Sunday, June 29, 2008

Room Service Rehearsal, Day One

Sunday, 29 June: Read-Through and Act One Blocking

Hello! I'm Eric Silvertree, a member of the Tibbits Summer Theatre acting company. As part of your backstage pass to professional theatre at the Tibbits Opera House, I'll be giving you an actor's-eye-view of the rehearsals for Room Service, from the first cast meeting through the last performance.

You might be surprised to know that the rehearsal period for a main-stage show at Tibbits is only about ten days. Compared to (for example) a community theater production, which may have a six-week rehearsal schedule, that may not seem like very much time.

However, community theaters usually rehearse only four or five nights a week, for about three hours a night. At Tibbits, we rehearse all seven days a week, with three three-hour sessions a day: morning, afternoon, and evening - except Sunday, when we take the morning off. Doing the math, it actually works out to almost exactly the same number of hours spent in rehearsal.

This Sunday, the 29th of June, we began rehearsing Room Service for a 10 July opening. This show is a farce, first produced on Broadway in 1937, and released as a Marx Brothers film in 1938. Unlike most of the Marx Brothers catalog, for Room Service they worked themselves into a pre-existing script instead of building an original story around the Marx characters - which probably explains why the show was a big hit on Broadway (over 500 performances, in an era when 125 performances was a solid run) but one of the Marx Brothers' less-successful films.

The first session began with a read-through. A read-through is just what it sounds like. The cast all sit with their scripts in front of them and read the show out loud from beginning to end. Besides giving the performers a chance to listen to each other's voices and get a feel for the rhythm and texture of the language, it's also an opportunity to ask about the pronunciation of unusual words, or get an explanation of unfamiliar cultural references in the script.

The read-though is also where the actors start to make choices about technique. Technique, in this case, refers to things like vocal volume, speed of delivery, and any special character voices or accents. For instance, during this afternoon's read-through, I had a scene with an argument with another character. Back-and-forth arguments have to build in volume - each line louder than the last - or they sound flat and unrealistic on stage. I started off with a little too much volume, which meant that by the end of the argument, I was shouting much too hard. Now I have a mental note for that scene: start off lower, so I have room to build without risking damage to my voice.

Farces move fast - very fast. The read-though only took up ninety minutes of the first three-hour rehearsal session. The other ninety minutes were spent getting a head start on blocking the first act. Blocking is the process of mapping out the actors' pattern of movement on stage. Comedies, farces in particular, benefit from lots of quick, energetic movement - almost as complex as dance. In fact, the only real difference between blocking and choreography is whether or not the movement is timed to music.

After dinner break, we returned for the evening rehearsal session, and by the time the workday ended at 10pm, we had the entire first act blocked. That's twenty-four pages of movement and dialogue. Tomorrow morning at 10am, we'll start the second act. See you after tomorrow's rehearsal!

Thursday, June 26, 2008

How to Build a Hundred Acre Wood

Here is Popcorn Theatre Designer Christopher Otwell's white model for The House at Pooh Corner. The play, adapted by Bobb James, travels to many places in the Hundred Acre Wood. This is the model Chris brought to the first production meeting to show the director, Trinity Bird, how the set might work. This is a composite of all the pieces used in the show. They don't play on stage at the same time. Those who saw the show will notice that this rough idea for Eeyore's house changed.
The map, taken from the fly leaf of the book, is the connecting link for all the locales. Here is the muslin stretched and ready to paint.
Here the color is just beginning to be added.

The completed map still at the scene shop. Chris estimates that the map alone took about 15 hours to paint.

The completed map in place, with one of the the small bush pieces. The House at Pooh Corner plays thorough the 28th of June.

Grace and Glorie fan Mail

My Husband and I saw the show Grace and Glorie last Friday night and we enjoyed the show immensely! Although I had to persuade my husband to come to the show he was so impressed and glad he went!

It was charming and witty! O we loved it! He laughed and he cried.

What a wonderful show it is, we want to thank you all for making it possible. I look forward to the season it looks like a wonderful summer filled with fabulous shows, I'll see you for "Little Women" can't wait.

Your Humble Fans!
Nancy and Jim Grubb
Angola, Indiana

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And we thank you, Nancy and Jim. Folks like you are the reason we do theatre......

Wednesday, June 25, 2008

Grace and Glorie closes with a Talkback

The short but sweet run of Grace and Glorie closed last Saturday with a moving performance by Donna Schulte and Gloria Logan in the two title roles. This performance also included the first of the talkbacks of the summer.

Talkbacks are held immediately after the final curtain on the first Saturday of each production's run. After I introduce the actors, designers and crew members, I open the floor for any questions the audience might have. There are the usual "Where are you from?" and "How long have you been acting?" type questions. But many of the sessions dig a little deeper. This comedy definitely has an emotional core that is very real which sparks further comment.

We were fortunate to have the production sponsored by CHC Hospice. We could not have had a more appropriate sponsor for this show about a citified, novice care giver arriving to help an old mountain woman die. At the Talkback, Debbie Reeg of Hospice spoke quite eloquently about how well the play caught the dynamics of hospice care that they see every day. I asked her if she would mind writing it up to share on the blog. Here is her letter:

Charles,

I wanted to share my feelings from the recent production. The performances were superb!!!! The way the actresses captured what we see and do every day caring for our Hospice patients was so realistic. It was very moving. Having been part of Hospice for 25 years. I was emotionally touched .

Our initial visit to the patients home is often very similar to the production. A lot of resistance and questioning why we are there, and what is Hospice. Quite a few of our families carry with them a lot of the dysfunction as you portrayed in the production.

Soon our patients, family/caregiver become so dependent and attached to the Hospice teams visits that the staff soon become part of the family.

Thank you so much for allowing us to assist by sponsoring this production and further educating the community about Hospice and the special gift it gives to the patient and family.

Debbie Reeg,
Director, Community Health Center Home Health,
Hospice and Maternal Infant Health Program
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We were also very pleased that Eleanor Shaw, the artist for the Grace and Glorie poster, came to see the show that night. She praised the show--and the actors praised her drawing of the "granny cottage," where the show is set. Reproductions of all the posters that our local artists created are available in the gift shop on the lower level of Tibbits.

Immediately after the talkback, the set crew attacked the set. All the props were put away, costumes hung up or in laundry piles, the pump that had pumped real water was disassembled and the walls came down. All was accomplished in less than an hour so as to make way for the set and light hang of Little Women.


Saturday, June 21, 2008

Biography of Tom Ziegler--

Here is a brief bio for Tom Ziegler, author of Grace and Gloire

Tom Ziegler’s Grace and Glorie (first presented in workshop at The Shenandoah Valley Playwrights Retreat as Apple Dreams in 1990) went on to a successful Broadway run starring Estelle Parsons and Lucie Arnez. Hallmark Hall of Fame filmed it for television with Gena Rowlands as Grace and Diane Lane as Glorie. The play has had numerous productions nationally and internationally, including a sold-out run in Vienna. Mr. Ziegler has written a new translation adaptation of Carlo Goldoni’s Servant of Two Masters, which was produced at Washington and Lee University Theatre in Virginia. Other works include the musical Glory Bound, Home Games, and The Ninth Step. A native Chicagoan and a product of Chicago’s famous Second City, Mr. Ziegler migrated to the warmer climate of western Virginia where he teaches playwrighting and scene design at Washington and Lee University in Lexington. Thirty years later he’s following his love for education and is glad he took what he calls the best advise he was ever given….”take the job”. He claims, “that’s the main thing I do. I never say I’m a writer. I think of myself as a teacher who writes.” And aren’t the best teachers all storytellers at heart?

Friday, June 20, 2008

The first day of Little Women!

Sunday 15th

After an exciting meeting of who’s who, and Charles’ famous Tibbits schpeal, it was time to get the Little Women ball rolling! We circled-up our chairs in the gym and did a read through of the script. Since the music is so tremendous in this show, we listened to the original cast recording when it was time for a song. Usually, when a show is familiar it’s not hard to sing a long with the piano during the initial read though, but with such a new and demanding score, it would have been quite difficult and not as enjoyable. We also got a chance to focus on the lyrics and their implication to the story.

The most exciting thing about a read through is experiencing the magic of what began as words on a page, come to life. Everyone had such a great sense of character, which is as refreshing as necessary when you only have 10 days to perfect a show! Also, most of us have never worked together before. We’re all coming from Anywhere, America and relationships have to be created almost instantly. Fortunately, this is an amazing group, and think it’s going to transfer beautifully into a truthful and wildly adventurous Little Women!

And to top off our first day— a lovely and delicious picnic only made more thrilling by a surprise thunderstorm! Talk about instant bonding!

{by Katie Lemos who plays Jo in Little Women.}

Monday, June 16, 2008

Grace and Glorie



Gloria Logan and Donna Schulte in the 2001 production of Grace and Glorie.



We started work on Grace and Glorie last Monday--just a week ago. The ladies arrived already knowing large segments of the script. I am very glad they didn't wait until rehearsal started; with only the two characters, there are massive amounts of lines to learn.

After our production here at Tibbits in January of 2001, Gloria and Donna did the show again, produced by Duo Damas Productions (which is Gloria and Joanne Winkleman Hulce---yes, the mother of Amadeus actor, Tom Hulce.) The physical production of Grace and Glorie is from that production.


One of the things we all love about this play is that each time we revisit it, we find it richer than the time before. I love the fact that a number of times in the script, the playwright, Tom Ziegler, did not take the easy way out- the typical movie of the week scenario--NOBODY dies. And for all the talk about death--it's not a show about dying, it's a show about living. And it's funny. I know people hear that it is a show about a dying woman (sponsored by Hospice, no less) and they don't give it a chance. They need to trust us. Why would we pick a bad play when we get to do so few scripts in our lives? If you liked Steel Magnolias, you will love this show.


So for the past week we have been in Diane Godfrey's dance studio rehearsing like mad, while The House At Pooh Corner is in the theatre. And on Monday, we had three shows in rehearsal, for the Little Women cast began to learn their music at one of the local Elementary schools.

We have now moved on stage. Since the set was built to travel, it was put up very fast. We have had the first tech rehearsal--where it's more about getting the phone to ring properly and other sound and light issues than it is about acting the show. Yesterday was the first dress rehearsal. It never ceases to amaze me how putting on costumes affects the show (and how actors act)more than anything else. It's something about looking in the mirror and seeing that "different" person that helps so many actors get a clearer vision of the role they are creating. It was a very good rehearsal. We will do it twice today---and then it's Magic Time.

We all hope to see you at the Tibbits for the great little show that is Grace and Glorie.

Thursday, June 5, 2008

How Summer Theatre Comes Together, Part 2

I start to find the Design/Technical side for the summer at the same time in February as the acting auditions. There is something like a jobs fair at each audition I attend. Designers arrive at the Tibbits table with portfolios of their work--pictures, prompt books, technical drawings, renderings--hoping to impress the theatre representative. (Sometimes this is me, sometimes the Technical Director, if I have one in place that early in the season.) I also do a tremendous amount of our technical hiring from backstagejobs.com where countless behind the scenes jobs are listed for theatres across the country.

This year we have a very high return rate on the technical side. I think this speaks well for what we do here. It is an exhausting, sometimes thankless job. But we had a great team last summer and have only built on our strengths for this one. Lex vanBlommstein and Em Rossi, both in the process of getting their Master's degree with the Hillberry, are back with us. I know they were instrumental in talking up the Tibbits there, so we have three others from that program working here this summer.

The Design/Tech staff has all been here a week. The set is already being built. The Technical Director feels they are a couple of days ahead of schedule for Little Women and it has been given to the Scenic Artist to paint. The Costume Department is deep in research and showing renderings of the various ideas to be approved by the Director. The Properties Department is making massive lists and doing their own research of the Civil War era. Lighting is reconditioning lights and hanging them in a rep plot-- that is where the basic hang will be used all summer with variations for each show.

We have also been rehearsing Grace and Glorie and The House and Pooh Corner. By the end of the day we will be rehearsing three shows in three spaces around town. I will post this now, for it's time to greet the vast majority of actors who are arriving for Little Women. By the end of this week the first two productions will be open. That fact can still amaze me.

Thank You

I can't pretend that business went on as usual after Bobb's death. He was such a huge part of this season. He was going to appear in four of the mainstage shows, direct his adaptation of The House at Pooh Corner, be assistant Musical Director for The Bop She Bops and write, with me, the adaptation of The Tortoise and the Hare. I think it's says everything about his versatility that it took 5 people to replace him for this summer.

I was tremendously touched by the outpouring of both the Coldwater and the Theatre community. I heard from people that I have not seen in years. I would like to take this opportunity to thank everyone who sent a card, contributed to the Restoration Fund in his honor, planned and/or performed as part of the Celebration of Bobb's Life or anyone who had a memory of Bobb they wanted to share. So---Thank You.

Summer is almost here. Company members arrive in just a few days.

And the show will go on.

Bobb wouldn't want it any other way....