"Oh, Look, We've Made Enchantment..."

Though my journey with MIDSUMMER has now officially come to an end, there are a number of tasks still outstanding, as the process will not culminate until the summer performance at the Springfield Arts Festival.  I still have another rehearsal schedule to prepare and implement, many shows yet to perform and make an appearance at, and loose ends still to tie up on this run.  This journey has been rough -- rougher than expected -- as there has not been one day... not one hour of my life that has remain untouched by this show for nearly a year.  I am utterly exhausted, injured and nearly broken.  Every relationship I had prior to this process has been affected, with none remaining untouched... a few having been scarred or eradicated entirely.  To be fair, one or two of them were hindered by other (but theatre related) circumstances during the process... but, the stress of those circumstances hindered my creative process, all the same, causing many stressful and blocked weeks.  That stress contributed to more than my share of  injuries, having fallen backstage breaking my foot, while my mind was on other things and falling yet again, while favoring one foot, only to sprain the other ankle.  We joke about that 'M' word... And, yes, tho my favorite number is 13, I live with a black cat and my favorite day of the year is a Friday the 13th, I  am a little superstitious.  Nothing good has ever come from anyone saying that name in a theatre.  I was not the only injury, with many actors slipping, falling, running into injuries in this very active and fast paced show. 

However, through all of that, a show has emerged.  One, which has remained a true picture of my vision.  An enchanting & delightful piece, brought to life by a company of talented actors and amazing design team members.  Each of these team members has dedicated many months to help embody my vision and bring it to the stage.  They blended their own vision with mine to create a magical stage scene, with a depth bordering on reality, yet keeping us in the magical world of a dream.

I think the most magnificent of these belongs to my Lighting Designer, Plato Pavlatos, who took an old, challenged performance space, with extremely limited power and electrical issues, and gave me so many delightful and beautiful scenes to melt into my production.  The set, by Geoff Moss, is amazing ---and costumes by Roberta Stocker (with much help from Kathleen Day, Connie Strait and the rest of the cast) also bring much to the production.  Larry Coressel listened carefully to my needs for sound and music and created a 'soundtrack' which blends my vision with that of Shakespeare's original intention to bring to life an atmosphere of surreal, reality. 

The company of actors is led by one of the most genuinely talented young performers I have ever come in contact with.  Josh Katawick took a huge leap into the role of Puck, originally feeling he was better suited to a role such as Bottom.  But, no... this young man trusted my vision, was off book (literally) immediately, took in every note and made the role his own, while keeping the integrity of my vision intact.  I am thrilled to have him in my next production and am looking forward to watch the growth he makes as he begins to explore yet another challenging role. 

This show is the 'debut' performance for a young lady who I have known for many years.  Lisa Bernheim reluctantly took on the roles of Moth and Snout, while still finding time to photograph the entire process.  Many of the photos you see in this blog have been taken by her.  She, too, dove right into the production feet first and immersed herself in the beauty of theatre.  She did WHATEVER was necessary to get the production 'up' and running.  AND, she is the only individual never to have missed a rehearsal.  She is, without a doubt, the hardest working cast member in this show.  It has been a joy to finally have Lisa in one of my shows.

 A few months ago, I was delighted to have the chance to work with Jacinda Bridger on a show.  Now, as we move into production, I am even more thrilled to be able to say she is in MIDSUMMER.  Her level of emotion and commitment to the character, the craft, and this show can be challenged by NO ONE.  Actors make a lot of promises to directors when cast in a show, with many never keeping them.  But, Jacinda kept every one and challenged others to keep theirs.  Her bravery and trust in me, helped to empower the show and her onstage relationships, as well as her performance.  I have found a friend in Jacinda, as well as a cast member.

So many amazing actors go into creating a company... so many personalities, so many egos, so many attitudes.  But, in the end, they all come together and blend into the perfect recipe to create the perfect show.

The Lovers are such a vibrant and important part of the play... with their comic foibles and farcical love antics.  With Chelsea Carey as Lysandra, Austin Smith as Demetrius and Judy Shaw as Helena (along with Jacinda Bridger as Hermia), these characters fight and love their way through the forest.  Chelsea is a multi-talented actress, with a lively stage presence and amazing ability to play just about any tune on the violin.  Austin is blessed with a dedication to each production and the task at hand, as well as growing steadily as one of the most talented young actors I know; and, Judy steals many a scene with her bright spark of energy and sense of fun with her characters.

The Fairies offer the production a delightful escape out of reality (or is it) and into the dream state of the play.  Rebecca Baker brings the earth Mother beauty to the character of Titania, while Bengt Gregory-Brown as Oberon and Xander Gregory-Brown & Kenny Neal as Sprites and Silas Neal as the Changeling Child, let us see the darker, playful side of the Fairy land.  Katie Paeg and Abigail Reisinger are truly delightful as Peaseblossom and Cobweb.  Both also hold production jobs (Katie as our Directing Intern and Abby as our Production assistant) and both have been invaluable to ALL ASPECTS of the production.  These are two young people I can truly say, have made the show what it is becoming. 

The Mechanicals - Connie Strait as Quince, Daniel Wilson as Bottom, Adam Hardy as Starvling, Patrick Taylor as Flute and James Michael Fazio as Snug, bring their fun personalities and farcical humor to the play.  This talented team have brought so many fun and delightful quirks to their scenes, that I can't imagine any other ensemble being any more together.

Mortals are truly such fools and ours are no exception.  John Fredland as Theseus and Kelly Bennington as Hippolyta, bring a fun chemistry to these sometimes 'dry' characters.  I have worked with both many times and would do so again in a heartbeat.  Kelly is one of the best rehearsal stage managers / assistant directors around and John (who played my son in TITUS ANDRONICUS last year) has put so much heart and soul into his work on stage, that I can do nothing more than adore working with him.  Kathleen Day, as Egea has been a great added attraction to the show, with her dedication to text, Shakespeare and the production in general, she is another person I am thrilled to have as part of the show. And, what would the show be without the ensemble actors who tie it all together?  Nothing!  Jon Dowler, Ralf Paeg and Mary Sullivan, all without much performance experience, have stepped in to complete this show and make it a successful venture for all concerned! 

 As we hit our final photo calls next week, I will post more photos of others, but for now...
 
The rehearsal process has ended (but for the daily combat and dance calls) and it is now time to settle into the comfort of the production run.  There has been an unusually low amount of 'actor drama' until the last week or so, when it blew up to the proportions of what I had been forewarned about prior to casting, but overall it has been an enjoyable journey.   A journey I would happily undertake again!


Now to quote my previous show... 'We've made enchantment...'

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. 

You draw me, you hard-hearted adamant...

Or, so states Helena as she addresses Demetrius as he struggles to pull away from her grasp.  The follies of the four lovers in A MIDSUMMER NIGHT's Dream are truly some of the most comic, sad, exciting ... and bittersweet in the play. 

During the production, I am hoping to 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...

 Well, perhaps not to that extent... 


CLUES to the LOVERS IN THIS PRODUCTION

Looking ahead, I do see certain things for each character... a clear (and still developing) series of visions invade my concept and (hopefully) I will find the actors that embody the ultimate mental picture I have conceptualized. Without a doubt, the four 'Lovers' must have strong movement ability.  There will be combat, there will be period dance, there will be a lot of energy sapping work involved with these roles!  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. First and foremost, all auditionees should realize I will be considering BOTH men and women for the role of Lysander.  I WILL be casting for energy / technique / actor chemistry and if an actress is deemed best for the role, Hermia and Lysandra will be a female couple.  This will result in an interesting historical challenge that I am excited to tackle. 
2. Fight... Fight... Fight - First rule about (Jane Austen) Fight Club is...
3. You may want to take a little look at the world of Jane Austen
4. There will be blood (lots of it in the woods...) 
5. Knowing and understanding the following terms is a major plus -  Barouche, spencer, barrister, bedlam, banns, reticule, curricle, cravat, 'setting one's cap', curate, pump room, coxcomb, dandy, chit, Tattersall's, the City, fop, foxed, weston, rake, spanish coin, abigail, Bath...
6. Demetrius really does enjoy driving up to London in his fancy Barouche and taking in a day of shopping
7. It is highly probable that Hermia and Lysander/Lysandra will find the occasion to sing
8. This group of lovers are true flocking followers when Puck is around
9. See a puppet show (marionettes)
10. Open your minds...

 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 week!

Next Week - Titania, Oberon & Puck