Fin

Well, the show is closed. Tonight we strike the set and props and move on with our lives. This fun little show that consumed three months of our lives is now an epitaph, and a charming one at that.

I'm resisting the temptation to pick apart specifics about the show. I've stayed positive through the process, and will continue to do so in regards to the wonderful jobs that everyone did. But I will be hard and honest with myself regarding what I think I could do better in the future.

• Start early and get the script and score in front of potential castmembers early.
• Have back-up plans for casting in the event that people have to miss or drop out.
• Continue to block the show hard and in a skeletal manner to give the cast PLENTY of time to work in their "in-between" stuff.
• Go with your instincts and sharpen comedic bits to make them more relevant, but don't try to make them funny or they won't be.
• Work with people who work the way you do. If you have to work with someone who can't or won't, either find someone else or plan on adapting to their needs.
• Continue to have production meetings early and frequently.

That's it in a nutshell, and without dinging anyone specifically. I had a great time with everyone. The new people I worked with were a delight. The familiar people I worked with were as consistent as ever. And those I had problems with got the issues resolved quickly and expertly. No regrets.

This is officially the last post of this blog. I hope anyone who reads it finds it informative or at least heartwarming. It was a great experience, and a great process.

Thanks, all.

- Sean

Midway Point

The show is solid as ever. Liz (stage manager) got to flex her muscles last weekend in regards to a minor disagreement between two castmates. Good job! When I saw it on Sunday, there was nary a sign of conflict.

The photos I took on Sunday left a great deal to be desired. My point and shoot digital camera is not great at low-light, and a flash was not what was needed. So, while I do have some archival photos, they are not great. And I don't want to have to have everyone re-pose themselves. Maybe I can take a look at them again and make sure for Act 2 photos that I get at least two shots.

In the interim between posts here, I've designed the set for Gin Game and the new lighting booth for the Petit Playhouse. We put up the second production of ...Charlie Brown in about a week, and then Bye, Bye Birdie is the week after that. We strike Nuncrackers on Monday, December 19, and immediately put up the flats for Gin Game. I still need to inventory the required items for it, but I think we're good. I'm a little concerned, now that I think about it, that ...Birdie will conflict with the closing night and cast party of Nuncrackers. Hmmm, now I'm a bit bothered...

Megan rolls in on Friday for the remainder of the run. I need to remind Liz to remind the cast and Zach that we need about 30 minutes of "integration" time prior to Friday night's show to get her back in the swing of things. She's been out of it for almost a month now, and we have to do this right.

- Sean

Unexpected Tuning

So I get a call from Liz, the stage manager letting me know that the pitch of the first act was noticeably off on Friday night. Zach corrected the issue for the second act, but I wanted to make sure everything was kosher. I was slated to go see Megan's shows at Moorpark College on Saturday night, but on the way there, I decided it was important to clear the air with the Nuncrackers folks.

Not a big deal. The cast was happy to see me, and we did indeed clear the air. However, it took until nearly 7:15 to get out of there and back on the freeway. Sadly, the show was sold out, and I was turned away at the door, so I TM'd Megan an apology and headed back to my neck of the woods.

Sunday was my day to see the show again. The house was full and everyone had good energy. There were no noticeable glitches or flubs, and the show clicked along pleasantly. Gone were the sound effects and other hickeys from the previous weekend. The songs sounded normal, so I assume there was no pitch change in effect.

I did have a bit of a hiccough with the storage locker, though. I'd loaded up the truck with ETC scenery items to clear up space in ours, but I couldn't get the lock opened up. I might need to bring some WD40 with me next time, and perhaps some silicon oil to finish it with. The problem is that now I'll have to drive around with this crap in the back of my truck for a week.


- Sean

Administrivia

So there are a few things that we need to nail down before we get too far into the run. I need to remind everyone to bring back the librettos and vocal books. Tams Witmark is very possessive of those.

Also, I want to take some archival photos, so I'm hoping for Sunday, November 27 after the show to do those. I'll mention it to everyone this coming Sunday when I come to check up.

And a gentle reminder that everyone should keep the show EXACTLY as we rehearsed it and performed it during tech week. Ad libs, double takes, mugging, new props, costumes, sound effects, etc. are extremely unprofessional and serve nothing other than to throw your fellow performers off of their rhythm and degrade what we ALL established as a GREAT show. PLEASE, refrain. Keep it fresh, but within the scope of what's already been set. Enough said.

And also remember that we will merge Megan into the show starting 12/2. Everyone should show up by 6:30 PM so we can spend 20-30 minutes refreshing her memory.

- Sean

Opening Night

Well, as I've gushed before ad nauseum in this blog, this is an exceptionally talented cast, and opening night was picture perfect. The house was mostly full, but it usually takes a week for the word of mouth and the publicity items to kick in. It's a good thing we're adding those Saturday matinees beginning the fourth week.

The show is incredibly well paced, if I do say so myself. Aside from clocking in at almost EXACTLY two hours running time, the time flies by quite graciously. Hopefully, that will add to some repeat viewership.

I "relaxed" on Saturday and built the new mini piano for ...Charlie Brown. We were unable to find the original costumes (or the props), so I'm going to have to make them over the next several nights prior to opening.

The daily updates will probably taper of drastically for this blog. I'll be seeing the show at least once a weekend and probably giving some entries for those, but I also don't want to taint what has already been set in clay.

I will be starting a new blog chronicling the development of Godspell. I'll post a link when it's ready. I'll also migrate the Tech Director's Blog from where I had it over to elitetheatre.org as well.

If you haven't already, please come see our wonderful show.

- Sean

Da Preview

Another great show last night, combined with a great audience. There were still a few hiccoughs here and there, but it was a great show. I'm proud of the entire cast and crew (and myself) for putting together a great show.

Joyce REALLY worked the crowd last night, particularly in the Confession section, when an audience member laughed uproariously as she revealed the placard. She took her time, glowered at him, and then crossed herself, all perfectly in character. It was great fun.

And Todd has now added scenery to his diet, as he was chewing on it most of the night, much to the delight of the audience. What's great is that he has a range of play in the delivery that can adapt to audiences ranging from comatose to raucous.

I resisted the temptation to offer ANY cues or direction last night, and everyone stepped up to the task. Now if I can just keep from mouthing the words to the songs. My daughter came with me to the show last night, and she mentioned that I was mouthing the words several times. Got it. I'll stop.

I'll be there tonight at opening. We'll have a little party in the theatre afterwards with cake and champagne, and I'll toast everyone on a great show, trying to mask how melancholy I am that I won't be able to continue to grow with them as this progresses.


- Sean

Tech: Final

Well, my job is basically done. Last night's final dress (with audience) was exceptionally good, as expected. It's amazing what an audience can do to balance out a show.

For instance, Kelly got a much better sense of how her Sr. Robert Anne deliveries went during the intro to "Jesus Was Born In Brooklyn". The picture perfect delivery she gave Tuesday night was snapped even more firmly in line once the audience was part of the mix. And Todd's Sr. Julia (Child of God) section got laughs where even he didn't expect them.

So, for those who follow this, let me give you some insight into how this and many rehearsal processes work for actors. Overall the arc for everyone has been like this:

• Hey, after reading and singing this, it's pretty funny!
• These funny lines make the other cast members laugh, so I don't feel so bad saying them.
• Hmmm, these lines aren't as funny as I remember them. I'd better take it up a notch. Time to add some funny bits.
• Hey, now they're laughing at my lines and my bits. Great!
• Wow, they're not laughing as much at either the lines or the bits. Better take it over the edge...
• Well, some laughed, but others just stared in awe. Not what I expected.
• Try it again. Nope, not as funny. Dial it back.
• Better. Director likes it. I'm comfortable with it.
• Hmmm, how many days until performance? This is getting old. Gotta keep it fresh.
• Well now neither the original bits, the outrageous bits, or the lines are all that funny. Back to basics.
• Now I'm comfortable again. I can do this.
• Whoa! Costumes! Lights! Music! Props! Set Changes! What are my lines and blocking? Back to basics again.
• Okay, those technical items seem well under control, and the basic lines and music is there, maybe I can layer in some of those bits again?
• Whoa, there's people in the audience laughing at me. Let's go for broke!
• Well, that sucked. They didn't laugh at that really funny part, but they loved the little smirk I ad libbed. Keep it consistent.
• Hey, everything's clicking nicely. I know my place in this production.

Given that, each performer has brought something special to the table. Kelly has demonstrated a great consistency in her vocal work, and she's made Sr. Robert Anne vulnerable enough to make us care about her. The decision to split off her "obnoxious" components was inspired. Donna has given us all inspiration in her ability to move an audience. Although she's been tagged as a "show stealer" in previous roles, I'm here to tell you that she EARNS every laugh and clap and standing ovation she's had. She's a gem, and I can't imagine doing this without her. Amanda has demonstrated exceptional confidence in this production. She jumped into a role that required more vocal talent than what she started off with, but she owns the role now. Joyce is one of those performers that you don't know how lucky you are to have them in your cast until you see them in action, particularly in front of an audience. The artistic director commented positively last night that she really played it well, avoiding the "play it for laughs" path. I agree. Sarah has exceptional comic instinct, tempered with a good ear for direction. She spent most of the rehearsal process WAAAAAY over the line, but it's perfect now, and exceedingly funny. I only regret that Sr. Mary Annette isn't seen again later in the show (except during curtain call). And Todd is just so consistently "ON" and professional. Giving him permission to take the role beyond silly has led him instinctively back to a delivery that is true to character and is a joy to watch.

Liz has taken on double duty as both stage manager and Sr. Leo. Aside from serving as the "heartbeat" of the show, she adds that great little silliness that makes the show so charming. Melanie has come a LONG way from auditions. She is having a LOT of fun and has put in a LOT of work, and I am very proud that she has committed so resolutely to this. Lulu gave up cheerleading for this role, and to watch her smile and be silly on stage is a delight. Her focus and attention to direction are ideal, and I can't wait to see her in future roles. It's rare to see a child actor focus so intently AND have such fun doing it. Louis has really developed a great stage presence, and his confidence is completely different from what it was during auditions. He wants to continue in comedy, and he's perfectly poised to start down that path. It will be bumpy, but he can weather it. And finally, Megan. While she seems like the wildcard in this mix, she's actually a great anchor for the other kids. She bridges the adult and child cast nicely, and has also mentored Melanie in doing so as well. I can't wait to see her in the role, even though it will be bittersweet in not having Melanie do it anymore.

As stated before, this is easily among the best theatrical experiences I've had in my life. Tom has subtly altered the culture of ETC to make artists and craftspersons like me more successful in delivering consistent product. He NEVER said "No!" and offered continual support that allowed my vision of the show to prevail.

I'll continue with this blog through the course of the show, but the production portion is done. I'm having minor pangs of pre-partum depression. I listened to the cast soundtrack this morning on the way to work and was pleasantly surprised at how well ours compares to theirs... better in many ways; more consistent in others.

I move on quickly to other projects. This weekend I work on ...Charlie Brown items (set, costumes, etc), and will run the show next week for the wife. Then, I'll start the set designs for ETC's 2006 season, and for Tom Eubanks' production of Deathtrap up in Ojai in mid January. And there are non-theatre projects on the board as well. I have to chalk off the backyard so that the gardener can rework the sprinklers back there. That will also involve determining the channel that the power, water, and sewer will eventually run in, avoiding them with the sprinklers whenever possible.

Sigh.

- Sean