Perfectly Marvelous

I had the privilege and pleasure of directing the musical CABARET this September.  I have always found the show fascinating but never really explored all the possibilities it had to offer me, a cast and an audience.  I finally decided to take on the production last spring.  This past weekend I got to see the fruits of my labor up on the stage.  I must say that I am so proud of our production.  There were so many great things -- too many to list here.  Cabaret will stick in my head for a long time.
Here are some thoughts and observations from my experience and perspective ...

• The production really needs careful planning and forethought to make it a cohesive show.  I really had to analyze the script and music, makes changes as needed, find the best possible cast and really understand all the themes and intents of the authors. 

• You need a solid and talented cast, willing to trust your vision and step outside their comfort zone.  I had that in spades.  Just a great cast to work with.

• The dances must be very good -- and I must say, our show really shined in the dance numbers -- A big thanks to Erika V. for her time and creativity choreographing the dances.

• The show can be a great piece for the actors if they really embrace the emotion of the characters they are playing.  I think that actors enjoy when they can have some meat to the roles they are playing.  They audience certainly likes to see well-acted characters with string emotion.

•  I was surprised how the audiences embraces the provocative nature of the show.  I think if all the racy material is handled well, it doesn't have the abrasive effect that I thought it would.

• and finally.... the whole show lives and dies by the character of the Master of Ceremonies.  If he is not a real presence and a well-acted character, the whole show could never get off the ground.  Thankfully I was fortunate enough to have an amazing actor take on this role and really deliver an outstanding performance.  It was even more significant that he is not anything like the Emcee.  He wanted to take the risk of playing a character that was so far removed from the way he is in real life.  He trusted me to guide him and not steer him wrong.  That, in itself, means the world to me as a director.   It was a real pleasure to watch him bring this character to live on stage and find a level of comfortability in a very unconventional role and become a better actor than he ever thought he could be.  Everything he did on stage and off in this show will be one of my greatest memories as a a director.  And on a personal note, his commitment (and there was a lot to commit to) to this show was nothing short of amazing and I feel he and I are better friends and artistic colleagues having done this show together and that means the world to me.

Truly, a memorable production -- satisfying on many levels.  And a show that I will not soon forget.

Forbidden Fruit

I have always like the musical THE APPLE TREE.  The music, by Fiddler on the Roof creators Jerry Bock and Sheldon Harnick, is fun and catchy.  The stories by Mark Twain, Frank Stockton and Jules Feiffer and entertaining, although a bit dated and quirky.  I had kept the show in the back of my mind, because I knew I wanted to direct it at some point.  I consdiered it many times, but it never came to pass.  I finally decided to direct it this summer.  It's easy production demands and small cast made it a good choice for a summer show.

In the first act, entitled the Diary of Adam and Eve, the snake has a small role and a significant song, aptly titled Forbidden Fruit.   I have always liked that song.  It's a fun song.  It was part of the reason I decided that I could maybe play the part of the snake.  But how to direct and be in the show?  No easy task, let me tell you (but more about that in a moment).  Besides the snake, the same actor plays 2 other narrator roles.  I woul dhave to be on stage and backstage the whole time -- a place I usually never am.  But I had wanted to get back on stage and perform, since it had been several years since I had acted.  So, I bit the bullet, settled on doing the show and I would be both director and actor.

So, how did it all go, you may ask?  Well, here is what I learned.

1.  It is very hard to run a rehearsal whilst on stage acting.  Your focus should be on your lines, songs and character, but it is taken up by lighting, other actors blocking, costumes, sound etc.

2.  Your mouth goes dry at the worst possible times - no matter how much water you consume.

3.  If you have good scene partners, you can have a lot of fun and do some good work (thanks Katie and John).

4.  You need someone to come help who can take notes and watch rehearsals so you can attempt to be an actor (thanks Mark).

5.  I forgot how much actors sweat in those costumes, especially under the lights.

6.  I forgot how much I love the energy and adrenaline you have while acting. 

That all said, It is doubtful I will ever act in a show that I am also directing.   My focus is pulled in too many directions.  I would love to act again, but someone else will be the director so we both can do our best.  But, I have fond memories of this show.  It really is a fun little show -- great for high schools and community theatres.  I'm glad I finally got to work on it and will always remember how much fun it was to play a snake!

Having just the vision's no solution ...

"Quality is never an accident; it is always the result of high intention, sincere effort, intelligent direction and skillful execution; it represents the wise choice of many alternatives."  

William Foster
 

Being in the throws of putting on a show, I sometimes get caught up in all the technical and logistical things that are involved with getting the show on the stage... building the sets, crafting press releases, finding props, making sure everyone knows their lines.  If I get the chance, I get to work on acting with cast members.  All this and more is important for sure.  I try to focus on big picture and little details.  For me it is not about just doing a show.  Any show I work on must be one of quality - one that can foster some pride when you see it up there on stage.  One that shows talent and care and thoughtfulness and intelligence.  It is something I demand of myself and try to instill in actors and technicians I work with.  I have seen too many productions that lack quality and it is very disheartening to sit in the audience and know that it could have been better, and should have been better.  Lack of quality feeds mediocrity in the arts and who wants mediocre theatre? 

I encourage anyone in theatre to demand quality in anything you do -- demand it from yourself, demand it from cast and crew, and especially the directors.   Quality is that shine that makes a show pop - makes a show stand out - makes a show memorable.  It makes the experience so much more rich.  If you have people who are passionate, organized, thoughtful, creative, intelligent and disciplined, you can have an amazing theatrical experience and any audience will notice that high level of quality... and thank you for it.

Turn up the Spotlight

Theatre is a collaborative art - musical theatre even more so.  Director, designers, technicians, actors, musicians all work together to bring a piece of theatre to life on the stage.  In community theatre, at least in my experiences, I have taken on the role of director, designer, choreographer, sound guy, pit musician, and other roles -- usually at the same time.  There are pluses and minuses to that, but for the most part I enjoy the control I have and creativity I get to use in being the guy who wears many hats. 

Now, for the most part, have stayed away from wearing one hat --- actor.  Now I have acted before -- I was in the musical Big River and the musical Annie Get Your Gun -- both supporting roles.  I have even been on stage in 2 shows I directed -- I played the Wolf in Into the Woods and the voice of the plant in Little Shop of Horrors.  Now let me tell you the being in a show that you are also directing in very challenging.  Your focus is so fractured in dealing with blocking, set building etc. -- then add memorizing lines and music on top of that -- it is not for the faint of heart, and honestly I discourage other directors for doing it unless they have to.  Although there is a handful of roles I would love to play on stage, I would much rather let someone more talented take those parts on.

However, as a director, I feel that sometimes I forget what an actor has to go through in the process of bringing a part to life on the stage.  So, in an effort to constantly improve as a director and understand the role of actor, I am again, after 7 or so years, going to be on stage ... and direct the show as well. Now it is not easy for me to be on stage.  I am not a trained singer and only a mildly trained actor.  I used to have huge stage fright as a kid.  So being on stage for me can be a bit frustrating and a bit scary.  But I have as of late, felt like I just need to get up on stage and feel what's it's like to being under the lights again.

The show is called THE APPLE TREE.  It is from the same creative team that wrote Fiddler on the Roof.  It is a collection of 3 small musicals all based around men, women and temptation -- The Diary of Adam & Eve, The Lady and the Tiger, and Passionella (a twisted version of the Cinderella story).  I'm only playing a supporting role (3 actually).  But I have to sing and act... and memorize ... and design the set .... and block the show ... you get the idea.   Oh, and just to make it more of a challenge, I have a huge production of CABARET five weeks after this show.  What can I say -- I like to keep busy.  But I have 2 great leading actors to work with, a solid small chorus and some extra directorial help that should make this a memorable and fun show to work on.

So, if you want to see me as you probably never have seen me before (I mean I'm playing a singing snake for God's sake), come to the show August 9, 10, or 11.   I can guarantee you'll have fun.  And me being on stage may not happen again in the near future, so if you wanna witness something that may never happen again, you should come.  Just be kind in any comments or criticism.   You don't wanna hurt my feelings.  I'm a sensitive actor after all!

Moments in the Woods

I remember the moment vividly, which is saying alot since it was over 20 years ago.  I was sitting in the back of Straughn Hall at Mansfield University watching a rehearsal for their spring musical.  Back then, Mansfield had a theatre department and did 4 shows a year.  I had already seen great productions of Midsummer Night's Dream and Little Shop of Horrors in the fall and knew that these theatre people did great stuff.  But I had never heard of the musical they were now working on so I was curious about what I was going to see.  It was their first dress rehearsal and first rehearsal with the orchestra.   As the house lights went down, and the music started, I was hooked - not with the production itself, but with the work and the music.   It was amazing to me -- the lush and haunting melodies, the rich and complex harmonies, the accompaniment, crazy rhythms.  I had always loved theatre, but this composer and his work spoke to me in such a way that my life was affected deeply.  The work was Sweeney Todd and the composer was Stephen Sondheim.

After that production, I wanted to find as much of his music as I could but the Music Library was limited in recordings.  I remember stumbling across CDs of his newest shows at the time - Into the Woods and Assassins -- at the mall one day.  I bought them and brought them back to my dorm room.  I laid on my bed and listened for 2 hours straight, mesmerized but what I heard.  They were even better than I thought.  Later I discovered the other great works such as Sunday in the Park with George, A Little Night Music and Company and the lesser know shows of Merrily We Roll Along and Follies. 

Then, when I was a senior in college, Into the Woods was chosen as the spring musical.  I had to be involved.   I worked up the courage to audition -- something I had never done before.  I wanted to play Jack.  However, that was not to be.  But, at the bottom of the cast list was a note about needing and assistant director.  So, again, I mustered up the courage and went to talk to the director and see if he could use me.   I'm not sure what he saw in me, but he gave me the job and we have worked together and too many shows to name.  Thus began my directing career --- all initiated by Stephen Sondheim.

Now those who know me well know that I love Sondheim and his work.  I'm not sure if I can really express what I feel when I listen to his music.  I am moved, transported, and always in awe of his genius.   I have had the pleasure of directing several of his shows, and it is always such joy to do so.  I love to be challenged and his work can certainly do that.  His lyrics are poetic and yet conversational.  His music is integral to the story being told and not just a song in between dialogue.  I always feel like I become a better director and better student of musical theatre any time I get the chance to work on one of his shows.

Actors seem to thrive on the challenge and complexity of his music and lyrics.  They work harder and really take hold of their characters, more so than in a musical with simpler tunes and words.   I get a much better product from the actors because of this, and that is something to behold.  One of my favorite examples of that was in my production of Sunday in the Park with George.  There are 2 scenes between the leads of George and Dot.  They are scenes rich with emotion and nuance.  They music and lyrics for the 2 songs (We Do Not Belong Together and Move On) are some of Sondheim's finest work, in my opinion.  When we were rehearsing the scenes, I felt like the scenes seemed flat.  They lacked something -- I wasn't sure what.  I talked to the actors and tried to convey my thoughts on these pivotal scenes.   I wanted the frustration and the love and the to mix with the music and give me the chills I thought should come from these scene.   They next time we did those pages, I had those chills!   They got it!  You could tell the actors felt it.  The rest of the cast felt it.  It was a moment that really made me feel proud to be a director and to work with actors and work with such great material.

Now I could write endlessly about each work of Stephen Sondheim, and probably will write more about him in the future.  But for now, I thought I would post some photos from my productions of his work all of which have a special place in my heart.  If you don't know much about Sondheim, you strongly urge you to listen to his songs.  They are, in my opinion, the best in musical theatre.

(ASSASSINS, A FUNNY THING HAPPENED ON THE WAY TO THE FORUM, MERRILY WE ROLL ALONG, PUTTING IT TOGETHER, SUNDAY IN THE PARK WITH GEORGE, INTO THE WOODS)

Brush Up Your Shakespeare!

Earlier this week, I posted a status on Facebook ... "My kingdom for 2 amazing female singers and a strong chorus."  This was in reference to show I would like to do this summer.  Today I was talking to a friend who asked me about this show I wanted to do this summer called My Kingdom.  I laughed.  Now, in case there are some other out there who might wonder why I would laugh at this, here's the reason... there is no show called My Kingdom.   The status was a reference to a line from Shakespeare's Richard III -- "A horse, a horse, my kingdom for a horse!"


This little exchange got me to thinking ... I wonder how many other phrases that have Shakespearean origins are either not known at all or people aren't aware that they are actually from Shakespeare.  So here are some of my favorite Shakespeare phrases.  Maybe you can work them into your next conversation and confuse the hell out of your friends.... or at least sound infinitely more cultured!

All the world's a stage, and all the men and women are merely players.
       AS YOU LIKE IT


That but this blow might be the be-all and end-all here.
     MACBETH


True it is that we have seen better days ....
     AS YOU LIKE IT


The better part of valor is discretion.
     HENRY IV pt. 1


O brave new world that has such people in't!
     THE TEMPEST


Therefore, since brevity is the soul of wit .... I will be brief.
     HAMLET


I'll not budge an inch, boy; let him come and kindly.
     THE TAMING OF THE SHREW


The course of true love never did run smooth.
     A MIDSUMMER NIGHT'S DREAM


I must be cruel to be kind.
     HAMLET


Cry "Havoc!"  and let slip the dogs of wars.
     JULIUS CAESAR


He hath eaten me out of house and home!
     HENRY IV pt.2


According to the fair play of the world, let me have audience.
     KING JOHN

For goodness sake, consider what you do.
     HENRY the EIGHTH


But this denoted a forgone conclusion.
     OTHELLO


Th' hast spoken right, 'tis true.  The wheel is come full circle, I am here.
     KING LEAR


Good riddance!
     TROILUS & CRESSIDA


I will wear him in my heart's core, ay, in my heart of hearts, as I do thee.
     HAMLET


But I will wear my heart on my sleeve.
     OTHELLO

Knock, Knock! Who's there?
     MACBETH


The lady doth protest too much!
     HAMLET


Lord, what fools these mortals be!
     A MIDSUMMER NIGHT'S DREAM


Men, at some time, are masters of their fates.
     JULIUS CAESAR


Though this be madness, yet there is method to it.
     HAMLET


If music be the food of love, play on!
     TWELFTH NIGHT

What, all my pretty chicken,... in one fell swoop?
     MACBETH


Good night, good night!  Parting is such sweet sorrow.
     ROMEO & JULIET


What a piece of work is man!
     HAMLET


The play's the thing.
     HAMLET


When in the why and wherefore, is neither rhyme nor reason.
     A COMEDY OF ERRORS
By the pricking of my thumbs, something wicked this way comes.
     MACBETH


Why then, can one desire too much of a good thing?
     AS YOU LIKE IT

What's done is done.
     MACBETH


Nay, if our wits run the wild goose chase, I am done.
     ROMEO & JULIET

A special kind of people known as Show People

So, today was my day off and tonight I was completely bored at home.  That can be a dangerous thing for me.  I gives me time to think and re-think and obsess and generally drive myself a bit insane.    I start asking myself questions -- everything from why am I so bored to why don't I have anyone to hang out with to some even darker things that I won't go into here.

However, tonight's main question can from something someone said to me earlier in the day.... "Why do you do live shows at the Arcadia when there is already a community theatre group in Wellsboro doing really great shows?"

Now I have been asked this question before and I usually just shake it off with "I like having my own thing." as my default answer.  But in my introspective boredom today, I seriously considered the first part of the question --- Why do I do shows?

Well I suppose the simple answer is because I love it.  I love theatre.  I love bringing a great story to life on the stage. I can lose myself in a great show.  I really like working with talented people and seeing what they can bring to a role.  I really love it when an actor surprises me and takes a role or a song to a whole new level of passion and interest.  I will cite a moment -- when I did Sunday in the Park with George last year, the is a point in Act 1 -- We Do Not Belong Together and a point in Act 2 -- Move On.  We were rehearsing these scenes but they just weren't clicking for me.. They lacked the emotional connection I thought the songs needed.  After talking with the actors, we tried the songs again and I got chills -- they understood what I wanted and figured out how to deliver it and sang and acted with such passion and feeling that it was something beautiful to behold.  In that moment, I remember saying to myself -- This is why I do what I do.

If I'm being honest, I must admit that I like being in control of everything, which is why I hardly ever let anyone help me.  I guess I would have to also admit that I like the power that comes as a director.  Telling people what to do and how to act can be fun.  But on the whole, for me, it's all about love -- love of theatre, love of the people who share my joy in theatre. 

I also like the friends I make.  I have worked with dozens of actors.  I stay in contact with many.  But there are a special few that I now consider good friends and that means more to me than those people know.

Now, there are reasons why I don't do theatre.   I don't do theatre for money.  There is none.  I don't do theatre for praise or awards or acclaim.  I am happy with "Thanks for a great show." or "It was great working with you - I really enjoyed it and learned a lot."  That means more to me than any award.  Of course I like all that stuff.  Who doesn't want to be praised?  It doesn't happen very much but when it does, it's nice.  I wish I could garner some awards, take shows to festivals and have all the great press that some other performing groups have --- but not for me -- I only want that to recognize the talent and passion of the actors I work with.  But I can't deny that recognition for efforts would be appreciated.

Now there is a flip side to this question -- why do people want to do shows with me?  To be honest, many times I am not sure.  I'm certain there is the love of performing.   And just as I do, there are many who just love theatre.  There is also the getting to shine and be a "star" thing.  But any actor can get any of that with any director.  So, again, why me?

I have been told that I am fun to work with.  Ok.  That's nice.   I like fun.  Working on a show should be fun.   But what else?   The choice of shows I pick?  Possibly -- I like to do challenging and different shows that actors and audiences may not get to experience.  To learn something?   I do try to make each show I work on a learning experience for those involved.   But do people of high school or college age do a show so they can learn something, especially after spending all day in a learning environment?  I would say maybe a few do.  Many learn things without even knowing it.  I can be sly like that - teaching things in a way that people don't even know they're learning.

So why else would people do a show with me?  I can't promise trips to Europe to compete with other theatre groups.  I can't promise the experience will generate those facebook comments like "I will remember this forever" or "What a life-changing musical experience!"  Now maybe that happens.   If so, great.  I've never had anyone tell me that however.

All I can promise is a great theatre experience where we tell a good story and put forth a quality production .... and have a little fun along the way.

So I guess I am asking those who have worked on a show with me .... Why?  Feel free to comment.  I suppose I am looking for a little of that whole praise thing -- I could use a little ego boost I guess.   But I am curious.   Perhaps feedback will make me a better director. 

Anyway ... thanks for reading.  I promise the next post will be less heavy.