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
Thursday, February 27, 2014
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
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