Thursday, March 1, 2012

A Sample of Process


The Foofaraw: Notes (Elisabeth Bloxam)

“Stop having fun and listen to me!” – Jonno

·         Preshow: set costume pieces/juice boxes in  bin backstage
·         Preshow: set coloring book, notepads, sign, Crayons, tape, on table SL
·         Scene 1, Part 1: kids … move to occupy space, fight to be seen when speaking
·         Scene 1, Part 2: Felix, remember your tie, jacket
·         Scene 1, Part 2: Lynette, remember your coat, scarf, and purse
·         After Scene 1, Part 2: leave drinks onstage!
·         Scene 2: Olivia & Ann, don’t get hidden behind couch
·         Scene 2: don’t forget Lowell’s phone call
·         Scene 3: don’t forget first phone call
·         Scene 3: don’t forget Simon’s phone call
·         Scene 5, Part 1: Lowell, when you sit down at the couch, push the ottoman further away so there’s room for the fight scene
·         Scene 5, Part 1: Ann & Felix, walk downstage quicker during Madeline/Simon confrontation
·         Scene 5, Part 1: NOBODY turn around to see Lynette
·         Scene 5, Part 1: FELIX, MAKE LYNETTE CRY!!
·         Scene 5, Part 2: Lowell, wait for Ann on “wait for me!”

OVERALL NOTES:
·         ARTICULATE: Hit your consonants.
·         PROJECT: The presence of the audience will soak up sound. You need to speak more loudly, slowly, and clearly than you ever would in real life.
·         BE PROFESSIONAL: Don’t talk backstage. Be aware of what’s going on onstage and don’t goof around. Don’t peek through the curtains and stay clear of the door when it’s open.
·         If you forget your lines, stay in character. The audience won’t notice if you keep talking as your character.
·         Olivia = quarterback … get out of the corner!
·        
Everyone … if you have a line that cuts off Felix, cut him off faster



Hey, Guess What

Well, we did it.

After a great deal of rehearsing, we did it.  We had so much inexperience, so much drive, so much support, and so much talent that we had no choice but to go out and give it everything we had.  I am so proud of every single person out on that stage and even those (JABRIA) who stayed behind the curtain.  The show went well. Eric seemed pleased, and I was beaming all the way home.  It's not over yet.  Stay tuned for Jonno, Jabria, Elaine, Elizabeth, Elisabeth, Kenan, John, Brian, and Arianna's second appearance.  What's he talking about?  Stay tuned.

Sunday, February 12, 2012

STAGING
      We have staged scenes 1 and 5 and we are excited to work on 2,3, and 4 tomorrow.  Elaine has really come into herself.  She has become a booming force, and she is working incredibly well with the other players. I am impressed by Kenan, Maddie, and Simon in their willingness to experiment with physical theatre.  We have begun to take our characters and relationships to a new level as we start to block the show.  I look forward to complete run-throughs in the very near future.  I urge Bryan to avoid Arianna's open handed vengeance.

Wednesday, February 8, 2012

Good news- we have a schedule
Bad news- We have a few conflicts


Show order:
Monday, 2/27:
   1. Sheltered
   2. The Good Weeds
   3. Man of the House
Tuesday, 2/28:
   1. Conviction
   2. What Horace Hears
Wednesday, 2/29:
   1. The Foofaraw
   2. The Great Mustache War
Curtain up at 7:30pm each night.

Sunday, 2/19: Load-in
   10:30am-1:30pm
Monday, 2/20: Tech 1
   6:00pm
   Sheltered, The Good Weeds, Man of the House, Conviction
Tuesday, 2/21: Tech 2
   6:00pm
   What Horace Hears, The Foofaraw, The Great Mustache War
Wednesday, 2/22: Overflow tech, if needed
Thursday, 2/23: Dress (show day 2)
   7:00 call, 7:30 go
   Conviction, What Horace Hears
Friday, 2/24: Dress (show day 3)
   7:00 call, 7:30 go
   The Foofaraw, The Great Mustache War
Saturday, 2/25: Dress (show day 1)
   7:00 call, 7:30 go
   Sheltered, The Good Weeds, Man of the House

Monday, February 6, 2012

Characterization continues with deeply analytic conversations and exercises.  From having a hug train to writing character analyses, the actors are becoming more comfortable with themselves and their characters.  I am increasingly impressed with the young and dedicated cast of The Foofaraw.  Some of the findings have been incredible.  In rehearsal today, we had a discussion about what it means to be an antagonist or a protagonist.  Each character is so important and has so much to offer.  We have three weeks to grow up together to create these very strong, highly troubled relationships.  Shout out to Elizabeth and Elisabeth for such impressive character analyses.

Saturday, February 4, 2012

Calendar.  Stay tuned for updates.


The Foofaraw- February Rehearsal Schedule
Sunday
Monday
Tuesday
Wednesday
Thursday
Friday
Saturday



1
Rehearsal 6-7p
PBK 221
2
Rehearsal 7-10p
PBK 221
3
4
Rehearsal 1-3p
PBK 221
5
Rehearsal 8-10p
PBK 221
6
Rehearsal 8-10p
PBK 221
7
Rehearsal 8-9p
PBK 221
8
Rehearsal 6-7p
PBK 221
(no maddie)
9
Rehearsal 7-10p
PBK 221
(maddie 8:30)
10
Rehearsal 3-4
PBK Lab

11
Rehearsal 1-3p
PBK Lab
(no Brian)
(maybe no Elaine)
12
Rehearsal 8-10p
PBK Lab
(maybe no Brian)
13
Rehearsal 7-10p
PBK 221
(EB late)
14
Rehearsal 8-9p
PBK 221
15
Rehearsal 6-7p
PBK 221
(no maddie)
16
Rehearsal 7-10p
PBK 221
(maddie 8:30)
17
18
Rehearsal 1-3p
PBK 221
(no EB)
19
Rehearsal 8-10p
PBK 221
(no EB)
20 Tech Rehearsal
Rehearsal 7-10p
PBK 221
(no EB)
21 Tech Rehearsal
22 Tech Rehearsal
Rehearsal 6-7p
PBK 221
(no maddie)
23 Dress Rehearsal
Rehearsal 7-10p
PBK 221
(maddie 830)
24 Dress Rehearsal
25 Dress Rehearsal
Rehearsal 1-3p
PBK
(no Brian)
26
Dress Rehearsal/Dark
27

Performance
(EB 8)
28

Performance
(EB 8:30)
29                                            

Performance















Collaboration and the Creative Process

I do not want to give away too much of the play because you have to see it for yourself (so stay tuned for information on performance dates,) but I would like to offer a glimpse into the creative process.  In a series of very fortunate events, I was thrust into the role as director with one day to prepare for casting.  Because I was on RA duty for one night of auditions, Eric Molly (the playwright) helped cast the play.  I have eight awesome actors.  I only saw four of them audition.

We had our preliminary run through, and the actors were already offering insights into their characters.  I knew that I would tremendous help at finding links and themes in the play, but I went home to find our jumping off point.  I had taken a directing course in high school, and I saved the directorial analysis that my director and teacher, Rusty Wilson, had given me.  

I am reading the play for its plot, the way in which it fosters relationships, its themes.  I am also examining the intentions of the author, the values asserted in the play, its style and nature, and the way in which the play will fit into the black box environment we've been given.  

This play is about relationships, and my research has pointed to me to a great deal of questions regarding the nature of characters and their relationships with each other.  I have encouraged (required) the cast to look deeply inside themselves and flesh out a character.  We have a situation where seven year-old children imagine a future, but the vessels for this experience are adults (and adult actors.)  The actors will grow up in front of the audience's eyes, and this transformation requires a tremendous amount of talent and dedication.  

The Foofaraw cast has everything from freshmen to juniors and veterans of the Mainstage to first time actors.  This process is a learning experience for everyone.  The level of enthusiasm and dedication already present forecasts tremendous things.  Stay tuned. 

Also, check out this song.  http://www.youtube.com/watch?v=FW7vfjWQaPk