An Original (Kids) Peter Pan???

Posted onFebruary 5, 2014
Blog

We are a few weeks into our process at Original Kids and the troupe is picking up the material quite quickly. When actors are young like that, they are often very sponge-like. The material gets soaked into their brains super fast and with great clarity. So, the director is ploughing ahead with all the blocking and character work and the music director is already reviewing material and refining their singing. This means it’s the choreographer’s turn to jump in there and give the kids some movement vocabulary. Time for something new and fresh and NOT THE SAME AS EVERY OTHER PETER PAN?!?!?!? What?

Yeah, that’s a challenge, you know? Making it fresh and fun and organic when it is for a story that has been told 1000 ways in 1000 different cities with different songs and versions of the story and yet, certain movement just seems to be dictated by the characters, the story and the situations of the Lost Boys, the Indians and the Pirates.

So, what do you do? Do you force choreo into a situation, just so it can be different? Or do you accept your fate and go with the tried and true movement that you know has been done before? Well, for this very youthful version, I opted to go with what is going to work for the performers – and that’s simple, effective and funny choreography and blocking.

We are already close to having finished the initial blocking and choreo for the show and the kids are loving it. There are a pile of jazz squares, (a move that is classic! – and in this case quite funny) as well as some silly hijinks in the movement, because that is what the director wants. Ms Kerry Hishon enjoys the silly. The sillier the better and for this show and these kids, it really seems to be working.

So, here’s hoping those 7 or 8 jazz squares with the crazy eyes and sparkle fingers work for the audience, too!

It’s lonely at the top…

Posted onMay 20, 2013
Blog

It can be very lonely being the director.

Once the show is open, your job is done and you don’t feel needed anymore. You miss out on all the backstage fun, shenanigans in the dressing room, headset chatter, inside jokes, etc. It’s a very strange feeling because you’ve been so involved for so long and now you aren’t part of the final execution.

Sometimes you can even get filled with great anxiety over the performance itself. If something goes wrong, you are powerless to help. When the lights flickered due to dimmer patch problems in my production of Gondoliers, I was quite stressed and couldn’t sit still in the audience as I was desperate to help the show in some way. You really shouldn’t be trying to help anymore as your people should be completely equipped to deal with any problem, but that doesn’t change how you feel when you are helpless in the audience. You always wonder if you did enough for them and if you could have done more – and if so, what?

Of course, there’s the insecurity as the show progresses with regards to the work itself. Is it good? Will it hit the mark? Is it rich enough?

Perhaps that’s why I feel so compelled to attend most, if not all, of the performances of my show. Maybe I’ll get more confident as I progress. We shall see. Til then, I’ll sit in the audience and imagine what I’m missing behind the scenes.

First Preview Night

Posted onMay 16, 2013
Blog

So… we’ve made it through tech weekend – pretty near flawlessly.

We survived our black out in the middle of dress rehearsal last night and now we are at First Audience. My theatre does something we call Community Preview where at our Final Dress Rehearsal we invite, for free, members of our community who would not otherwise attend the theatre. They come in groups, because they are all members of groups – special homes, they have care-givers or case workers, etc. They mostly know one another – and yet they all sit spread through the theatre. It’s fascinating. Our house seats over 350 and tonight I see about 100 folks spread throughout the house, but they are all talking to one another – some across the rows and some from the back to the front of the theatre. It should be a lively night.

Two years ago, at our Community Preview for The Three Musketeers (the first in my Ken Ludwig Trilogy), near the end Milady was about to poison Constance with a beverage she said would calm her nerves. Someone in the audience yelled out, “Don’t Drink It!” They are a fun crowd and anything can happen.

Tomorrow night is Preview and then Friday is Opening Night! Months and Months and Months of rehearsal and it will all be over in the blink of an eye…. But that’s part of why it’s so addictive. The payoff is, generally huge enough to balance the effort.

I know I’m going to enjoy the payoff of this piece.

Here’s to a successful run!

Break your legs!

Cue to Cue…. standing by….

Posted onMay 11, 2013
Blog

Today is setting all the lights and sound cues for the show. I really enjoy this process. It’s another one of those phases that feels tedious, but once it is complete, you’ve added so much to the overall look and feel of the show.

When you have an expert team as well, then the whole thing can be very entertaining and fulfilling. As my wonderful lighting designer builds each cue, I see dimensions of the set that weren’t apparent before. It is truly amazing what coloured light shone from different directions can do for furniture, paintings and costumes. Not to mention how different people look when light isn’t florescent.

As we work through each cue it constantly amazes me how people will work to their utmost when given the chance to try out their ideas. Any show will progress a great deal during this process, the actors are so focused in helping their tech team to practice and perfect their changes that I find their performances become even more focused than before. And of course the tech team is so focused as they know that they have a very limited amount of time to get their work perfected.

It’s all so very exciting. Isn’t it? If you’ve never experienced it, you need to do so.

Join us, next time… won’t you?

Here comes Tech Weekend!

Posted onMay 11, 2013May 11, 2013
Blog

There was a palpable energy in the theatre when I entered tonight. The cast was a buzz, the musicians were all present and the load in of some more last minute pieces were happening. More painting had happened, costumes were arriving and more details were being added to them. I’d stopped at Fabricland to pick up foam to repair a piece of furniture and all seemed to be on schedule. There was nothing particularly special about this night… but there’s something undeniable about the last rehearsal before tech. No matter how tired actors may be, they always want to give that little bit more in this rehearsal as they seem to realize that the focus for the next little while will be elsewhere – other parts of the show are needed to be brought up to snuff, really, really quickly in order to match all of their months of efforts.

Personally, I know it is one of my last chances to give my people on stage any more advice that I have left to improve their performances and I’m always reluctant to let go of the whole project, even though I know it is completely necessary and part of the process. It’s a very draining and energizing process at the same time.

Our production is a show within a show – a backstage story that examines the beginning and middle and end of things. That’s always the way of life, isn’t it? One thing starts and another ends… Just as my job is almost done, the show opens. Just when actors memorize their lines, the characters come to life. The performance itself has a beginning a middle and an end – each character in the story does as well. We cycle through it all and experience each phase.

Even productions as a whole… we finish one show, celebrate it’s ending with a cast party… take a little break and then begin the next one.

That’s the key, isn’t it – relishing the process and each phase along the way. It moves quickly, so you’ve got to pay attention, or you’ll miss it.

4 Weeks! You rehearse and rehearse!

Posted onMay 10, 2013
Blog

Here I am again… spending my evening in a darkened theatre preparing for an opening.

My job as the director is almost complete, but the final stretch is the busiest with all the tiny details coming together. It’s frustrating and exhilarating and you always wonder if it will ever come together. But somehow it always does – “it’s a mystery.”

In Kiss Me, Kate! a musical adaptation of Shakespeare’s Taming of the Shrew the cast sings of their nerves before the show opens.

Four weeks! You rehearse and rehearse…

Three weeks! And it couldn’t be worse…

One week! Will it every be right…

And out of the hat is that big first night!

So… soon it will be first night. Very soon. There’s always nerves involved and there’s always something that you wonder if it will ever work or ever conform to your vision, but time will march on no matter what efforts you may make to the contrary. So you do the best you can and you spend all your free time with your team and your cast and crew to get every last detail perfect. Each show has it’s own particular hurdles, be they technical or artistic and no matter what, you cross your fingers that the efforts of your team will be fully recognized.

Perhaps that’s why I feel the need to attend almost every performance of the shows I direct. I get so connected to the entire project and feel the need to morally support it right through to the end. I suppose if I directed shows that lasted a whole lot longer, I wouldn’t attend all the performances, but here in my community, most shows run for about 8 performances, maybe 10 and it’s over before you feel it’s even started. You’ve got to make the most of it.

That’s a good life lesson, don’t you think? Making the most of something because you know it isn’t going to last – no matter how hard you try.

My share of the task/load/project

Posted onApril 26, 2013
Blog

Everyone’s got to do their share, right?

They sure do and in theatre the share can be any size… but whatever you can give is worth it. Believe me.

Last night we had a mix up in our rehearsal. It turned out to be a great mix up as it meant we got to rehearse on our stage a little earlier than originally planned, but it meant moving a fair bit of stuff from one room to another and then packing it all away out of sight and mind to be safe from the Big Event that’s coming into the space this weekend. That kind of task could be unbearable or a heavy burden on one or two people, but that’s not what happened.

What happened was this, everyone volunteered to help move a little something. That many hands made all the stuff transfer and then disappear into protected areas in minutes. Something that would have taken the Director and Stage Manager hours to do on their own took minutes. That’s what happens in theatre – EVERYBODY chips in – even folks who can’t carry heavy things can help – and they do. Hold a door, pick up a coffee, turn pages for the pianist, whatever – it doesn’t matter what it is, every little bit really does help.

So, I’m asking you, right now, what are you going to contribute? I don’t care if it’s big or small or minuscule… just do it, okay? Someone will appreciate it.

To sum up… What makes the best…? (Part 10)

Posted onApril 6, 2013April 16, 2013
Blog

Good people. That’s what you need more than anything is good people who are willing to give their time to a project. Then you got to let them run with it! Give them the tools to succeed, support them and believe in them.

This community of theatre we work in is so accepting, so dynamic and so very, very rewarding. Take a chance on a new role in theatre. Push yourself to succeed and then give someone near you a push as well. You’ll never know what you can accomplish until you try.

The theatre needs you. It needs you to perform, to produce, to create, to direct, to sew, to dance, to sing, to sell, and most importantly, it needs you to attend and support the creative efforts of your community. So get out there and get involved. You won’t be sorry.

Share these with your friends and get them to join you in your love of theatre – they won’t be sorry either.

Part 10=People

Part 9=Actors http://www.theloversthedreamersandyou.com/what-makes-the-best-part-9/

Part 8=Directors http://www.theloversthedreamersandyou.com/what-makes-the-best-part-8/

Part 7=Music Directors http://www.theloversthedreamersandyou.com/what-makes-the-best-part-7/

Part 6=Choreographers http://www.theloversthedreamersandyou.com/what-makes-the-best-part-6/

Part 5=Lighting Designers http://www.theloversthedreamersandyou.com/what-makes-the-best-part-5/

Part 4=Costume Designers http://www.theloversthedreamersandyou.com/what-makes-the-best-part-4/

Part 3=Set Designers http://www.theloversthedreamersandyou.com/what-makes-the-best-part-3/

Part 2=Stage Managers http://www.theloversthedreamersandyou.com/what-makes-the-best-part-2/

Part 1=Producers http://www.theloversthedreamersandyou.com/what-makes-the-best/

What makes the best…?(Part 8)

Posted onApril 1, 2013April 15, 2013
Blog

Director????

Lots of things, really, but we’ll just mention a few. A few vital things like, vision, planning, creativity and an ability to inspire others. The best directors I’ve worked with were able to see potential in others and bring it out of them. They could see the future character, or the singing ability or dancing ability or comedic/dramatic ability and they knew the performer could deliver. They knew it so intensely that could even give confidence to the entire team that some crazy difficult show or scene was possible – sometimes during supposedly insurmountable odds. Their vision and confidence carried the entire team to the finish line and even if there might have been some doubt or hesitation along the way, they wouldn’t let that stop the progress of the show.

The best directors have a plan for success. They get down to the business of planning their rehearsal process for success and they share that plan with the entire team. They are also open to suggestions from the team. No one is excluded and no idea is too small to be ignored. The best directors seek out ideas from their team and make sure all those contributions feel valued and honoured. You never know when brilliance will strike and you can’t possibly be the only person with good ideas. But if you’ve explained your vision and you’ve inspired your team, then you’ll definitely be setting the stage for great ideas and they’ll come your way. Be ready for them.

Creativity goes with the entire job – and is vital to every aspect of being a director. You’ve got to be creative in your casting, in your scheduling, in your promotion, in your staging, your design of your show and even in how you end your project. Always be on the lookout for new ideas, new ways of approaching your work and new ways to challenge your creativity as a director. It is taxing, for sure, but it is also very rewarding.

Choose a new project – get out there and plan for new challenges, it’s truly rewarding.

What makes the best…?(Part 5)

Posted onMarch 7, 2013April 15, 2013
Blog

Lighting Designer????

Seriously? What does make the best Lighting Designer? I don’t know, exactly… even though I may have tried my hand at some Lighting Design, I still don’t know what makes the BEST Lighting Designer because this can be a really elusive section of the entire design process – and yet, so VERY integral.

For example, when great stage design ends, great lighting design should take over. Lighting can create and add so much to every production. Lighting, in theatre is the CGI of live entertainment. That sounds like a really loaded statement, and it is… but it is also true. Ask any really experienced Lighting Designer if the theatre they are working in has enough equipment and they’ll tell you – “there’s never enough equipment”. Another lamp, another dimmer pack, a hazer… there’s always room for more and it will give you more – almost exponentially more, especially in the hands of a pro-lighting designer. More than CGI would, I wager.

A pro will read the script. And read it again, and again, and probably again. Their medium is very, very visual and ephemerally so… Mood, sense, time, place – lighting design will give you all of these things. Lighting can scare you, inspire you or feel barely noticeable at all, but it will totally affect your sense of appreciation of the production! Totally!

Once they’ve read it… they’ll probably make a few strong decisions and then come to the director for some vision. Lighting Designers know how to interpret the strange language that Directors speak and they’ll translate that into colour and make it fit with the palate of the Stage Designer and the Costume Designer and they’ll use their skills and talents to make other people’s work look extra good.

They will also spend countless hours above the stage with heavy objects arranging them to face in just the right area with just the right colour and texture to create some ephemeral existence for us to enjoy. And then… they’ll go home, very, very, very late at night. They create entirely in the dark and they disappear once the work is done. Often, if you notice their work… they are sad that attention was brought away from the action on stage. But for me.. the beauty of light is something worth noting. I certainly take time to note it. Do you? Take note at your next production. I think it’s worth it.