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Seconding Buried Child: There is a section where Tilden is talking to Shelley about digging up his dead child that Dodge killed and buried that can be turned into an incredible dark and moving monologue.
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Feb 10, 2011 09:53
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Ugh, I've had about a month and a half break now (in between shows), and the laziness is really setting in, to the point where I'm kind of starting to dread my next show. I just don't want to drag my rear end out to the suburbs five days a week! This should get better when I actually start doing it but I feel like such a slob right now. I haven't really even done any marketing to speak of besides one play reading at Chicago Dramatists.
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Feb 10, 2011 13:45
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It's been so loving slow in Chicago lately, there just hasn't been much going on anywhere. It looks like it's starting to pick up a little though, which is good. I went months before I got dropped into this production of Dracula I'm doing (with only three rehearsals before I went on!). I was really starting to get antsy for a show, so I'm glad this came along.
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Feb 10, 2011 13:54
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You can always pitch mine, Nick. I got a new director for the Boston run. We're meeting in an hour and a half and I am thoroughly excited.
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Feb 10, 2011 18:22
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Golden Bee posted:You can always pitch mine, Nick. I got a new director for the Boston run. We're meeting in an hour and a half and I am thoroughly excited. I've pitched but not a lot of people are going to bite in February when we're all hunkered down with our British drawing room farces and fundraiser dinners. Summer and its glorious season of play readings loving everywhere is when we might see some movement.
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Feb 11, 2011 19:04
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I'm just joshing you, buddy. I've nailed down two of the main leads (the one I wanted was coincidentally the new director's roommate). The last one is giving us difficulty, but that's alright. In May I'm moving out to LA to work with a ton of people on projects, and that'll be the end of me working on actual plays! Unless it means 90 seat theater versions of Our Town. Can't wait for the readthrough; even in auditions, some of the dialogue sounded a little bit tinny.
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Feb 11, 2011 23:38
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Currently in the Green Room in a show that has the entire 200 person audience on stage with us. We envisioned that they'd be moving around in the space in reaction to our own movements, but instead they're firmly planted upon every piece of scenery and platform we have. Giving them a light press in the direction we want them moves them for a moment, but they alway move back to the area of least resistance. I'm just an ensemble member, but even then this is one of the most wonderfully challenging and terrifying moments of theatre I've ever had. Any suggestions on how to audience herd without the spoken word? I have no lines.
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Feb 12, 2011 03:33
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Light space, dark space. Audiences are naturally drawn to one (although it'll change each show).
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Feb 12, 2011 04:10
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You mean lighting? There's nothing I can do as an actor to change the lighting. I do know that we use lighting changes to direct attention to certain areas, but no place remains light or dark for more than a scene. What I did find effective was directly engaging with the person you need to move. One person simply would not move out of a crucial spot all show when people tried to wave their arms or nudge the person. When someone went up to her and took her hand she moved easily. She probably never knew she needed to clear out.
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Feb 12, 2011 05:24
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Sorry, I didn't know what you meant as an actor. Think of how you'd clear an elevator, or invite someone you don't know to come into a cafe you're in. Use your elbows to make a 'give me space' as if you're going to spread yourself very wide. I'm wondering what directing books this thread reccomends. I've only directed for television and film, not really stage in a coherent way. I heard good things about "The Empty Space" and "The Director Decides".
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Feb 12, 2011 08:43
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Golden Bee posted:Sorry, I didn't know what you meant as an actor.
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Feb 12, 2011 10:50
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My Richard Daley play seems to be taking off already. I've done a few interviews and it sounds like we have a good chance of getting the real life versions of some of the characters to show up. I'm thinking it might be a good opportunity to invite larger theaters in the city to check it out to see if they'd want to put it up in April. Most of the things I wrote last year were pretty malicious or bordering on snobby, so maybe I should focus on putting up completely ridiculous low-budget action movie-turned-plays this year. It's certainly more fun.
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Feb 13, 2011 17:48
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I've been luckily given the opportunity to direct a show at the end of the year, but have hit a few snags. For one, I don't have very many male actors. The only two male actors we have had this year are myself and another, and we're both this year's directors. Not only that, but it is a high school, and as such whatever play I choose has to be approved by the principal. Everything I've wanted so far has been rejected (although, to be fair, I don't know what I expected from The Pillowman). They'll allow a small bit of profanity, and some violence and sexual content is okay, it's just that everything that I've found that I've liked has been a bit over-the-top. That being said, I'm trying to find a play that is one or two acts, will require minimal or no cutting, and will be emotionally devastating (whatever I end up choosing, I want people to walk out of the theatre just feeling like they went through an emotional storm). If I have to find a few male actors, I can do it, I'm just saying that there is a huge shortage. Does anyone know of any shows that I might be able to direct?
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Feb 13, 2011 19:49
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Here are some random ones that don't use many male actors. They also have some darker material than usual. Ask me if you need a rundown on specific ones. Three Tall Women - Edward Albee - 3 female (edit: 1 nonspeaking male role) Blackbird - David Harrower - 1 male, 1 female Frozen - Bryony Lavery - 1 male, 2 female The Woods - David Mamet - 1 male, 1 female Oleanna - David Mamet - 1 male, 1 female The Woolgatherer - William Mastrosimone - 1 male, 1 female Extremities - William Mastrosimone - 1 male, 3 female Seascapes with Sharks and Dancer - Don Nigro - 1 male, 1 female Dead Man's Cell Phone - Sarah Ruhl - 2 male, 4 female Fool for Love - Sam Shepard - 2 male (1 very minor), 1 female Forget Forgive fucked around with this message at 06:23 on Feb 14, 2011 |
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Feb 13, 2011 23:33
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Would you really run Three Tall Women (which has a male part I'm pretty sure) in a high school? How many people are you looking to cast? Do you need a large ensemble?
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Feb 14, 2011 00:48
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The Trojan Women is always a good standby when you've got a bunch of women and don't mind losing your job.
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Feb 14, 2011 01:25
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Golden Bee posted:Would you really run Three Tall Women (which has a male part I'm pretty sure) in a high school? Hey, if kids these days have the balls to do some dark plays, let them try. Then again, I do realize some of my suggestions are pretty intense for Senior High.
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Feb 14, 2011 06:25
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I'm looking these up right now, thank you so much for the suggestions. I'm looking to cast not too many, but depending on how much I love the play I could seek out people outside of our theatre program to act.
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Feb 14, 2011 07:11
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Named Ashamed posted:Extremities - William Mastrosimone - 1 male, 3 female Hahahahahahahaha Good loving Luck getting this done at a high school; I saw this one in a revival in Canada and it pretty much defined "edgy for edgy's sake" for me. I love that Dead Man's Cell Phone selection, though, and it's basically all women in that show (the titular "dead man" has, essentially, one scene and one very funny
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Feb 14, 2011 17:38
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Named Ashamed posted:Fool for Love - Sam Shepard - 2 male (1 very minor), 1 female
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Feb 14, 2011 18:10
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If anyone is interested, I am in a staged reading of Transfiguration by Ernst Toller on February 23, 2010 at 7:30PM. Justin’s Bar and Grill: 3358 N Southport http://lotcchicago.wordpress.com/pre-game-play-series-2/upcoming-pps-readings/ Edit: My friend's theater company is doing a 48 hour play festival, "We write, rehearse, tech and perform an evening of 4-6 minute plays in just 48 hours." If anyone is interested in it (I think they are really looking for playwrites), here is the site: http://www.candentia.com/home/spark-project.html York_M_Chan fucked around with this message at 22:14 on Feb 14, 2011 |
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Feb 14, 2011 18:37
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Apocrypha is dead, for the time being. After director #3 left for the same reason (other priorities>>this play) I've decided to do something else that won't involve anyone with the title "______ Manager".
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Feb 14, 2011 23:08
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UnL337 posted:I've been luckily given the opportunity to direct a show at the end of the year, but have hit a few snags. For one, I don't have very many male actors. The only two male actors we have had this year are myself and another, and we're both this year's directors. Not only that, but it is a high school, and as such whatever play I choose has to be approved by the principal. Everything I've wanted so far has been rejected (although, to be fair, I don't know what I expected from The Pillowman). They'll allow a small bit of profanity, and some violence and sexual content is okay, it's just that everything that I've found that I've liked has been a bit over-the-top. That being said, I'm trying to find a play that is one or two acts, will require minimal or no cutting, and will be emotionally devastating (whatever I end up choosing, I want people to walk out of the theatre just feeling like they went through an emotional storm). If I have to find a few male actors, I can do it, I'm just saying that there is a huge shortage. Does anyone know of any shows that I might be able to direct? http://www.stageplays.com/index.php/browse/categories/all_female Also, guys:  I'm trying to trick him into reading lots of plays.Edit: More female dominated plays. Independence by Lee Blessing Eleemosynary by Lee Blessing Ludow Fair by Lanford Wilson Five Women Wearing the Same Dress by Alan Ball Crimes of the Heart by Beth Henley Talking With by Jane Martin Agnes of God by John Pielmeier On the Verge by Eric Overmeyer 'night,mother by Marsh Norman Ladyhouse Blues by Kevin O'Morrison My Sister In This House by Wendy Kesselman Collected Stories by Donald Marguiles Forget Forgive fucked around with this message at 17:04 on Feb 15, 2011 |
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Feb 14, 2011 23:21
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York_M_Chan posted:If anyone is interested, I am in a staged reading of Transfiguration by Ernst Toller on February 23, 2010 at 7:30PM. Justin’s Bar and Grill: 3358 N Southport drat, I wish I could see that but I'll be in rehearsal by then  Golden Bee posted:Apocrypha is dead, for the time being. After director #3 left for the same reason (other priorities>>this play) I've decided to do something else that won't involve anyone with the title "______ Manager". Jesus, another guy bailed? I'm really sorry to hear that . . . hang on to that play, though; it's a good one!
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Feb 15, 2011 22:30
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Actually all the directors were female. Doing an on campus production while being a recent alumni is a bad idea and I don't recommend it to anyone. This staged reading will be cool, and I've heard a lot of good job opportunities today. The play will likely be directed this fall by my great friend Ben K, who helped develop Wilson Del La Torre back at December's stage reading. We'll need a new Max by then (current Max is graduating) but that's the price ya pay sometimes. Golden Bee fucked around with this message at 04:04 on Feb 16, 2011 |
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Feb 16, 2011 03:54
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I've got exactly one month to write a 45-60 min show for a fringe fest and get a company together to begin rehearsing. Meanwhile I have 3 weeks to prepare a small writing portfolio that will be submitted a few days prior to an interview for a summer playwriting program. Maybe I'm hosed in the head, but times like these are when I feel the most alive.
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Feb 16, 2011 08:26
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How did I miss this thread? Jesus. I'm one of these loving people, too! I just finished up conservatory in New York and made the big move out to LA. My first gig out here just got canceled before it started because the theater went under. I am very optimistic. Luckily, still doing some improv on the weekends. Other than that, my friends and I stay happy by hiking and brewing beer. Jokes aside and all of that, the theater scene out here actually seems (at least at first glace - I've been here all of a month) to be pretty robust. Does anyone have recommendations for shows I should see and that sort of thing? I came out here for film, but nothing compares to the live product. Also if anyone has any questions about doing a lengthy NYC-based program, feel free to shoot. It's a rare undertaking, and not something that should be embarked upon lightly, but the rewards are immense. *PUNCH* fucked around with this message at 11:20 on Feb 16, 2011 |
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Feb 16, 2011 11:09
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How are things going out there? I have heard nothing but horror stories from people who plunged headfirst into LA right after school . . . it's part of the reason I decided to move to Chicago "first". I'd love to hear what your overall experience has been like. Do you feel like the NYC conservatory has given you a leg up in your LA career? I dunno how many contacts the conservatory gave you out there. Was it "worth it" to you, as opposed to going to a strong non-conservatory program like, say, Rutgers or Vassar?
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Feb 16, 2011 21:49
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I've been here only a month, so my experience, again, is extremely limited in terms of the professional sphere. And, frankly, everyone is different, and has a different story - this is a crazy, crazy, business, and it's hard to know what your mileage is, let alone how much it varies. Conservatory doesn't really give you any contacts, other than the people you went to school with. It's not really their job, and even if they could, I don't think that they would. At least, this is true of my studio. That said, one of the great things that I'm very lucky to have is a community of my peers that I know can really do the work, and do it every day, in a drama-free way. A lot of us came out here after graduating, or are coming out very shortly (New York right now is pretty hard to get work in from my understanding, and expensive to boot,) and we're thinking of launching a few projects and all of that; it's nice to have the security that comes with dedicated people. In terms of "worth it or not," I have no experience doing an undergrad course; it wasn't really an option for me when I signed on. What I know of undergrad programs is from other people; it's also worth mentioning that most people in my program had already done undergrad, and were seeking to get "the real thing" in method-specific training. From this, I find that conservatory really drills the bad habits out of you and hones your instrument to a finer and more specific edge. From all the auditions, reads, etc. that I've been on, I feel like I've got a massive leg up in terms of training and being able to effectively handle different types of material. Above all, though NYC is expensive, it's a helluva lot cheaper than a libarts college, and almost as cheap as a very nice state school. I would say that it's worth it, but only if you're ready for it. It is VERY intense, and we had a massive attrition rate, particularly in the first year. I honestly have no idea how I made it through. But it's awesome, and I don't think there's anything quite like it in the world! In terms of actual experience sofar? My resume out here isn't up to chops! Conservatory and all that comes with it is very intense, so I didn't really have time to do a lot of student films when I was in New York; doing a show on the side was pretty out of the question, too. I'm having a very hard time booking auditions for student films. The theater stuff is flowing, though (assuming the theaters don't go under!) It's much, much easier for me to live here happily than it is in New York, and personally I can't do this sort of work unless I'm pretty happy with life. I think the toughest part about LA is keeping yourself active and motivated - it's very, very easy here to become complacent and sedentary. That's always an uphill battle. But I'm definitely enjoying myself!
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Feb 16, 2011 23:49
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I just sped through Mamet's True and False. What are the major opposition arguments to it? It seems too easy to say that with an open and honest actor and a good script, acting is just about hitting the marks. I certainly WANT to believe it though.
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Feb 17, 2011 03:17
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Golden Bee posted:I just sped through Mamet's True and False. What are the major opposition arguments to it? It seems too easy to say that with an open and honest actor and a good script, acting is just about hitting the marks. It's oversimplified and presented as if the actor basically has no say in the process. It comes from a mindset of the playwright having the entire show in his/her head when he/she put the words to paper and your job is to stand there and say the lines, goddamnit, and don't give me none of that 'acting' bullshit. The sentiment is good and it's a nice way of reminding yourself to keep your feet on the ground and not drift of into la-la actorland, especially if you come from a background of heavy Method/Meisner work, but it's probably the definitive example in acting texts of "throwing the baby out with the bathwater". If you really like it though look for some of the Atlantic Theatre Company material. True and False, or at least the ideas behind it, are at the core of the work they do there but I really believe William H Macy and the others who came in to help form the school did good work in making a more cohesive and realistic "acting method" that does some very good, text-supported work, especially with contemporary realist stuff like Mamet, Pinter, McDonaugh, etc. Thanks *PUNCH* for the thoughts. I hadn't heard about the work in New York being dry, although to be honest we in the Chicago scene spend a lot of time being pretty self-satisfied about the "artistic integrity" in this city (which is code for "nobody is making a living as an actor") and snickering at Spiderman so I honestly don't know a lot about what's going on in the other major towns.
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Feb 17, 2011 16:10
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Had a new idea come to me in the shower yesterday. I've always hated plays about Job (especially "J.B.", which is an overly pendantic retread of the entire story which gave nothing new while alleging to make the story modern. They call the main character 'J.B.' a loving thousand times and even though my roommate was in it, I left after the first act because GODDAMN was it slow). My version (tentatively Iyobh in 600 Seconds ) is the story of El Shaddai and TOWAM ('The one who argues against Me') testing the faith of someone who is extremely neutral, Jocelyn Berman, a reform Jew from Skokie. What's really interesting to work out though, is the dynamic of God as a jerk (my friend Eshan said it sounded like God was a bro, and that's an excellent assumption). It's really energizing to work on a really short project.
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Feb 17, 2011 19:42
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Folks, is there any reason for someone who only occasionally acts and has yet to be in a musical to continue voice lessons? I've found myself less and less dedicated to my (free) lessons after I discontinued college choir. I got a callback to a musical once, but otherwise I don't usually act in even regular plays and sing even less. I am a screamer in a punk band and could use the vocal exercise. However, I feel like I'm not taking these lessons seriously enough and am wasting both my and the instructor's time. Should I buck the gently caress up because it's always good to be a proficient singer in Theatre, or does it not matter that much for a playwright/director?
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Feb 18, 2011 00:31
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There's very little musical theatre at the Chicago storefront level, when I was a kid, I did a lot of musicals and had a great technique and skill level. My first show after over a decade of nothing was a musical. I have subsequently lost so much technique, it's truly depressing. I wish desperately that I could afford voice lessons again. The loss of technique has effected my speaking voice; I don't support from the diaphram because I can't seem to get that technique back. Even without that, it's a skill I've had atrophy and I hate that. If you're getting free lessons, for gods' sake take advantage of it. Even if you don't do musicals, what's the harm in keeping that skill?
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Feb 18, 2011 00:41
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rantmo posted:There's very little musical theatre at the Chicago storefront level, when I was a kid, I did a lot of musicals and had a great technique and skill level. My first show after over a decade of nothing was a musical. I have subsequently lost so much technique, it's truly depressing. I wish desperately that I could afford voice lessons again. The loss of technique has effected my speaking voice; I don't support from the diaphram because I can't seem to get that technique back. Even without that, it's a skill I've had atrophy and I hate that. If you're getting free lessons, for gods' sake take advantage of it. Even if you don't do musicals, what's the harm in keeping that skill? I guess it comes down to how much value I can get out of these lessons as a director, since I doubt that I will be doing any musicals or choirs in the next two years. Are vocal lessons good for learning to direct musicals?
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Feb 18, 2011 00:49
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New post for new issue: I need to snare a producer/director for a Fringe Festival slot I won. Though I am perfectly capable of assuming these duties myself, I am a semi-finalist for a summer playwriting program that falls directly on the necessary rehearsal times. I will be notified sometime in April about acceptance or rejection from the summer program. The deadline to get my Fringe deposit refunded is early March. So, I need to get a company together lickedy split or pull out of the Fringe. I wouldn't be heatbroken to quit the Fringe, especially if I get the summer program. However, it would be lovely to quit the Fringe for no reason and would be equally lovely to lose my deposit if I can't get anyone reliable. Aside from networking at my college and hometown (currently ongoing), how might I make some connections with directors and producers, and fast?
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Feb 18, 2011 00:54
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Named Ashamed posted:Are vocal lessons good for learning to direct musicals? I've never directed, so I can't speak to how directly it would help, but I think it's valuable for a director to understand the skillsets at use by their actors. A friend of mine who's a director and tech person has started taking fight classes in advance of directing a fight-heavy show so that she has that insight into what the actors are called upon to do and so that she can have that vocabulary.
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Feb 18, 2011 01:08
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Call your old high school department, post on craigslist...what city are you in? Cities have different websites for this kind of thing.
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Feb 18, 2011 04:26
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It's that time of year again . . . season announcements! Anyone see anything announced that they're dying to be in? I would love to be in every single one of these shows: quote:A WALK IN THE WOODS by Lee Blessing
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Feb 24, 2011 17:53
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Well I'm pretty well set for the Babes With Blades fall show, as long as I rock the fight audition (and I will); I've been reading the part throughout the play's development over the last two-and-a-half years so it's mine to lose. My problem is that I can't even try for Idle Muses's next show because of the Babes; which is a great problem to have. I've also got a slot for the Hobo Junction season generals but I bet the bastards will have their shows when I can't do them.
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Feb 24, 2011 19:05
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