R+J Captain's log, Stardate... 1.12-4.11.15

The slightly abbreviated and (almost) tactful version...

Stardate, 1.12-13.15 -  Auditions:
Successful. Had a great selection of young ladies and guys, with hopes of playing a title character in this production.  Some of these 'I only want Romeo / Juliet' hopefuls were just not suited or ready for these roles and were unwilling to consider others.  Needless to say, they were removed from the casting pool pretty quickly.  

Others fell beautifully into the support and featured roles that remained and we quickly had a core cast, with only a few "I'll take anything' auditionees becoming casualties to the casting process.  The remaining sacrifices seem to be the 'lead role only'  auditionees.   We are thrilled.

But, we still have a distinct lack of older adults.  I could go the way of a young production... after all, my past theatrical CV (and the various reviews) can attest to the fact that I have proven I am capable of doing "creative magic" with a young cast.  But, is this the production to un shelve that W. Shakespeare & Co Theatre Company mentality or ethic?  No.   The concept can't support it and as I hope to make use of Shakespeare's true textual meanings this time around, I don't want to filter out true Shakespearean intent for sensitive ears.  Also, do we really want my last show to be plagued with teenage actor drama.   Again, No.  So, after a few quick calls and networking appeals, once again ---- I have been given the perfect cast.

This blend of new fresh faced talent and seasoned veterans of local stages, peppered with a few absolute stage 'newbies', bring some carefully optimistic hope to our artistic team.   Don't get me wrong, StageWorks is an amateur theatre at it's core and mainly attracts local drama students, experienced community actors and a few 'currently not working' professional.  We have this in the cast, as well.  We know there is going to be a learning curve for some of them to adapt to my more intensive process.  We also have two young principals with very little stage experience... and minimal technique and form.  To be sure, there is a lot of work to be done.

Concerns --

• SCHEDULING:   While I am experienced with creating complicated rehearsal schedules, this one may prove a challenge.  The prelims are  beginning to look like one of those annoying math word problems, that doomed my potential admission to Stanford: Actor A can only attend once a week and cannot attend Wednesdays, but is available most Tuesdays and will miss 2 weeks and one performance.  Actor B can only attend Tuesdays and Thursdays.  Actor C needs to be late most nights and prefers Wednesdays and having Thursdays off, but is in a lot of scenes with Actor B;  while Actor D will be missing some Mondays, most Wednesdays and a few Saturdays.  Then there is Actor E, who requires his girlfriend present at all rehearsals to make sure she approves all stage kisses, but is available most days.  Everyone else is fairly flexible, but rarely appear in the same scenes.   Now make all of this into a cohesive schedule.  For 10 points.  

• COSTUME and LIGHTING:  The company lost R+J's planned costumer and has yet to find a replacement.  Are Katrina and I going to have to do it ourselves?  Dear God, I hope not.   In addition, we have been informed that the usual company lighting designer is not available.  No acceptable alternatives offered up.  Hmm, do I really want to speak to the stage lighting designer that I am married to?   He is off on theatre, concert and NASCAR gigs all the time.  Will he even have time to do this?  And, more importantly, it is never a calm result when he works on a show I am directing.  Let's exhaust all other options first.   

• And, the question we are all still asking...  Why is all this the director's job to facilitate, negotiate and deal with?  

• SET:  Then there is the set... Yes, the set.  The initial plan was to use  my theatre company, WS&Co, final season factotum set;  pieces which had made up most of StageWork's A Midsummer Night's Dream set in 2012 and Xenia's Much Ado About Nothing  in 2012.  Old, but still perfectly usable.  In a moment of extreme charitable stupidity, I had placed them on permanent loan with a local Community College for their use, with some restrictions (like I could recall them if at any time, I had a need for them or do not destroy or give away.  They must be returned.)    But, the columns had indeed been destroyed during the summer by the Theatre Program coordinator, without notifying anyone (including the program's Technical Directors.)  This occurred even though she knew they were the property of another theatre.  She chose not to alert anyone to ask about what belonged to who, or if anything was earmarked for a future show.  She also knew that StageWorks was going to be using them for their Shakespeare production.  In light of this, we have been trying for many months to gain the return of the remaining pieces -- 4 Gates, that require the destroyed columns.  We needed to rethink the entire show concept, the set and potential budget.  By now, a design is underway, that will include the gates and work with elements of the original concept; however, we still cannot get anyone from the college to respond about retrieving the gates.  Frustrating.  

• THEATRE SPACE:  The Arctic temperatures in the theatre... Yes, these still exist.  I had originally agreed to direct the show, as long as I didn't have to subject the cast to a frigid rehearsal, where they have to wear winter outerwear inside the building.  Last year, inside temps read in the upper 20's inside. Is this year going to be the same.  I was promised it won't be. But, once again, it seems we are to be subjected to these temps.  There is another promise of a new system being installed very soon.  In the meantime, we have requested an alternative rehearsal space, as weather in early February is expected to be in the single digits and below.  Not good conditions for combat, actor voices or concentration.  

Stressful... Yes.   Worrying... Also yes.  Fatal... Uhm.  No.  Not yet.   I have worked with worse issues.  Most importantly, it is all underway!

Stardate,  1.20.28.15 - Tablework:
These early work sessions have come and gone without incident.  Wonderful table read.  Very productive Character and concept sessions.  Creative minds are constantly churning.  Astute and insightful questions being asked.  Characters already starting to form and ideas are flowing constantly.

Concerns --

• COSTUME and LIGHTING:   Still no word from the producer on a costumer or Lighting designer.  Concerned.  May have to ask Andy.  

• THEATRE SPACE:  Theatre temps are little better than bearable.  Not in the 20's, but the low 40's/ upper 30's will take their toll on the cast if they continue.  Moved to a cast member's house for some of the week, since a large space is not necessary for this work.  Request for a back up rehearsal space has not been addressed.  

• SET:  Gates are still being held hostage.  

Still stressful... Yes.  Still worried... Yes.  Fatal yet?  Nope.  

More to come ...

Defining the Bard's young lovers...

Yes... Yes, I know.  This post about Springfield StageWorks production of ROMEO and JULIET is somewhat overdue.  Of course, audition information follows at the end.

Like everyone else, I have a life outside of my directing contracts and this past autumn some health issues became the forefront of my focus.  But, as I have had to take a break from teaching and keep my activities to a minimum for a few months, I now have a lot of time to focus on R&J...

As I have said before, I have directed, designed and been part of the cast of this play many times.  I am a firm believer in the school of 'Classical first', so that one may understand the intended nuances of the words, ideas and text before taking the cast and production on a conceptual adventure.  The playwright's intent is sacrosanct.  The director must understand it fully, visualize it completely, and work with its depth, long before auditions are even announced.  So, by creating a production in a Renaissance or Elizabethan setting for a director's first journey into the text, they can learn and conceive the text, as it was meant to be created.   After that, by all means, explore away... develop the universal potential inherent in the 500 year old passages and story.  Bring it into the contemporary context, set it in a tree house, on a train, on a desert island, in a white room... whatever, but one must have the deepest understanding and experience of the text in it's original setting first.

So, now to address the flurry of questions and speculation about what the setting and concept will be for this production.  And, there have been MANY.  So much interest.  


In the past, I have been fairly forthcoming about what was going to be done.  This time, I decided to keep the concept and setting a little closer to home.  The designers know, the directorial team knows, but everyone else will just have to wait and see at the read through or in production. 

Thanks to my set designer, Geoff Moss, several bitstrips have been circulated on Facebook, contemplating potential adventures for our two lovers and their feuding families.  


No, it will not be Elizabethan (been there, done that 4 times already); No, it will not be set in post-Katrina NOLA or on a pirate ship.  And, it most definitely will not see feuding werewolves and shiny vampires.    

What I can say is that the text will be handled classically and a lot of care will be put into the language and vocal exploration for this production.  While the love story will be the focus, the character dynamics, dysfunction of family issues and the feud will also be explored to an extensive level.  

I can assure all interested parties that this production will speak to everyone who has ever been in love  --- in a way that is not only contemporary, but  classically, as well.  I can also say that the setting will be 'across the pond.' 

Now, on to the issue at hand.... AUDITIONS.   These are just days away and we have had a lot of interest and questions about what I am looking for in a cast this time.  

THE CAST:    As always, I am looking for an ensemble of actors that connect and work as one.  Every role (no matter how small) is as important as the next.  But, all actors must also be able to carry their role independently.  Characters will be created, both with obvious and subtle elements, just as the actor playing the role; comedy and tragedy in the everyday life;  silliness and seriousness... I don't want stereotyped, cardboard performances.  I need the human, genuine and natural element in all of us to be transferred onto the stage.   Authentic moments are the goal.  

ACTOR EXPERIENCE and CASTING:    I will be looking for all levels of talent, so don't be afraid to attend one of the sessions - even if you have little or no experience.   I hope to see and use new faces for this show (as well as some familiar ones.) My hope is to have a group of some highly experienced and novice actors.  That type of ensemble creates a balanced team, a group with great diversity and momentum.  I will be casting actors and actresses that are at least 18 years old (sorry, no under 18's in this show) and will be looking for those who show vocal potential, as well as a natural technique that is either already refined or can be easily developed.  

CHARACTERS:  We will be casting a company of 12 to 13 people, plus ensemble.  The available roles include:

Escalus -  Can be male or female; any age.

Nurse - Likely to be female; At least 30 to 50.  

Friar - Likely to be male; 30 to 65+.

Capulet / Lady Capulet- Male / Female; Roles may be combined, if needed.  30 to 50+.

Lady Montague -  Female; 30+.

Romeo -  Male; 18 to 25+.

Juliet -  Female.

Paris - Male; 18 - 40.

Benvolio -  Male or Female; 18 to 18.

Tybalt -  Male; 18 to 35+.

Mercutio -  Male / Female; 18 to 35+.

Peter -  Male or Female; highly comic; 18 to 25.

Ensemble - Male and Female; 18-60+; Multiple roles -- Party goers, Apothecary, Capulets.

AUDITION PROCESS:      

• OPEN Audition Sessions will be held Monday, January 12th  from 6:30 to 10pm  and Tuesday, January 13th from 6:30 to 8pm.   
• All auditions will be held at the STATE THEATRE on Fountain Ave., Springfield, OH. 
• Call backs will be held January 13th from 8 to 10:30pm.  
• Registration begins at 6pm each night.  Please arrive early to complete paperwork.
• WHAT TO BRING:
• Actors new to StageWorks should prepare a one minute monologue from Shakespeare (any play.)
• All actors should be prepared to read from the script.
• Resume (or experience list) and head shots are recommended, but not required.
• All actors should bring a list of potential conflicts detailing scheduling issues from January 26th to April 12th and June 25th through July 5th.
• The show requires various forms of stage combat, music and dance at the wedding.  If you have any skills in these, please be prepared to share with us.  

PRODUCTION and PERFORMANCE: Rehearsals will begin with a table read the week following auditions and initial character and table work will begin the 27th and 28th of January.  All rehearsals will be scheduled according to the availability and schedules of actors who are cast.  Rehearsals will likely be held 2 to 3 times per week through February and 3 to 4 times per week in March.  Not all actors will be called to every rehearsal.  

Performances will be April 2 to 11th, Thursday through Sunday.  In addition, this production will be a part of the 2015 Springfield Arts Festival in July.  

As always, if you have questions, please contact the director HERE. Or, visit the AUDITION EVENT PAGE for more information and updates!

That's it for now.  

Watch out for future posts once the rehearsal journey begins...

Two households...

Auditions coming in January, 2015!

It's all changing...

Time for a change....

After a lot of bureaucratic 'buck passing', ball dropping and impossible, ever changing demands, I have moved away from The Foreigner project.  I NEVER quit a commitment... always fight for a new solution, but the situation was made creatively impossible, I couldn't bring myself to compromise my cast's and my own ethics.

Had a bittersweet, impromptu dinner with some of the cast and crew last night... so reminiscent of an end of run get together.  Amazing how these great people were already bonding!  Definitely one of the best cast ensembles I have ever compiled.  So much potential, clearly apparent in the few rehearsals we had already put behind us.  Their dynamic was apparent from the start.  It's such a shame that this particular ensemble will not have the opportunity to fully develop.   I am sure more will be forthcoming in future posts, but for now it is time to move on to the next project!

It is all for the best.  Here comes Romeo and Juliet!

With auditions for THE FOREIGNER now behind us, we (im)patiently await for all the offers to be accepted, so that the full company member list can become public.  There is much to do over the next 7 weeks.  A great many challenges and a lot of long hours of work are ready for us to get underway. The unseen obstacles are still throwing road blocks in front of us, but we are ready to overcome them.

Watch this space over the next few days for the complete list of the full Cast and Creative Team.

Auditions...

Yes, here we are again, with auditions just a day away!

Anyone wishing more information, please follow the link here...  This kind of script is unlike any I have directed before and I am looking forward to all the discoveries the cast and I will make over the next few weeks.

Larry Shue has always been one of those playwrights, whose work I never saw myself directing. It was 'guy-centric', set in the 80's (Oh dear God no), and so very physically comic.  The closest I have ever done to this type of script are a few selections from the canon of Neil Simon.

I mean, I'm a deep classics kind of girl.  Companies come to me to direct Wilde, or Williams, or Chekov, or Beckett.  They count on the fact that I am likely to take each of these pieces out of that pretty little bowed box that they are usually delivered to an audience in, adding something unique, new or thought provoking.

Not that I don't do comedy.  Just not this type of comedy.   Foreigner is normally done with a unit set, often in proscenium.  Of course, I will be doing it in full 3/4 thrust -- hopefully...  Hopefully?  Time is our guide on that particular query.

The usual  pre-audition concerns and challenges are in abundance -- late start with certain administrative issues, power struggles, contractual issues, will we have enough guys to cast, will enough students audition... Same old, same old.  Some have since been cleared, but others still hang in the balance.    But we soldier on, prepping for the inevitable and expected concerns involved with producing any show.  Collegiate theatre is 'a whole other animal'.  One that is not up to me to tame. In all honesty, this has been one of the most stressful prelim preps I have ever experienced.   I barely 'survived' it.  The last several weeks have had me reconsidering things, making the 'hard' decisions, moving on... in theory, anyway.  

All the same, we are ready to go!  Open Auditions await us tomorrow -- Two women, five men, three ensemble and a brilliantly funny script will all bring this delightful romp to the stage in November.

Stay Tuned!

So, let's catch up...

As many of you may have noticed, this blog seems to have grown...

Yes, I have joined the blog merging generation and consolidated all of my recent Director's blogs to create one, more manageable version. Yes, all the cute maps, show specific layouts and other virtual trinkets that gave each blog a life of it's own are gone.  Well, life does change and go on.  As will this blog.   Those seeking the posts and photos attached to the following recent blogs, will find the following right here:

A STREETCAR NAMED DESIRE -- X*ACT, September, 2011

                                 A MIDSUMMER NIGHT's DREAM -- StageWORKS, April, 2012

MUCH ADO ABOUT NOTHING -- X*ACT,  June 2012

THE WOMEN of LOCKERBIE -- Clark State, April, 2013

TWELFTH NIGHT -- StageWORKS, April, 2014

THE IMPORTANCE of BEING EARNEST -- Brookville, June/July, 2014

Many have asked why a few of these were not completed or 'tied up.'.  Well, here is the short answer ... To be honest, 2013 was one hell of a year for me.  Filled with loss and stress and a lot of change. After that year, complete exhaustion set in and has yet to break.  And, frankly, the posting of a director's blog became a very unimportant aspect of my process.  For one thing, I was busy creating the art I was to be blogging about.  Rehearsals were long; commutes to rehearsals were long; and, when I actually had time to sit down to blog, nothing would emerge onto the page.

Let's just say that the last 3 shows were wrought with extreme challenges.  One such challenge involved working in extremely cold temperatures in the theatre for TWELFTH NIGHT -- actors were working in between 20 and 40 degrees Fahrenheit for over two thirds of their rehearsals.  You can only imagine the kind of toll this took on them (and us) physically, vocally, and even emotionally.  There were other issues and challenges with other shows, one which occurred after the fact, in which an entire cast of an incredibly well received show, went unacknowledged by the producer for more than a year... no photos, no facebook recognition on the company page, ...actually, almost no mention at all. But that is for another post.

What I can promise, is that I will continue to post about the shows I am prepping, the process,  journey we are taking and the creative, on stage result.  Sometimes, I will share ideas for my actors, sometimes, I will share insights on the show.  I will also strive to finalize those shows that are missing some sort of  finish -- photos, reflections and closure -- to bring them full circle.  For myself, as well as those who regularly ask me to.  

Things are changing for me.  Some things are good, others are -- well, let's just call them challenges, for the moment.  As I enter what I anticipate being my last season directing, I am excited to begin this chapter of my creative journey.  

Next up --- THE FOREIGNER for Clark State.  Auditions are only 13 days away!  Expect to hear more in coming days.