Theatre and Bullies and Taking a stand

This blog-post will offend several people.  I must accept it and move on.

When I was young, I was the victim of bullying.  Not once nor by one person, but throughout my younger years in several different cities and towns.  I have witnessed bullying of and by others who were around me.  Sometimes I acted, sometimes not.  I tell you this so that you will understand where I come from.  Knowing this may change how you perceive what I am saying.

That's the disclaimer.  Now to the heart of the story.

A play in a nearby town was marred by threats of violence and bullying to the point where a child was excluded from the show.

Many bullied children end up in the arts.  It is a refuge for many of the fringe: the different and the sensitive ones.  Band kids become a gang looking out for each other.  Journalism, Art, Choir, and Dance also join that list of protective gangs.  Like them, theatre can be a refuge for the disenfranchised or picked-on youth.  I was not physically weak, but I was smart and sensitive- a combination too tasty for the hyenas of public school to resist.  So, although I played ball some and rode cross-country bicycle, I was bullied, and I also found my way to choir and band and theater.

Adults always had the same or similar response, "They're just playing." or "Don't be such a baby." or "He/she didn't mean anything by it." or "So and so would never do something like that.  He's a good kid." or "That never happened."  Denial was the word for the day.  Deny it happened.  Deny it was bad.  Deny they meant to hurt.  Deny you're worth defending.  The Arts are supposed to be a refuge where the different can take those differences and soar.

But that's not always the case.  Pettiness and jealousy, hierarchism and bullying will find their way into nearly any group.  I have seen it myself.  I have heard it done.  As kids we are near powerless to do anything about it, no matter what anti-bullying programs aim to do.  It is the adults who must step in and protect those who cannot protect themselves, and denial is never going to help.  Turning a blind eye never stops it.  Unfortunately, aggressive attacks also don't stop it.  It takes time and patience and a firm hand to halt the practice even if only for a while.

That lands us back to the play in a respected theater in the next town over.  I heard about the problems from four different sources.  With such an emotional issue, even a trusted source by itself isn't enough.  The play has an all boy cast.  Notice not men...boys.  They ranged in age from very young to college age.  The director is himself of the same age as the older "boys".  The show features a lot of violence and violent talk and attitudes.  These pumped up feelings spilled over into the dressing rooms and beyond.  Anti-gay taunting aimed at a child with gay parents.  Threats of explosives and weapons.  Actual weapons brought into that emotional mix.  When a parent felt the threat was too much, she was dismissed with all the denials mentioned above.  When she would not be dismissed, she was threatened with the police if she did not leave, and since she felt could not trust leaving her son there unatttended (unprotected), they left.  She had pushed too hard.

According to those in charge, they had handled it.  The "he is a good kid" "I know his parents" scenario.  This parent, not knowing those people and knowing that not everyone had been interviewed about the incidents, did not trust that it was enough.  The other person was offended by that and felt authority threatened.  Escalation to the point that we now have adults bullying adults.  The child suffered.  The show suffered.  Nobody wins.

That's the way it is with bullying:  Nobody ever really wins.  Not even the bully.

I was not there.  I spoke to some of those involved and got conflicting stories in some areas and overlap in others.  What I know is that reputations have been harmed, the theater is harmed, and people have been harmed.  "Sticks and stones may break my bones, but words can break my soul."

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.

I'm just a Poe boy...

I've been meeting with my friend, Gerry Goodwin, to work on my lines and performance for "Nevermore".  It's been fun and productive working with Gerry.  I get to try different delivery styles and line readings, all in the comfort of my living room.  The last Tyler rehearsal was cancelled for whatever reason, and there is no rehearsal until the 10th of December, at which time I must be off book.  This I will do, even though I will be at a Gifted Teaching conference in Houston, Texas most of next week.

As I have said in my blogs and in the non-digital world, everything is balance.  Dudley, the character I play, is a case in point.  Without providing "spoilers", I must be careful what I give away while remaining honest within my own character.  If I give away too much, the twists in the plot are ruined.  If I don't keep true to my character, the audience will feel cheated.  The same is true for other characters as well.  We have to keep the red herring moments not too fishy so that when the twists are revealed the audience can say, "Oh Yes!  That's what he meant by....."  Instead of, "But wait, that's not what he indicated earlier."

Integrity with mystery- balance.