Auditions for Maria's Song

Auditions are going well, and I am excited to see so many women coming out! To see what you've written down on paper and having someone bring it to life is an amazing thing!

Workshopping the Script II

Yesterday was the big day...and boy was I surprised! I have to say, much of the dialogue flowed well (which was the biggest issue for me) and I was so relieved. I just closed my eyes and listened to how it sounded. I wanted to hear the ease of the dialogue. The actors were great--really did a great job being the characters so it colored the script in. Got a lot of feedback from the group--mainly character issues, likeability, questioning motives, but all in all it is a sound piece! It was exhausting for me, though--3 hours of people looking at your work. But I have to say, it's a lot less traumatic than testing comedy material onstage!

Also, am nearing the end of obtaining a venue, so I am so relieved with that. I absolutely can't wait to see this show live. I believe it's relevant and poignant.

So, I still have a lot of work to do, but I think with my timeframe it's manageable. Keep ya posted!

Workshopping the Script

Been furiously working on last minute changes to the script. I really want to show the best dialogue that I can at this point. I've been poring over the dialogue, really trying to snap it up, really thinking about what each character is thinking (and therefore translating) with their body language as well as dialogue. It's as if you must be able to breathe with your character. If you don't know where his/her breath is, you can't time the dialogue. This may seem like a weird thing, but my experience has borne this out. Breath is also timing, and when you see the scene you see the timing which includes their breath.

I'll no after Sundayif I'm off in my tempo...

Theater's Future

OK, another really great article from Theatre Ideas, discussing the future of theater in that it will become smaller and less consequential. Scott goes on to say, "theatre will rediscover the fact that its lifeblood is not drawn from the mass culture, but from the local culture." I agree with theater realizing its foundation is local, not mass culture, and I think it already does this as it has to respond in some way locally. Local audience attendance demands that.

Scott continues: "[future theater professionals] will have to be taught to see themselves as facilitators, community members". I actually think this is occurring right now. I think that if you ask presenters at this point in time if community outreach is a significant part of their season, there would be a resounding yes. I think it has to and will continue as people seek relevance as opposed to mass media.

AD's and American Theater Company

This article from the Chicago Reader discusses the resignation fof 23 of the 28 ensemble members of ATC due to "adminstrative and artistic differences", then proceeds to go in depth about the divisions. The point I want to highlight is: should one person be the point 'man' to determine an artistic season? The equivalent in the comedy world is the club owner, who typically books the comics.

In other words, should that structure be reviewed? IMHO, it seems to me the best determination of what a season should look like would include a committee of, say, actor, director, producer, tech (set) person to start with. This way issues such as feasiblily (financially and physically realizing the play), artistic value and perhaps social relevant themes would be satisfied.

Scriptwriting

Been working on the script unceasingly. Even when I go to sleep, I'll get an 'Aha!' moment about another scene or character in the script. Most of it is like sewing, though: I think "oh, there's a hole here, I haven't adressed this back in scene xxx", and I have to put it in. This invariably means I have to 'sew' that piece of knowledge into later scenes. It is the worst when it is a concept you need to address (example: important real fact must be addressed) in one of the first few scenes: you need to add that knowledge AND how each character will react (if they are privy to that knowledge). It is to the point now that when my editor says, "did you back this concept up" I can now say, yes, look in scene xxx, page xxx. It's pretty sad from an overall life point of view, but fantastic from a screenwriter point of view.

I workshop the script in two weeks with actors and have a lot of angst...I'm just hoping that with all the problems they'll see the storyline holds up.

Automating a Rehearsal Schedule

In my readings, I have looked at Marshall Mason's Creating Life on Stage. In the back, he lists a character/beat breakdown. From this he generates a rehearsal schedule. I did this by hand a week ago, and the geek in me knew it could be automated, so wallah! I trudged through Visual Basic and created a macro that will calculate 1) the number of scenes; and 2) the number of scenes shared between characters. Item 2 will give me the throughlines to concentrate on and from these statistics (applying an algorithm) I will create a rehearsal schedule. At least I accomplished the first part of the task. More later...

Songwriting

Had to come up with a couple more songs for the play. Wrote one in two days, and it was solid. Have used Sheila Davis' Lyric Writing book--excellent. I incorporated a number of rules immediately, of which I was very proud. Concepts like the surprise ending, plot progression, making the chorus answer the verse, etc., so I am ecstatic that as least one aspect of this 'musical' is coming along well!

Shock Theater

Excellent article from Louise Kennedy of the Boston Globe about shock theater. Among the points she makes, she write about her "[frustration] with the culture for mistaking cheap thrills for real ones". Hallelujah, girl! In numerous festivals that I have participated in, I can tell you first hand that the show that features nudity and any kind of phallic display is always the one that sells out--doesn't matter how good it is.
As a comedian, who has worked clubs across the country, the above quote hits home--comedy today is all about shock. The finesse of a well-crafted, well-thought out joke is rare indeed. Why put forth the effort to craft a jewel of comedy if a dick joke or sexual reference will more easily get a laugh? To go even further, I think the line between shock and comedy has been blurred: comedy is shock and shock is comedy. One of the principles in creating a great punchline is to incorporate the element of surprise. I think this has been perverted into the element of shock, and I do not believe the average comedy-going audience really knows or cares to know the difference.
For all the parallels I see between theater and stand-up, I have to say it's disappointing that theater has taken this turn, but again, kudos to Louise!

Drama Department vs Show Biz Department

Again, another great post from Theatre Ideas: Tom Laughlin writes: To my knowledge, there are no Departments of Show Business at any universities — The Departments, Drama Departments, but no Show Business Departments. Maybe we need to encourage this label, so that potential students can make a distinction between commercially-oriented departments (Show Business), Big Regional Theatre -oriented departments (Theatre), liberal arts-oriented departments (Drama), and community-based departments (Community Arts), or Interdisciplinary Arts. At least there would be truth in advertising.

I think this is a great proposition. Again, I have seen in the past five years an incredible encroachment of big business in even regional performing arts booking conferences. Moneyed producers take presenters out to dinner and a (their) show. Result: the small artist showcasing has no presenters to present to. Prior to this, all showcasing for these conferences were confined to the hotel hosting the conference, which produced a level playing field. Not so anymore...

Alcohol and Rock of Ages

I found this article from the Guardian about whether to have alcohol at a performance amusing, especially since I've come from the clubs where alcohol is a staple. I'm betting no one has ever shouted to an actor "Show me your *&^%!" while they've been performing...

WalMarting of Theatre--NY Myth

Read this post in the ArtsJournal from Theatre Ideas. Basically, it talks about the NY Myth. For me, it's manna from heaven. In fact, my tech and I were having a conversation (again) about the fallacy that all the creativity comes from NY. I think creative people move to NY, and therefore creativity is irrespective of a geographic region. While there, I saw a number of Off-Broadway plays, many which were of a caliber I would see in any hometown. It seems as if there is a one-upmanship occurring. Let's take shock value, for example. If one show contains on stage nudity, the next show contains on stage masturbation. Wow. Having worked comedy professionally, everyone knows sex is the easiest way to get an audience's attention (and in this game, the press's). As an aside, I've often laughed at how poets and theatre can be as graphic sexually as they want, yet when comedians are, it's vulgar.

I also saw this in LA when I did comedy. I did not see some stratospheric increase in the quality of comedy. I saw actors competing in comedy contests to beef up their resume. They did not care about the craft or their subject matter--was it something new? Something from their own experience? Unfortunately, no. They were simply good at acting funny. Some of the best comedy I've ever seen was in DC--smart and political savvy.

I will say, I disagree on this point of: " [having] local arts organizations run by and staffed by artists whose lives are made within a specific community and whose artistic vision is informed by that community". Having sat in numerous "how to book a season" seminars with arts presenters (many of whom are artists) at booking conferences, I do not think their vision is soley informed by the community. From many of the questions asked, their vision is tempered by money. None of them want a show that loses money--this could mean their job.

All in all, however, I thought the post was insightful and contained many truths. Let me know what you think!

Hamilton, NY

I just finished another Feminazi show, and I have to say, the people in Hamilton were FANTASTIC. (You know it's rural when your hotel window is looking out on a cemetary :-) ). Got in late Thurs, tech'd Fri basically till showtime, then went out and slammed! They were a great crowd, not self-conscious (thank God), had a sense of humor and were looking for a good time. They were pretty animated when they left, and that's when I know I've done my job! The talkback after the show went nicely--there's always something you learn from talking back to people in different parts of the country. This time the topic of feminism as being accepting of all types led into a discussion of why diversity is not seen as a strength in society as a whole. Another interesting topic that came up was should women be fighting for a place in the system as it is, or should we be fighting for a new system? Again, it was a great time. I love the road!

Stage Managing, Part Deux

Well, I made it through the run! And I have to say, it was amazing! We rehearsed for six weeks and for at least four we were short actors, so I was standing in reading lines...that got to be pretty tiring, especially when I needed to make sure the actors were moving where they were supposed to be. As rehearsals progressed, I saw my job change from feeding lines/movement to making sure costumes changes went smoothly and all props were in place (prop table). I also ran sound for the show, so all in all it kept me busy--not as busy as a solo show, that's for sure! I think the most amazing thing about the process was to see a group with no coherence suddenly gel and the show came alive--that was the wildest thing to see! Kudos to everyone in the show, too, because they had to learn those Shakespearean lines--not for me, that's for sure! I prefer colloquial dialog. But again, I really liked doing the stage managing and working with a great group of actors--it's something I will definitely do again!

Stage Managing Again

After talking to a colleague, I learned that I needed to do more things stage managing. So I looked online for info and was surprised. I had a prop list, ordered by scene and which entrance the actor takes, and a scene diagram, cast list, and even had all the blocking notes in the script. However, in my reading I saw that it has to be more formalized: "A prompt book should be legible so that if the stage manager is unable to call the show"--ooooh. So...I went hunting around and found (I'll find my url later) a sample prompt book, and realized I needed to rework my script (translation, lots of hours). So, I am now furiously getting my prompt book up to speed and in the meantime buying The Stage Management Handbook to fill any other possible gaps in my stage management knowledge. Do I hear kudos to stage managers here? You betcha!

Stage Managing

Well, I've been at it for about a month now, and I have to say, stage managing is a lot like the Army. You've got to get it all done. From setting up the rehearsal space to keeping track of the props, from filling in for characters to keeping up with feeding actors lines, I'm enjoying it. I have certainly learned a lot from the rehearsal process, how it's setup from blocking to running through off book. I'm finding it's a more formalized process than when developing solo shows. Same concepts, just formalized. Having a great time, all in all!

Songwriter's Block

I'm working on a song (for the musical) that I've had initially arranged, and the chorus is not sounding good at all. Just doesn't seem to fit when I have it arranged, but in my head it's OK, although I'm still having trouble with the transition to the chorus. I've been toying with the chords and am having a difficult time finding a transition. I've also looked over the chorus, and stared at it trying to think of something different. But I've kept it simple and it follows the "and that's why I say" thought from the verse leading into the chorus as per Sheila Davis in her book Successful Lyric Writing. I'm just stumped.