The daily Nebraskan. ([Lincoln, Neb.) 1901-current, March 30, 1978, Ad lib, Page page 2, Image 14

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    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."
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Director Nick Havinga on the set of A Moon For the Misbegotten.
Minneapolis Tribune photo
((daytime)r
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OR EDGE OF NIGHT
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fit OVER EASY
K .ttEnpertajcnmen' Edltor pete Mason Cover Design '.j? Beard Layout
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