Just a little while longer...

Am already getting lots of questions about this production, my audition process, the style and period... I am so pleased to see many, many people all ready to head into these auditions!  

Since we still have 8 weeks until auditions, I won't be tackling too many blog posts straight away... I am just now casting another show, and that show will require my undivided attention for the next couple of weeks so you shouldn't expect to see regular weekly posts until at least the middle of February; however, once these posts start, you will hear all about our concept, the characters, how the audition process will go and many other useful tips and ideas.  

In the meantime, I am more than happy to answer specific questions, receive early resumes and photos and offer general advice through My facebook  or by e-mail.  Just drop me a note and I will get back to you as soon as I can!  You can also start thinking about a few things that will figure into our show --- somewhere!

CLUES TO CONSIDER

• If you are a Dr. Who fan, be sure to go back to the 4th series (10th Doctor with Donna) and have a look at the Agatha Christie episode.

• Spend a Sunday evening catching up with Downton Abbey

• What do you know about the history of the Girl Guides (or as we know them in the USA, the Girl Scouts)

That's it for now. 

A Few 'Last Words'...

With only a few days left before auditions, I thought I would stop in and offer up some final words before all the fun begins...

I have had the pleasure of hearing from many of you already and am looking forward to meeting you on Monday and/or Tuesday.  I am still happy to take questions, send out audition forms, or just offer a little advice all the way up to Monday, so keep them coming.  

 In the meantime, here are some final words of advice (and a word or two of encouragement) before Monday is upon us.

• First and foremost --- DO YOUR BEST and BE YOURSELF.  I want to meet the ACTOR wishing to be a part of my cast.  NOT an interpretation of what you think I am looking for in a character. I am casting for a fresh and new interpretation, not an onstage 'photocopy' of someone else's past performance. 

• Give your strongest audition early.  I will likely only see you for a few minutes before I have to make a decision as to whether to call you back.  You will do your monologue first (if you have one), cold read one scene (perhaps two, pending the size of the group you are in), and then answer a few questions or perform an Improv.  That is it.  So make my first impression of you a strong one.

•  Be honest on your audition form about which roles you will take.  Nothing frustrates me more than to offer an actor a role they claim they will take, only to find they decline.  If you wont take anything but Helena, then say that.  It may be that you are not right for that role in this production and I do not cast you, but I will leave the casting process with a positive memory of you, not a negative one.  The same goes for anything else we ask of you during the audition and rehearsal process -- Be honest.

•  Give a strong introduction to your monologue.  Smile, speak clearly and stand with confidence.  Give your name, the character name and the play you will be doing your piece from.  No more, no less. 

 

• Don't be hard on yourself if things don't go quite the way you hoped.  If you are right for a certain role, I will see that early on and want to see more.  Just take a deep breath and dive right in! 

•  If you are unhappy with the way your monologue audition went, I will be happy to see it again during the Singing / Movement portion of the open audition on Monday night.  I will also offer comments if you would like them.  This will be the last part of the audition (approx 9pm) on Monday.  You will need to sign up for that at the information table.  

• While I do use a small group of casting adjudicators to advise and offer opinions during the audition and casting process, the final casting decision will be mine.  I do take into account many, many things during the process, including actor ethic (if I have worked with you -- or heard of your work-- before), your own abilities and natural handling of the script and suitability for a role.  

•  Make sure you bring a complete list of anticipated conflicts for the entirety of the rehearsal and production period.  I do not tolerate consistent absences if they are not predefined.  Be honest about your actual arrival and attendance capabilities.  I will create my rehearsal schedule around the conflicts given at auditions.  Give ANY and ALL anticipated issues with attendance or timing.  If your conflicts are not overly excessive and you are right for a role, I will do my utmost to work with your schedule.

• If you are not cast, please know that it is most likely because you are simply not right for a role in this production.  The fewer roles you will accept, the fewer options that are open to you.  If you really would like to be in the production, be flexible about the roles you would like to do... but, as I said before, be honest.  

• Make friends with your co-auditioners.  I am looking for groups (and a full cast) which gels and that is a lot easier to do in front of the casting team, if you have some sort of rapport already.  Make friends, talk to others and start to build the beginnings of a working relationship, if you can!

• Show me everything you have got.  You may only have one chance, so make it count.  Have fun, be yourself and let yourself go.

And, finally... I have had a few questions in the last couple of days about the casting of the Mechanicals, since only potential Bottoms will be asked back to Call Backs.  Just to clarify, we will be asking those we consider appropriate for one of the Mechanical roles (Quince, Flute, Snout, Snug, Starvling and Bottom), to attend the last Open session on Monday, where we will be doing a number of other audition tasks, as well as Mechanical related scenes.  And, yes, I will still consider those who attend the main Tuesday night call,  for Mechanical and Fairy roles, in the event I have not been able to fill them from the other sessions.

 See you all Monday and Tuesday!

And, here we begin...

Welcome to the MUCH ADO ABOUT NOTHING Director's Blog, an information source for all those interested in auditioning for X*ACT's upcoming production of Much Ado, those who are cast and just anyone wishing to follow along with our process.

Within the next few weeks, I will begin to post about the upcoming auditions, what to expect and what I am looking for.  I encourage anyone interested in auditioning to contact me directly to acquire an audition form or just ask questions.

• My e-mail address is LisaLHW@att.net 
• You can also find me on Facebook - Lisa Howard-Welch  
• MUCH ADO Facebook Audition Event Page

Auditions are just 9 weeks away and there is much to do and post before casting can begin!  Now, to get us started, below are some audition specific particulars and already published information.

Much Ado About Nothing

by William Shakespeare

Production to be directed by Lisa Howard-Welch. 

WHEN:

• Monday,  March 26, 2012     7 to 10pm 
• Tuesday,  March 27, 2012       7 to 8pm
• Callbacks: The March 27th session will also accommodate Callbacks from 8pm to 11pm

  Important  - Audition candidates attending the March 26 session, should NOT plan to attend the March 27 session, unless asked to attend Callbacks.  Limited space is available if candidates need an earlier audition time/date

PRODUCTION DATES:                June 15, 16, 17, 22. 23 & 24, 2012

WHAT TO BRING:

• Resume and photo (if you have one), or list of past theatrical education and experience 
• Complete list of rehearsal conflicts for the period beginning April 2 through June 24, 2012. Internal Rehearsal schedule will be created according to the conflicts given at auditions.

 

WHAT TO PREPARE:  

• Auditions will be memorized monologue and cold reading from the script in a small group format 
• Memorized monologue (10 lines minimum / 25 maximum) from any Shakespearean play (you will not be turned away if you do not have a monologue, but this is HIGHLY RECOMMENDED)
• If you sing, please bring any prepared (non-accompanied) vocal piece

ALSO CONSIDERING RESUMES FOR THE FOLLOWING PRODUCTION POSITIONS:

• Assistant Stage Manager / Rehearsal Stage Manager
• Student Director (aged 15 to 21)
• Choreographer
• Costumer

Please E-Mail Me for more information, or to enter your resume for consideration

 

ROLES AVAILABLE: 

Ages listed are desired playing age only, not required age.  Some roles normally played by men are likely to be changed to Women's roles

Don Pedro (M - 25 to 50's)
Don John (M - 25 to 40's)

Benedick (M - 30's to 40's)
Claudio (M - 20 - 30)

Friar Francis (M - 30+)
Conrade (M - 25+)
Borachio (M - 25+)
Antonio (M - 40's+)
Leonato (M or F - 35+)

Dogberry (M or F - 25- 50+)
Verges (M or F - any age)

Sexton (M or F - 30's+)

Beatrice (F - 28 to 30's)
Hero (F - 17 - 20's)
Ursula (F - 20+)
Margaret (F - 17 to 20's)
Balthasar (M or F any age)
Ensemble (M AND F - all ages 12- 60's) -  Up to 6 additional actors needed for street scenes, 4 teens (ages 9 to 16) Understudies (1 female and 1 male) , and other featured characters will be cast. 

Over the next several weeks, I will be posting about setting, period, required actor technique and experience, character information and much, much more!  

In the meantime, if you are looking for a show to become a part of, please follow the Director's Blog for a show I am casting on January 30 & 31 --  A MIDSUMMER NIGHT'S DREAM, produced by Springfield StageWorks.  

A Midsummer Night's Dream Director's Blog

MIDSUMMER Facebook Event Page 

The most asked question...

I probably should have touched on this before, but felt it had an obvious answer...  Ok, so I was wrong. The new 'most asked question' seems to be - "Do you want us to do a British Accent for Shakespeare..."   In short that answer would be a resounding 'No.' 

While I am a strong advocate of working dialects when doing a show referred to and set in a particilar country or region, (ie the UK), I am NOT an advocate of applying a British accent to any form of Shakespeare... unless of course, you are British and that is your natural dialect.  Yes, I do have many years experience as a dialect coach, did live in the UK for a huge chunk of my life and am married to a guy from London..... AND, Yes, we are setting the show in the fictitious hamlet of ATHENS, England.... BUT, NO, I do not want to apply any form of forced affectation or accent to the natural beauty or handling of Shakespeare's language for this show. 

Hope that clarifies things a bit!  Keep your questions coming!!  lisalhw@att.net

Midsummer Role call...

MIDSUMMER is packed with fun and challenging characters to indulge in.  We have touched on some of the aspects of each over the last couple of months in the run up to auditions... But, now as we quickly approach the beginning of casting, it is time to have a quick look at the full list &  basic casting info.

• PRINCIPAL CHARACTERS
• Titania   F-Age 25 to 40     
• Oberon   M- Age 25 to 50's 
• Puck      M or F - Age 18+   
• Lysander/a   F or M - Age 20+ 
• Demetrius      M - Age 20+
• Helena       F - Age 18 - 30
• Hermia     F - Age 16 - 30 (Must sing)
• Bottom     M - Age 25+
• Quince     F or M - Age 25 -50+

•  FEATURED CHARACTERS
• Theseus   M  Age 30 - 60
• Hippolyta  F Age 30 - 60
• Egeus       M or F  Age 30+
• Flute       M  Age 16+
• Snout     M or F  Any Age
• Starveling M or F Any Age
• Snug       M or F  Any Age
• First Fairy / Peaseblossom  F  Any Age

• ENSEMBLE CHARACTERS
• Cobweb   M or F  Any Age -- Strong movement needed
• Moth    M or F  Any Age  -- Strong movement needed
• Mustardseed    M or F  Any Age -- -- Strong movement needed
• Mortal Attendants & Country folk  Up to 3, Age 16-60's, M or F
• Sprite    M or F  Any Age  -- Strong movement needed
• Musician & Singers   M or F  Any Age -- At least one accomplished musician (cello, violin or other stringed instrument.)

•  UNDERSTUDIES
• Up to 3 Understudies will be chosen - Will likely be placed in the ensemble during the run, but will perform at least one performance

Some final general notes about a couple of character groups: 

LOVERS - Combat experience is a plus, Strong movement skills, with excellent stamina and ability to lift and carry easily. Hermia will likely be shorter than all the other lovers, with a very high energy.   Of course, voices must be strong and handling of the language natural and effortless.
FAIRIES & Sprites- The Fairies and Sprites will be on stage much of the show and most MUST have very strong movement or dance ability.  These will be the actors given a large amount of freedom for expression.  One actor may be cast to play one of the fairies as 'Awkward', so not all fairies require strong movement.  Fairies will be very high energy. Will likely be part of the transitional forest scenes and may be given Improvisation opportunities. 

PRINCIPAL FAIRIES - Titania, Oberon and Puck will carry the action of the show and control much of what occurs.  All should have extremely strong and leveled voices, with natural handling of technique.  Titania and Oberon 'command' attention when onstage and must be able to 'fill' the State theatre vocally, without effort.  I would like to cast older actors (30's & 40's), but am entirely open to age if a younger actor auditions who fits my vision.  Puck must be able to 'free' up all constraints and let him/herself go.  Puck will be the one 'puppetmaster' of the entire show and will be onstage or in audience view nearly the entire performance.  Very high, but focused energy is a MUST.  Strong movement.  

MECHANICALS - My favorite group, the 'clowns'  will be a very diverse company of actors.  Along with the usual technique abilities, I will be looking for actors to fill fun characters, ripe for development and exploration.  I will be looking for special skills, fun personalities, high energy.  Movement experience is a plus, as is singing (for Bottom), but not essential.  The Mechanicals are almost a company within a company, so I will be looking for a group of people who truly gel together, yet keep their own diversity.  

THESEUS & HIPPOLYTA - Both actors chosen should have strong vocal ability, along with a strong physical presence.  Both are warriors, so physicality should reflect this.  The war of the time, was the Napoleonic War and this should be remembered.  These two warriors, though still strong, need to have a strong devotion and dedication to each other.  Movement is important and combat (or some other combative sport) will be used with them during the show.  They will be given additional transitional scenework, in addition to what is written in the script.

EGEUS, ATTENDANTS and COUNTRY FOLK -  This ensemble group, like the fairies and sprite, will carry much of the transitional and incidental scenes we orchestrate into the show.  Remember, we are setting in the English Regency, so I will be using a full array of character types, from gypsies to ladies and gentlemen to townsfolk.  They will be used in the Ball dance, as well as all group scenes... Some of the women will be used as singers... and the understudies will also be in this group.  Some will be given attendant lines and there will be an opportunity to flesh out the transitional scenes somewhat with Improv. 

Auditions -- All you have to do is show me what you have got!

11 days and counting...

 

In just 2 weeks, the show will be cast and we will be anticipating our first table and character rehearsals!  As I have said in previous posts, I have been contacted by many audition candidates.  Questions such as "What are you looking for", "I've never done Shakespeare, can I still audition", "Am I too young...", "Are you using singers", "How much training are you looking for in your actors", "How strong does my technique need to be"... have all been asked.

Well, what AM I looking for in the actors I will cast in StageWorks production of A Midsummer Night's Dream?   A number of things, actually.  

YOU 

At auditions, I want to see YOU.  Give me a clear picture of what you can do... how versatile you are... how strong your character development can be... Show me what I can expect from you during the rehearsal process.  Make me believe you and your performance, during your audition. Show me something special to make me want to see more of you in Call Backs or additional group sessions.  Remember, YOU (and who you are) have to be a part of the character you will ultimately play.  YOU will be the one to bring it to life, and showing me who you are is vital to finding the right role for you.  

ACTOR CHEMISTRY

One of the most important elements of casting this show will be actor chemistry.  I will be looking for actors that work seamlessly together while onstage...  Keep a high energy level together... and create magic as a cast.  This will not outweigh ability or suitability for a role, but will absolutely play a major part in the final decision.  

I am not a director who pairs off actors in the callback stage and then casts one 'couple' over another 'couple.'  Though I have found a few directors who like to do that, it is a practice I rarely came across in all my years as a working actor and I am not prepared to succumb to it.  In reality, it is very rare to find a show where that kind of casting makes sense.  After all, it would be impossible to do that effectively in a show that had more than just two characters...  Especially, considering, that this show has around 20, and each character deals with more than just the other half of their assigned 'couple'.  And, frankly, I want the best possible Titania with the best possible Oberon... as long as they connect in auditions, look good together and have some form of working chemistry, I am open to moving actors around, to find the best cast OVERALL... rather than limiting the show's potential by having to cast a couple (with an actor that may not have been perfect for the role.) I would rather have the strongest and most suitable actor possible in every role, while finding the best chemistry through the working process.    

BASIC ACTOR TECHNIQUE 

I will also look at your basic actor technique -- Do you have a clear handling of the '3 Actor Tools' (Mind, Body and Voice?)  I will expect to be able to hear you (Natural projection), to understand you (Articulation and diction), to see you move in a natural, connected and motivated way. React to the other actors you are working with during your audition.  Remember, 'Acting is Reacting.'  I expect all my actors to do this. 

One thing I will be looking very carefully at is Natural movement.  Don't hide behind the script.  Allow your self to free up your movement and show me how fearless you are onstage.  Now, don't rush in to a lot of frenetic, nonsensical movement... try to move & react in a way that is connected to the character or his / her situation in the scene you are doing.  Let yourself go. 

SHAKESPEAREAN LANGUAGE

I will also look (and listen) to your handling of Shakespearean language.  Don't worry --- If you have not worked with Shakespeare before, that is OK.  If you are cast, we will do a lot of rehearsal work that will help you develop the skills I am looking for in the final product.  BUT, if you have worked with classics and metered language, these are the things I will be looking for:   Can you 'color' the words with emotion and descriptive vocals to bring about picturesque character creation?  Are you able to understand the words you are saying, be able to handle the Beat transitions and be prepared to do the 'work' necessary to do so (if you don't yet possess those skills?) I will be looking very closely at actors who already possess these skills, or show a distinct potential to be able to do so. 

PROFESSIONAL ACTOR ETHICS

Now, I know a few of you have said something like "Having worked with you before, I know you demand a strong actor ethic during rehearsal -- We have worked together before and you know I have that..."  Absolutely... If I have worked with you before, I will take into account that previous experience.   I take knowledge I have gained working with people previously very seriously and DO consider that when casting.  I will also be observing every candidate extremely carefully during the audition process.  But remember, that is only one aspect of my casting criteria. 

I do require a strong professional ethic and will tolerate nothing less.  I most definitely am looking for a dedicated cast.  A cast who will attend all the rehearsals they say they will, be on time, learn all lines by the 'off book' date, create strong, realistic and creative characters and work together as a cohesive group.  I want my cast to be able to trust each other and work well together, without fear of 'actor drama', egos, retaliation or back biting.  None of us have time (or patience) to deal with negative attitudes, narcissistic egos or offstage drama.   Of course, every artist brings a degree of personal theatrics and colorful personality to a show... that is what makes the dynamic of an ensemble so great.  BUT, we will not tolerate the negative aspects of these things.    

I will do my utmost to assemble a cast of actors who show a high level of professionalism, respect the process and the people involved, are ready to explore new concepts and ideas, and are open to the possibility of actually learning something.  You would be amazed at the number of actors I have come across in this area who already 'know it all'.  In a phrase... 'If you think you already know everything, then this production has nothing to offer you...' 

During the OPEN AUDITION session, I am really only assessing your potential to handle a role.  At this initial session, I don't need to have you read over and over again to decide if I will be able to cast you-- I will normally see (and hear) that within the first 30 seconds of your memorized monologue and will know by that performance which roles, if any, I could see you performing in the final show.  I will ask you to read a scene (or two), ask some questions, possibly perform a few other tasks and then either dismiss you, ask you to remain for an additional session, come to callbacks, or attend the movement / singing audition.   

CASTING

Of course, I would love to be able to cast everyone who auditions.  I know I will find qualities in every one of you that will inspire my concept for the show and offer something unique and special.  But, in reality, casting everyone is not possible.  Some people will be disappointed, others will just move on to the next audition.  Whatever the outcome, please know that we all enjoyed meeting you and seeing your work!

Now... Get out there and give us your best.  Remember, these roles are yours to lose!

And, now... Back to the basics

AUDITIONS, AUDITIONS, AUDITIONS...

 

Audition days are drawing near and I am still answering a multitude of questions about what actors can expect on the day.  Normally, I would say... 'probably not a lot different than other small regional theatre open auditions', but I understand this may not be the case.

Every director (or producer or casting director) and  audition has its own specific requirements, qualities and unique aspects.  I have been to many, MANY auditions and castings over the years, and have to say, the Southwest Ohio theatre auditions are fairly different than others I have attended.   

Now... on to what MIDSUMMER auditions will be like.

THE BASICS - The Open Session: 

• WHERE and WHEN -- Auditions will be held at the State Theatre, 19 S. Fountain Ave, Springfield, OH.  6pm to 9:30pm approx on Monday and 6pm to 7:45 pm on Tuesday.

  • WHAT to BRING - 1)  Full list of confirmed and potential Rehearsal Conflicts between the dates of February 7 and April 21, as well as June 15 to July 5.  2) Resume and Photo  3) One minute, memorized classic monologue (Comedy or Drama).  Monologues are Recommended, NOT required.  You will NOT be turned away if you do not have one.  

• IN the DOOR -- Doors will open by 5:45.  You will sign in as soon as you get in the door.  Remember, 'First Signed in, First into the theatre.'    At this time, be prepared to turn in your Audition Form, Resume and Photo.  You can expedite this process by requesting an Audition Form be sent to you via e-mail and have it already completed upon your arrival.  E-mail me. 

• OPEN SESSION GROUPS -- We are anticipating seeing 2 to 3 Open Session groups on Monday and 1 group on Tuesday (6:15pm.)  All group sessions beginning before 7:15, will be held in the theatre, while later groups will be held in the Lobby.  You may be asked to stay for an additional session and do some additional reading.  I do NOT want you to attend both Monday and Tuesday Open Sessions. 

  • MOVEMENT, SINGING AUDITIONS & SECOND CHANCE MONOLOGUES - Singing and / or movement auditionees AND Second Chance monologues will be seen on Monday at 8:45.  For those wishing to receive adjudication or comment for their monologue, a special session will be held at the end of the open session on Monday.  You may do your monologue again for me - this will give me the chance to see any additional work you have put into it or other changes.  

• IN the SESSION -- Once each group is in the audition room, you will be asked to do the following:  
• Prepared Monologue
• Read one or two scenes from the script   
• You may be asked to perform some Improvisational scene tasks
• The group will be asked a few questions
• You will then be dismissed or asked to remain to read with the next group.  Or attend the movement / singing session.  Those wishing to participate in the singing or second chance monologue session, should let me know in your open session

•  CALLBACK LIST -- The Call Back list will be updated at the end of each session and sent out to the Sign In table.  Be sure to initial that you will be attending Call Backs.  If you can't attend, please let us know ahead of time, so we do not think you are a 'No Show.'  We will assume that you no longer wish to be considered for casting if you are a 'No Show.'   If you find that you CANNOT attend the Call Back session AFTER you have left the theatre, just e-mail me to let me know.  

 THE BASICS -- The CALL BACK Session:

• WHEN -- Call Backs will be held from 8 to 10pm (approx) in the Lobby of the State Theatre.  These are closed sessions, so please bring only yourselves if you are called back.  We hope to end the session by 10pm, but may carry over if I find it necessary.  We will go as late as needed.

• IN the SESSION -- This is the time when I will be looking to pair up and 'Group' actors, find chemistry between them, listen to voices and determine who best to consider in particular roles.  While much of this audition is textual, a portion of it will be improvisational and movement based. Several scenes will be assigned & read.  Some direction may be given and asked to be implemented.  I may even ask you to perform a character in a way that is against character. 

•  CHARACTERS to be CAST FROM CALL BACKS -- In rare cases, I hold an open session and find the perfect actor to take on a character then and there.  I often do not need to have them attend a Call Back; however, in the case of some character types, Call Backs are necessary. At this point, I am only planning to call back actors being considered for the following characters:  Titania, Oberon, Puck, Puck U/S, Helena, Hermia, Lysander/a, Demetrius, Bottom, The Male and Female U/S.  This may change.  

•  IF YOU ARE NOT CALLED BACK --Don't Panic.  This does NOT mean you have not been cast!  

CASTING:

• Principal cast list will be posted on the Facebook Audition Event Page, This Blog and The Springfield StageWorks Facebook Page.  The list should be posted within 48 hours of the close of Call Backs.  Featured and Ensemble cast will be added to the list within a few days after the Principal list posting.  The Cast List will also be e-mailed to the Principal and Featured cast.  If cast, you will have 24 hours to accept or decline your role.  More definitive details will be listed on the Audition Information sheet passed out at Auditions.

Now... You know what you can expect from us.   The next post will give you an idea of what I expect from you!  Until then, I think you have enough to think about.  Remember if you have any questions, just drop me a note... 

To Request an AUDITION FORM

 

Love wooed by the sword...

As we move closer to the 2 week mark (until auditions), we shall round out our look at the characters of A Midsummer Night's Dream with a quickie view of some of the other mortals -- Theseus, Hippolyta, Egeus, town folk and  Attendants and the direction I will be heading with them. 

It is not likely that I will use the same actors for Theseus and Hippolyta / Titania and Oberon.  That has been one of the most asked questions... strangely.  I hope to create a slightly more immersive atmosphere, where characters truly exist, move around and appear in scenes they may not have been given lines in.There will be some connective scenes and activity where Theseus, Hippolyta, Egeus and the town folk appear and live an everyday life.  Therefore, I really would like to keep Theseus and Hippolyta available for that -- and not rushing around costume changes.  There will be playful banter and movement throughout the show, and I need a very strong ensemble to handle that!  

 

 Additionally, we will explore a little mythology and Greek history as part of our character development and table work, and incorporate that right into our production.  We will not be ruled by the myth, but allow it to enhance characterization.  Yes, we are keeping our 'world' in Athens -- with a tiny alteration... 

 

Theseus and Hippolyta are two very accomplished and passionate individuals.  Both strong physically, they do have a little emotional fragility, which they will show on occasion.  Both heroes in their own right, they have distinct personality strength and very powerful opinions. 

 

After all, Theseus took out a Minotaur and Hippolyta comes from the land that brought us Wonder Woman... 

Seriously though, these two characters will do battle in a number of ways on stage... 

As for Egeus, Hermia's father (or mother), he / she  will be full of pomposity, pretense and all other aspects of obnoxious 'not-quite-aristocracy' society.  As you might expect, I will also ask for a bit of humanity to be thrown in for good measure. The Townspeople and attendants will also be an integral part of scene movement, any dance work we do and of course adding to the playfulness of each scene and transition. I will want all sorts of characters represented, so there is a lot of scope for character development.  

From a country strawberry picking picnic to a full country Regency wedding to a Ball... all of it will be represented in this production.  In my opinion, the Ensemble looks like a lot of fun to be a part of!  I may have to participate in it one night!

Over the next 16 days, I will be posting about what to expect at auditions, what to expect from me as a director, what I want to see from you at auditions and some basic information about the final product (show.)  

Stay tuned...

No epilogue, I pray you; for your play needs no excuse...

One of my favourite aspects of the play, undoubtedly comes in the form of Shakespeare's 'Rude Mechanicals'; the group of locals who come together to create and present a performance for the wedding celebration of the great Duke Theseus and his love, Hippolyta.  From the start, this group of simple folk offer much amusement, silliness and merriment.  Each scene is beautifully crafted to show us the comic simplicity in this world of common country folk.  

Because we are setting the action of our production within a specific period of history, we will be adapting the types of characters from the Regency period to fit within Shakespeare's world of the play.  There will be some gender switching and there will be scope for some great character work by the actors cast in the show.  Each one of these wonderful personalities has a life beyond the scenes they appear in and we will work to develop and create these.  I am expecting to have the most fun working on these scenes during the rehearsal period!

In auditions, I will be looking for hints of character personality within each actor...  A little clue to alert me of the potential within that actor.  Of course, I will be looking for touches of realism and humanity as well as comic ability.  I will also be considering the usual actor ethic and technique.  Now for those who are only reading the character specific posts, I will repeat a portion of my last couple of posts.   I am looking to create a production that will...

"...address many facets of each of these characters, without falling back on the stereotype of actor portrayals gone by...  I have already been asked many times about the actor requirements and technique structure I am looking for in the actors looking to play one of these roles. For the record, stereotypes, egos and short sightedness have no place in one of my productions.  

WHAT I AM LOOKING FOR - THIS PRODUCTION and the ACTORS
Of course, as always, I am looking for strong basic technique with clear, articulate voices and confident, motivated movement.  Not necessarily trained, seasoned actors, but artists with the pliability to be molded, taught, opened up to new concepts. Actors with a strong and professional work ethic, willing to look beyond what other actors have done before in other productions.  I will be looking for actor chemistry within couples, groups, and the cast, as a whole.

I want a fresh approach to these characters and a new look at the possibilities, without threatening Shakespeare's original intent.   Yes, we are setting in the Regency period and in doing so, I would like to look at the challenges that these characters faced, with a realistic approach -- it wasn't all cream tea and balls, now was it?  Of course, I would love to bring a little modernity into the production, as well..."

CLUES to the Mechanicals IN THIS PRODUCTION
I do have very specific ideas for each of these characters... these will develop as rehearsal progresses, and I am not intending to give away every single conceptual idea I have planned.  But, what I can tell you is that I will be looking for actors AND actresses who can embody these characters, without falling back on the stereotype of past productions. 

Now, like the posts for the Lovers and Fairies, let's look at 10 quick little clues about these characters and what I will be looking for...

1. Quince is definitely the 'Director' of this little venture and I will likely cast a woman in this role.  
2. The only Mechanical roles I am SET on to cast as male are BOTTOM and FLUTE.  All others will be open to women and men equally.  
3. We will keep their professions the same as written, but look into the historical period to find acceptable alterations for each,.
4. If I could describe my vision of each character in 3 words or phrases, they would be defined as follows:     BOTTOM - Pompous,  Lives above his means, overdramatic, know it all; FLUTE - Simple, young, idealizes Bottom; SNUG - Simple, lack of confidence, but essentially very smart; QUINCE - Controller, Manipulator, Like a kindergarten teacher with Bottom; SNOUT - Stoic, easily annoyed, simple; STARVLING - perfectionist, a bit 'poncey', pretentious.
5. Look into the English Regency period (particularly 1810-1820)
6. Explore Britain's colonization of India
7. The 'Tragedie' will definitely be quite a 'colorful' drama, set in the style of one of the colony's own performance styles
8. Some of the Mechanicals will be of slightly higher economic status than others, who will be more gypsy-like 
9. The world of Jane Austen should become an 'old friend.
10. There will be a lot of scope for actor input within the concept

  Now, take a little time to digest these things... Soak up some information on the Regency period (roughly 1810 to 1820) and look for more to come!

 Next Time - A quick little look into the Greek aspects of the play, as well as the Amazonian Queen, the Duke, the ensemble and more....

Midsummer and Me...

Several people have asked about my previous experience with this play, so I will take a moment to cover that now, as we recently discussed the character I love most in all of Shakespearedom - Titania. 

MIDSUMMER is a play that I am extremely familiar with, having performed in and directed multiple times.  I was first introduced to performance of it in college when, at the direction of Arthur Lithgow, I was cast as Titania. 

Later, just out of drama school, I played Hermia in a London production directed by Frank Hauser.  Soon after, I took over the role of Helena in the same production, as our Helena had to leave the production unexpectedly and I knew the role. 

A few years later, I directed a traveling, free street theatre production with the Shakespeare company I founded with two other drama schoolmates.  We toured that production throughout the south coast of England. 

 

In 1995, I founded W. Shakespeare & Co Theatre Company, a traveling Shakespeare company for teens and young adults that thrived until 2004, offering a full season of classics, childrens theatre, Shakespeare, a Repertory Company and a full educational program.  I directed our first production, A Midsummer Night's Dream in 1995.  We toured the performance throughout parks and other venues in the Dayton area that summer, with a three week sit down run at Carr Woods, in Englewood.  And, so began many subsequent years of my Summer Shakespeare Festival, Shakespeare in the Woods.  

 

 

In 2000, as part of The Shakespeare Centre's Millennium Link project (and WS&Co’s 5 year celebration), we remounted Midsummer as part of the 2000 Summer Shakespeare Festival -  Shakespeare in the Woods.  Once again, I was cast as Titania. 

 

As a theatre educator, I was also able to indulge in the play numerous times.  Honestly, I can’t remember a year in the last 27 of my teaching experience that the play wasn’t used in some way.  For example, WS&Co offered yearly Summer Camps, two of which utilized MIDSUMMER as the Production material for the performance workshop, which offered a one hour, shortened version of the play for an audience.  Also, during my time at Stiver’s School for the Arts, I directed and taught a Shakespeare performance workshop, at which MIDSUMMER was the play chosen for performance. 

Now, that is enough about me.   Get ready to show me who you are and who you can become as part of A MIDSUMMER NIGHT's DREAM.

Next Time - The Mechanicals

Hand in hand, with fairy grace, Will we sing, and bless this place... Titania, Oberon, Puck and the Fairies

The way to read a fairy tale is to throw yourself in.
~W. H. Auden 

When I was a little girl, I always believed in fairies and sprites. I knew they lived at the bottom of the garden, were always there to make wishes come true and were very, very mischievous.  They were my invisible friends (though at times, I may have convinced myself I could see them), my confidantes, my dream weavers.  Yeah... I had a an overactive imagination. 

Shakespeare seemed to agree... at least about the mischievous part.  The fairies and forest creatures he has has brought to life in A MIDSUMMER NIGHT's DREAM do have more to offer than traditional fairyland myth and mayhem.  Yes, the fairy creatures  in MIDSUMMER do live in an ethereal world, based on Greek myth and theory... BUT, they are also very human in their actions, emotions and reality.  They fight like humans... they play like humans... they think with a mortal slant... they have memories as a human mortal does... they retaliate and connive like a human might... and, clearly they Feel like a human.  Pain, elation, sadness, jealousy, joy, happiness...  It is all there.

In this production, I will be looking to bring these characters to life with all the mystery and magic of the fairy myth, while still achieving a sense of humanity, both in physicality and emotionality.  Costuming will not be the typical chiffon and wire wings.   Titania, Puck and Oberon will be in period dress similar to the mortal characters, yet each will have a distinct set of traits which costuming will assist them in pulling out in performance.  As with the other characters, auditioning actors have asked me for some clues about what I will be looking for.  As I stated in the last post about the Lovers (and probably will again for the Mechanicals), I am looking to create a production that will...


"...address many facets of each of these characters, without falling back on the stereotype of actor portrayals gone by...  I have already been asked many times about the actor requirements and technique structure I am looking for in the actors looking to play one of these roles. For the record, stereotypes, egos and short sightedness have no place in one of my productions.  

WHAT I AM LOOKING FOR - THIS PRODUCTION and the ACTORS
Of course, as always, I am looking for strong basic technique with clear, articulate voices and confident, motivated movement.  Not necessarily trained, seasoned actors, but artists with the pliability to be molded, taught, opened up to new concepts. Actors with a strong and professional work ethic, willing to look beyond what other actors have done before in other productions.  I will be looking for actor chemistry within couples, groups, and the cast, as a whole.


I want a fresh approach to these characters and a new look at the possibilities, without threatening Shakespeare's original intent.   Yes, we are setting in the Regency period and in doing so, I would like to look at the challenges that these characters faced, with a realistic approach -- it wasn't all cream tea and balls, now was it?  Of course, I would love to bring a little modernity into the production, as well..."

CLUES to the Fairies IN THIS PRODUCTION
Yes, I have a very specific vision for each of these characters.  This vision is still developing and most certainly shall continue to do so once we enter the rehearsal process in a month or so.  Each of these characters is iconic and I am hoping to find the actors that truly embody the concept, without falling back on the stereotype of past performances.   

Without a doubt, the Fairies must have incredible vocal strength and ability.  Vocal level, emotional conveyance and handling, breath control, technique... all aspects I will be looking for in the actors who ultimately get the roles.  Strong, motivated, and connected movement is also important.  Like the lovers, there will be some combat and period dance.  Ideally, I would like Titania to be able to sing.  Without giving away everything about the play (I do expect auditionees to be somewhat familiar with the play) or the conceptual aspects I plan to use, I will share 10 little clues about what is to come for these characters in this production:

1. Puck is a bit of a Puppet Master and will control many aspects of the show.  He/she must be able to handle animated, sometimes awkward, energized movement... the entire show!  
2. Titania must be able to 'stop traffic', both with her presence and her voice.  She must have a charisma that pulls all attention to her.  She is an 'Earth Mother' type of character, who takes control, is the ultimate power.
3. Titania is in control of Oberon, though they do have a definite 'give and take' and then take revenge type of relationship... But, Titania and Oberon's relationship is a symphony of emotion and they do belong together.  They are compatible and work in harmony...
4. My Fairies will NOT have wings!  They will have physicality and costuming indicative of 'who' they are, what they are... They will come alive from 'nothing'... sometimes inanimate, sometimes ethereal, others corporeal and highly animate.
5.  The Fairies and Sprites MUST have a great handling of movement (or strong dance ability), as they will be challenged by awkward positions and sometimes 'crazy' movement and blocking.  
6. The Fairies will likely be onstage most of the show in 'some capacity'
7. Like the Lovers, there will be the potential for combat and a little 'Fight Club philosophy' pending the physical experience and ability level of the actors cast
8. You WILL want to take a little look at the world of Jane Austen
9. There will be a lot of scope for actor input within the concept 
10. Open your Minds -- Immerse yourself into the world of the unseen... read a fairy tale, do some visualization, believe in the unbelievable.   Let your imagination run free...

 Now, take a little time to digest these things... Soak up some information on the Regency period (roughly 1810 to 1820) and look for more to come!

 Next Time - Midsummer and Me....