Tag: Directing

What makes the best…? (Part 3)

Set Designers are crucial the a show’s success. They are also crucial to the creative process of the director – at least they are to my creative process. No matter what the play or musical is about, if I don’t have a set design, then I can’t see the show coming to life in my head and in turn I will have difficulty in bringing that vision to the cast for them to give it life.

setdesign

I’m a pretty visual person, but I work kinetically on a play. This means that I need to be able to feel in my gut what is the crux of a scene and give it some truth in the physical relationships of the characters involved. That holds true if it is a musical number or a dramatic, tension filled scene and the spatial relationships of the players can really affect the kinetic feeling of the scene.

A great Set Designer will read the play. Then they’ll read it again and then they’ll talk with the director and eventually be able to give them some plans, either 2D or 3D – preferably both –  to help them show the entire team the world that they will be living and working in for the life of the show. The sooner a Set Designer can provide this, the better. If you don’t know the layout of your apartment, for example, how can you go shopping for furniture?

A superb Set Designer will solve script problems. Sometimes problems that you didn’t even realize were there. They’ll be able to give you solutions to scripts that read more like movies – many authors seem to forget that it is hard to transition from the dining room of a tavern to a seaside in a matter of seconds. Your Set Designer can have creative tools up their sleeve to help to tell the story in a seamless manner. They will also help to tie in the colour palate of your show and give the whole world a real sense of belonging.

Aside from knowledge of building and a good aesthetic sense, a flexible personality is necessary for a great Set Designer. They need to be able to take their artistic sensibilities and skills and apply them to the whole vision of the show. They will consider the movement of the actors, the potential difficulties of costumes and the location and operations of lighting and sound equipment. They can give a director levels to play on and moveable pieces to bring an imaginary world to an audience. And they will probably finish their design long before the other members of the crew will finish theirs. A good set design will inform the whole production – and the whole production’s process.

It’s a big job. And we always need someone to do it. Could that someone be you?

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What makes the best….? (Part 2)

Stage Managers are so vital to the success of a show. As many of you dear readers know, we have a little phrase we use to honour our regular Stage Manager, “No Joe, No Show!” And that literally came from the fact that without our talented and organized and discpilined SM, we wouldn’t have a show. But how do you know if you’ve got a good one or not? Or if the show you are watching had a good one? That can be tough, actually.

SMmustbeGod

It’s tough because if the show has a really good SM, then it’s likely you wouldn’t give the job another thought. Many young actors shy away from the responsibility of SM, some for their knowledge of what the job entails, but many for their lack of knowledge of the importance of the role. If anyone ever wishes to direct, then I say, they must first Stage Manage.

A good SM is disciplined, organized and creative. They know how to put their bible of the show together and how to keep track of all the minutia of details that can make or break a rehearsal. An exceptional SM has their binder ready before first rehearsal with media release forms, health and safety forms, extra copies of first rehearsal schedules, contact lists and whatever else might be necessary to answer questions and keep everyone on track.

A good SM can keep the cast AND the crew in line – this includes the Director. So, and exceptional SM has the respect and admiration of the director. They can work well together and the SM knows that if they call a halt to rehearsal for whatever reason, the Director will understand that it was for the good of the show and not meant as a slight to anyone involved. An exceptional SM will be that moderator, note-taker and interpreter of the Director’s vision. Often Directors and Actors (and other creators as a matter of fact) will get caught up in their creation and what they are trying to say or do – so caught up in fact that they may need a translator. If your SM is really good and has been really paying attention, then they already know what you are trying to say even before you say it. And they help make it happen.

In the end, the show belongs to the Stage Manager. It won’t happen without them. No calls are given, no audience is admitted and no curtain goes up without them. You hand over the keys and they control the destiny of the show, so find a good one, nuture them – and while you’re at it… find another one, because the really good ones get snapped up fast!!!

Do you want that kind of responsibility and knowledge of a show??? Then get out there and join a production to learn what it takes to be a Stage Manager!

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The Stages of Theatre – Part 2

So, auditions are complete and rehearsals are beginning. All that trepidation, all those questions that pile up at every rehearsal, “what’s my character?” “what will the set be like?” “when will we be learning this number/blocking that scene?” “who’s looking after this?!?!” It never ends and it never ceases to amaze.

By a few weeks in to rehearsals, hopefully, you are hitting your stride. As a cast or crew member, you’ve found your place in the production, there’s a vibe going through the rehearsals and things are humming along. It really is one of the best parts, isn’t it? The process – the creation… hopefully one of the main reasons you’ve taken on the project. Otherwise why not go make something else, right?

We are still in the beginning of our theatre year – the “Dark Monday” of our theatrical run and a pile of great shows are just, or almost about to, burst onto the London scene. It’s impossible to fit them all in to your schedule, (even though some with Beat Magazing and the Brickendens give it a good go!), but it sure is exciting to be part of the whole creative potpourri.

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The stages of Theatre – Part 1

Working in Theatre, in any form, is so rewarding.  But often people who don’t do theatre will ask exactly why I will put in so many hours on something that is, generally, volunteer. They don’t see that a 2 hour performance with some applause or tears is worth all the effort. And they are quite correct. It is far more than that. The hours of effort along the way are, in fact, the real reward.

As we are heading into “award season”, the metaphorical end of our entertainment year, I happen to be starting two productions and be in development for another. I’m not sure these events have lined up exactly this way before now. It is interesting to think about the beginning and the end simultaneously. Whilst in auditions for OKTC’s Little Mermaid and LCP’s Sullivan and Gilbert, I’m thinking about how much I like this stage. All the promise and potential. All the new discoveries just waiting around the corner. I’m anticipating all the questions we’ll have and the answers we will struggle to find. I’m anticipating the laughter and yes, probably even a few tears – mostly of joy, (we hope).

Next week are the Beat DISH Awards and one week later the Brickenden’s – London’s official end to the theatrical season. And while it’s great to look back and celebrate, I find I’m excited to ask folks – “So, what’s your next project?”

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I love musicals.

I really love them. I love all theatre, but I really love musicals – almost all of them. It’s pretty darn rare to find a musical that I don’t really enjoy on some level. Even some of the rougher ones – cause let’s face it, there are a few old chestnuts out there that are rough around the edges, or new ones that are lacking in substance. But, I can generally find something I like in pretty much any musical.

I like watching them. I like listening to them. I like learning about them. I like reading them. I like directing/choreographing them – boy oh boy, do I like that, and of course, I like performing in them.

Right now I’m watching the lovely Dame Julie Andrews in Victor/Victoria. I love this show. I only know the film and little bits of the Broadway show that I’ve seen on YouTube. Some of that inspired my choreography for FOLLIES that I directed and choreographed a little while ago.

It’s a funny thing with musicals, when you grow up performing in them you dream of getting a larger role than the chorus gal – the 2nd last Snow child in Carousel, a Jet Girl in West Side Story, etc., and then you actually start getting roles. Like all theatre, you start to find your niche, where you fit in the pantheon of roles. I generally get cast as the comedic lead – not the real lead, the romantic lead… nope, that’s not the part I get. And that’s okay, cause usually the comedic lead is much more fun than the romantic one, but you never get the guy – or at least you never get the scene that shows the romance of getting the guy. So, you always wonder what it would be like to get that role. There’s not a lot of shows where the funny girl gets the romantic scene. Funny Girl, sure. Gypsy, maybe… and Victor/Victoria… how I’d love a chance at that role… or any of those roles.

Anyone out there want to direct something like that? I promise, I’ll be directing something that’s perfect for you sometime soon.

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Good, Fast or Cheap – pick two

Creativity isn’t easy. It’s hard work and anyone who creates theatre, dance, music, or any form of art will tell you that good creative work takes time. It also takes money. Effort, time and money – that’s what good art needs. So what happens when one of these is missing?

When I decide to commit to a play, especially a big one, like say The Three Musketeers, or something of that scope, I know it’s going to take all three of these elements in order for the final product to be good – you know, something I’m willing to put my name on and share with the world. So, first of all, I know it’s going to take time and lots of it. For 3M, I started work a year in advance of the production. Now the beginning work was not as intense as the end, but still, in order to really be on top of everything, I knew I needed to start the thinking and planning. This amount of time, for me at least, really pays off. I like to know the subject area as well as I possibly can – even before the cast and some of the crew join the project, otherwise, how can I project the vision of the play to lead them to a product THEY will be proud of in the end? So, as much time as possible is what I like to have with a project.

The Three Musketeers Cast and Crew

Then I know I need a lot of support. Now support comes in many forms – in the shape of talented people who help to bring the project to life, but also in the form of dollars – and generally, more is better. But you don’t always have more. So you plan and you get creative. But as we all know, money can really help a production turn from a decent amateur show to something that looks worthy of much more than a $25 admission. Spending funds wisely, raising some extra, or finding those donations to help a project can make all the difference.

Stephen Sondheim’s FOLLIES

And then there’s that effort and skill. If you’ve got the expertise, then you can think creatively and save a few pennies or dollars, or precious minutes or hours in the process. If you’ve got the best people on your team and you trust them and empower them, you can save tons of funds and time. You may also get an even greater product because you gave them the chance to explore your initial idea and take it further. But if you are just starting out, and you are still learning the tools of the trade, you’d better have reserves of time and some extra pocket change.

Treasure Island: Act 1 Finale

So, what’s the point of this examination, you ask? Well, simply this – you don’t always get all three – Skill/Expertise, Time and Money. So, sometimes you have to choose because here’s what it boils down to… If you want your product to be good, then you need lots of time to get it there, OR you need lots and lots of money to buy a good product. Cause without the whole equation, your end product will likely suffer in one way or another. It’s a compromise. So on any project, you have to ask yourself, “Where am I willing to make that compromise? Is it with my time? Or is it with my money?”

 

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