Onstage - TheatreFace

Catch Me If You Can Christmas Tree

2016-05-17T20:10:38.752Z

I'm looking for suggestions as to how to create Paula Abagnale's Christmas tree for an upcoming production of Catch Me If You Can.

Sources for breakable vases etc.

2016-03-16T12:20:17.360Z

Hey folks

Need to locate a source for vases, "glassware", etc that will break on stage but not shatter into dangerous shards. A while ago I asked you guys for edible newsprint and you saved my useless butt, I'm hoping you can do that again.

Thanks

Weasel

What colors do you use in your moving head lights

2016-02-04T02:18:43.311Z

Hello,

I have a question for the people that use moving lights. When you have fixtures that the colors can be changed out. What colors do you like to use? Do you have a standard go to color wheel?

Thanks

Cheshire Cat effect

2015-09-06T04:45:06.520Z

We are doing Alice in Wonderland this fall. Back to the book, as clasic as possible, not the Disney or a kids version. One special effect we are struggling with is how to have a grin with out a cat. The segment has the Cheshire cat delivering lines, disappearing, reappearing, disappearing except for the grin, then the grin goes.

Thinking glow in the dark, black light, LED's, all sorts of ideas but nothing is quite right yet....Ideas? We have a decent budget and creative people....

Musical Theatre Tracks

2015-03-09T18:53:43.521Z

Last weekend Jill wrote a quick little post complaining about a music tracking service. It has been years since I've rehearsed a musical (turns out that karaoke host was right, and people really don't want to hear me sing) but even I know that the piano accompaniment of my youth has disappeared into a vast array of tracks and music software services. So enlighten me! What music services do you use for rehearsal or performance? Which ones do you like best? Why?

Characterisation workshop session plan for new actors.

2015-02-18T16:24:49.221Z

Characterisation session plan for actors

Notes from a character workshop held for Survivors of the Titanic, in Feb 2015. Posted in case these are of use to anyone else. Please contact us first if you would like to reproduce this article.

LAURA’S NOTES
The whole plan for the workshop session was to show you, in a very general way, things about preparing as an actor. When acting, there is a big difference between pretending to be someone else (in which case the acting is wooden and lacks reality for the audience), and in “becoming” the character.
Now whether fictional or factual, character research and development is critical, as is warming up the body and voice. Because in live theatre, you do not have the luxury of turning the camera off, doing a re-take, then editing the performance, before the public see it, you have to remember that on the day, you cannot falter! (this is why Hayley was running the physical warmup and the improvisation exercise, which she will re-run at all rehearsals. They act as an icebreaker and develop skills at the same time).

IMPROVISATION
because of the live nature of theatre, in a performance, if someone misses a line, which does happen, the rest of the cast in that scene need to not be thrown by that change, and to remain in character, and continue the scene. This means being able to improvise a line or two, and guide the scene back on track. That is why these improvisation sessions are so important and we will keep running them as part of the session warmup.

CHARACTERISATION
If your character is factual, you already have a base of information to go on. If they are fictional, what information can you glean from your script about them? What can you find out about them.? Who were they? What did they like? What kind of culture did they live in, and what social or economic issues might have affected them? I have a research helpsheet below which you could print off, and which could help you organise character research.
Near the start of the workshop, I asked people who had already started this research process, to tell us about their character.

For now, this person is still external to you. This person is still someone else. What we need to start looking at, is how you can start to become that person.

We digressed from character research at this point, and started looking at becoming the character.
We started in the “safe, known zone” of our real lives.

VISUALISATION
Both of these were run as adaptations of Charades.

1) In the first part, cast were asked to re-enact a simple and common task from their daily life. It could be making a cup of tea, watching TV, walking the dog, etc. Using no props or words, but remembering what the things you handle feel like, and how they move, and what muscles your body uses, and how you feel, in all its nuances, each cast member showed us a daily household task.
2) The second adaptation of this was slightly harder. Now, instead of depicting a task, members showed a feeling or emotion, or a combination of feelings or emotions. Most selected something relating to part of their characters emotional journey in the script. How do you feel when you are proud? terrified? freezing cold? Freezing cold but having a laugh? etc? remember what your body does when you experience this feeling. Your muscles, face, etc. How you move. For example when freezing cold, I personally tense up but try to hide shivering.

REVIEW TIME

We then called a break, and then those people who had researched their characters were asked to describe similarities between themselves and their character. It could be as simple as the fact your character might have liked coffee, and so do you, through to one person who had been married to an American and moved to America at that time, was playing a character in the show who does the same.

Cast were asked came back to the first task, of introducing your character. but now, no longer as someone external, no longer in the Third Person, but as if you were the character. In the First Person. The difference was already fantastic, from when we had started.

This is all a process that you can continue at home in spare time. This session was to open the door to possible ways of exploring your character and performance. Specialist things will come up or you may want to look more deeply into acting theory as relating to a special part of your performance. Always feel free to ask for help, use the things that work for you personally, and discard the things that don’t work for you personally.

WORKSHEET:

It is important for an actor to be aware of his or her character, and to portray that character as a personable entity on stage. To this end, it is vital that you get to know your character..

First of all, read your script. Note what your character says about himself or herself.

Is your character —

Bold or shy?

Caring, or careless?

Happy, sad or angry?

Rich or poor?

happy with their job / lifechoices?

Married or single?

If married, is he or she happy in that marriage? Why? Why not?

What is his/her profession?

happy with their job / lifechoices?

Married or single?

If married, is he or she happy in that marriage? Why? Why not?

Is anything mentioned about his or her past? How would you imagine that would relate to how he or she is feeling now?

Get as complete a picture of your character as you can — for example, a 17th century whore in a country town, would be played markedly differently from a 21st century call girl in Hollywood, or a Celtic chieftain from a modern day monarch, or a 16th century witch, would be a very different person to a modern day neo-pagan/witch.

This is now where you must take into account the society in which your character lives. Take into account the history of the time in which he or she lives, and the society that he or she will have grown up in. How will that affect the character? And their body language? The modern Hollywood call girl would wear high heels, the 17th century whore would not. Therefore they would walk differently..

The Celtic chieftain would be a lot more rough and ready than a later monarch, and the 16th century witch would be mortally aware that if caught she would be burned at the stake, whereas in the 21st century, she would have no such fear.

Even in the modern day, depending on the culture, your character will be affected. A hippie would be different from a business person, and a Japanese girl would behave differently from a British girl.

Now, based on the character as depicted in the script, and what you have found out about them, create a little story about them, and rather than considering them to be someone apart from you, you now must imagine yourself to be that person.

_________________

How do you feel in certain situations? (This is where the method acting comes in, to draw upon your own past experiences and feelings, to understand how your character might be feeling). What are the differences between what your character is feeling, and what you are feeling? Why?

Take an hour each day or so, to walk around the house as your character. It’s hard at first and becomes easier, don’t worry.

As soon as your costume is available, you are welcome to wear it during rehearsals — very often people find that dressing as their character helps them invaluably.

Sometimes, when a character is far removed from how you are yourself, it can help to watch a movie or TV show with a similar setting, or similar character to yours. Watch that character. How does he or she act? This can give you some pointers to start with. If you are unfamiliar with the historical period, or culture, get a simple book from the library, even from the kiddies section (sometimes these are better as they are heavily illustrated!). It does not have to be anything complex, in order to give you a overview.

Gels for lighting peoples faces AND the set

2015-01-07T22:27:20.837Z

Ok here is a tough one for you.

We are doing The musical "Shrek the Musical". Lighting locations are in short supply as well as fixture types.

I have 3 ceiling ports FOH that can hold 3 fixtures in each port. Works better with only 2 per port. The ports were not built wide enough and the hanging pipes are not low enough to get the light to the up stage area of the stage. If you point the light to high the light beam hits the front edge of the port.

I will be using LED par fixtures on stage, and cyc fixtures for the cyc. I have 2 follow spots. I will use 4 I-beams for specials, and or spots during singing and so on.

I am looking at trying some 50 degree fixtures for the sides and see if I can get better coverage.

In the ceiling I want to use 2 colors in each port that go together, warm and cool. So I was thinking of using R302 Pale Bastard Amber. and R75 Twilight. If you know the show, Shrek has morning, evening, night and a dark cave scene. Maybe use R162 Light Opal.

Not sure what to use on the sides that will light more of the set peiceses. I needs blues, reds, oranges, daylight,

The theater is a horse shoe shaped and holds about 3000 people. There are lighting locations located on the balcony rail house left and house right but these locations have a sharp angle and the fixtures they have will not cover the whole stage. I believe the fixtures are 23 degree S4's.

The First photo gives you an idea on what the space looks like. And yes all that side light is coming from windows LOL. Place does not have AC and can only really be used during the winter months in Ks.

The next 2 photos show the ceiling ports. Next is House Right and the 4rd is House Left.

Mary Poppins

2014-12-30T19:58:51.089Z

Thinking about putting on the Mary Poppins musical at a Summer Theatre program. The technical challenges are daunting. I think we could be creative, but will audiences still be ok without a big budget for flying nannies and such? I love the show, but the realities of the short amount of time, limited budget, and outdoor challenges make me wonder if it is worth it. Any thoughts?

Les Miserables film series casting announced.

2014-12-23T16:13:51.123Z

Jean Valjean - Ric Vince
Valjean's sister - Victoria Lester
Theodule - Richard Odonnell
Prosecutor - John Broom
Cosette (Grown up) - Jo Burgess
Cosette (Little) - Willow Gradwell
Thenadier - James Scott
Madame Thenadier Pam Vince
Eponine (Grown up) - Elizabeth Lizzie Jordan Moulds
Eponine (Young) - Josephine Garner
Azelma (Adult)- Leanne Emily Ryan
Azelma (Young)- Kezzy Pumphrey
Enjolras - Edward Stewart
Courfeyrac - L Jay
Feuilly - Jon Ian Dredge
M Gillenormand - John Broom
Mlle Gillenormand - Shirley Thrift
Bishop - Melvin Schofield
Mlle Baptistine - Mary Earle
Sister Simplice - Jade Callender ( Jade Ashley)
Fantine - Telene Jordaan
Mere Houcheloup - Hayley Tink Rushton
Prioress - Megan Tarrant
Chapmantheiu - Ben Carroll
Grantaire - Rich Sandford
Prosecutor - Roy Chamberlain - Prosecutor
Gavroche - Joe Evans
Young Valjean (you will also be dragged in for one of the revolutionaries!) - Darius Frost
Javert - Andrew Swinbank
Labarre, Fauchelevant, and Combeferre (because you are one of the most versatile people we have ever come across!) - Anthony Webster
Marius - Tom Molyneux

2014 Year in Review - And a Glimpse of 2015

2014-12-22T19:18:00.341Z

Hello hello! I hope you’re all having a fabulous holiday season, that even if you have to work your shows have opened so you’re at least off the 10/12 schedule, and that everything in your world is merry and bright.

For me, the trade show madness has passed, my latest issue has to gone to press, and even my vacation is finished—so all the stress of seeing all the right people, making all the flights, and making sure all my must-do happenings happen perfectly is done. Heck, I even finished my Christmas shopping last night.

All of which means I can finally relax. As I switched into full-on comfy mode last night—sweatpants, roaring fire, hot tea, BBC’s Pride and Prejudice mini-series on Netflix (courtesy of the wife)—I started looking back over the last year, and thinking about all the shows I had seen. I’m blessed in that I got to see a lot of good theatre last year—and that the bad theatre I saw has thankfully fallen from my mind. So I started making a list of all the shows I saw that I just loved last year. Here are three that have stuck with me.

The Tempest at The Smith Center. This co-production between the Smith Center in Las Vegas and American Repertory Theater in Boston was based on a concept from the magician Teller (of Penn & Teller fame). So of course Prospero’s magic was stunning and beautiful—what I didn’t expect was just how romantic this show was. I was completely enchanted by Aaron Posner’s direction, and Charlotte Graham (as Miranda) and Joby Earle (as Ferdinand) made a giddy, infatuated couple.

Foxfinder, from A Public Fit here in Las Vegas. This was a great psychological thriller, family drama, and a cautionary dystopian fable all at once. It was also the first full production from a new theatre company here in town, and makes me feel great about the rising table of talent for off-strip shows here in Las Vegas.

And finally, The Curious Incident of the Dog in the Night-Time from London’s National Theatre on Broadway. I tried to see this show when I was in London last year, but it was dark on the only night I had free—I finally got the chance to see it on my recent trip to New York City. I knew to expect the visual fireworks of the show as they represented the way the main character Christopher (played by Alex Sharp on Broadway) viewed the world through his autism—but I didn’t expect them to be in service to such an intimate family drama. There was certainly flash in this show, but the emotional levels of the show, and its ambiguity were just as stunning.

But it’s almost a new year, so I’m looking forward to what will come in 2015 as well. I’m starting a new project about steampunk origami, so I’m looking forward to immersing myself in research for that. And a local theatre company here has the rights to Mr. Burns, a Post-Electric Play—and I’m tremendously excited to see that this spring, too.

So that’s me! What about you? What are your faves from the past year? What are you looking forward to in 2015? Let me know!