Auditions for “Fortinbras” @ Nashua Theatre Guild

Auditions for this summer’s Fortinbras and The 15-Minute Hamlet will be held in Nashua this Sunday and Monday, March 30 and 31, 6-9pm.

For more info go to www.nashuatheatreguild.org

I’m directing, so it’s going to rock.

Electra @ Newton South High School, March 13-15

Wannabe

I brought the neutral masks from Electra home the other day, to measure and cut new versions. My daughter really wanted to try one on too:

Audition High

I felt nervous all yesterday afternoon.  It had been so long since I’d auditioned.  I forgot that nervous jumpy feeling.  But I was also frustrated because there was a time in my life when auditioning was fun, not nerve-wracking.

But then, when I showed up, I found myself stepping right back into that old space of calm and excitement.  I wasn’t nervous in the least.  I actually had quite a bit of fun.

My only regret is that it was video-taped for the director so I only got to do it once; I didn’t get to play, which is the real fun part.

After this experience, I might just start going out and auditioning more.  Just for the fun of it.

Getting Back on the Wagon, or Falling Off. I’m not sure which.

I don’t know if acting would be considered an addiction or not.

I don’t know if my ability to refrain from auditioning would be called a success or not.

Either way, I have an audition tomorrow for the first time in about three years.  I’m a little nervous, to say the least.  Fortunately, I don’t have to a monologue, just a cold read.  This is a relief since I’m quite good at cold reading and just about mediocre at monologues.

Multi-Tasking

It can be exceedingly difficult for me to juggle multiple shows.  As an actor, it seemed absurdly easy to drop a character at the end of a rehearsal, and pick up a new one an hour later in an altogether different play.

But as a director, I use life, the interpretation of life, history and the world so heavily in creating a story that I find it hard to let go of one show to work on the next.

Fortinbras has just entered pre-production.  So, last night I sat down to re-read it…pummeled myself a little for picking a ridiculously hard show to perform outside, and then pulled out my computer to write the audition announcement.  But the design elements for Electra kept floating through my brain.  I had to work really hard to compartmentalize things in order to get it done.

I wonder, though, whether that’s necessary.  Is it possible to allow one show to infuse into the next, without causing adverse affects?  There must be some way to do this productively, I’m just not sure how yet.

I also have to admit: I know I have this problem so I scheduled Fortinbras thinking I’d be done with Electra before pre-production began.  But I didn’t count on the lengthy community theatre rehearsal process.  Guess I deserve it: It’s a problem I can’t ignore.

Angels in America: Perestroika @ Boston Theatre Works, BCA

I’m not even going to attempt to review this show for its acting, directing, or content. Let’s face it, it’s a Pulitzer Prize-Winning play by Kushner, what’s left to review? Plus, I’m probably the only one stupid enough to go to see the second part of a two part series without seeing the first part. I walked in about 30 seconds late to find a Russian character up in a balcony spouting stuff I couldn’t comprehend; It’s enough that I followed the characters and got the whole Angel as homeless person thing.

So, instead, I’m going to focus on the set. Due to my current directing gig, I am acutely aware of sets and spaces right now. Since I’m a fledgling director, I set myself a task for each project. In this one, it’s to use the space well and make sure the picture from the audience jibes with the story itself. Or something like that. To help me out, I’ve just picked up a copy of How to Stage Greek Tragedy Today. And, loe and behold, the first chapter is Space. And, a second loe and behold, I’m suddenly confronted with a set to examine as it is used in production. Excellent.

First of all, it’s a beautiful set, reminiscent of art deco. Two levels, the bottom consisting of 4-5 panels spanning the width of the stage. The panels on either side open inward, like doors, to provide an entrance or exit. The central panel is wider and covered with a curtain. From here, the bed slides out, as does a set of neon stairs on which to climb to the heavens. The second level is decorated with a massive pair of metal looking wings coming out from the center. The angel stands between these wings and stretches her arms out to them, giving the appearance that they are a part of her. Behind the wings is a platform covering about a third of the width of the stage for actors to stand on. Behind this is a backdrop painted with similar wing patterns, much like an Escher picture.

Although beautiful, the set was sorely under-used. There was that beautiful and prominent second level which was barely used. I assume this is because they wanted it to remain associated with heaven, but I just wanted to see people up there. They could have used lights to remind us when it was heaven (like the unexpected and irregularly used black light). Furthermore, many of the scene changes were overly long to accommodate some massive shifts in moveable pieces. Rather than take advantage of multiple cross fades, I recall feeling frustrated during the first part when there were several scenes in a row that all took place center stage, and every scene had a new set created from beds, chairs, and benches. Plus, they couldn’t decide how to unify these set changes. Sometimes, the actors came and went in character. Sometimes, they moved set pieces in character. Sometimes, they just grabbed a piece and left the stage not in character, or just got up and left period. If the set changes are so integral to the story telling, then make them integral to the storytelling.

Like many plays, the directors (yes, two directors) chose to pick a spot on stage to always represent a particular locale, but this only served to bog down the transitions and prevent them from fully utilizing the space. I wonder, since the actors fluidly moved from character to character, and the audience was also asked to move fluidly from reality to the imaginative, if it might have served this story better to keep the set equally as fluid.

All that being said, I did enjoy the show. Enough that I’m feeling sorry that I won’t be able to return for Part I: Millennium Approaches.

We’re on the Move!

Red Tree Theatre has a new website.

In addition to looking prettier, it’s been expanded to incorporate more resources.  In an effort to make Red Tree Theatre a continuing and growing resource before I even get to launch anything in the real world, my new site is set up with:

• A Forum for plenty of theatrical discussion
• Book Review Submission
• Article Submission
• The Game Exchange – where people can submit their favorite, and least favorite, theatre games
• Photo submission

It’s still has a few bugs, and I’m still working on the graphics, but I think it’s ready to receive some visitors so go take a look and enjoy!

Improv Class @ Rivier College Challenge Program

Today, I taught the aforementioned improv class to about 55 tenth graders. It ended up being a lot of fun. As usual, it took a while to warm everyone up, but once they got in to it, it was a blast. They did, it seems, learn from it because as the class continued, I found them stopping themselves just as they were about to blurt out a question instead of a statement, or realizing after the fact that they’d just denied a suggestion. They were quick learners and, in the end, very enthusiastic.

I, as usual, started out with one curriculum (which I fondly call me cheat sheet) and only followed it about half the time. Here’s what it looked like in the end. Feel free to ask if you’re not familiar with some of the games/exercises:

Warm-Up

• Quick stretch
• Count Down Shake from Five
• Pass Crying around the circle
• Statue
• Where am I?

 

Partner Exercises

• No…
• Yes, but…
• Yes, and…

 

Small Group Exercises (with volunteers and audience members)

• Story/Story
• Freeze Tag
• Park Bench
• Playbook
• Party Quirks

At some point I stated all of the following rules, but I particularly stressed the first two, since they’re the easiest and most important for beginning improvisers.

The Rules of Improv

• Say YES
• Initiate a scene with a statement
• SHOW, don’t tell
• Play it for real
• Play nice

All in all, it was a well-spent afternoon. I hope they enjoyed it as much as I.

Photos of Midsummer are Online

I’ve just recently gotten interested in theatre photography…

So, here are the photos I took of the students I directed in A Midsummer Night’s Dream.

The lighting was poor and it was a borrowed camera that I didn’t read up on.  So, in the end, with poor lighting and a very slow shutter speed, I ended up with a lot of blurry photos.  But, I did get a few fantastic shots along with learning a lot.

Next up…Electra in March of ‘08.