One of the hardest things to do is listen well on stage.
Now, a nice thing about a blog -- no one interrupts me. I can talk and talk and talk and, no matter how irritating that talk might be, I get to finish. I get to play my dainty world view, spun on gossamer, all the way out, and back again. Nice, nice. Satisfying for folks with control issues (and if you think a former Stage Manager turned Director does not have control issues, you're insane.)
However, real life is not like that. Real life is full of conversations, conversations we can't control. These are rarely one-sided (in the manner of the delicious blog); conversations in life are a back and forth. And, if a conversation seems one-sided, remember it takes two to tango. The silent one is choosing to remain silent and in conversations on stage even more so because every conversation on stage is important, taking place at an important juncture -- or we wouldn't be seeing it. A moment on stage is never another-boring-bacon-and-eggs moment, even if they're just eating bacon and eggs. The moment presented is important to both or all characters involved, especially if the conversation seems banal.
So, I ask you, what are we often doing while another person is talking, say, at a dinner party. We are listening to the witty banter or funny anecdote, we are smiling, responding, but we are also thinking about what we are going to say. We almost always have an idea in our head of how we are going to respond. We have our own anecdote or witticism or story we want to tell. We are listening (passive) but involved in creating our next contribution to the conversation (active).
Now, most actors slip into a soley passive posture when listening on stage, especially when another character has a long monologue. I am not talking about the classic problem of 'phoning it in' (when an actor shuts down unless she is speaking) but I am talking more about the lack of forward energy when an actor is listening. Though the actor is present, engaged, attentive, maybe with an underlying attitude, the dominant stance is one of passivity.
However, if we consider that the listener would probably not be just sitting passively, if we think that the listener would actually choose to say something if given the opportunity, the process becomes more alive, more interactive, more interesting, more true. The long monologue, then, when more than one character is onstage, could be a kind of conversation. The speaker is telling his/her story or feelings or doing whatever she or he is trying to do -- but the listener is constantly reacting to the monologue because she/he has a story of her/his own, has something that she or he is trying to do. The listener is not allowed to speak -- there is no dialogue -- but her lack of speech can be as telling as speaking. Does she choose to not speak? Does she try to interject and get cut off by the monologuer? Is she dismissive of what the speaker has to say? Or is she devestated by what the speaker has to say?
Even if you have nary a line, ask yourself about your character's silence and what that character is doing with that silence. Remember, every time you are on stage, you are doing something; you are acting. Ask yourself basic questions for every scene, beat, moment, line, or silence:
What are you doing?
How are you doing it?
Who or what are you doing it to?
Try it next time the playwright was dumb enough not to give you something to say or do. Because your character definitely has something to say or do. Always. And silence can be as telling as telling.
They often say that what is not there is more important than what is. Except in a blog. Jacqui likes blogs. Blogs are yummy because they are all about me. Plays are yummy because they are not. Now, what do you think of that?
Warbles in the dark.
Saturday, February 4, 2012
Wednesday, February 1, 2012
Just Say Yes
I have, this year, become Ms. Norm Foster. Mr. Foster had nothing to do with it and I'm sure, given his druthers, he would have chosen someone a bit younger and cuter. Funnily enough, it wasn't my druthers either. And maybe I'd like someone younger and cuter, too. But it is what it is.
Some of you may not recognize Norm's name. (You may also wonder what I've done with John but have no fear.) Norm Foster is, quite simply, Canada's most produced playwright. He was born on February 14, 1949 but wasn't exposed to theatre until 1980 - and he fell in love with it. Since then, he has written many plays, over forty of which have been produced professionally. He is most often compared to American playwright Neil Simon and has a knack for writing characters we recognize, laugh with, laugh at, and love.
Well, I didn't really care about this going into Affections of May produced by Scarborough Theatre Guild, my most recent directing effort. I didn't know that much about Foster, period. I was just trying to help out the group. They phoned me, explained the situation (that they needed a Director and folks weren't coming forward for the play), asked me if I'd do it, and - I didn't think about it much - I said yes. Well, what the heck. I had a bit of time and could squeeze it in.
So you might expect me to report that the rehearsal and run were not that inspiring, considering I hadn't chosen the play and might not be that emotionally involved. But a curious thing happened (as always happens when I am given a project as opposed to seek it out), I fell in love with it. And I fell in love with the people and the experience and ended up having a super time. The show ran to lovely reviews and the members of the cast and crew I would number, now, amongst my friends. That's quite a statement from a gypsy like me.
So it was a good experience, excellent in fact. And I wouldn't have had the chance to do it if I hadn't closed my eyes and jumped. Now, listen. I am fully aware that my open attitude toward the work makes me seem undiscerning. Some might read this, turn up their noses, and pronounce me a whore, but who cares what they think? Most professional theatre people are a bit whorish. They'll do pretty much any project to stay in the game because every project is a gift. It's only pretenders and indie film makers who are too good for the work. People who love theatre just say yes. To pretty much anything.
But I suppose it can be the same way in life. If we're too discerning, too picky, we start to miss out. I wonder if we all shouldn't be a bit whorish, a bit gourmandish. Take a huge bite of whatever's on the table. Go ahead. It's good.
Some of you may not recognize Norm's name. (You may also wonder what I've done with John but have no fear.) Norm Foster is, quite simply, Canada's most produced playwright. He was born on February 14, 1949 but wasn't exposed to theatre until 1980 - and he fell in love with it. Since then, he has written many plays, over forty of which have been produced professionally. He is most often compared to American playwright Neil Simon and has a knack for writing characters we recognize, laugh with, laugh at, and love.
Well, I didn't really care about this going into Affections of May produced by Scarborough Theatre Guild, my most recent directing effort. I didn't know that much about Foster, period. I was just trying to help out the group. They phoned me, explained the situation (that they needed a Director and folks weren't coming forward for the play), asked me if I'd do it, and - I didn't think about it much - I said yes. Well, what the heck. I had a bit of time and could squeeze it in.
So you might expect me to report that the rehearsal and run were not that inspiring, considering I hadn't chosen the play and might not be that emotionally involved. But a curious thing happened (as always happens when I am given a project as opposed to seek it out), I fell in love with it. And I fell in love with the people and the experience and ended up having a super time. The show ran to lovely reviews and the members of the cast and crew I would number, now, amongst my friends. That's quite a statement from a gypsy like me.
So it was a good experience, excellent in fact. And I wouldn't have had the chance to do it if I hadn't closed my eyes and jumped. Now, listen. I am fully aware that my open attitude toward the work makes me seem undiscerning. Some might read this, turn up their noses, and pronounce me a whore, but who cares what they think? Most professional theatre people are a bit whorish. They'll do pretty much any project to stay in the game because every project is a gift. It's only pretenders and indie film makers who are too good for the work. People who love theatre just say yes. To pretty much anything.
But I suppose it can be the same way in life. If we're too discerning, too picky, we start to miss out. I wonder if we all shouldn't be a bit whorish, a bit gourmandish. Take a huge bite of whatever's on the table. Go ahead. It's good.
Monday, January 30, 2012
Good night, May. Good morning....
We managed to close Affections of May for Scarborough Theatre Guild on Saturday. Good show, fun audience, nice, clean strike, lovely party with some great folks. And, then, it's all over but the crying because I will definitely miss this mob.
But it sure is funny. The next morning or the morning after that, you wake up and, instead of feeling sad, your eyes are dry and are definitely looking forward. Seems to be the nature of the theatrical beastie. Like a young bride who leaves her childhood home crying but arrives at her new home bright-eyed, tears wiped away, heart hopeful, we theatre-folk very quickly put even great theatrical experiences behind us, look at the horizon, see some intriguing shape, and start walking toward it. We move on.
And what is that, out there, that shape on the horizon? Well, it's probably a shadow of what I'm going to become. I am certainly selfish enough to mostly be motivated only by my own goals. Fickle, heartless, and uncaring, despite my deep love, affection, and respect for you, I will leave you behind without even the slightest twinge of guilt for your feelings and start walking.
What am I moving on to? Well, right on my doorstep are Shakespeare is Boffo! kids March Break camp, The Mayan Prediction, Kidsplay 2012 (children's written and led show), Wrong For Each Other with Encore Entertainment and, like most theatre people, I have to be thinking over a year or so ahead; so, I am deciding (in the next forty-eight hours) whether to apply to direct a show I adore next season or try to produce, on my own, another little show I adore. Phew. Never rains, but it pours.
I won't look back very often at Affections of May. I guess I am, by my very nature, a little hard-hearted, a little self-involved. Very much a 'love-the-one-you're-with' sort of thing. I will tell you, though, that when I do think of Affections of May, it will be with a warm heart. Cheers to all of you, lovelies. It was a great experience.
Now, wait, what's that out there? Over there in the distance? What is that....? Let's go see!
But it sure is funny. The next morning or the morning after that, you wake up and, instead of feeling sad, your eyes are dry and are definitely looking forward. Seems to be the nature of the theatrical beastie. Like a young bride who leaves her childhood home crying but arrives at her new home bright-eyed, tears wiped away, heart hopeful, we theatre-folk very quickly put even great theatrical experiences behind us, look at the horizon, see some intriguing shape, and start walking toward it. We move on.
And what is that, out there, that shape on the horizon? Well, it's probably a shadow of what I'm going to become. I am certainly selfish enough to mostly be motivated only by my own goals. Fickle, heartless, and uncaring, despite my deep love, affection, and respect for you, I will leave you behind without even the slightest twinge of guilt for your feelings and start walking.
What am I moving on to? Well, right on my doorstep are Shakespeare is Boffo! kids March Break camp, The Mayan Prediction, Kidsplay 2012 (children's written and led show), Wrong For Each Other with Encore Entertainment and, like most theatre people, I have to be thinking over a year or so ahead; so, I am deciding (in the next forty-eight hours) whether to apply to direct a show I adore next season or try to produce, on my own, another little show I adore. Phew. Never rains, but it pours.
I won't look back very often at Affections of May. I guess I am, by my very nature, a little hard-hearted, a little self-involved. Very much a 'love-the-one-you're-with' sort of thing. I will tell you, though, that when I do think of Affections of May, it will be with a warm heart. Cheers to all of you, lovelies. It was a great experience.
Now, wait, what's that out there? Over there in the distance? What is that....? Let's go see!
Tuesday, January 24, 2012
Why I Can't Cast You, Too.
Many actors talk mysteriously about auditions. That we directors are searching for the perfect person to play a part (assuming a certain amount of talent). It's mystical and magical and has everything to do with the planets aligning at the moment of audition. This is not true. Surprisingly, again, assuming a certain amount of talent, the callback will go to the person who most embodies the part in audition. But you can do something about that. You're an actor. It's your job to embody any part.
And, yet, most actors do not embody the role at first audition. They present themselves in inappropriate dress or with an inappropriate monologue. Very often, when I redirect a monologue, I will ask the actor to fight the words of their piece so that I might see them portray attitudes or emotions that I would expect the character to experience in the play. Crazy. Simply the wrong monologue.
Now, I like actors who prepare; it bodes well for the whole process. But it's truly rare that I see an actor come in prepared for a particular role. And it makes one sit up and notice, as a director. Or, at least, this director. In situations in which there might be considerable competition, you want my attention from the word go. Preparing yourself might help.
Also, I have a confession to make. I have my favourites going into callback. Now, no worries, I am present and listening during callbacks. People can change my mind. But those folks I most see in the role might get the most of my attention. The first audition may be more important in helping you get the role than you think.
So, so. How to prepare:
1. Read the call.
What does(do) the director(s) want you to prepare? Two minute monologue? Comedic or dramatic? Or be ready for improv? Full song from the play? Not from the play? Best sixteen? Will there be dance? Know what they want and prepare what they want.
2. Read the play.
Many folks know nothing about a piece when they come in to audition and I can usually tell because their subsequent choices make little sense in the context of the piece. Read the play and, at least, understand the story.
3. Imagine the character.
Once you have read the play, spend some time thinking about the character for which you are auditioning. If it helps write it down.... What does this person do for a living? What is their general approach to life? What is this character's pivotal moment in this play? A picture of the person will emerge. This is the person you want to play.
There is a big difference between the energy and presentation of a CEO of a computer company in the middle of the dot com boom, and a hooker on the street. There is a big difference between that selfsame CEO if she is questioning herself or if she is just getting the job done. Imagining the character will inform all your subsequent choices in preparation.
4. Send the right photo.
This is for the professionals because the photo can get you an audition. In community theatre, it is simply not as much of an issue. Okay, many actors have just one photo they use for submission to theatre companies but, in this day and age, I would suggest that you get a good photographer and start taking pictures of yourself that embody different parts or energy. The business exec, the house wife or husband, the glam shot. Subtle as opposed to staged. From the very beginning of the process, if the artistic director knows what he or she wants, you might increase your number of auditions by sending in the right photo.
5. The monologue.
Once you know what character you are trying to play, take some care in picking your monologue. Many actors have one or two monologues that they can do at a drop of a hat, but you also need a library of them. Why? Citing the example of the CEO and the hooker: These two people would be so completely different in energy and temperament, one assumes their language would be different. You want different pieces for them.
Also, ask yourself where your character is at emotionally during the play and think about this, seriously, when picking a monologue. Is the person optimistic or depressed? Angry or controlled?
As a side issue, you also want to have monologues that sit in the same realm as the play. An audition for a Shakespearean play might call for a monologue from another Shakespearean play. An audition for a contemporary piece would not. Think about auditioning in a similar tone and feel to the play in question.
So, get together a library of monologues that you like and that you can tailor to suit roles as necessary. By the way, if the director you are auditioning for has seen you do a monologue before, try to prepare another one. Especially if you didn't get a callback last time.
6. The song.
Ditto, the monologue. And if they say best sixteen, they mean it. Don't start at the beginning. Give them your best sixteen.
7. Dress for success.
Okay, I have seen actresses come in to audition with their glam clothes on -- for a housewife. Or sweats for a CEO. Go back to your thoughts about the character and imagine that person on an average day. What would they be wearing? Business suit or jeans and button down shirt? Heels or runners? Again, subtle as opposed to staged, but try to dress appropriately.
8. Practice.
And, of course, make sure you have your monologue and music down cold. Cold.
Doing this kind of preparation is very likely to get you that callback but could, also, make you a front runner in that callback. Nice.
Jacqui Burke is a freelance director working in Toronto, Ontario. Upcoming project going into auditions? Wrong For Each Other, Encore Entertainment auditioning on February 8, 2012.
And, yet, most actors do not embody the role at first audition. They present themselves in inappropriate dress or with an inappropriate monologue. Very often, when I redirect a monologue, I will ask the actor to fight the words of their piece so that I might see them portray attitudes or emotions that I would expect the character to experience in the play. Crazy. Simply the wrong monologue.
Now, I like actors who prepare; it bodes well for the whole process. But it's truly rare that I see an actor come in prepared for a particular role. And it makes one sit up and notice, as a director. Or, at least, this director. In situations in which there might be considerable competition, you want my attention from the word go. Preparing yourself might help.
Also, I have a confession to make. I have my favourites going into callback. Now, no worries, I am present and listening during callbacks. People can change my mind. But those folks I most see in the role might get the most of my attention. The first audition may be more important in helping you get the role than you think.
So, so. How to prepare:
1. Read the call.
What does(do) the director(s) want you to prepare? Two minute monologue? Comedic or dramatic? Or be ready for improv? Full song from the play? Not from the play? Best sixteen? Will there be dance? Know what they want and prepare what they want.
2. Read the play.
Many folks know nothing about a piece when they come in to audition and I can usually tell because their subsequent choices make little sense in the context of the piece. Read the play and, at least, understand the story.
3. Imagine the character.
Once you have read the play, spend some time thinking about the character for which you are auditioning. If it helps write it down.... What does this person do for a living? What is their general approach to life? What is this character's pivotal moment in this play? A picture of the person will emerge. This is the person you want to play.
There is a big difference between the energy and presentation of a CEO of a computer company in the middle of the dot com boom, and a hooker on the street. There is a big difference between that selfsame CEO if she is questioning herself or if she is just getting the job done. Imagining the character will inform all your subsequent choices in preparation.
4. Send the right photo.
This is for the professionals because the photo can get you an audition. In community theatre, it is simply not as much of an issue. Okay, many actors have just one photo they use for submission to theatre companies but, in this day and age, I would suggest that you get a good photographer and start taking pictures of yourself that embody different parts or energy. The business exec, the house wife or husband, the glam shot. Subtle as opposed to staged. From the very beginning of the process, if the artistic director knows what he or she wants, you might increase your number of auditions by sending in the right photo.
5. The monologue.
Once you know what character you are trying to play, take some care in picking your monologue. Many actors have one or two monologues that they can do at a drop of a hat, but you also need a library of them. Why? Citing the example of the CEO and the hooker: These two people would be so completely different in energy and temperament, one assumes their language would be different. You want different pieces for them.
Also, ask yourself where your character is at emotionally during the play and think about this, seriously, when picking a monologue. Is the person optimistic or depressed? Angry or controlled?
As a side issue, you also want to have monologues that sit in the same realm as the play. An audition for a Shakespearean play might call for a monologue from another Shakespearean play. An audition for a contemporary piece would not. Think about auditioning in a similar tone and feel to the play in question.
So, get together a library of monologues that you like and that you can tailor to suit roles as necessary. By the way, if the director you are auditioning for has seen you do a monologue before, try to prepare another one. Especially if you didn't get a callback last time.
6. The song.
Ditto, the monologue. And if they say best sixteen, they mean it. Don't start at the beginning. Give them your best sixteen.
7. Dress for success.
Okay, I have seen actresses come in to audition with their glam clothes on -- for a housewife. Or sweats for a CEO. Go back to your thoughts about the character and imagine that person on an average day. What would they be wearing? Business suit or jeans and button down shirt? Heels or runners? Again, subtle as opposed to staged, but try to dress appropriately.
8. Practice.
And, of course, make sure you have your monologue and music down cold. Cold.
Doing this kind of preparation is very likely to get you that callback but could, also, make you a front runner in that callback. Nice.
Jacqui Burke is a freelance director working in Toronto, Ontario. Upcoming project going into auditions? Wrong For Each Other, Encore Entertainment auditioning on February 8, 2012.
Tuesday, January 17, 2012
Why I Can't Cast You
Craig Estrella, a musician friend of mine who daylights as some kind of Suit, just posted a pretty good article called "Why I Won't Hire You". It was funny because I felt like he beat me to the punch. I was formulating this post at that very same time.
I am going into another set of auditions (this time for Encore Entertainment's Wrong For Each Other) so audition technique is on my mind. I am hoping that, this time, folks might avoid some of these basic errors when they come in to audition for me.
1. Never apologize; never explain.
Folks, come in and give me your best shot boldly and without one word of explanation. I am pretty smart (most directors are, actually) and whether I have seen you perform or not, I will notice that your throat is hoarse from infection or that you are sniffling or that your nose is raw from kleenex or that your breath is heavy. I get it when you're sick. If you were up half the night drinking with your mates, best you come in and sing your raunchiest because I'll probably be able to figure that out, too. We have so little time together in an audition. Don't waste it on self-deprecation.
2. Enter the room as if you own it. Audition for the part as if you already have it.
If you are positive and believe in yourself, I am more likely to believe in you.
3. Smile.
And shake my hand. Why not? Maybe even crack a joke. So few actors are fun at auditions. Make me want to cast you.
4. Sing out, Louise.
Incredibly important that you bring to bear a strong stage voice when auditioning.
5. Have a resume.
Keep the resume to one sheet, if possible. List all the roles you have played -- as many as possible -- on that sheet. You might consider tailoring your experience listed on the resume toward the role you are seeking. As a director of theatre, for example, I don't care that you have done ten student films in the last five years. The skills you are learning and practicing on set may not stand you well on stage and may have no bearing on what I am going to ask you to do. I would like to see your stage experience.
6. Oh, and a picture.
Now, a picture is nice for me to remember you by but, please, don't spend too much money on a headshot if you are in Community Theatre. Here's the thing. I have never cast from a picture (though professionally you WILL get auditions from your photo; so they are much more important in that milieu). A picture has never been part of the equation for me. And I, personally, tend to remember my top candidates. Now, that's me, though. I have a bit of a freaky memory where theatre is concerned. And I know that the picture helps other people on the panel. So, so. Bring one.
7. Have the darn thing memorized.
You need to know your monologue or song well enough that if I, in redirect, turn it on its ear you will not be thrown.
8. But if you do forget....
If you get lost in the middle (it happens! everybody dries at some point!) and you cannot wiggle your way out of it, stop abruptly, state that you are lost, take a deep breath, and calmly ask to go back to a point that you remember. You don't have to go right back to the beginning.
9. Prepare
Best that you have read the script and chosen your part carefully. Avoid trying to choose a part just from the Call. Then, tailor your monologue to the part you are hoping to play. Wear the clothes that you think your character would wear. Stand how she would. Talk how she would. Help me. I have a lot of decisions to make. If you make it easy on me, I will be more inclined toward you.
Okay, I am out of time. I am really looking forward to starting a new project. Hope to see you out.
I am going into another set of auditions (this time for Encore Entertainment's Wrong For Each Other) so audition technique is on my mind. I am hoping that, this time, folks might avoid some of these basic errors when they come in to audition for me.
1. Never apologize; never explain.
Folks, come in and give me your best shot boldly and without one word of explanation. I am pretty smart (most directors are, actually) and whether I have seen you perform or not, I will notice that your throat is hoarse from infection or that you are sniffling or that your nose is raw from kleenex or that your breath is heavy. I get it when you're sick. If you were up half the night drinking with your mates, best you come in and sing your raunchiest because I'll probably be able to figure that out, too. We have so little time together in an audition. Don't waste it on self-deprecation.
2. Enter the room as if you own it. Audition for the part as if you already have it.
If you are positive and believe in yourself, I am more likely to believe in you.
3. Smile.
And shake my hand. Why not? Maybe even crack a joke. So few actors are fun at auditions. Make me want to cast you.
4. Sing out, Louise.
Incredibly important that you bring to bear a strong stage voice when auditioning.
5. Have a resume.
Keep the resume to one sheet, if possible. List all the roles you have played -- as many as possible -- on that sheet. You might consider tailoring your experience listed on the resume toward the role you are seeking. As a director of theatre, for example, I don't care that you have done ten student films in the last five years. The skills you are learning and practicing on set may not stand you well on stage and may have no bearing on what I am going to ask you to do. I would like to see your stage experience.
6. Oh, and a picture.
Now, a picture is nice for me to remember you by but, please, don't spend too much money on a headshot if you are in Community Theatre. Here's the thing. I have never cast from a picture (though professionally you WILL get auditions from your photo; so they are much more important in that milieu). A picture has never been part of the equation for me. And I, personally, tend to remember my top candidates. Now, that's me, though. I have a bit of a freaky memory where theatre is concerned. And I know that the picture helps other people on the panel. So, so. Bring one.
7. Have the darn thing memorized.
You need to know your monologue or song well enough that if I, in redirect, turn it on its ear you will not be thrown.
8. But if you do forget....
If you get lost in the middle (it happens! everybody dries at some point!) and you cannot wiggle your way out of it, stop abruptly, state that you are lost, take a deep breath, and calmly ask to go back to a point that you remember. You don't have to go right back to the beginning.
9. Prepare
Best that you have read the script and chosen your part carefully. Avoid trying to choose a part just from the Call. Then, tailor your monologue to the part you are hoping to play. Wear the clothes that you think your character would wear. Stand how she would. Talk how she would. Help me. I have a lot of decisions to make. If you make it easy on me, I will be more inclined toward you.
Okay, I am out of time. I am really looking forward to starting a new project. Hope to see you out.
Monday, January 16, 2012
And we're off....
Registrations are coming in for Shakespeare is Boffo! March Break summer camp. It's just so great to see we're getting a response as I truly believe in this idea and am glad to see it (slowly) getting off the ground.
Marketing on a shoestring is always difficult -- you gotta love theatre -- but for the early campaign on the Spring camp, we are relying heavily on word of mouth and any interest generated from the first summer camp. We are lucky enough to have a few coming back from that camp (which is great!) and cannot wait to see the group currently building for the new one.
Of course, the next few weeks will be doing the artwork, getting posters up, putting flyers out all over the city, getting our new movie up on the website and investigating methods of streamlining our registration process. And next year, or even this summer... Maybe we will be able to afford ads in the summer camp magazines or maybe we'll be able to do a postal walk or two. That might save a little bit of work. :)
But all worth it. The camp is so much fun to do and I look forward to seeing the children enjoying themselves, wacking each other with soft swords, and on the way, gaining an appreciation of Shakespeare...and theatre besides. Fun.
Shakespeare is Boffo! is a full day premiumMarch Break theatre arts camp for kids 9-15. http://www.shakespeareisboffo.ca
Marketing on a shoestring is always difficult -- you gotta love theatre -- but for the early campaign on the Spring camp, we are relying heavily on word of mouth and any interest generated from the first summer camp. We are lucky enough to have a few coming back from that camp (which is great!) and cannot wait to see the group currently building for the new one.
Of course, the next few weeks will be doing the artwork, getting posters up, putting flyers out all over the city, getting our new movie up on the website and investigating methods of streamlining our registration process. And next year, or even this summer... Maybe we will be able to afford ads in the summer camp magazines or maybe we'll be able to do a postal walk or two. That might save a little bit of work. :)
But all worth it. The camp is so much fun to do and I look forward to seeing the children enjoying themselves, wacking each other with soft swords, and on the way, gaining an appreciation of Shakespeare...and theatre besides. Fun.
Shakespeare is Boffo! is a full day premiumMarch Break theatre arts camp for kids 9-15. http://www.shakespeareisboffo.ca
Tuesday, January 10, 2012
The Night Before The Night Before
Affections of May, Scarborough Theatre Guild's latest production, opens on Thursday (January 12, 2012). I have been been directing and will continue to (for a mere number of hours) direct the show until notes are done on the dress rehearsal run. I kept meaning to blog this process and I didn't. Perhaps the energy spent on directing is the same spent on writing. I didn't have it in me.
So, so. We are at The Night Before The Night Before. That means tomorrow is Dress Rehearsal and we open the next day. My mood? Sanguine and terrified.
Sanguine has become, for whatever reason, my new favourite woird. It speaks to my general approach to life -- that I enter the fray with a smile and ruddy cheeks, happy to ride out the highs and the lows in pursuit of our shared goals and, hopefully, have a good time on the way. Happily, sanguine has been the mood of this rehearsal period. We have worked hard but have laughed all the way. Some days, I laughed so hard, my tummy hurt. I will miss this mob.
Terrified? Yes, it so doesn't sound like me. But anytime one jumps off a cliff it's terrifying. Oh, and envigorating. Ah, the tummy flip flops as one falls, the rush of the air in one's ears, the anticipation of the splash, the immersion in deep, warm, coral-coloured water, the subsequent reach for air and sunlight. Fun. And terrifying. There ya go. I feel this terror at the beginning of a rehearsal process and at the end.
Really, my job is as a Director is mostly done at this stage. I have put certain wheels in motion, have tried to help and inspire, feed the minds of these excellent actors, and I just hope, now, that the outcome will entertain. At the end of the day, I want our audience to be drawn into the story the actors are telling and have a great night at the theatre.
Weird, though, that jumping off a cliff is such a solitary leap. It would be fun to have company but, really, a director`s life is something like an author`s life. It is solitary. And, yet, shared with so many. My audience goes for the leap with me when those lights go down.
So, I dare you to take my hand. Come one. Let`s jump together.
So, so. We are at The Night Before The Night Before. That means tomorrow is Dress Rehearsal and we open the next day. My mood? Sanguine and terrified.
Sanguine has become, for whatever reason, my new favourite woird. It speaks to my general approach to life -- that I enter the fray with a smile and ruddy cheeks, happy to ride out the highs and the lows in pursuit of our shared goals and, hopefully, have a good time on the way. Happily, sanguine has been the mood of this rehearsal period. We have worked hard but have laughed all the way. Some days, I laughed so hard, my tummy hurt. I will miss this mob.
Terrified? Yes, it so doesn't sound like me. But anytime one jumps off a cliff it's terrifying. Oh, and envigorating. Ah, the tummy flip flops as one falls, the rush of the air in one's ears, the anticipation of the splash, the immersion in deep, warm, coral-coloured water, the subsequent reach for air and sunlight. Fun. And terrifying. There ya go. I feel this terror at the beginning of a rehearsal process and at the end.
Really, my job is as a Director is mostly done at this stage. I have put certain wheels in motion, have tried to help and inspire, feed the minds of these excellent actors, and I just hope, now, that the outcome will entertain. At the end of the day, I want our audience to be drawn into the story the actors are telling and have a great night at the theatre.
Weird, though, that jumping off a cliff is such a solitary leap. It would be fun to have company but, really, a director`s life is something like an author`s life. It is solitary. And, yet, shared with so many. My audience goes for the leap with me when those lights go down.
So, I dare you to take my hand. Come one. Let`s jump together.
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