Yesterday we got approval for the production (wooohoo!), which means that the next step will be auditions. We're searching for a late 60's male, a late 20's to mid 30's male, an early 20's male, as well as a late 20's to mid 30's female. I'll be detailing what we're looking for in each character in the next segment.
The audition dates are not set in stone yet, but as soon as we figure out the dates we'll be letting everyone know about it. We're looking for fresh new faces who are eager to work on their acting, as the play is rather sombre with bits of dark humor and sarcasm. We aren't necessarily looking for serious people, but we are looking for people who want to uncover another layer in their acting. Also, we're not necessarily looking for actors with experience, but experience is always welcome. If you're a newbie and have always had an interest in theater but have never had the opportunity to do it, come on down. Sometimes all you need is a lot of passion and a little bit of direction.
Thursday, February 24, 2011
Monday, February 21, 2011
Huffing and Puffing
One of the useful articles I Googled on How to Direct a Play. There were plenty of useless ones as well, as is to be expected with the Internet. I was following these steps before I even knew there were a set of steps to be followed. It might be common sense, but then again, common sense is not too common. The play has been selected and the production and directing crew has been arranged. We're waiting for the go ahead from The Board and then will commence with auditions some time mid March. I'm looking forward to auditions because then I can get started on other things that I'm worried about like blocking, scenery, settings, fleshing out of characters, among other things. I just want to get started already! I feel like a race horse puffing steam into a cold morning, ready to go.
The first meeting of minds was held on Sunday evening at Ace's house. Four of us gathered in the living room and went over some of the basics of the production, what we plan on doing, when, where, how. We talked about character development and potential cast for the play. We then did a rather quick read through of the play to figure out how long it is (an hour, more or less). It's exciting to start honing in on the little details that need to be flawless in order to set up a play. One by one they are checked off with a smart little check, done and done, what's next?
We've decided that we're having open auditions, though we can't help but dream of casting certain actors in roles we can easily fit them in. We're looking for actors who are itching to try out a more serious play, who are looking to get in contact with their method acting, who want to transcend a whole other level. I want them to emote, to feel, to make others feel, to connect, to empathize. A mostly male cast with one strong, but tender female. This is going to be really good, I can feel it.
The first meeting of minds was held on Sunday evening at Ace's house. Four of us gathered in the living room and went over some of the basics of the production, what we plan on doing, when, where, how. We talked about character development and potential cast for the play. We then did a rather quick read through of the play to figure out how long it is (an hour, more or less). It's exciting to start honing in on the little details that need to be flawless in order to set up a play. One by one they are checked off with a smart little check, done and done, what's next?
We've decided that we're having open auditions, though we can't help but dream of casting certain actors in roles we can easily fit them in. We're looking for actors who are itching to try out a more serious play, who are looking to get in contact with their method acting, who want to transcend a whole other level. I want them to emote, to feel, to make others feel, to connect, to empathize. A mostly male cast with one strong, but tender female. This is going to be really good, I can feel it.
In the Green Room
"A green room is a room in a theater, studio, or other public venue for the accommodation of performers or speakers when not required on the stage.." According to Wikipedia, anyways. The term 'green room' was first introduced to me in a very offhand manner, as if I should implicitly know what it was. I didn't, but I loved the idea that there was jargon for this mysterious community. It felt very much like Alice tumbling head over heels in the rabbit hole. A brilliant discovery that seemed like a well kept secret among a certain few.
My first foray into community theater was a participation in a Christmas Show that was more like a variety hour, in that it had singing, acting, games, etc. I was twelve at the time and it had a big impact on me. A couple of years later I was able to find a way back to that community theater via a friend whose mother was heavily involved in producing. My first backstage "job" was babysitting a flock of unruly kids all aged under twelve for a different Christmas play. The kids were rowdy, but I took a secret joy of herding them about for their acting moments, peering at their reluctant acting from behind the set.
I was able to volunteer for more plays, and grew to love the musty old haunted timbers. I loved seeing a production get under way, the actors fleshing out their characters, the scenery and set coming to life before my very eyes, the coordination, dedication, passion, energy needed to create something. And create it was, for you're creating this fantastical, magical voyage in to a story told by dedicated, unpaid volunteer actors, backstage crew, light and sound crew, not to mention the production team. They've all sacrificed hours of their personal time to bring something to life, to create. I liked being a part of that, it resonated within me. The anticipation of a new show, the routine created by shows, the feeling of give and take with the audience, nailing your lines, the clap of hands, the warmth of the lights. A potent, addictive combination.
Improv8
Some plays that I have performed in: 'Boeing Boeing', 'A Christmas Carol', 'The Tender Trap', as well as participated in improvisational comedy, one act plays, as well as an original musical called Strangely Familiar. My most recent part was that of Sarah in 'God's Favorite'. I tend to do very well in comedies because I very rarely take myself seriously and have no problem making a fool of myself, in fact its easier for me to play the fool than to act seriously.
Recently, a director I worked with in the past that I hold in very high esteem came to visit for a couple of weeks. I was able to spend some time with her and glean some tips and good advice that I took to heart. We were discussing the community theater that we both love and have been very passionate about. She asked me point blank if I had ever thought about directing. I balked, directing is not an easy thing to do and is a very real responsibility that had never actually crossed my mind, until she mentioned it. She mentioned a couple of one act plays that I could start off with, making it seem rather easy. I warmed to the idea. Why couldn't I bring something to life, create? I had been in plenty of theater productions both on stage, backstage and front stage. I had never been in the producing or directing side, but maybe it was about time.
I mulled this thought over for a bit of time, and thought that hell, maybe I could just write my very own one act play. Maybe this is the push I needed in order to validate all the writing I do that seems rather futile at times. But time was passing and I wasn't really writing this brilliant so far invisible one act play that I was planning at some point of this year making into an actual production. It just wasn't happening.
At this point I had auditioned and got a role in a play called God's Favorite by Neil Simon. During rehearsals I had some time to wander about the theater (as I enjoy rifling about though the nooks and crannies) and came across the library where a great variety of books on theater, plays, playwrights, among other things can be found. On my spare time when I wasn't on stage I would grab a couple of these books and leaf through them, finding most of them boring and lacking in something that I couldn't quite grasp.
One night I found a bright yellow tome titled "Best One Act Plays of 1988". I flipped through a couple of the acts until I landed on one that caught my eye immediately. I read a couple of lines and I knew I had found the play that I wanted to direct. I finished reading it In the Green Room, between scenes. It only has four characters, a mostly male cast (less drama), very few scene changes, and it is only one act.
I have a production team, I have a backstage crew; I haven't proposed it to the Board of Directors yet, but I know it will be approved because its a helluva story and its going to knock some people's socks off (because of course, that is my intention; I want to make a damn good production, nothing half assed). I'm excited, a little nervous, and ever so eager to get started on the casting, lighting, setting, everything. I have a really eager, talented crew who wants to create something amazing just as much as I do, which will make everything ten times better.
This is my foray into directing a play for the first time. I'll be using this as my sounding board, a place to document the happenings of an ongoing production, the hardships, hassles, and the successes.
Break a leg!
The entire cast of Strangely Familiar (both actors, musicians and dancers)
My first foray into community theater was a participation in a Christmas Show that was more like a variety hour, in that it had singing, acting, games, etc. I was twelve at the time and it had a big impact on me. A couple of years later I was able to find a way back to that community theater via a friend whose mother was heavily involved in producing. My first backstage "job" was babysitting a flock of unruly kids all aged under twelve for a different Christmas play. The kids were rowdy, but I took a secret joy of herding them about for their acting moments, peering at their reluctant acting from behind the set.
I was able to volunteer for more plays, and grew to love the musty old haunted timbers. I loved seeing a production get under way, the actors fleshing out their characters, the scenery and set coming to life before my very eyes, the coordination, dedication, passion, energy needed to create something. And create it was, for you're creating this fantastical, magical voyage in to a story told by dedicated, unpaid volunteer actors, backstage crew, light and sound crew, not to mention the production team. They've all sacrificed hours of their personal time to bring something to life, to create. I liked being a part of that, it resonated within me. The anticipation of a new show, the routine created by shows, the feeling of give and take with the audience, nailing your lines, the clap of hands, the warmth of the lights. A potent, addictive combination.
Some plays that I have performed in: 'Boeing Boeing', 'A Christmas Carol', 'The Tender Trap', as well as participated in improvisational comedy, one act plays, as well as an original musical called Strangely Familiar. My most recent part was that of Sarah in 'God's Favorite'. I tend to do very well in comedies because I very rarely take myself seriously and have no problem making a fool of myself, in fact its easier for me to play the fool than to act seriously.
Recently, a director I worked with in the past that I hold in very high esteem came to visit for a couple of weeks. I was able to spend some time with her and glean some tips and good advice that I took to heart. We were discussing the community theater that we both love and have been very passionate about. She asked me point blank if I had ever thought about directing. I balked, directing is not an easy thing to do and is a very real responsibility that had never actually crossed my mind, until she mentioned it. She mentioned a couple of one act plays that I could start off with, making it seem rather easy. I warmed to the idea. Why couldn't I bring something to life, create? I had been in plenty of theater productions both on stage, backstage and front stage. I had never been in the producing or directing side, but maybe it was about time.
God's Favorite
I mulled this thought over for a bit of time, and thought that hell, maybe I could just write my very own one act play. Maybe this is the push I needed in order to validate all the writing I do that seems rather futile at times. But time was passing and I wasn't really writing this brilliant so far invisible one act play that I was planning at some point of this year making into an actual production. It just wasn't happening.
At this point I had auditioned and got a role in a play called God's Favorite by Neil Simon. During rehearsals I had some time to wander about the theater (as I enjoy rifling about though the nooks and crannies) and came across the library where a great variety of books on theater, plays, playwrights, among other things can be found. On my spare time when I wasn't on stage I would grab a couple of these books and leaf through them, finding most of them boring and lacking in something that I couldn't quite grasp.
Hydra, an original one act play
One night I found a bright yellow tome titled "Best One Act Plays of 1988". I flipped through a couple of the acts until I landed on one that caught my eye immediately. I read a couple of lines and I knew I had found the play that I wanted to direct. I finished reading it In the Green Room, between scenes. It only has four characters, a mostly male cast (less drama), very few scene changes, and it is only one act.
I have a production team, I have a backstage crew; I haven't proposed it to the Board of Directors yet, but I know it will be approved because its a helluva story and its going to knock some people's socks off (because of course, that is my intention; I want to make a damn good production, nothing half assed). I'm excited, a little nervous, and ever so eager to get started on the casting, lighting, setting, everything. I have a really eager, talented crew who wants to create something amazing just as much as I do, which will make everything ten times better.
This is my foray into directing a play for the first time. I'll be using this as my sounding board, a place to document the happenings of an ongoing production, the hardships, hassles, and the successes.
Break a leg!
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