Bunburying...

Casting is complete!

Always my favorite part of the directing job--- the uncertainty, the excitement, the possibilities.  As a director, you never really know who will show up for an open audition.  Will you have enough to cast?  Will you have the talent to have a balanced cast?  Will anyone show up?  Or, do you call on all your theatrical contacts and ask them to remain prepared to take a role?

Luckily, I have always had more than enough talent to cast a show and find a proportioned cast to create an even performance.  Once again, this was true.  Though I warned my 'stock' actors that they may receive a call, I did not have to appeal for their talents.  The audition gave me a variety of actors who embraced certain characters immediately, clearly showing me the conceptual opportunities I was looking for.  This made the decision very easy.   I am thrilled and excited to have such a talented and versatile cast on board for this show! Everyone has accepted their roles and I am anxious to get underway.  Our cast is from all over the southwest Ohio area:  Brookville, Downtown Dayton, Kettering, Springfield, Milford Center, Englewood, and Clayton.  

So now begins the paperwork creation, dramaturgy preparations, script work and dialect development.  This show is always fun to develop and play, so we are all anxious to get started.  

Rehearsals begin next week.  So without further ado... welcome to the cast

CAST -- The Importance of Being Earnest

Jack Worthing, JP - Andrew Briner

Algernon Moncrief - Hunter Laycox

Rev. Canon Chasuble, DD - Kevin O'Boyle

Lane/ Merriman 2/ Male US -  Casey Dillon

Merriman 1/ Female US - Rebecca Henry

Lady Bracknell - Patti King

Hon. Gwendolyn Fairfax - Rachel Smith

Cecily Cardew - Katrina Pontius

Miss Prism - Susan Robert

Director -  Lisa Howard-Welch

Assistant Director -  Juliet Howard-Welch

Stage Manager -  Austin Smith
Lighting Designer -  Casey Dillon

I will be posting regularly, with photos, rehearsal journey tidbits and lots of other fun discoveries along the way.

Until the next time...

Cake... or Bread and Butter...

“I never travel without my diary. One should always have something sensational to read in the train.” 

And, so begins another creative journey.  This time to 1890's London and Hertfordshire, as we undertake one of my favorite plays, Oscar Wilde's THE IMPORTANCE OF BEING EARNEST.    Having directed this previously, I will strive to create a fresher, newer view on the play.  We will remain fairly traditional in sensibilities, setting and themes, while applying a few more modern ideals and twists.  

This delightful little excursion will culminate with production June 26th through July 6th, 2014 at Brookville Community Theatre.

During the rehearsal process, we will travel through many of the styles and themes in the text; delve into the lifestyle of the period; and (hopefully) turn this into a delectable treat to be savoured.  

Want to be a part of this journey?  Want more information?  Visit the the facebook event page or e-mail the director, Lisa Howard-Welch to ask questions, or request an audition packet.  

AUDITIONS:  May 7th and 8th at Brookville Community Theatre.  7pm.

• Auditions will include reading from the script and improvisation. 
• Those auditioning are asked to bring a resume (or experience list), photo (if possible), and a list of all potential rehearsal conflicts from May 7th to July 6th, 2014.
• British dialects WILL be used in this show and training WILL be provided.

REHEARSALS:  Rehearsals and Tablework will begin on Tuesday, May 13th.  

• We are currently looking at a Tuesday & Wednesday, with occasional Thursday and Saturday rehearsals, but this may change based on actor availability.  
• Tech and Production weeks, will likely run Monday to Thursday and Saturday, if required.  
• The formal rehearsal schedule will be created around all actor conflicts given at auditions, and not all actors will be called to all rehearsals.  
• If you have conflicts, don't count yourself out... we will try to work with predefined conflicts, if at all possible.  

I will strive to post regularly with photos and updates on the process, so stay on board! 

Let the Good times roll... Here we go.

This will be short and sweet...

We are pleased to introduce the acting company for TWELFTH NIGHT:

Feste Geoff Moss

Orsino Andy Briner

Sebastian Joel Bonsell

Viola Katie Blackburn

Olivia Jacinda Bridger

Malvolio Joseph Ahern

Sir Toby Ryan McCarty

Maria Chelsea Carey

Sir Andrew Adam Hardy

Fabian Katrina Pontius

Antonio Austin Smith

ENSEMBLE - Roles TBD  (To include Valentine, Curio, Priest, Officer Lines, Servant Lines)

Susan Fiegl

Juliet Howard-Welch

Lisa Bernheim

Will Hensley

Amy Berry

Director                   Lisa Howard-Welch

Asst. Director         Amy Berry

Music Director/ Coord  William Hensley

Fight Director         Austin Smith

Stage Manager      Sarah Michaelson

The read through will be held at the State Theatre on Tuesday, at 6:30.  If you were cast, make sure you review the notification e-mail carefully for important instructions on commitment acceptance, deadlines and costume information.  

Stay tuned in the coming weeks as the process begins and all the revelry of the show begins to unfold!

Here we go...

I love auditions.  

Always have.  

Perhaps its the excitement of the start of something new and creative on the horizon. Or, the idea that the blank canvas of the impending show will soon be filled with the color of new personalities and talent bringing the 400 year old characters to life.  Whatever it is, the 'unknowns' will soon become the 'familiars'...  the cast will laugh together (I hope), cry together (I hope this, as well), and work closely together for 70+ hours.  The end result will be our own tiny piece of heart-filled art.  

But, first we have to get through casting.  Did I say I love the audition process?  

In just a few short hours, we will begin the process of finding 14 actors and actresses to bring to the table... and then to the stage.   

It has been over 14 years since I have been a part of a production of Twelfth Night.  I have been in the production twice.  I have directed it four times... All period productions.  But, now, as I step out of my 'period era' comfort zone, I can assure you that this production will be very different.  

Want to audition?  Just visit the Audition event page on Facebook for more details.  Or, come on out to the State Theatre in Springfield, Ohio on Monday, January 20th or Tuesday, January 21.  Doors open and registration begins at 6:00pm.  

Stay tuned for weekly updates as the weeks progress.  So much more is to come.

It's About That Time...

Now is the time to start thinking about auditions for Springfield StageWorks upcoming production of Twelfth Night, or What You Will.  Dramaturgy is nearly complete, initial design meetings have been completed and Production Team meetings are about to begin.

  Auditions will be held on Monday and Tuesday, January 20th and 21st at the State Theatre, 19 S. Fountain Ave, Springfield, OHIO. Registration begins at 6:00pm, with monologue auditions commencing at 6:30.  Open Cold Reads will begin at approximately 7:15pm on Monday (till 9:30) and 7:00pm on Tuesday (till 7:45).  Call backs will run from 7:45 to 10pm on Tuesday.  If you cannot make the Open sessions on the 20th and 21st, you may arrange to audition for the directorial team prior to that. More specific details appear below!

I know I promised to begin regular posts sooner than this, but let me just say... It's been quite a 'year' for me. With the loss of my mom to cancer little more than a week after the initial opening of this blog, followed by a series of other challenges and assorted life events... Shall we just say, my world was full of experiences, both good and challenging, the last few months.  Such things that shall now be applied to this project in some way.  So, here we go...

Over the weeks following the auditions, I will be attempting to post at least once a week. I will be discussing concept, clues to the final plan for the production, audition tips, process information and so on.  Check back regularly for updates to the audition information.

This should be a fun process and we hope you will join us for all of it.  




'NUTSHELL' SPECIFICS

Production Dates:     April 3 through 12, 2014 (Thursday through Sunday)
Rehearsal Schedule:  February through April 1, 2014 (TBD, pending actor availability)   Likely Monday through Thursday.  Not all cast will be called to every rehearsal.
Audition Dates:         Monday and Tuesday, January 20th and 21st at the State Theatre, Springfield, OHIO 
Questions?:               If you have questions, please contact the director at         Lisalhw@att.net.  You may also request an Audition Information Packet (in PDF form) be sent to you via e-mail.  This will include an audition form and information sheet.  



AUDITION PROCESS INFORMATION

As we are just 5 short weeks away from the scheduled auditions, it is time to review the audition process. 

WHAT TO PREPARE
For those who have never auditioned for me before (Shakespeare show), you will need to prepare a one minute classic (comic) monologue.  All auditionees will need a resume, headshot (if available) and a list of conflicts covering the period of 3 February to 14 April.  If you would like be considered for a role which may sing, you should prepare one minute of an acappella version of your best vocal piece.  

We are setting the play in New Orleans, so a number of buskers and street singers will be needed to fill out the cast.  If you sing or play an instrument (we are looking for Guitar, Trombone, jazz violin or Saxaphone), please prepare a one minute piece showcasing your skills.  We are NOT looking for 'perfect' voices.  We are looking for 'real' voices and we are looking for a wide range of genres and styles, not just NOLA jazz.  


AUDITION SCHEDULE

MONDAY, 20 January, 2014 
- Registration Begins - 6pm
- Monologue and any Musical Auditions - 6:30pm ** New Auditionees ONLY
- Cold Readings Readings begin at 7:15pm

TUESDAY, 21 January, 2014
- Registration Begins - 6pm
- Monologue and any Musical Auditions - 6:15pm **New Auditionees ONLY
- Cold Readings Readings begin at 7pm
- Call Backs begin at 7:45pm

EARLY AUDITIONS
 - If you cannot attend auditions on the OPEN days, you may request an earlier time.  To do this, please contact the director at Lisalhw@att.net or on Facebook at https://www.facebook.com/lisalhw .  

Additional Callbacks will be held 27 January at 7pm, ONLY if required. 

Casting will likely be posted no later than Friday, January 24th.  More details will be available closer to the audition.  


AVAILABLE ROLES

Feste (M/F -- 21+) *
Olivia (F -- 35 to 50's)
Orsino (M -- 35 to 50's)
Viola (F -- 20's+ Sebastian's Twin)
Sebastian (M -- 20's + Viola's Twin)
Malvolio (M -- 35 to 70's)
Sir Toby (M -- 30 to 50) *
Maria (F -- 25+) *
Sir Andrew (M -- 20 to 30's)
Fabian (M/F -- any age) *
Curio (M/F -- Age 12 to 18)*
Valentine (M/F -- any age) *
Antonio (M/F --- Age 20+)
Ensemble Street -- One M and one F*

Will LIKELY need to sing*

Le voyage commence ici

And, so it is time to begin the journey that will become Springfield StageWorks production of  Twelfth Night, or What You Will.  

For me, many months of research and study always go into a the preliminary stages of show prep.  That is before I even begin to analyze the script and begin pre audition work.  And, yes... I am a little late in getting this process started. So the work for me is about to begin!  


I am extremely detail oriented and will be trying something a little more abstract on this next project, so before I get into the regular deluge of audition, textual, verse and hint posts, I will leave you all with a couple of little photographic clues about where our Twelfth Night path is going to take us...

Audition dates and production information will be announced at the end of the summer and I will be making occasional posts until the.  Now, as always, if you have any questions about auditions or production, then by all means, get in touch!

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.