the 39 Steps at HCPAC

2/11/2015

This past Sunday, my wife and I attended the matinee performance of the farcical adaptation of Hitchcock's "The 39 Steps".  We did not know what to expect beforehand.  However, when we noticed in the program that only four actors portrayed all the characters, we knew it had the potential to be fun.  It was.

To begin with-- the four actors:
John Smith plays Richard Hannay, Canadian spending some time in England so that he can become involved in intrigue.  Smith does an excellent job of balancing his role as straight-man with the farcical aspects of the production.  He plays the farce straight up with a twist.

Cassandra Schwantes manages three roles- Annabella (exotic murder victim), Margaret, and Pamela (romantic interest).  She differentiates the characters very well, giving each a life of their own.  He best is Pamela.

Listed in the program as "Clown1 and Clown2" we have T. Gordon Mayhall and Dustin Bartee.  They play everyone else- male and female- sometimes changing roles while still on stage to hilarious effect.  They are the police, the spies, the housekeeper, and the evil spymaster.  They are the innkeeper and his wife, the train employees, and on and on.  They are fun.

The staging was quite creative and the stage crew were absolutely awesome.  Let me name them: Gary McDonlad (coordinator), J Niswonger, Anita Joblin, Teri Kirksey, and Kyra Dawson.  These fine artists created, sometimes in full view of the audience, a wildly changing and amazing set of scenes.  They would slide furniture on from offstage such that the chair came to rest exactly behind the actor already in the motion of sitting down.  There was a riotous nod to "North by Northwest" done in silhouette that blew me away.

Last, and no means least, the director, Marcia Colbert.  Imaginative direction.  Collaborative staging (if the actors are to be believed).  She took on a tough script in a tough space with a small cast and crew.  But with creativity, vision, and obvious passion she turned out a great show.

I highly recommend this production.  It runs for three more shows (Sunday matinee of course).  Athens Little Theater at Henderson County Performing Arts Center is in the black box theater just off Hwy 19 south in Athens, Texas at 400 Gibson Road.  Phone (903) 675-3908

For goodness sake, GO SEE IT!!

Taking a Chance Again

Here we are, a week before another opening.  Ghost of a Chance opens March 28 and runs for two weeks.  We're in the crunch time where small things make a difference.  We've actually had extra time to learn lines, but it is a wordy play and a long play.  The problem I am having is not "too many lines" but rather too much space between entrances.  Having a small role means large chunks of time offstage just waiting.  It is so easy for me to lose focus at these times- to maintain character and keep my lines straight.  I don't appear for nearly an hour into the first act, appearing on in the last three pages.  I have a little more in the second act, but the problem is the same- focus.

For an actor, focus is a huge priority.  An actor must be able to split their focus successfully into three parts: regurgitating their lines, but with feeling; puppetting yourself to be in the right place at the right moment; and listening truly to your scene partners so as to react as genuinely as possible and to catch variations in their lines that change the scripted lines and require a different response.  Lose focus on any of these and you're pulling curtain on the next show instead of taking bows.

On another note:  This weekend I will be attending The Mystery of Irma Vep at the Liberty Theatre in downtown Tyler, Texas.  It is produced by APEX Theatre20.  The review will be my next entry on this blog.

and scene!

Nevermore? Nevermore.

Sunday January 26, 2014

Nevermore by Matt Ritchey, directed by Joshua Carpenter at APEX Theatre 20 has ended.  It ended joyously and sadly, as these things go.  The joy of a fulfilling and successful run.  The joy of finishing a project with new family (and finding that family).  The sadness of endings.  The sadness of partings.

The play, as described in previous entries here, is a "what if" tale that explores what might be if some of Edgar Allan Poe's darker stories were, in fact, semi-autobiographical.  I will not spoil the twists and turns and surprises that await a new audience, but suffice it to say, Poe would have approved.

The final performance, Saturday January 25th, was interesting.  For some in the cast, it was their best performance.  For others, not so much.  The biggest danger in a play such as this, in a venue such as this (a black box theatre) is overacting.  In a small intimate cast in a small intimate venue, "larger than life" can become elephantine.  It's like the difference in a movie of a close-up versus a wide shot.  Bigger might work in the distance, but up close, bigger can be a killer.  As an actor, I have to check myself a lot on this.  Most of my stage acting experience is in the large, proscenium stages.  When I have to go small, it takes an effort.

In the final performance, the author was present, having flown in from Los Angeles ("boy were his arms tired!") Thursday night.  His comments were generally complimentary, always insightful, and sometimes surprising.  One surprising comment concerned my character, Dudley.  Apparently he was supposed to be an over-the-top drunken sot comic relief character.  We, read I, played him more as a real alcoholic with a more sinister twist than comic.  Lenore and Monty he loved.  With this I heartily concur.  They both brought a quality to their work that was genuine, if a little creepy.  Okay, a lot creepy.

Matt Ritchey noted that the whole production was a surprise.  Carpenter's vision was different that his, and he liked it.  Ritchey said, "Everything on the page was there.  Everything on the stage seemed (similar)."  But the character interpretations were very different.  The actor-created backstories he found wonderful, even my twisted one.  "You put your child out there and it takes on a life of its own.  That's a good thing."

For this "child", it has grown and moved on to its next life, somewhere else in the theatre world.  I hope its new family cherishes it as much as we did.  Bon voyage, Nevermore.

Closing in on Opening Night

Wednesday January 15, 2014
"Four weeks, you rehearse and rehearse
Three weeks, and it couldn't be worse
One week, will it ever be right?
Then out of the hat it's that big first night!"

Cole Porter knew a thing or three about opening nights and the chaos that leads up to them.

Most of the set is done. Most of us hit our lines each night.  Most of us have costumes and props ready to go.  Most of...   Things always get a little crazy as opening night approaches.  With a complex set with complex changes, there are always going to be glitches.  Like actors near castrating themselves on low tables in the dark during a blackout where things have been moved to new places.  Or no handle on the door.  With complex acting relationships between characters (and actors), there are always going to be nights that it "clicks"  or doesn't.  The trick is to keep moving and don't dwell.  Trust that it will be there when the curtain goes up.

On the set of Nevermore it's the same.  Actors with bruises, of body and ego.  Director stressing, as directors do (especially newbies).  Producers kibitzing, as producers do (as they're supposed to do).  Crew just trying to stay alive and keep things moving.  We have a talented cast.  Perfect? No...which is a good thing.  We have a talented director with a vision.  A strong vision is essential, but can sometimes get in the way when there are snags.  The set is lovely, but still a work in progress.  

We open in 3 days.  Whatever happens, it will be amazing!

Tech-nickel

Tonight was the first tech rehearsal of Nevermore.  For the uninitiated, a tech rehearsal is when lights and music and props and set changes are all attempted with the actors present.  Most of the time, it takes ages and is generally unpleasant for all as adjustments are made here and there.  The techies are busy adjusting endlessly what they've been working very hard to put together, and the actors can't get their rhythm rockin' because of those constant adjustments.

I say most of the time, because tonight's tech rehearsal wasn't so bad.  I did some of my best work tonight.  Well, other than coughing with an entire mouthful of "coffee water" substituting for Irish whiskey. *blushes*  Now that I no longer rely on the script, I can get into character and really start getting the meat of Dudley cooking.  This is my favorite time of rehearsal- off book and working.

We seemed to be working at an energy deficit tonight.  Hopefully tomorrow will see that solved.  I've arranged with "Poe" to do some energy exercises Kathy has taught me before rehearsal tomorrow. Maybe that'll do the trick.

I really admire the professionalism of most of the folks involved in the show.  There are bits and bobs, yeah, where a few more years of experience might smooth things out a bit, but hey- that's how you get the few years' more experience.  And they all seem very talented.

I have very high hopes for this show.

PS- I'll end with a candid shot of "Lenore" during out photoshoot.  This is from Kathy Lamb's "behind the scenes" shots.  She's really a lovely person, too.

Nevermore Evermore

We are closing in on the opening of the Neo-Gothic play "Nevermore", by Matt Ritchey of Los Angeles, California.  This will be the first production in Texas here in Tyler at APEX Theatre 20@Potter Place.  I'm going to be very narcissistic today, so please be warned.  I'm going to talk about MY reasons for wanting to do the show, and how I got the audition, and MY reaction to the process, and of course, MY character.  Like I said...narcissistic.

I have never worked with this company before.  For the last several years I've been doing "community theater" in a small town near Tyler.  And I have enjoyed it.  With a priviso:  Lately I've been playing the same parts (basically) over and over.  Once I had at least low level professional acting chops; now they have atrophied into "Waiting for Guffman" echos.  No blame for my local theatre troupe.  They're a great group of folks.  Some are more talented than others, but we all enjoy the Roar of the Greasepaint, the Smell of the Crowd.  (And yes, there are some more talented than me, nosey.)  But I was getting into a rut.  We do the same kinds of shows over and over again...pandering to an audience that probably doesn't want to be pandered to.  Afraid of offending 3 people and so not entertaining the 300.

I wanted to exercise my acting muscles.  I needed to do it. So I joined an adult improv class in said theater in Tyler to stretch myself.  It was fun, and challenging, and it petered out.  Bummer.  But during that time I saw "Equus" there and was impressed.  One of my classmates was to be the director (losing his directorial cherry) and he asked me to audition for a particular part.  Hooray...it was the same character I've been playing for the last 15 years.  But hey...give it a chance.  I told him I was wanting to challenge myself and that part I could play half asleep and probably would.  He read me for a different character, Dudley the caretaker, and that's where he put me.  Something different at last.

Their process is different than I have had before.  Audition...read through...nothing for a while-"learn your lines."  Then rehearsal once a week for a bit.  Okay, let's skip a couple. (Ack!)  Now director sick.  Now me out of town.  Now me sick.  Now other actor sick.  Now me sick again...and again.  I tend to learn my lines best on stage when paired with the blocking.  We are now just over a week from showtime and we just blocked my last scene.  I have only rehearsed with my fellow actors five times including read through.  Only twice on the stage, and both of those were for blocking.  (I repeat...Ack!)

AND YET ---

The show sounds good.  The costumes look good.  There is a really good vibe and energy around the show.  Actors feeling their parts.  Atmosphere out the gazoo!  Dammit, I think this is going to be a really great show!  I'm going to get my wish.  I'm getting to stretch my acting muscles, work with an edgier group of actors, do a different sort of play than would be allowed at our theater, and I'm having to work hard to get this right.  Subtle acting is required, not broad stereotypes.  I play Dudley, the caretaker in a "Steampunk Gothic Manor" owned by the childhood friend of Edgar Allan Poe.  I am not a nice person.  There are strange things afoot at Montressor Manor.  But that's all you get.  Come and see for your self.
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Opening our "Christmas Gifts"

Tonight at the Palestine Community Theatre was the premier for "Christmas Gifts", an original Christmas musical by Jamie Waldon King.  And with apologies to Ms. King, I was prepared for a rather maudlin rehashing of the same old themes of every holiday play ever performed by local theater.  I say apologies because I was wrong.  (I know...when you've recovered from your faint read on.)

There were several strong elements in the script which lifted it above the norm.  It dealt with teen pregnancy, adoption, divorce, gossip, disaffection, even blossoming romance, and all within a context of Christmas and Christian faith that didn't bang you over the head with a club.  Okay, there were brief moments, but hey, it's a Christmas play in East Texas.  Give 'em a break.

The story moves well between overlapping vignettes set in a small community.  Each story line is connected in more than one strand to the others.  For example, the story of the "unwed teen-aged mother" played by Sarah Ellison was not preachy, but touching, real, and compassionate.  Sarah, one of the several standout performers, played to part boldly but with pathos.  She wonderfully showed a young woman making hard choices as a result of a bad choice.  She wasn't perfect, nor were her choices, but they were real.  She also sang beautifully.  The acting of her mother (Terri Warren) was also very good, showing acceptance without condoning.  Terri, coming off some illness, struggled with some of her songs, but her strong voice carries through.

A young couple in the play and in life were Matthew Raybin and Shannon Smith.  I have nothing but praise for their performances.  I have watched each of them grow from children to adults in that theater and their talents grow with every performance.  They shone with confidence, maturity, and complexity of character not often seen in actors of their age.  Sure of their performances even when their characters were unsure.  Wonderful.  Their singing was spot on.  Again, improving every time I see them perform.  I can't wait for their next appearance.

Always a pleasure to watch and hear was O
livia Santone.  She has a range of characters that is remarkable for one so young.  And in that, her age is hard to pin down.  She can play a teenage or an adult with equal aplomb.  Her singing is always strong and full of passion.

There were many other actors that did fine jobs, although most were simply good to okay.  There's no shame in that, of course.  There were times where songs were sung in different keys- at the same time; or out of sync.  And especially complex number at the beginning seemed to get away from them.  Once that happens it's really hard to rein it back in.  The singing of some of the actors was the biggest problem and the greatest strengths.  Of course the gum chewing teenaged chorus member was a real distraction to me.  That's a balance hard for any director.  The dancers were a very nice addition to the numbers where they participated.

Two things more I must mention.  First, I was disappointed in that canned music was used.  I fully understand.  This time of year especially, live musicians are in hot demand for churches, schools, parties, dance recitals, this, that, and the other.  In this case, pre-recorded music was probably the only good alternative, but it is still one of the very few times it has been used at PCT.

Second and lastly, a beautiful surprise by the name of Zaylee King.  Her part was not large, but it was important.  She sang with the voice of an angel and the face to match.  Placed near the end of the "Nativity Sequence", she was a sweet blessing to the ear and eye and brought a nice closure to the piece.

Strong story, well designed and constructed sets, well done costumes and staging.  I would recommend this for anyone looking for solid family oriented holiday entertainment.  But hurry-- there are only two more performances.

RENT this space

This past Saturday night, Kathy and I braved the chilly East Texas version of winter to travel to Tyler, Texas to see a performance of RENT at the Liberty Hall theater.  (This despite the fact that I had just rolled in from a four-day conference in Houston minutes before.)  Neither of us had seen anything in the Liberty, so we were looking forward eagerly to this new space.  We found a good parking spot, took the de rigueuer selfie from the opposite side of the street, and found our way inside.

We were greeted with convivial smiles (and wine) and a couple of familiar faces.  Good start.  We already had our tickets in hand and so walked on in.  Goodness continues.  Sat next to some lovely people.  Things look good.  Lights dim... magic begins.

[In review like this, it is customary to be universally positive in order to remain on good terms with people you might be working with sometime soon.  There is much good to talk about.  There are also problems about which I will write in order that we may grow as performers, and so that you can believe what I write is true and not whitewash.  Enough disclaimer-- on with the review.]

Let's start with the positives...  The acting was really good.  At times it was great.  Of special note were JC Schimdt (Angel), Kristen Bedevian (Joanne), and Joshua Carpenter (Tom).  Their acting was spot on with emotional highs and lows that carried the audience with them.  There was a lot of honesty in their work.  Even though the character of Angel is an "over-the-top" personality, the portrayal was very honest.  I've known people like Angel and that's how they are (or were).  Joanne's frustration with an inconstant and mercurial partner were apparent, yet completely believable.  She showed power and vulnerability with poise and pain.  The best part of Joshua's performance as Tom was at the beginning and the end.  It was the painful contrast of the high of rapturous joy in love found and the crushing pain of a loved one lost.  The love itself is never lost.

The music was both a strength and a weakness.  The band sounded great!  But they frequently overpowered the vocals. [suggestion: let the electric instruments have a volume control on the sound board as well as with the musician.  On stage the balance is hard to hear.]  Also in that same vein, there were microphone problems galore.  It is hard for an actor to deliver a balanced performance with they must shift from talking to shouting with no notice.  Sometimes it can't be helped...sometimes it can.  Another strength and weakness in the music came from the vocals.  Wonderful strong voices, full of passion and joy and angst.  But tuning became an issue.  I'm picky- understand that- more than almost anyone in the audience has a right to be.  But there were wonderful emotional moments ruined for me by flat notes from the primary vocal.  It may have been the inability to hear themselves over the stage band, I don't know.  For most around me, there was no problem.  Maybe it was just me.  I'll stop there about that.

For me, one of the highlights of this show was the "second intermission".  Right after the second act began, just as "Seasons of Love" is coming to a conclusion... the smoke alarms went off due to an overzealous smoke machine.  We cleared the theater into the cold.  On the sidewalks the cast and audience together began a rousing chorus of "La Vie Boheme" to the defiance of the demon enemies of Thespis.  Once cleared, we went back inside and rebooted Act II.  That last burst of comraderie only cemented the wonderful feelings and bonds of caring for what was happening on stage.

With all my carping and bitching and moaning, I thoroughly enjoyed the show.  The emotion was real.  The passion showed through.  The pure delight in performance pervaded the night.  I can't wait to see what's next.

MisQuoth the Raven, "Ever More"

Forever Plaid is going to have to wait.  I'll keep listening to the music and trying to get my part, but the rest of life is kicking my butt right now.  We got together and watched the movie archive of the stage show.  It was really great.  I see that this is a huge undertaking for folks with day-jobs.
*sigh*

We've had three rehearsals for "Nevermore".  I have a problem- I'm not giving the director what he needs for the part of Dudley.  I'm just not sure I'm good enough (or have enough spare focus) to react to the changes he's making.  Dudley is one of the most subtle characters I've gotten to play.  Well, I wanted to be challenged!  Be careful what you wish for.  My vision of the show does not match the director's, and it must be his vision that prevails.  It's his show...he's the director... that's the way it should be.  I just hope I'm good enough and flexible enough to get the job done.  I won't give anything away here, so just stop it.  No...stop asking... I won't tell you.

My day job is also demanding more and more of my attention, as it should.  As always, I have spread myself too thin.  It's like peanut butter on a piece of bread:  too thin and there's no taste left- just bread.
*sigh part II*

I will "endeavor to persevere".  Those things kicking my ass right now shall in their turn have their asses kicked by me.  I will prevail!  (cue heroic music)

Nevermore and Forever Plaid

"Nevermore", a Poe based thriller, continues unabated.  We've had our first read-through.  It is quite promising.  Lots of experience in the cast.  After a brief flirtation with playing two characters, I'm back to playing only Dudley- and that's enough of a challenge for now.  I've been working on my character more than lines at this point, so that when I get the lines- I know who is saying them and why and thus how to say them.  I will not let the others down.

We've also had the first rehearsal for "Forever Plaid".  It consisted of letting us know who we were, what voice part we would sing, and going through some of the songs.  There are A LOT of songs!  The harmonies are tight, and our voices blend really well.  I figure work on two songs a week until after "Nevermore" and then attack it like a chocolate cake.  So much to do.

The Point of Dis-ment

I am disappointed in the turn my Adult Improv class has taken.  Every week, fewer and fewer folks are attending.  Last night- three.  I am enjoying the class, but if there aren't sufficient numbers to effectively do the class, we'll have to disband.  Sure that'll free up my Monday nights, but I need the growth.  I would much prefer the others to return over a refund.  As I said...disappointed.

I'm proving a little bit

I had a tough time at improv class last night.  I just couldn't find "the groove".  From feedback, I think I was trying to be funny instead of just being.  You know- trying to come up with that zinger, that top laugh, the climax to the scene.  That made me less generous and less genuine...a fatal combination.  I got into this class to push myself and improve as an actor, not just to do improv.  I'm glad to say I'm being stretched.  I hope I'm getting better.

This Friday is the read-through for "Nevermore".  I'm excited and a little anxious.  I haven't really stretched my acting muscles in a while. Not only that, but this is an entirely new group of people.  New dynamics; new expectations; new egos to match my own sometimes overstretched one.  Saturday I'll post an analysis of the sitch.

2x: Improv-ing my skills... Nevermore

Improv-ing my skills
Hidee-ho gang!  September 9th I started working in an Adult Improv class in Tyler, Texas, USA.  It's held at the APEX Theatre 20 on Monday nights.  I mainly joined to sharpen my acting skills.  For a while I've felt like my acting muscles were atrophying.  I enjoy working with this great group of folks in Palestine, but I don't feel like I'm growing as an actor/artist.  I'm getting mentally flabby!  Last Monday was our 3rd class, and I'm having a blast!  I'll keep you up to date on how that goes.

"Meanwhile, back at the ranch..."

Nevermore
While "improv-ing" a week ago, I was approached by the director of an up-coming play called "Nevermore", a play utilizing several Edgar Allan Poe plots and characters, but featuring Poe as a character as well.  He, the director, invited me to audition for a particular role.  I was more than gratified by this.  Here was a chance to spread my wings a bit.  I have not acted outside of Palestine for at least a decade.  Josh (the director) sent me sides for the character of Monty.  Once at auditions, he pulled the old switcheroo, which I always enjoy actually, and had me cold read for two other characters instead.  One of them, Dudley, is a juicy part that will challenge me to really work; it's not the archetypes I've been doing.  I read.  I listened.  I read again.  Then the call- Dudley is me!  I will endeavor to be worth the effort.

So long for now.

Willie Wonka cast list (principles only)

Okay, gang- Here is the list of the principles in the cast because I have already contacted all of these and confirmed them. I'm only about half done with the rest. I'll post them tomorrow. All will be posted on the theater door tomorrow evening by 6:00 PM. but for now---

Charlie	Tanner Stevens
Willy Wonka	Jim Vincill
Mrs. Bucket	Jamie King
Mr. Bucket	Matt Raybin
Grandpa Joe	Gerry Don Goodwin
Grandma Josephine	Hollie Martin
Grandpa George	Doug Smith
Grandma Georgina	Kathy Lerich
Violet Beauregard	Olivia Lerich
Mrs. Beauregard	Stacy Bennett
Augustus Gloop	Bailey Gochnour
Mrs. Gloop	Georgie Jenkins
Mike Teevea	Malick Absy
Mrs. Teevea	Carol Moore
Veruca Salt	Jamie Dugger
Mr. Salt	Jeremy Janz
Phineas Trout	Scott Holden
The Candy Man	Zach Phillips
Choreographer	Devyn Rice

Wonkauditions

Oh my Gawd! This Saturday and Sunday we held open auditions for "Willie Wonka". Actors and dancers frequently call this kind of open audition "cattle calls" because anyone can come and try out. This was more like a stampede. Over 70 auditioners on Saturday and nearly thirty today (Sunday). That was amazing! What makes that amazing is that it gives me a lot of folks to choose from for our cast. What makes it not so amazing is that way too many of them were way too good. I have to let really talented people be put into good, but not great roles just because there were a lot of really talented people. I actually could have cast the show three times over...in three completely different ways. Fortunately for me, I had the help of two wonderful people helping me. Assistant director Jan Sikes and Vocal director Paula Ellis. Both very talented in their own right, they helped me move through the different combinations to find one that we think will really work. We will post and notify tomorrow. I hope everyone accepts their parts. It will be an awesome show. First read-through will be Friday, May 25 at 6:30. More as the week goes on.

A new Blog is Born (yawn)

Okay. My massive ego demands that I now share even more drivel in a different area. This blog will be focused on theater and all that goes with it. I'll have actor's notes when I am in a show, tech notes when I'm a "backstager", director's rants when I am directing, and reviews when I am simply in the audience. Production stills will, I hope be posted along with inflated opinions of myself and my contributions. Great for reading when suffering from insomnia.