Thursday, May 31, 2018

New Works 15 Info Meeting




NW15

Informational Meeting


Interested in learning more about the 15th Annual New Works Festival?  Interested in applying to write?  Interested in casting?  Interested in stage management and crew?  Just curious?  Come on by!


Tuesday June 5
3:30p - 4:30p
Auditorium

Sunday, May 13, 2018

STRIKE!



Monday 5/14
3:30p - 8:00p*
STRIKE

Called:  Full Cast / Crew
(MANDATORY)

If you cannot make strike, you must ask Mr. Peerenboom to be released and then arrange to make up the hours should he agree to let you go.  Remember, you must "ask", not "tell".

*People will be released as early as possible.  Hopefully, things won't take that long...

Friday, May 11, 2018

Show 6 - Closing



Call times will be the same - but note the meeting...

5:30p:  Crew Call
6:00p:  Cast Call

6:00p
Full Company Meeting*
(in the auditorium)

6:45p
Playwrights Talk (Bowen, Sammy)

*We will discuss the errors during Show 5, closing night activities, and strike.

Have a great day, and let's close this out in style!



Thursday, May 10, 2018

Show 5 Calls


Business as usual for Show 5!

Crew Call:  5:30p
Cast Call:  6:00p
Playwrights Talk:  6:45p (Barrett, Michael)

Congrats to crew on a fine Show 4 with our newest backstage addition!  Thank you for problem solving and coming together. Very clean work.  

NOTES:  we had a bit of a rough "house open" last evening with things not ready.  Be sure communication lines are clear.   SMs: please ensure backstage run lights are off and that you have done a clean sweep to make sure all is struck before leaving for the evening.

Wednesday, May 9, 2018

Show 4 Calls



NW14: Wednesday 5/9
Detailed Schedule

5:30p - 6:00p
Called:  Crew
Agenda:  Crew Prep (set for B2)

5:45p - 6:00p
Called:  Cast in 169
Agenda:  Notes

6:00p - 6:45p
Called:  Full Company
Agenda: Show Prep / Mini-Tech Rehearsal On Stage (B2, Kit-Kat)

6:45p - 7:15p
Called:  Tucker, Rory in Foyer
Agenda:  Playwrights Pre-Show Discussion

7:15p - 7:30p
Ingress

7:30p
GO Show #4

Tuesday, May 8, 2018

Audience Etiquette - HELP!



At both the second and third performances, I had to admonish groups of students who were: 

constantly talking (at medium volume)
texting and playing video games on their phones
kissing / petting
eating candy 

In both cases, the students were sitting in groups in the back row(s) of the auditorium side.  I was able to get things in order, but of course, that was somewhat disruptive too.  On Saturday, it had a particularly adverse effect on the audience experience of Revisions.  

I discovered that these students were there to see friends in the show - friends who had invited them.  On Friday, the group left after Act One - (probably because they had flipped me off and did not want to deal with me at intermission - ha).  

I am well aware that we are in a time when audience etiquette is not something taught or even valued in our society.  This issue is not only a teen issue - it's everyone and everywhere.  It is a major point of discussion in theatre companies world-wide.  Entire conferences are being had on how to convince audience members to assist in creating a wonderful communal experience for everyone.   For the ritual of seeing a show is just that:  communal.  And unfortunately, in this era of "me, me, me, me, me" - exacerbated by smart phones and social media - it's becoming nearly impossible.  

If you are inviting people to the play who you know are not typical "theatre goers" - who aren't aware that when one talks in a theatre, actors and fellow audience members can hear them...who are used to IMAX level sound and so figure no one will be disturbed...who can't sit for more than two minutes without checking Instagram...who believe they should be able to come and go as they please (because "what about MY needs?) - please give them a friendly crash course on theatre etiquette.  

We want as many people as possible to attend - especially students.  So I'm not asking anyone to say to these folks:  stay away.  And I refuse to think that people - no matter their age or theatre going experience - cannot learn how to participate in the beauty of the live theatre experience.  It simply takes a bit of education.  So help out if you can...

Monday, May 7, 2018

PHOTOS!



Photographer and amazing volunteer Chris Rentzel has made available his photos from the dress rehearsal shoot.  Enjoy!

Please use for promotions this week.  Let's sell this out!

Click:  HERE

Sunday, May 6, 2018

RE: 5/8 Pick Up Rehearsal




NW14: Tuesday 5/8
PICK UP 
Detailed Schedule

3:45p*
Called:  Full Company
Agenda:  Crew Prep, Actor Prep

4:15p^
“GO”

7:30p
Release

*This will be in full costume, though no need to tend to make-up.  Hair should be done, however.

^Actors and crew may watch when not on stage or prepping.  Though we want this to be a run that’s taken very seriously and performed with full intent, we can also make it a sort of “final get together” to share in our wonderful collaboration - and to see how everyone has grown since dress rehearsals.  And please think about food.  You need to consider having a snack already with you, given the 7:30p release time.


Let’s come together and have a celebratory rehearsal as we prepare for what will be a magnificent closing week!  

Saturday, May 5, 2018

Pre-Show Playwrights Panels




The 14th Annual New Works Festival
Eye to Eye
Pre-Show Discussions with the Playwrights

Wednesday 5/9   6:45p - 7:15p
Teen Naturalism with a Surreal Edge
with Playwrights Rory Hays and Tucker Litch

Rory Hays (Revisions) and Tucker Litch (Spectral) are tackling complex relationships between high school students in their work.  Both approach their pieces with a desire to portray the authentic - but with a hint of surrealism and poetry.  Come listen to them discuss their delicate approach to the topics explored in their most relevant plays.

Thursday 5/10  6:45p - 7:15p
When Darkness and Comedy Collide
with Playwrights Michael Walsh and Barrett Kent

Michael Walsh (Kit-Kat) and Barrett Kent (B2) have imbued their plays with their incredibly unique comic voices - injecting absurdist, satirical, farcical, and cartoonish elements into their stories - and yet at the same time, are investigating incredibly dark issues.  Join them and learn how they used comic flare and approached the topics “side-ways”.

Friday 5/11  6:45p - 7:15p
Highly Theatrical Storytelling
with Playwrights Bowen Hampton and Sammy Martin

Bowen Hampton (Split Division) and Sammy Martin (Blank) both turned to highly theatrical methods with which to tell stories - utilizing sound, light, repetition, and rhythm so as to convey content in ways that elicit a most visceral response.  Both will discuss the use of theatrical devices and how employing such techniques helps create catharsis for both actors and audience.

Show 3 Calls


We have shortened crew times a bit, given they've been so efficient.  Because they are AWESOME!!!

CREW CALL:  5:30p 
CAST CALL:  6:00p (in 169 for brief meeting)
GO:  7:30p

NOTE:  It looks like we had wrong information when we spoke last evening about the Timbers game.  This is not a home game, but out of town.  That is good news for parking and noise.  

It was a terrific show last evening.  And it was moving to see Principal Chapman staying so late to talk with so many of you.  She told me it was her "favorite New Works so far...every single piece was strong...made me look at things in a different way..."  She was blown away!

You are all really kicking some major buttocks!  :)




Friday, May 4, 2018

Show 2 Stuff!



A few things as we gear up for show #2....


ONE
Though we are no longer having full dinners, for those who want some, at around 5:00p today, there will be salad and rolls or breadsticks in 169 to nibble on.


TWO
Your call times are as scheduled going forward unless you hear otherwise.  So once again:

CREW:  5:00p
CAST:  6:00p

THREE
At top of cast call tonight (6:00p), I want to make a couple of very brief observations / notes to the actors in 169.

FOUR
At the end of the above notes, I want playwrights to come talk to me - again, very briefly...

You had a marvelous and successful opening!

Thursday, May 3, 2018

RE: Thurs 5/3 - OPENING




NW14: Thursday 5/3
OPENING!
Detailed Schedule

3:45p
Called:  Full Company
Agenda:  Notes - Opening Circle

5:00p
Opening Dinner

6:00p
Called:  Full Company
Agenda:  Crew Prep, Actor Prep, Warm Ups, Etc.

7:30p*
GO Show #1

*Please make sure all rides know that the show will always end around 10:30p, and that you will then have to get out of costume / make-up.  You need to move swiftly after the show so that we may close the building. Please do not dawdle.  And please keep things clean and organized.

Going forward, the calls will most likely be as previously published:

Crew Call: 5:00p
Cast Call:  6:00p

But should notes be necessary, schedule adjustments will be posted to the blog.  Also note that dinner will not be provided going forward - so plan accordingly.

Wednesday, May 2, 2018

No Preview, But...



We are not having an official "preview" tonight.  Given collective exhaustion and the need to remain fresh, I decided to start earlier this evening and forego an official run that starts at 7:30p.

That said, if you know someone who would like an early viewing and who would not be able to afford a ticket - or who is already buying tickets but would like a preview, they may come tonight.  

There will be no adult house management.  It will be super casual. So they would need to be in the lobby around 6:30p.  We can then let them in.  We will start around 6:45p.

You need to let me know if you have invited anyone.  Feel free to invite staff too.  It's a good chance for them to see it.  If our amazing parent volunteers wanted to stick around and watch tonight, that would work too!

Grace - this would be your only chance to see it as HM - so I hope you plan to stay.


RE: Wed 5/2




NW14: Tuesday 5/2
Detailed Schedule

3:30p - 4:15p
Called:  Rory, Johnny, Justin, Grace
Agenda:  Misc. fittings, notes, house management issues

4:15p - 5:00p
Called:  Devising Ensemble
Agenda:  Echo Chamber, Enjoy

5:00p - 5:30p
Dinner

5:30p - 5:45p
Called:  Full Company in 169
Agenda:  Back Stage Etiquette

5:45p - 6:45p
Called:  Full Company
Agenda:  Crew Prep, Actor Prep (full costume, hair, make-up)

6:15p - 6:30p
Called:  B2
Agenda:  Timing Issues Second Half - Discussion

6:45p - 10:00p*
Called:  Full Company
Agenda:  Dress #3

*Inform your rides that, given this is final dress, I may need to hold you slightly past 10:00p.  I ask for flexibility.  I will not hold you for long.  Also note that I will give notes from final dress in person at 3:45p tomorrow.  So…you are now officially called for that note session at 3:45p on Thursday 5/3.  This is the trade for me not starting at 7:30p tonight (show time), ending the show at 10:30p, giving notes until 11:30p, and then sending you home.  I want you to sleep.  But I want my final notes session to be in person. 

Notes: Dress #2




EYE to EYE
Dress #2 NOTES

GENERAL

NOISE
Noise backstage was truly atrocious.  I will address backstage rules with both crew and full cast today as a group.  But one thing to be ready for is that the Devising Ensemble will not enter until the transitions begins.  So you will wait in the hallway, listen for the music, and once it starts, you will have about 30 seconds to get in the door and to places. 

FYI - When I realized this was going to be a problem, given we could not even get quiet at places…I decided to make hash marks for every time I heard noise.

The total?:  93

That’s a first in my entire career.  Not a record I ever wanted for a production I directed.  Wow…

HOW TO READ NOTES
If you don’t get the same note twice, it usually means you resolved the previous note.   I will rarely say “Great job on taking the last note.”  So assume, unless you get it again, that I felt you had improved! 

A few crew notes are scattered throughout.  Please look.

DROPPING IN
It is clear to me that some casts are not taking the necessary time to focus, get quiet, and put all attention on the show ahead.  I know this, because only 1 minute prior to Act Two starting, actors from Blank were socializing in the foyer.  I hear this is true of others as well.  Please…put yourselves in a position to be successful.  None of you yet possess the skills to just walk on stage and “nail it” without proper preparation.  And…once your play has performed, be respectful.  Know that others still have a play to do…  You should be quiet, do homework, watch something under headphones, etc.

PERSONAL DRAMA
It ends.  Now.  I am extremely aware of the numerous instances of interpersonal nonsense transpiring.  Is this normal for high school?  Of course.  Do I “get it”?  Yes.  It’s part of growing up and navigating the many changes in your minds, bodies, and lives.  But can any of it be allowed to poison our collective hard work?  No. And what saddens me is that I chose to cast as many people as possible - the largest New Works cast in our history.  I did this because there was the talent, yes…but also, because I wanted to allow as much opportunity as possible.  But I worried…is casting 30 people a good idea?  Because with more people - there is always more potential for some to stir things up and sabotage the process. And that is beginning to happen…right before opening…in at least 4 different situations.  So let me be clear:  if you are not able to control your behavior so as to always contribute to the collective effort…if you are not able to place your full energy on the production…you are not ready to be in this - or any - play.  You do not yet have the maturity to do so.  Do not be selfish and hurt your peers who have worked this hard.  Stop making it about you…  We made a deal with each other:  this was to always be a process about building a platform for your colleagues - where we all put others first…so that ultimately, we are all standing on a stage where we have each other’s backs…where we will all succeed and grow.  Remember that…and knock off the petty, inconsequential, and unimportant gossipy nonsense.  It’s beneath you.  I expect more from you.  Because I respect you.

Split Division:  Eyes

ALL
Much better energy.  I would love it if the volume at the top on the “As a…” entrance isn’t full yelling from the beginning.  You all came in with the drive I asked for.  YAY!  Now let’s add some nuance.  So come in quieter - seething - but still with that drive and pace…and then let the lines crescendo as you travel - and finally reach the stage.  And when you do reach the stage, I need a strong pose/look prior to Noah beginning the next section.  It can’t look like actors waiting for a cue.

JULIET
“Cracker is a slur” - losing the word “Cracker”.

BARRETT
“Not all men” is too styled…so losing the sentence because of the overt mockery.  Back down a little.

EVE
You are bit late on your big line:  MY MOM AND BROTHER ARE DEAD! - That should almost interrupt the group line “I’m SO offended”.  I think you should look at it like an overlap, so think of that previous line as:  “I’m SO offen//ded.”  This will make for more of a startle.

ADRIANA
“I’m afraid of places where…”  This line is still tough to hear.  I realized it’s because you are looking at the floor.  Love the delivery of the line - just pop it up a bit!

ALL
Per above note:  careful not to stare at floor…ever.  The words die there.  J  Keep heads up.

Kit-Kat

AIDAN
You can hide the Kit-Kat wrapper in your back pocket, but it can’t be seen.  In this run, it was hanging out and totally visible - to the point where I did not know why Patrick was so blind. J

BEN
“Until I’m left with a skin tone” - line still rushed…losing words.  The word “left” is what I’m really missing.

CREW
I did not see a curtain pull when they were backing Aidan out with the dolly.

BEN
“Maybe we shouldn’t kill her.”  The emphasis should be on “shouldn’t”.  Right now, it’s on “kill” so it doesn’t make much sense.

ALL
It’s beginning to get a bit “yelly” through the whole show.  I don’t mind the intense volume and love that I can hear almost every word.  But be cautious about vocal scrape.  When that scrape sound comes out…you are no longer supporting your voice with the diaphragm.  And it comes off as “screaming” not “strong voice work”. 

MATT / BEN / LINDSAY
This is a change.to help timing with the off stage prep…
Right after Lindsay has been drug off and she’s chanting, I now want the line:  “You watch the front…” said OFF STAGE. So, it will work like this:

-Dylan - “Good. She’s dead.”
-Regina is dragged off as she’s chanting, the chanting gets weaker once off.
-Once off stage, Ben preps his mouth as Dylan yells “You watch the front…”
-Patrick then enters, Dylan soon follows - and it’s okay if Patrick is still making his way to the tower when Dylan enters.

Split Division:  Machine

ALL
Excellent overall.  Really impressed with the improvement.  Tempos and rhythms were great.

MARCELINO
Still need to play a bit more to the tower.  And make sure your feet are squared, so you aren’t cheating DS.

Revisions

ANA
Don’t forget your costume, because you know…actors wear costumes.  J

BOTH
I felt this started a bit rough with neither of you listening very well to each other.  It’s easy for a piece like this to become stale…  Every time you go on…it must happen “for the first time”. It settled in nicely after a bit…

BOTH
…a little too nicely. It got super “pausy”.  Lots of ACTING happening on pauses.  J  There were multiple moments when I think the audience would consider a line had been dropped. Tucker, you were bit more guilty of this than Ana.

TUCKER
Still losing “how bad I am”.  It’s the “b” on bad.

TUCKER
One of those pauses was after she leaves the first time.  You might have noticed you didn’t even get to travel before she was back on stage.  Her timing was the same.  J

Split Division:  Love

JULIET
You were really late rising to have your moment with Noah - and then it was rushed, not connected, and you sort of ran back to lie down…  Not sure what happened.  But should an error like that occur…don’t let it throw you.  Let me know if I need to address something in that moment. 

ALL
Getting a bit slow.  As noted last night, we ran way over time.  I am nervous about giving you this note, because I love the connections…and I think you are going slower to make sure you don’t rush…  So it’s about balance.  Don’t over think the note…just be aware to keep things rolling forward. 

ADRIANA
Nice adjustment on the vocals…much stronger on the list.  And I heard “respect” for the first time!  YAY!

Spectral

ALL
Overall, still moving forward in terrific ways.  And you are all starting to feel the seamless flow from scene to scene.  Keep it up.

TESS
“I mean, did something happen?” - Land that line, lost it.

BOWEN
“Don’t make it weird.”  Lost it.

RUBY
Great overall run - but you had two scenes where vocals got really low.  And it’s the two scenes I think I gave you the most notes on. One is the “plan” scene with Terra.  The other was the monologue to Sylvie (tom boy)…both were very cinematic - you were very tight-jawed and inarticulate in those moments.  It was an almost strange contrast with other scenes, which were so “on”. J

SAM
“Can you skip rocks?” - lost that line…pretty important.  And now with your congestion (so sorry!) - you need to be extra diligent about diction.  And…see about Afrin Severe Congestion.  It’s not great for you as it can’t be used too many days in a row.  But it’s an actor’s savior for performances, because your nose will open and you can breathe.

BOWEN / MICHAEL
The scene with the kiss was the best its ever been - and probably the “scene of the night” - such strong listening, timing, connecting…very strong work from you two.  I felt I finally understood both these complex characters in these moments. Bravo.  Brave, vulnerable work… 

LINDSAY
Just a note to say that you are stellar in this role.  I have yet to find a single moment when you are not actively listening.  Really impressed with the level of focus and intensity…  Bravo!

LINDSAY / BOWEN
Your climactic scene is starting to get a bit “by the numbers”…it’s so emotional and tough, this scene…you must learn to play it for the first time each run…  I love what you are both doing, but I didn’t totally buy it this run…

Split Division:  Finale Part 1

JULIET
With sound now under you, be very aware of the need to project. You are doing a very nice job with this…now really “own” that you are closing the entire act.  Stay on that voice…let me hear a bit more confidence in the language…  But overall, very nice.

Split Division:  Echo Chamber

MEN
Head turns are a mess at top.

ALL
There’s this cool thing in musicals where you have to move and sing at the same time.  But you found a new way to do it where when you were still, I could hear you - but when you were moving, I could not.  That’s very minimal, modern, and deconstructed…but consider me an old fashioned guy who likes it when you can move AND sing. J 

Split Division:  Feast

ALL
This is a change. 
The second Echo Chamber’s last note ends, you are to immediately make loud eating noises and mime holding food AS you walk to your places.  Justin, that goes for you too.  And then as soon as Justin hits his mark, he speaks and all quiet down and eat a little softer under him.  This will help bridge the gap between the two pieces.

ADRIANA
Looking at floor again… Lost you lines.

Blank

ALL
So much better.  It was a little shaky in places, because I could see you “thinking” - and “making changes” - but I think as it drops in, you will now finally be able to seize the show.

EMILY
“Prep for the walk out” - lost the word “prep”

JACKSON
Speak as you enter for that initial scene.  You should be saying “It looks familiar” the moment you step through that curtain - and really project, so that our eyes turn to you and all who are entering.

CLAIRE
“The goal is to spread our message…”  Lost that line.

JACKSON
The insult to Ben was better…but you need to actually look at him when you say “You’re not nearly a good enough artist.”

CONNOR
In general, you were really mush mouthed.  Lost about 20% more of your words than the last run.  I suspect it might be about you thinking about notes…so hopefully it was just this run - but stay on top of your diction…and stop diving off the end of words.

PROPS
The drawings are too light.  All pages look blank from the auditorium side.  Maybe we need to copy on a heavier setting…  Let’s experiment with a new set for final dress.

NEALA
“Want a Snickers?” - Lost that line.

CONNOR / NEALA
You were both handling the props much better! YAY

CONNOR
Finding the drawing and getting to the steps and seeing Elliott took way too long.  Tighten.

EMILY
“We’ll take care of it later” is a HUGE line.  It refers to her bulimia.  So she needs to say it euphemistically.  Talk to me if this does not make sense.

AVA / CONNOR
Ava’s blocking error was a good accident.  I want to keep it.  So…
After “Let’s go ask Skylar if there’s anything we can do.”  Go as if to exit the Aisle C steps.  Connor will interrupt right away - then just go back to the tower steps as usual.

AVA
Much nicer drive overall.

AVA / JACKSON
There is no reason to have this hug it out moment if the moment before has no “bite”.  So Ava…you must nail him with “Was it long enough to see her unravel?” - etc.  And that allows us to see how painful this was for her too.  But you have to just nail him to the wall.  And then the apology and hug make sense.  Also - what’s with that hug?  It reads like both of you failed to shower properly and don’t want to smell each other.  J  Seriously… Odd. 

JACKSON
“Then we can probably catch up” - You’re losing that great adjustment you made weeks ago when we get the sense from him that he can’t believe they’ve been wasting time. 

CLAIRE
“You went in my bag?” - Lost that line.  And this section always starts a bit shaky for you - and then gets strong halfway through.  I feel you never drop in until “Oh, please.  Do you think your comments…”  The monologue prior to that is lacking in full confidence.  Once you throw those drawings, you need to “take the stage” and “prowl”. You are in charge.

CONNOR
“Before she does something stupid.”  Not quite. J  You chose to take giant pauses in the line and stutter.  All you need to do is have this subtext in your mind:  “Before she hurts herself.”  And that should do the trick.

NEALA
“You okay?” is a question. J

NEALA
When the giant sound cue goes off after “It’s perfect”, I want you to jump out of your skin - as though it slams into your mind - you can even scream there.  And then cover your ears and shake, almost violently.

CLAIRE / NEALA
Nice last scene - well paced!

Split Division:  Enjoy

NOAH / JOHNNY
You are to keep marching in place.  And what the heck was with lines?  You know, the audience has eyes.  They can see you when you are trying to give each other hints. J

BARRETT
Nice job saving that moment above.  Always feel free to click people off.  J

ALL
The TV scenes all must pace up.  Justin and Juliet are the closest to what we need.  Then Eve has the right attitude, but it begins to slow, and then we hit the Western which is hilarious but WAY too slow. 

BARRETT
You keep playing him like a sad, depressed, victim.  Be careful.  We can barely hear you it’s so “down”. 

MARCELINO / BARRETT
Double the pace of all your exchanges.  Marcelino…play him like that kid who cannot be still…and like someone who drank 4 Red Bulls. 

ALL
Don’t stomp down steps on exit.

B2

CLAIRE / SURESH
Skipped - and so lost “interesting” definition.  L

RORY
“Blade” - I never understand this word.  I hear no “b”.

TRISTAN
The growling during your initial bit is too loud now…burying the lines of others.  Pull back a bit.

ANABELLA
Carl Sagan is two names, not one.  J Losing this because you’re slurring through it.

CLAIRE
“Always meet up” - losing “meet up” - rushed - and that’s a big moment!  Nail that line…it’s a new idea…a new thought…and radical!

TRISTAN
The transition into the recluse monologue is taking too long.  Is that a choice - or did you go up?

SURESH
Really work on that cut.  The line s supposed to now be:  “NOOO, I am never going to be able…”  The “NOOO” is now the top of the sentence…

CLAIRE
I loved the power walking you used to do…please keep it!  You lost it tonight.

CREW
Lost curtain pull for Tristan when he exits asleep and crashes into cage on p31.

CLAIRE / SURESH
Your duet on p36 still starts so sloppily, like neither are sure of lines… Please get together and work this. Eliminate all pauses!

CLAIRE
Don’t rush the “I think you are a 4/5” section.  It needs to land.

SURESH
The new crying moment was priceless.

ANABELLA
See above - and don’t break.  J

Split Division:  Finale Part 2

JOHNNY
It still comes off a bit shaky - though lines were better.  The ending needs to be like this.

“We’re consumed with being right.”

Big pause while you look to both sides of the audience.  Then look straight ahead at the tower, head up, and finally say: 

“We forget to actually make progress.”