Living near and within a metropolis has many advantages than small towns. Although Los Angeles is not the "theatre capital in the U.S.," we do have several regional theatres, in addition to various other small Equity waiver theatres (LA's equivalent to Off-Off Broadway) spread out throughout the city and region. As a director and as a human being, I love live theatrical happenings because there is truly a diverse range of aesthetic perspectives in what was once referred to as a "cultural desert." Over the past three weeks, I saw three very different productions:
1. AGAMEMNON by Aeschylus produced by the Getty and performed in an outdoor amphitheatre at the Getty Villa in Malibu.
2. BRUNDIBAR by Hans Krasa produced by LA Opera's Opera Camp and performed at the RED CAT, an intimate black box theatre, in Downtown Los Angeles.
3. ALICE IN 1 HIT WONDERLAND 2: THROUGH THE LOOKING GLASS produced by The Troubadour Theatre Company and performed in a "mid-size (130 seat)" hybrid thrust/proscenium stage of the Falcon Theater in Burbank, CA.
As you can see, my own personal taste runs a wide gamut of shows.
The most recent show I saw was ALICE IN 1 HIT WONDERLAND and as the title suggests we heard plenty of 1 hit wonders. The show charmed the matinee crowd of families with young children, tapping our feet to the over-amplified band, that accompanied the actors. As I mentioned, this theatre is 130 seats or so, and yet the actors were wearing old school "Madonna" style mics as they energetically danced and mugged an adventure for Alice Nelson (aka The Maid from The Brady Bunch) dream to be a "Queen."
Essentially the show seemed like an expanded Mad TV sketch that was played only for laughs. And laughs it received not because the material was so clever or funny, rather because it played with the audience's knowledge of pop culture. What 1 hit wonder will they play next? What topical reference can they use in this instance to make it funny? At the end of the performance, I was as fatigued as I'm sure the actors were performing straight thru for 90 plus minutes and yet, it felt much longer.
It is rare to see Greek Tragedy performed live, but when I heard Stephen Wadsworth was directing AGAMEMNON, I knew I would be in for a treat. Recognizing that his audience may not be familiar with all the back story, he created such exciting moments that vividly brought into sharp focus the external and domestic politics of this extraordinary piece of theatre that when the dead bodies of Agamemnon and Cassandra are brought out, an audible gasp from the audience was heard. This play was the same length as ALICE, and yet it went by so quickly and stayed with me on the way home.
Each performer was so solid and energized and the composition of the staging was so imaginative, yet so unexpected in its detail and progression. There was such a palpable feeling of tension as the evening drew on that I could not help, but feel a sense of the continuum of theatre as ritual. We are drawn together as community, but connected in catharsis by the sequence of events we are witnessing.
These two productions remind me why I have chosen to make live theatre my profession. In Peter Brook's "Empty Space" anything is truly possible. Each equally valid on their on terms, but as different as night and day. I'll leave it to you to decide what was Art and what was Entertainment.
ciao,
eugene
Sunday, September 14, 2008
Thursday, January 25, 2007
Inspiration
Directing a show can be a daunting task if "inspiration" is your only tool. What happens when "inspiration" is not enough and worst, it doesn't come at all. Then what? I love rehearsal and often ideas will just flow because I'm working with such talented actors that it inspires me to view the work in new and interesting directions.
However, when you only have 10 days (60 hours) of staging time in the rehearsal. Inspiration must arrive early. It must come from those days reading that script or listening to that score or viewing that painting. In other words, from your own imagination. Translating the page to the stage in visual images and theatrical metaphors is not easy, especially when you are dealing with human beings with novel notions.
My process begins with a sound organizational structure that allows me to view the whole piece in its entirety. What are the necessary elements that must be communicated in order for the show to maintain its integrity. For instance: A Midsummer Night's Dream. Magic is a key element in the world of the Fairies. The theme of the "Folly of Human desire/passion" is another key element. For me, these two notions must remain consistent for me to communicate to my actors and my designers, and must inform the entire production.
Therefore, I can't interpolate "realism" without breaking these two notions.
One you establish the "rules" you can't break'em. Of course, rules can be bent or broken, if and only if, you justify and back it up with solid dramaturgical analysis. However, your initial hypothesis and themes should also be backed up.
Often directors will start off with some great ideas and run full force to discover in the middle of the rehearsal. It just doesn't work. It's not matching the "inspiration," the "vision," in his/her head. What do you just stay the course like our President. Well, sometimes you have to trust yourself, particularly if money has been spent. Or you have to reassess, but I would say to this Director. Did you really do your homework? Did you investigate this idea or was it never really there in the first place?
I guess those questions don't really help. So, I will end my suggestion with this. You made a mistake. Admit it and then evaluate what works and what doesn't work. What can be salvaged and what should be "let go." Then, once you found what works. Dig deep to discover why those elements work and then began to kneed this dough further. And before you know it, you've mined Gold.
Ciao,
eugene
However, when you only have 10 days (60 hours) of staging time in the rehearsal. Inspiration must arrive early. It must come from those days reading that script or listening to that score or viewing that painting. In other words, from your own imagination. Translating the page to the stage in visual images and theatrical metaphors is not easy, especially when you are dealing with human beings with novel notions.
My process begins with a sound organizational structure that allows me to view the whole piece in its entirety. What are the necessary elements that must be communicated in order for the show to maintain its integrity. For instance: A Midsummer Night's Dream. Magic is a key element in the world of the Fairies. The theme of the "Folly of Human desire/passion" is another key element. For me, these two notions must remain consistent for me to communicate to my actors and my designers, and must inform the entire production.
Therefore, I can't interpolate "realism" without breaking these two notions.
One you establish the "rules" you can't break'em. Of course, rules can be bent or broken, if and only if, you justify and back it up with solid dramaturgical analysis. However, your initial hypothesis and themes should also be backed up.
Often directors will start off with some great ideas and run full force to discover in the middle of the rehearsal. It just doesn't work. It's not matching the "inspiration," the "vision," in his/her head. What do you just stay the course like our President. Well, sometimes you have to trust yourself, particularly if money has been spent. Or you have to reassess, but I would say to this Director. Did you really do your homework? Did you investigate this idea or was it never really there in the first place?
I guess those questions don't really help. So, I will end my suggestion with this. You made a mistake. Admit it and then evaluate what works and what doesn't work. What can be salvaged and what should be "let go." Then, once you found what works. Dig deep to discover why those elements work and then began to kneed this dough further. And before you know it, you've mined Gold.
Ciao,
eugene
Thursday, January 11, 2007
DAYS OFF
6 days have passed since rehearsals for High School Musical at the Norris Center. Two different casts performing two different versions of a show with one solitary stage manager to keep it organized is tough, but step by step it will come together because of the "magic of live theatre."
I've always found it interesting that many non-union houses seems to enjoy working weeks without a single day off. Personally, I find that very odd, but we theatre folk stick it out because we love theater. Well, not really. When you get a gig, you work the schedule they present to you. So, I will find myself working the next 23 days without a day off because I have no choice. I do without complaint and this rant is not complaining. It's blogging.
When I direct a show, I always schedule at least one day off, which is a traditional six day week. Live theatre professionals work a six day week because we generally work only 6 hours a day in rehearsal. This does not include additional hours for preparation, paperwork, publicity, fittings, etc. . . . . I often find the one day off is perfect to allow ample time for laundry, yoga, TV, pay bills, and other assorted tasks necessary in having a life.
Working without a single day off, I feel is unhealthy. It allows stress to build and forces your mind to constantly work without end. Sometimes, the brain needs time to decompress and allow the subconcious to work. And believe me it does. Problems and issues drift away and innovations are allowed to florish. You are amazingly refreshed.
Having one day off also forces you to work more efficiently on the days you are rehearsing as a Director and Choreographer. If you are prepared for all rehearsals and always aware of the time, you will achieve you expected goals and meet the needs and won't have to schedule the extra rehearsals on that 7th day, that 14th day, etc. . .
ciao,
eugene
I've always found it interesting that many non-union houses seems to enjoy working weeks without a single day off. Personally, I find that very odd, but we theatre folk stick it out because we love theater. Well, not really. When you get a gig, you work the schedule they present to you. So, I will find myself working the next 23 days without a day off because I have no choice. I do without complaint and this rant is not complaining. It's blogging.
When I direct a show, I always schedule at least one day off, which is a traditional six day week. Live theatre professionals work a six day week because we generally work only 6 hours a day in rehearsal. This does not include additional hours for preparation, paperwork, publicity, fittings, etc. . . . . I often find the one day off is perfect to allow ample time for laundry, yoga, TV, pay bills, and other assorted tasks necessary in having a life.
Working without a single day off, I feel is unhealthy. It allows stress to build and forces your mind to constantly work without end. Sometimes, the brain needs time to decompress and allow the subconcious to work. And believe me it does. Problems and issues drift away and innovations are allowed to florish. You are amazingly refreshed.
Having one day off also forces you to work more efficiently on the days you are rehearsing as a Director and Choreographer. If you are prepared for all rehearsals and always aware of the time, you will achieve you expected goals and meet the needs and won't have to schedule the extra rehearsals on that 7th day, that 14th day, etc. . .
ciao,
eugene
Thursday, January 4, 2007
Jan 4, 2006 - HSM begins. . . .
Tomorrow, I will begin rehearsals for Disney's High School Musical. The very, very new stage adaptation of the hit TV movie musical that premiered on the Disney Channel and soon coming to a city near, you.
Nope, I'm not directing this production, rather I am stage managing it, at the Norris Center for the Performing Arts in Rancho Palos Verdes, CA. The director is Jon Engstrom and the choreographer is Michael Jenkinson. It features two casts. One cast will perform the certified One Act Version with a cast of young performers ranging in age from 8-14. The second cast will perform the Full Length version with high school and college performers.
Somehow, I will be keeping this all organized. It is refreshing to work on a musical with "kids" that features material that the "kids" can truly relate to. Instead of pretending to be "adults" as in the standard musical theatre rep, except for perhaps "Oliver" and "Annie."
More about this and where this all fits into my desire, my wish, my need, my "action" to sit in the Big Chair myself. . . . .
ciao for now,
eugene
Nope, I'm not directing this production, rather I am stage managing it, at the Norris Center for the Performing Arts in Rancho Palos Verdes, CA. The director is Jon Engstrom and the choreographer is Michael Jenkinson. It features two casts. One cast will perform the certified One Act Version with a cast of young performers ranging in age from 8-14. The second cast will perform the Full Length version with high school and college performers.
Somehow, I will be keeping this all organized. It is refreshing to work on a musical with "kids" that features material that the "kids" can truly relate to. Instead of pretending to be "adults" as in the standard musical theatre rep, except for perhaps "Oliver" and "Annie."
More about this and where this all fits into my desire, my wish, my need, my "action" to sit in the Big Chair myself. . . . .
ciao for now,
eugene
Wednesday, January 3, 2007
Jan 3, 2007 - A Blog is Born
Happy New Year!
I blog, therefore I am! I've decided to enter the bloggesphere and write an open and candid journal of my life as an emerging Stage Director/Choreographer for Opera, Theatre, and Dance.
In the last several years, I have focused on staging operas of all genres and styles.
Creating a career as a Stage Director is not easy because of many reasons. And I will go into my gripes later. The only way Directors can truly develop your craft is through directing. But the powers that be will only hire you if you have "experience" OR is your best friend from college and happens to run a theatre. Many go to grad school and gain experience. Others come into directing from being a performer. I've done both, which has resulted in having the opportunity to direct professionally, but not enough to earn living.
"What. . . .you want to make a living as a Director? What about being a 'Starving artist'?"
Being a Starving Artist is over-rated. Therefore, I Stage Manage other director's productions and write copious notes so I can steel their ideas. That was a joke! LOL! Or was it?!?! ;-)
Ciao for now,
eugene
I blog, therefore I am! I've decided to enter the bloggesphere and write an open and candid journal of my life as an emerging Stage Director/Choreographer for Opera, Theatre, and Dance.
In the last several years, I have focused on staging operas of all genres and styles.
Creating a career as a Stage Director is not easy because of many reasons. And I will go into my gripes later. The only way Directors can truly develop your craft is through directing. But the powers that be will only hire you if you have "experience" OR is your best friend from college and happens to run a theatre. Many go to grad school and gain experience. Others come into directing from being a performer. I've done both, which has resulted in having the opportunity to direct professionally, but not enough to earn living.
"What. . . .you want to make a living as a Director? What about being a 'Starving artist'?"
Being a Starving Artist is over-rated. Therefore, I Stage Manage other director's productions and write copious notes so I can steel their ideas. That was a joke! LOL! Or was it?!?! ;-)
Ciao for now,
eugene
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