Friday, February 13, 2009
Thursday, February 12, 2009
The Breakfast Club--Preview (Opening?)
I think I'm going to write this in two parts. The first we will call "Reality". The second I'll call "My Reality". I think it will make sense in the end.
REALITY
The show went great tonight!! Everyone was there and ready with plenty of time too spare. We got into costumes, checked the props, did some warm ups together and some group focusing. It started great and even with a couple of hiccups throughout the show, the audience was wonderful and really responded well. We got nothing but positive feedback from any who offered. But the laughter was abundant. And there was even a couple of ovations DURING the show on some of the great moments! It was really fun! I think the cast has a general sense of relief now that it has come to pass.
7 days is going to feel like an eternity until we meet up again. We are scheduled for a brush-up rehearsal next Monday afternoon then the show that night. This performance schedule is nothing like anything I've ever been involved with. That should be worth the price of admission right there!!!
MY REALITY
I wasn't on tonight. The rest of the cast was great, from my perspective. I'm sure they have their moments during the show where they might be questioning a choice or kicking themselves for a flub. But, as I've shown in my previous entries, I hold myself to a standard that I don't think I obtained tonight. My energy was there. That wasn't an issue at all. In fact, it might have been TOO there. I think most people can relate to those moments in your life when you feel like your just a step out of sync. Like when you are driving thru an intersection and then a block later ask yourself "Was that light red or green? Did I run a red light?" You're 99% sure you did the right thing but there is that 1% where you question.
It sounds trite or acting "mumbo jumbo" but I felt like my mind and body were going at different speeds. And those speeds varied through out the night. The scene I most stressed about throughout this whole rehearsal process went smoothly (which I realized I sabotaged myself by establishing early on that that was going to be the problematic scene! Nothing like setting those barriers in the beginning!). In fact, all my scenes, save one minor stumble in the beginning, went very well, line-wise. But I was mired in a lack of connectivity. I couldn't bridge the gap.
I don't know if I'm making sense. Obviously, I'm over analyzing. My dear friend Genevieve (dear, as in I hold her in high regard even though we haven't seen each other in nearly 14 years) made the observation that maybe artists live drama-filled lives so the rational side of their brain is quashed just enough to let the artistic side flourish. This comment came after the drama I had in my personal life last Thursday seemed to bring out one of my best performances later that evening. Again, I'm not going to insist one of my children go to the hospital every Monday so I can perform that night, but I do think I will be keeping my upbeat attitude a little more in check a couple of hours before the show.
Also-and I hope my fellow cast mates aren't offended by this-I think I'm going to re-evaluate my preshow warm ups. I think it is great that the cast does stuff to click in with each other but I think it might be more beneficial to me to separate myself a little before the show. I think there needs to be a little element of me vs. them in Vernon. And I don't think "clicking in" with the rest of the cast is helping. Don't get me wrong...I love this cast! These are some of the most professional, yet fun-loving actors I've been around in a long, long time (not including, of course, the Staged Reading crew. Those kids are in a league of their own!) and I am so looking forward to the journey we get to go on over the next few months. But for the betterment of the show (and my post-show sanity) I will probably pull away a little more. I'm cool with vocal and physical warmups but other than that...
So that is where I am tonight. I'm not really beating myself up as much as I'm realizing the job of developing these characters isn't over. Which makes me a little nervous that I'm on my own for the next 7 days.
I have little doubt next Monday will be fantastic! And I have little doubt that the goofs I had tonight were fairly indistinguishable to the audience. But acting in live theatre is never static. It is constantly in flux. And as any good actor will tell you, Characters are the same.
REALITY
The show went great tonight!! Everyone was there and ready with plenty of time too spare. We got into costumes, checked the props, did some warm ups together and some group focusing. It started great and even with a couple of hiccups throughout the show, the audience was wonderful and really responded well. We got nothing but positive feedback from any who offered. But the laughter was abundant. And there was even a couple of ovations DURING the show on some of the great moments! It was really fun! I think the cast has a general sense of relief now that it has come to pass.
7 days is going to feel like an eternity until we meet up again. We are scheduled for a brush-up rehearsal next Monday afternoon then the show that night. This performance schedule is nothing like anything I've ever been involved with. That should be worth the price of admission right there!!!
MY REALITY
I wasn't on tonight. The rest of the cast was great, from my perspective. I'm sure they have their moments during the show where they might be questioning a choice or kicking themselves for a flub. But, as I've shown in my previous entries, I hold myself to a standard that I don't think I obtained tonight. My energy was there. That wasn't an issue at all. In fact, it might have been TOO there. I think most people can relate to those moments in your life when you feel like your just a step out of sync. Like when you are driving thru an intersection and then a block later ask yourself "Was that light red or green? Did I run a red light?" You're 99% sure you did the right thing but there is that 1% where you question.
It sounds trite or acting "mumbo jumbo" but I felt like my mind and body were going at different speeds. And those speeds varied through out the night. The scene I most stressed about throughout this whole rehearsal process went smoothly (which I realized I sabotaged myself by establishing early on that that was going to be the problematic scene! Nothing like setting those barriers in the beginning!). In fact, all my scenes, save one minor stumble in the beginning, went very well, line-wise. But I was mired in a lack of connectivity. I couldn't bridge the gap.
I don't know if I'm making sense. Obviously, I'm over analyzing. My dear friend Genevieve (dear, as in I hold her in high regard even though we haven't seen each other in nearly 14 years) made the observation that maybe artists live drama-filled lives so the rational side of their brain is quashed just enough to let the artistic side flourish. This comment came after the drama I had in my personal life last Thursday seemed to bring out one of my best performances later that evening. Again, I'm not going to insist one of my children go to the hospital every Monday so I can perform that night, but I do think I will be keeping my upbeat attitude a little more in check a couple of hours before the show.
Also-and I hope my fellow cast mates aren't offended by this-I think I'm going to re-evaluate my preshow warm ups. I think it is great that the cast does stuff to click in with each other but I think it might be more beneficial to me to separate myself a little before the show. I think there needs to be a little element of me vs. them in Vernon. And I don't think "clicking in" with the rest of the cast is helping. Don't get me wrong...I love this cast! These are some of the most professional, yet fun-loving actors I've been around in a long, long time (not including, of course, the Staged Reading crew. Those kids are in a league of their own!) and I am so looking forward to the journey we get to go on over the next few months. But for the betterment of the show (and my post-show sanity) I will probably pull away a little more. I'm cool with vocal and physical warmups but other than that...
So that is where I am tonight. I'm not really beating myself up as much as I'm realizing the job of developing these characters isn't over. Which makes me a little nervous that I'm on my own for the next 7 days.
I have little doubt next Monday will be fantastic! And I have little doubt that the goofs I had tonight were fairly indistinguishable to the audience. But acting in live theatre is never static. It is constantly in flux. And as any good actor will tell you, Characters are the same.
The Breakfast Club--Final Tech, Final (only) Dress
As expected, yesterday was LONG!!! We started in the AM with some changes. Ron decided to have an actual door unit on stage as opposed to our P.A. operating the door, which frees her up to do other things. Scott, our Tech Director, whipped out the unit pretty quickly but we soon discovered some of the staging was not possible with this new unit. A little creative staging solves that. It actually enhances the show in several areas.
Personally, my morning tech went pretty crappy. Nothing major. But I went up on lines and Matt L and I ended up laughing and breaking character. Ron had just given us that speech a couple days before. Needless to say, I lost a couple Gold Stars for that.
The afternoon session saw us do a full run, with Jeff Church (Artistic Director) in attendance. It went very well. Had its moments but the cast was on. Jenn, our P.A., had to be back at the Coterie for "Our Town" so Ron had to run the door, which kept him from seeing some things. It is a lttle nerve racking to change something major like the door HOURS before a live audience but I got to tell you, this cast rocks! I feel like a major catastrophe could happen on stage and everyone would just go with the flow. It still amazes me we put this together in 12 reheasals.
After a dinner break, we were back and ready for a full run-thru with audience. Couple things I learned--1) We got each other's back. I flipped a line around and Matt L totally covered my a$$. 2) The audience is GOING TO LAUGH. Many times in places we might not expect. As Ron said, "Use your actor training and be prepared for it." Last night we ran over a couple spots due to the laughter. 3) Meghann is a master of warm up games. She should publish a book! 4) "Shout" is a very long song!!! At the end of the show we invite people up on stage to grafitti the tables, talk with the cast and dance to the music. Matthew S thought "Shout" would be a good choice, which it is. We all forgot it is an 8 minute song!! That is a long time.
So, we are on tonight. It is VERY exciting! We have been told we are sold out tonight (and next week and possibly the week after that). That being said, walk ups might be able to get in, if everyone doesn't show up. But still, if you are planning to come, CALL THE COTERIE BOX OFFICE!!! (816) 474-6552. House opens at 7pm. Show starts at 7:30pm. And the run time is right around an hour and fifteen minutes.
It has been fun going through this rehearsal process this way. I will probably continue the notes after each show. Or not. I don't know. I do know that this production has been a blast to work on and I really hope every one will take the time to come see it. At present, we are hoping to continue this run through May. But no one will be upset if it goes on and on!!
See ya tonight!!!
Personally, my morning tech went pretty crappy. Nothing major. But I went up on lines and Matt L and I ended up laughing and breaking character. Ron had just given us that speech a couple days before. Needless to say, I lost a couple Gold Stars for that.
The afternoon session saw us do a full run, with Jeff Church (Artistic Director) in attendance. It went very well. Had its moments but the cast was on. Jenn, our P.A., had to be back at the Coterie for "Our Town" so Ron had to run the door, which kept him from seeing some things. It is a lttle nerve racking to change something major like the door HOURS before a live audience but I got to tell you, this cast rocks! I feel like a major catastrophe could happen on stage and everyone would just go with the flow. It still amazes me we put this together in 12 reheasals.
After a dinner break, we were back and ready for a full run-thru with audience. Couple things I learned--1) We got each other's back. I flipped a line around and Matt L totally covered my a$$. 2) The audience is GOING TO LAUGH. Many times in places we might not expect. As Ron said, "Use your actor training and be prepared for it." Last night we ran over a couple spots due to the laughter. 3) Meghann is a master of warm up games. She should publish a book! 4) "Shout" is a very long song!!! At the end of the show we invite people up on stage to grafitti the tables, talk with the cast and dance to the music. Matthew S thought "Shout" would be a good choice, which it is. We all forgot it is an 8 minute song!! That is a long time.
So, we are on tonight. It is VERY exciting! We have been told we are sold out tonight (and next week and possibly the week after that). That being said, walk ups might be able to get in, if everyone doesn't show up. But still, if you are planning to come, CALL THE COTERIE BOX OFFICE!!! (816) 474-6552. House opens at 7pm. Show starts at 7:30pm. And the run time is right around an hour and fifteen minutes.
It has been fun going through this rehearsal process this way. I will probably continue the notes after each show. Or not. I don't know. I do know that this production has been a blast to work on and I really hope every one will take the time to come see it. At present, we are hoping to continue this run through May. But no one will be upset if it goes on and on!!
See ya tonight!!!
Wednesday, February 4, 2009
8th Rehearsal
I have to make this quick as I was too dog-ass tired last night to write and I have too much to do this morning. So here goes--
Last night was good and bad. Bad only in the sense that the night before was so good, last night was sure to dissappoint. Not just me personally, but I think the whole cast had a let down. That being said, I don't think anyone was shooting for that same energy. In fact, one of Ron's comments was that being back in the Coterie's space seemed to suck some of the driving force out of the energy of the show. Maybe it was because we were back in the theatre and not in the space we are going to perform in. I think everyone was marking their parts and movements last night (at least, that is the hindsight excuse!). I know I got off to a rocky start in the run-thru. Unfortunately, I set the pace in the beginning.
In theatre, there is a certain lingo that actors and directors use. One of which is "Take the Air out", which is subtle way of saying pick of the pace and quit taking so much time in between your lines. Tom Key, a well known actor and director based out of Atlanta (co-wrote and starred in the Cotten Patch Gospel) once said 'An actor has to EARN the right to take a pause'. The pace needs to be established early and often. The pauses will come if the actors are live, in the moment. They don't need to be planned out.
Some of the Good that came out of last night is my character of Carl is taking shape. Jon supplied me with Carl's jumpsuit and we found some other things that help define him. I feel like I've starting to get an idea of this character's physicality, which will get the snowball rolling in its development.
We talked about how the audience is going to react to the show and preparing for that. There is a possibility that on some nights it could be like "Rocky Horror Show", where the audience is quoting our lines with us. That should be interesting!! We also talked about the end of the show where we invite the youth in the audience to graffitti the tables and talk to the characters. Meghann encouraged us to really get our friends to reserve tickets and not count on walk ins. Particularily opening night on the 16th. I'd hate for someone to make it down there only to find it sold out and be turned away. Reserve NOW (shameless Coterie plug!)
Tonight is a late start--8:30p (Thanks Matthew!!!). It will be welcomed. I'm sure Matt will be thankful for the extra time to recouperate from nearly dismembering himself on the rehearsal cubes last night. (that bruised should be nice and purple about now, buddy!). It will also give us time to go through the lines notes Meghann will be sending us today. CAN'T WAIT to see those!! We've got a full run-thru planned. Only four more rehearsals until an audience!!
Last night was good and bad. Bad only in the sense that the night before was so good, last night was sure to dissappoint. Not just me personally, but I think the whole cast had a let down. That being said, I don't think anyone was shooting for that same energy. In fact, one of Ron's comments was that being back in the Coterie's space seemed to suck some of the driving force out of the energy of the show. Maybe it was because we were back in the theatre and not in the space we are going to perform in. I think everyone was marking their parts and movements last night (at least, that is the hindsight excuse!). I know I got off to a rocky start in the run-thru. Unfortunately, I set the pace in the beginning.
In theatre, there is a certain lingo that actors and directors use. One of which is "Take the Air out", which is subtle way of saying pick of the pace and quit taking so much time in between your lines. Tom Key, a well known actor and director based out of Atlanta (co-wrote and starred in the Cotten Patch Gospel) once said 'An actor has to EARN the right to take a pause'. The pace needs to be established early and often. The pauses will come if the actors are live, in the moment. They don't need to be planned out.
Some of the Good that came out of last night is my character of Carl is taking shape. Jon supplied me with Carl's jumpsuit and we found some other things that help define him. I feel like I've starting to get an idea of this character's physicality, which will get the snowball rolling in its development.
We talked about how the audience is going to react to the show and preparing for that. There is a possibility that on some nights it could be like "Rocky Horror Show", where the audience is quoting our lines with us. That should be interesting!! We also talked about the end of the show where we invite the youth in the audience to graffitti the tables and talk to the characters. Meghann encouraged us to really get our friends to reserve tickets and not count on walk ins. Particularily opening night on the 16th. I'd hate for someone to make it down there only to find it sold out and be turned away. Reserve NOW (shameless Coterie plug!)
Tonight is a late start--8:30p (Thanks Matthew!!!). It will be welcomed. I'm sure Matt will be thankful for the extra time to recouperate from nearly dismembering himself on the rehearsal cubes last night. (that bruised should be nice and purple about now, buddy!). It will also give us time to go through the lines notes Meghann will be sending us today. CAN'T WAIT to see those!! We've got a full run-thru planned. Only four more rehearsals until an audience!!
7th Rehearsal
YEA!!! A night in the space we are actually going to perform in!! It was great! We spent the first couple hours working the space, some key scenes, any blocking issues, etc. We are working with new tables and chairs, too. There is still some things to be worked out this weekend in tech, buut overall I think it will work out great.
We had a small audience for our run-thru--Jeff Church, the Artistic Dir., Joette Pelster, the Executive Dir., and Designers David Kiehl (sound) and Art Kent (light). Honestly, it was a little nerve-racking. Not just because their presence, but the timing of their presence--First night in space, new blocking issues, voice projection issues, to name a few. Regardless, they seemed to love it and it was great to have some genuine laughter, if for no other reason but to give us an idea of where the laugh lines are.
It was a wonderful night all around. It capped a day I would have to rank in my top two or three this year. Nothing special happened. Everything just went according to plan today. There were no hiccups and no issues that couldn't have been averted. I don't get many of those kinds of days so I like to acknowledge them when they happen. I think that positive energy took me right into rehearsal.. My troubled scene-where I've struggled with the lines-went very well last night. My Carl scene is still a work in progress but I don't think I'm going in the wrong direction. I think I'm getting too wrapped up in making him something unusual. Maybe if I throw it all away something will emerge. That happens a lot with characters I play. I jack with something for a period of time, get frustrated, walk away from it, then discover something new when I come back. We'll see what happens tonight.
I have been trying to find phrases and '70-'80's drop in points in the script. I've been getting some good ideas from friends of phrases to uses. I've got a few I'm tinkering with too. I can envision Vernon going off on some "Drop-in" tangent for 5 minutes, leaving the students just dumbfounded, staring at him! It probably won't go that far but it could!
Brian (Alex Saxon) cracked me up last night. He had a moment that was so FUNNY that I was still laughing, out loud!, at it 4 hours later! Even this morning it makes me smile thinking about it. It was so honest and real, it was brilliant. That character really is the comic relief in this show.
Ron gave us the night off an hour and a half earlier, which was a welcome surprise. Tonight we are back at the Coterie. Time to keep tinkering....
We had a small audience for our run-thru--Jeff Church, the Artistic Dir., Joette Pelster, the Executive Dir., and Designers David Kiehl (sound) and Art Kent (light). Honestly, it was a little nerve-racking. Not just because their presence, but the timing of their presence--First night in space, new blocking issues, voice projection issues, to name a few. Regardless, they seemed to love it and it was great to have some genuine laughter, if for no other reason but to give us an idea of where the laugh lines are.
It was a wonderful night all around. It capped a day I would have to rank in my top two or three this year. Nothing special happened. Everything just went according to plan today. There were no hiccups and no issues that couldn't have been averted. I don't get many of those kinds of days so I like to acknowledge them when they happen. I think that positive energy took me right into rehearsal.. My troubled scene-where I've struggled with the lines-went very well last night. My Carl scene is still a work in progress but I don't think I'm going in the wrong direction. I think I'm getting too wrapped up in making him something unusual. Maybe if I throw it all away something will emerge. That happens a lot with characters I play. I jack with something for a period of time, get frustrated, walk away from it, then discover something new when I come back. We'll see what happens tonight.
I have been trying to find phrases and '70-'80's drop in points in the script. I've been getting some good ideas from friends of phrases to uses. I've got a few I'm tinkering with too. I can envision Vernon going off on some "Drop-in" tangent for 5 minutes, leaving the students just dumbfounded, staring at him! It probably won't go that far but it could!
Brian (Alex Saxon) cracked me up last night. He had a moment that was so FUNNY that I was still laughing, out loud!, at it 4 hours later! Even this morning it makes me smile thinking about it. It was so honest and real, it was brilliant. That character really is the comic relief in this show.
Ron gave us the night off an hour and a half earlier, which was a welcome surprise. Tonight we are back at the Coterie. Time to keep tinkering....
Monday, February 2, 2009
End of the week thoughts
Today at 7:48am
Rehearsal started tame enough as Ron was being interviewed by Chase and Taylor (two Barstow Students doing a film project for us). So the cast sat and buzzed through a few scenes, lines only. It is somewhat nice to know that we struggled a bit without being on our feet, working the blocking. That tells me we are getting out of the script and into our bodies, which is good. We are also starting to find little nuances in the script that each of us might have missed.
When Ron came back in he spoke of how we have a tidy little play here but that it is missing something. He's not sure if it is from him or us. Some of it is we need to decide if this is an homage or a parody. Or a combination of both. Either way, we have a week to "play" with it. Heighten scenes. Kick every thing up a notch. He's given permission to add little "things" to the show as we see fit. Catchphrases from the time period, a little improv, etc. There could be a new take on a scene each week! After watching the Movie again Thursday night I found a few things Gleason's Vernon does that I can play up (his pinkie finger, cocky stroll). I think Vern thinks he is this school's Robert Deniro in Taxi Driver. Ultimate tough guy who knows, in his own mind, at least, he is someone no one wants to mess with. Almost like he wants to be an Italian mobster, but was born Protestant in Evanston and became a teacher.
Carl, on the other hand, is starting to be fun. Now that it is a stand alone scene with nothing to determine the past or future with him, I can do whatever I want with the character. Walk with a limp, have a tick, mumble to myself. And Ron still wants more slime.
We finished the night by going through our song that we performed at Sidekicks. Now, I hadn't been to a drag show since Keith Lester dragged me, Cynthia Boorujy, and Jaime ? to Backstreets in Atlanta 15 years ago. OMG--was last night fun!!! The crowd was great! They loved it! We are going to be doing more of these throughout the run. Not only at drag bars, mind you. It is a great way to promote the show and I love guerrilla theatre.
Tonight we get to be on stage at the Coffeehouse for the first time. This will be GREAT as we'll finally get a solid sense of our spacing.
Rehearsal started tame enough as Ron was being interviewed by Chase and Taylor (two Barstow Students doing a film project for us). So the cast sat and buzzed through a few scenes, lines only. It is somewhat nice to know that we struggled a bit without being on our feet, working the blocking. That tells me we are getting out of the script and into our bodies, which is good. We are also starting to find little nuances in the script that each of us might have missed.
When Ron came back in he spoke of how we have a tidy little play here but that it is missing something. He's not sure if it is from him or us. Some of it is we need to decide if this is an homage or a parody. Or a combination of both. Either way, we have a week to "play" with it. Heighten scenes. Kick every thing up a notch. He's given permission to add little "things" to the show as we see fit. Catchphrases from the time period, a little improv, etc. There could be a new take on a scene each week! After watching the Movie again Thursday night I found a few things Gleason's Vernon does that I can play up (his pinkie finger, cocky stroll). I think Vern thinks he is this school's Robert Deniro in Taxi Driver. Ultimate tough guy who knows, in his own mind, at least, he is someone no one wants to mess with. Almost like he wants to be an Italian mobster, but was born Protestant in Evanston and became a teacher.
Carl, on the other hand, is starting to be fun. Now that it is a stand alone scene with nothing to determine the past or future with him, I can do whatever I want with the character. Walk with a limp, have a tick, mumble to myself. And Ron still wants more slime.
We finished the night by going through our song that we performed at Sidekicks. Now, I hadn't been to a drag show since Keith Lester dragged me, Cynthia Boorujy, and Jaime ? to Backstreets in Atlanta 15 years ago. OMG--was last night fun!!! The crowd was great! They loved it! We are going to be doing more of these throughout the run. Not only at drag bars, mind you. It is a great way to promote the show and I love guerrilla theatre.
Tonight we get to be on stage at the Coffeehouse for the first time. This will be GREAT as we'll finally get a solid sense of our spacing.
Sixth Rehearsal
Yesterday at 12:27am
Tonight started with me sitting and pondering the concept of making the four tables more sturdy. What, you say? Why would I be doing that? Well, Ron was blocking the last 15 pages or so and I wasn't in them. The old stage carpenter/set builder reared his ugly head and started thinking of ways to make the plastic 2x4 Costco tables something the cast can move around on without the risk of sudden death. I think I finally came up with some ideas. I know, I know. This is what happens to me. It is a sickness, I think. I open my mouth about my set building skills and the next thing I know I'm not acting anymore. Just building sets. I'm trying to keep it in check. But as they say, "Idle hands ...
We did do a full run through of the show. Happy to say, with a couple of starts and stops we came in at the time we were shooting for. Still having some struggles with the same scene. The lines are so rapid-fire and so similiar that they are easy to flip around. Not an excuse, mind you. But I did tell Chioma, who is playing Claire, that if she is waiting for a specific word for her cue, she might be waiting awhile! I'll get it. I don't doubt it. But I still beat myself up too much for flubbing a scene. (It's good to know some things haven't changed after 9 years!)
Art Kent was there, the Coterie's resident lighting designer. So I'm happy he got to see a full run through. The other nice thing is that we should all be off book by tomorrow night, which means we have a solid week of simply running the show into our collective memories.
Still developing a slimier Carl. I was trying something tonight, but I don't think it played very well. Again, the next seven days will be VERY helpful in breaking that down.
I came home from rehearsal to see my kids watching the movie. We DVR'd it. (Okay. Let the comments fly about the language and subject matter that we allowed our kids exposure to. At least our 3 year old was asleep!) It was actually helpful. My biggest fear is MY Vernon being a "one-note samba." I really need to find more levels for him in his dealings with the kids. (That was one of my dissappointments from the Vernon/Carl scenes being cut.) Paul Gleason had some really fine moments in the film I think I can pilfer. It is a certain unfairness to it, though. With the film you know they had the luxury of several takes from which John Hughes and the editor could opt for. Live theatre doesn't give that level of comfort. One shot. Didn't like it? Try again next week. It is not that I'm a "Critics whore" by any means. But I can't help think that this performance is my re-introduction into the KC Theatre scene. Several local directors and producers, as well as most (hopefully) of the theatre professionals in town, are going to see this show at some point. Being on Monday nights only allows for that. Running for eternity doesn't hurt either. If for no other reason, people will see it simply because it is Ron McGee directed and Jeff Church produced. Yes, yes, the pressure is ENTIRELY self-imposed. But that is the joy I get to give myself!
So, I get to tinker with a table tomorrow (pardon the illiteration) afternoon and back at it tomorrow night. Oh yeah. We are going to be doing a promo gig at Sidekicks tomorrow night. For those of you out of the KC area, Sidekicks is a, ahem, shall we say, alternative lifestyle bar with a stage for performances---Okay, it is a gay bar that does drag shows! It should be a hoot!! The cast is singing "Don't you forget about me" in character and costume. Not busy at 9:30p? Come on down!!
Til tomorrow!!
Tonight started with me sitting and pondering the concept of making the four tables more sturdy. What, you say? Why would I be doing that? Well, Ron was blocking the last 15 pages or so and I wasn't in them. The old stage carpenter/set builder reared his ugly head and started thinking of ways to make the plastic 2x4 Costco tables something the cast can move around on without the risk of sudden death. I think I finally came up with some ideas. I know, I know. This is what happens to me. It is a sickness, I think. I open my mouth about my set building skills and the next thing I know I'm not acting anymore. Just building sets. I'm trying to keep it in check. But as they say, "Idle hands ...
We did do a full run through of the show. Happy to say, with a couple of starts and stops we came in at the time we were shooting for. Still having some struggles with the same scene. The lines are so rapid-fire and so similiar that they are easy to flip around. Not an excuse, mind you. But I did tell Chioma, who is playing Claire, that if she is waiting for a specific word for her cue, she might be waiting awhile! I'll get it. I don't doubt it. But I still beat myself up too much for flubbing a scene. (It's good to know some things haven't changed after 9 years!)
Art Kent was there, the Coterie's resident lighting designer. So I'm happy he got to see a full run through. The other nice thing is that we should all be off book by tomorrow night, which means we have a solid week of simply running the show into our collective memories.
Still developing a slimier Carl. I was trying something tonight, but I don't think it played very well. Again, the next seven days will be VERY helpful in breaking that down.
I came home from rehearsal to see my kids watching the movie. We DVR'd it. (Okay. Let the comments fly about the language and subject matter that we allowed our kids exposure to. At least our 3 year old was asleep!) It was actually helpful. My biggest fear is MY Vernon being a "one-note samba." I really need to find more levels for him in his dealings with the kids. (That was one of my dissappointments from the Vernon/Carl scenes being cut.) Paul Gleason had some really fine moments in the film I think I can pilfer. It is a certain unfairness to it, though. With the film you know they had the luxury of several takes from which John Hughes and the editor could opt for. Live theatre doesn't give that level of comfort. One shot. Didn't like it? Try again next week. It is not that I'm a "Critics whore" by any means. But I can't help think that this performance is my re-introduction into the KC Theatre scene. Several local directors and producers, as well as most (hopefully) of the theatre professionals in town, are going to see this show at some point. Being on Monday nights only allows for that. Running for eternity doesn't hurt either. If for no other reason, people will see it simply because it is Ron McGee directed and Jeff Church produced. Yes, yes, the pressure is ENTIRELY self-imposed. But that is the joy I get to give myself!
So, I get to tinker with a table tomorrow (pardon the illiteration) afternoon and back at it tomorrow night. Oh yeah. We are going to be doing a promo gig at Sidekicks tomorrow night. For those of you out of the KC area, Sidekicks is a, ahem, shall we say, alternative lifestyle bar with a stage for performances---Okay, it is a gay bar that does drag shows! It should be a hoot!! The cast is singing "Don't you forget about me" in character and costume. Not busy at 9:30p? Come on down!!
Til tomorrow!!
Fifth Rehearsal
THE SCHIZOPHRENIC HAS LEFT THE BUILDING!!! Ron informed me last night that the scenes between Vernon and Carl were to be cut. There is just no feasible way to do them with one actor. Aside from the obvious, it would also leave 5 actors up on stage, just sitting there. The scenes don't move the play along, unfortunately.
The other unfortunate things is those two scenes allowed the audience to see a little more of Vernon (and Carl, for that matter). Particularly the last one that shows a bit of a human side to Vernon. Well, maybe not human, but it does provide a little depth to why he is who he his. His struggle with trying to stay current in a world that is passing him by gets a little illumination in that scene. Vernon is a very angry man! I don't want to lose that anger but I also don't want to give a "one-note" performance.
I tell ya, cutting those scenes does free up Carl in a way. I always felt Carl was the shows real-world advocate. He follows his own rules, doesn't pull punches, calls things like he see them. Ron wants me to push the "slimy" envelope in the scene where he see the kids in the Library. I didn't have a problem with that but I guess in the back of my mind I wanted him to maintain some redeeming quallities for his scenes with Vernon. Now that those are gone, I can take him into "creepy-Janitor" land!! You know, the kind that lives in the school on a cot in the boiler room. A cross between Anthony Hopkins in "Silence of the Lambs" and Billy Bob Thornton in "Slingblade". If I can get a couple shivers down the spine each night, then that will be a success!
Almost the entire show is blocked, which is good because we can now just focus on lines and interaction. We were to be coompletely off book for the first 25 pages last night. Still struggled with some of the cue pick ups. What is frustrating is that I know I know the lines, but if any other actor drops theirs or misses their cue, it not only throws me off but I immediately go into my head and think I screwed it all up!! I guess I have put my fellow castmates on a little bit of a pedestal. I think because they all have been more active in live theatre in the past 10 years than I have I'm the one who is most likely to drop the ball. When in fact we are all on the same playing field. We all have the same struggles. Not unlike the underlying theme of the show, we all are different and have our own crosses to bear.
We are off tonight. Get to take my daughter to see "Our Town" at teh Coterie. Then back at it tomorrow for 6 straight days.
The other unfortunate things is those two scenes allowed the audience to see a little more of Vernon (and Carl, for that matter). Particularly the last one that shows a bit of a human side to Vernon. Well, maybe not human, but it does provide a little depth to why he is who he his. His struggle with trying to stay current in a world that is passing him by gets a little illumination in that scene. Vernon is a very angry man! I don't want to lose that anger but I also don't want to give a "one-note" performance.
I tell ya, cutting those scenes does free up Carl in a way. I always felt Carl was the shows real-world advocate. He follows his own rules, doesn't pull punches, calls things like he see them. Ron wants me to push the "slimy" envelope in the scene where he see the kids in the Library. I didn't have a problem with that but I guess in the back of my mind I wanted him to maintain some redeeming quallities for his scenes with Vernon. Now that those are gone, I can take him into "creepy-Janitor" land!! You know, the kind that lives in the school on a cot in the boiler room. A cross between Anthony Hopkins in "Silence of the Lambs" and Billy Bob Thornton in "Slingblade". If I can get a couple shivers down the spine each night, then that will be a success!
Almost the entire show is blocked, which is good because we can now just focus on lines and interaction. We were to be coompletely off book for the first 25 pages last night. Still struggled with some of the cue pick ups. What is frustrating is that I know I know the lines, but if any other actor drops theirs or misses their cue, it not only throws me off but I immediately go into my head and think I screwed it all up!! I guess I have put my fellow castmates on a little bit of a pedestal. I think because they all have been more active in live theatre in the past 10 years than I have I'm the one who is most likely to drop the ball. When in fact we are all on the same playing field. We all have the same struggles. Not unlike the underlying theme of the show, we all are different and have our own crosses to bear.
We are off tonight. Get to take my daughter to see "Our Town" at teh Coterie. Then back at it tomorrow for 6 straight days.
Fourth Rehearsal
Lines are hard. It isn't the memorization of them. It is getting them in the right order! There is one particular scene in which Bender and Vernon go at it. The "I've got you for two months!" scene. John Hughes wrote so many "Are you through?" and "You want another one?" that they blend together. Typically, an actor will go through and memorize his or her lines, expecting the rehearsal process to help in when and where to place them. But when your lines are the impetus (impeti?) to your fellow actors lines and vice versa there is an added pressure to get them just right. It can really stop the flow of a emotionally driven scene. I know, I know. It is only the third rehearsal but I have high expectations of myself.
I didn't realize until today how stressful it was to get back on stage. After Sunday's first rehearsal I was EXHAUSTED!!! It wasn't a taxing rehearsal by any means. In fact, Ron has such an easy-going manner that allows the actors to continually discover as the process moves along. It was simply the action of getting back on a stage with others depending upon you to do your job. I didn't have the same feeling after yesterday and each day gets a little easier getting back into the groove. I've got 7 more rehearsals until tech. I'm praying it will all come together (for myself, personally. I have little doubt in the rest of the cast and crew).
Jon Fulton Adams, our costumer extrodinaire, brought in THE suit for Vernon! As expected, he just opts not to recognize the 80's came into being! It is almost as bad (meaning good) as the one my Mom made me out of patchwork denim in the 4th grade. That is 1977 for those of you keeping count. But it does make a statement about Vernon (and probably why he's single).
I didn't realize until today how stressful it was to get back on stage. After Sunday's first rehearsal I was EXHAUSTED!!! It wasn't a taxing rehearsal by any means. In fact, Ron has such an easy-going manner that allows the actors to continually discover as the process moves along. It was simply the action of getting back on a stage with others depending upon you to do your job. I didn't have the same feeling after yesterday and each day gets a little easier getting back into the groove. I've got 7 more rehearsals until tech. I'm praying it will all come together (for myself, personally. I have little doubt in the rest of the cast and crew).
Jon Fulton Adams, our costumer extrodinaire, brought in THE suit for Vernon! As expected, he just opts not to recognize the 80's came into being! It is almost as bad (meaning good) as the one my Mom made me out of patchwork denim in the 4th grade. That is 1977 for those of you keeping count. But it does make a statement about Vernon (and probably why he's single).
Third Rehearsal
This production is teetering on that precipe of being a parody and an homage. We have a couple high schoolers filming some rehearsals and doing one-on-one interviews with the cast. These are to be shown sometime, somewhere at a later date. One of the questions they asked was whether I felt compelled to bring much of Paul Gleason's portrayal to my work. I don't think that is really possible. Sure, I guess it could be but I think I would be doing myself and the show a disservice. I did say that it was virtually Impossible not to acknowledge what he did with his character and that there surely would be some similarities. But I really feel my interpretation is what is best for THIS production. I mean, I don't have Judd Nelson. I have Matt Leonard. I don't get to work with Anthony Michael Hall. I get Alex Saxon. Molly Ringwald and Ally Sheedy aren't on stage with me. Chioma Anyanwu and Patricia Rusconi are. Matthew Schmidli's interpretation is way different that Emilio Esteves. I'll watch something Matt does and think "Huh. Judd didn't catch that moment!" I didn't realize at the time how funny the role Anthony Michael Hall's was until I watched Alex doing his part.
My point is that Paul Gleason's Vernon is classic. Priceless. I would never try to emulate him. But he HAS given me a wonderful springboard to develop MY Vernon.
We've blocked have the show and are to be off book for the first 25 pages tomorrow. I've still got to figure out if "I want another one?" or if "I'm through".
Tonight we met for the second time. Let me start by saying it was a GREAT rehearsal (I even got a "Gold Star" from Ron--Hey, that feels pretty good considering it has been 9 years since I was last on stage--Except, of course, my portrayal of Smoky in last summer's staged reading of "The Big Lebowski"). The characters of each actor are really taking shape. After blocking the intro on Sunday, we expanded the to the first 25 (of 85) pages. Basically to the end of the first "showdown" between Vernon and Bender. Ron made an interesting observation that until this point the show is easy-going. After this standoff, we start to see the riff that exists between student/student and student/teacher. With the students, it is definitely a class warfare, the haves and have-nots. The student/ teacher clash is much more interesting, to me at least. As Vernon, I feel he needs to assert and maintain his authority but I think he still wants to be considered "cool." Maybe not to the kids, but at least, to himself and his peers.
My point is that Paul Gleason's Vernon is classic. Priceless. I would never try to emulate him. But he HAS given me a wonderful springboard to develop MY Vernon.
We've blocked have the show and are to be off book for the first 25 pages tomorrow. I've still got to figure out if "I want another one?" or if "I'm through".
Tonight we met for the second time. Let me start by saying it was a GREAT rehearsal (I even got a "Gold Star" from Ron--Hey, that feels pretty good considering it has been 9 years since I was last on stage--Except, of course, my portrayal of Smoky in last summer's staged reading of "The Big Lebowski"). The characters of each actor are really taking shape. After blocking the intro on Sunday, we expanded the to the first 25 (of 85) pages. Basically to the end of the first "showdown" between Vernon and Bender. Ron made an interesting observation that until this point the show is easy-going. After this standoff, we start to see the riff that exists between student/student and student/teacher. With the students, it is definitely a class warfare, the haves and have-nots. The student/ teacher clash is much more interesting, to me at least. As Vernon, I feel he needs to assert and maintain his authority but I think he still wants to be considered "cool." Maybe not to the kids, but at least, to himself and his peers.
Journaling
Ron asked us, as homework, to not only journal the week before this "date" but also create a songlist that each character would listen to on his or her "mixed tape" (this is what we did before Ipods, kids!). I found Vernon to enjoy his music from the 60's and 70's but also picking up some Disco. I think he thinks he's current, but doesn't realize he's about 5-7 years behind the times.
As for the journal, I didn't see Vernon being the type to write daily thoughts and ideas. But I did see him planning his week--Observing classes, going to Board of Ed. mtgs, attending basketball games, watching the lunchroom, teaching Health class. I did give him Monday nights off. That's when M*A*S*H comes on. Can't miss an episode of Hawkeye and Radar!
As for the journal, I didn't see Vernon being the type to write daily thoughts and ideas. But I did see him planning his week--Observing classes, going to Board of Ed. mtgs, attending basketball games, watching the lunchroom, teaching Health class. I did give him Monday nights off. That's when M*A*S*H comes on. Can't miss an episode of Hawkeye and Radar!
Second Rehearsal
An interesting thing I'm discovering in this process is the level of despise Vernon has for the students. Rod Perlmutter brought of the concept that Teachers become Vice or Asst. Principal's for two reasons 1) A better job with more money and 2) They are sick of dealing with kids in a classroom setting. I definitely feel Vernon falls into the later. To the point he has little to no patience left for any of them. I'm not sure if he is on detention "duty" by choice or was assigned by the Principal. Either way, he has no desire to be there. Regardless, it is a cross to bear. I know some folks from the 60's and 70's might beg to differ but I think the era this show came out was pretty pivotal in how teenagers viewed themselves and how they were viewed by adults. Physical punishment was disappearing in schools. Dress codes didn't exist. Even the music was changing. Rock and Roll wasn't the only game in town. There was a British invasion of sorts that brought a lot of new sounds into the mainstream. Kids were developing a more distinct definition of themselves that created a freedom in not "following the herd". Sure, they were looked on as weird but there was a sort of intriguing side to those outcasts because they were able to get away with it. Athletes and Princesses weren't the top dogs anymore. The Rebel had a certain "je nais se quoi" to them that started to grow and flourish. I think Vernon is stuck in that realm of "Why can't these kids be like I was when I was their age?" He thinks the kids have "turned on" him. Carl, later on, points out "Come on, Vern, the kids haven't changed, you have!"
I think there is a vulnerability in Vernon that underlies his anger. His upper hand is slipping away and he's not sure what the next step is supposed to be. Let's see what tomorrow brings!!
After a meeting about Coterie rules and regs, and a visit from Karen, the Marketing director about how we can get the word out, we sat down to do a read-thru. It was GREAT! It amazed me how quickly the cast morphed into their characters. I know there were some similarities in what they were doing and what we all know the film to be but each one brought his or her own style to the reading that was just a treat to watch.
I think there is a vulnerability in Vernon that underlies his anger. His upper hand is slipping away and he's not sure what the next step is supposed to be. Let's see what tomorrow brings!!
After a meeting about Coterie rules and regs, and a visit from Karen, the Marketing director about how we can get the word out, we sat down to do a read-thru. It was GREAT! It amazed me how quickly the cast morphed into their characters. I know there were some similarities in what they were doing and what we all know the film to be but each one brought his or her own style to the reading that was just a treat to watch.
First Rehearsal
The other "homework" I have to complete is the song list that each character is creating, which means I get to do two, one for
Next rehearsal is Tues. Looking forward to it!!!
Wednesday, January 21, 2009
Tim Ahlenius
Tim takes on the roles of all the adults in the world of The Breakfast Club.
Check back for updates.
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