Skip to main content
Test

The Web: Charlotte's World Part 2

Meg Flinders

by Jessa Cunningham, dramaturg A few weeks ago, I had the opportunity to interview Meg Flinders, our fabulous Charlotte, at one of her training sessions. She has been working hard at learning the aerial silks for the show, so we chatted about this unique experience and how it relates to the show! Me: What is this training experience like? Meg: Well, you obviously have to start with the basics. But we move pretty fast, so I just learn something new every time I come in and a lot of it is progression based so it just keeps building on top of each other. I also have to do a lot of outside work on my own to do strength training because this takes a lot of strength because you get tired really fast. Most of it is learning by doing which is actually great because it’s not something you can really do by reading about it. So you just have to go for it and figure it out and hope it works. Me: What kind of daily things are you doing? Meg: So a lot of it is arm strength, so I do planks, side planks, push-ups and pulls ups and pull downs, triceps dips and holding a handstand against a wall. Those are the biggest ones I do. Then I do a lot of leg lifts and sit ups and ab work that doesn’t really have to be specific. When you’re up in the air you have to be able to both hold yourself up and be able to lift your legs up into a V or in front of you so it is a lot of core work and arm strength so I do any work that’ll help strengthen those muscles. Me: Do you feel like this is helping you understand Charlotte more? Meg: Yeah, in a way it is. And actually it’s interesting because in the play a lot of people forget about Charlotte and the work she puts into it. They focus on the word and how it exemplifies Wilbur. They think the word is beautiful and the web is beautiful and they connect it to Wilbur and think it’s great. But they forget how much Charlotte is working night after night. It’s just interesting because I am not quite at the professional level yet, but watching some of these other people who can do a lot more and have routines already--it looks gorgeous and effortless. But then I try some of the basic moves and it’s so hard. So it’s just interesting to connect that, because by the end of the play Charlotte is really tired and worn out so I can do method acting in that way. Me: What’s the hardest move you have to do?

Meg Flinders

Meg: Sometimes just the basic moves. Like being able to get the silks in the right spot so you don’t fall out. Or sometimes it’s just the transition, or just rotating through that are in so many different moves. But I think the one I just worked on, which is called the Flamingo (and I know it’ll get a lot more complicated!), is hard because it’s just like remembering which direction to rotate, which leg hooks where, and whether it’s[the silk] supposed to go on the outside or through the middle. So honestly that what’s the hardest. It takes a lot of thought before it becomes natural. But you can’t really stop in the middle of a move to figure it out otherwise you lose your momentum or it just won’t happen. Me: What are you most excited about with the aerial silks? Meg: I am excited to feel comfortable with it! I am excited for when it gets to the point where we can do choreography and when that choreography can help enhance the character and the show. Because I think it is going to be such a different experience to not be a spider walking on the ground, but to be in the air. I think it is going to affect the character a lot, which I am really excited about. It’s going to help me make a lot of discoveries as well as just being really exciting to learn a new skill and have that experience of working hard to get good at it, because that’s always so rewarding. I’m just really excited to see how it plays into the show and the character. Me: What’s your favorite move to do? Meg: Oh boy! When I can get it, the hip keys are really fun! It’s just like you’re whacking your legs and all of a sudden you’re on your side and the silks are holding you up and you’re not holding on. So that’s exciting just because of that feeling of finally getting it and it’s secure. That’s great. So hip keys are fun! I like doing the split rollup—right now all of my favorite moves are the easy ones because those are the ones I can do! But those are my favorite ones at the moment!

Meg Flinders

 

Related Articles

data-content-type="article"

Elizabethan England

November 09, 2021 01:21 PM
I know I have but the body of a weak and feeble woman, but I have the heart and stomach of a king, and of a king of England too.
overrideBackgroundColorOrImage= overrideTextColor= promoTextAlignment= overrideCardHideSection= overrideCardHideByline= overrideCardHideDescription= overridebuttonBgColor= overrideButtonText= promoTextAlignment=
data-content-type="article"

Historical Time Periods of Julius Caesar

November 08, 2021 12:00 AM
by Emme Corbett, dramaturg As a senior student studying history at BYU. One of the first concepts you learn as a history major is that when you study history, it is vital that you do not bring your modern-day biases with you. As strange as some past behaviors or occurrences may be to our modern eyes, understanding the reality of what life was like in historical societies allows for a more authentic and rich study of the past. It also becomes evident fairly quickly that no matter what point in time you’re studying or where you are in the world, there will be commonalities across many cultures. The shared similarity of the human experience allows these connections to occur, so it is no surprise that researching various time periods could be related back to Caesar in Ancient Rome. It was necessary in our dramaturgical research to explore three major time periods that are encompassed within this play in one way or another. These time periods are first, 49 B.C. Rome, when Julius Caesar first became a dictator of Ancient Rome, and the setting for the original script. Second, 1599 England, when William Shakespeare’s Julius Caesar was first performed, most likely at the Globe Theatre. And third, 1919 Italy, when Italy was recovering from participating in the First World War, and the setting for our performance at BYU. This weakened state created a situation where authoritarianism could ensue. It was an interesting experience to be able to connect the culture of Ancient Rome to that of Italy in the early 20th century. The reason for choosing this production of Julius Caesar to take place in 1919 Italy is not random. The significance of that time period is to draw upon the reality that history repeats itself. An aspect of history that is repeatedly detrimental to countless societies is when a group of people finds itself weak and vulnerable--whether that is due to lack of resources, a change in leadership, exiting a war, or simply evolving generations--and a power vacuum is created. This moment in time when desperation allows for someone to assume leadership (based purely on the need to rely on anybody) and provide temporary relief is often too quickly turned into an authoritarian government. The third time period that we also had to account for in this production was the time of Shakespeare in 1599 England. Some of the questions we had to ask ourselves were: Why Julius Caesar? What elements from the story of Caesar’s assassination did Shakespeare feel would resonate with his audience? From these questions and further research on the Elizabethan period, we discovered that, like in 1919 Italy, there was a concern with the succession to the Crown. Queen Elizabeth I was on the throne at the time and created conflict among the people beyond her just being a woman in power. Queen Elizabeth never married and subsequently never bore any children, thus failing to secure a successor who was in her direct line. Another element of the play that related to Shakespeare’s audience was the role of the plebeians. Their behavior in the play could symbolize how the lower class in the Elizabethan Era, while uneducated and changeable, contribute largely to the success of their society.
overrideBackgroundColorOrImage= overrideTextColor= promoTextAlignment= overrideCardHideSection= overrideCardHideByline= overrideCardHideDescription= overridebuttonBgColor= overrideButtonText= promoTextAlignment=
data-content-type="article"

Italian Bias

November 06, 2021 01:52 PM
I love working as a dramaturg. I love studying, researching, and learning new things, and being able to treasure new knowledge in my life. Being part of the Julius Caesar production team has been a great and revealing experience. I quickly found out that as an Italian native who now lives in the United States, I have a lot of bias when it comes to my culture. First and foremost, Caesar is never the “bad guy” in my eyes, and I would dare to say he is not the bad guy in the eyes of most Italians as well. Scholars have debated about whether Caesar was a tyrant, would have been a tyrant, or if he would have been just, bringing serenity to a fractioned country. The truth is we will never know because he was murdered before he could become what he had envisioned himself to be.
overrideBackgroundColorOrImage= overrideTextColor= promoTextAlignment= overrideCardHideSection= overrideCardHideByline= overrideCardHideDescription= overridebuttonBgColor= overrideButtonText= promoTextAlignment=