Many years ago I directed a production of Twelfth Night with actors aged 7 to 17. After the show, an audience member- someone I knew well- asked in all seriousness how long it had taken me to "translate" the script.
He understood everything being said so well that he assumed I had changed the script.
I hadn't changed the script. The actors, Shakespeare and I had all done our jobs well enough that the audience entered into the world we created together and understood the characters, action and dialogue.
The audience enjoyed the show. They forgot it was Shakespeare. They forgot it was youth. They just had fun watching the comedy.
That's how it should be. Shakespeare is a theatrical genius; just do the *show*, and the audience will have a blast.
And wonder later how long it took you to translate the script from Shakespearean to understandable.
Friday, August 12, 2011
Tuesday, August 9, 2011
paper trails, to you...
My last show with my youth theater troupe closed this weekend. Our Comedy of Errors was set in the Wild West, with cowboy-themed sound track. Roy Rogers was singing "Happy Trails, to you..." at every performance.
Hence the title.
I am retiring from this phase of my life- over 20 years of leading youth in exploring theater. I am going through the files, some to save as a part of my life history, and some to give back to the organization for their archives, and some paper goes to the recycling bin.
There is a lot of paper involved in over 20 years of volunteering with youth. In 1990, I became a trained 4-H leader. In 1992, I founded a 4-H club to explore drama. In 2000, I founded a teen theater troupe.
Back in the day, digital archives were not a possibility. So there are multiple, multiple copies of many, many workshop outlines, promo pieces, schedules, programs...
A lot of paper.
It is an opportunity to reflect and recognize the amazing journey.
If you were there in the early years, you may be receiving some snail mail.
I'll share the hard copies of our shared memories with you.
Paper trails, to you...
Hence the title.
I am retiring from this phase of my life- over 20 years of leading youth in exploring theater. I am going through the files, some to save as a part of my life history, and some to give back to the organization for their archives, and some paper goes to the recycling bin.
There is a lot of paper involved in over 20 years of volunteering with youth. In 1990, I became a trained 4-H leader. In 1992, I founded a 4-H club to explore drama. In 2000, I founded a teen theater troupe.
Back in the day, digital archives were not a possibility. So there are multiple, multiple copies of many, many workshop outlines, promo pieces, schedules, programs...
A lot of paper.
It is an opportunity to reflect and recognize the amazing journey.
If you were there in the early years, you may be receiving some snail mail.
I'll share the hard copies of our shared memories with you.
Paper trails, to you...
Monday, August 8, 2011
giving notes; or, how I exercise my drive to be a standup comedian
I actually enjoy giving director's notes to the cast.
During much of the rehearsal period, as a director, you are breaking the play down into scenes, into moments. I am very vocal during this period, jumping to my feet YES! or ACK! Stop! Do it again- think about where you just were! What do you want?
Later on, however, we have to put it all back together, establish continuity, rhythm, pace, the long arcs of the characters and of the play itself. We can't stop. We run through, all the way through the scene, the act, finally the entire play.
While I, like most directors, take notes.
Sometimes, because the hour is late and actors (and I) have to go home, I type up the notes and email them to the actors after I've returned home. I don't like to do this because A) actors may not understand a specific note, B) actors may not read the notes and C) I like to give notes.
I like to give notes. I do. I make eye contact. I make jokes. I exaggerate, exhort, and expound. I prance and I posture, I prod and I praise.*
From time to time, I may have to shush the actors who are starting side conversations. After all, for many years, the actors with whom I have worked have been teens.
Still, all in all, I have fun giving notes, and the actors have fun receiving the notes.
Here are some of the key ingredients for good note-giving:
*In fact, over the years many parents have confessed they stayed at rehearsals for the entertainment value of watching me give notes!
During much of the rehearsal period, as a director, you are breaking the play down into scenes, into moments. I am very vocal during this period, jumping to my feet YES! or ACK! Stop! Do it again- think about where you just were! What do you want?
Later on, however, we have to put it all back together, establish continuity, rhythm, pace, the long arcs of the characters and of the play itself. We can't stop. We run through, all the way through the scene, the act, finally the entire play.
While I, like most directors, take notes.
Sometimes, because the hour is late and actors (and I) have to go home, I type up the notes and email them to the actors after I've returned home. I don't like to do this because A) actors may not understand a specific note, B) actors may not read the notes and C) I like to give notes.
I like to give notes. I do. I make eye contact. I make jokes. I exaggerate, exhort, and expound. I prance and I posture, I prod and I praise.*
From time to time, I may have to shush the actors who are starting side conversations. After all, for many years, the actors with whom I have worked have been teens.
Still, all in all, I have fun giving notes, and the actors have fun receiving the notes.
Here are some of the key ingredients for good note-giving:
- Make eye contact. Make sure the actors are listening.
- EVERY actor should receive a comment. Each actor should know that they are important, and that their work is (literally) noted.
- Use humor. I use a lot of humor at my own expense... I tease and challenge them to be bigger, bolder, more energized than this "old lady"
- Catch them doing something right; be specific about when it happened, and what it was. Comments like "you're great" or "good job" might feel good for a moment, but they don't tell the actor where they are succeeding or how to build on that success. A comment like: "I could really see you focus on the other character on your line 'Not now, darling''" tells the actor what is working and when.
- Be specific about what you want the actor to change. Comments such as "That's no good" or "I didn't like that" again do not give the actor any useful information. A comment like "When you enter in scene two, try rushing straight to the couch- remember what just happened to the character before you entered" gives the actor useful information about what needs work in the scene, and a suggestion for a new approach.
- I try to give both the "director's reason" and the "actor's reason" for a direction. For instance, in the above example, I might remind the actor that the actor's reason- the character's reason- for rushing in is that the character is escaping from an uncomfortable encounter in the other room; while I will admit that my "director's reason" for asking you to rush in and cross to the couch is that the scene needs more energy, and I need you out of the doorway!
- Be a believer. Believe in the play, believe in your actors, believe in theater magic. Keep cheering, keep watching, noting, and sharing what you see. Eventually, it all comes together- how? It's a mystery!
*In fact, over the years many parents have confessed they stayed at rehearsals for the entertainment value of watching me give notes!
Sunday, August 7, 2011
beginnings and endings
As the current chapter in my theater life draws to a close, and new chapters are waiting to be written (literally- written!) I reflect back on some of the beginnings.
Although I fell in love with theater earlier, my first on-stage experience didn't happen until I was a freshman in high school when I landed the lead role in "Gentlemen Prefer Blondes". Incredible casting, since at that point I was not blonde, voluptuous or preferred- but to be fair, my romantic lead was nothing like a gentleman, either.
It was an odd beginning for the woman and theater artist I have become: "Gentlemen Prefer Blondes" is a fluffy little comedy about sex appeal being the way to get a man; about a woman's assets being her- well, physical, not spiritual or mental, attributes.
One of the girls in the cast, a senior, tried to teach me how to walk with a wiggle in my non-existent hips.
The theater department found a blond wig for me.
I was costumed in red satin "flapper style" dresses, though I had nothing whatever to flap.
For the woman I am now- a believer in the complexity and depth of all human beings, a devotee of Shakespeare and others who explore the infinite variety and diversity of the human experience- it was, to say the least, an incongruous place to start.
But.
I made them laugh, and I was hooked.
Although I fell in love with theater earlier, my first on-stage experience didn't happen until I was a freshman in high school when I landed the lead role in "Gentlemen Prefer Blondes". Incredible casting, since at that point I was not blonde, voluptuous or preferred- but to be fair, my romantic lead was nothing like a gentleman, either.
It was an odd beginning for the woman and theater artist I have become: "Gentlemen Prefer Blondes" is a fluffy little comedy about sex appeal being the way to get a man; about a woman's assets being her- well, physical, not spiritual or mental, attributes.
One of the girls in the cast, a senior, tried to teach me how to walk with a wiggle in my non-existent hips.
The theater department found a blond wig for me.
I was costumed in red satin "flapper style" dresses, though I had nothing whatever to flap.
For the woman I am now- a believer in the complexity and depth of all human beings, a devotee of Shakespeare and others who explore the infinite variety and diversity of the human experience- it was, to say the least, an incongruous place to start.
But.
I made them laugh, and I was hooked.
Rain or shine!
When working in the theater in the great outdoors, one needs a plan B. Actually, when working in the theater, one needs a plan B.
Sometimes, in fact, one needs a plan B, C, D...
But when working - all summer long- on a production that only has 4 performances on one weekend, one MUST have a plan in case of rain.
Usually, having a plan in case of rain is enough to keep the rain away.
This year, with a new venue, we had lots of rain through the rehearsal period. And discovered that much of the venue had a tendency to flood.
Not good, especially since we need to string lots of extension cords to power our rented lights and sound equipment.
AND this time, it actually rained. On our last performance day, which included a matinee and an evening performance.
And we used plan D.
Plan B was to move the audience on to the (covered) band shell and reverse the set. Looking at the set, we decided, unless it was Noah's downpour, the work of reversing the set really wasn't worth the time it took.
Plan C was to move the portable awning/gazebo tent that we had erected (to protect the sound equipment from the hot, hot sun) to the center seating area, seat audience there with a few umbrellas to the side. We would move the vulnerable sound equipment on to the stage and trust the audience to ignore the sound crew (a la the Wizard of Oz "pay no attention to the man behind the curtain!")
Well, that didn't work because the awning, when center, blocked virtually all sight lines.
So we used plan D: put sound crew on stage, left the awning/gazebo on the side and allowed audience to sit under it, and issued umbrellas to those few audience members without them.
And it worked.
Sometimes, in fact, one needs a plan B, C, D...
But when working - all summer long- on a production that only has 4 performances on one weekend, one MUST have a plan in case of rain.
Usually, having a plan in case of rain is enough to keep the rain away.
This year, with a new venue, we had lots of rain through the rehearsal period. And discovered that much of the venue had a tendency to flood.
Not good, especially since we need to string lots of extension cords to power our rented lights and sound equipment.
AND this time, it actually rained. On our last performance day, which included a matinee and an evening performance.
And we used plan D.
Plan B was to move the audience on to the (covered) band shell and reverse the set. Looking at the set, we decided, unless it was Noah's downpour, the work of reversing the set really wasn't worth the time it took.
Plan C was to move the portable awning/gazebo tent that we had erected (to protect the sound equipment from the hot, hot sun) to the center seating area, seat audience there with a few umbrellas to the side. We would move the vulnerable sound equipment on to the stage and trust the audience to ignore the sound crew (a la the Wizard of Oz "pay no attention to the man behind the curtain!")
Well, that didn't work because the awning, when center, blocked virtually all sight lines.
So we used plan D: put sound crew on stage, left the awning/gazebo on the side and allowed audience to sit under it, and issued umbrellas to those few audience members without them.
And it worked.
Friday, August 5, 2011
opening night(s)
Last night was our first opening night! It went well!
And tonight, since we have two casts, is our SECOND opening night!
Twice the energy! Twice the fun!
And tonight, since we have two casts, is our SECOND opening night!
Twice the energy! Twice the fun!
Thursday, August 4, 2011
Ensemble
My job is essentially over. For the director, opening night is the closing of the work.
I still have a few things to do- in this particular production, I am giving a curtain speech to set up the audience- but in the main, what I can do, I have done.
And there is still so much more being done.
I am reminded, as I watch the emails fly back and forth among the cast and crew, of what a truly collaborative art theater is.
There are those coming early to set up tech, coming a bit later to set up concessions, others are bringing long staplers to put the programs together.
Some are bringing signs; some are bringing repaired props or costumes.
We are just a few hours from opening.
From theater magic!
I still have a few things to do- in this particular production, I am giving a curtain speech to set up the audience- but in the main, what I can do, I have done.
And there is still so much more being done.
I am reminded, as I watch the emails fly back and forth among the cast and crew, of what a truly collaborative art theater is.
There are those coming early to set up tech, coming a bit later to set up concessions, others are bringing long staplers to put the programs together.
Some are bringing signs; some are bringing repaired props or costumes.
We are just a few hours from opening.
From theater magic!
Wednesday, August 3, 2011
Hell week- the ultimate rehearsal
Yesterday, of course, was the *penultimate* rehearsal(s). The first half of my 12 hour day was sweltering, like a sauna- or more like a steam bath.
Progress, definite progress. I now have a sound track I can live with, and most problems are addressed. There are always the last minute items- shortening a skirt, finding some black socks, one last improvement to props- but the tech end is just about in place.
Except for lights. We aren't sure about lights.
Because the SECOND half of my 12 hour day? It rained. I huddled under an umbrella, sitting in the shower, in essence, taking my notes.
Tonight- the ultimate rehearsal(s)! And tomorrow- opening night! The end- the reward- for all the work.
I think the most essential ingredient of all in theater is: the audience.
Progress, definite progress. I now have a sound track I can live with, and most problems are addressed. There are always the last minute items- shortening a skirt, finding some black socks, one last improvement to props- but the tech end is just about in place.
Except for lights. We aren't sure about lights.
Because the SECOND half of my 12 hour day? It rained. I huddled under an umbrella, sitting in the shower, in essence, taking my notes.
Tonight- the ultimate rehearsal(s)! And tomorrow- opening night! The end- the reward- for all the work.
I think the most essential ingredient of all in theater is: the audience.
Tuesday, August 2, 2011
lonely
Sometimes I feel so lonely. Everyone has their own friend or friends, to chat with and sit with, for company, conversation, companionship.
I used to have that.
I wonder when that changed? I know some of the why: my age-mates/stage-mates have moved on to other things.
Still, I am lonely.
I used to have that.
I wonder when that changed? I know some of the why: my age-mates/stage-mates have moved on to other things.
Still, I am lonely.
Hell week- continued...
So day 2- Friday- went much like day 1- It was hot and sticky and so was I and not in a good way.
Saturday I had "off"- although dh K and I had several social engagements and shopping to get through- and we managed.
Sunday - from noon, the hot part of the day, on!- was our set-building marathon.
I have to say, it was pretty awesome. From bare cement to 3 painted façades and several accent/ masking units in 5 hours in the hot sun- amazing.
One of the aspects I love about the set-building day is the camaraderie of all the families working together. We see dads and siblings on set-building day that we haven't met before. Also, everyone is involved. Everyone, especially this time, had something to do: lift something, clean something, cut something, paint something.
It is "many hands make light work" at its finest. It is *satisfying*, too, to see tangible results of your work- unlike many of the other of the director's tasks.
So, that was a long, satisfying day.
Yesterday, Monday, was the first dress rehearsal, and we brought in the sound equipment. We brought in the lighting, too, but didn't have time to deal with that on Monday. Maybe tonight.
There are issues that we discovered with the set that we must address: the enormously wide stage has huge areas that need masking to hide the backstage areas. Everything needs stabilizing due to the wind.
And my sound designer apparently attended entirely different meetings- with me- than I did! Because the sound design is NOT Western at all. The farts I asked for and the chimes I asked for are not there. We will see if it is amended today; if not, it will be a long night tonight or an early morning tomorrow for me - with or without the sound designer.
Oh! And, daily I've been getting sunburns, despite increasingly desperate efforts to stay out of the sun. No worries today, though: it's supposed to rain!
Of course it is!
I'm ready for theatre magic to kick in, whenever...
Saturday I had "off"- although dh K and I had several social engagements and shopping to get through- and we managed.
Sunday - from noon, the hot part of the day, on!- was our set-building marathon.
I have to say, it was pretty awesome. From bare cement to 3 painted façades and several accent/ masking units in 5 hours in the hot sun- amazing.
One of the aspects I love about the set-building day is the camaraderie of all the families working together. We see dads and siblings on set-building day that we haven't met before. Also, everyone is involved. Everyone, especially this time, had something to do: lift something, clean something, cut something, paint something.
It is "many hands make light work" at its finest. It is *satisfying*, too, to see tangible results of your work- unlike many of the other of the director's tasks.
So, that was a long, satisfying day.
Yesterday, Monday, was the first dress rehearsal, and we brought in the sound equipment. We brought in the lighting, too, but didn't have time to deal with that on Monday. Maybe tonight.
There are issues that we discovered with the set that we must address: the enormously wide stage has huge areas that need masking to hide the backstage areas. Everything needs stabilizing due to the wind.
And my sound designer apparently attended entirely different meetings- with me- than I did! Because the sound design is NOT Western at all. The farts I asked for and the chimes I asked for are not there. We will see if it is amended today; if not, it will be a long night tonight or an early morning tomorrow for me - with or without the sound designer.
Oh! And, daily I've been getting sunburns, despite increasingly desperate efforts to stay out of the sun. No worries today, though: it's supposed to rain!
Of course it is!
I'm ready for theatre magic to kick in, whenever...
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