Choices...

 "Our Lives are made of choices that determine our fate each with a consequence we cannot see... Choices.  Such Little Choices..."
 

When I walked into this project, I knew very well what I was getting into.  Was I ready for it?  No.  Nope.  Absolutely not.  Oh, I had done the research... I had done the analysis... I knew the script.  What I didn't know, was 'me' in the middle of this project. But, I put on the 'I can do this' face and jumped right in.  I was in the eye of this great storm, attacking  my own choices head on. 

It has been extremely difficult to work through this journey.  But, I have been blessed with a cast and team who have been fearless and jumped off every cliff edge I have put in front of them.  They have committed.  They have trusted.  They have supported each other, as well as Geoff, TJ, Haley and I with a bond and trust I have never experienced within the realms of a local, educational show.  A show with a variety of experience and ability and techniques.  We have the professional level actors such as Patti King, Angie Timpone  and Troy Berry -- Trained, highly experienced and full of the ability to mentor.  We have the drama student in training in Leah Schulz -- Bright and energetic, willing to try anything.  We have the usually backstage technician  / wanting to be onstage guy in Jon Owings -- So dedicated and into every part of this production.  We have the retired school psychologist, now theatre student in Paula Arter.  And, the 'try anything and give her all' science grad student in Michelle Graham -- A young lady with few shows behind her, but much enthusiasm.  Always a challenge to mix experience and cast levels.  But, with this group, it worked.  

We have deconstructed the show and worked it.  And, worked it again.  We have evaluated and experienced and explored until we could do no more.  Now, we have brought all those pieces back to the table and taken each one, turning it around in every possible configuration to find the correct spot to put it all back together and get the great big picture.   As we move into the final clean-up rehearsals... and, watch the set assemble and become one small corner of the hills of the Scottish lowlands... we see sparks of the final product come to life. 

Two more rehearsals and then tech.  And, then we will truly meet the Women of Lockerbie.

The Journey has begun...

Rehearsals, Rehearsals, Rehearsals...

I have been so busy actually working on the show in 'real time', that I have neglected the blog somewhat.  The cast is settling in to character and the text beautifully... so much so, that this longer educational schedule time frame is probably not necessary.  All the same, I am trying to fill the schedule with plenty of character, dialect, technique and table work to allow the actors the best possible opportunity to give a great, enriched performance.

The actors are making so many discoveries right now.  Everyday is filled with a text, a facebook message or a comment at rehearsal about what they 'now see', an exploration that resulted in a new series of choices they can make, or an interesting tidbit about their character or the show.  

Because of the nature of this show (and my personal connection to the history this show is based on),  it is becoming clear that my blog posts will likely be erratic, at best, and probably more personal in content... so for more immediate updates, check out and 'LIKE' the Women of Lockerbie facebook page .  Photos, research, and comments will appear there. 

Many people have asked me recently if directing this show has affected me.  Well... I won't pretend this has been an easy rehearsal period for me, as I delve back into my own past and explore my own past choices which have brought me to this place in my life today.  It hasn't.  In fact, it has been harder than I anticipated.  Honestly, I have been torn in the emotions I have had.  Sure, it would have been kinda sad if my pregnancy situation was different and I had indeed boarded that flight late that afternoon in 1988.  My life would have been over, my daughter's would never have begun, my family's lives would have been changed forever.  And, then all the things I have done over the years, the projects I worked on or created, the people I have met ... none of it would ever have happened.   Some people might not have known others,  W. Shakespeare & Co would never have been created, and my return to theatre --- Streetcar, Much Ado, Midsummer... and this show --- would never have happened.  Well, things would have been very different.


I have never been afraid of dying.  In fact, I traveled back and forth to the UK so many times every year, that a highjacking, a plane crash, an 'act of God' was a possibility... well, I always felt that if it happened, I would deal with and embrace the outcome as necessary.  I didn't believe in worrying or focusing on the constant threat of the unknown.  Death was another journey and adventure to explore.  And, I do love an adventure.  I believed that you just live the life you have and make the most of it.  When it is time that it is over, just hope that it has been genuine, good and lived with integrity. 

 So, yes... It has affected me.  I find myself near to tears during some of the scenes, as my cast breathes life into this show.  I physically hurt as I watch films with scenes depicting a plane breaking up in mid air.  My tears and pain are not because I might have made a different choice, but because of so many who did lose their lives and the tragic and horrific way in which they did.  I know, it is a very 'method' approach, but for me... I see no other way to 'attack' this show. 

Yes, so many 'new age' theatre people and students talk of 'this' new technique and 'that' innovative, fad style of acting, all while criticizing the 'old school' and fundamental methods and explorations.  Oh, do not get me wrong --- we have to acquaint ourselves with all the great (and not so great) performance ideas out there.  Elements of some might work for you, while aspects of another will not.  But, as I was taught in drama school, it is better to explore many different techniques and use, discard or combine those which work for you.  Or even as one great actress and teacher told me -- 'Technique? Oh please.  Absolutely not, Lisa.  Do not restrict your creativity to another's view of how to play a role.'    Use and adapt to find what works for you.  But, that is a completely different blog post.  

Now, our journey continues, as we move into the deconstruction of the show and explore the flesh and blood of the story.  It will be challenging, but it will also be worthwhile when we arrive at the other side.  

Onward...

It's About that time... AUDITIONS

Auditions are now just a few short weeks away and it is time to think about what I will be looking for and what the audition process will be like. The initial directorial meetings have been undertaken and the team assembled.   All is moving along well, as we proceed into casting this powerful show.  

Yes, this is a show that is performed a lot.  Yes, the playwright has put a few limitations on concept and style.  And, Yes, a lot of this is very restraining for those attempting to tell this story in a new way.  We are challenged by all these factors, but we will be looking at the script with fresh eyes and in a way that will allow us to explore this story in a new way.


I had planned to get this post out there sooner, but a decision (Thanks Jacinda and Geoff) to squeeze in another show before auditions kind of backfired on me. When I auditioned for the Dayton Theatre Guild's production of Henrik Ibsen's GHOSTS, I really didn't think I would be cast.  I just thought, 'Hey, I would love to work at the Guild in the future and I'll go and read and get to know some people there, so I get past the 'first time auditioning at the Guild thing' I always here about.'  Then when the script was placed in my hand after call backs, my shocked brain figured.... 'It's a quick 4 to 5 week rehearsal period and won't eat my life', 'I'll be in production for 3 weeks prior to auditions for Lockerbie and have plenty of time to take care of administrative stuff', and ' Hey it's Realism and that's what I do...'  What I wasn't prepared for was the fact that I'd forgotten Ibsen was somewhat of a zombie and he would eat my brain (as he and Chekov did when I was in college) and that now at 50, I don't digest text and character as quickly as I did when I was younger.  Or, the emotional rollercoaster this character would take me on.


So, before we get into the experience of LOCKERBIE, why not drop in and see GHOSTS at the Dayton Theatre Guild.   Tickets can be secured here.The cast has been amazing to work with.

Now, enough about that and onto the task at hand...

I have had a number of people asking questions about what I am looking for in the actors I will cast in this production of WOMEN OF LOCKERBIE.  Well, let me try to answer that by discussing the characters within the show.

 
THE ROLES

• MADELINE LIVINGSTON - 35 to 50's --- A suburban housewife from New Jersey. Her 20-year old son Adam was killed 7 years ago in the Pan Am 103 crash over Lockerbie, Scotland.  The actress chosen for Madeline will fall into that age range.  She will need to express both subtle and explosive, raw emotion.  She is American so does not require a Scottish accent.  She and her husband Bill have been living the same, but parallel  lives since the tragedy.  In other words, they can't seem to find a common ground, they are at a breaking point.  Whatever happens on their visit to Lockerbie will either end them or bring them together.

• BILL LIVINGSTON - 35 to 50's --- Her husband, father of Adam.  The actor chosen for Bill will have a strong vocal ability and will fall into the age range listed, but be balanced with the woman chosen for Madeline.  He is American. He is suffering just as Madeline is and while she is searching for some aspect of her son, he is desperately searching for the wife he once knew.  The two of them are travelling on different planes of the same life and are finding incongruities all along the way.  He is heartbroken over his son's death, but he is doubly affected as he has also lost his wife.

• OLIVE ALLISON - 35+ --- Woman from Lockerbie. Leader of the laundry project. The actress chosen for Olive will be required to have a strong, clear Scottish dialect.  She, too, has a strong connection to the tragedy, having lost her daughter and husband to falling debris.  She is reconciling her feelings of dislike for Americans and their policies, which she feels provoked the attack and her understanding of Madeline's pain.  She has yet to resolve her feelings on the loss. 

• WOMAN 1 & 2 - 20+ --- Women from Lockerbie. The Women chosen for these roles will also have Scottish accents and need to carry the show as they, along with the Ensemble, are the title characters.  They will be strong vocally and handle much of the symbolic aspects of the show.  It is likely I will choose actresses who can sing for these roles, as I would like to use live versions of Scottish folk songs, sung by these women during portions of the show. 

• HATTIE - 18+ --- A cleaning woman. From Lockerbie.  Though written for an older woman, I am open to casting a younger woman, providing she has the timing, technique and feisty attitude needed to play the role.  She is the only one clever enough to be able to facilitate the release of the clothing to the women.  She requires a Scottish accent and is typical of the British 'char woman' seen in so many British shows and films.  

•  GEORGE JONES - 20+ ---  The American government representative in charge of the warehouse storing the remains from the Pan Am 103 crash.  This role is a pivitol one, requiring an American accent.  He is seen as unfeeling, just wanting to get the assignment over, but we must be able to see the gentle side of him, which is eventually turned.  

•  ENSEMBLE - 5 Women,  all ages --- These are the women of Lockerbie, as well as representations of the daughters, sisters, mothers of those killed in the tragedy.  The women chosen for this group will be an integral part of the performance, yet appearing only in a few scenes toward the end of the play.  There are no lines and actresses chosen for the ensemble will not be required to attend rehearsal until March. 

 THE AUDITION BASICS

• DATE -- Tuesday, January 29 and Wednesday, January 30  7pm
• WHERE -- Turner Studio Theatre at Clark State Performing Arts Center, Springfield
• WHAT TO BRING -- Resume (or list of experience), Headshot, 1 minute Contemporary or classic monologue,  List of all potential conflicts from January 29 to April 21.  
• SINGERS -- If you sing, and would like to be considered for Woman 1 & 2 (the roles who are likely to sing during aspects of the show), please bring a prepared accapella song to sing during your 1st audition.  

WHAT TO EXPECT
Auditions will be held in the black box space that we will be performing in, the Turner Studio Theatre.  You will need to park in the parking lot on S. Limestone Street, just across from the Turner entrance.

On Tuesday -- There will be a sign in table in the lobby, where you will pick up an Audition Form and an information sheet.  Actors will be sent into the theatre in small groups, in the order paperwork is turned in.  Once there, you can expect to perform your prepared monologue and do a little reading from the script.  I will be listening to vocal quality and dialect potential, as well as observing physical movement.  Once each group is finished, you will either be released, released and called back for the next night's official callbacks or asked to stay and read a bit more.  If you are called back, you will be given a script selection to take home and read over for the next night.

On Wednesday -- This audition session will primarily be taken up with Call Backs; however, if new auditionees attend, we will see them first.  In the call back session, you will be asked to read the selection you were assigned, as well as additional readings.  Some improvisation may be asked of you, as well as some vocal exercises to determine Scottish dialect potential.

CASTING
This is always subject to adjustment, but we are hoping to cast the show that evening, posting the list on the facebook audition event page and on this blog by Friday, February 1.  Many things will be taken into account for casting --- Actor chemistry, vocal quality, technique, rehearsal conflicts.  Those cast will be asked to accept or decline roles no later than Saturday, February 2, via e-mail.


THE TEAM
Now that the team has been assembled, I can officially announce it.  More information about these individuals will be available once the cast has been confirmed.

Lisa Howard-Welch, DIRECTOR
Haley Justice, ASSISTANT DIRECTOR
Geoffrey Moss, STAGE MANAGER
Dan Hunt, LIGHTING DESIGN
Debbie Henderson, COSTUME DESIGN
Geoffrey Moss, SET & SOUND DESIGN

 

As always, if you have any questions or require an alternative audition time, please e-mail me at lisalhw@att.net.  I am also happy to take resumes and photos via e-mail, as well! 

Ready, Set, Audition...

Before we begin exploring the complexities of one of Shakespeare's later comedies, we must take on the process of auditioning actors for MUCH ADO ABOUT NOTHING. While, somewhat tedious, auditions are one of my favorite aspects of the production process. The concept and visual pictures I have been putting together for months, can now start to come to life.

Over the next few weeks, many of you will come to know MUCH ADO's characters quite intimately.  Of course, many actors and actresses will come in wanting one of the two most challenging, yet satisfying characters in all of Shakespeare (Beatrice and Benedick), but don't cut off your opportunities too quickly.  Many of the male characters will likely be converted to female and some of the other male characters are great challenges in their own right.  So many of Shakespeare's characters offer such fun and exhilarating development opportunities and if you truly want to do the show, you might not want to pass those up.  This is a show that will offer actors much to do and enjoy while becoming part of it!  For those who are unfamiliar with my plans for the characters, take a look:

PRINCIPAL CHARACTERS

Principal Cast will go into rehearsal the week of April 16.

Don Pedro -  M - 30’s to 40’s    

Beatrice - F - Early 30’s         

Benedick - M - 30’s to 40’s    

Hero - F - Late Teens to mid 20’s  

Claudio - M - 20’s                 

Leonato / a - M/F – 40’s to 60’s  

Antonio/a - M/F – 40’s to 50’s                

Dogberry - F – 30’s to 50’s   

Male and Female Understudy - We are casting one female and one male understudy to cover the principal roles. 

 

FEATURED CHARACTERS

Featured Cast will go into rehearsal in May.  They will not be called to all rehearsals

Don John - M – 20’s to 30’s  

Conrade - M – 20’s to 30’s  

Borachio - M – 20’s to 30’s  

Verges - M/F  – 20’s +        

Ursula -F – 20’s to 30’s  

Margaret - F - 20’s

 

Ensemble Characters

Ensemble Cast will go into rehearsal in May.  They will not be called to all rehearsals

Friar Francis - M/F –30’s+

Balthasar - M/F – Teen  to 30’s  

Sexton - M/F – 20’s +

Messenger - M/F – Teen to 30’s  

Watch - F – Late teens to 20’s  

Musician and Singer - We are looking for at least one accomplished musician and / or singer to perform during most of the show.

 During this production period, we will be discovering as much as we can about the 1920 - 1924 time period... through costume and props, research and activities that help us find the characters and atmosphere we all want to convey to our audience.

While, I am lucky enough to be able to secure the talents of Kelly Bennington, a wonderfully organized Assistant Director; Juliet Howard-Welch, a professional Stage Manager (New Orleans Shakespeare Festival / Dayton Opera --- and Equity Membership Candidate); and Susan Robert, my highly detail oriented costumer and a director in her own right... I do not have the luxury of the highly talented Set Designer I was blessed with for my last two shows (Geoffrey Moss), but never fear,  I have a few ideas of my own and hopefully we shall muddle through.

With auditions just one week away, I am receiving many nervous questions from first time Shakespeare performers, as well as seasoned  actors.... Just remember, give your first and best audition.  I will always give you the opportunity to start again, if you need to and I am looking for what YOU can bring to the role -- not how Emma Thompson or Kenneth Branagh played them.  Strong, articulate voices, creative readings and a fun personality.  Be sure to visit the audition event page, check out earlier blogs or e-mail me with questions.  You can also request a pdf version of the audition form here.  Bring yourself!

See you all on March 26 or 27!