In the rolling hills of Scotland

We have 3 performances left.  Friday and Saturday, April 19th and 20th at 8pm and Sunday April 21 at 3pm.  For Tickets click HERE. 

It's that time in a director's process when letting go of the show is the only thing left to do.  Allowing the show to fly on it's own... That is the hardest part of the journey.  Yes,  there are those niggly problems and former rehearsal issues I now see the obvious resolution for.  But, it is not the time to make changes. Yes, there are actors who have still not applied all the given directorial notes.  But, that is one of the challenges of educational and amateur theatre.  Yes, I still pass on my views and comments to the Stage Manager.  But, he is the one who needs to pass them on to the actors.

I must admit to still watching certain scenes from the catwalk.  The best view in my opinion.  Like I told my cast, I kind of have a 'Zeus' / original CLASH OF THE TITANS moment, watching the humans move about the tragedy of sorrow in life below me.  I can see a complete and beautiful view of this tiny moment in the grand scheme of their existence.  I almost wish I had been able to direct from this angle.

Final rehearsals were challenging.  Stressful.  Tiring.  Even frustrating.  

New aspects of external atmosphere       (set changes, sound, lights) were added daily, so it was an ongoing adjustment period.  Some adjustments were easier than others.  But, one clear thing was that the cast was incredibly bonded... amazing to watch this closeness and how it manifested onstage.   One moved, another moved.  Balanced.  Even.  Focused.  If an actor was missing, the ensemble worked so well, that the missing actor wasn't actually 'missed.'   We could 'see' the missing actor in their eyes and their focus.  Amazing for a student cast.   It is clear that the Laban and Viewpoints worked.  I am thrilled that this cast pulled together and worked as a single unit.

Sure... There are some individual issues that are not quite what I envisioned:  Actors not applying all my notes... supporting actors taking far too many dramatic pauses... making it all harder than it needs to be... But, if I have learned one thing about directing educational performances --- choose your battles.  Some are worth demanding and fighting.  Some will alter the integrity of the cast and overall performance, so it is sometimes better to accept what you have and run with that.  Overall, the show is about 95% to my concept.  All the same, I am ecstatic with the result.  I couldn't have asked for a better and more dedicated cast.   

Now, the show is up and open to the public.  Out there for all to see.  Onstage emotions are raw; they are honest;  and patrons are appreciating that.  Theatre colleagues and other knowledgeable theatre professionals have been truly complementary in their feedback.       Even the few critical comments we have received from them have been truly helpful and more than valid.  And, all of what they have said critically, was expected.  We knew our limitations.  Technically AND 'techniquely'.  It is never easy to balance a cast with varied levels of ability -- beginning through professional level actors.  Oh, the challenges ... and beauty of educational theatre.  I love it!

Yes, we have also had one individual make some not so nice comments about the show, the set, the costumes, the actors, the direction, oh... everything.  Well, for my 'student' cast that must also be a learning experience, as well.  Everyone has an opinion about other people's creation of art... particularly if they are unable to create such art, themselves.  If they are insecure in their own abilities and artistic creations, then they tend to be overly critical of others.  

A few days before the show went up, I was asked if I wanted to write a director's note.  I thought... what else do I have to say?  I tried to write about my personal connection.  I tried to discuss my approach to the show. I tried to write about the actors.  I couldn't process the words.  I have said so many words, cried so many tears in the last several weeks, that I literally couldn't put a cohesive sentence together.  What do I have to say that the show doesn't already?  It speaks for itself.   And, it needs no excuse.   Whether you love it, whether you hate it, whether it makes you cry, whether it disturbs you, whether it uplifts you... Or, whether it does all those things to you, as it does to me... That is the point.  It invoked a feeling, an opinion, an emotion and that is what art is about.  

We are Clark State's Production of WOMEN OF LOCKERBIE and we are proud and humbled by our very own piece of art.  Please come see it.   

Some Facebook Posts and comments on the Women of Lockerbie...

Amy Meadows Berry  -- 

Congrats to Troy M Berry, Lisa Howard-Welch, and all the cast and crew for a wonderfully moving performance of The Women of Lockerbie! 

Jacinda Kate Bridger  -- 

I went to see Women of Lockerbie last night in Springfield at the Clark State Performing Arts Theater.
It was....incredible. I cried through the whole thing, left a little mentally exhausted, but it was amazing. Felt like someone else knew exactly how I grieved when I lost my Aunt Mary. The show was spectacular, the actors were wonderful. Kudos to you all!

Vanessa O'Kelley -- 

I saw Lockerbie last night. Your cast did an awesome job with really tough material, and the set looked great! Congrats!

Jeff Purvis -- 

Last night I had the opportunity to see "Women of Lockerbie" at Clark State. First of all, tremendous kudos to Lisa Howard-Welch and her cast for putting on such an amazing performance. Second, the show itself is incredible. It's such raw emotion, anger, fear, grief, and loss that it has the audience reeling the entire time. I would love to see this show again and would actually love the opportunity to perform it. If anyone has not seen this show, and may find themselves with free time next weekend, please catch this show at Clark State. You will not be disappointed.  It would be a great shame to not see this show. The acting was fabulous and the direction was wonderful. It was easily one of the best shows that I've seen in a long time. It's not often that you find a show that is so powerful that it leaves you feeling emotionally raw at the end, but in a good way.

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! 

24 years on... A new Journey begins...

It was a cold Wednesday in London.  21 December, 1988.  A group of theatre and study abroad students were getting ready to fly home from an exciting term abroad.  Their bags packed with gifts for family, british snacks they had come to like, play scripts and programs acquired attending the best of the RSC and West End seasons and many, many pieces of clothing...  You know how Americans tend to over pack when going to study abroad... well, I always did anyway.  You never knew what the occasion would call for -- cocktail, casual, jeans. For me, the early weeks of that December were spent awaiting my doctor's authorization to fly --- I lived in the UK and wanted to go home to spend the holidays with my family and friends.  I was nearly 8 months pregnant, with complications and, because of this, I had two flights booked.  One on the 19th.  And, one on the 21st.  Both on Pan Am.  We had those pesky 7 day minimum stay requirements for the cheaper flights and my doctor was undecided about which of the two flights he would sign the 'safe to travel' note for.  Both were close to my 36 week travel deadline, but one would definitely put me into that 'no fly' zone.  I wanted the later flight.  I had really wanted to 'do tea' at Liberty on my birthday and spend the day with Andy and friends.   In the end, it was decided I had to travel on the earlier flight, so that I would be home in the UK in time for my next consultant appointment... It was a frigid Wednesday in Ohio.  21 December, 1988.   I had arrived in the US just a little more than a day before.  I was engrossed in conversation with one of my best friends, having a long awaited lunch gossip session and then the news blared across televisions around the world... A plane traveling from London Heathrow to New York JFK had exploded in the skies above the little southern Scottish town of Lockerbie, Scotland.   From that day, this has haunted and affected me...  as it did so many others.  I have never had a day since, that I haven't thought about the tragedy; what could have happened; the victims; that little town in Scotland; those American theatre students, so young, so talented, so excited about being in London, and more excited about going home for the holidays to share their incredible study abroad experience with their families... just waiting for their lives to begin...  So, 24 years later, when I was asked to direct WOMEN OF LOCKERBIE for Clark State Theatre Arts Program, I was excited.  I had never really been forced to look deeper into how I really felt about everything surrounding 21 December, and being the super detail oriented, immersive director I am, I knew this was one show I HAD to do.  And, do right.  And, so... while auditions are still a comfortable 4 months away, it is time to explore the many facets of history surrounding the tragedy, as well as begin the journey to understanding that my cast and I will undertake during the process of the show.  Over the next few months, I will be posting many things:  my thoughts about the show, ideas for concept and vision, what I am looking for in my actors, as well as historical information such as photos and videos.   With that said, it is time to begin this new journey.  And, we will do that with the basic audition information.   In the meantime, if you have any questions regarding the show or auditions, feel free to contact me via e-mail.  You can also find me on facebook or twitter.   Clark State Theatre Arts Program  Presents Women of Lockerbie  by Deborah Brevoort Directed by Lisa Howard-Welch AUDITIONS January 29, 2013 7pm Callbacks - January 30, 2013 7pm WHAT TO BRING - Actors should prepare a one minute dramatic monologue from any period play. - Headshot and resume recommended. - List of schedule conflicts from February 5 through April 21, 2013. PERFORMANCES Performance dates - April 12 to 21, 2013 Clark State Performing Arts Center Turner Studio Theatre ABOUT THE PLAY From Dramatists Play Service, Inc. "A mother from New Jersey roams the hills of Lockerbie Scotland, looking for her son’s remains which were lost in the crash of Pan Am 103. She meets the Women of Lockerbie, who are fighting the US Government to obtain the clothing of the victims found in the plane’s wreckage. The women, determined to convert an act of hatred into an act of love, want to wash the clothes of the dead and return them to the victim’s families. The Women of Lockerbie is loosely inspired by a true story, although the characters and situations in the play are purely fictional. Written in the structure of a Greek tragedy, it is a poetic drama about the triumph of love over hate." AVAILABLE ROLES Casting will not be restricted to ages listed 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. BILL LIVINGSTON - 35 to 50's Her husband, father of Adam. OLIVE ALLISON - 35+ Woman from Lockerbie. Leader of the laundry project. WOMAN 1 & 2 - 20+ Women from Lockerbie. HATTIE - 18+ A cleaning woman. From Lockerbie. GEORGE JONES - 20+  The American government representative in charge of the warehouse storing the remains from the Pan Am 103 crash. For more information about the production or Clark State Theatre Arts Program please call 937/328.3880

Dark Elegy

'I wonder that you will still be talking... Nobody marks you...'

I realize it has been quite a while since my last post, but the actual task of directing the show has had me a little busy...

In addition to directing, the company has me performing a series of other paperwork and company tasks that are creeping up on me, while overwhelming the process.  While this show has been far more draining than I expected, we are well underway and move into partial runs next week.  Some scenes are flying along beautifully, while others are causing quizzical looks on my face and holes in my brain on a daily basis.  But, past experience reminds me that every show is different and challenges me in varying ways... and that it will all find it's feet eventually... perhaps, in a new way, so I know I have to be open and trust the new process I have to devise to resolve the challenges of this show.  One day, I will use it on another production.

It is time to start developing the interlude scenes and add the music to the show, as well as dealing with those naughty problem scenes that are causing many a sleepless night (or high school related nightmares...)  so that is what we will be working on through this week.  Much needs to be done and my focus will be on that.  The group scenes are my main concern, as they contain people who have been to rehearsal so irregularly. 

 

We are also still reveling in the 1920's setting and exploring the many changes that occurred in the world at that time.  The Titanic already sank 9 years earlier, women are making great headway in the world, skirts are rising, music is becoming a little more upbeat, if not risque at times, and women are really starting to come into their own.  Though the first world war is over, the Irish rebellion is gaining steam and starting to create warlike symptoms around the British Isles.  What an exciting and scary time to live....

Of course, we have had our share of drama... but, we have had more than our share of fun and amusement as the scenes are being developed and begin to grow.  Some scenes are stronger than others, with the group scenes needing the most work.  On the other hand, If I could remind one or two members my cast of one thing, it would be to trust that the vision will come together, but only if the few quit trying to change, question and alter every aspect of concept that is given to you.  If there are too many unimportant ideas thrown into the mix, the important things get lost.  We do not want that.  I won't allow that.   Shakespeare is universal and can be done in many settings and time periods... not just the one you have in mind.  I also want to remind everyone not to overthink the tasks given to you... these processes have been done scores of times before and do not require the drama or excuses given to make it more difficult than it actually is. I do love working in the educational and professional theatre arena, but this regional theatre thing is still somewhat new to me.  Now...  Cast and Creative Headshots will be posted soon ...  In the meantime, head over to facebook and LIKE the  MUCH ADO Facebook Page for more immediate information and details on the show.
 

Incidentally, all photos shown in this blog have been taken by Lisa Bernheim, who is playing Margaret and is also my Student Director.

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. 

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!