeps going deeper and deeper into character… fate, coincidence, secrecy, murder, sexual abuse and chaos are just some of the things that have affected the lives of these two damaged but decent souls.”

–TotalTheater.com