"CURTAIN CALL"
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Mort has been put into the pages of club history, the set taken down, the theater cleaned - big thank you to all the hard workers who helped make all that happen.
Beauty and The Beast is in rehearsal now and experiencing the usual ups and downs. I wish the cast and crew best of luck and hope we see good audiences as we run up to Christmas.
A small group of dedicated workers showed up recently to assist Doreen with the set and ended up re stringing one of the drops with fresh rope, just another of those things that happen behind the scenes.
Last drama report I said if you want to direct talk to myself or one of the committee.
I thought I should expand on that a little and offer some key point advice. Here goes…. First and rather importantly, find a script that you like, read it more than once. Think how the script can be played on our T8 stage, consider innovation or traditional staging, will it work? Mum (Wendy McGillivray – life member) had a favourite script, but could never see how it could be staged at T8 so never pushed the play to production.
Importantly, a director must have a vision of the play - what it will look like, sound like, music, colour of sets, levels, where the doors & widows will go, etc.
The committee timetable productions 6 to 12 months in advance so be prepared to wait, even though you have a script and believe it is within the realms of possibility to stage it at T8. Use this time to seek performance rights, not such a chore with access to the Net.
Start harassing friends, family, and work mates to be in your play. Just ask people, you might be surprised; use devious tactics if necessary, call in favours.
As your date becomes more immediate, you will need to place audition notices in the local paper. On audition night have script material for your hopeful cast to read through. Look and listen, shoehorning real people into characters off the page takes some dynamic thinking to get the look you are after, and sometimes a directorial re think. Your actors must have the right look, If you cast a very tall leading lady in your dramatic play with a very short leading man you may not get the image you were after and end up with laughter when you least want it. Encourage new talent.
Talk to people about helping you to build the set. Anticipate the fact that you may have to share the Theater as often one play follows another. Your production will be little brother or sister to the one that is on right now, but don’t worry, your play will be the one soon enough. Allow plenty of time to paint the set when you get the chance, the more complex, the more time required.
You will need lots of help, surround your self with smart, hard working people; an assistant director, a stage manager, lighting man, prompt, costume lady. Have confidence in these people, make sure they share your vision, and seek the opinion and expertise of ‘old timers’. However, do not let others overrule you unnecessarily. You are the director. Remain sensitive and reflective.
Importantly, you must be a ‘mirror’ to your cast. Let them know when they look wrong, encourage them when things go right. Develop your new actors. Have confidence in your old stagers. Remember they are all volunteers, they have chosen to help you and your production, and this is their social time. The cast should have fun. They are here because they share your interest in theatre and want to associate with likeminded people. The last thing the club wants is people walking out of the theatre saying, “I’ll never do that again”. That being said, you must get the best out of them, make your cast learn their lines, moves, the lines of the other players; make sure my deaf old mum can hear them, cast must be seen and heard.
The director is expected to organize his or her own advertising and to do this get help. Activate your cast, get everyone to put the message out; word of mouth, posters, radio, newspaper, mobile phone. Etc. Surely, the definition of sadness and disappointment is getting a brilliant show together, working tirelessly to bringing it to life, getting your actors to a professional level and then having no one see it.
Once the play gets to performance your job is almost done, like sending your child off to school, you must hand ‘control’ to Stage and Technical crews.
All that is left is for you to motivate, encourage, help solve last minute stuff ups & thank everyone.
When it’s all over you will have to de-construct your stage and set, this will need many hands and is vital to give the next production a fair, clean start.
Different directors have different styles and approaches & I’m sure I may have started a debate amongst them; I almost certainly have forgotten something and am happy to be corrected.
I do hope I have not scared anyone off the idea of directing, go on give it a go and remember - there are many, including but not limited to the committee that will help.
See you soon at the theatre.
Michael McGillivray.
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Theatre Eight Program for 2010
"Guards Guards"
by Terry Pratchet
Directed by Jason Bone
March 18, 19, 20, 25, 26 and 27
See Next Attraction
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There will also be a performance by the junior theatre group of Toad of Toad Hall. Dates TBA
Mark Long and Brian Clauston will collaborate to bring to us Faulty Towers. Auditions to be held in April. Pensioners Sun 4th & Tue 6th July. Full show in July commencing Thurs 8th, Fri 9th, Sat10th then15th 16th 17th 22nd, 23rd, 24th.
The 2010 Christmas show will be A Christmas Carol. The pensioner’s performance will be Wed 24th Nov and shows Friday 26th November through to 11th December.