Today is June 5. It has been over 6 weeks since the show closed. I have put off--over and over again--writing some sort of final summation or wrap up of this experience...I've found it almost impossible. At first, in the week or 10 days or so after the show closed, I was waiting for the "dust to settle" so to speak--I didn't want to be too emotional and have that cloud the memory of the experience. I rode a high for at least a week. Then, the second week: bleak, grey, boring. Then, the production party was wonderful! It was amazing and happy to see everyone again. Then, we went on vacation. Then, when we came back--the show seemed so far away! And now, 6 weeks later, here I am: Itchy to write and think about Les Mis and resistant to it all at the same time.
Here is what I can honestly say after being practically without speech for 6 weeks: I feel that my work on Les Mis was the culmination of everything that I've learned up to this point: story-telling, blocking, working with actors, taking control, having a vision and articulating it, seeing the big picture, delegating, taking responsibility for the project. This story worked it's way through me, and I had to use everything that I knew to make it come alive. It sounds like a terrible cliche, but how gratifying to strain and stretch and sweat and bleed and because of that--actually GET THERE! I did not shy away from grunt work or tedious work. It had to be done, so I did it. Of that, I am very proud because that is not my usual way. I am particularly proud of that because in the beginning of this process, I actively looked for people to lean on--to blunt my responsibility, to dissipate it. I'm not exactly sure how or when I became comfortable enough or brave enough to realize that I could actually carry the whole responsibility, but I know now that I worked hard, as hard as I've ever worked on anything..and that makes me SO proud of myself.
Now, here is still something that makes me feel...shy? I still can't quite take it in. The show, our show was beautiful. Really, really. I caught little flashes and snippets as I watched and as I talked to people: friends, audience members, acquaintances (Just tonight, actually!) It moved people. The passion, power, commitment, grit with which my actors told the story came from me. Holy Crap. I set the bar. I framed the story. I created an environment in which people could risk. I collaborated and trusted them and in turn, they leaped off cliffs for me--all for the benefit of the story. My design team: we collaborated, listened, talked, listened some more and together created an integrated, evocative, seamless design for the world of Les Mis.
This probably sounds like a lot of "horn tooting" It's not. I am really just trying to understand what we did. It's almost too much to understand. I am selfishly focusing on my piece, partly so it doesn't slip away; partly so that I can remember that I accomplished this; partly so i can believe that the person who did this work is still inside me! I think that was the hardest part--letting go of that intensely creative mind-set. I miss it! I miss talking to actors, doing research, constantly thinking about tweaking stage pictures or movement. It's a highly intuitive and creative way to think and I like living there. In the week or so after the show, I could feel it leaking out of me...awful, sad and made for some grim days.
I spoke to some of my cast about this phenomenon. The idea that as community theatre folk, we have other jobs and responsibilities that tend to take precedence over our creative lives. And how wonderful it is to give ourselves permission to say, "Oh, I have to let the laundry go because I need to prep for rehearsal" or "I need to think about this." and then actually sit and think without anything else taking priority! I think that's one reason I enjoyed writing this blog so much! Writing makes me think, and thinking makes me want to write!
I've been thinking about the word "fallow" a lot lately. My brain truly feels like an empty squash most of the time, and I am going to be okay with that. I haven't used up my creative juice, I'm just re-charging...fallow. Waiting for the next bit of juice or idea to come along and jump start me again. That's part of why I forced my self to sit and write this tonight. True recharging can only happen if all of the pieces are in place. I have to know and understand what I did, so that I can put it to rest and let myself go fallow until the next time.
My love and gratitude for all of the people that I worked with so closely is vast and unending: Stephen, Martin, Jane, Sean, Todd, Freda, Cheri, Tom, Andy, Lyn, Debbie Dot, Suzanne, Connie, Mary, Belinda, Ted, Tim...all of the backstage crews and techies who built and moved and worked and hemmed and distressed. I am so humbled and grateful that you put yourself in my hands for this show. What an honor and a privilege. Words are truly inadequate to express my gratitude to all of you.
I will never forget the emotional roller coaster of this show: the exhaustion of casting, the joy, the anticipation, the queer "click" when you know some piece of stage business is just right, the sheer thrill of a happy audience, the silliness, the tequila!, the pleasure of discovering and using talents and skills to their fullest, the tattoo! the shared laughter, the bravery of actors, the willingness of people to do what has to be done--no matter how long it takes, the faces and bodies of actors in a story, the deep satisfaction when you can see that you've actually accomplished what you set out to do....
Thursday, June 5, 2014
Friday, April 11, 2014
Smatterings...
Tonight was the opening of our second weekend. The show was sold out--literally, from wall to wall not a seat was left. The audience was quiet to start with, but from my vantage point in the balcony, on the edge of their seats. What a gratifying experience. It is difficult to describe, difficult to assimilate, difficult to process, but so lovely to feel! People are moved by our show, and that is AWESOME!
As I watched from different places in the house--standing because there were no seats--I can sense the cast spreading out and filling the spaces in each scene. (What an incredible opportunity to be able to do this show two weekends!) They continue to feel their way through the story and to adjust appropriately. There were a few minor technical glitches tonight--but even so, no one lost focus or pulled out of the story.
It's wonderful to be able to chat and unwind with these smart, creative and thoughful people. I enjoy spending time with all of them...and I especially enjoy hearing their perspective about what's happening on-stage. The silliness, the saves, the near-misses, the comraderie, the hand on the back--they are really beautiful inside and out. I am so lucky to have crossed paths with every one of them!
We have another 4 shows in 48 hours coming up. It's brutal. Exhausting: emotionally, physically, creatively....I will try to gather people into the moment. Remind them that that is where their power is...staying with the story. I think we'll be fine until Sunday. Bloody Sunday!
Back to...
The Barricades!
xo
Kelly
As I watched from different places in the house--standing because there were no seats--I can sense the cast spreading out and filling the spaces in each scene. (What an incredible opportunity to be able to do this show two weekends!) They continue to feel their way through the story and to adjust appropriately. There were a few minor technical glitches tonight--but even so, no one lost focus or pulled out of the story.
It's wonderful to be able to chat and unwind with these smart, creative and thoughful people. I enjoy spending time with all of them...and I especially enjoy hearing their perspective about what's happening on-stage. The silliness, the saves, the near-misses, the comraderie, the hand on the back--they are really beautiful inside and out. I am so lucky to have crossed paths with every one of them!
We have another 4 shows in 48 hours coming up. It's brutal. Exhausting: emotionally, physically, creatively....I will try to gather people into the moment. Remind them that that is where their power is...staying with the story. I think we'll be fine until Sunday. Bloody Sunday!
Back to...
The Barricades!
xo
Kelly
Wednesday, April 9, 2014
To the storytellers!
Today we return to the Flynn for our brush up rehearsal. We are running through the show with full set, props and sound set-up--no costumes and no make-up--for the specific purpose of "freshening" things up before we re-open on Thursday. Fight call will happen; we will tech Mark's fly again, and make sure that Abby's hair/wig combo is secure. I will check spacing and business as the cast and crews run through their on stage work. Sean will double check the timing of his cue calling. Cheri and Tom will talk with Jeremy about the projection cues and where they need to be tightened up. Corey will continue to work on mic cues and mix. All of the familiar procedures and pre-show business will happen on the same schedule that we have grown accustomed to since last week-end.
Returning to the security of the structure and the story that we built feels like a tremendous relief: the storm of emotions from the weekend has left me drained and exhausted. Don't get me wrong! I am beyond happy....I don't really have words to describe the flood of feelings: joy and pride that our concept works so beautifully; fierce pride in the work of my cast; humble gratitude for the "buy in" of the crews; more gratitude for my design teams' trust and vision...I've looked at 1000s of photos of the show, of the party, of backstage shenanigans (Oh yes!), and what I see is beauty, joy, commitment, ownership, camaraderie, honest pride and love. I also saw the show 4 times this weekend, and was blown away by how beautiful it is. The carefully crafted moments are working! The lights, the projections, the costumes, the make-up, the sets, the movement--all are so beautifully integrated. My cast and crews are hitting their marks and telling their story and I can hardly take it in. Really, I can't. I hope to take more in this weekend--to really see things and appreciate details in a calmer and more right-brained way....I'll try anyway!
We--Lyric Theatre--don't have a lot of experience doing two weekend shows. The "old-timers" do, but most of the cast/crew is too young to remember when that was standard. How to prep them? How to lead them and make them feel confident and present in THESE moments of story telling? It's so easy to get knocked off kilter by the accolades that we have received. I want to shake them up a bit and remind them of what they have done and can do again. I want to remind them of why they were picked to do this show and to be in this cast. Doing that will get them to the frame of mind that best delivers this story...This "brush-up" rehearsal isn't in place to refresh and remember the business or the stage work; it's in place to remind the cast and crews of who they are, to center them and refresh them, to clear away the debris of moments that are now in the past, and to break away from the hypnotic siren songs of praise...
Having real work to do makes me feel so much better! It's hard to stay present with praise. I really don't know how--other than to say thank you to the person offering it. Getting back to "center", feeling grounded and open--that's where I want to be and where I want my cast to be.
To the storytellers!
xo
Kelly
Returning to the security of the structure and the story that we built feels like a tremendous relief: the storm of emotions from the weekend has left me drained and exhausted. Don't get me wrong! I am beyond happy....I don't really have words to describe the flood of feelings: joy and pride that our concept works so beautifully; fierce pride in the work of my cast; humble gratitude for the "buy in" of the crews; more gratitude for my design teams' trust and vision...I've looked at 1000s of photos of the show, of the party, of backstage shenanigans (Oh yes!), and what I see is beauty, joy, commitment, ownership, camaraderie, honest pride and love. I also saw the show 4 times this weekend, and was blown away by how beautiful it is. The carefully crafted moments are working! The lights, the projections, the costumes, the make-up, the sets, the movement--all are so beautifully integrated. My cast and crews are hitting their marks and telling their story and I can hardly take it in. Really, I can't. I hope to take more in this weekend--to really see things and appreciate details in a calmer and more right-brained way....I'll try anyway!
We--Lyric Theatre--don't have a lot of experience doing two weekend shows. The "old-timers" do, but most of the cast/crew is too young to remember when that was standard. How to prep them? How to lead them and make them feel confident and present in THESE moments of story telling? It's so easy to get knocked off kilter by the accolades that we have received. I want to shake them up a bit and remind them of what they have done and can do again. I want to remind them of why they were picked to do this show and to be in this cast. Doing that will get them to the frame of mind that best delivers this story...This "brush-up" rehearsal isn't in place to refresh and remember the business or the stage work; it's in place to remind the cast and crews of who they are, to center them and refresh them, to clear away the debris of moments that are now in the past, and to break away from the hypnotic siren songs of praise...
Having real work to do makes me feel so much better! It's hard to stay present with praise. I really don't know how--other than to say thank you to the person offering it. Getting back to "center", feeling grounded and open--that's where I want to be and where I want my cast to be.
To the storytellers!
xo
Kelly
Monday, April 7, 2014
Hit your marks, tell your story!
What an opening! What an incredible experience to sit in the house and listen to the audience hold their collective breath, to hear them gasp and cheer and cry as our story unfolded. It was amazing, joyful and stunning--overwhelming. We had a standing ovation at the end of Act 1! Unbelieveable!
WE have 5 more shows to do--Thursday through Sunday of this week, and I think, I know it will be equally wonderful. My cast is so solid and ready to be present in each moment as it is happening. They appreciate all the details and support each other even more than I guessed or knew. The crews are equally tuned in and strive for perfection. There is a sense of comraderie and teamwork back-stage as the show unfolds--it really is something special. Everyone feels owenership, pride and a sense of responsibility to do their best...Not to be perfect, but to be the best that they can be: To hit their marks, tell their story, solve their problem. There is a remarkable sense of clarity about what their job is, and everyone feels equal to the task.
AMAZING!
Resting for now, but soon...
TO THE BARRICADES!
Kelly
WE have 5 more shows to do--Thursday through Sunday of this week, and I think, I know it will be equally wonderful. My cast is so solid and ready to be present in each moment as it is happening. They appreciate all the details and support each other even more than I guessed or knew. The crews are equally tuned in and strive for perfection. There is a sense of comraderie and teamwork back-stage as the show unfolds--it really is something special. Everyone feels owenership, pride and a sense of responsibility to do their best...Not to be perfect, but to be the best that they can be: To hit their marks, tell their story, solve their problem. There is a remarkable sense of clarity about what their job is, and everyone feels equal to the task.
AMAZING!
Resting for now, but soon...
TO THE BARRICADES!
Kelly
Friday, April 4, 2014
BIG FEELS!!!
(Yesterday)
Today is our final dress rehearsal before we open. It's almost too overwhelming to think about...how do you end a process like this? I really don't know. I suspect that it's a transition to another phase, but I'm not sure what the other phase is. I am so looking forward to the cast having an audience. I'm looking forward to hearing the audience respond, although I think I have some centering to do around that. I don't want to rely on the audience for validation--although it is certainly a huge piece, their emotional response, their applause and discussions after. I want my feelings of success to be separate from that though, and that feels difficult right now. I don't know how to get there.
My cast is buzzing and happy. My crew heads and designers are settling in, trouble-shooting and keeping calm amidst the chaos. It's truly an amazing feat that we are pulling off here! When I try and pull my thoughts together to prepare to speak to my cast I get very weepy. I guess that is a good thing!
Okay, we're starting. Hard to type in the dark.
Oh My. Ian is pulling out all stops. WTF! He is magnificent! Look...IT'S JEAN VALJEAN!
NO more notes! This story is alive and unfolding before my eyes!
(Today)
Today is Opening. Holy Crap. I've sent my last set of notes to my fabulous crew. Cast members are buzzing on FB. I am so excited to have an audience and to feel the show! Oh How Glorious it will be!! The energy will be electrifying.
I feel good, finally. Peaceful and excited. The show is in their hands. There will probably always be tiny tech things that will need to be adjusted--it'll take the crew time to feel their way through things, but even with that-things are solid. Now to see how my cast takes the audience. It will be so interesting!!
I want to talk about gratitude. I am so incredibly grateful to everyone who put their blood, sweat and tears into this project. What an honor to be trusted with this story and this production...No words. Just lots and lots of joyful tears!
Here we go...
TO THE BARRICADES!
xoxoxoxoxoxoxo
Kelly
Today is our final dress rehearsal before we open. It's almost too overwhelming to think about...how do you end a process like this? I really don't know. I suspect that it's a transition to another phase, but I'm not sure what the other phase is. I am so looking forward to the cast having an audience. I'm looking forward to hearing the audience respond, although I think I have some centering to do around that. I don't want to rely on the audience for validation--although it is certainly a huge piece, their emotional response, their applause and discussions after. I want my feelings of success to be separate from that though, and that feels difficult right now. I don't know how to get there.
My cast is buzzing and happy. My crew heads and designers are settling in, trouble-shooting and keeping calm amidst the chaos. It's truly an amazing feat that we are pulling off here! When I try and pull my thoughts together to prepare to speak to my cast I get very weepy. I guess that is a good thing!
Okay, we're starting. Hard to type in the dark.
Oh My. Ian is pulling out all stops. WTF! He is magnificent! Look...IT'S JEAN VALJEAN!
NO more notes! This story is alive and unfolding before my eyes!
(Today)
Today is Opening. Holy Crap. I've sent my last set of notes to my fabulous crew. Cast members are buzzing on FB. I am so excited to have an audience and to feel the show! Oh How Glorious it will be!! The energy will be electrifying.
I feel good, finally. Peaceful and excited. The show is in their hands. There will probably always be tiny tech things that will need to be adjusted--it'll take the crew time to feel their way through things, but even with that-things are solid. Now to see how my cast takes the audience. It will be so interesting!!
I want to talk about gratitude. I am so incredibly grateful to everyone who put their blood, sweat and tears into this project. What an honor to be trusted with this story and this production...No words. Just lots and lots of joyful tears!
Here we go...
TO THE BARRICADES!
xoxoxoxoxoxoxo
Kelly
Monday, March 31, 2014
Tech, Day 2
Today, Monday, is Day 2 of our super tech weekend. I am taking a quick dinner break after working on cues with Andy, Tom and Cheri. We started about 9AM, and it's about 4:45PM. Everything is moving along very smoothly--it's just a monstrous show. Lots of atmospheric light cues, moving parts, projection changes, set movements that crews are still learning. We started yesterday about 9AM, with cast arriving for mic set up at 11AM. One of our cast members tweeted about 5PM: You know it's tech when it's 5PM and Fantine is still alive." HA! So, it 's been a very loooong weekend. I think that I've logged about 48 hours since Friday!
One of the things we've been talking about is how tech might change with our new production facility. Having the barricade in the space for the last 5 weeks has been an invaluable assistance to getting our cast more ready than they have ever been for a tech. The next evolution will be to get the crews to that space and get them practicing. The possibilities are really amazing. We were able to fly Mark, work on set pieces and have props weeks ahead of schedule. Imagine how that could affect designers and techs if they knew they could practice/run with crews/actors ahead of our scheduled time at the Flynn?? If I were to do this again, I would build in time for crews to practice and run with the show in the rehearsal space for at least a week before move-in.
The show looks absolutely gorgeous! The projections and stage pictures are beautiful by themselves, but when we add the cast in--it just pops in the most amazing way. It really is breath-taking....and we haven't even seen the costumes, yet! It's a beautiful design concept all the way around: props, lights, sets, costumes...very excited to see it all together. That should happen Wednesday and Thursday.
I'm still giving notes to actors and I plan to until Wednesday evening. There are moments that are still not quite right, and I want them to be. I'll warn them ahead of time! Notes a'coming!
Alright. Off I go--back to the theatre!
It's 5PM. Actors and crew arriving as I write...I can see them through the window! Kountry Kart Deli is having a great night!
To the Barricades!
One of the things we've been talking about is how tech might change with our new production facility. Having the barricade in the space for the last 5 weeks has been an invaluable assistance to getting our cast more ready than they have ever been for a tech. The next evolution will be to get the crews to that space and get them practicing. The possibilities are really amazing. We were able to fly Mark, work on set pieces and have props weeks ahead of schedule. Imagine how that could affect designers and techs if they knew they could practice/run with crews/actors ahead of our scheduled time at the Flynn?? If I were to do this again, I would build in time for crews to practice and run with the show in the rehearsal space for at least a week before move-in.
The show looks absolutely gorgeous! The projections and stage pictures are beautiful by themselves, but when we add the cast in--it just pops in the most amazing way. It really is breath-taking....and we haven't even seen the costumes, yet! It's a beautiful design concept all the way around: props, lights, sets, costumes...very excited to see it all together. That should happen Wednesday and Thursday.
I'm still giving notes to actors and I plan to until Wednesday evening. There are moments that are still not quite right, and I want them to be. I'll warn them ahead of time! Notes a'coming!
Alright. Off I go--back to the theatre!
It's 5PM. Actors and crew arriving as I write...I can see them through the window! Kountry Kart Deli is having a great night!
To the Barricades!
Wednesday, March 26, 2014
Gotta get my ducks in a row!
Here we are! Tech weekend approaches. We had our final rehearsal in the reheasal hall tonight. I cancelled rehearsal Friday because everything is so solid. A day of rest will be a thing of beauty for all of us--not to mention keeping the plague at bay.
The truck is coming tomorrow night, and will be unloaded at the Flynn on Friday morning. The set, props and set dec crews will re-assemble the set in the performance space for most of Friday and possibly into Saturday morning--although Cheri is pretty confident that they will be done on Friday afternoon. Lights will be focusing on Thursday and Friday nights, and starting to build cues for tech on Friday and Saturday nights. Tom, our projection TD, will be bringing the projector up to it's home on Thursday night and "fooling around" on Thursday and Friday, into Saturday and Sunday. AT some point on Friday night, Tom and Andy will be ready to start working lights and projections together. My job will be to refresh my memory of all the timing for cues that I wanted when we first talked about this way back in January! I will be spending a lot of time at the Flynn! My view of the show has been--necessarily--tightly focused on the actors. Now, I need to widen my view and help my team add the technical elements in the way that we had originally conceived. It's a grueling shift and I'll need to be much more procedural than I am when working with cast. I already know that there are going to be blocking changes in the sewers for both Ian and Bob. You may remember from previous posts--that kind of thinking takes its toll on me much faster than intuitive, playing, exploring and "what if?" kinds of thinking.
I gotta get my ducks in a row!
To the Barricades!
KAK
The truck is coming tomorrow night, and will be unloaded at the Flynn on Friday morning. The set, props and set dec crews will re-assemble the set in the performance space for most of Friday and possibly into Saturday morning--although Cheri is pretty confident that they will be done on Friday afternoon. Lights will be focusing on Thursday and Friday nights, and starting to build cues for tech on Friday and Saturday nights. Tom, our projection TD, will be bringing the projector up to it's home on Thursday night and "fooling around" on Thursday and Friday, into Saturday and Sunday. AT some point on Friday night, Tom and Andy will be ready to start working lights and projections together. My job will be to refresh my memory of all the timing for cues that I wanted when we first talked about this way back in January! I will be spending a lot of time at the Flynn! My view of the show has been--necessarily--tightly focused on the actors. Now, I need to widen my view and help my team add the technical elements in the way that we had originally conceived. It's a grueling shift and I'll need to be much more procedural than I am when working with cast. I already know that there are going to be blocking changes in the sewers for both Ian and Bob. You may remember from previous posts--that kind of thinking takes its toll on me much faster than intuitive, playing, exploring and "what if?" kinds of thinking.
I gotta get my ducks in a row!
To the Barricades!
KAK
Sunday, March 23, 2014
One Day More
Today's rehearsal is brought to you by Sound. Corey and his crew are EQing all miced peeps at the Flynn! There are 51 mic'ed cast members...everyone except 2. Glorious sound, but what it also means is a lot of transmitter switching throughout the show. That's not unusual, but the amount of switching and the sheer puzzle-ry of figuring out who needs what when is mind-boggling. Freda, my assistant, has been working with Corey because this is just the kind of details that can completely derail me. I need all of my brain cells to do other things, so Freda went through our character by scene grid and plotted all the mic changes. Then, after I created a hair/makeup/costume change document (cause I don't do grid!), she plotted that on the character by scene grid. So now, ALL of our crews have the benefit of an easy access "change" chart--courtesy of Freda! It still is going to take time when we movein and start teching things, but at least everyone will be on the same page--literally!
In other news, my costume goddesses are working round-the-clock on details that ALWAYS seem to pop up at the last minute, no matter how much we communicate. Example: Are the convicts going barefoot? We need to checkwith out tech director before we make that decision. So, message from Lyn to me, from me to Stephen, from Stephen to B. Hopefully they can go barefoot, but we wont't hear from B til later today. Also, the courtroom scene. My cast didn't realize that they are part of the court personnel, so when Lyn was fitting them for robes, they were very confused. This made Lyn nervous, so she sent me an email, which I responded to and made sure that my cast knew what was what. Two days. More unexpected details: In the Act 2 Epilogue, Fantine, et al, need to make their entrance pretty far down stage. She is in white, so is visible before I want her to be seen...Can I get black silks or cloaks for she, Eponine and the Bishop? Lyn is very acommodating, but I've added 2 hours of work per set of blacks. More: Costume fittings are taking longer, and folks were late to rehearsal. I had to ask my stage manager to make sure that costumes let them go in time to get to rehearsal. Erg. I fear the message was delivered in a way that made me sound like I was having a tantrum. I need to offer some concessions to Lyn so that she gets what she (and our cast) needs!
My cast took a huge leap at rehearsal on Friday, everyone from JVJ to ensemble. They took my breath away several times! Abby continues to discover fresh things about Fantine; she is truly lovely. Kianna's Eponine is grounded and connected and fierce and almost shy. Mark's Javert is powerful and riveting. Margaret and Bob are cunning, hilarious and mobile-faced--and spot-on responsive to notes and new ideas. Merrill's Cosette makes me smile--her energy is fresh and lovely and feminine and she and Michael are so, so lovely together. Michael's Marius is masculine, emotional and heartbreaking. Ben's Enjolras is contained power--when he lets it rip, it makes your hair stand on end! My Barricade Boys are so invested and smart about the show and their performance. I just love them all. My ensemble has no idea how powerful they are--no idea. They are beautiful. And Ian! His JVJ came alive with power and emotionality. He's been sick for the past two weeks and has been forced to explore other ways--not just vocal power--to communicate JVJ's story. I know that he works unceasingly to get a deeper, richer understanding of his work, and something clicked for him. The details, the transitions, the scope and sweep of his character arc are REAL and something we can see him experiencing in his body, mind and soul. He in particular is on a path of discovery and being in the moment that will serve him very well for the next three weeks. Goose-bump inducing.
I feel so honored that they have been so willing to put themselves in my hands. I don't feel right saying that I'm proud of them--that seems to imply a judgement or an imbalance of power somehow, and I truly believe that this work is a collaboration. But I am grateful! and so excited for them to have an audience. And so eager to tell them how wonderful they are! Opening night is less than 2 weeks away---it's almost time to unleash the Beast!
To the Barricades!
KAK
In other news, my costume goddesses are working round-the-clock on details that ALWAYS seem to pop up at the last minute, no matter how much we communicate. Example: Are the convicts going barefoot? We need to checkwith out tech director before we make that decision. So, message from Lyn to me, from me to Stephen, from Stephen to B. Hopefully they can go barefoot, but we wont't hear from B til later today. Also, the courtroom scene. My cast didn't realize that they are part of the court personnel, so when Lyn was fitting them for robes, they were very confused. This made Lyn nervous, so she sent me an email, which I responded to and made sure that my cast knew what was what. Two days. More unexpected details: In the Act 2 Epilogue, Fantine, et al, need to make their entrance pretty far down stage. She is in white, so is visible before I want her to be seen...Can I get black silks or cloaks for she, Eponine and the Bishop? Lyn is very acommodating, but I've added 2 hours of work per set of blacks. More: Costume fittings are taking longer, and folks were late to rehearsal. I had to ask my stage manager to make sure that costumes let them go in time to get to rehearsal. Erg. I fear the message was delivered in a way that made me sound like I was having a tantrum. I need to offer some concessions to Lyn so that she gets what she (and our cast) needs!
My cast took a huge leap at rehearsal on Friday, everyone from JVJ to ensemble. They took my breath away several times! Abby continues to discover fresh things about Fantine; she is truly lovely. Kianna's Eponine is grounded and connected and fierce and almost shy. Mark's Javert is powerful and riveting. Margaret and Bob are cunning, hilarious and mobile-faced--and spot-on responsive to notes and new ideas. Merrill's Cosette makes me smile--her energy is fresh and lovely and feminine and she and Michael are so, so lovely together. Michael's Marius is masculine, emotional and heartbreaking. Ben's Enjolras is contained power--when he lets it rip, it makes your hair stand on end! My Barricade Boys are so invested and smart about the show and their performance. I just love them all. My ensemble has no idea how powerful they are--no idea. They are beautiful. And Ian! His JVJ came alive with power and emotionality. He's been sick for the past two weeks and has been forced to explore other ways--not just vocal power--to communicate JVJ's story. I know that he works unceasingly to get a deeper, richer understanding of his work, and something clicked for him. The details, the transitions, the scope and sweep of his character arc are REAL and something we can see him experiencing in his body, mind and soul. He in particular is on a path of discovery and being in the moment that will serve him very well for the next three weeks. Goose-bump inducing.
I feel so honored that they have been so willing to put themselves in my hands. I don't feel right saying that I'm proud of them--that seems to imply a judgement or an imbalance of power somehow, and I truly believe that this work is a collaboration. But I am grateful! and so excited for them to have an audience. And so eager to tell them how wonderful they are! Opening night is less than 2 weeks away---it's almost time to unleash the Beast!
To the Barricades!
KAK
Sunday, March 16, 2014
Alive
Today we managed to make it through a "double" rehearsal: 1 to 5PM and then 6 to 8:30. We've lost three days of rehearsal because of winter weather and illness and just needed to cram in a few more hours before we start running things. Cast was incredibly flexible; no complaints, everyone good-natured and focused even after a dinner break. Really just excellent work all around--despite continued illness among my principal players! We need haz-mat suits for poor Javert, Eponine, Cosette and JVJ! Pray for Marius--that he isn't incubating a doozy of a cold.
We have 7 more rehearsals before we move into the Flynn, one of which is a full run at the theatre. Move in starts on Thursday, 3/27--the truck gets loaded with everything (EVERYTHING!) that is going to the theatre, an then gets unloaded on Friday morning. Our rehearsal Friday will be weird because we won't have any props, crates, set pieces or anything! and we've been kind of spoiled because our prop ladies have let us practice with the actual props more than once. They've made several trips with boxes of stuff so that cast can get a handle on the level of detail they'll be working with. Bravo Prop Tarts!
I have several pages of notes, but what I need to do is comb through and find the minutiae of blocking that isn't working. There's a lot that is still messy and not quite working. I keep letting the rehearsals run because I hate to stop and fix--I keep hoping that some of it will work itself out with repetition. It's not a lot, but it requires time--time to talk, practice, run, adjust.
I was moved to tears several times in rehearsal today. There are some emotional moments that are really working--the actors are committed and truthful and digging for connection with the material. It's breath-taking...and they SOUND SO GOOD! There are also moments that people are still exploring--and I 'm really hesitant to touch or fiddle with those because they literally change before my eyes as actors start to hear, see and feel things in the context of the story. They really are feeling their way and it's exciting to watch. I'm betting, gambling, really-- that there will be enough time for them to find their way ALL the way to where I need them to be. They have a ton of information and backstory and most of them are working really hard to put it into practice.
I made a deliberate decision to focus and spend my energy on MY area after Paper tech yesterday. My crews and team are all capable, talented people and I do NOT have to hold every detail of the entire show in my head. I can't. I could feel the energy draining out of me yesterday---eek! It's hard for me to let go of those pieces but I have to....the story isn't in place yet, and that is my priority. I want it to be so strongly woven together, and my actors so prepared that there is no room for error, or ok, very little room for error.
I've never thought of it that way, but the show, the story really is a "thing" that is woven from all of our efforts. It's not on the pages of the script or score and it's not the back-breaking work of backstories and motivation and notes and rhythms and blocking and choreography. It's something separate and distinct. I could almost see it at points today--some "thing" shimmering between cast members on stage..like a giant soap bubble. It's ephemeral and alive. I think it happens when actors trust--the story, each other, the pathways and roadmaps that they've built--they trust and let the story fill up the air between them. That's what I'm aiming for. That's what I 'm searching for as I take notes on the scenes: is something real happening and if not what's hampering it? That is part of the reason that I ask my actors "How does that feel?". It has to feel right or that trust can't happen.
My head is so full of images and people and ideas and emotions! I cannot adequately express how breath-taking it is to see this come to life...how much larger than each of us individually is the sum total!
Sleep, and then on to another day.
at the Barricades!
KAK
We have 7 more rehearsals before we move into the Flynn, one of which is a full run at the theatre. Move in starts on Thursday, 3/27--the truck gets loaded with everything (EVERYTHING!) that is going to the theatre, an then gets unloaded on Friday morning. Our rehearsal Friday will be weird because we won't have any props, crates, set pieces or anything! and we've been kind of spoiled because our prop ladies have let us practice with the actual props more than once. They've made several trips with boxes of stuff so that cast can get a handle on the level of detail they'll be working with. Bravo Prop Tarts!
I have several pages of notes, but what I need to do is comb through and find the minutiae of blocking that isn't working. There's a lot that is still messy and not quite working. I keep letting the rehearsals run because I hate to stop and fix--I keep hoping that some of it will work itself out with repetition. It's not a lot, but it requires time--time to talk, practice, run, adjust.
I was moved to tears several times in rehearsal today. There are some emotional moments that are really working--the actors are committed and truthful and digging for connection with the material. It's breath-taking...and they SOUND SO GOOD! There are also moments that people are still exploring--and I 'm really hesitant to touch or fiddle with those because they literally change before my eyes as actors start to hear, see and feel things in the context of the story. They really are feeling their way and it's exciting to watch. I'm betting, gambling, really-- that there will be enough time for them to find their way ALL the way to where I need them to be. They have a ton of information and backstory and most of them are working really hard to put it into practice.
I made a deliberate decision to focus and spend my energy on MY area after Paper tech yesterday. My crews and team are all capable, talented people and I do NOT have to hold every detail of the entire show in my head. I can't. I could feel the energy draining out of me yesterday---eek! It's hard for me to let go of those pieces but I have to....the story isn't in place yet, and that is my priority. I want it to be so strongly woven together, and my actors so prepared that there is no room for error, or ok, very little room for error.
I've never thought of it that way, but the show, the story really is a "thing" that is woven from all of our efforts. It's not on the pages of the script or score and it's not the back-breaking work of backstories and motivation and notes and rhythms and blocking and choreography. It's something separate and distinct. I could almost see it at points today--some "thing" shimmering between cast members on stage..like a giant soap bubble. It's ephemeral and alive. I think it happens when actors trust--the story, each other, the pathways and roadmaps that they've built--they trust and let the story fill up the air between them. That's what I'm aiming for. That's what I 'm searching for as I take notes on the scenes: is something real happening and if not what's hampering it? That is part of the reason that I ask my actors "How does that feel?". It has to feel right or that trust can't happen.
My head is so full of images and people and ideas and emotions! I cannot adequately express how breath-taking it is to see this come to life...how much larger than each of us individually is the sum total!
Sleep, and then on to another day.
at the Barricades!
KAK
Monday, March 10, 2014
The Nature of The Beast
So...here we are. It is March....I'm not even sure. I know it's Monday! I think it's the 10th....Yes! Just checked my rehearsal schedule and it is indeed the 10th. Tonight we are staging Gavroche's and the student's deaths on the Barricade. They are getting gun assignments and having the microphone talk to prep for using mics and pouches at rehearsal on the 12th.
I am starting work on my paper tech prep. Not sure what form that will take yet...I have to figure out how to hold all the details of costume, make-up, hair, mic changes, props, sets, lights, projection images, blocking and still be able to look at and feel the totality of the production. We--my team and I --have attempted to tell this story in a certain way: a spare, dynamic and versatile set, projections that provide texture and detail, simple and authentic story-telling with talented, collaborative and team-oriented actors, the thoughtful use of light and shadow, realistic details in props and costumes...My job is to have a firm hold on that re-telling of the story, so that any questions can be brought back to that vision. I have to be able to answer the questions: Does this element contribute to how we want the story to be told?
At any rate, I need to refresh my memory of all those details and put it into some read-able form. Paper tech is on Saturday, 3/15. I think going through all those things will definitely highlight what is going to take the most time at actual tech. There are many moments where we are guessing at timing of VDSU movements, timing of light changes, etc.
I'm also prepping to work with Andy, our lighting designer. I'm creating a scene list for him--from the top of the show to the end--that describes time of day, mood, action and feeling words. That will take some time, but again will lay a great foundation for our work together. It's kind of like creating a language to speak together.
In the rush of this type of mental preparation and imagining; it's difficult to believe that this will be all done in 5 weeks. I think I'm giving myself a sort of mental safety raft--if I can keep a count down in my head then somehow--when this project ends --I won't be blind-sided by emotion. It is impossible to keep those two mind-sets--"I'm in the middle of it" and "It's almost done"--going at the same time, and I'm not sure that the "It's almost done" piece is particularly helpful to the process of creating the show. It keeps me from full participation somehow....funny how I always find a way to protect myself from the wild and compulsive nature of full participation! It's a way to keep balance, I think. Even the minimal amount of hours that I'm spending at my day job requires a physical re-setting...of my mind, my focus, my energy level--especially if I start my day with coffee and email! Invariably there is something rehearsal related or promo related to respond to--and then I have to pull myself out of that world and back into daily reality. To say that I find it challenging to shift back and forth might be the understatement of the century. I suppose it is the nature of this beast--it's a living thing and it requires sustained care and regular feedings of energy, imagination, collaboration and the best that all of us have to offer in order for it to come alive and thrive. It's the sustained care and feeding that wreck havoc with the rest of one's life...
I hope that I can remember what this was like.
I've gone back to read what I wrote at the beginning of this post. Can you tell that I'm a bit bleary?? Once again, it is all about the story, and how my team and I have chosen to tell it...As our production schedule escalates and the thousands of production details start to converge, the trick is how to work, shop and do laundry when the care and feeding of this Beast could easily be a 24 hour labor of love...
To the barricades!
KAK
I am starting work on my paper tech prep. Not sure what form that will take yet...I have to figure out how to hold all the details of costume, make-up, hair, mic changes, props, sets, lights, projection images, blocking and still be able to look at and feel the totality of the production. We--my team and I --have attempted to tell this story in a certain way: a spare, dynamic and versatile set, projections that provide texture and detail, simple and authentic story-telling with talented, collaborative and team-oriented actors, the thoughtful use of light and shadow, realistic details in props and costumes...My job is to have a firm hold on that re-telling of the story, so that any questions can be brought back to that vision. I have to be able to answer the questions: Does this element contribute to how we want the story to be told?
At any rate, I need to refresh my memory of all those details and put it into some read-able form. Paper tech is on Saturday, 3/15. I think going through all those things will definitely highlight what is going to take the most time at actual tech. There are many moments where we are guessing at timing of VDSU movements, timing of light changes, etc.
I'm also prepping to work with Andy, our lighting designer. I'm creating a scene list for him--from the top of the show to the end--that describes time of day, mood, action and feeling words. That will take some time, but again will lay a great foundation for our work together. It's kind of like creating a language to speak together.
In the rush of this type of mental preparation and imagining; it's difficult to believe that this will be all done in 5 weeks. I think I'm giving myself a sort of mental safety raft--if I can keep a count down in my head then somehow--when this project ends --I won't be blind-sided by emotion. It is impossible to keep those two mind-sets--"I'm in the middle of it" and "It's almost done"--going at the same time, and I'm not sure that the "It's almost done" piece is particularly helpful to the process of creating the show. It keeps me from full participation somehow....funny how I always find a way to protect myself from the wild and compulsive nature of full participation! It's a way to keep balance, I think. Even the minimal amount of hours that I'm spending at my day job requires a physical re-setting...of my mind, my focus, my energy level--especially if I start my day with coffee and email! Invariably there is something rehearsal related or promo related to respond to--and then I have to pull myself out of that world and back into daily reality. To say that I find it challenging to shift back and forth might be the understatement of the century. I suppose it is the nature of this beast--it's a living thing and it requires sustained care and regular feedings of energy, imagination, collaboration and the best that all of us have to offer in order for it to come alive and thrive. It's the sustained care and feeding that wreck havoc with the rest of one's life...
I hope that I can remember what this was like.
I've gone back to read what I wrote at the beginning of this post. Can you tell that I'm a bit bleary?? Once again, it is all about the story, and how my team and I have chosen to tell it...As our production schedule escalates and the thousands of production details start to converge, the trick is how to work, shop and do laundry when the care and feeding of this Beast could easily be a 24 hour labor of love...
To the barricades!
KAK
Tuesday, March 4, 2014
Shift
A very definite shift in rehearsals since our run through on Sunday. We got to rehearse in the theatre--running through the show without props, sets or the usual rehearsal items-checking out the space, the feel of the auditorium, etc. It is a generally useful day--no time to fix specific things, but time to imagine what it will be like when all of those production elements are there. It is an eye-opening experience--even for veterans--because it wakes you up. We've been kind of grooving in rehearsal mode for awhile and all of sudden we realize that we'll be doing it in front 1400 people, 9 times!!
When I'm in a show, having a Flynn rehearsal makes me take a closer look at both my backstage and onstage traffic patterns, "After this scene, I need to go change shoes on Stage left , then pick up my prop and reenter on SR...I wonder if I'll have time?" I look carefully at tape marks that mark set pieces and try to understand moving set patterns. I map out my entrances and exits and any changes or pick ups I have off stage --because it makes me feel more secure in what I am doing on-stage. I also "tech out" terribly--I''m a worrier and very impatient with letting things work themselves out. I want to know Right Now! how things are going to work. There is a general sort of ..."tightening up". It can be a good thing because actors start to pay a lot more attention to details of their rehearsal space. They ask a lot more questions and want to know a lot more details. The tricky part of this is that we can "lock down" too early. We have 31/2 weeks til our last rehearsal in the rehearsal space, and we have a lot more pacing, intensity and timing issues to work out. Things are not ready to "set" just yet.
What can happen is that the "tightening up" that I mentioned can turn into resistance. I start to hear "Yes, but.." when I am giving notes about a particular moment or piece of business. I find myself explaining why I want actors to do simple bits of business because they are reluctant to try it-it's one more thing to add, or they've already got it worked out, or it's right the way it is. Actors try to talk and think and strategize through something instead of taking the note and trying it on at the next rehearsal. Actors over-worry about props and set pieces, and want to know exactly what is going to happen. We want it to be done so we can stop thinking about it--especially after feeling that enormous performance space and seeing the reality (in 1400 seats!) of what we are trying to accomplish. We are all tired, many of us are run-down or ill, and we want to push away the problems--instead of pulling it closer and continuing to work through it.
I know I'm tired. My reserves are gone. I constantly crave sugar and carbs. I have a slight head cold and constant aches in my neck, back and joints. I'm tired to the point of stupidity--perilously tired, and I can't get my mind to stop--even when I'm sleeping. I need some drastic action to get myself ready for the final push, both for myself and my cast and crews. I want and need to be at my best, and I have to apply what I know about myself and my response to stress to combat old habits: Exercise, sun, cut back on carbs and sugar. Pretty simple, but challenging to break my own cycle of stress, sugar, crash, repeat ad infinitum.
I'm not sure if it's related to tiredness--I think it is, but Im not sure--but I've noticed a vary placating tone or approach in me as well. AS if I'm anxious to please and anxious that I don't ask too much of anyone...I think the key to fixing that is to really get a grip of sets, props, costumes, make-up changes then pull together my final plan and vision for the show. Why do i feel so...apologetic?? Weird. I have a sense that I'm going to need to pull out all the stops to get people over this last hump of resistance--and moving forward to streamlined, authentic, emotional story-telling. Maybe clarifying the purpose of each scene in the larger picture of the show will give me a clearer direction...and making decisions about tempo, driving energy, pace and "problem-solving". I really need to get a video camera...
That's all for now. i'm going to go sleep
to the barricade...
Kelly
When I'm in a show, having a Flynn rehearsal makes me take a closer look at both my backstage and onstage traffic patterns, "After this scene, I need to go change shoes on Stage left , then pick up my prop and reenter on SR...I wonder if I'll have time?" I look carefully at tape marks that mark set pieces and try to understand moving set patterns. I map out my entrances and exits and any changes or pick ups I have off stage --because it makes me feel more secure in what I am doing on-stage. I also "tech out" terribly--I''m a worrier and very impatient with letting things work themselves out. I want to know Right Now! how things are going to work. There is a general sort of ..."tightening up". It can be a good thing because actors start to pay a lot more attention to details of their rehearsal space. They ask a lot more questions and want to know a lot more details. The tricky part of this is that we can "lock down" too early. We have 31/2 weeks til our last rehearsal in the rehearsal space, and we have a lot more pacing, intensity and timing issues to work out. Things are not ready to "set" just yet.
What can happen is that the "tightening up" that I mentioned can turn into resistance. I start to hear "Yes, but.." when I am giving notes about a particular moment or piece of business. I find myself explaining why I want actors to do simple bits of business because they are reluctant to try it-it's one more thing to add, or they've already got it worked out, or it's right the way it is. Actors try to talk and think and strategize through something instead of taking the note and trying it on at the next rehearsal. Actors over-worry about props and set pieces, and want to know exactly what is going to happen. We want it to be done so we can stop thinking about it--especially after feeling that enormous performance space and seeing the reality (in 1400 seats!) of what we are trying to accomplish. We are all tired, many of us are run-down or ill, and we want to push away the problems--instead of pulling it closer and continuing to work through it.
I know I'm tired. My reserves are gone. I constantly crave sugar and carbs. I have a slight head cold and constant aches in my neck, back and joints. I'm tired to the point of stupidity--perilously tired, and I can't get my mind to stop--even when I'm sleeping. I need some drastic action to get myself ready for the final push, both for myself and my cast and crews. I want and need to be at my best, and I have to apply what I know about myself and my response to stress to combat old habits: Exercise, sun, cut back on carbs and sugar. Pretty simple, but challenging to break my own cycle of stress, sugar, crash, repeat ad infinitum.
I'm not sure if it's related to tiredness--I think it is, but Im not sure--but I've noticed a vary placating tone or approach in me as well. AS if I'm anxious to please and anxious that I don't ask too much of anyone...I think the key to fixing that is to really get a grip of sets, props, costumes, make-up changes then pull together my final plan and vision for the show. Why do i feel so...apologetic?? Weird. I have a sense that I'm going to need to pull out all the stops to get people over this last hump of resistance--and moving forward to streamlined, authentic, emotional story-telling. Maybe clarifying the purpose of each scene in the larger picture of the show will give me a clearer direction...and making decisions about tempo, driving energy, pace and "problem-solving". I really need to get a video camera...
That's all for now. i'm going to go sleep
to the barricade...
Kelly
Thursday, February 27, 2014
Updates from the Front...T-minus 5 weeks til we open.
Some updates from the Barricade:
Well, I have had some success taming that slippery weasel. I've figured out a way for everyone on the team to share notes with me after rehearsals...that is helpful. Martin and I sat down and went over some nitty-geritty ideas about intensity levels and where the peaks and valleys are in the show. That was also eye-oepning. So much of the music tells an actor exactly what is needed--a pause, a build, a movement to go with a space in the music. We know from talking with Kevin McGuire that the original cast had six months (SIX MONTHS) to put the show together, so anytime they needed more music for a set change, or for business or to make a cross--they would just ask the composers to write something! No wonder everything in the show feels so perfectly in synch!
The most important (best) thing (ever! --is that we are through with blocking and general staging and are into the specific moments and decision points of the character. So much more interesting to work and play around with these moments!! We are refining, re-doing and making sure that everything is connected and makes sense. I'm also watching and listening to see if my actors are working on solving a problem everytime they are on stage. Asking them to be that specific is amazingly fruitful, and gives everyone something to do all the time. Some of my cast isn't really getting that, but I will keep asking.
We have our first Flynn rehearsal on Sunday of this week. We've been doing small scenes and a lot of character work this week--not a lot of chorus or ensemble scenes. Very exciting work, but it will be good to get everyone together again and get back some momentum. Working in the Flynn is always a double edged sword for me as a director. There is work to do, but it is done without set pieces or props. The cast can't always remember what the set looks like or where it lives--despite hours of taping form Sean and Todd--so entrances and exits and spacing is weird. The cast is so affected by the enormous, imposing space that everyone ends up playing very far upstage. I have to remember to ask them to focus on some specific things--and I have to remember that I can only focus on specific things--not everything. We are not performance ready. We are exploring the space, and doing our best to work our actions and our problem-solving in a new space.
We will also have most of our crews and crew heads there to watch the rehearsal to start seeing what they will be doing...another reason to have a full crash through, even though we won't have the barricade for Act 2.
The other thing about a Flynn rehearsal is that is suddenly makes the idea of performance very real for the actors. That huge space (1400 seats!) the dark, the quiet, the emptiness and the feeling of trying to figure out how to fill it...I'm excited for them, even if I am fretting slightly about losing a day with rehearsal sets and props.
THE BARRICADE IS AT THE REHEARSAL SPACE! Cheri, her crew and a few cast members moved it from the old warehouse last weekend. Actors have been exploring it--we will have a dedicated rehearsal tomorrow to find places and nooks & crannies to shoot, load and die! It is amazing to behold and looks even better with people on it. It's going to be enormous!! and AWESOME!
WE have had some interesting visitors at rehearsal. Kris from the Maritime Museum came to demo period weapons and to teach the cast how to simulate loading the pieces that they will be using. He is a "re-enactor"-mainly for the late 18th and early 19th century. He was extremely knowledgeable, interesting and full of useful tidbits about what real people might have done with weapons and the paraphernalia that went with it. And it was fun! The actual weapons were HEAVY! My "Barricade Brethren and Sistren" were excited and had the opportunity to check their aiming stances, ask questions about recoil of the weapon and about impact of bullets. All around incredibly useful stuff. My A team prop tart Mary connected with him and arranged the visit. (We almost didn't get to do the firing because the SB police chief didn't get the message until very late the night before. Apparently, the corporal that Mary had talked to didn't pass it on...Oops. The police department actually called every resident within a mile radius to warn them about the sound of "empty" gunfire. Pretty
impressive!)
The other visitor that came to rehearsal was Bill Reed! Finally settled on a date to have him come and address techniques for bettering diction. Even better, Bill expanded upon the ideas that I've been sharing at rehearsal about authenticity. "You are the miracle." He is so good! Very glad to have him share his stories and his ideas about performing. "There is no right, there is no wrong; there is only the truth."
I am almost done with my various articles and pieces for the program: Director's notes, the synopsis, The song and scene list, the cast list, and an article about the historical context of the novel. I love writing them even if it is time-consuming. It focuses me for the next push!
Alright...enough blogging. Back to the article that gives a historical background for the audience. Still trying to focus in on what I want to say.....think, think, think.
See ya!
KAK
Well, I have had some success taming that slippery weasel. I've figured out a way for everyone on the team to share notes with me after rehearsals...that is helpful. Martin and I sat down and went over some nitty-geritty ideas about intensity levels and where the peaks and valleys are in the show. That was also eye-oepning. So much of the music tells an actor exactly what is needed--a pause, a build, a movement to go with a space in the music. We know from talking with Kevin McGuire that the original cast had six months (SIX MONTHS) to put the show together, so anytime they needed more music for a set change, or for business or to make a cross--they would just ask the composers to write something! No wonder everything in the show feels so perfectly in synch!
The most important (best) thing (ever! --is that we are through with blocking and general staging and are into the specific moments and decision points of the character. So much more interesting to work and play around with these moments!! We are refining, re-doing and making sure that everything is connected and makes sense. I'm also watching and listening to see if my actors are working on solving a problem everytime they are on stage. Asking them to be that specific is amazingly fruitful, and gives everyone something to do all the time. Some of my cast isn't really getting that, but I will keep asking.
We have our first Flynn rehearsal on Sunday of this week. We've been doing small scenes and a lot of character work this week--not a lot of chorus or ensemble scenes. Very exciting work, but it will be good to get everyone together again and get back some momentum. Working in the Flynn is always a double edged sword for me as a director. There is work to do, but it is done without set pieces or props. The cast can't always remember what the set looks like or where it lives--despite hours of taping form Sean and Todd--so entrances and exits and spacing is weird. The cast is so affected by the enormous, imposing space that everyone ends up playing very far upstage. I have to remember to ask them to focus on some specific things--and I have to remember that I can only focus on specific things--not everything. We are not performance ready. We are exploring the space, and doing our best to work our actions and our problem-solving in a new space.
We will also have most of our crews and crew heads there to watch the rehearsal to start seeing what they will be doing...another reason to have a full crash through, even though we won't have the barricade for Act 2.
The other thing about a Flynn rehearsal is that is suddenly makes the idea of performance very real for the actors. That huge space (1400 seats!) the dark, the quiet, the emptiness and the feeling of trying to figure out how to fill it...I'm excited for them, even if I am fretting slightly about losing a day with rehearsal sets and props.
THE BARRICADE IS AT THE REHEARSAL SPACE! Cheri, her crew and a few cast members moved it from the old warehouse last weekend. Actors have been exploring it--we will have a dedicated rehearsal tomorrow to find places and nooks & crannies to shoot, load and die! It is amazing to behold and looks even better with people on it. It's going to be enormous!! and AWESOME!
WE have had some interesting visitors at rehearsal. Kris from the Maritime Museum came to demo period weapons and to teach the cast how to simulate loading the pieces that they will be using. He is a "re-enactor"-mainly for the late 18th and early 19th century. He was extremely knowledgeable, interesting and full of useful tidbits about what real people might have done with weapons and the paraphernalia that went with it. And it was fun! The actual weapons were HEAVY! My "Barricade Brethren and Sistren" were excited and had the opportunity to check their aiming stances, ask questions about recoil of the weapon and about impact of bullets. All around incredibly useful stuff. My A team prop tart Mary connected with him and arranged the visit. (We almost didn't get to do the firing because the SB police chief didn't get the message until very late the night before. Apparently, the corporal that Mary had talked to didn't pass it on...Oops. The police department actually called every resident within a mile radius to warn them about the sound of "empty" gunfire. Pretty
impressive!)
The other visitor that came to rehearsal was Bill Reed! Finally settled on a date to have him come and address techniques for bettering diction. Even better, Bill expanded upon the ideas that I've been sharing at rehearsal about authenticity. "You are the miracle." He is so good! Very glad to have him share his stories and his ideas about performing. "There is no right, there is no wrong; there is only the truth."
I am almost done with my various articles and pieces for the program: Director's notes, the synopsis, The song and scene list, the cast list, and an article about the historical context of the novel. I love writing them even if it is time-consuming. It focuses me for the next push!
Alright...enough blogging. Back to the article that gives a historical background for the audience. Still trying to focus in on what I want to say.....think, think, think.
See ya!
KAK
Wednesday, February 19, 2014
Let's Talk about the Weasel in the Room.
Fear.
When I started writing this blog, I told myself that it was going to be a dumping ground for all those things that would interfere with "just letting the story rip." I've written about exciting rehearsal events, my wonderful team, my thoughts on the process so far...but if I'm going to be true to my original intent, It's time to talk about the weasel in the room.
Fear is like a worm in my brain, burrowing in and subtle-y taking over the direction of my thoughts. "You can do better than that." "How did you miss that?" "That's crap."
Fear paralyzes my thinking process and clouds my rational internal eye. Instead of working in a calm, step-by-step process, I leap from task to task, or worse, spend ungodly amounts of time perfecting schedules., and imagining how much I can get done in 2 hours.
Fear makes me hostage to all my perfectionist, obsessive, procrastinating habits.
Fear makes me feel embarrassed. Instead of trying to fix a problem, I default to paralyzing myself with feelings of embarrassment, and even panic.
Time to stop and re-group.
What am I afraid of?
-that the mountain of Les Mis is too big and I won't make it over! I've bitten off more than I can chew...
-that I will be perceived as a thoughtless, demanding, bitchy blowhard by my cast/crew/team
-that it won't be "good", and that people will judge me. (What does that "good" mean exactly??)
-that I am mostly just hot air, and don't really have a plan--not like a "real" director.
-that performing the "role" of director is the extent of my ability, and that I'm enjoying it too much to give it up or change it. I can pace and take notes with the best of them!
-that picking out a dress for opening night is starting to take up a lot more of my time than is warranted...maybe.
Ugh. As I write this my stomach is churning and my heart is pounding...I'm found out! &^$TU^TYOUIU%RI&U&T$$@%#$%*^(*)&*_*)*^*^$#@##&^%&(*&)*
So what am I going to do??
Well, I've done the first thing: confess. Next thing is figuring out what the real work is, and separating it from the busy work, and the procrastinating work
1) I need to make a list of scenes that need attention--everything about them that needs attention, and start figuring out how I'm going to tackle those things. Less worry about the casts' schedule and them waiting around too much--and more attention on how I'm going to accomplish the tasks. This includes any set, prop, or tech stuff. Kind of like being the friend instead of the teacher...
2) I want to talk to Martin about some of the things that he is talking to Principles about. I think we are on the same page more than I think. Maybe even plan a set time after rehearsals to compare notes. (Bring wine)
3) I'm going to videotape rehearsals and use the tapes to make more notes than what I see during rehearsal. I'm missing a lot because I'm trying to do too much.
4) Be generous and open to other's thoughts. Use Jane and Freda's notes in a timely manner. Figure out when we can compare and line them up. After rehearsals, maybe?
5) Let Sean, Todd and everyone else take care of what they can take care of...up to and including the schedule.
6) Clarify what I want: What I've wanted from the beginning is authenticity: real connections between people so that the story is clear and understandable. That is why we have focused on relationships and "Doing what you'd Do" (This is an entire new blog post--oh my. More on this later.)
The real bottom line is that I need to believe in myself. I have prepped thoroughly. I am a good communicator. I know what I want, and I can get there if I can focus my energy, and spend it with purpose and precision on the things that I need to focus on, only. One thing at a time. One step at a time. One Day at a time.
Weasels. They are everywhere.
One Day More...
xo
K
When I started writing this blog, I told myself that it was going to be a dumping ground for all those things that would interfere with "just letting the story rip." I've written about exciting rehearsal events, my wonderful team, my thoughts on the process so far...but if I'm going to be true to my original intent, It's time to talk about the weasel in the room.
Fear is like a worm in my brain, burrowing in and subtle-y taking over the direction of my thoughts. "You can do better than that." "How did you miss that?" "That's crap."
Fear paralyzes my thinking process and clouds my rational internal eye. Instead of working in a calm, step-by-step process, I leap from task to task, or worse, spend ungodly amounts of time perfecting schedules., and imagining how much I can get done in 2 hours.
Fear makes me hostage to all my perfectionist, obsessive, procrastinating habits.
Fear makes me feel embarrassed. Instead of trying to fix a problem, I default to paralyzing myself with feelings of embarrassment, and even panic.
Time to stop and re-group.
What am I afraid of?
-that the mountain of Les Mis is too big and I won't make it over! I've bitten off more than I can chew...
-that I will be perceived as a thoughtless, demanding, bitchy blowhard by my cast/crew/team
-that it won't be "good", and that people will judge me. (What does that "good" mean exactly??)
-that I am mostly just hot air, and don't really have a plan--not like a "real" director.
-that performing the "role" of director is the extent of my ability, and that I'm enjoying it too much to give it up or change it. I can pace and take notes with the best of them!
-that picking out a dress for opening night is starting to take up a lot more of my time than is warranted...maybe.
Ugh. As I write this my stomach is churning and my heart is pounding...I'm found out! &^$TU^TYOUIU%RI&U&T$$@%#$%*^(*)&*_*)*^*^$#@##&^%&(*&)*
So what am I going to do??
Well, I've done the first thing: confess. Next thing is figuring out what the real work is, and separating it from the busy work, and the procrastinating work
1) I need to make a list of scenes that need attention--everything about them that needs attention, and start figuring out how I'm going to tackle those things. Less worry about the casts' schedule and them waiting around too much--and more attention on how I'm going to accomplish the tasks. This includes any set, prop, or tech stuff. Kind of like being the friend instead of the teacher...
2) I want to talk to Martin about some of the things that he is talking to Principles about. I think we are on the same page more than I think. Maybe even plan a set time after rehearsals to compare notes. (Bring wine)
3) I'm going to videotape rehearsals and use the tapes to make more notes than what I see during rehearsal. I'm missing a lot because I'm trying to do too much.
4) Be generous and open to other's thoughts. Use Jane and Freda's notes in a timely manner. Figure out when we can compare and line them up. After rehearsals, maybe?
5) Let Sean, Todd and everyone else take care of what they can take care of...up to and including the schedule.
6) Clarify what I want: What I've wanted from the beginning is authenticity: real connections between people so that the story is clear and understandable. That is why we have focused on relationships and "Doing what you'd Do" (This is an entire new blog post--oh my. More on this later.)
The real bottom line is that I need to believe in myself. I have prepped thoroughly. I am a good communicator. I know what I want, and I can get there if I can focus my energy, and spend it with purpose and precision on the things that I need to focus on, only. One thing at a time. One step at a time. One Day at a time.
Weasels. They are everywhere.
One Day More...
xo
K
Tuesday, February 18, 2014
An answer to my own question....
So, yesterday I was musing about the usefulness of video-taping rehearsals. I was on the fence for a lot of reasons. Well, one of my cast members showed me a digital recording of this weekend's rehearsal, and I can TOTALLY see how useful it would be to watch and take notes--as well as doing that while it's happening. It was actually a little alarming how much I missed when seeing the rehearsal for the first time...and yes, the camera does catch pretty much everything, "faking" it or not. I will plan on using this tool a whole lot more for the next month. The only tricky part is how to share it with cast members in an efficient way.
Just thought I'd pass it on!
Back to the BArricades!
K
Just thought I'd pass it on!
Back to the BArricades!
K
Monday, February 17, 2014
The Days are spinning by....
My rehearsal scheduling is ambitious. I often run out of time before I am completely finished with working on a scene or a moment that's been scheduled. Sometimes it is easy to be intently focused on a small piece that seems very important. Other times, I let things slide that should be fixed because other, bigger things need to be fixed. I take a lot of notes, and try to focus on fixing the biggest, most important things --or maybe the most obvious things--first. Layering, layering--trying to solidify the important moments and still pay attention to background work--it adds texture, depth. It can also be distracting if ensemble members don't have a sense of the scene.
I often rely on the actors' sense and understanding of the scene to make it work...case in point: At tonight's rehearsal Abby--our Fantine--(She is so brave.) is still exploring ideas about her character. I shared with the Lovely Ladies that Abby and I have come to feel that Fantine is operating from a place of strength as opposed to weakness. As devastating as her choices are, she is still making choices to fulfill her ultimate objective: taking care of Cosette. I asked them to consider how they would react to her if she was not a weakling to be bullied into submission, but an active agent in her situation. The words that they came up with--ally, sister, colleague--imbued the scene with an ephemera of difference. I loved the direction it took, and I loved how all of their faces and bodies were engaged in a different way: Abby's included. Their thoughts about the scene have a powerful effect on how it plays out because they are doing it and creating it together.
My principle actors are doing deep and thoughtful work outside of rehearsal. I love seeing their thought process coming through the music and text. It's a process of discovery and unless they go through it--connecting what's truthful inside of them with what's truthful inside their characters--they won't find what they need to make their characters authentic and emotional true. They all seem to be digging deep and enjoying the discoveries and the mental gymnastics...and again, not just the principles! My ensemble continues to astonish me with the depth and thoughtfulness of their work.
I am still getting to know many of my actors, finding out what makes them think or smile or feel good about their work. Our honeymoon period is definitely over--I am occasionally irritated by individuals' behavior, (and I'm sure they are with me, too!) but overall, most people are still eager, prepared and ready to work. We are moving into the part of the rehearsal process where we get to discuss ideas and explore possibilities in rehearsal--and I LOVE that part!
So, to link that thought with another one that's been lurking in my head: Is using technology to help actors see themselves useful? Yes, I know it's useful for technical elements,: turn more to the left, stand straighter, reach more, make sure that you are evenly spaced, etc., etc., but what about for finding truth? Does the camera catch that? Can the camera see if someone is "faking" it --for lack of a better word? I don't know--I haven't used a video camera enough to know. I'm very hesitant to rely on it because it is external to the actor...only the actor can tell if he/she is being truthful to his/her action/objective/story. And also, if you are checking the camera to see if you look "right" --what does that do for your search for truth? I guess if you combine it somehow....Just not sure. It--the camera--can definitely catch blocking errors or uneven-ness, weird individual moves or actions, things that don't fit that I didn't see while in the moment, but I don't think I would want to rely on it as the ultimate "fixer".
Alright. I am spinning into sleep as I write this. I bet I'll dream about it.
To the Barricades...
Kelly
I often rely on the actors' sense and understanding of the scene to make it work...case in point: At tonight's rehearsal Abby--our Fantine--(She is so brave.) is still exploring ideas about her character. I shared with the Lovely Ladies that Abby and I have come to feel that Fantine is operating from a place of strength as opposed to weakness. As devastating as her choices are, she is still making choices to fulfill her ultimate objective: taking care of Cosette. I asked them to consider how they would react to her if she was not a weakling to be bullied into submission, but an active agent in her situation. The words that they came up with--ally, sister, colleague--imbued the scene with an ephemera of difference. I loved the direction it took, and I loved how all of their faces and bodies were engaged in a different way: Abby's included. Their thoughts about the scene have a powerful effect on how it plays out because they are doing it and creating it together.
My principle actors are doing deep and thoughtful work outside of rehearsal. I love seeing their thought process coming through the music and text. It's a process of discovery and unless they go through it--connecting what's truthful inside of them with what's truthful inside their characters--they won't find what they need to make their characters authentic and emotional true. They all seem to be digging deep and enjoying the discoveries and the mental gymnastics...and again, not just the principles! My ensemble continues to astonish me with the depth and thoughtfulness of their work.
I am still getting to know many of my actors, finding out what makes them think or smile or feel good about their work. Our honeymoon period is definitely over--I am occasionally irritated by individuals' behavior, (and I'm sure they are with me, too!) but overall, most people are still eager, prepared and ready to work. We are moving into the part of the rehearsal process where we get to discuss ideas and explore possibilities in rehearsal--and I LOVE that part!
So, to link that thought with another one that's been lurking in my head: Is using technology to help actors see themselves useful? Yes, I know it's useful for technical elements,: turn more to the left, stand straighter, reach more, make sure that you are evenly spaced, etc., etc., but what about for finding truth? Does the camera catch that? Can the camera see if someone is "faking" it --for lack of a better word? I don't know--I haven't used a video camera enough to know. I'm very hesitant to rely on it because it is external to the actor...only the actor can tell if he/she is being truthful to his/her action/objective/story. And also, if you are checking the camera to see if you look "right" --what does that do for your search for truth? I guess if you combine it somehow....Just not sure. It--the camera--can definitely catch blocking errors or uneven-ness, weird individual moves or actions, things that don't fit that I didn't see while in the moment, but I don't think I would want to rely on it as the ultimate "fixer".
Alright. I am spinning into sleep as I write this. I bet I'll dream about it.
To the Barricades...
Kelly
Sunday, February 16, 2014
Pot-Luck
What a great evening! Just got home from a cast and crew potluck dinner--post-rehearsal! It was a blast to socialize, drink adult beverages and relax with this great community of people. We had a huge crew from the costume shop come about 1/2 way through our rehearsal of the Act 1 prologue--they were very appreciative, and I could see that Ian (our JVJ) was aware that it was a performance. He handled it beautifully; kept working, kept his focus and continued to drive through his actions and objectives. First time for our cast to see him work though this, too...
I made a short speech tonight about making this show a priority I know that we ALL we have stuff to do. We all have busy lives outside of the rehearsal space. I asked them to think about when they would be choosing to make it the number one priority, and when would other things go by the wayside for the sake of the show. This is the time in the rehearsal process when it seems that we will be rehearsing forever, and that we'll be joking and goofing for a long time...but it's going to go by so quickly! Making that decision now will make a huge difference to everyone in the company. It's a subtle (and sometimes not so subtle) shift in energy and intention. I'm going to bed early because I have a big rehearsal tomorrow, I'm going to re-schedule that business trip because that's a big rehearsal weekend. I won't do that then because it's a rehearsal night. Etc. I hope I made the point without pointing fingers, because that wasn't my intentioon. It's like a disease that spreads through a cast--I haven't missed a rehearsal, so I'll go away for the weekend or make another commitment for a rehearsal night. No one has a better reason or excuse to miss rehearsal than anyone else--and it almost feels disrespectful at this point to ask or plan to miss any rehearsals.
Alright--off the soapbox. You either get it or you don't.
Our prologue is coming along great...dynamic, vivid, energetic. Patrick's fight choreography is intense and interesting, and the sounds that the convicts are making is hair-raising! And the contrast between each small scene is beautiful. Small adjustments here and there--just to solidify decision points and people's reaction's to JVJ. I can't wait to start working larger chunks of things--I'm haven't yet been able to step back and see the whole picture. I'm still looking at individuals. It's coming, though!
We're doing more Barricade scenes this week, as well as having our weapons demo. A spcialist who does a lot re-enactments is coming to demo some period weapons and doing a "live" shoot. THAT will be really interesting for all of our Barricade boys! Cheri is also completing the actual Barricade in the shop--and it is looking fantastic. Patrick gave some input rergarding places for students to "die" and that really got her imagination going! Things are moving forward!
First some Downton Abbey...then to the Barricades!!
Kelly
I made a short speech tonight about making this show a priority I know that we ALL we have stuff to do. We all have busy lives outside of the rehearsal space. I asked them to think about when they would be choosing to make it the number one priority, and when would other things go by the wayside for the sake of the show. This is the time in the rehearsal process when it seems that we will be rehearsing forever, and that we'll be joking and goofing for a long time...but it's going to go by so quickly! Making that decision now will make a huge difference to everyone in the company. It's a subtle (and sometimes not so subtle) shift in energy and intention. I'm going to bed early because I have a big rehearsal tomorrow, I'm going to re-schedule that business trip because that's a big rehearsal weekend. I won't do that then because it's a rehearsal night. Etc. I hope I made the point without pointing fingers, because that wasn't my intentioon. It's like a disease that spreads through a cast--I haven't missed a rehearsal, so I'll go away for the weekend or make another commitment for a rehearsal night. No one has a better reason or excuse to miss rehearsal than anyone else--and it almost feels disrespectful at this point to ask or plan to miss any rehearsals.
Alright--off the soapbox. You either get it or you don't.
Our prologue is coming along great...dynamic, vivid, energetic. Patrick's fight choreography is intense and interesting, and the sounds that the convicts are making is hair-raising! And the contrast between each small scene is beautiful. Small adjustments here and there--just to solidify decision points and people's reaction's to JVJ. I can't wait to start working larger chunks of things--I'm haven't yet been able to step back and see the whole picture. I'm still looking at individuals. It's coming, though!
We're doing more Barricade scenes this week, as well as having our weapons demo. A spcialist who does a lot re-enactments is coming to demo some period weapons and doing a "live" shoot. THAT will be really interesting for all of our Barricade boys! Cheri is also completing the actual Barricade in the shop--and it is looking fantastic. Patrick gave some input rergarding places for students to "die" and that really got her imagination going! Things are moving forward!
First some Downton Abbey...then to the Barricades!!
Kelly
Sunday, February 9, 2014
Finding the Shape
As we move through this rehearsal process, my thoughts about "where to go next" are changing. When we first started, I grappled with putting down basic blocking shapes, and the enormity of that task! Now that we are about 5 weeks in, I am able to start looking at the show as a whole--instead of in bloody blocking sections!--and seeing if the shape of it matches the story. I can determine if we need to stagger entrances and exits, extend a moment, speed up a moment, move people so things are balanced visually or even unbalanced visually to heighten an important plot point. I am starting to have a sense of dynamics--what the story requires in terms of tempo, coloration, intensity, and again, shape.
This is my favorite part of the rehearsal process! I'm able to start carving time for individual and small group work--so important to create the details and continuity that are critical to the "shape", authenticity and vibrancy of the story. And more importantly, so the actors can start thinking more deeply about "What problem am I solving right now, and how am I solving it?" I can suggest ideas and map circumstances to guide them toward the maximum range of choices for their character. I know what I want, but the actors have to explore and discover a lot of stuff before we nail it down!
Today, I worked with Mark and Ian; our Javert and JVJ. We started with the first scene that they do together and worked through all of the scenes they share--from top to bottom. Even though the scenes are separate, and they don't ever have consecutive scenes--I wanted them to have a chance to choose how to show their characters' changes as the story progresses. They share a story arc, and examining the details within each scene will specify and focus their choices as they move through the show...almost like markers. For example: "If I have to feel and do "this"for the scene withe Javert, then I need to do this here for this scene"
Friday night, I had an ENTIRE rehearsal with my "Barricade Boys"; our first rehearsal with all of them present since we've started!! I had Jane warm them up hard--til they were sweaty. Then I had them to do "impact" work--as we did in auditions--pretending to be hit by bullets, and working to extend and stylize the impact through their whole bodies. I then had them do some group improv work around team-work by setting the task of crossing the stage without touching the stage. They figured out why pretty quickly...I wanted them to start building relationships based on their characters. I had then stand in a line with Enjolras at one end and Grantaire at the other...kind of a continuum between skepticicsm and revolutionary zeal. They had to place themselves where they thought their characters would be..somewhere between Enjolras and Grantaire. I asked them to look at where their comrades were and how their relationships might be affected. Definitely started some conversations about what they stood for, and what they "bring to the table" for the revolution!
The best part was that after our rehearsal, Ben, our Enjolras, said, "We should all go play Paintball!" Perfect
I just got a call from my stage manager--have to look at the rehearsal schedule...one of our updates isn't going to work because of an absent actor. GRrrrrrrrr...impossible puzzle.
To the Schedule!
KAK
This is my favorite part of the rehearsal process! I'm able to start carving time for individual and small group work--so important to create the details and continuity that are critical to the "shape", authenticity and vibrancy of the story. And more importantly, so the actors can start thinking more deeply about "What problem am I solving right now, and how am I solving it?" I can suggest ideas and map circumstances to guide them toward the maximum range of choices for their character. I know what I want, but the actors have to explore and discover a lot of stuff before we nail it down!
Today, I worked with Mark and Ian; our Javert and JVJ. We started with the first scene that they do together and worked through all of the scenes they share--from top to bottom. Even though the scenes are separate, and they don't ever have consecutive scenes--I wanted them to have a chance to choose how to show their characters' changes as the story progresses. They share a story arc, and examining the details within each scene will specify and focus their choices as they move through the show...almost like markers. For example: "If I have to feel and do "this"for the scene withe Javert, then I need to do this here for this scene"
Friday night, I had an ENTIRE rehearsal with my "Barricade Boys"; our first rehearsal with all of them present since we've started!! I had Jane warm them up hard--til they were sweaty. Then I had them to do "impact" work--as we did in auditions--pretending to be hit by bullets, and working to extend and stylize the impact through their whole bodies. I then had them do some group improv work around team-work by setting the task of crossing the stage without touching the stage. They figured out why pretty quickly...I wanted them to start building relationships based on their characters. I had then stand in a line with Enjolras at one end and Grantaire at the other...kind of a continuum between skepticicsm and revolutionary zeal. They had to place themselves where they thought their characters would be..somewhere between Enjolras and Grantaire. I asked them to look at where their comrades were and how their relationships might be affected. Definitely started some conversations about what they stood for, and what they "bring to the table" for the revolution!
The best part was that after our rehearsal, Ben, our Enjolras, said, "We should all go play Paintball!" Perfect
I just got a call from my stage manager--have to look at the rehearsal schedule...one of our updates isn't going to work because of an absent actor. GRrrrrrrrr...impossible puzzle.
To the Schedule!
KAK
Monday, February 3, 2014
Athletes of the Heart.
Tonight's rehearsal was calm and focused and fruitful. We worked on "Drink with Me" for the first time; layering on the whys and whats of the story. I realized in prepping for this scene that it's a sort of turning point at the Barricade for these young men. They've seen death (Eponine's) and may be facing their own in a few short hours. The women are there as a support and as helpers: loading guns, fixing bandages, wrapping cartridges and also comforting those making an ultimate sacrifice. The third time we went through it I asked all the actors, men, women and students to make decisions: who is going to get their body if they die on the Barricade? How will they send a message home? Did they leave a wife, mother, sister behind to come to the Barricade? In the moments as the song is winding down and they settle into their sleeping spots, some prayed, some held a stranger, some clung to their Barricade-mates. Three of the actors make a family picture of a mother, teen son and father at the Barricade together. Wow. Gorgeous and a beautiful layer.
Our Gavroche, Nathan was directed to show his care for Grantaire. I told him that no one else likes Grantaire except Gavroche, and that it was really important for the audience to see Gavroche's care. I told him to move down left to join Jayden (Grantaire) once he crossed down. Nathan crossed about halfway from the Barricade upstage toward down left, came up behind Jayden and gently patted him on the back. Jayden opened up just a hair so that Nathan's face could be seen--right at center--looking up at Grantaire with a solemn and open look of friendship and care. Whew! It was beautiful and a very happy accident of discovery--thanks to Jayden, for finding it, and Nathan for starting it!
The 2nd half of rehearsal was the Robbery at Rue Plumet. So much happens, so fast The actors were making adjustments to blocking and timing as needed. (Michael, my Marius made a comment about things happening so fast, and finally realizing just how fast they were. Yes! So many of the relationships in this show have to be explained in one song or one gesture!) And layering on character movement, voices, qualities...The scene is physical and fast and needs to convey a different type of energy--which they had picked up by the third time we ran it. Good stuff, smart actors.
Sean asked me a few times: "How do you do that?" My first instinct is to say, "Do what?" I can't claim total responsibility! The actors are doing their work. I think by laying the foundation and passionately explaining the whats and whys, I give people permission to go to the sad places, the poignant places, the moving places, the human places. The actors are being honest and that's about as effective as you can be. I am so proud of their work and our collaboration: my actors are athletes of the Heart!
We will be blocking the Barricade for most of this week and next. I anticipate some grueling rehearsals--as we block Gavroche's death, as we block Bring Him Home and the Final Battle. I've made the decision to take more time to get through it and have given the cast an extra two weeks to be off book for Act 2. It moves much faster than Act 1, but is going to take more time to build.
Submarine! as in: going under for an extended time. See you on the flip side!
To the Barricade...for real!
Kelly
Our Gavroche, Nathan was directed to show his care for Grantaire. I told him that no one else likes Grantaire except Gavroche, and that it was really important for the audience to see Gavroche's care. I told him to move down left to join Jayden (Grantaire) once he crossed down. Nathan crossed about halfway from the Barricade upstage toward down left, came up behind Jayden and gently patted him on the back. Jayden opened up just a hair so that Nathan's face could be seen--right at center--looking up at Grantaire with a solemn and open look of friendship and care. Whew! It was beautiful and a very happy accident of discovery--thanks to Jayden, for finding it, and Nathan for starting it!
The 2nd half of rehearsal was the Robbery at Rue Plumet. So much happens, so fast The actors were making adjustments to blocking and timing as needed. (Michael, my Marius made a comment about things happening so fast, and finally realizing just how fast they were. Yes! So many of the relationships in this show have to be explained in one song or one gesture!) And layering on character movement, voices, qualities...The scene is physical and fast and needs to convey a different type of energy--which they had picked up by the third time we ran it. Good stuff, smart actors.
Sean asked me a few times: "How do you do that?" My first instinct is to say, "Do what?" I can't claim total responsibility! The actors are doing their work. I think by laying the foundation and passionately explaining the whats and whys, I give people permission to go to the sad places, the poignant places, the moving places, the human places. The actors are being honest and that's about as effective as you can be. I am so proud of their work and our collaboration: my actors are athletes of the Heart!
We will be blocking the Barricade for most of this week and next. I anticipate some grueling rehearsals--as we block Gavroche's death, as we block Bring Him Home and the Final Battle. I've made the decision to take more time to get through it and have given the cast an extra two weeks to be off book for Act 2. It moves much faster than Act 1, but is going to take more time to build.
Submarine! as in: going under for an extended time. See you on the flip side!
To the Barricade...for real!
Kelly
Saturday, February 1, 2014
Combat and Contrasts
I have the extreme good fortune to be working with a seasoned, certified fight choreographer for this show. Patrick is also a member of our ensemble and a good friend, besides. One of the first things he asked for when I asked what he needed from me to prep the fight choreography was/were "stories": the story of how the "fight" unfolds, why it happens, does anyone fight back, are they eager, reluctant; are there any specific moves I need at any specific times.... Verbally detailing the back and forth of a physical interaction is a fascinating exercise in specificity, for me, and for the actors. It's exquisitely clear when building a piece of stage combat--that everything happens for a specific reason. Literally, no move happens without a specific reason, and no countermove happens without a specific reason. Expanding that level of specificity to include all the action that happening on stage is first of all, worth the time it takes to build! and second, will add a level of richness, detail and texture to the story-telling. Hopefully, people will come to the show and say, "There was so much to see! Everyone on stage was so involved and interesting! I'll have to see it again!" (haha) So, thanks to Patrick for sending me that lesson!
Last night's rehearsal was a study in contrasts. We worked Convicts in the first part of rehearsal, developing stage combat choreography between convicts and guards. Patrick is an excellent teacher and our actors are incredibly tuned in and eager to learn and try new things. Some of them have worked with him in other shows and easily added "story" details to flesh out the basic stage combat moves. Also, stage combat work is just FUN. It's physically and mentally engaging. It's intense partner work, and thrilling to watch, even in it's early stages. Thrilling and sweaty!
At the other end of our rehearsal was "Turning", the female, small group choral number after Javert's Suicide. I am very proud to say that Jane and Freda choreographed and staged the entire number, and I loved it. We worked to "specify" some of the reasons that they were doing things--It's a funeral march, It's what women have been doing for 1000s of years: picking up and going on, It's seeing who is missing after the battle-How can you solve the problem of this loss? --and again, our actors build with us and layer on nuances that were deeply, breathtakingly moving. At one point, I positioned little Ella's, Stacy and Betsy's gazes: Ella is 8 and looks up and out to the balcony, Stacy, the mother, looks at her child Ella, and Betsy as the crone, looks at her daughter Stacy. It was a beautiful moment that felt so right that we all held our breath for a minute. The number has a haunting quality to it...Quite a contrast from the grunting and hollering during fight choreography work!
And the work goes on!
To the Barricades!
K
Last night's rehearsal was a study in contrasts. We worked Convicts in the first part of rehearsal, developing stage combat choreography between convicts and guards. Patrick is an excellent teacher and our actors are incredibly tuned in and eager to learn and try new things. Some of them have worked with him in other shows and easily added "story" details to flesh out the basic stage combat moves. Also, stage combat work is just FUN. It's physically and mentally engaging. It's intense partner work, and thrilling to watch, even in it's early stages. Thrilling and sweaty!
At the other end of our rehearsal was "Turning", the female, small group choral number after Javert's Suicide. I am very proud to say that Jane and Freda choreographed and staged the entire number, and I loved it. We worked to "specify" some of the reasons that they were doing things--It's a funeral march, It's what women have been doing for 1000s of years: picking up and going on, It's seeing who is missing after the battle-How can you solve the problem of this loss? --and again, our actors build with us and layer on nuances that were deeply, breathtakingly moving. At one point, I positioned little Ella's, Stacy and Betsy's gazes: Ella is 8 and looks up and out to the balcony, Stacy, the mother, looks at her child Ella, and Betsy as the crone, looks at her daughter Stacy. It was a beautiful moment that felt so right that we all held our breath for a minute. The number has a haunting quality to it...Quite a contrast from the grunting and hollering during fight choreography work!
And the work goes on!
To the Barricades!
K
"The VDSUs are Flocking!"
"Flocking" is something Jane, my choreographer, and I have taught and experienced as dance and theatre folk--but mostly as a finite, one-time exercise. It's a directed, non-verbal group exercise that focuses on the interaction between people...For example, WE might say to a group of 8 to 10 people, "Put yourselves in a triangle formation and let the point people pass a movement around the out edge of the triangle. Let your body move in different levels and make sure everyone in the group lets the movement pass through them." When we were preparing our audition material and trying to find something that would let potential cast members show us their ability to work as ensemble we created a "flocking" segment for auditions. Even during auditions, the work that actors did--and the activity itself--created both truly beautiful stage pictures, and highlighted those actors who were tuned into others' bodies and peripheral movement. It was a happy accident of discovery.
We've discovered, in fact, that it is such a useful tool that we continue to reference it in rehearsals...and what's even better is that our cast knows what we mean when we say "try it in a flocking way". They understand that it's a movement style and vocabulary that is particular to what we're trying to create.
So, we scheduled three blocking rehearsals this week that include large numbers of cast: Paris Beggars, Paris, Attempted Robbery and The People's Song. I try--as you know--to come in as prepared as possible for rehearsals, but I hit a roadblock and needed to experiment with some possibilities using actual people! What this means for our cast is a lot of hurry up and wait, standing around while I work with small groups within the big group.
AS rehearsals unfolded, I became more and more fretful about how much everyone was standing around, and more and more anxious about my preparation. I felt like I was failing my cast. I rushed through what I had, put it on their bodies and stepped back to view it--yuck. Not happy at all. So, back to the drawing board and see what I can do to fix it: too many people, static where it needs to be dynamic, not enough real business for actors, where are the stories?, etc., etc., I also realized--in the middle of trying to fix things on paper--Holy Crap--there is no way those two set pieces are going to be able to move into place in one measure of music. I try to use the movement of the set pieces as part of the dynamics of the entire transition into Paris Beggars. It seems to work on paper , so I bring it to my cast and explain what has to happen. Margaret, my Madame Thenardier, says "The VDSUs are Flocking!" and My God, she's right! The cast is nodding their heads and they get the transition in a whole different way--and so do I. Its going to work! There is a lot still to fix, but the scene is on target and moving toward where it needs to be ...and my actors continue to be collaborators in the best possible way.
Let's FLOCK our way To The Barricades!
Kelly
We've discovered, in fact, that it is such a useful tool that we continue to reference it in rehearsals...and what's even better is that our cast knows what we mean when we say "try it in a flocking way". They understand that it's a movement style and vocabulary that is particular to what we're trying to create.
So, we scheduled three blocking rehearsals this week that include large numbers of cast: Paris Beggars, Paris, Attempted Robbery and The People's Song. I try--as you know--to come in as prepared as possible for rehearsals, but I hit a roadblock and needed to experiment with some possibilities using actual people! What this means for our cast is a lot of hurry up and wait, standing around while I work with small groups within the big group.
AS rehearsals unfolded, I became more and more fretful about how much everyone was standing around, and more and more anxious about my preparation. I felt like I was failing my cast. I rushed through what I had, put it on their bodies and stepped back to view it--yuck. Not happy at all. So, back to the drawing board and see what I can do to fix it: too many people, static where it needs to be dynamic, not enough real business for actors, where are the stories?, etc., etc., I also realized--in the middle of trying to fix things on paper--Holy Crap--there is no way those two set pieces are going to be able to move into place in one measure of music. I try to use the movement of the set pieces as part of the dynamics of the entire transition into Paris Beggars. It seems to work on paper , so I bring it to my cast and explain what has to happen. Margaret, my Madame Thenardier, says "The VDSUs are Flocking!" and My God, she's right! The cast is nodding their heads and they get the transition in a whole different way--and so do I. Its going to work! There is a lot still to fix, but the scene is on target and moving toward where it needs to be ...and my actors continue to be collaborators in the best possible way.
Let's FLOCK our way To The Barricades!
Kelly
Thursday, January 23, 2014
Intuition and Change
As you probably have guessed from other posts, I work very hard to be as prepared as possible for rehearsals. In this phase of the game that means having blocking arranged and set for single actors and groups of actors: "move here", "cross there", "hold til the end, then go". I have a reason for everything that they are being asked to do--whether the actor asks me or not initially, eventually it will come up: "Why am I doing this?". I also give general backstory information:"You're all family of sorts" or "You are used to him doing this--he does it all the time" I ask them to think about and make decisions about the relationships they have with the people on stage...that affects how they move and why. Finally, when the basic blocking is done and mostly cleaned up we can go back to the best question I've ever used: "What problem are you trying to solve here?" That makes things immediate, specific and personal...which makes it authentic and exciting! We are not there yet.
What's interesting to me--and a curiosity--is how much of the work of delivering this information to individual actors is intuition based. Not necessarily the "traffic pattern" blocking where large groups just need to move to get on or off stage, but the more specific, smaller movements that are so closely tied to the character's story that the actor is telling. For example, tonight I worked with an actor that I don't know very well. I don't know yet how this actor prepares or processes, so part of my delivery has to be adjusted while I'm in the process of delivering it. I had a large amount of information about how the character moves to share with this actor, and had to make some guesses about how to start. I don't want to overload the actor. I do want to start working on some very specific things. I have to "feel" the actor out, moment by moment. It's a balancing act, and each actor responds differently to everything I do. That back and forth is my most favorite part of this work...the dialogue, the push and pull, the feeling of discovery and opening up when an actor finds something new...all very good stuff, both tonight and in general!
I find myself using actors' bodies as a starting point., alot. Asking them to notice a particular stance, posture or position they habitually hold or find themselves in and then asking them to alter it subtly or dramatically, and then checking in to see how if feels for their character. I think actors are surprised by how much their bodies can help them figure things out! It definitely unlocks them a bit.
Also at tonight's rehearsal, we had a cast member drop out...and not an insignificant role. We quickly re-cast and moved 2 actors to new roles, but....the show I first imagined is gone before I even had a chance to play with it. I'm not sure how to feel about that. Both actors that are in new roles are good and bring great things to their new roles...it's just not my original vision or choice or whatever the word is...I think I'm still in a state of shock. This on top of EVERYTHING ELSE that happens at every rehearsal!!
I also discovered that my younger actors don't function well past 8:30 at night. Poor Gavroche was ready to fall over!
I'll leave you with a piece of wisdom from Kerstin:
"Because I found it hard, I felt honored."
To the Barricades!
Monday, January 20, 2014
Day 12, "haphazardly mounted on a run-away beast"
Post rehearsal, Monday, 1/20. We are finishing up our 2nd? 3rd? week of rehearsal--the days fly by in a blur of preparation, meetings and rehearsals. I have a sense of being haphazardly mounted on a galloping, straining run-away beast! On the one hand, I have my e-mail open 24/7 for news and updates from my stage managers, designers and crew-heads...We were so closely in contact before rehearsals started that I feel out-of-touch! I worry that I've missed a critical clarification point or note about specific blocking that is going to require a special prop, or a quick change, or a different placement of a set piece. My list of things to do tomorrow includes combing through my most recent blocking plans and comparing them with the latest props list for any updates or changes. I owe it to my hard-working crew chiefs and designers to be absolutely sure and certain of what I am asking them to find, make and build! Also, it feels like a nagging, loose thread if I am not absolutely certain of who has what prop and how each prop is going to be used.
And on the other hand, my cast is...amazing. I am astonished at both their collective and individual story-telling abilities. I give them the most basic blocking-simple patterns, suggestions about how to move, the background story--and they make it come alive. They do homework, practice their music and come prepared to every rehearsal. They think. They pretend. They imagine. Even with books in hand, they are straining to invest themselves and tell the story...and so, so quickly! We have had 10? 12? rehearsals. We are almost through with basic blocking for Act 1, and I hope to be through Act 2 by mid-February. Again, I have this sense of a beast, barely in check, straining at the leash, wanting to be let loose. It's exhilarating! The energy, the raw power of this group is something special...and I am working hard to get us to a point that we can start shaping it and using it to drive the story.
I'm reminded of something that I wrote earlier in this process: "I just want to get out of the way and let the story rip." I think, I hope...I think that that is happening. I think I am successfully walking the fine line between being prepared and creating a dialogue with my actors...not either/or, but both...being prepared enough to be able have a dialogue--even with a group of actors. I hope so....I have to guess that I am, because I there's no way to get that kind of feed-back in rehearsal. Most of my actors SEEM satisfied when they leave. Most seem to have their questions answered, and seem engaged and energized when they are in rehearsal. I'll have to take that as feedback and stop worrying about it. It almost seems like it's directing itself!
I am constantly juggling two things: the tasks of a director and the endless questioning of my own inner critic. Sometimes I confuse the two... I often hear myself say "Is that right?" in reference to blocking or actor movement or focus or counts of music...I have people to help me get it "right". I need to focus on "Is it true?" The bottom line is that it's my "truth" that shapes the story, and that is what I have to focus on as I harness the power of this amazing BEAST!
To the Barricades!
And on the other hand, my cast is...amazing. I am astonished at both their collective and individual story-telling abilities. I give them the most basic blocking-simple patterns, suggestions about how to move, the background story--and they make it come alive. They do homework, practice their music and come prepared to every rehearsal. They think. They pretend. They imagine. Even with books in hand, they are straining to invest themselves and tell the story...and so, so quickly! We have had 10? 12? rehearsals. We are almost through with basic blocking for Act 1, and I hope to be through Act 2 by mid-February. Again, I have this sense of a beast, barely in check, straining at the leash, wanting to be let loose. It's exhilarating! The energy, the raw power of this group is something special...and I am working hard to get us to a point that we can start shaping it and using it to drive the story.
I'm reminded of something that I wrote earlier in this process: "I just want to get out of the way and let the story rip." I think, I hope...I think that that is happening. I think I am successfully walking the fine line between being prepared and creating a dialogue with my actors...not either/or, but both...being prepared enough to be able have a dialogue--even with a group of actors. I hope so....I have to guess that I am, because I there's no way to get that kind of feed-back in rehearsal. Most of my actors SEEM satisfied when they leave. Most seem to have their questions answered, and seem engaged and energized when they are in rehearsal. I'll have to take that as feedback and stop worrying about it. It almost seems like it's directing itself!
I am constantly juggling two things: the tasks of a director and the endless questioning of my own inner critic. Sometimes I confuse the two... I often hear myself say "Is that right?" in reference to blocking or actor movement or focus or counts of music...I have people to help me get it "right". I need to focus on "Is it true?" The bottom line is that it's my "truth" that shapes the story, and that is what I have to focus on as I harness the power of this amazing BEAST!
To the Barricades!
Monday, January 6, 2014
And we're off!
So, here we are! After a Holiday hiatus, Rehearsals are up and running; we've had two glorious days of full cast music rehearsals and are continuing in that vein for another week or so. Our cast is incredibly responsive to Martin's direction. AS always, Martin's direct and demanding style can make people a little nervous ...especially if cast members aren't 100% on the notes. It is a note learning rehearsal as well, but Martin goes pretty fast, and cast members are definitely more comfortable if they have some familiarity with the music when they come in. Martin is also very responsive to questions and requests for notes or harmonies, as is Carol, our accompanist. At any rate, several seasoned Lyric members have let me know that they are looking forward to the challenge--if with a little nervousness!
At last night's rehearsal scheduling meeting, we laid out 2 weeks of rehearsal--mostly consisting of blocking. You may have heard me say previously that blocking is...contra-indicated by my brain set-up? Well, that's not entirely true, but to a certain extent planning for the physical movement of all those people makes me anxious. I tend to approach it as a "back and forth" task--I give a little bit of movement, ask a lot of questions, hear what the actor thinks, then together, we adjust. I'm approaching this task a little bit differently this time--basically just laying the basic groundwork out for people and telling them where to go on stage. We will have to fill in the details of why? and what problem are you solving? later. We'll see how THAT goes!
One of the tasks that I was really looking forward to is the table talk sessions with actors. It gives me a chance to share historical information, background information from the novel, thoughts about character, and most importantly for principals--how do they like to work? I don't really know some of the actors playing principal roles (our JVJ, for one!) and it's very important to me to create a connection and a sense of trust with my actors. I want them to know that I consider this work a collaboration, a sharing of ideas and a dialogue. If I can't make space for what they can bring to the process, then I --and our story--is missing something. I did meet with several people this week--including the whole group of actors involved with the docks/Lovely Ladies--and I started to get a glimpse of who these people are! Yippee!!
I've found a very interesting question to ask while blocking with actors: "What problem are you solving right now?" Asking and answering that question at the start of blocking rehearsals focuses us on the action, the verbs and the doing. You have to be engaged when you answer the question because --a boon for ALL actors: It gives you something to DO all the time! It is also a lot easier to understand than actions, objectives, etc. I'm excited about using it as a tool to open dialogue and conversation about what's happening in the scenes.
Soon it will be my turn!
To the Barricades!
Kelly
At last night's rehearsal scheduling meeting, we laid out 2 weeks of rehearsal--mostly consisting of blocking. You may have heard me say previously that blocking is...contra-indicated by my brain set-up? Well, that's not entirely true, but to a certain extent planning for the physical movement of all those people makes me anxious. I tend to approach it as a "back and forth" task--I give a little bit of movement, ask a lot of questions, hear what the actor thinks, then together, we adjust. I'm approaching this task a little bit differently this time--basically just laying the basic groundwork out for people and telling them where to go on stage. We will have to fill in the details of why? and what problem are you solving? later. We'll see how THAT goes!
One of the tasks that I was really looking forward to is the table talk sessions with actors. It gives me a chance to share historical information, background information from the novel, thoughts about character, and most importantly for principals--how do they like to work? I don't really know some of the actors playing principal roles (our JVJ, for one!) and it's very important to me to create a connection and a sense of trust with my actors. I want them to know that I consider this work a collaboration, a sharing of ideas and a dialogue. If I can't make space for what they can bring to the process, then I --and our story--is missing something. I did meet with several people this week--including the whole group of actors involved with the docks/Lovely Ladies--and I started to get a glimpse of who these people are! Yippee!!
I've found a very interesting question to ask while blocking with actors: "What problem are you solving right now?" Asking and answering that question at the start of blocking rehearsals focuses us on the action, the verbs and the doing. You have to be engaged when you answer the question because --a boon for ALL actors: It gives you something to DO all the time! It is also a lot easier to understand than actions, objectives, etc. I'm excited about using it as a tool to open dialogue and conversation about what's happening in the scenes.
Soon it will be my turn!
To the Barricades!
Kelly
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