"Value-added"...something to think about...

Casting a show is such an odd window into ourselves, our community and our organization.  It brings me back to a phrase that I've been thinking a lot about:  "value-added".  Some people have the perception that the "best" people are cast, period.  Others believe that the people that the team knows are cast, period.  (I'd be very curious to know what other perceptions are, especially from those people not cast.)  What casting actually is--now that we are through it--is a way for us to physicalize and choose for this project those people that represent our  highest "value-added" traits.

For the actor, casting means auditioning. Many actors audition with their own idea of what "value-added" means.  I talked about this in my last post:  internal versus external; those who say "Choose Me!  Look what I did!" and those who say "Look what I can offer...".  An actor can only offer himself as the best way to show his or her "added value".  Anything else is a sham. 

Score sheets are telling.  Martin's score sheets were numerically based on 5 or 6 different musical skills. He came up with an average for each auditionee.  He worked on his computer.   Jane used paper, and had a long list of specific movement skills and stylistic criteria.  She hand wrote her comments on individual sheets of paper and used a numerical scoring system.  My score sheets encompassed both vocal and movement skills, and, additionally I looked for "charisma", "storytelling", "it".  I used a check, check plus or check minus system along with copious notes about age, size and an individual's effect on me in their audition.  I often asked myself the question:  "How did this person make me feel?" 

Our team exists under the umbrella of an organization that is in the middle of a 1.4 million dollar capital campaign.  We need to spread the word.  If all else in the audition is truly equal, (and boy, is THAT a debatable concept!!) we love good new people.  Good new people have to work harder, but when we see them-- we want them!  We unashamedly watch good new people in the social mix of auditions...how would they do in this company?  Their "value-add" is high because without good new people, Lyric will die...and we were all new once!

Wading through this combined "value-added" information was a brutal experience, BUT together we assembled an amazing cast of double and triple threat performers with EVERYTHING that we were looking for...individually, none of us could have done that. 

It's been an odd 10 days:  the adrenaline rush of auditions, the nitty-gritty mental and language-based work of choosing a cast, the sheer mental and physical exhaustion of late nights and bad food, the grueling aftermath of talking (or not talking!) to those friends and loved ones NOT cast, the strangeness of meeting a real person for the first time when you've actually been thinking about them for weeks, the unbelievable thrill of hearing our cast sing for the first time, the reality of what the cost has been at our paying jobs, for our families and for our laundry...It's all a bit much.    At the moment, I feel...almost lonely.  We've crossed one mountain range, only to realize that the larger one is still ahead. 

No shit, people.  I am off....
To the Barricades!

Auditions...From the other side of the table.

It is Wednesday, and the last night of auditions.  Tonight we will "weed" and then choose who we would like to see for call-backs on Thursday and Friday. We are aiming for a cast of 50 to 55 people (not including our three littles), and there are easily--already--twice that many talented, double and triple threats that came out to audition.

From a purely creative view, I enjoy the process of puzzling out casting...and by puzzling, I mean that it is like a puzzle:  which human pieces fit together to create the big picture that matches the "vision" I carry in my head?  Each person brings a nuance, a feel, a style of voice, body and performance that is unique. What we see is a combination of so many things.   There are the simple questions that we can answer pretty quickly:  Can you match pitch?  Can you move comfortably and rhythmically? Do you know the show and yourself well enough to choose appropriate audition material?  Are you enjoying yourself?  Are you telling a story?  And then there are the questions that we are asking that may be unique to our audition situation:  Are you generous?  Are you listening?  Are you willing to try?  Did you share something new?  And,  finally, there are the questions and parameters that auditionees have no control over...the completely subjective things our team is looking for and choosing:  Are you right for what we see as necessary to the show?  Are you too tall, short, deep-voiced, high-voiced, elegant, quirky, angry, powerful, beautiful, dark, blonde, brunette, old, young, etc., etc., etc., for us to use in our puzzle? 

I always learn so much during auditions.  From this side of the table, the main difference I've seen this week is between actors who say "Choose Me! Look what I prepared! " and those who say "Here's what I have to offer ....".  (That is an extremely general and subjective statement!!)  But, but, but...it's been very true this week.  It's a subtle and interesting difference...one is externally focused and one is internally focused.  One  guesses at what is "right" and one makes choices based on individual strengths. I'm not sure an actor can know the difference without being on this side of the table OR without a LOT of experience.

Also, this artistic team is only human...Jane and I did, indeed, do butt spins on the floor between audition groups.  Martin got the giggles at the end of the night.  We are eating way too much junk and we are TIRED...but so eager to meet our cast!

Break Legs and Merde, people!

To the Barricades!
Kelly

Now, we wait some more...so let's meet the team!

We had our Informational kick-off meeting on Wednesday night, and it as Stephen said, "It was a magnificent success!"  Lots of people there to sign up for audition slots starting December 1st.  As of this moment, the slots for auditions are 81% FILLED!  That means that with 10 days still to go to the first day of auditions, Sean and Todd have registered 181 people.  We've already expanded the times...

I finally finished the background/context info for the audition material--(with a little help from my good friend, Patrick!)  It was a useful exercise to distill important character moments into a 2 or 3 sentence paragraph.  I probably used waaaaaayyyy too many adjectives, but...oh well!

My good friend Jeffrey is visiting me today to tutor me on Google maps.  He's sent me some great links, but I'm a paper girl, and I like to have those Paris maps in my hand so I can see where people travel to and from through the streets  He's also going to try and get my computer to open the 5?  6?  9?  bootleg albums that he's shared with me.  A Richness of Material!

In the meantime, I thought I'd introduce the members of my team and give you a quick glimpse of how we function together.  It's from my point of view, so take that in as you meet everyone.

So first, the Production Supervisor, Stephen:  Stephen is a community builder in everything he does.  At work (he's a banker)and as the chair of the Lyric Board, his inclusive and collaborative style and his goofy sense of humor make people feel relaxed and welcome.  He is managing our $188,000 budget, as well as all aspects of the overall production and never fails to show his genuine gratitude to our team members for the work that they do.   He is able to juggle human and non-human resources,  details and big picture stuff, in the arenas of both "show" and "business".  He is a supportive cheerleader, a collaborative leader and also has a cute butt!  (PS:  He sleeps with the director!)

Our creative team:  Cheri , Set Design; Tom : Projection Design; Andy , Lighting Design; Lyn , Costume Design; Mary  and Connie , Props Design; Corey , Sound Design and Engineer....To start, I'll pick two:  Cheri and Tom.  So, Cheri is always creative, engaged and effective in her process and final products, but when she gets excited about ideas, I get emails at 5AM saying "I woke up with an idea...".  We've been able to communicate design ideas by email because of our thoroughly discussed vision and Cheri's ability to turn my words into images.  We share an almost uncanny sense of what will work when we want it to work--particularly with the projection images that Cheri is creating.  PRETTY COOL!!  With his years of pre-computer technology lighting and theatre experience,  Tom is the "McGyver" of the production element that I know the least about:  lighting and projections.  He is creative, flexible and willing to explore in order to figure out how to make an idea work.  Invaluable! 

My stage manager, Sean (aka Sean Valsean) was the driving force behind getting this show produced.  He originally WAS the producer, and when Stephen and I came on board he moved to the Stage management position.  Sean has seen Les Mis over 30 times--all around the world.  Let's just say...he's a fan.  Sean is a self described Type A personality, an excellent communicator and holder of the 8,000,000,00 details of our production--including auditions, production elements, names, faces, designs, floorplans, set movement...you name it, Sean knows it.  I have him on speed dial.  I literally would not do any production without Sean--especially this one!  Also, if you are a fan of puns, (both good and bad) Hang out with Sean and Stephen. 

My assistant, Freda has years of stage management experience as well as assistant director credits.  She is a linear, detail-oriented thinker who rarely forgets anything...ever.  We have worked together before and she seems to have developed the ability to read my mind.  She understands my desire for levels, symmetry and logic in stage movement and will often ask exactly the right question, at exactly the right time to unlock a problem.  She also notices when I become language impaired when trying to describe a creative idea and will tell me to "take a minute" or "keep talking".  Freda has already solved the Gavroche issue and the "Empty Chairs" issue in a perfect way!  Am I lucky, or what?!  I'd never do a show without Freda, either.

Our choreographer, Jane first caught my attention as a dancer.  She communicates so beautifully with her body. Breathtaking, really.  We worked together very briefly for a high school production of BATB, and I remember thinking that our styles were similar:  take on the big picture first, then work in toward the details:  refinement, refinement, refinement    I've come to learn that in addition to being a beautiful dancer comfortable with many styles of movement, she is an excellent and demanding teacher (my favorite thing!)  She also has the ability to not only create beautiful patterns with large groups of people, but can SEE what the moving patterns will look like.  AMAZING.  Her work in our production is going to make the show one beautiful, seamless piece.

Martin, our music director, can sometimes appear scary.  Really!  If you don't know him, he appears anything but warm and fuzzy.  I discovered during a production of Titanic that his passion for music and for teaching is a huge part of who he is when he shed tears during our first orchestra rehearsal.  I was deeply moved,  and when the opportunity to be a part of the Les Mis team came up, I asked him to be music director immediately.  I trust him implicitly, and rely on his straightforward style.  Martin is also a fan of beer, so our meetings are really relaxed!  Martin has reached the trifecta of Lyric Productions:  three music directed shows in a row: Oliver, Joseph and now Les Mis...and that doesn't include Titanic, all the shows he's been in, and the shows he's done in Stowe!

So, that is a little bit of who we are...Isn't this an amazing team??
Off we go! T-minus 9 days til auditions...

To the Barricades!
Kelly

The Frenzy begins, and another word about fit....

So, kick-off is in less than two days and, and, and.....I am so psyched, excited, pumped to finally start thinking about real people in these roles! I want so much for people to have information and background specifics that they can work with...we've asked people to make decisions, make choices about the characters and the songs so that they can act them, not just sing them.  Is it best to leave it up to the auditionees or to send some direction their way by including the context/background info of the audition songs?  I lean toward including it, but I also know that not everyone is a visual learner or reader like me.  How can I get the essentials of character circumstances across...and are they even essentials?

 The amount of people who have spoken to me about auditions is--hmmm...not daunting , necessarily, but certainly distracting. It's an un-needed ego trip.  I have to keep reminding myself--and excuse me if this sounds cold-blooded--but, that people know what they are in for when they audition for this show, or any show.  That auditionees know that it's either a "yes" or a "no"; we all hope for a "yes", but have to deal with a "no".  I am usually pretty clear about what I want in auditions and casting, and am decidedly lacking in the warm fuzzy/touchy-feely/"sad I can't cast you, my friend" mind-set.  I want the show that's in my head to come alive and I know what cast will make that happen....nothing less will suffice.  This is why I surround myself with people who are not as "black or white" as I am...I have the final say, but I lean heavily on my team for reality checks and balance.

Sean has a great analogy about blood and casting.  Christina uses a physical analogy with scarves and patterns. How can we help people understand that casting is all about fit, from the lead role to last ensemble player?  I'm a good singer and I've missed out on huge roles--not because I'm without talent but because someone else fit the part better.  I'm hoping we can tame the frenzy a bit tomorrow by speaking calmly about what we are looking for, by reminding people that not everyone is going to make it, and that this is a subjective process.  It doesn't mean you don't have talent!

I must sleep now...
to the Dream Barricades!
Kelly

Sisyphus?

Which long ago hero was it that had to keep pushing the rock up the hill only to have it roll down again?  I think it was Sisyphus.  My preparation is starting to feel like pushing the same rock up an endless hill...at some point, I need real people to see if it works!

...Which is why I am looking forward to Kevin McGwire/Bill Reed's Les Mis lecture this afternoon.  I'd like to hear someone else talk about "it" for a change!  I will not be seeing or hearing any participants, so no one should feel uncomfortable or see this as a pre-audition.  As I said to Freda this morning, I have an insatiable appetite for hearing about the characters in this show, and how to put them together.  I think Mr. McGwire will have some interesting insights into how he played JVJ, and how fellow actors have played other roles. 

I am going to try very hard to keep my mouth shut.  We'll see how that goes!

Kelly

A Little Catching up...and back to Reality.

In 1985, "Me and My Girl" won the Olivier award in London for Musical of the Year and for Robert Lindsay; Best Actor in a Musical.  Both Alun Armstrong and Colm Wilkinson were nominated as actors in a musical, as well as Patti Lupone, best Actress in a Musical for "The Cradle Will Rock" and for "Les Mis".  It's fascinating to read the reviews from that time and the critics response to the show: "over wrought Victorian melodrama", There seemed to be a gap in expectations.  Critics were led to believe that they were going to see a serious historical drama, and instead they got a lot of singing and "lovey-dovey".  Critics were also doubtful of the wisdom in trying to reduce Victor Hugo's literary masterpiece to a 3 hour musical.

One recent review of the 25th Anniversary show caught my eye: "(sic....Put together...)Matt Kinley’s set pieces, all ugly browns and dusty grays; Paule Constable’s brilliant, almost soul-piercing lighting; and Andreane Neofitou’s raggedy costumes. They combine to create an aesthetic unique to musical theater: street-dirty but, barely visible through the cracks, pulsing with the light of God."  Ahhhh...that sounds about right! (from Jason Kehe, Senior Arts Writer USC).

I watched the 10th anniversary concert version last night, and was struck by how un-embellished the show was back then--especially compared to the 25th Anniversary tour, with it's pyrotechnics and dazzling scenic technology.  One of the reasons I looked back at the Olivier awards from 1985 was to see what other theatre was being seen, and what it was like.  Was it fluffy?  Serious?  Dance-y?  I know audiences ended up flocking to see Les Mis, and wondered what was it's competitor.

It also makes me wonder again about where the power of this show comes from....yes, the production elements are powerful and evocative--whether the turntable from 1985 or the projected images from 2012, but even watching the concert version from 1985, and hearing the singers simply sing:  Still breathtaking. 

Vacation ends tomorrow, and we will be heading back to the frozen north.  We are sore from golf, tennis, and daily workouts at the gym; captivated by the FST Cabaret production we saw in Sarasota, completely enamored of the sun and many local beaches, 10 pounds heavier than when we first arrived from the excellent meals of grouper and steak; and overdosed on fruity adult beverages with umbrellas!  The action will begin as soon as we get home with meetings, blocking work and kick-off coming at us like a train!  I can't say that vacation has cleared my head--if anything, it's made my list of things to do longer and more involved than when I first got here.  Honestly, the ride home will give me many hours of time to work... many, many hours...like 24 hours total!

To the Barricades!
Kelly

The novel again...and a sandy score

I'm reading and re-reading sections of the novel again.  I'm flagging the sections that have been adapted/translated into songs...It's really amazing how much it enriches my understanding of the characters and their ...urgency?  is that the word?  The stakes are very high for everyone all the time!  Kate saw a production of Les Mis for the first time last weekend and after her first flurry of notes, her main comment was that the production lacked urgency, that it seemed that JVJ was just moving from one spot to another because he had blocking.  That is definitely an element that needs to be built in, and IF we have actors who are clear about what they want and are in the process of solving a particular problem each moment they are on stage...then that urgency, that immediacy will be present.  This goes back to my discussion with Bill about each individual actor needing to be clear on what they are doing EVERY SINGLE MOMENT.  The DOING and EVERY MOMENT are the key ideas.  It's a process that unfolds on stage...there is a desire or a want, backed up by the characters backstory (created by the actor), and on stage is where we see the actor working out the action of getting what he wants. What does he want? How is he going to get it?  What stands in his way?  How much does he want it?  Where has he just come from?  Where is he going?  What just happened to him?This specificity is what creates the a vibrant piece of story telling. 

I am going through the script, score and novel and finding language to describe each character's wants.  I'm also digging for specific factual info so that actors can create backstories with as much detail as possible--especially the ensemble.  The ensemble is a character, too--sometimes with one giant voice , sometimes with several individual voices.  It doesn't mean that each member has to act the same of have the same want, in fact, having different details will make the scenes, songs and ensemble work that much more interesting. 

Did I mention that we are on vacation?  and that I'm doing a lot of this work on the beach?  I really do have sand in my script. 

To the Beach!

After you're Gooooooone......

Well, my little Rat people were exhausted and flaky tonight. They had their best performance  in front of their peers at 2:30/3.00?  When 3rd and 4th graders get tired, they get loud.  They gave me flowers, notes. jugs, a poster, as well as a lovely intro from Joy O.  I definitely want to debrief, and hope to do it when we comeback from VACATION!

A word about the post show let down....I think it has to do with the loss of the "I am bigger than my self--felling.  More later.  Falling asleep at the keyboard!

Kelly

RATS! kid theatre and a Lego play date

So first, tomorrow we open Rats, the 3rd and 4th grade mini musical that has been in rehearsal since early September.  Miraculously, the kiddos turned a corner last night and started hearing the story, feeling the beginning, middle and end and having a little bit of fun!  I say "miraculously", but really I was expecting and hoping for it--I even called an extra rehearsal yesterday because we were so close.  There are still things to fix, but at least they are moving forward under their own steam....and they are so flipping funny and dear!

Every group of kids that I work with --whether it's high school, middle school or elementary school--turns that exact corner sometime in the last week of production.  It's pretty predictable for middle and high school if you know what to watch for (less so for elementary students!)  For older kids, it usually happens as a giant leap in the length/speed of the show, the "gelling" of the performance of the numbers and the feeling of driving it forward that they can create.  It usually happens after a particularly horrible run-through where I despair of them ever "getting" it, and have to say things like "You know what to do."  or "Where ARE you guys?"  or "I can't do it for you.  You are going to be the ones that the audience is watching."  or "Come on guys, grab hold of this and dive off the cliff!"  or "I'm out here, waiting to hear your story!  Step it up!  Give it to me!"

With the littles, it's definitely less obvious because even as I am "growing" the show, I still have to deal with littles' behavior:  needing to pee RIGHT NOW, needing to eat RIGHT NOW, a splinter, a tease, a friendly tussle on the rug, needing to run RIGHT NOW, the complete self-absorption of the very young,  worries about missing the bus, a poop accident, a very low tolerance for rehearsal or anything repetitious, a huge developmental age range from one child to the next, the gross motor, physical busyness of littles, kids who can't read, someone who just needs a hug--and those things happen even as the kids are starting to "gel"!!  Part of the challenge is picking the right show--one with enough to do for the more developmentally advanced kids and also for the younger ones.  We should have scheduled more rehearsal time for this one--or another two weeks of rehearsal.  I'm pleased that my instincts were right about needing just a liiiiittle bit more to get us to a level of competence that I'm comfortable with, though  

Anyway, I've put together gift bags for my little rats and made a simple thank you poster for the parents.  They should be very proud of their Rats!

In other news, Jane and I had a LEGO play date today--thanks to Spencer and Michael's LEGO men!(son of our make-up designer and husband of my assistant!)  We had an extremely productive session about blocking the first scene--talking , creating shapes and patterns, moving the legos to music.  In fact, we've decided that we need a LEGO retreat before rehearsals start--so we can focus on getting huge chunks done!  Jane and I seem to work well together--I am very comfortable with her.  She thinks in the most fluidly spatial way--not patterns necessarily, but moving patterns.  She has a great sense of how things will look while moving.  VERY COOL!

We both purchased the book "Musical theatre Choreography by....Shoot , I'll tell you later  How did I not know about this book???  It's so immediately useful!!  I think I've mentioned this book before but really, both in the sense of describing the choreographer's job, his/her tools and how to use dance steps to tell the story of the script. it's great hands-on stuff and great analysis stuff.  I HIGHLY RECOMMEND THIS BOOK!. 

Have I mentioned that I am leaving to go on vacation in 48 hours???  To the Beach!  I am bringing a lot of blocking stuff to work on, as well as the novel to flag and re-read.  Also, Wally Lamb's new book.  Juat because!

To the Barricades!

Here is an EXCITING OPPORTUNITY offered by my mentor and teacher, Bill Reed and Bill Reed Voice Studio:  A WORKSHOP ABOUT LES MIS!  I'm going as an auditor, and I think my Music Director is too.  Just to be on the safe side, I do have to say that participation in the workshop doesn't mean that you automatically get a role in Lyric's Les Mis or even get preferential treatment (Sorry, folks, but I really do have to say that.  Clueless people are everywhere.) --but I would think that smart singer/actors would take any chance to get more information about any show they were auditioning for. 
Looking forward to this experience!
P.S. "Joseph" folks...check out the times.  You could do it before orchestra rehearsal!

"LES MISÉRABLES Audition Workshop with Broadway Veteran Kevin McGuire

Bill Reed Voice Studio proudly presents an audition workshop with Kevin McGuire. The workshop is geared toward preparing for Les Misérables auditions. The event is open to the public, and performers may register as a participant or as an auditor. Participants will come prepared with a song selection from Les Mis and will have the opportunity to perform for Kevin and then be critiqued by him. Auditors will participate in group activities and observe the workshop. Both participants and auditors may sign up for any of the four workshop sessions and are encouraged to attend all four sessions. If you intend to be a participant, please contact us in advance to reserve your spot as we have limited space available for participants. There will be a lecture/demonstration component in which Bill Reed will discuss the various theatrical singing styles for Les Mis.

Monday, November 11, 2013

·        Workshop session #1: 12pm to 1:45pm

·        Workshop session #2: 2pm to 3:45pm

·        Lecture/Demonstration & Workshop #3: 4 to 6pm

·        Workshop session #4: 6:30 to 8:30pm

College Street Congregational Church, Sanctuary

265 College Street, Burlington, VT

Fees: Participants, $75; Auditors, $50

Acclaimed actor Kevin McGuire has appeared in both the National and International tours of Les Mis, where he played the roles of the Bishop of Digne and Jean Valjean, amongst many other roles in the show. Kevin was the dance captain for the first National tour of Les Mis, auditioned replacements for the National tour, and worked as the assistant to director Trevor Nunn. Kevin has been in many Broadway shows, including lead roles in The Phantom of the Opera, Jane Eyre, The Secret Garden, as well as being in the Broadway company of Les Mis. Kevin will be playing Scrooge in A Christmas Carol this holiday season at Capital Repertory Theatre in Albany. He will also be appearing in Henry IV this winter at The Shakespeare Theatre Company in Washington, D.C. under the artistic direction of Michael Kahn. Mr. Kahn was the chair of the Theatre Department at Juilliard and a former colleague of Bill Reed at Circle in the Square Theatre School. Bill Reed has had scores of students in the Les Mis Broadway production as well as in the National tour over the years. Bill has both coached and prepared actors for auditions for Les Mis and then on their roles once they were cast in the show.

Bill Reed an internationally known singing teacher based in South Burlington, Vermont. Dr. Reed’s students include classical as well as theatrical, pop/rock and folk singers, who perform in schools, colleges, universities, conservatories, and with community theater companies. His professional students are currently performing in opera houses and concert halls, regional theaters, on television and film, on Broadway and with touring companies nationally and internationally.

Please Note: Your payment of $75 (participant) or $50 (auditor) allows you to attend all four workshop sessions, if you so desire. However, if you are a participant (singing for Kevin McGuire), then please indicate the workshop session during which you would like to perform. Email Sally Olson, Managing Director, with your session preference: admin@billreedvoicestudio.com

Registration for the LES MISÉRABLES Audition Workshop with Broadway Veteran Kevin McGuire is now open! For more information and to register, please contact Sally Olson, Managing Director at Bill Reed Voice Studio: admin@billreedvoicestudio.com or visit our workshop page:

http://billreedvoicestudio.com/les-miserables-audition-workshop-with-kevin-mcguire.html "

The Nature of Procrastination...

The Nature of Procrastination is this:  it's difficult for me to know when I am procrastinating and when I am percolating.  I've been restless and irritable, and flit--without doing any real work-- from one Les Mis task to the next.  This either means that I am fomenting and putting things together in my head--under the surface, so to speak...OR, it means I have to stop drinking coffee and put the damn lego people on the set model to get it blocked. 

Here is the real deep dark secret of my procrastination....  I hate working out blocking.  It's tedious.  It requires that I focus spatially rather than verbally.  It makes my brain tired, and makes me feel uncertain--"Is it really going to work?"  Lots of questions and minutia come up about traffic patterns, exits, entrances and other dry details.   It's a multi-step process that requires that I come back to it over and over again--NOT a one and done. It's frankly just a lot of work.   I always try to create a framework before I even have actors, then try it on them to see if it can work, or even be improved.  I like the give and take when actors have ideas...but I also know that given the amount of hours required for music and choreo--I will save all  of us a lot of time if I am over-prepared with pre-blocking...

...which brings me back to my whiny soliloquy about procrastination. (sigh)  Well, I'm hearing this loud and clear--definitely procrastination.  I just need to dive in and start.  Isn't there a quote about that?  The longest journey begins with the first step...something like that. And what a coincidence!  I have a three hour chunk of time after my first appointment and before my Rats rehearsal!

You know where I'm headed!

To the Barricades!  (the Lego ones!)

Novel vs script: 2 different animals

I've been thinking about the differences between the novel and the musical, and if it matters or not to actors.  For incredibly rich details and information about characters and locations--obviously--VH's novel is the source.  BUT, Boublil and Schonberg had to condense the story into a manageable size, so much of the details and finer points from the novel are either lost entirely, underplayed or suggested.  The fact that, in the novel, Gavroche is the Thenardier's son...not even suggested in the musical.  Marius and Enjolras' relationship is much more complicated and multi-layered in the novel, but again, what was created for the musical is enough to be effective.  The character of Eponine in the novel is much more richly detailed, but again, the song "On My Own"--though definitely romanticizing her, her situation and her world view--gives the essence of the character.

I do think it's worth actors reading the novel--or at least portions of the novel.  VH's writing about Javert, JVJ and their mental processes is fascinating, and rich material for actors to find working objectives, tactics, etc.  I highly recommend Julie Rose's unabridged translation of Victor Hugo's work.  It is vivid, fresh and reads like a chick lit book!. 

With all this being said, we (actors, designers and myself included) may be guided by material from the novel but it's what's in the script and score that will be presented.  We will work from those texts, and won't be presenting anything that isn't in those materials.  The Gavroche difference above is a good example:  even though it's in the novel and it would be easy to incorporate into the musical; we won't be.   That's a slippery slope and has the potential to really "muddy the waters" of creating a clear story .  They really are different animals!

So think of the novel as source material, flavoring, useful guidance and background...and then go back to the script and score to see the story that we'll be presenting.

To the Barricades!

Really?? Also, an interview and a scenic design MIND MELD!

Really??  I just got an email from the mom of one of my little Rat people.  Her child injured her knee, can't put weight on it, is on crutches and will be having knee surgery 2 days after our little show.   Her child plays "The Mayor" and is supposed to dance like a possessed rat when the Pied Piper plays his pipe...of course.  It's sort of a key plot point.  (sigh)  My husband just laughed...Is it inappropriate to put her in a wheelchair? (period appropriate, of course!)  The stage is literally too small for her to try and crutch around--and dangerous--the traffic patterns are 'iffy" at best.  I'm waiting for a brilliant brainstorm.  I will also have to reblock the Town council scenes so that she stays still and the TC moves around her....And forget having her enter from the house--she can't get up the stairs to the stage!  As Winnie the Pooh says, "Oh, Bother!"

ANYWAY...I am doing a taped interview today as part of our promotion for our production of Les Mis (not Rats!) in April.  I've done interviews with Kay before and it's always weird because it isn't aired until April--so you have to pretend that it's April.  Ha!  And as Stephen (my husband AND producer) reminded me, I have to be the play-by-play instead of the color commentator this time because he won't be there, i.e.  Don't forget to mention the show dates, stupid!!...and other details like that!  (Can you tell that we are in play-off season?  It's all Boston, all the time in this house!)

In prepping, for this interview--I've realized once again how beautiful Cheri's set design is.  We met initially over a year ago and set guidelines for what the set needed to do:  1)  The story is vast, fluid, fast and changes location and time quickly, so our set needed to be fluid, dynamic and versatile.  2)  Locations need to be using a minimum of physical pieces-same reasons.  3) The physical time and place is grimy, dark, stark and gritty.  There is a texture and a tone to each scene.  4) Projected images instead of traditional backdrops add texture, depth and a sense of place that can't be duplicated or matched by physical set pieces, AND don't have to be built or moved  4) Because of all these ideas, the intersection and integration of set, lights and images is critically important--we need to not only work together, but create collaboratively.  We met 4, 5, 6 times with Andy (lighting designer) and Tom (projection designer) Belinda (TD) Sean SM and Freda, my assistant and GROUND our way through every single scene and what I wanted the story to be doing at each point.  After over a year of work, Cheri's end result is our language and our ideas, physicalized.  It's breathtaking in it's purity and commitment to our original ideas about the story.  It's like... the feelings and words in my head about Les Mis went into Cheri's brain and came out a design.  Like a MIND MELD!!  So awesome!!

As I start working with my choreographer, Jane and my assistant, Freda on designing the movement, my appreciation for this set design only increases.  It gives us such a sense of place and space!  Even working with our weird little Lego people on the model is a thrill! 

I've added some links to your left.  Some interesting articles about Law and Grace in Les Mis, as well as an eye-opening piece about "Play" in auditions.  I've also put a link to our company webpage, so that you can see my character descriptions and audition "stuff".  Enjoy!

To the Barricades!

Syphilis! and other fun for a make-up designer...

Kelley and I are meeting in a few minutes.  I've been combing the internet for images of common early 19th century illnesses and health issues, and all I have to say is: Syphilis is gross.  That is all!

Rats, and making art

My "Rats rehearsal' refers to an after-school program with 3rd and 4th graders that I am doing through October.  Today was a good day for my little rats!  The amoeba of distracted busy-ness that is our usual  rehearsal actually took on a show-like shape!  Some kids know their lines and say them with gusto, and some are just getting the hang of coming on and off stage.  It was entertaining, and I think they are having fun.  Parent volunteers have been extremely generous with their time and energy--so it's all good.  Next week we are adding technical element with 2 shows on Friday, so this week I am cramming in Les Mis work!

Craftsman or artist...Can I paraphrase Bill's point?  A craftsman makes something with an eye toward what other people want or expect, and let's that be the standard for his/her work.  An artist doesn't allow what other people think or want to direct his sense of  what's "true".  An artist allows his/her personal feelings to flow into or drive the work because his/her response is part of the work. 

Am I an artist?  I want to be.  Trying to put my mark on this material is kind of like jumping off a cliff ... I have to trust that I have prepared enough and filled my brain with enough information that my "take" or personal response is coming from the text, the characters, the circumstances as they are written: the story, in other words.  ...as a director you work to know the story, the source material, the music, the historical/political/religious background, the author's and lyricist and composer's biographical information, the context within which both were written...  As an actor, this is called knowing the "given circumstances" of a play. 

As an actor, my next step would be to decide what my objectives are (overall and for each scene and beat) , my obstacles to getting those objectives and what tactics I use to get them. Then, when those ideas are in place -through rehearsal and discovery--I would be able to work through my character's story from beginning to end.... Like beads on a string--once they are in place, I would just follow them. I jump off the cliff into the safety net of my many strings of beads.   I think that I'm making art when I do that because the result is unique to me and my skills, physicality, history, etc. 

I have to do the same thing as a director--just on an exponentially increased scale because I have to tell the whole story, not just one character's story.  I've asked myself questions about the form, the style, the driver of the show: is it a central relationship or central character? (JVJ vs Javert?  JVJ vs God?  just JVJ?)  I've asked why certain songs are in certain places and how does each character serve the main character's story?  I've asked about --God help me--the theme, and how each character fits that idea.  What I need to ask myself now is:  In this story, what makes me weep?  What thrills me?  What lifts me up out of myself? Those are my keys to my "take".    I won't need to share this discovery.....  It exists to guide me in how I choose to influence and shape my actors' approach to the story:  What do the characters want? What verbs will be chosen, what obstacles, what tactics, what language of persuasion will I use for each actor?...and I think in choosing so thoughtfully, I will be making art--even though Les Mis has been done thousands of times before and will be done after. 

Onward! or maybe...To the Barricades!

I've been  working with my sometime voice teacher, Bill Reed--aka, Dr. Vernon Reed, PhD--on musical and structural analysis of the script and score.  Bill has transformed my singing voice, and when he generously offered to mentor me through this process, I jumped at the chance.  We've done a little bit of everything:  score analysis, composition lectures, breaking down individual songs--but the best and most useful work for me is to use Bill as a sounding board.  I wrestle constantly with the question of doing this "right".  His response:  "there is no right or wrong, good or bad...there's only true".  That was very freeing to hear!  He also suggested that I think about the difference between a craftsman and an artist...ooops!  More later.   It's time for my Rats rehearsal!

Two new books! and lots of Les Miserables blogs!

I found 2 more books through Amazon trolling.  One was recommended by my good friend Christina:  Musical Theatre Choreography by Robert Berkson (Immediately useful!) and the other is called Barricades, The War of the Streets in Revolutionary Paris, 1830 to 1848.  I've had Jon Jory's book, Tips for Directors, open all afternoon--I've been writing and thinking about the central character, and was delighted to find an article interviewing Robert Marien, who played JVJ in the Montreal bilingual production in 1990.  He talks about the specifics of the characterization of JVJ, and not forgetting to play the dark side...very interesting!

I also found a pretty thorough unscrambling of the history behind the time period on another blog.  I think I tagged it on mine, but I'm still learning-- so we'll see!

Sunday, October 13

At Mass this morning, it occurred to me--not for the first time--that part of the appeal of Les Mis for me is JVJ's search for redemption, and the sacrifices he makes in order to atone for his time as a blind, hating beast.  His pain when the scales fall from his eyes, and his agony when he stares into the "void, and the whirlpool of (his) sin" is raw and powerful.  The whole story comes from that moment: his choice to reach for the light instead of falling into the darkness again..  I've been tiptoeing around the "God" piece--people get really weirded out--but that was part of the homily today....reaching out and humbly welcoming everyone into simple grace...people exactly like Jean Valjean.  I'm pretty sure that if I had run into Jean Valjean on the street in 1815, I would have run the other way--So, what does this mean for directing this piece and this story?  I need to leave a space for people to reflect on that idea--reaching for grace, making sacrifices.  I need to make it immediate and palpable and show how it resolves itself in the end.  ...because doesn't it come back to one line?  "To love another person is to see the face of God"?

Projection Images

My set designer, Cheri Forsythe has created projections to be used as backdrops.  The original images were been taken from the public domain, and manipulated in various ways using software applications --which I don't really get but obviously she is an expert user.  This is her work and she deserves credit for creating such a gorgeous synthesis of story and art.  The images will be projected onto a full stage black through a black scrim.  Our projection designer, Tom Dunne is working magic--literally because I do not speak the technical language that he speaks-with angles of projection, lumens, ratios and other math like things.  Together with our lighting designer, Andy Pearson, we're pretty excited about the visuals for this show!

Les Miserables

Blogging Les Mis

October 11, 2013

5:37 AM

It’s very early on a Friday morning, and I’ve been awake for about an hour.  Sometimes the only way to clear your head is to put it on paper.  Here’s what’s been percolating, rolling and burbling in my head…. 

In about 2 months, my team and I will be holding auditions for our company’s production of Les Miserables.  The show is in April of 2014, and we have been prepping--together and separately- since October of 2012.  I am the director. 

2 months ago, I listened to the audio version of Julie and Julia while driving to visit my son in South Carolina.  You know the one where the author creates a blog about working her way through Julia Child’s book of French cooking as an exercise in self-definition? I had a fleeting thought of “Hey, I could do that! (Pause)  What could I write about?”  (Sometimes, a person can really be blind to the trees in the middle of the forest!) 

I write to sort out whatever is going on in my life and my brain; the wheat from the chaff, the quiet voice from the chatter, the truth from the various forms of untruth …and this show, this process, has  taken up a lot of space in my head.  Based on the vast—and I mean VAST—amounts of fan lit, critique, cyberspace babble, blogs and websites  about all things Les Miserables;  I think my thoughts will have a place to park, at least!

More importantly, I want to make sure that my ego doesn’t interfere with this beautiful story.  I want clarity and purpose.   This will be a place to dump the endless internal chatter of worry about my own preparation and performance.  The story is building inside of me, and I just want to get out of the way and let it rip!

Although it’s only with hindsight that I can see how I’ve been preparing since October of 2012, now that I have seen a pattern, I want to know more.  (I’m also relieved!  I actually DO have a process!)  It’s my own process: “herky-jerky” and the complete opposite of linear, but I’d like to examine it more, so I can use it again.

So…here goes!

Preparation, so far…

1.        We were chosen as the production team in October, 2012 (more about that later).  I had just had major back surgery, so had a lot of time to fill while resting, recuperating, rehabbing and reclining.  The musical is based on Victor Hugo’s novel, so I started with the novel.  I couldn’t even get past the first chapter!  Who’s this Bishop guy?  Where’s Jean Valjean?  Also, minor panic…um…now what?  I got Cliff Notes and Spark Notes and read those.  Wow.  There were A LOT of things that I had only the vaguest grip on:  Napoleon, ancient regime, The French Revolution, Bagne of Toulon, France in general, what‘s the big deal about Victor Hugo and why did he use SO MANY WORDS???

2.       Okay…Starting with the French Revolution seemed prudent.  I went to the library and asked if there were any non-fiction books about The French Revolution in the children’s section.  Yes!  There were!  Each one of the two that I found had about a page regarding “The Fall of the Bastille”, “The Terror”, Robespierre, The Bourbon Kings…and, wait…this is 20 years before Les Mis even starts!  I decide I’m going to make a timeline of events from the French Revolution through the time of Les Miserables. Then at least, I’ll know what’s going on.  To the internet!  There is lots of material, but when you don’t know exactly what you are looking for, it’s hard to decide what to keep and what’s important.  I print out pages of maps, timelines, Wikipedia articles and try to put them in some kind of order.  I go back to the library-to the adult section this time- and find William Doyle’s Origins of the French Revolution; The Seven Ages of Paris by Allistair Horne; Parisians, An Adventure History of Paris by Graham Robb and Paris, The Secret History by Andrew Hussey.  I dip in and out of these books, looking for dates, reading certain sections and skipping others.  I always check the index for Victor Hugo’s name, and each book includes him.  That’s pretty significant!  The tone of these books nags at me, though…they talk as if to an audience that already knows something about this place and these events, almost with a shrug and a nod.  I’m starting to get a picture of the place and the time but it’s vague and I can’t get a grip on the sequence or the chronology of it.  Why Revolution?  What happened after? What’s the June Revolution?  I know it’s important to understand, but what’s the connection to Les Mis?  I’m not even sure what questions to ask, but I start my timeline anyway.  Pages of hand-written notes fill my newly-created research binder:  The Bourbon Kings, regime ancien, The Declaration of the Rights of Man, the Terror, Robespierre, The Directoire, Napoleon, The Consulate, The Emperor, Louis XVIII, Charles X, the July Revolution, Louis Phillippe, Emperor Napoleon III?…wait a minute, we’re past the Les Mis time frame!  What does this have to do with Jean Valjean?  With Victor Hugo?  He’s obviously significant, but how?  Back to the library:  Voltaire, The Age of Enlightenment, Eugene Delacroix’s painting Liberty Leading the People, Beethoven’s Eroica….A picture is definitely emerging, but how do I hang the story of Les Miserables on it?  Where is the intersection?  How can I use this information as a director to help create the world of Les Mis on stage?

3.       Sebastian, our team’s dramaturge, sets up a meeting with a French professor from the local university.  We meet her for coffee, and after 90 minutes of our questions about the revolution, the people, Napoleon, the water and Victor Hugo, she has to leave to get back to her office and classes.  One thing she says, sticks.  “Remember, that these people- for over 50 years -experienced revolution and reaction, revolution and reaction, revolution and reaction.”  Ahhhh!  That’s a FEELING that I can attach to these events…that’s something an actor can grab hold of…I can feel that that idea is important to understanding the people of France, Parisians and the characters in Les Mis.  My timeline makes a lot more sense.  I go back to the library and the internet and collect information about Victor Hugo.  I’ve decided that I don’t have to be an expert on the whole of Les Mis, I just have to understand  “it”….and what is “it” exactly?  The background of the story, what makes the characters significant, why Victor Hugo chose to write what he did, when he did.  Okay!  I have a definition of what I’m looking for!  I have been striving to understand the first “big picture” of this directing process:  the background of the story.  (That’s part of the reason that the novel is so giant—because the background is intricate and immense all at the same time.) 

4.       My research binder now has pages of notes and print outs about Victor Hugo.  I find a website that matches up the timeline of events from history, from the novel and from Victor Hugo’s life.  BINGO!  Victor Hugo’s LIFE is the story of Paris, France and its people.  The idea is huge and almost too big to digest.  I do it in chunks:  revisiting the books from the library, touching on the research that I’ve collected, adding in the chronology of VH’s life.  I make another attempt at the actual novel and actually enjoy it.  I do it in chunks, moving from book to book, looking for the characters that I have come to know and love through the musical.  Although it feels like cheating, I look at dozens of synopsis so I can find my way.  I carry a copy of Julie Rose’s translation in my bag, and I fall in love with Victor Hugo’s details, and grand comparisons, his whole world.  The enormity and beauty and power of the story hit me all over again.  I begin to appreciate the enormity of the task that Schonberg and Bouibil achieved:  They made a musical of this book!  And it works!  And it’s beautiful!  And faithful to the heart of VH’s story!  Wow.  Wow.  Wow.  And I get to direct it!

October 12, 1:46AM

Just got back from a wonderful evening of theatre with some smart, passionate, powerful women… I am honored to be in their company!  Several people asked about Les Mis:   “How’s it going?”  I finally said, “You know, there are so many words to describe it that there aren’t any words.”  I am physically unable to say, simply “Good” or “Great”, and feel compelled to share how excited I am to be approaching this story!  I think I seem slightly crazed. 

Some more thoughts about preparation…I like the feeling of having a full “tool kit” as a director.  And everything that I’m researching and discovering about the time period, the diseases, the politics, the culture, the art, and the people is all tools, all grist for the mill.  It enables me to make connections—for me and for my actors—to help and guide them toward the farthest reaches of their ability to tell this story.  What tidbit will get someone’s creative juices going?  What snippet of thought will crack someone open?  I want to be prepared, so there is no fumbling or interruption in the work that we’re going to be doing.

What’s next?  Let’s see…I want to mount the maps of Paris that I got (foam core?), and pinpoint the old locations so we can place ourselves on actual streets.  I think I’ve articulated the theme that I want to work with…so now I have to go into the script and craft individual character choices:  superobjectives, scene objectives, ideas for obstacles and tactics.  My brain is dancing to get at that and experiment.  I know that it’s just a framework and that my actors will flesh out the ideas, but again, I want to be ready.  And actually, I want to lead them.  I think that is what’s going to make this show feel crafted and put together:  these interconnected and over arcing ideas that will be physicalized by my actors. 

I also want to watch more youtube clips of different performers and productions.  I haven’t actually seen that many because I didn’t want to be swayed by any one performance.  I wanted to decide what I wanted, first.  So now that I have a clearer idea, I want to watch! 

It’s fascinating to see actors’ different choices.  More about that later, but right now Colm Wilkinson as JVJ thrills me every time.  He has such a range and coloration in his voice!  Such a ringing rock and roll tenor and such satisfying, rough, full baritone sounds.  Breathtaking.  John Owen Jones as JVJ seems so effortless as he travels through the vocal score—he is powerful and beautiful, but smoother, somehow.  “Pure”, is the word that comes to mind.  I think every time I listen to a cast album or a  you tube clip, I fall a little bit in love with these performers who are putting themselves on the line to tell the story.  Each is moving in his own way, just because they are committing.

I also want—for my own sake—to once and for all, make the damn timeline of events from the Revolution up through June 1832.  Clarity!  I want to find and flag the sections of novel that are so rich in details:  descriptions of the Bishop’s sister’s clothes, Fantine, the barricades, the streets,  Javert, Thenardier, Marius, all of them.  There is so much there that we can use!

More later!