Tag: Musicals

First Preview Night

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!

Sullivan-for-web

 

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Here comes Tech Weekend!

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.

beginend

 

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4 Weeks! You rehearse and rehearse!

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.”

i cant its tech week

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.

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My share of the task/load/project

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.

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How to “stay professional” when kids make you laugh…

Laughter the best medicine

I think it’s impossible. I do. Plus, I think it’s a waste of time. Kids are funny.

Like today… we’ve got a special event that’s pulled a number of folks out of the class, so we’ve chosen to watch High School Musical – it is a music class and they are singing along, so it’s all good. But at least one of them knows every word and is saying all the lines with the film. They are singing along and enjoying the character relationships. “Everyone loves a good jazz square…” I mean really – how cute is that?

What I mean is, people are funny, aren’t they? And laughter is the best thing to help you through your day. So, why should we have to be “serious” around students all the time?

Don’t get me wrong, I’m very rarely serious when it comes to my students. We play all day – it’s a great job. But I know some folks who are never NOT serious when it comes to their job. And I think a little play time is necessary.

It keeps you young.

Just sayin’.

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What makes the best…?(Part 9)

Actor…?

actors

“What I really want to be… is an Actor.”

Really? Are you sure?

No really? Are you? Cause here’s the deal. It’s a tough job. Sure it can be fun, rewarding and at times even lucrative, but acting is one of the toughest gigs in the whole business of show. Here’s why…

You have to be ready for rejection. Lots of it. Daily. You not only have to be ready for it, you have to almost crave it. You have to be prepared to seek out criticism so that you can grow from it and improve. Not everyone has the guts for that. It’s tough to get rejected at your work on a regular basis and still want to do it each day.

You have to know how to act. And no, people are not just born with “it”. I don’t believe that. You can learn it. Sure, some folks have an innate quality that draws us to their performances, but if you want to be good, and I mean really good, then you’ve got to practice and learn and study and get rejected. And then start all over again. That is the only way to get really good.

You have to do it all – especially these days as film, television and stage demands are so much greater. You have to act, sing, dance, tumble, do voices, fight, crochet, whatever! You’ve got to be able to do it. And not just SAY you can do it, you’ve got to be skilled at it, or don’t say that you are.

You’ve got to be ready to take risks. No everyone was born with a voice ‘like buttah…’ but if you want to act, you’ve got to sing. No actor made a good living staying away from singing. Get some lessons. Learn some repetoire, develop a taste for musicals and Gilbert & Sullivan and all the rest. Know the material and know your strengths and then keep practicing them. Ditto for dance. And whatever other skill you want to put on the bottom of that resume.

When you do get a part, be fun to work with – for heaven’s sake! You want to work again, don’t you? Be on time, be organised, take notes, be prepared and learn your part. Come with ideas and be willing to play, but be ready for a vision that you weren’t expecting and go with it! Nothing pleases an artistic team more than a flexible actor who is willing to grow.

So, if out of all these roles in the 9 parts of this series, if THIS one still stands out for you above all else, then go for it. With gusto. Cause that’s the only way you are going to have any success!

Break a leg!

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What makes the best…?(Part 7)

Music Director

conducting

A good musician can play their instrument – well. They can interpret music and convey meaning to the audience to help them feel something during the listening. A good musician can even teach another musician how to do the same. A Music Director needs to have all of these skills and more. They need to be a leader and be able to guide others to their own level of excellence. A Music Director needs to know the show they are working on inside out and backwards, they need to be able to bring the music to life, while teaching those who may never have read music before how to convey what they are reading to an audience.

A Music Director is in the Director’s corner and has his/her back on the artistic decisions that affect the show. They know how to take that vision and translate it into the music and make it workable for the singers, dancers and the musicians. It’s not an easy task. It’s a lot of people with varying skills and levels of confidence. And a really great Musical Director – by the end of the show has made all of those involved feel like they’ve performed better than ever before.

Some Music Directors also assemble the band – most do, as a matter of fact. They source the parts for those musicians to play and sometimes even arrange or re-write those parts. Music Directors frequently deal with inadequate to illegible scores sent by publishing companies who seem to feel that music is less important and does not require any of their time or effort to make readable. It astonishes me the amount of times I’ve worked with a score that is rife with errors, typos, incorrect lyrics and musical “infractions”. While typos are bad, and really inexcusable from publishing companies, a typo in a music score has the potential to really derail any rehearsal – depending upon the level of confusion that the mistake can create. This can range from one note being out of place and deciphered by smart musicians in a matter of minutes, to entire songs having different lyrics and arriving in different keys for the instrumentalists who are playing or the vocalists who are singing the song! (And yet, the publishers still expect payment for these!?!). Here’s the deal, a really great Musical Director can solve all of these problems, or even head them off at the pass before the rest of the company even needs to deal with them.

It’s a big job – but somebody’s got to do it!

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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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