page 2 ad lib thursday, march 30, 1978 Emmy-winning director is enjoying move to stage By Charlie Krig I 1 n1"" ' '! TJ7 TT"7! ,.f " Television direction is fun but work on the stage is a ? tTl ,V ''Hwi.'r , . S J V refreshing difference, according to Nick Havinga, a 15- ujV w ij fvj hl A & year veteran of the video medium. But, after wining three ''IF $ flf ' ' A T i year veteran of the video medium. But, after wining three Emmy awards, he thought directing a play for the theater would be a nice change, especially the chance to work with the Guthrie Theater company. His show, Eugene O'Neill's A Moon for the Misbegotten, opened last year on the Guthrie Theater's stage in Minneapolis. Now the play is touring the country and stopped in Lincoln for three performances last Mon day and Tuesday. Havinga, however, is not touring with the play. He's in Los Angeles, working on several television projects. But he took some time for an interview to talk about the play and his work in the theater and television. 'Television and theater work are rather equal but dif ferent. They're kind of like apples and oranges," he said. "It's hard to keep your sanity with only television work so I've always felt it necessary to do theater work. "Theater is ultimately more rewarding because you have more time to find the essence and depth of the play. TV is more mechanical and direction can be reduced to no more than being a glorified traffic cop." Still, Havinga admitted that "if I were more heroic I would shun TV and go totally theater, but it's hard for a director to do that. There were some obstacles to overcome while directing the play, too. First, there is the recent O'Neill revival lead by director Jose Quintero and actor Jason Robards, a cooperation resulting in several Broadway productions and a television special of A Moon for the Misbegotten. Havinga said that in the back of his mind he was concerned that audience members would try to compare Quintero 's work to his own. 'There was some preoccupation about Quintero but we decided we would find our own values in the play," Havinga said. Second, the Guthrie stage has an extreme thrust so that the audience almost surrounds the acting area. But on tour, the play will be done mainly in proscenium theaters so Havinga got to direct the play twice. "I have to think about the play and how I could do it on the Guthrie stage and how to do a four-act structure as a two-act production. There's one act that takes place inside the house. It's a lovely change if you can do it. But, because of the thrust stage we went for a representation of the house and staged the whole play outside the house. The designer accomplished a good deal with it because the set also had to be light and movable for the tour. 'Then, after the run in Minneapolis, I returned to the Guthrie two weeks before it first went on tour. It's always a challenge to be able to re-establish and refurbish a play. It was a rare opportunity to go back to a play, see its strengths and weaknesses and then be able to refine it." Finally, Havinga had to balance the humorous and serious aspects of the play. "There's a certain amount of tone set in the early part of the play. At the start there's a young performer who really sets the mood and Richard Ramos has a very clear idea of the humor in those moments. "It's a curious play," he continued. "It's written very strangely. The humor is there; we didn't superimpose it on the play. It's almost two plays in one. We had to syn thesize the first part humor with the later dramatic parts. It's good for the audience to laugh and enjoy the opening. 'Then we had to work very carefully with those certain moments of transition so that the audience would be able to change from humor to seriousness." Havinga said he cut parts of the play so it would run more smoothly. "O'Neill's plays can often be improved with some cutting," he said. "O'Neill makes his characters clean. If you know his preoccupations, his Catholicism, his other plays in this cycle, then you know what he's looking for. I wanted to discuss the play with the cast and come to a mutual de cision about the characters instead of just dictating my views. Of course it's always my final decision but if I can collaborate with the actors I'd rather do that." Havinga's present goal it to establish himself in Los Angeles and continue his television work. He said he recently completed some episodes of Wecome Back, Kotter and Baby I'm Back in addition to a new CBS series. Another Day. 'But his long-range plans include some dramatic productions. "I'd also like to do a feature film but so would about 8,000 other people in this business," he said. But one thing he said he won't do is a television ver sion of A Moon for the Misbegotten. Havinga explained that the play needs an intimate medium to match its in timate theme and that the transition to the video screen would make it too distant from the audience and "that would lose its feeling." TO PROTECT 1HE UNBORN AND 1HE NEWBORN give to the mflRCH of Dimes ffftO!5"t3fS (TlEfCtl 1 aB"'""BRR"BBMoRi mm,- - m B t-mi f I ft pi r -? h I if W i yft tit , S Tf 7 t1 .-4 44 3tf r. mi Lrrr It I h m m 11 a w 1 it 11 J) 'V-.Vv ' if Director Nick Havinga on the set of A Moon For the Misbegotten. 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