tag:blogger.com,1999:blog-20147827365560684882024-03-05T22:35:58.431-08:00Stage Crazy!LIGHTS! CAMERA! QUIET ON THE SET! ACTION!
Theatre is not just a hobby or an interest - it is an OBSESSION and a way of life!Anonymoushttp://www.blogger.com/profile/13027522733754892168noreply@blogger.comBlogger45125tag:blogger.com,1999:blog-2014782736556068488.post-5240087101735445812015-01-03T05:06:00.005-08:002015-01-03T05:14:02.957-08:00So You're Producing a Play...<div align="center">
First, CALM DOWN! Let's walk through it together</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGEl7yj_9hBV_JPcZOSXsRU7XO-N5k5FFuDbfYSaygZA0H0wDO2DKOiJA_Nj8kpi6ZF-og96kD1_mcZCSAEoF1rI_yZF3Hr2wc00TkgM4t9WO_yJ8L1lz30ZcW2ajrn4PkOTRoyx8oSLXd/s1600/biting+nails.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGEl7yj_9hBV_JPcZOSXsRU7XO-N5k5FFuDbfYSaygZA0H0wDO2DKOiJA_Nj8kpi6ZF-og96kD1_mcZCSAEoF1rI_yZF3Hr2wc00TkgM4t9WO_yJ8L1lz30ZcW2ajrn4PkOTRoyx8oSLXd/s1600/biting+nails.jpg" height="320" width="213" /></a></div>
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If you've just signed up or volunteered to produce a play - you are in for a ride - and a treat!</div>
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<strong><em>STEP #1. GET A CLEAR UNDERSTANDING OF EXPECTATIONS</em></strong><br />
<div style="text-align: left;">
Many companies will view "producing" differently. I have worked with theatre companies who have assigned the producer to look after budgets and make sure no one is overspending. I have also worked with a company who wanted the producer to worry about all the paperwork for the production including posters, programs, tickets and advertising. Often being a producer entails working with budgets and monies for the show including theatre rentals, rights applications and honorariums/actor pay. All companies are different so make sure you know what is expected of you so you can meet and exceed these. </div>
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<strong><em>STEP #2. ENSURE ALL DUTIES ARE LOOKED AFTER</em></strong></div>
<div style="text-align: left;">
As a producer, some or all of the following duties may be left up to you. Go through this list to make sure you or someone else is looking after it. Having a list on hand with a list of duties assigned to individuals is also a great way to encourage accountability in your cast & crew.</div>
<ul>
<li><div style="text-align: left;">
<strong>Theatre rentals</strong>: payment for the stage, rules and regulations of the theatre need to be communicated to cast & crew.</div>
</li>
<li><div style="text-align: left;">
<strong>Rights/Royalties</strong>: for script (paid through publisher of the script usually [ie. Samuel French].</div>
</li>
<li><div style="text-align: left;">
<strong>Auditions</strong>: Dates, times, location, press release, organization (group auditions vs. monologs).</div>
</li>
<li><div style="text-align: left;">
<strong>Callbacks</strong>: Call/email actors after auditions to let them know whether they have been cast or not cast (it is a common courtesy to call either way so that they know for sure one way or the other and aren't left sitting on pins and needles waiting to know if they got a part or not)</div>
</li>
<li><div style="text-align: left;">
<strong>Schedules</strong>: rehearsals, theatre move-in day(s), technical rehearsals, dress rehearsal, fight warm-ups & drills (if necessary), call times before shows, strike (stage clean-up after last show).</div>
</li>
<li><strong>Paper Stuffs</strong>: Use/Select/Create an image that you can use on all paper products regarding the show. This will ensure people associate the production with the image so by the third or fourth time they see the image, they remember what production it is and won't want to miss it! Paper stuffs may include: posters, hand bills, tickets and programs. Media releases and teaser/trailers are also a great way to get word out about your production.</li>
<li><strong>Contact Information</strong>: It is important to always have on site of rehearsals a copy of everyone's contact information (often the stage manager will take care of this). In addition, email everyone a digital copy via email.</li>
<li><strong>Crew Members</strong> - Get people on your team to take on these roles: Director, Producer, Stage Manager, Assistant Stage Manager (if needed), Stagehands, Makeup, Set Design, Tech [hanging, setting and running lights and sound], Costumes & Props.</li>
<li><div style="text-align: left;">
<strong>Production Meetings</strong>: Scheduled once a month during the rehearsal process (or less/more depending on what is agreed upon by the crew and team) to discuss budget, media, promotion, etc. At the first meeting, delegate tasks to members of the team. You might be tempted to control everything and do everything yourself - DON'T! You'll burn yourself out and be of no use to anyone in no time at all.</div>
</li>
<li><div style="text-align: left;">
<strong>Social Media</strong>: This is SO IMPORTANT in creating awareness for your production! Create Facebook events for auditions and showtimes, a Facebook group for the production team and another group for cast members. Twitter or Twitpic are both great for sending quick updates about what is happening at rehearsals. If people care about the actors, care about the production and feel like they are a part of it - they are more likely to buy a ticket. Use social media platforms to create games or contests where people can interract with members of the cast or crew for a chance to win tickets. This is great promotion! </div>
</li>
<li><div style="text-align: left;">
<strong>Budget</strong>: Before anything is paid for or purchased, the production team need to agree upon a budget. This amount will include monies set aside for: theatre & equipment rentals, fight/dance choreographers, photographers, voice coaches, set design, honorariums/payments to cast/crew, promotional material, tickets to be printed, set and costume, makeup, etc. MAKE SURE EVERYONE WHO BUYS ANYTHING KEEPS THEIR RECEIPTS*COLLECT THEM AND KEEP THEM TOGETHER*</div>
</li>
</ul>
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<em><strong>STEP #3. DO SOME RESEARCH</strong></em></div>
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As this role is so versatile, do some digging and find out how others do it. Some resources can be found here: <a href="http://produceaplay.com/home">http://produceaplay.com/home</a>, <a href="http://www.wikihow.com/Produce-a-Play">http://www.wikihow.com/Produce-a-Play</a>, <a href="http://www.writewords.org.uk/articles/theatre1.asp">http://www.writewords.org.uk/articles/theatre1.asp</a>, <a href="http://www.ehow.com/how_7732969_produce-stage-plays.html">http://www.ehow.com/how_7732969_produce-stage-plays.html</a></div>
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<em><strong>STEP #4. COMMUNICATE!</strong></em></div>
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You are not alone. You have (or should have) an entire team to help, guide and support you through this process. Encourage your team to have open communication with each other (this does not mean gossip). Ensure everyone is on the same page throughout production and don't hesitate to lean on each other or ask for their assistance. If you do find yourself hesistating to approach members of your team, try and uncover the reasons for this as a conversation may need to happen to discuss expectations and working as a team.</div>
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<strong><em>STEP #5. HAVE FUN!</em></strong></div>
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So many people overlook this one but it is so important. It is easier to be a drill sargeant, yelling orders at people telling them what to do and when than to lead a team. Be firm but approachable, encourage teamwork and open communication and don't forget to let loose and have some fun!</div>
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<div class="blogger-post-footer"><a href="https://twitter.com/maybleslondon" class="twitter-follow-button" data-show-count="false" data-size="large">Follow @maybleslondon</a>
<script>!function(d,s,id){var js,fjs=d.getElementsByTagName(s)[0];if(!d.getElementById(id)){js=d.createElement(s);js.id=id;js.src="//platform.twitter.com/widgets.js";fjs.parentNode.insertBefore(js,fjs);}}(document,"script","twitter-wjs");</script></div>Anonymoushttp://www.blogger.com/profile/13027522733754892168noreply@blogger.com0tag:blogger.com,1999:blog-2014782736556068488.post-58951459107430458602014-02-14T10:21:00.001-08:002014-02-14T10:21:10.197-08:00Drama Games & Activities for Kids, Teens & Adults PART 2<div style="text-align: center;">
Theatre Games, Activities & Trust Exercises for Kids, Teens & Adults [PART 2]</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj-iXcOhiHgiGoiXHpoNAcegHtydyQ6Mnn2Qtw48XTSvx5vpyvaaD8dKq5ae4TJh4DV5BM8h_PyltiYq847jax0x78QL47xDisC1PNqtcYnPCn3y8F-0WWOxnx50eNidaq48rwjqekorPh/s1600/Flashmobs.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj-iXcOhiHgiGoiXHpoNAcegHtydyQ6Mnn2Qtw48XTSvx5vpyvaaD8dKq5ae4TJh4DV5BM8h_PyltiYq847jax0x78QL47xDisC1PNqtcYnPCn3y8F-0WWOxnx50eNidaq48rwjqekorPh/s1600/Flashmobs.jpg" height="212" width="320" /></a></div>
<div style="text-align: center;">
<span style="font-size: xx-small;">PHOTO CREDIT: Aliana ~Theatre Lover~ & <a href="http://flashmobsintheclassroom.blogspot.ca/2013/04/how-to-unite-cast-of-your-high-school_3.html?showComment=1391724459155#c7817831197284516316">http://flashmobsintheclassroom.blogspot.ca/2013/04/how-to-unite-cast-of-your-high-school_3.html?showComment=1391724459155#c7817831197284516316</a></span></div>
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</div>
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Before you can play, rehearse, learn or build a production/performance - you need to build trust. </div>
<div style="text-align: left;">
</div>
<div style="text-align: left;">
These activities are some of my personal favourites whether I'm working with children, teenagers or adults in pairs or groups.</div>
<div style="text-align: left;">
</div>
<div style="text-align: left;">
Before starting any activity - always state the purpose of the exercise (ie. voice warm-up or letting go of inhibitions) and conduct a quick "check-in" with members. After introducing the activity, ask each participant to briefly express how they are feeling and the kind of day they had. This is important to do in order to have a sense of everyone's mind space before starting. If someone had a bad day, they might not be as energetic or enthused where someone having a great day may have difficulties focusing and paying attention.</div>
<div style="text-align: left;">
</div>
<div style="text-align: left;">
I hope these games and activities will help you in building trust amongst team members, classmates or a production cast & crew.</div>
<div style="text-align: left;">
</div>
<div style="text-align: left;">
#7. <strong>PROPS</strong>/ quick-thinking, creativity, imagination & thinking outside of the box</div>
<div style="text-align: left;">
<ul>
<li>Form a circle either sitting on the floor or in chairs</li>
<li>Place one or two identical but random objects (ie. gloves or fridge magnets) in the center</li>
<li>Go around the circle having each person go up to the objects and use them in a scene as something else (ie. gloves as shoes)</li>
<li>Encourage everyone in the group to get up and approach the objects quickly and come up with something on the spot.</li>
<li>Change things up by having people get up and approach the objects in a random pattern rather than taking turns going around the circle.</li>
</ul>
</div>
<br />
#8. <strong>MYSTERY SHOPPER</strong>/ acting in the moment and using body language to express intent<br />
<ul>
<li>This activity works best in pairs</li>
<li>Person A pretends to be a cashier at a store</li>
<li>Person B portrays a customer</li>
<li>B approaches the counter and speaks to the cashier about purchasing a specific item</li>
<li>THERE'S A CATCH! - B can only speak in gibberish</li>
<li>A needs to try and understand what it is B is looking for </li>
<li>The scene is over when A correctly guesses the item and cashes the customer out</li>
</ul>
#9. <strong>WALK! WALK! WALK!</strong>/ situational comedy, group work, imagination and warm-up<br />
<ul>
<li>In this activity, the entire group follows one leader</li>
<li>TECHNIQUE #1: the Leader walks around the room and everyone else copies their walk</li>
<li>TECHNIQUE #2: the Leader specifies that everyone should walk like someone or something (ie. the Terminator or a duckling)</li>
<li>TECHNIQUE#3: the Leader asks the group to walk around the room as if they are walking on a specific surface (ie. glass, ice or fire)</li>
<li>In all these instances, the leader could be a student, group member or instructor</li>
</ul>
#10. <strong>FORTUNATELY-UNFORTUNATELY</strong>/ teamwork, pairs & improve<br />
<ul>
<li>Divide the group into pairs</li>
<li>The scene begins with one person starting a sentence with "Fortunately...."</li>
<li>The second person responds by saying a sentence starting with "Unfortunately..."</li>
<li>The scene continues with one person always saying "Fortunately" at the beginning of everything they say and the other person always saying "Unfortunately"</li>
<li>After awhile, switch up who says which word</li>
<li>(ie. "Fortunately, I caught the bus on time." "Unfortunately, the bus got a flat tire." etc.)</li>
</ul>
#11. <strong>BETWEEN THE LINES</strong>/ writing exercise, self-exploration, trust-building & group support<br />
<ul>
<li>This exercise requires each individual to have a notebook or scrap paper and something to write with AND music that can be played helps in creating a safe atmosphere</li>
<li>Have everyone sit someone in the room in their own space</li>
<li>Each person has the length of one song to write a note or letter than is specified by the instructor. </li>
<li>These may include: Things I Like, Dear Self, I'm Afraid of..., I Wish, I Hate, I'm Sorry..., etc.</li>
<li>As soon as the instructor delivers the starting line or subject, the song is started and the participants have until the end of the song to write.</li>
<li>Encourage everyone to continue writing until the song ends.</li>
<li>This is a great exercise to get people out of their minds and opening up to others</li>
<li>Writing in a way that is not "judged", or checked for grammar or ideas of right & wrong is freeing. Ensure everyone feels safe to write away without holding back.</li>
<li>This is a "rambling on" activity done with a pen instead of talking</li>
</ul>
#12. <strong>SNAKE</strong>/ touching, trust, body movement & body language<br />
<ul>
<li>Establish a starting point and finish line (ie. this wall to that line or vice-versa)</li>
<li>Have the participants form a line</li>
<li>The first person touches the starting line with their body somehow and creates a shape with their body</li>
<li>The next person touches the first person somehow and creates another shape that is different in levels, shape, silhouette, etc.</li>
<li>This continues until a person on the "snake" touches the finish line</li>
<li>This can be done with small groups and the last person leap-frogs to the front when it is their turn again</li>
<li>CHANGE THINGS UP - give the participants a word they can use as inspiration for their shapes (ie. water, fire, monkey, Summer, etc.)</li>
</ul>
<div style="text-align: center;">
FOR MORE GAMES & ACTIVITIES ~ CHECK OUT PART 3!</div>
<div style="text-align: center;">
(coming soon)</div>
<br />
<br />
<div class="blogger-post-footer"><a href="https://twitter.com/maybleslondon" class="twitter-follow-button" data-show-count="false" data-size="large">Follow @maybleslondon</a>
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Theatre Games, Activities & Trust Exercises for Kids, Teens & Adults</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFaIMKmXP60-S1Kalg25DdtoPm9eVcQgS9pWPXAapxhvnv2ZkJYNHTEg9dp8CVbQWry8k6P777O9yEXPJOcRMEvW05DFxhKhihJDUXoTsbGUE030sEA8xQ2K-TGHbQkgdjcEkGUzvplYND/s1600/Theatre_group.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFaIMKmXP60-S1Kalg25DdtoPm9eVcQgS9pWPXAapxhvnv2ZkJYNHTEg9dp8CVbQWry8k6P777O9yEXPJOcRMEvW05DFxhKhihJDUXoTsbGUE030sEA8xQ2K-TGHbQkgdjcEkGUzvplYND/s1600/Theatre_group.jpg" height="320" width="320" /></a></div>
<div style="text-align: center;">
<span style="font-size: xx-small;">Group Activity with </span><a href="http://www.murderforhire.ca/"><span style="font-size: xx-small;">www.Murderforhire.ca</span></a><span style="font-size: xx-small;"> PHOTO CREDIT: Heather May</span></div>
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<span style="font-size: xx-small;"></span> </div>
<div align="left" style="text-align: center;">
</div>
<div align="left" style="text-align: center;">
</div>
<div style="text-align: left;">
Before you can play, rehearse, learn or build a production/performance - you need to build trust.</div>
<div style="text-align: left;">
</div>
<div style="text-align: left;">
These activities are some of my personal favourites whether I'm working with children, teenagers or adults in pairs or groups.</div>
<div style="text-align: left;">
</div>
<div style="text-align: left;">
Before starting any activity - always state the purpose of the exercise (ie. voice warm-up or letting go of inhibitions) and conduct a quick "check-in" with members. After introducing the activity, ask each participant to briefly express how they are feeling and the kind of day they had. This is important to do in order to have a sense of everyone's mind space before starting. If someone had a bad day, they might not be as energetic or enthused where someone having a great day may have difficulties focusing and paying attention.</div>
<div style="text-align: left;">
</div>
<div style="text-align: left;">
I hope these games and activities will help you in building trust amongst team members, classmates or a production cast & crew.</div>
<div style="text-align: left;">
</div>
<div style="text-align: left;">
#1. TOUR GUIDES/ trust, improv, thinking on your feet, action & reaction</div>
<ul>
<li><div style="text-align: left;">
Each member of the group takes turns leading the rest of the group on an imaginary tour through a place or environment of their choosing.</div>
</li>
<li><div style="text-align: left;">
The tour guide might travel across the moon, through an ocean or on a famous movie set.</div>
</li>
<li><div style="text-align: left;">
The guide might say things like "If you look to your left, you'll see a hot dog riding a bicycle." etc.</div>
</li>
<li><div style="text-align: left;">
Encourage members of the group to react with whatever is stated by the tour guide.</div>
</li>
</ul>
<div style="text-align: left;">
#2. PAPER BAG CHARACTERS/ improv, imagination and creativity</div>
<ul>
<li><div style="text-align: left;">
Have each participant bring an opaque paper/plastic bag/container to class with 3 random items inside (make sure you cannot see through the container)</div>
</li>
<li><div style="text-align: left;">
These items might range from a lipstick, eraser, key, shoelace, pencil, etc.</div>
</li>
<li><div style="text-align: left;">
Put all the containers with the items inside in a pile or line</div>
</li>
<li><div style="text-align: left;">
Have each participant choose a bag (not their own) at random</div>
</li>
<li><div style="text-align: left;">
Each person must come up with a character, connection to the objects and story to present to the group</div>
</li>
<li><div style="text-align: left;">
They could present their character to the group AS the character for added interest</div>
</li>
</ul>
<div style="text-align: left;">
#3. TWO-LINE SCENES/ improv, accepting others' ideas, team support and imagination</div>
<ul>
<li><div style="text-align: left;">
Separate the group into pairs</div>
</li>
<li><div style="text-align: left;">
Each group is given two words or statements (ie. "Have you seen it?" and "Oh my!")</div>
</li>
<li><div style="text-align: left;">
Have the pairs come up with a short 0-1 minute scene using only these two statements/words</div>
</li>
<li><div style="text-align: left;">
With older groups, you could choose to perform these scenes on the spot without rehearsing</div>
</li>
</ul>
<div style="text-align: left;">
#4. ONCE UPON A TIME.../improv, imagination & creativity</div>
<ul>
<li><div style="text-align: left;">
Have everyone in the group exchange a personal item with someone else in the class</div>
</li>
<li><div style="text-align: left;">
These items might be something they have with them OR a random item that they were asked to bring with them</div>
</li>
<li><div style="text-align: left;">
Each person creates a story to go with the item and presents it to the group</div>
</li>
<li><div style="text-align: left;">
Though person A's ring might have been given to them by their mother - person B presents a story they made up starting with "Once upon a time..."</div>
</li>
<li><div style="text-align: left;">
Encourage the participants to think about where the object came from, who it belongs to and why it is so important</div>
</li>
</ul>
<div style="text-align: left;">
#5. GROUP SNAPSHOTS/ tableau, freeze, body awareness and teamwork</div>
<ul>
<li><div style="text-align: left;">
This activity requires a camera or camera phone (but camera is best)</div>
</li>
<li><div style="text-align: left;">
Have everyone in the group work together to create a scene then freeze in place to take a picture</div>
</li>
<li><div style="text-align: left;">
Examples: audience applauding a celebrity, group bullying someone, people telling secrets, people plotting against someone, a magician performing a magic trick, opposing teams, etc.</div>
</li>
<li><div style="text-align: left;">
Print these pictures for the next class and tape them up somewhere the group can see</div>
</li>
<li><div style="text-align: left;">
Ask each individual to take one of the photos and create a story/scene which explains the picture</div>
</li>
<li><div style="text-align: left;">
If you don't have a camera, you could perform this exercise in front of a mirror so the group can see what they look like</div>
</li>
<li><div style="text-align: left;">
If you have access to lights, you can use them to create interesting effects and moods</div>
</li>
</ul>
<div style="text-align: left;">
#6. SHORT SCENES/ improv, teamwork, accepting ideas of others and character-building</div>
<ul>
<li><div style="text-align: left;">
Split the group into pairs or groups of threes</div>
</li>
<li><div style="text-align: left;">
Ask each group to come up with 3 things: characters, a problem and how the problem gets resolved</div>
</li>
<li><div style="text-align: left;">
Perform short scenes which clearly #1-introduces the characters #2-exposes a problem #3-resolves the problem</div>
</li>
<li><div style="text-align: left;">
Ie. #1-Mother & Daughter #2-daughter got nose pierced & mom disapproves #3-daughter gets grounded OR #3-daughter convinces mom to have her nose pierced</div>
</li>
<li><div style="text-align: left;">
These scenes can be rehearsed and then performed (with younger participants) or delivered on the spot using improvisation</div>
</li>
</ul>
<div style="text-align: center;">
FOR MORE GAMES & ACTIVITIES ~ CHECK OUT PART 2!</div>
<div style="text-align: center;">
</div>
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</div>
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</div>
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</div>
<div class="blogger-post-footer"><a href="https://twitter.com/maybleslondon" class="twitter-follow-button" data-show-count="false" data-size="large">Follow @maybleslondon</a>
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...and boy have I ever!!!</div>
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It is hard for me to believe that my last post was in February of this year - WOW!</div>
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SO, before I get into some wonderful news about upcoming workshops at the Grand Theatre in London, Ontario and auditions for a comedy in January - let's catch-up a bit.</div>
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Let's start at the beginning.</div>
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I directed Swing Dance at the Palace Theatre in February, 2013 and we had a blast! 4 actors (plus the chicken delivery boy). A play about 2 couples getting together for dinner to discuss a Swing Club. Only one couple thinks they're talking about a dance club and the other couple is talking about a Swinger's Club! So funny!</div>
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I was a member of the GAB Artists Collective at the Grand Theatre working with the talented Jack Grinhaus from "Bound to Create Theatre". While there, I had the opportunity to watch each mainstage production at the Grand Theatre for the Season and give feedback in an open discussion group with the audience and fellow GAB members. This truly was a learning experience and I am very grateful for having the opportunity to be a part of such a group.</div>
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I designed and painted a skate which sold for over $300 at a fundraiser for the Arts Project Gallery & Theate in London, Ontario. It was signed by the competitive Olympic skaters, Aliona Savchenko & Robin Szolkowy.</div>
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I portrayed a character which eventually was diagnosed with Cancer and past away in a production of "Delilah" which was a very powerful, challenging role that will forever hold a special place in my heart. Special thanks to the playwright, Len Cuthbert and director - Desiree Baker.</div>
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I went to Vegas with my husband (which I never thought in a million years would be a place I'd want to visit) and we actually had a lot of fun.</div>
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I directed "Six Funny Ladies" in May, 2013 which was presented at the Arts Project and taught me a lot about casting, trust and having a crew you can depend on. Todd, Kevin & James - the show couldn't have happened without you!</div>
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Photo Credit: Rob Cousins</div>
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I participated in the Corporate Challenge Fundraiser for the Sunshine Foundation with the Murder mystery Troupe I work with , |Murder for Hire. Check-out the company website and contact Kay Rogers if you are interested in acting with the group! <a href="http://www.murderforhire.ca/">www.murderforhire.ca</a> </div>
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We have a blast every year and This year, we were in the top 3 fundraising groups! Whoot!</div>
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I was an extra in a country music video for the song called "Farm Boy" by the River Junction Band. Check it out and see if you can spot me ;) I'm about 1min & 14 seconds in sitting between the 2 guys. <a href="http://www.monologuegenie.com/serial-dater-monologue.html" target="_blank">http://www.monologuegenie.com/serial-dater-monologue.html</a></div>
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I was also in a commercial for a new Bingo game called "Taptix" - I'm the girl whistling ~ check it out! <a href="http://www.youtube.com/watch?v=mbPEP-Y3j94" target="_blank">http://www.youtube.com/watch?v=mbPEP-Y3j94</a></div>
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I started a 3-5 year program at Fanshawe College for Landscape Design. I know. I must be crazy!</div>
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I played several characters in the original play called "All Aboard" written by Dr. Colin Forbes about his years as a car porter on the Canadian National Railway in the 1940's. What a blast! I loved playing so many characters and switching from one to the next quickly by simply changing hats. It was a blast! Enjoyed working with the cast and the talented director, Jason Rip.</div>
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I was cast as two different characters in a film called "Terry's Car Gets Stolen". I had a blast working with the crew! I got to play a hippie and an undercover "dancer". So much fun! Check out the trailer, info and pics here: <a href="http://www.indiegogo.com/projects/terry-s-car-gets-stolen" target="_blank">http://www.indiegogo.com/projects/terry-s-car-gets-stolen</a></div>
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I attended a production of "1-900-DEE-LITE" in Aylmer, Ontario and I loved it! Very funny script about a mother who works as a "phone sex operator" to pay the bills. Super funny! Great job Kevin and Laurie on your performances!</div>
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I saw a production of "TOMMY" in Stratford and I think it is possibly the second best play I've ever seen next to a production of Peter Pan I saw in Niagara-on-the-Lake at the Shaw Festival Theatre. If you have the chance to ever see this play - GO!</div>
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I just finished directing an original script called "DUEL LOVE" at the London One Act Festival which won Best Actor, Best Supporting Actor and Outstanding Production. Alan Sapp was the adjudicator this year and I feel I learned a lot from his adjudication and workshop. We also got a special mention for our "screaming man in the shower" and our princess who was a "nice piece of A**" (which is what the card read - prob'ly filled in by a friend of hers). Princess Bride meets Monty Python in this extreme comedy and we had a lot of fun putting it on. Hopefully, this play will come back as a film or a full-length play in the years to come.</div>
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NOW that everyone's updated as to why I might have been a bit distracted from my blog posts - here's what is coming up!:</div>
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A Workshop is coming to the Grand Theatre at the end of this month by Theatre Ontario. Get your tickets and attend this if you can! <a href="http://www.theatreontario.org/programs-and-services/courses-and-workshops/collective-creations.aspx" target="_blank">http://www.theatreontario.org/programs-and-services/courses-and-workshops/collective-creations.aspx</a></div>
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AUDITIONS for the next Maybles' Productions will be held in January for "SYLVIA" written by A.R. Gurney. This play requires FOUR actors (2M & 2F). The roles are as follows:</div>
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1 male actor ages late 40's-60's, busy business man at the onset of a mid-life crisis </div>
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1 female actor ages late 40's-60's his wife, career-oriented</div>
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1 female actor ages 20-early 30's, young and attractive, physical comedy and ability to move & sing are required</div>
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1 male actor ages 20-60's, must be able and willing to play a man, a woman and an individual who's gender is unknown.</div>
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This is a comedy about a man, his wife and the dog that comes between them. Comedy with a touch of heartfelt compassion - this play will have something in it for everyone!</div>
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Until next time, stay funny!</div>
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-Heather May</div>
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<div class="blogger-post-footer"><a href="https://twitter.com/maybleslondon" class="twitter-follow-button" data-show-count="false" data-size="large">Follow @maybleslondon</a>
<script>!function(d,s,id){var js,fjs=d.getElementsByTagName(s)[0];if(!d.getElementById(id)){js=d.createElement(s);js.id=id;js.src="//platform.twitter.com/widgets.js";fjs.parentNode.insertBefore(js,fjs);}}(document,"script","twitter-wjs");</script></div>Anonymoushttp://www.blogger.com/profile/13027522733754892168noreply@blogger.com0tag:blogger.com,1999:blog-2014782736556068488.post-82606792042761708012013-02-26T06:38:00.000-08:002013-02-26T06:38:45.947-08:00Swing Dance<div style="text-align: center;">
~Another one done which will forever hold a special place in my heart~<br />
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~all photographs courtesy of Ross Davidson~</div>
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This play written by local playwright, Lynda Martens was an absolute gem to direct.<br />
This was the World Premiere of "Swing Dance" and only time will tell where it goes next. <br />
It was produced by London Community Players in Procunier Hall at the Palace Theatre in London, Ontario.<br />
It ran from February 7th - 16th, 2013.<br />
It had it all! The characters were believable, their plight was heartfelt and the situations they encountered were ones the audience would NEVER wish to be in themselves.<br />
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Vicky and Walter have been married for close to 40-ish years. During this time, Vicky has stayed at home. She's done the laundry, raised the kids, cooked the meals and kept the house clean. All the while Walter went to work each day. Now, Walter is retired, the kids have moved out and Vicky has started her own business. Suddenly Walter doesn't know what to do with himself and decides to make the rest of his life about Vicky and wants to spend every waking moment with her.<br />
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Without giving too much away, Walter takes drastic measures to get closer to Vicky - pharmaceutical measures. But Walter has forgotten one important detail. Company is coming over for dinner.<br />
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Sally and Fred arrive just as the "magic" kicks in for Walter and chaos ensues.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXZ6BO9OGtoPL2zzsseBrSIgqIr-RwVMf9p6svVewWGo0HPnXLyIwRn44QetRZgEjmVjAwDgA5pUzhyphenhyphenD5J_9csQQ98XayIuLubPtFfg88-2mi3wL_4vn8vAmAjsPuvfRG7yZyXutlV1kFl/s1600/RDD_2816.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" gsa="true" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXZ6BO9OGtoPL2zzsseBrSIgqIr-RwVMf9p6svVewWGo0HPnXLyIwRn44QetRZgEjmVjAwDgA5pUzhyphenhyphenD5J_9csQQ98XayIuLubPtFfg88-2mi3wL_4vn8vAmAjsPuvfRG7yZyXutlV1kFl/s320/RDD_2816.jpg" width="320" /></a></div>
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Fred is Vicky's new business partner and Sally is Fred's sexy and confident wife. Though this lovely and apparently strong couple claim to be coming over for dinner to discuss the new business partnership and Vicky's Swing Dance Club ~ it turns out there was a miscommunication. Somewhere along the line, Sally and Fred thought Vicky meant a Swing Club. NOT a Swing DANCE Club.<br />
<br />
What follows is a collection of awkward moments between the two couples as one thinks they are discussing Swing Dancing and the other SwingING.<br />
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This is a hilarious play that I believe left every audience member a little happier when they left after the curtain closed. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ3DCQIx3coj1PuHGT0dMD9RxiBdyGv_tvn8CNti4-Je71mfdyiYOczyqasKqAlKa7yDlmqLMosRn67dV6yhbYfW0byCdGFJP4Q6ucIiBdun4S53cHqvutopx_WzUwlnjZnaFwfqM0F2-t/s1600/RDD_2905.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" gsa="true" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ3DCQIx3coj1PuHGT0dMD9RxiBdyGv_tvn8CNti4-Je71mfdyiYOczyqasKqAlKa7yDlmqLMosRn67dV6yhbYfW0byCdGFJP4Q6ucIiBdun4S53cHqvutopx_WzUwlnjZnaFwfqM0F2-t/s320/RDD_2905.jpg" width="320" /></a></div>
<br />
The script and actors had the audience roaring with laughter and the play sold out every night except two!<br />
<br />
I enjoyed every minute I spent with this cast and crew; I look forward to seeing where this play goes.<br />
<br />
<b>CAST (in order of appearance):</b><br />
Joe Belanger as WALTER<br />
Dinah Watts as VICKY<br />
Kevin Curnutte as the delivery boy<br />
Liz Marra as SALLY<br />
Paul Bowen-Smith as FRED<br />
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<b>CREW:</b><br />
Heather May, Director<br />
James Wybrow, Producer & lighting operator<br />
Kevin Curnutte, Stage Manager<br />
Sandra Halko, Assistant Stage Manager<br />
Sookie Mei, Props<br />
Diane Hall, costumes<br />
David Long, Set Construction & Design<br />
Mark Mooney, Light Design<br />
Jeremy Hayes, Sound Design & Operator<br />
<br />
<b>REVIEWS:</b><br />
<a href="http://thebeatmagazine.ca/index.php/theatre-reviews/1526-swing-dance-funny-from-beginning-to-end" target="_blank">The Beat Magazine</a><br />
<a href="http://www.lfpress.com/2013/02/07/on-the-boards-swing-dance-explores-love-and-sex-in-boomers" target="_blank">The London Free Press</a><br />
<a href="http://theatreinlondon.ca/2013/02/swing-dance-review/" target="_blank"> theatreinlondon.ca</a><br />
<br />
<b>OTHER LINKS: </b><br />
<a href="http://atthepalace.wordpress.com/2013/02/01/" target="_blank">Palace Theatre Blog </a><br />
<a href="http://youtu.be/EQMfwChPrjk" target="_blank">ldtonline.ca </a><br />
<a href="http://www.youtube.com/watch?v=TYGeIV87xwM" target="_blank">Swing Dance - the trailer</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikZjrf428az5D4Iy2yq2LWRyoAkbPZct1AHK0uLsoqLrEMA3jqCnrhTzqS7EaNzeH4AsM1bd6nKvK2UKDkKinULqHHEfZlGL7KXl2RH4_5cZdCBKI-HfG2ykgHAW89Sj9uoLjPq59KhGtv/s1600/swingers2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" gsa="true" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikZjrf428az5D4Iy2yq2LWRyoAkbPZct1AHK0uLsoqLrEMA3jqCnrhTzqS7EaNzeH4AsM1bd6nKvK2UKDkKinULqHHEfZlGL7KXl2RH4_5cZdCBKI-HfG2ykgHAW89Sj9uoLjPq59KhGtv/s640/swingers2.jpg" width="640" /></a></div>
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<b>Keep Breaking Legs and Keep Swingin'!</b><br />
<br /></div>
<div class="blogger-post-footer"><a href="https://twitter.com/maybleslondon" class="twitter-follow-button" data-show-count="false" data-size="large">Follow @maybleslondon</a>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8kW1G3lzN0v4bwgDMirT9Lw2wBRXJQY9zkJ8eQcaw7deOKGUqydT-42vgtywIxjweIx5qiBMHiW3Ei93rjzrDZgBO1Rc-vBBNdFnYuyr1okeRild87YNYIwjRvGXi7KlDqpuMVLmMJCEl/s1600/2013.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" eea="true" height="203" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8kW1G3lzN0v4bwgDMirT9Lw2wBRXJQY9zkJ8eQcaw7deOKGUqydT-42vgtywIxjweIx5qiBMHiW3Ei93rjzrDZgBO1Rc-vBBNdFnYuyr1okeRild87YNYIwjRvGXi7KlDqpuMVLmMJCEl/s320/2013.jpg" width="320" /></a></div>
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<strong>What a magical and eventful year for theatre and life! </strong></div>
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<strong>I can't wait to see what the New Year has in store.</strong></div>
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In 2013 </div>
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I had the honour to play the role of Anne in "Goodnight Children Everywhere"</div>
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I was blessed with a friendly and talented cast in "the TWIDDLE PLAYS"</div>
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I began volunteering at the local art gallery "the Arts Project"</div>
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I started my own business</div>
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I began working with a friend on a top secret theatre project for kids</div>
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I was accepted as 1 of 7 members of the new GAB program at the Grand Theatre</div>
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I began volunteering and now sit on the board for "Artistically Speaking Out Against Bullying"</div>
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I've made some wonderful new friends through the Source, Theatre and Arbonne</div>
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I attended my cousin's wedding</div>
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I am directing for the Palace for the first time ("Swing Dance" - Feb 2013)</div>
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I've continued working as an actor for Murder for Hire Murder Mysteries</div>
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I was the maid of honour at my mum's wedding</div>
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I reconnected with a penpal in the UK from my childhood</div>
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I have planned the next Maybles' Poductions ("Six Funny Ladies" - May 2013)</div>
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Darren and I got a dog together</div>
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and I'm sure there's many more excited things I'm forgetting.</div>
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I thought I would share with you why I do theatre and why I think it is an important part of life...</div>
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<strong>~ ~</strong></div>
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I have been involved with independent theatre across Southern Ontario and India for almost 15 years now. My discipline of theatre would be Comedy as a Director and Comedy/Drama as an actor.<br />
<br />
I founded my own theatre company in 2009 called "Maybles' Productions, Because Funny Feels Good" because I saw there was a gap in the local theatre community - Comedy.<br />
It wasn't just Comedies that this city was lacking but also a theatre company which truly worked together, was 'drama'-free and helped each participant to learn as much as they can and give the best performance they can. I have always been a believer in "two heads are better than one" and this is true for theatre as well. <br />
<br />
Theatre has been an outlet for people to grow, learn and build on skills that can flow into areas of daily life. Through theatre, I have seen individuals overcome stage fright, reading and speech impediments as well as become self-assured after accomplishing something as great, wonderful and magical as a play.<br />
<br />
To me, Theatre means an escape or break from "life", a safe space where people can explore what it means to be human and a place where individuals can be a part of something wonderful.<br />
<br />
Through the years, I have had many inspiring Theatre experiences. I have built a drama club in an all-girls' school in India, I have worked as a director with blind actors, I have seen actors overcome with joy because they "didn't fail" and had someone who believed in them. I have seen a room brought to tears because a 12-year-old girl (who found a love for herself through drama and music) stated "she didn't want to die anymore". I would say my most inspiring life experience has BEEN theatre.<br />
<br />
When I direct or produce theatre, I create comedies with real and believable characters because it feels good to laugh. I create a space that is supportive, all-accepting and trusting between the cast & crew. Sometimes as an audience member, we don't want to think or rack our brains for references and we just want to sit back, relax and laugh.<br />
<br />
When I am performing as an actor, I try to create a character that has had their own experiences and that the audience can relate to in some way. I also try to find something in each character I portray that explores a specific part of myself.<br />
<br />
When I am teaching a workshop (Culture Days, Concordia College or Artistically Speaking Out Against Bullying), I try to inspire my students to challenge themselves and their comfort zones. It is magical to see someone, who thinks they cannot do something, work towards it then finally do it. A sense of accomplishment is one of the greatest gifts one can give to a child or adult who has self-doubt and I can do this all the time through theatre.<br />
<br />
My general philosophy on theatre is this: Theatre is not a hobby, it is a way of life and if we can teach individuals how to be supportive and accepting of each other on a stage - maybe we can teach the world to so the same.<br />
<br />
I will end by saying that though theatre can teach people many things - it cannot teach people passion and it is Passion that I have. I have been told that I eat, breathe and sleep theatre and that I may be on the borderline of "obsessed". Theatre can do so much ~ let me show you what I can do with theatre.<br />
<br />
<strong>STAY TUNED FOR AUDITIONS FOR "SIX FUNNY LADIES"!!!!!</strong></div>
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<div class="blogger-post-footer"><a href="https://twitter.com/maybleslondon" class="twitter-follow-button" data-show-count="false" data-size="large">Follow @maybleslondon</a>
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~ a post World War II play about lost childhood, familial roles and human nature ~</div>
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<br /></div>
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<b><span style="font-size: large;"><a href="http://en.wikipedia.org/wiki/Goodnight_Children_Everywhere" target="_blank">Goodnight Children Everywhere </a></span></b></div>
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<i><b>written by <a href="http://en.wikipedia.org/wiki/Richard_Nelson_(playwright)" target="_blank">Richard Nelson</a></b></i></div>
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coming to the <a href="http://www.palacetheatre.ca/" target="_blank">Palace Theatre</a> in London, Ontario</div>
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October 4-13, 2012</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiO3Os7_u2qnK_sltV9QU_wD7onN8Q8-QaUZrD-DaUxONiK-bDW1zShZqY7SREUhEt6HCQQnWTl5dArMmQjIUHDgNjP2qMOad0DQbdNYUR48uuQ8qe5SEdj1cJyA36k4GtELfxRYeWPiaCI/s1600/IMG_8761.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" mda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiO3Os7_u2qnK_sltV9QU_wD7onN8Q8-QaUZrD-DaUxONiK-bDW1zShZqY7SREUhEt6HCQQnWTl5dArMmQjIUHDgNjP2qMOad0DQbdNYUR48uuQ8qe5SEdj1cJyA36k4GtELfxRYeWPiaCI/s320/IMG_8761.JPG" width="320" /></a></div>
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Cast (clockwise from top left): <a href="http://www.facebook.com/#!/tim.condon.585" target="_blank">Tim Condon</a>, <a href="http://www.facebook.com/#!/kevin.curnutte" target="_blank">Kevin Curnette</a>, <a href="http://www.facebook.com/#!/whitney.bolam" target="_blank">Whitney Bolam</a>, </div>
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<a href="http://www.facebook.com/#!/maybleslondon" target="_blank">Heather May</a> & <a href="http://www.facebook.com/#!/kalina.hadalemon" target="_blank">Kalina Hada-Lemon</a> (absent: <a href="http://www.facebook.com/chris.albert.102361?ref=ts" target="_blank">Chris Albert</a> & <a href="http://www.facebook.com/clara.madrenas?ref=ts" target="_blank">Clara Madrenas</a>)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC5KPxtq6PrpOVS2DyKoXD6O9qOW8KIFom9jT3NCAPM06iDV3xVd383sEbvVYrUSP97v6-W7K8NTzCk1gFbA4Ja1vYXd5yGEaFfb_kjWwxrDqR2wURvDA4X-yFb6SkKqNsSbQmFKQZeUVS/s1600/IMG_8764.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" mda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC5KPxtq6PrpOVS2DyKoXD6O9qOW8KIFom9jT3NCAPM06iDV3xVd383sEbvVYrUSP97v6-W7K8NTzCk1gFbA4Ja1vYXd5yGEaFfb_kjWwxrDqR2wURvDA4X-yFb6SkKqNsSbQmFKQZeUVS/s320/IMG_8764.JPG" width="213" /></a></div>
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<a href="http://www.imdb.com/name/nm0628076/" target="_blank">Elizabeth Newman</a> (Director) & Heather May (Anne)</div>
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</div>
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This play is not for the faint of heart or the easily offended. </div>
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<i>Goodnight Children Everywhere</i> takes the audience into the home of Anne, Vi and Betty (3 sisters) and Anne's husband Mike in Clapham, South London England during the Spring of 1945. These four have been living together in this small flat for some time and have become accustomed to the way of life in such small quarters. </div>
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The play starts on the day these three sisters are reunited with their brother Peter who was sent away during the<a href="http://en.wikipedia.org/wiki/Evacuations_of_civilians_in_Britain_during_World_War_II" target="_blank"> Operation Pied Piper Evacuation</a> to live in Alberta, Canada in World War II. Peter is now returning to England to live, once again, with his three sisters.</div>
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How does a family put back all the pieces? What do the words "Mother" and "Father" mean to children who were robbed of a propper childhood? How do siblings cope with the loss of both parents in war? How does one differenciate between "right" and "wrong" when so much of what has happend to them has been wrong? What happens between a brother and sister who were parted when they were children and reunited as young adults?<br />
<br />
Each of these characters have a back story that is (by far) abonormal and challenging by today's standards. <br />
<br />
Mike, Anne's husband, met her through her sister Betty. Betty worked with Mike and had a crush on him. She brought him home to meet her sisters. So how did Anne end up being his wife and pregnant with his child? How does Anne cope with the ongoing flirtations between Mike and Betty?<br />
<br />
Betty is a nurse. She is strong and responsible. She would make the perfect wife. She cooks, she cleans - so why did Mike choose Anne over Betty? Why does Betty fall for someone...like Hugh?<br />
<br />
Hugh works with Mike at the surgery. He's loud, obnxious and like his whiskey. He sings too loudly, talks too loud and never seems to say the right thing. Are these the reasons why his wife left him for someone else or is there more to Hugh than meets the ear?<br />
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Rose is Hugh's daughter. She's pretty and obedient and "loves to go to the pictures". She is polite and always seems to say the right thing. She's realistic and has a plan for life. Peter would be crazy to pass her up - or would he be?<br />
<br />
Peter is Anne, Betty & Vi's little brother. He has been separated from his sisters for years and is finally being reunited with them. All this time he's spent living in Canada. His accent has changed, his clothes have changed and...his body has changed. He's not the little boy he was when he left.<br />
<br />
Vi is Anne & Betty's sister. She's young, fun and an actor. She could be considered the light in this family's darkness. What ends is she willing to go to in order to make a better life for herself? What past experiences has made her able to push through so many obstacles? What will it take to push her over the edge?<br />
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Anne, Vi & Betty's sister is, amongst other things, five-six months pregnant. She's tired, exhausted and never in the mood to 'go out'. You would think such a happy occassion as being reunited with her little brother would make her happy and jump for joy and yet, she remains quiet and still. It appears Anne is shy or afraid of saying the wrong thing. Maybe she's afraid of her husband or maybe it's just hormones. Then again, perhaps it's something deeper, that words cannot begin to describe.<br />
<br />
~<br />
<br />
<i>"Goodnight Children Everywhere"</i> promises to challenge it's audience. It is the kind of play London, Ontario has not seen for a long time. This is NOT a play for children and patrons should be warned of the mature subject matter and shocking moral content.<br />
<br />
May this production be a reminder of a time passed that we (thankfully) do not live in or have to endure on a daily basis. May it be a tribute to all the lives affected by war in the past, present or future.</div>
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<i>"Goodnight Children Everywhere"</i> opens at the Palace Theatre on October 4th & productions are as follows:</div>
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October 4th, 5th, 6th, 7th, 11th, 12th & 13th in Procunier Hall at 8pm.<br />
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For more information or for tickets, please call the Palace Theatre Box Office at (519) 432-1029.<br />
Tickets are $15</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4hghzQzeUJdxAY47JQIYLlqz1ML1YIQ_eDsGS_LQLHKTLzps-LwgegBkWHS1uTrOrWpR9nBEyWI8N2-PisoOAkIl1PUbBkXK5MJYBs4y_vJambCF-YDxmN3FhhZyRgUd5_CWxsRx3qJtF/s1600/Arbonne.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" sca="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4hghzQzeUJdxAY47JQIYLlqz1ML1YIQ_eDsGS_LQLHKTLzps-LwgegBkWHS1uTrOrWpR9nBEyWI8N2-PisoOAkIl1PUbBkXK5MJYBs4y_vJambCF-YDxmN3FhhZyRgUd5_CWxsRx3qJtF/s1600/Arbonne.jpg" /></a></div>
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<b>I have seen the light!</b></div>
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<b>Working part-time, on-call, on a temporary basis for minimum wage </b></div>
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<b>is NOT going to fund my theatre company.</b></div>
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<b>Strange.</b></div>
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Earlier this month, I was invited to a business launch party for a local theatre friend of mine, Martha Zimmerman. Martha is an equity actor who lives in London, Ontario and for as long as I've known her - she's been an actor. Acting is what she loves to do and is something she is truly passionate about. She has been an inspiration to me and others in the local theatre community. I also attended one of her classes on Shakespeare and was truly amazed at how she got me and the other students excited about a text I never thought I'd understand let alone be excited about.</div>
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Martha's business launch party was to announce her start with a skin care company which sells botanically-based, 100% Vegan & PETA-approved products. She has decided that she wants to continue her work as an actor but refuses to work a 9-5 job where she must report to the "head cheese" and do what they say when they say it for as much (or as little) as they decide to pay ~ in order to pay the bills.</div>
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<br /></div>
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I had decided before arriving at this business launch that I would purchase one or two products to support Martha in her new business but that I wouldn't let myself get too excited in the business opportunity. That changed very quickly. </div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
When I learned that the products were Vegan - at first, I didn't really see just what that meant. Then I learned a company can sell a product which was not tested on animals but still contain animal bi-products. Gross! I am not a vegetarian however the thought of lathering up with a body lotion which contains animal fat, for some reason, grosses me out! I also discovered that none of their products contain artificial colours or frangrances which have always seemed to cause breakouts on my body.</div>
<div style="text-align: left;">
I have decided to join Martha and her team on this journey to something better.</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<b>There are 3 reasons why I am sharing this exciting news on my theatre blog:</b></div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<b>#1.</b> I want to tell everyone my plans and goals and reasons for joining this company publicly.</div>
<div style="text-align: left;">
<br /></div>
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<b>#2.</b> I want to set-out clear expectations for myself and keep the goal of improving my theatre company in sight.</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<b>#3.</b> I want to ensure all my friends, family and theatre supporters that I will not become a "crazy Avon lady" and I will not knock on anyone's door to join my business or buy the products. </div>
<div style="text-align: left;">
I've tried the products and love 'em and I believe in Martha. That's why I've chosen this fresh start.</div>
<div style="text-align: left;">
<b>Here are my goals I am setting out to achieve:</b></div>
<div style="text-align: left;">
-be able to offer theatre workshops locally without charging the participants.</div>
<div style="text-align: left;">
-be able to produce (at least) one comedy each year.</div>
<div style="text-align: left;">
-be able to volunteer more time and donate more money to local theatre.</div>
<div style="text-align: left;">
-volunteer more time and money to the following groups and organizations:</div>
<div style="text-align: left;">
<a href="http://www.caslondon.on.ca/" target="_blank">Children's Aid</a>, <a href="http://asoab.org/" target="_blank">Artistically Speaking Out Against Bullying</a>, <a href="http://pridelondon.ca/" target="_blank">PRIDE</a>, <a href="http://www.sunshine.ca/" target="_blank">Sunshine Foundation</a> & local theatre</div>
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-have the freedom to rehearse, direct and teach theatre without "getting time off" from an employer.</div>
<div style="text-align: left;">
-purchase or rent a larger rehearsal space for Maybles' Productions.</div>
<div style="text-align: left;">
-have my choices NOT be limited by my paycheque or an employer.</div>
<div style="text-align: left;">
-never kiss someone's..."feet" or pretend to be grateful again during an interview when they offer me some crap position for minimum wage on evenings and weekends (when I do most theatre!).</div>
<div style="text-align: left;">
THANKS FOR YOUR SUPPORT!</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
STAY TUNED for a blogpost about an upcoming production of "Goodnight Children Everywhere" written by Richard Nelson, directed by Elizabeth Newman and going up at the Palace Theatre October, 2012 ~ starring yours truly as Anne.</div>
<div class="blogger-post-footer"><a href="https://twitter.com/maybleslondon" class="twitter-follow-button" data-show-count="false" data-size="large">Follow @maybleslondon</a>
<script>!function(d,s,id){var js,fjs=d.getElementsByTagName(s)[0];if(!d.getElementById(id)){js=d.createElement(s);js.id=id;js.src="//platform.twitter.com/widgets.js";fjs.parentNode.insertBefore(js,fjs);}}(document,"script","twitter-wjs");</script></div>Anonymoushttp://www.blogger.com/profile/13027522733754892168noreply@blogger.com0tag:blogger.com,1999:blog-2014782736556068488.post-33513768018024222302012-06-10T09:50:00.002-07:002012-06-10T09:50:42.001-07:00Characteristics of a Children's Audience<div style="text-align: center;">
<strong>~ the differences between an audience full of adults and one filled with children ~</strong></div>
<div style="text-align: center;">
inspired by the book: <em>Theatre for Children</em> by David Wood with Janet Grant</div>
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<br /></div>
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When performing in a theatre, actors can expect an adult audience to remain seated for the entirety of the show (unless they think the performance is SO BAD or need to leave for an emergency). Actors can also expect the audience to clap and possibly give a standing ovation at the end of the show. The cast can also expect the audience will remain quiet and not talk during the performance.<br />
<br />
When performing in front of an audience of children - the game changes.<br />
Children will yell at "the bad guy", leave if they think the play is "stupid" or "lame", they will talk to their friends seated beside them when they are excited or don't understand something on stage AND children know what they like. They will clap if they like it and will show their appreciation only when they truly enjoy the play. If they do not enjoy the performance, they won't clap or cheer "just to be polite".<br />
<br />
Indeed when it comes to comparing adult & child audiences there is no doubt that children are the honest ones while the adults are the polite ones.<br />
<br />
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<strong>CHARACTERISTICS OF A CHILDREN'S AUDIENCE</strong></div>
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<u>#1. Children eagerly respond to Justice.</u></div>
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-when one character wrongs another</div>
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-what's "fair"</div>
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-justice prevails and good triumphs over evil</div>
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-gives children hope during times when they are wronged</div>
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*adults respond to characters responding to justice (good or bad)</div>
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<br /></div>
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<u>#2. Children like to be frightened - within limits.</u></div>
<div style="text-align: left;">
-being exposed to a negative force or evil character within the safety of a theatre</div>
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-the opportunity to interact with evil, stand up and save the day without being caused any trauma</div>
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-the supernatural, monsters make-believe or magic</div>
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-introduction of evil realities they may have to face in the future or in adult life</div>
<div style="text-align: left;">
*adults have been exposed to more evil than children and need more "umph" to be frightened</div>
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<br /></div>
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<u>#3. Children are healthily subversive.</u></div>
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-anything rude is found funny</div>
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-things that are considered inappropriate by adults in polite society are entertaining</div>
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-bodily functions, smelly socks, underpants, etc.</div>
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-daydreaming, disobedience, talking back, concealing one's thoughts/feelings & making fun of school & family</div>
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*adults are repulsed, turned-off or become disinterested if a production is not "tasteful" </div>
<div style="text-align: center;">
[that is, if the adult audience is expecting a professional & serious show - </div>
<div style="text-align: center;">
sometimes adults also like the crude. Surprise.]</div>
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<br /></div>
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<u>#4. Children are logical.</u></div>
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-children do not enjoy, like or understand sub-plots or loose ends</div>
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*adults usually don't either but will be polite and say "nice show" even if they wanted to know what the hell happened???!!!</div>
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<br /></div>
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<u>#5. Children act differently and unpredictably.</u></div>
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-children won't always yell out the right answer when asked for</div>
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-children may chant something unexpected like "teach him a lesson!" or "not that way!"</div>
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-try to predict what they will say & when but know that may not be the results you get</div>
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*adults do not tend to yell out or chant anything during a production and are difficult to encourage to do so</div>
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<br /></div>
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<u>#6. Children make noise during productions.</u></div>
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-children may find the urge to copy a character's movement (ie. hop like a kangaroo)</div>
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-tip-up seats are NOT recommended for children's audiences</div>
<div style="text-align: left;">
-children will speak with their friends when they get excited or don't understand something</div>
<div style="text-align: left;">
*adults will sit still and silently to be polite...even if they think the play is awful</div>
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<br /></div>
<div style="text-align: left;">
<u>#7. Children respond to action.</u></div>
<div style="text-align: left;">
-conversation must be linked with action or some kind of movement</div>
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-characters simply sitting and speaking is BORING</div>
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-children don't want a debate, they want things to get done!</div>
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*adults can remain attentive to a conversation and follow along more easily</div>
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<br /></div>
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<u>#8. Children don't like being patronised.</u></div>
<div style="text-align: left;">
-don't speak sweetly or down to them like a dog. Kids will TURN OFF</div>
<div style="text-align: left;">
-if you question the intelligence of your audience you are sure that they will not respect you or the show</div>
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*adults don't like to be patronised either. Duh.</div>
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<br /></div>
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<u>#9. Children don't like "lovey-dovey" stuff.</u></div>
<div style="text-align: left;">
-children are more interested in the plight and challenges of two lovers than how they fell in love</div>
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*adults appreciate a good romance or a story of intense passion</div>
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<br /></div>
<div style="text-align: left;">
<u>#10. Children love animals and toys.</u></div>
<div style="text-align: left;">
-children often imagine their toys or pets are alive with their own personalities & enjoy seeing this concept come to life on a stage</div>
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-children feel safer if the characters are animals or toys rather than someone that looks like themselves</div>
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*adults prefer stories about human interaction and relationships as our imagination has more limits than that of a child</div>
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<br /></div>
<div style="text-align: left;">
<u>#11. Children love stories</u></div>
<div style="text-align: left;">
-play must have a strong, coherent, logical, basic and interesting plot with well-defined focus and characters</div>
<div style="text-align: left;">
-children understand action & reaction better than reflection</div>
<div style="text-align: left;">
-a journey from A to B is a simple concept but the conflicts amongst the characters and the obstacles along the way are what makes it interesting.</div>
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*adults love stories too. That's why we have live theatre!</div>
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<br /></div>
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<br /></div>
<div style="text-align: center;">
Remember my friends and local thespians that if we do not cater to our children's audiences today and get them hooked on live theatre at a young age - we will not have an adult audience in the years to come.</div>
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<br /></div><div class="blogger-post-footer"><a href="https://twitter.com/maybleslondon" class="twitter-follow-button" data-show-count="false" data-size="large">Follow @maybleslondon</a>
<script>!function(d,s,id){var js,fjs=d.getElementsByTagName(s)[0];if(!d.getElementById(id)){js=d.createElement(s);js.id=id;js.src="//platform.twitter.com/widgets.js";fjs.parentNode.insertBefore(js,fjs);}}(document,"script","twitter-wjs");</script></div>Anonymoushttp://www.blogger.com/profile/13027522733754892168noreply@blogger.com0tag:blogger.com,1999:blog-2014782736556068488.post-54063069388582411312012-05-10T07:38:00.001-07:002012-05-10T07:54:45.622-07:00"An Introduction to Dramatherapy" <strong>written by Dorothy Langley</strong><br />
<br />
<div style="text-align: center;">
<br />
<strong>Dramatherapy</strong> (sometimes "Drama Therapy"):</div>
<div style="text-align: center;">
<em>"a type of psychotherapy encouraging patients to use dramatic techniques </em></div>
<div style="text-align: center;">
<em>to deal with emotional and psychological problems." </em></div>
<br />
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<br />
While browsing the Drama section at my local library, I came across this book. I have read it and am determined to purchase it for my library. <br />
<br />
In order to become a registered Drama therapist (RDT), one must attend an accredited school under the National Association of Drama therapists (NADT). There are only 4 universities recognised under the NADT which are in California, Montreal, New York and the United Kingdom.<br />
<br />
I have always had an interest in Dramatherapy and try to incorporate methods and concepts into my rehearsals and drama games I conduct with both adults and children whenever possible. Needless to say - living in London, Ontario - I will not become a RDT anytime soon. I am not a registered Drama therapist, I do not claim to be one nor do I call what I do "Dramatherapy". I am simply inspired by the logic behind and the concepts of Dramatherapy.<br />
<br />
I wanted to share with you all what I got out of reading this book:<br />
<br />
STAGES:<br />
-Dramatic Play: games, trust exercises, environment exploration, etc.<br />
-Scene Work: script/improv, structured scenes, focused characters & situations<br />
-Role Play: real-life roles, safely portray someone else<br />
-Enactment: real-life issues and conflicts<br />
-Dramatic Ritual: structure, occurs every session/rehearsal, set expectations & schedule<br />
<br />
-Start a rehearsal or drama session with a warm-up (duh), followed by a focused activity (ie. based on a specific idea or concept) then bring the session to an end with a cool-down activity/a ritual (ie. a song or dance which ends the session/rehearsal every time).<br />
<br />
IMPORTANT:<br />
-always state clear boundaries of space, time & rules<br />
-always use clear instructions & goals that are achievable<br />
-always state that it is safe to play<br />
-explain relevance of each activity<br />
<br />
MODELS OF DRAMATHERAPY:<br />
-Developmental Model, Jennings<br />
-Creative/Expressive Model, Cattanach<br />
-Integrated Model, Jennings<br />
-Para-Theatrical Model, Grotowski<br />
-Role Model, Moreno<br />
-Theatrical Model, Brenda Meldrum<br />
<br />
WARM-UPS: sets mood, theme & focus<br />
<em>~warm-ups break the ice, make introductions, prepare body & mind for activity, focuses on the physical being, awakens imagination & creativity~</em><br />
-Bean Bag Toss (say a name and toss them the bag, gradually add more bags)<br />
-Tag, Red Light/Green Light, Musical Chairs, Follow the Leader<br />
-Balloon Pass (form 2 lines facing each other and lightly bounce the balloon back & forth between partners)<br />
-Run n' Touch (sit, everyone stands, runs, touches something of a certain colour then races back to their seats, leaving one person left in the middle to choose the next colour)<br />
-Scarf? (pass a scarf around the circle, use imagination to turn it into something else ie. a cape)<br />
-Statement (make a statement on the chosen topic/theme ie. if senses is the theme one could share something that they have tasted or smelled in the past)<br />
-Tableau (one person places all the other members into a tableau/still picture then tells a story)<br />
<br />
ICE-BREAKERS:<br />
<em>~group cohesion & trust~</em><br />
-2 Truths & a Lie (in partners tell each other 2 truths and a lie about yourself and see if your partner can pick out the lie)<br />
-One person at a time or in partners describes to the other(s) their happiest place and takes them through an imaginary tour<br />
-the group becomes a car or boat-making team. They must collect items within the space to create a boat/car that will actually be able to move around the room/space<br />
<br />
SOCIAL SKILLS<br />
-eye contact while speaking<br />
-sit in circle, one hints to another that they wish to trade places with them only using eye contact<br />
-in partners compliment and say "thanks" back n' forth and repeat<br />
-create a scene on a park bench: one person wants to quietly read the paper and the other wants to chit-chat. How do each deal with the conflict?<br />
<br />
AWARENESS OF SURROUNDINGS<br />
-explore room with senses (please don't have them lick anything :) to discover what they see, hear, feel and smell in the room. What do they like the best? What feels nice? What looks menacing? What is humming?<br />
-walk around the room banging and tapping (respectfully) on items within the space. After exploring everything, have each person go back to the thing they think made the "coolest" sound and see if, as a group, you can create a rhythm or song. One-by-one they join in.<br />
-study and observe shapes, angles and objects in the room - then recreate them with your bodies<br />
-Number and name all the colours you see in the room. Which is your favourite & why?<br />
<br />
SENSES<br />
-listen and focus on the sounds within the room, then expand to the sounds in the building then outside<br />
-pass a bag with a textured object inside around the circle and have them guess what it is. They can describe the texture and how it makes them feel (gross, scared, funny, etc.)<br />
-pass around little pots which each have a different scent. Have the individuals share what they think it is and what it makes them think of (if anything)<br />
-get into partners numbered 1's and 2's. Study each other's appearance then have all the 1's leave the room and change one thing about their appearance as the 2's do the same. Everyone comes back and tries to figure out what's different in 3 guesses.<br />
-have individuals think of their happiest place or memory and make a list of the colours in that place/memory. Then have them create a rainbow/abstract piece using those colours (art supplies needed)<br />
-show the group/circle a picture and have each describe what they see and tell a story about the picture<br />
<br />
REALITY ORIENTATION<br />
-have a check-in board with date, time, current news & weather<br />
-share with group how you got to the session/rehearsal<br />
-look out the window and state what you see (can use this to create characters & setting for improv)<br />
-look at the clothing that people are wearing outside. What does it say about the weather?<br />
<br />
REMINISCENCE & MEMORY<br />
-storytelling around a theme<br />
-story/scene/improv something that everyone knows (ie. a scene from a Fairytale)<br />
-picture display from their past (art & photographs)<br />
-plays/skits & improv surrounding an everyday object (ie. a spoon)<br />
-plays/skits & improv based on experiences of individuals/group<br />
-song/rhythm circle<br />
<br />
MOVEMENT<br />
-each person moves around the room expressing their current emotion/mood without words<br />
-imagine your favourite picture or image and create a movement that expresses it's essence. Create a rhythm/dance using that repeated movement<br />
-have the group write their own name in the air and build upon those movements<br />
-in pairs, recreate a task (ie. washing dishes) and turn these movements into a sequence<br />
<br />
RELAXATION<br />
-lie down, relax and tense the various muscle groups starting with the face and moving down to the toes<br />
-lie down, breathe in all the good things you would like to absorb, exhale and blow out all the negative things you'd like to rid yourself of<br />
<br />
ROLE<br />
-play as/ become another person, animal or thing<br />
-play as/be yourself but in a different place/situation<br />
-isolate something about yourself and create a character around that one thing (ie. Mother)<br />
<br />
IMPROV<br />
-walk around the room concentrating on how you feel in that moment. Who else walks like that or who could? Create a character around this walk and give them a name and background/history. Change the setting of the room (ie. into a grocery store) and have all the characters interact as they would in that environment<br />
-everyone are members of a shipwrecked crew on an island. Interact and organise yourself with others to find food and shelter. How will you get home? How do you interact with others? Do you want to go home? How do you interact with the locals?<br />
<br />
CREATE A STORY<br />
1-main character & where they live<br />
2-mission or task they must fulfil<br />
3-person or thing that will help the main character<br />
4-obstacle that stands in their way<br />
5-how the main character copes/deals/overcomes the obstacle<br />
6-how the story ends (does it end?)<br />
*individuals may also create a storyboard to help show the group what their story looks like<br />
<br />
HOW TO USE STORIES<br />
-told to and shared with the group & reflected on<br />
-told without the ending which members of the group can provide before finding out the original ending<br />
-narrative can be performed by the group as it is read, rehearsed then performed<br />
-members can add/change stories in group/partners before presenting<br />
*stories can be a source of group/individual exploration revealing unspoken issues<br />
<br />
DE-ROLING<br />
~getting "out" of character and back to be being themselves~<br />
-sit in 2 chairs (back and forth) one is the "character" chair and one is the "me" chair. While sitting in each chair they state the differences<br />
-place a bucket/chest in the room for individuals to place within what they would like to "keep" from the role they played and a trash can for what they would like to "toss away"<br />
-have the individuals think of ways they would like to "keep" and "toss away" feelings and emotions from the role they played (ie. "keep" it in a locket and "toss it away" by burning it)<br />
<br />
CLOSING THE SESSION<br />
-brief reminder that the session/rehearsal is coming to an end<br />
-look towards things that are coming in the future<br />
-concluding ritual (occurs at end of every session/rehearsal)<br />
-reminder & time of next session/rehearsal<br />
-ask individuals as to where they are off to afterwards<br />
-group stands in circle facing outwards, clap, turn to face outwards then leave when they're ready<br />
-restore room to order before returning to circle to say "goodbye" or "until next time"<br />
-stand in circle and one-by-one state what they would like to take and what they would like to leave. After everyone has shared, they may leave<br />
-"Hey-ho, hey-ho, it's off to _____ we go!"<br />
<br />
FURTHER READING<br />
"the Healing Drama" by Bannister, A.<br />
"Drama, Psychotherapy & Psychosis..." by Casson, J.<br />
"Drama for People with Special Needs" by Cattanach, A.<br />
"Dramatherpy for People with Learning Disabilities" by Chesner, A.<br />
"Drama Therapy Process, Technique & Performance" by Emunah, R.<br />
"Dramatic Approaches to Brief Therapy" Gersie, A.<br />
"Reflections on Therapeutic Storymaking" by Gersie, A.<br />
"Drama and Healing:the Roots..." by Grainger, R.<br />
"the Glass of Heaven" by Grainger, R.<br />
"the Play's the Thing" by Jenkyns, M.<br />
Dramatherapy, Theory & Practice (Vol. 1,2&3)" by Jennings, S.<br />
"the Handbook of Dramatherapy" by Jennings, Cattanach, Mitchell, Chesner & Meldrum<br />
"Drama as Therapy, Theatre as Living" by Jones, P.<br />
"Drama Therapy" by Landy, R.<br />
"Persona and Performance" by Landy, R.<br />
"Dramatherapy Clinical Studies" by Mitchell, S.<br />
"Discovering Self Through Drama & Movement: the Sesame Approach" by Pearson, J.<br />
"Psychodrama" by Wilkins, P.<br />
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<div style="text-align: center;">
<strong>Somewhere along the way, we stopped playing, </strong><br />
<strong>letting loose and being silly.</strong></div>
<div style="text-align: center;">
<strong>Dramatherapy is a safe and supportive outlet </strong><br />
<strong>for people to express themselves freely </strong></div>
<div style="text-align: center;">
<strong>without fear of judgement or ridicule. </strong></div>
<div style="text-align: center;">
<strong>Through laughter and play, </strong><br />
<strong>we can heal ourselves from within.</strong></div>
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<br />
<br />
<br />
<strong>More information on Dramatherapy can be found here:</strong><br />
<a href="http://www.nccata.org/drama_therapy.htm">http://www.nccata.org/drama_therapy.htm</a><br />
<a href="http://www.nadt.org/index.html">http://www.nadt.org/index.html</a><div class="blogger-post-footer"><a href="https://twitter.com/maybleslondon" class="twitter-follow-button" data-show-count="false" data-size="large">Follow @maybleslondon</a>
<script>!function(d,s,id){var js,fjs=d.getElementsByTagName(s)[0];if(!d.getElementById(id)){js=d.createElement(s);js.id=id;js.src="//platform.twitter.com/widgets.js";fjs.parentNode.insertBefore(js,fjs);}}(document,"script","twitter-wjs");</script></div>Anonymoushttp://www.blogger.com/profile/13027522733754892168noreply@blogger.com0tag:blogger.com,1999:blog-2014782736556068488.post-13794874903230234382012-04-22T08:49:00.000-07:002012-04-22T08:55:49.428-07:00Drama Games for Kids...AND Adults<div style="text-align: center;">
~ ages 5-12 ~</div>
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When we were children, we were encouraged to laugh, play, dance and sing.<br />
When we were children, it was "cute" for us to put on a little play or sing a song for Grandma.<br />
As we grew-up we were told (more and more often) by society, that singing and dancing is for children and that we are "too old" for such childish games.<br />
These games focus on giving children and parents an opportunity to be a little silly while improving listening skills and self-esteem. <br />
Though these games are specified for children between the ages of 5 and 12, they have been tested and proven beneficial for adults as well.<br />
I strongly encourage parents, guardians and teachers to get involved with our children.<br />
As adults, we should all have the opportunity to play, laugh and dance little.<br />
Let loose and enjoy these games!<br />
<br />
<b>"Run a Marathon"</b><br />
<b><i>No materials needed, works great in a large group. Imagination and physical warm-up. </i></b><br />
Have everyone stand in a circle facing inward and tell the group that they are about to run a race.<br />
They are just behind the starting line and they need to stretch their legs and pump themselves up for the win!<br />
"On your mark! Get set! GO!" And your Off! Everyone is running on the spot as fast as they can, they're being cheered-on by their fans on the sidelines, they pass one of the other runners, they turn a corner, they jump over a log, they swim across a lake - It's up to you! Have them react to whatever you tell them and then - you cross the finish line! Walk it off, take some deep breaths and raise both your arms up in the air because you are the champion! This is a great warm-up activity to get everyone moving and hearts beating.<br />
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<b>"Explore Your Environment"</b><br />
<i><b>No materials needed, works in any size of group. Imagination & physicality.</b></i><br />
Everyone starts by walking around the pre-determind space in a random fashion (rather than in a circle or in one direction). Once everyone has explored the physical space - change the setting. "You are no longer in this room - now you are in the Arctic and the cold wind is blowing, snow is sticking to your eyebrows and nose hairs, you pull your coat tighter around you but the cold just keeps getting colder, your nose starts running as all the bones in your body start to freeze and SUDDENLY you have become a frozen statue." Continue to change the setting, environment, tempurature, situation, etc. This game is a great way to get children out of "life mode" and into "play mode". Something I like to add to the end of this game is tell everyone you are walking in a park and you are surrounded by friends you haven't seen in a long time. Tell them to approach everyone in the group with a warm smile, a handshake and a greeting like "Oh, I haven't seen you in such a long time!" or "It's so nice to see you; how've you been?" etc. This game encourages group involvement and respect for others.<br />
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<b>"As the Wind Blows"</b><br />
<i><b>Tape or chairs needed, works best with a larger group. Focus on things in common vs. differences.</b></i><br />
Everyone stands on a taped "x" in a circle or sits in chairs placed in a circle. There should be enough chairs or "x's" for everyone except one person. This person stands in the middle of the circle and says "As the wind blows, it blows everyone who has ______". It could be something they've done, something they have, their favourite colour or something they're wearing. Everyone in the circle who has whatever the person in the middle stated, runs from their spot into someone else's spot. There will always be one person left in the middle for the next round. After playing this game a few times, I like to add another dimension - have everyone give each other a high-five before finding a new seat. This is encouraging for kids to see and hear what they have in common with who. A great way to introduce children into a group or individuals to each other.<br />
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<b>"Hoola-Hoop"</b><br />
<b> <i>One hoola-hoop, works best with a medium-large group. Teamwork & accomplishment.</i></b><br />
Everyone stands in a circle holding hands. A Hoola-hoop is placed on one person's shoulder so that it is resting on their right or left shoulder at the top and is in between their legs at the bottom. Without letting go of hands - pass the hoola-hoop all the way around the circle. While doing so, encourage the group to cheer-on their group members. Individuals can help their neighbors get the hoop up and over them by lifting their arms or lowering them closer to the floor. It's fun and everyone is so excited after they did it! It's really fun to time it the first time then try to beat the time as a group.<b><i> </i></b><br />
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<strong>"Human Machine"</strong><br />
<strong><em>No materials needed, works in any size group. Teamwork, focus, rhythm & listening.</em></strong><br />
Everyone stands (or sits if they choose) in a circle. One person starts by making a movement from the person on their left to the person on their right accompanied by a sound. This movement with the sound is repeated from left to right, left to right until a rhythm is heard and seen. The person on that person's right then makes a motion that continues from the motion presented to them. If the person who started, picks something up on their left and drops it in the air over the person on their right then THAT person needs to make their own movement (in some way) catch the object being dropped over them so they can continue the motion around the circle. Eventually, everyone in the circle will be receiving and passing an imaginary object around the circle with repeated movements and sound. If working with younger children - using a real object, such as a ball, might help them imagine the object but also keep track of where it is in the circle. A great game which encourages working together and "give & take".<br />
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<strong>"Led By the Nose"</strong><br />
<strong><em>No materials needed, works in any size group. Exploration, imagination & physicality.</em></strong><br />
Everyone begins by exploring the space provided. Once everyone is spread out and walking within the space (not in a circle or in any given direction) instruct the group that they are now being led by the nose. They will in turn push their nose forward as if their nose is steering them about the room. Change it up as often as you like. Be led by the elbows, the fingertips, your toes, your ears, your teeth, etc. This is a great exercise to get children (and adults) out of their minds and warm them up for physical activity. Individuals will also learn to show their actions outward rather than simply standing and talking - they allow their bodies to be primary expressive factor.<br />
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<strong>"Silent Mimes"</strong><br />
<strong><em>No materials needed, works in any size group. Imagination, listening & physicality.</em></strong><br />
Everyone begins by exploring their environment as in the previous game. Direct the group through various activities meanwhile having them remain silent without any words spoken or noises made. Some activities may include: your eating an ice-cream, you're walking a dog, you're picking strawberries, you're washing the dishes, you're picking flowers, you're trying on clothing, you're admiring yourself in the mirror, etc. This is a great game to have towards the end of drama games as it tends to calm down the group and prepare them for leaving the "play world" and getting back into "life mode".<br />
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<strong>"You're in the Middle of an Ocean..."</strong><br />
<strong><em>No materials needed, works individually and in groups. Imagination, calming/cool-down.</em></strong><br />
Have everyone find a place on the floor to lay down and have them lay on their backs facing the ceiling. Then have them close their eyes. Everything you say - they are to imagine in their minds while keeping their eyes closed. "You're in the middle of an ocean. The sky is clear and seagulls pass overhead. You hear the waves as they gently sway your raft. You place your hand in the cool water and feel it drift between your fingers..." You can add as many dimensions to the story as you like, whether there's little fish in the water or a boat passes by but try to keep your voice quiet and calming. I usually like to end this game with "...a family seagulls flies over you and -UH OH - one pooped on your head!" This gets everyone laughing again and is a great way to get them out of the relaxing/drama mode and back into reality without being too abrupt or having them fall asleep on you.<br />
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<strong><em>I have done these games with children from the ages of 5 right up to adults in their 40's and 50's.</em></strong><br />
<strong><em>I find the best way to ensure games are well received and that everyone participates is to show your excitment for the games. If you get into it - so will the people you are instructing.</em></strong><br />
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<strong><em>*NOTE ~ at any point if a child or adult is uncomfortable with a game or wishes not to participate, do not force them. Instead, instruct them to simply remain with the group and watch or to sit quietly closeby and still in view. Everyone has different levels of comfort and it is important to respect that in individuals of all ages.</em></strong><br />
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<script>!function(d,s,id){var js,fjs=d.getElementsByTagName(s)[0];if(!d.getElementById(id)){js=d.createElement(s);js.id=id;js.src="//platform.twitter.com/widgets.js";fjs.parentNode.insertBefore(js,fjs);}}(document,"script","twitter-wjs");</script></div>Anonymoushttp://www.blogger.com/profile/13027522733754892168noreply@blogger.com0tag:blogger.com,1999:blog-2014782736556068488.post-1451796489084137352012-03-04T10:31:00.002-08:002012-03-04T10:49:52.410-08:00Stage Fright ~ and How to DEAL!<div class="separator" style="clear: both; text-align: center;">~brace yourself...it's a long one~</div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiutxJe0o5rqUTu_92V8cpNO0mZbFkvXcrIMm5boqIEw-yLuQ1tiBnp7PgMB_Q67r6xVIGaKVTSanhpTehWP_-jUfq8cVOa1Jgs1_AWCG17O4iWX4HLssjPHX0rlFrCNRJksP3bwGG8OZQE/s1600/stage+fright.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="115" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiutxJe0o5rqUTu_92V8cpNO0mZbFkvXcrIMm5boqIEw-yLuQ1tiBnp7PgMB_Q67r6xVIGaKVTSanhpTehWP_-jUfq8cVOa1Jgs1_AWCG17O4iWX4HLssjPHX0rlFrCNRJksP3bwGG8OZQE/s320/stage+fright.jpg" uda="true" width="320" /></a></div><div style="text-align: center;">"The most damaging influence on people in their initial exploration of acting scenes or delivering lines is trauma associated with stage fright."</div><div style="text-align: center;">-Gerald Lee Ratliff</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><br />
</div><div align="left">A few weeks ago, I stumbled across a book called "Coping with Stage Fright" by Gerald Lee Ratliff which was published in 1985. It got my gears turning. How do people cope with stage fright today? How does stage fright affect people locally in London, Ontario? What symptoms do people show, feel or go through? What are the primary triggers? I was on a mission!</div><div align="left"><br />
</div><div align="left">Between this book and a survey I conducted amongst members of London, Ontario's theatre communtiy, I have finally organized the information collected.</div><div align="left"><br />
</div><div align="left">First, here are the points I gathered from reading "Coping with Stage Fright":</div><div align="left">-key elements which are afftected by stage fright are voice, body & breathing</div><div align="left">-psychologists' point of view "stage fright is a mental state of apprehension"</div><div align="left">-teachers' & students' point of view "stage fright is a state of bodily anxiety"</div><div align="left">-clinical researchers' point of view "stage fright is an emotional state of fear"</div><div align="left">-dictionary description "Stage fright" a nervousness & anxiety that affects voice, body and emotions"</div><div align="left">-CURE: EXPERIENCE!!! only through experience can one learn to deal with, combat & defeat stage fright!</div><div align="left">-Stage fright IS NOT an indication of a personality defect. N'or is it a sign that one is inferior, inept or incompetent.</div><div align="left">-Even the most seasoned actors often experience stage fright to some degree before a performance.</div><div align="left">-Stage fright MAY be related to one's upbringing, meaning a result of negative or unpleasant experiences during childhood, which would explain why stage fright affects everyone differently and in various capacities.</div><div align="left">-Stage fright (believe it or not) CAN be positive! It can be used to your benefit if harnessed properly to give your performance animation and vitality.</div><div align="left">-control feelings and fear with frequent practice, self-confidence and thorough preparation</div><div align="left">-General Symptoms include: scratchy/cracking voice, lines being delivered quickly, weak knees, loss of breath, dry mouth/lips, increased heart-rate, fidgety hands/fingers/feet</div><div align="left"><br />
</div><div align="left"><strong>Advice: </strong></div><div align="left">-practice speaking in public/to strangers</div><div align="left">-audition OFTEN!</div><div align="left">-read aloud</div><div align="left">-research the script & role thoroughly</div><div align="left">-find out what you do and the image you portray when you are nervous, feeling anxious or threatened (facial expressions, pacing, biting nails, wrapping your hands, tugging at your sleeves, etc.). Once you are aware of these, you can work on eliminating them during a performance so that VISUALLY, you appear cool, calm & collected :)</div><div align="left">__________________________________________________________________</div><div align="left"><br />
</div><div align="left">When conducting my little survey, I had only 3 questions I was looking for answers to:</div><div align="left"><strong>#1.</strong> If you experience butterflies/nerves before a show, what does it <em>feel</em> like for you? What symptoms specifically do you experience?</div><div align="left"><strong>#2.</strong> Do you experience different forms of stage fright depending on the role/production/situation?</div><div align="left"><strong>#3.</strong> What steps do you take to prevent and deal with stage fright?</div><div align="left"><br />
</div><div align="left">Out of 45 people I contacted, 14 people responded to my questions. To "protect their identities" I have changed each of their names to something I found to be entertaining...because they said I could...and I can :)</div><div align="left">This is what they had to say regarding stage fright:</div><div align="left"><br />
</div><div align="left"><strong>Trolol:</strong> <em>"...only recall getting real stage fright once, and that was during my grade 6 class speech...I was woefully unprepared, and kept forgetting what I was to say... the previous year to the city finals, so I was way too cavalier in my attitude...I got a nice lesson in humility as well as preparedness."</em><br />
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<strong>Candy</strong>: <em>"...when I do get nerves it's usually in the last few rehersals...fight or flight feeling. Like I'm not ready to take it to the next level and I just want to run away. Once the costumes are on and the audience is filing in I generally feel pretty calm, excited but relaxed about it."</em></div><div align="left"><br />
</div><div align="left"><strong>Headwound Harry:</strong> <em>"In general, I don't nervous... I like to carry around a glass of water and drink while delivering my lines - I believe it shows everyone that I'm solid, not nervous at all as no trembling can be seen from the glass."</em></div><div align="left"><br />
</div><div align="left"><strong>the Madame:</strong> <em>"I'm most nervous when my husband is in the audience because he knows me best...<br />
I think he's still unsure about all this theatre stuff"</em></div><div align="left"><br />
</div><div align="left"><strong>the Painter:</strong> <em>"mind freeze -- almost an out-of-body experience but not quite (pretty much the opposite of where your brain needs to be for acting!); trouble with gross motor coordination...I'm much more nervous when people whom I know well are in the audience. Also I'm less nervous when singing than acting, but if I can find my character it all fades away...nerves are always worse than usual when a director, stage manager, choreographer, etc., has been harsh or overly critical with the cast in general or me personally...In order of importance my steps are to stretch, ground myself with a meditation, rehearse whatever major blocking I have & check lines...the body part is super important for me, since I live in my head so much."</em></div><div align="left"><br />
</div><div align="left"><strong>Emmylarou:</strong> <em>"I haven't really got stage fright per say but I tend to get super excited just before the show starts... I guess for me just before a show I need to make sure I take a few deep breaths so I am calm and make sure I don't rush through my lines."</em></div><div align="left"><br />
</div><div align="left"><strong>Sandy</strong>: <em>"I usually only get stage fright before a musical performance. I start to doubt myself and feel like if I don't quickly run over all of my songs then I'll surely fail. So while pacing the green room, I quietly sing through all of my stuff!...more nervous when I know my family/friends are in the audience...<br />
Once backstage, I do a quick prayer."</em><br />
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<strong>Jason</strong>: "<em>...my heart rate would increase, there would be activity in the area of my solar plexis chakra, and I might take a whiz 4 times before the show...[</em>someone he met mentioned "they're too nervous and can never sit down before a show"]<em>anticipation of the show and the uncertainty of trying out new material (triggers)... Other comedians have said that without this nervous/anticipatory energy your show will probably be flat... I would recognize the sensations and say to myself, "This is not how I want to be." Then I would take a deep breath or two, I was quite confident that eventually it would go away...In the end, confidence in the material, a determination not to have uncomfortable feelings of nervousness, and the knowledge that it will be a pleasant experience for both myself and the audience keep my emotional state active but positive."</em></div><div align="left"><br />
<strong>Captain</strong>: "<em>My first show - butterflies were almost unbearable...nauseous before the show, and yelling the line out relieved the feeling...before a show I will feel sometimes slightly anxious especially if friends or family are in the audience, the feeling subsides almost immediately when I step on stage and turns into an adrenaline rush, that I feel improves my performance...butterflies and jitters, at different levels of intensity depending on the situation...knowing that friends and family are in the audience seems to impact the level of intensity for me..I didn’t have any success with breathing exercises, or meditation...I actually relish it (</em>pre-show jitters<em>), much like I would a roller coaster ride. It is part of the joy of acting for me, as a matter of fact if it ever went away entirely I am not sure I would do it anymore, as I feel it is a bi-product of passion for me."</em></div><div align="left"><br />
</div><div align="left"><strong>Laughing Patty:</strong> "<em>1. I feel self conscious. Just before performing I feel picky about my costume, concerned that I may have lipstick on my teeth, ect. The nervousness and anxiousness I feel weeks, or days before the show is harder to cope with than the day of the show or the moments before I go on... I'm even more nervous at that point, but it's like I've reached the point of no return and have nothing to lose. Sink or swim! Once the performance begins, flow kicks in, and I just become immersed in my character or speech. <br />
2. It feels basically the same whether it's a speech, play, a meeting with my boss :o) Adrenaline... the dosage may just vary depending on the risk involved , and my estimation of my competence and experience. <br />
3. Desensitization. Exposure to as many situations as possible that cause fear, discomfort and uncertainty. I don't swim with sharks, but I'll take any healthy opportunity to face a fear, feel the adrenaline and do it anyway. The more I get used to functioning under the influence of adrenaline, the more control I have over those feelings.. and in a wider range of situations. A few years ago I used to be extremely shy and it held me back... now I feel there's not much that can stop me."</em></div><div align="left"><br />
</div><div align="left"><strong>Fat Poop</strong> (his personal choice for an alias.lol.): <em>"I get really nervous before every show which involves pacing and major butterflies...My level of nervousness depends on what I am doing in the show. I worry mostly about lines (will they or won't they be there)...After 2 minutes of being out "there" everything is forgotten...I always think..."WWHED?" and then I imagine several verisons of his semi-transparent head floating in a circle around mine giving me advice all at the same time until I eventually go insane..."</em></div><div align="left"><br />
<strong>the Man</strong>: "I've never had stage fright. Can't remember ever being nervous about walking out on stage."</div><div align="left"><br />
<strong>the Boss:</strong> <em>"I generally don't get nervous about performing in plays/musicals. I'm more nervous about new experiences...My big thing is checking to make sure I have pants on. Honestly. If I'm wearing pants, then all is well. But overall, I'm usually not nervous...I get more nervous about casting (as director) because I am hoping and praying I get a good turnout and that I find the right person for the roles...<br />
once the show starts I really can't do anything if something goes wrong!"</em></div><div align="left"><br />
</div><div align="left"><strong>One Tough Cookie:</strong> <em>"I still harbour some unresolved fears of 'stating my case' and telling my truth...Up until now, I have many experiences of being closed down by family, teachers, bosses, and even former friends, to the point that it shows in my body language and closed throat, which is proof positive that their comments and beliefs hit me hard and I'm still in the process of 'finding my voice' so to speak...I'm choosing not to care what people think or say anymore, but I still feel my body go into 'fight or flight' response near a stage, and I stop breathing, my heart thumps, I think I'll pass out, my words catch in my throat, I swallow a lot rather than express myself, and therefore I freakout even with a small audience...Some of my best new strategies and focus for success: * to give myself PERMISSION to be HEARD!...*ALLOW MYSELF to TAKE UP SPACE!! ...* to learn is how to BREATHE fully and deeply!!...* to be truly aware of body language and voice projection - this means to speak AS IF YOU'RE ENTITLED TO!...* to write on a sheet of paper "What's working" on one side, and "What's Not Working" on the other side, and have the list of "what's working" be longer than the list of "what's not working!" That can work with anything I'm dealing with at any given moment, not just stage fright!..create a vision of those butterflies "flying in formation!"</em></div><div align="left"><em>_______________________________________________________________</em></div><br />
After reading both "Coping with Stage Fright" and the responses from my fellow theatre thespians, I have concluded that there are 5 main causes of stage fright and the best way to cope with them are:<br />
<br />
<strong>#1.</strong> <strong>Uncertainty in Oneself</strong><br />
<em><strong>CAUSE</strong>: </em>you can't remember all your lines, you feel unprepared, your voice becomes low, quiet, scratchy or hard to understand SO, you speed-up to try and get your lines out, over and done with as soon as possible.<br />
<em><strong>FIX</strong>:</em> Read the entire script over & over, not JUST your lines. Be familiar with the characters, the actors and the lines. Know what happens, what's coming next and keep track of things that have gone wrong during rehearsals and be prepared for anything. Warm-up your voice prior to a performance.<br />
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<strong>#2. Knowledge of Family/Friends in the Audience</strong><br />
<em><strong>CAUSE</strong></em>: you've asked your family and friends to come see you in a play...then they show-up and TELL you they're coming and which night OR you go onstage and recognize someone in the very front row SURPRISE people you know are watching you! You want to do the best you can do so you over-emphasize certain lines or maybe indulge in your character a bit more than usual. You try to be "funny" and thus your performance is artificial and over-done. Your eyes meet and then you conciously try to cover-up the fact that you just met someone's gaze in the audience - guess what - the entire audience just noticed you quickly look away from someone and now are wondering about the actor and not the character.<br />
<em><strong>FIX</strong></em>: It can be very rewarding having friends and family in an audience to support you. If it makes you nervous to KNOW that they are there - ask them to come and not tell you when they're coming. Practice does make perfect in this case and the best way to learn to deal with this form of stage fright is to experience it over and over again until you get used to it.<br />
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<strong>#3. Your Imagination</strong><br />
<strong><em>CAUSE</em></strong>: you are about to go onstage and you start to think about your first line, how the scene is supposed to be played out, what you are supposed to do, where you are supposed to go, etc. Your imagination begins to play out a scenario of you missing a line or not being in the right place at the right time, forgetting a line, messing-up another actor, your heart-rate increases, your palms become sweaty, your throat dries out and SUDDENLY you hear your cue and go onstage to perform your scene. This is NOT the mindset you want to start your scene with.<br />
<strong><em>FIX</em></strong>: Learn to control your mind. This is much easier said than done. The very first step is recognizing that you <em>have</em> an over-active imagination. Meditation and breathing excerises where you focus entirely on your breath are great ways to get yourself "out of your head" and focusing on a simple task. <br />
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<strong>#4. Thinking vs. Reacting</strong><br />
<em><strong>CAUSE</strong></em>: you're onstage in the middle of a scene, you're swaying, there are knots in your stomache, you're thinking and focusing on your next line and waiting anxiously for another actor to deliver your cue so you can say it. Waiting for your cue from an <u>actor</u> while thinking about your next line vs. listening to the other <u>character</u> speak is one of the most common causes of an actor freezing onstage.<br />
<strong><em>FIX</em></strong>: Instead of imagining ahead of time what may or may not happen in a scene, try to focus on being present IN the scene. Be aware of your cues (verbal and non-verbal) and learn to go with the flow. If you stumble on a line, bump into furniture, cut another actor off, skip a line - USE IT! Stay in character and use it. A favourite saying of mine is "If the audience doesn't know you messed-up...you didn't."<br />
<br />
<strong>#5. Thoughts of Being Judged</strong><br />
<em><strong>CAUSE</strong></em>: you're in the middle of a scene or you just delivered your first line and, wouldn't you know it, you stumbled, you lost your voice, your voice cracked, you messed-up a word, you stuttered, etc. Your mind immediately starts thinking about all the people who just watched you mess up and are laughing at you from inside their minds. You begin to sweat, lick your lips, rock on the spot, your heart races and your chest tightens up. What may have happend is that the audience, in fact, didn't realize you messed-up until you started to behave as though you had. <br />
<div style="text-align: left;"><em><strong>FIX</strong></em>: Stay in Character! Whatever happens (and believe me STUFF HAPPENS!) stay in character. React as your character would. If you stumble, react to your own stumble as your character would. If you bump into a piece of furniture, don't say "Oh sh*$#t" unless your character would do so ;) People are not watching a group of actors playing on a stage, people are in the mindset of watching an alternate reality of REAL people playing out a REAL situation. Try to keep in mind that the audience is not watching YOU, they are watching your CHARACTER.</div><div style="text-align: center;">~</div><div style="text-align: center;"><br />
<span style="background-color: #80ff80;">I will end this post by saying "you are your worst enemy". Know yourself, prepare and get experience. </span><br />
<span style="background-color: #80ff80;">Feel confident in yourself and all the hard work you have put into a production. </span></div><div style="text-align: center;"><span style="background-color: #80ff80;">If you don't feel prepared - you prob'ly aren't prepared enough.</span></div><div class="blogger-post-footer"><a href="https://twitter.com/maybleslondon" class="twitter-follow-button" data-show-count="false" data-size="large">Follow @maybleslondon</a>
<script>!function(d,s,id){var js,fjs=d.getElementsByTagName(s)[0];if(!d.getElementById(id)){js=d.createElement(s);js.id=id;js.src="//platform.twitter.com/widgets.js";fjs.parentNode.insertBefore(js,fjs);}}(document,"script","twitter-wjs");</script></div>Anonymoushttp://www.blogger.com/profile/13027522733754892168noreply@blogger.com0tag:blogger.com,1999:blog-2014782736556068488.post-29322210894625062692012-02-13T06:04:00.000-08:002012-02-13T07:03:52.693-08:00Closing Night is Bittersweet<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjARszEKxjXOUuflpeTk-0VoytLg9XdcIcOnB8M9bCkQRTnKXDpL22xwW23WOuy7wcXDIiXXU1p5WlDxQDuuvkA3Acgl_Aw6KGNPXqwn3fcunCDjSDftjvI9Rx8JCVZcOLXYZQ0do8mO55f/s1600/curtains.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" sda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjARszEKxjXOUuflpeTk-0VoytLg9XdcIcOnB8M9bCkQRTnKXDpL22xwW23WOuy7wcXDIiXXU1p5WlDxQDuuvkA3Acgl_Aw6KGNPXqwn3fcunCDjSDftjvI9Rx8JCVZcOLXYZQ0do8mO55f/s320/curtains.jpg" width="320" /></a></div><br />
~Stepping up to the stage door on closing night, you take a deep breath in and shake off the nagging thought reminding you that tonight will be the last time you perform on this stage with these actors.<br />
<br />
You have rehearsed with them for countless hours in a room, you've run lines with them over coffee, you've gone out for beer or martinis together to reward yourselves for a good rehearsal/night or show.<br />
<br />
~Heading backstage to ensure all your props are in their proper place (like you should be doing every performance night) you find, this time, it's different. Each item you pick up and put in it's place seems to speak out to you and say "don't put me down; don't let go of me."<br />
<br />
You have rehearsed with various swords, guns or props but you've been assigned certain ones that only YOU touch and only YOU keep with you when you go onstage. These props have not just been part of your costume, they've been a part of the person you have created and shared onstage.<br />
<br />
~Entering the Green Room, you make sure the coffee is on and grab something to nibble on before heading to the change room. In the changeroom, you put on your costume piece by piece, little by little to savour this last time you will put these items on.<br />
<br />
A costume represents different things to different people. To some it is just an outfit you put on to look like someone (or something) else. To others it is part of a system which enables you, the actor to forget about being "you" and focus on creating, becoming and maintaining a portrayal of someone else. You have been this person for months and on closing night, it may very well be the last time you portray that person.<br />
<br />
~Act One begins and you are either onstage, in the wings or in a changeroom listening to the action over a speaker. Rather than talking with your fellow actors backstage and joking around (as much as you usually do), you find yourself listening to and hanging on every word that is being spoken. You are paying attention to the words and also the actor delivering them. You take this opportunity to appreciate their work one final time.<br />
<br />
Closing night is often filled with cards being passed around for people to sign, pictures being taken, hugs being shared and some tears. Sometimes closing night also means "closing night pranks" (which I will get more into in a future post). Pranks should never change what the audience has seen onstage, it should never be done to an actor who you do not feel could "handle it" and it should be fun AND respectful to the actor being played. These pranks, I like to think, are more like last night fun. A little something for the actors to share in, laugh about and to become part of the story and journey of that production.<br />
<br />
~Act Two finishes and you wait in the wings for your time to step onstage for your final bow. You want to savour the applause and cheers and also that moment when you share the stage with your entire cast. It is a strange feeling on closing night when that curtain closes. <br />
<br />
Usually, once the curtain closes, all the actors quickly run offstage to the changeroom to get out of their costume and back into their own clothes so they can go out to the lobby and see their fans who came to support them. On closing night however, the curtain closes and none of the actors move. They all stand still in their place facing the curtain. Slowly they turn to each other to congratulate their fellow actors on a job well done before finally leaving the stage.<br />
<br />
~After taking your final bow, you leave the stage and place your props back in their final 'resting places'. As you place the various items down, you hold them for a moment to appreciate them and the journey you've shared together. You take off your costume and place it in a pile or bag with everyone else's costume to get washed and, although it's "just a costume" you say Goodnight or Goodbye to that character it represented - forever loved; never to be forgotten.<br />
<br />
Once the stage and theatre have been cleared, the actors usually go to one of the actors' homes for the cast party where their is much food and booze. It is a fun time when all are together, sharing jokes, telling stories of things that happened both onstage and off. Fun awards might be handed out to acknowledge each actor and crew member for their hard work. Some people leave early, some people leave a little later, and some people get so smashed that they don't remember their names, where they are or how they got there and end up staying the night :)<br />
<br />
In the morning however, no matter how hungover (or still drunk) the actors are, they come together one last time for the sometimes dreaded "strike". This means everyone involved in the production comes back to the theatre to take down the entire set and clean up the mess. Depending on how large the production was, it can take an entire afternoon.<br />
<br />
~The set has been taken down, the garbage is put out, stage is painted and the green room is sparkling. Now the actors say goodbye. <br />
<br />
It's bittersweet to think that your body will have a break and you'll be able to go to bed at a decent hour but, in exchange, you will no longer be coming to that stage door and sharing a stage with people you have come to trust, admire and love.<div class="blogger-post-footer"><a href="https://twitter.com/maybleslondon" class="twitter-follow-button" data-show-count="false" data-size="large">Follow @maybleslondon</a>
<script>!function(d,s,id){var js,fjs=d.getElementsByTagName(s)[0];if(!d.getElementById(id)){js=d.createElement(s);js.id=id;js.src="//platform.twitter.com/widgets.js";fjs.parentNode.insertBefore(js,fjs);}}(document,"script","twitter-wjs");</script></div>Anonymoushttp://www.blogger.com/profile/13027522733754892168noreply@blogger.com1tag:blogger.com,1999:blog-2014782736556068488.post-57756118457853214502012-02-04T11:58:00.000-08:002012-02-13T07:05:55.041-08:00A Special Note to ALL Directors Out There<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8q_XgFN3uZlGLR9h_kzo56rZ9LzmrcoIQE3TQ04k3TUB1kV2k84cX-Pb7_Nles8r99ZJn9bzNccicFw3SxNpfwr7lIz-WlUrY81dsU5XcZl3m1dJF3qFrlUuasFDtRDghjXFC9RK8pCOz/s1600/IMG_7056.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" sda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8q_XgFN3uZlGLR9h_kzo56rZ9LzmrcoIQE3TQ04k3TUB1kV2k84cX-Pb7_Nles8r99ZJn9bzNccicFw3SxNpfwr7lIz-WlUrY81dsU5XcZl3m1dJF3qFrlUuasFDtRDghjXFC9RK8pCOz/s320/IMG_7056.jpg" width="256" /></a></div><br />
In a previous post of mine, <a href="http://stagecrazyheathermay.blogspot.com/2011/07/do-or-do-not-there-is-no-try-director.html">[click here to view]</a> regarding an experience I had working with a certain director, I mentioned how important it is for a director to be part of the group, get excited with the actors and inspire them to be the best they can be in order to get the best performance out of them. In that post, I also pointed out how devastating it can be for an actor when their director is not involved. <br />
<br />
I can now say from experience what affect an emotionally involved, caring, considerate and understanding director has on a cast of actors.<br />
<br />
To all Directors out there who wish to inspire their actors, THIS is how it's done:<br />
<br />
During the auditions, express your passion for the script, your outlook and expectations for the production.<br />
<br />
During rehearsals, allow room for input from the actors. Ask them for their opinion and ideas. Prepare your own ideas and things you want to try at rehearsals ahead of time so that when it comes to start time - you can give the actors a clear picture of all you want to accomplish.<br />
<br />
During the cue-to-cue, thank the actors for their time and keep them busy. Actors who are passionate are eager and willing to work and help. Actors love to be put to work as long as their assistance is acknowledged.<br />
<br />
During the tech run, be as prepared as possible and keep record of all technical cues. Levels and cues can be set prior to bringing the actors in. Doing all the "technical stuff" at a time without the actors shows them respect. Actors do not help with "technical stuff" in a production. Doing all you can before bringing them in tells the actors that you value their time and do not wish to waste any of it.<br />
<br />
Opening night, prior to opening the house and the handing over of the keys to the stage manager, write a speech. WHY NOT?! You have worked with your actors for months, told them what to do and where to go when. You have been watching over them during hours of rehearsals and cared for them by giving them direction. You have done all you can to ensure each actor gives the best performance they are able to. Before you hand the show over, take that opportunity to speak directly to your cast and crew. Give them words of encouragement, remind them of things they have gone through and things that have happend along the way. Remind the actors where they started, and where they have got to; all they have acheived.<br />
<br />
In a recent allocution by the director to the actors of Treasure Island at the Palace on opening night, a sword was gifted to the fight captain, tears of joy were shed and a song was sung. Below is the song which the director sang to their actors:<br />
<br />
<em>"Is there more I should have said?<br />
Back when you were pictures in my head...<br />
I'm very glad you came to play<br />
Cause you folks gave me laughter every day.<br />
Remember when the stage caved in, cause you were rockin' out?<br />
I rather think your lunacy will be hard to live without.<br />
I'd like to go back to the start<br />
See, you all have a place inside my heart.<br />
And please don't take this as a dare....<br />
But, there's nothing you can break, Mark can't repair.<br />
It's great when we're together and you share your favourite quotes<br />
And though they are unbearable, well, I still love Dean's jokes.<br />
Though I'm looking forward to my bed,<br />
When thinking of the end, I feel some dread.<br />
...<br />
I hope we do this all again<br />
And you can make me laugh like you did then<br />
I know you'll do your best for Joe<br />
As he takes the reigns to run this show.<br />
So now it's yours to take instead<br />
Thanks for being pictures in my head."</em><br />
<em><br />
</em>[this Director was inspired by Kermit the Frog to inspire us all]<br />
<br />
As I stated in my previous post, Directors have the power to break an actor's heart or fill it with love for them to share with others for years to come.<br />
<br />
Don't ABUSE or NEGLECT this power. USE it!<div class="blogger-post-footer"><a href="https://twitter.com/maybleslondon" class="twitter-follow-button" data-show-count="false" data-size="large">Follow @maybleslondon</a>
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<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRd58Di3WY2FKoQD23doYzpUq2lJPiiMzVdruy-x4S82JY4rGlnLPSOg1Wf-0W2-rJfI2LlItQXKAth2Vpf5fE07UqydQQIlO-7rTQjfrPrQXpFB8_ley-dwQpM6r5VK2wnskI_aglXZLM/s1600/SoundBoard.jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRd58Di3WY2FKoQD23doYzpUq2lJPiiMzVdruy-x4S82JY4rGlnLPSOg1Wf-0W2-rJfI2LlItQXKAth2Vpf5fE07UqydQQIlO-7rTQjfrPrQXpFB8_ley-dwQpM6r5VK2wnskI_aglXZLM/s320/SoundBoard.jpg" /></a><br />
<br />
<br />
Cue-to-Cue: occurs before the tech run and dress rehearsal of a production. This is when the director (with the light and sound crew) set light and sound levels. Actors or 'bodies' may be asked to stand in certain areas onstage to ensure that they are properly lit, not standing in dark spots as well as delivering some of their lines to ensure any background noises (ie. thunder) does not overpower the actor's voice.<br />
<br />
Tech Run: occurs after the cue-to-cue and before the dress rehearsal. This is when the actors go through the entire play with full energy, volume and at the proper speed for the benefit of the tech crew (commonly known as the 'techies' or 'techs'). The crew will ensure (or try to ensure) all light and sound cues are timed properly to coincide with the actions of the performers. Tech runs will include all light, sound effects, atmospheric effects (like fog) and music.<br />
<br />
More often than not, a cue-to-cue will take hours to prepare for and sometimes days to get through. All set pieces need to be placed in their proper places to ensure they are properly lit and if the people at the back of the theatre setting the light levels are the same people moving the furniture around on stage, it can be a grueling task. <br />
<br />
All actors can assume that a cue-to-cue will mean a lot of starting their lines or a scene and stopping, starting over, jumping ahead and skipping lines, a lot of standing around, moving around and waiting until the director wants you to do something or needs you to do something else. A cue-to-cue is similar to a traffic jam or a 30-car pile-up.<br />
<br />
In order to get through a cue-to-cue and a tech run, the best advice I can give to actors is to SHUT-UP, LISTEN and do exactly what you're told to do WHEN you're told to do it. Do that, and you'll be fine :) <br />
<br />
We all know how actors can get excited, carried away and lost in the magical world of the play they are in. During cue-to-cues and tech runs, it is imparative that all actors are patient and listen carefully to instructions in order to ensure a smooth and drama-free time.<br />
<br />
It is also imortant to have fun! I can't say it enough! You can have fun and still listen for instructions from your director or the stage manager. If you have, for example, 30 actors onstage acting as pirates, the stage manager has informed them that they need to reset gunfire sound effects and it could take 5 minutes, the actors should have the freedom to laugh, giggle, make jokes and maybe sing some pirate songs in the meantime. I tip my hat to any director who can relax, laugh and encourage their cast to bond even if it's during a 5 minute black-out during a tech run.<br />
<br />
Jokes always seem to come up during cue-to-cues and tech runs whether it's someone in the booth forgetting to let the actors know that the stage is about to be plunged into pitch darkness OR fail to warn them that a sound effect for a large explosion is about to go off, fun happens. As long as the techies, actors, crew and director can work together to communicate, express concerns and laugh; cue-to-cues and tech runs can be a wonderful experience during a production for all to remember.<br />
<br />
*NOTE: Speaking from experience, if you are planning on holding or attending a cue-to-cue or tech run that will last longer than 3 hours - please organize a potluck lunch/dinner with all attending. This will ensure everyone is fed, no one gets cranky and forces everyone to take a break around the 3-hour mark when the brain begins to slow down. Everyone knows an actor with an empty stomache can only play "the dead guy".<div class="blogger-post-footer"><a href="https://twitter.com/maybleslondon" class="twitter-follow-button" data-show-count="false" data-size="large">Follow @maybleslondon</a>
<script>!function(d,s,id){var js,fjs=d.getElementsByTagName(s)[0];if(!d.getElementById(id)){js=d.createElement(s);js.id=id;js.src="//platform.twitter.com/widgets.js";fjs.parentNode.insertBefore(js,fjs);}}(document,"script","twitter-wjs");</script></div>Anonymoushttp://www.blogger.com/profile/13027522733754892168noreply@blogger.com0tag:blogger.com,1999:blog-2014782736556068488.post-18460914931732389802012-01-17T08:37:00.000-08:002012-01-17T08:39:25.424-08:00A Director's Checklist for the Audition<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF40NVwV-NRjFoFr1AIsunv1jONf3WGzY4DJgtRDl3tJPGGO_2W2TNaP8U17bn22_WBBcuL-ckeXeIBuRWhbY7xw9AtvmDipZbJ4nZp_MwkaNaGLB1fmKES7m7iZ0cSW_sKICPtIOD9U3f/s1600/auditions.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="170" kba="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF40NVwV-NRjFoFr1AIsunv1jONf3WGzY4DJgtRDl3tJPGGO_2W2TNaP8U17bn22_WBBcuL-ckeXeIBuRWhbY7xw9AtvmDipZbJ4nZp_MwkaNaGLB1fmKES7m7iZ0cSW_sKICPtIOD9U3f/s320/auditions.jpg" width="320" /></a></div><br />
The script has been chosen, the royalties have been paid for and the theatre space has been booked.<br />
Now it's time to find some actors!<br />
<br />
<u><em>PREPARATIONS</em></u><br />
-The Director must decide what they are looking for in their actors and narrow down the list which may include any and all of the following: Experience, Willingness to Learn, Compatability with Others, Personality, Reputation, Resume, Physical Appearance as per Characters Described, Ability to Take Direction, Ability to Read/Perform in front of others and Charisma.<br />
-The Director/Producer must book the audition space and pay for it if required.<br />
-Audition Notices should be posted no later than a month in advance in newspapers, mass emails, Facebook, Community Boards and other outlets online.<br />
-It must be decided as to whether or not the auditions will be held on a one-on-one basis or in a group setting and whether or not any part or all of the audition will be recorded or photographed.<br />
-The Director must choose what they want actors to bring to the audition which can be any one or all of the following: resume, headshot, monologue, acting reel, certificates/diplomas or letter of recommendation.<br />
-The Director and Production Team can (if they choose) select pieces of the script to be used in either a group or one-on-one audition and decide whether or not these selections will be available for actors to read prior to the auditions.<br />
<br />
<em><u>CHECKLIST</u></em><br />
-copies of the script for actors to read if they choose<br />
-character descriptions for roles being auditioned for<br />
-copies of script segments or cold reads<br />
-Information Sheets for actors to fill-out as they arrive<br />
-brief outline of items to be discussed and activites to be held<br />
-any props or costumes (if any) you want available to the actors to 'play with'<br />
<br />
<em><u>THE AUDITION</u></em><br />
<strong>1.</strong> Greet everyone as they arrive and make them feel welcome and at ease<br />
(no one wants to see a paranoid, scared or intimidated actor attempt to audition or recite a monologue)<br />
<strong>2.</strong> Take pictures of the individual actors if you are doing so.<br />
<strong>3.</strong> Introduce yourself, the production team, the theatre company & the production itself<br />
<strong>4.</strong> Verbalize the expectations of actors if they are cast and ask anyone to leave if they cannot meet them<br />
(ie. arriving on-time to rehearsals, attending a certain number of rehearsals/week, being accepting of others regardless race, colour, religion, age, orientation, etc.)<br />
<strong>5.</strong> Inform actors as to when and how they will be contacted if they are cast. <br />
(I also encourage all directors to contact ALL actors to inform them as to whether they've been cast OR not. This is civil, respectful and is an excellent opportunity to give the actors (who were not cast) feedback as to what they did wrong and how they can improve for their next audition. If possible, contact ALL actors to show them you are thankful and grateful that they took the time to audition in the first place - they may audition for you again)<br />
<strong>6.</strong> Have the actors introduce themselves to the group by sharing their name, an interesting fact about them, why they are auditioning, their interest in theatre, etc.<br />
<strong>7.</strong> With all the "business" out of the way, now you can have fun with your actors and start the auditions :)<br />
<br />
<u><em>IDEAS for AUDITIONS</em></u><br />
- Start with a group warm-up. This will get everyone on their feet, help them to relax AND you will be able to see how they feel about being up with a larger group.<br />
- Hold a group Improv session. This could be anything from having everyone up at the same time and walking around the room interacting (or not) as certain characters, in certain situtations, weather conditions, or with specific character traits. This is another great way to get actors loosened up and see how comfortable they are with maybe getting a little silly :)<br />
- Have two-five actors stand and read and/or perform a part of a scene from the play. Give them direction as to the characters they are portraying, what has just occured previously in the scene and what their objectives are.<br />
- Have one actor stand in front of the group at a time and either read a monologue or a poem as a specific character from the play.<br />
- Have actors auditioning for a certain role perform a simple action that the character does during the play. Examples: screaming in fear/rage/anger, crying, passing out, shocked gasp, scary face, drunken hiccup, hungover, freaked-out as though seeing a monster, etc.<br />
- Storytelling Excercise: Actors stand/sit in a circle. The Director gives the group a title of the story. One person says 3 words then the person to the right of them says the next 3 words that must continue the story until it has gone around the circle or until everyone is laughing too hard to continue. This is a great activity to see actors interact with and listen to each other.<br />
- Hot Seat: 3 actors sit in chairs side by side. The 2 actors on the ends must compete for the attention of the actor in the middle by any means necessary (within reason) and without physically touching them. This is a great ice-breaker and gives actors the chance to let loose a bit.<br />
- Body Language: actors spread around the room. The director calls an emotion, thought or feeling and the actors situate themselves in a still pose (and without sound) which they think portrays what has been asked for. The director can then move throughout the room and discuss specific examples of what works and what doesn't and why. This gives a chance for actors to listen, learn and get feedback. This is a great way to promote interactions with everyone present - not <em>just</em> the director.<br />
<br />
Whether you are a director or an actor at an audition - ALWAYS REMEMBER to have fun!<div class="blogger-post-footer"><a href="https://twitter.com/maybleslondon" class="twitter-follow-button" data-show-count="false" data-size="large">Follow @maybleslondon</a>
<script>!function(d,s,id){var js,fjs=d.getElementsByTagName(s)[0];if(!d.getElementById(id)){js=d.createElement(s);js.id=id;js.src="//platform.twitter.com/widgets.js";fjs.parentNode.insertBefore(js,fjs);}}(document,"script","twitter-wjs");</script></div>Anonymoushttp://www.blogger.com/profile/13027522733754892168noreply@blogger.com0tag:blogger.com,1999:blog-2014782736556068488.post-10512061549773602232011-12-30T09:42:00.000-08:002012-02-13T07:10:19.869-08:00Outlook for 2012: Still Stage Crazy!<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYcrKp3dZM4otYU73WZeO4Z23DaitLVdrRZFHB4V5DSGu2HByDFngTVfh-LAmEkctozPnNouJeLoULnvR3yh241z_EZB8gL3nD3x02TqMkZbFAmKIQ7Rnt7l17J9kL9XUMTUNCQDsq2Wiw/s1600/2012.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" sda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYcrKp3dZM4otYU73WZeO4Z23DaitLVdrRZFHB4V5DSGu2HByDFngTVfh-LAmEkctozPnNouJeLoULnvR3yh241z_EZB8gL3nD3x02TqMkZbFAmKIQ7Rnt7l17J9kL9XUMTUNCQDsq2Wiw/s1600/2012.jpg" /></a></div><br />
This weekend marks the end of 2011 and the beginning of 2012.<br />
<br />
This year, there were auditions and performances for the Diary of Anne Frank at the Palace Theatre and Chicago at McManus Studio. Rehearsals have begun for Treasure Island going up at the Palace Theatre in February and Jenny's House of Joy going up at McManus Studio in February as well. There has also been talk about Arsenic and Old Lace going up at the Palace and I am anxious to find out when the auditions are going to be.This year also was a quiet one for Maybles' Theatre Productions. Since producing Norm Foster's "the LOVE LIST" in 2010, there has not been another production. In 2012, we WILL have another production and you are NOT going to want to miss it!<br />
<br />
"Miss. Twiddle and the Devil" and "Miss. Twiddle Meets an Angel" are two one-act plays written by Maurice Hill. They are light-hearted and pure fun. Before I get into some of the MANY pre-conceived notions and ideas surrounding these titles, let me explain why I chose this script for our next production:<br />
<br />
In 2001, when I was in grade 8, I was asked to step-in as Assistant Stage Manager for a high school production of Miss. Twiddle and the Devil. We performed this production at the Sanderson Centre for the Performing Arts in Brantford, Ontario for the SHAW festival. We won Best Actor and were nominated for Best Actress. We had an actor break his wrist during the dress rehearsal and he had to perform with his arm in a cast. The director, Rae Brown, was a teacher at the high school where it was performed and he showed me what a comfortable rehearsal space could and should be. All of the actors became close and confident in each other. Everyone built trust and the relationships that were made during those rehearsals lasted years.<br />
<br />
Earlier THIS year, I started reading scripts online and at the library to try and find that perfect combination of characters and story to bring to life in 2012. I've always loved the script for "Miss. Twiddle and the Devil" but I was set on doing a full-length production as I did not want to put so much work and time into a half-an-hour show. Then, magic happend! I had a close friend of mine read the Twiddle script to have her opinion and, while she was researching the production, she found a second one-act play written by the same playwright and with the same characters which takes place immediately after this one! I ordered a copy of "Miss Twiddle Meets an Angel" right away and fell in love with it the very first time I read it. It was decided. These were the plays I was going to bring to life.<br />
<br />
<br />
This was a play people could get excited about but I knew I wouldn't be able to pull this off alone. After producing one play before, I knew that I would need to find a small group of people I could depend on, confide in and trust to back me up and help to breathe life into these scripts. I am proud to announce that Amber McMitchell, Heather Heywood, Lisa DesGroseillers, Jenny Stapleton, Mike Ge and Trish West have all come on board to help with props, costumes, make-up, advertising, lights, sound and the production as a whole. <br />
<br />
A very special "Thank-You" to each of you.<br />
<br />
<br />
Now, let's talk about the "Devil" and "Angel" words in the titles. In a time when people strive to be accepting of all religions and beliefs, I think some people can forget to just 'chill'. These plays are not meant to convert anyone into believing in guardian angels or the devil. These plays are not meant to be taken as any form of preaching. These plays are strictly fun, light-hearted and are meant to entertain. Yes, there is strange chanting in the play. Yes, there is a battle (of sorts) between good and evil. Yes, there are horned figured dancing around in smoke - BUT - I cannot stress enough that these are tools of comedy and are meant to be laughed at. Nothing more.<br />
<br />
<br />
For this production, I hope to have on board a cast of 11 actors who want to have fun, learn, grow and work hard to being the best they can be. I hope that my production team remains strong through my emotional ups and downs and times when life gets tough on all of us. I hope to build strong relationships between the actors as well as the characters they portray on stage. I hope that the audience leaves at the end of each night feeling light, entertained and satisfied. Above all, I hope that the actors finish the production feeling like they have learned something new, built new friendships and are more confident in themselves both on stage and in their lives.<br />
<br />
<br />
Stay Strong. Stay Stage Crazy!<br />
<br />
<br />
A Very Happy New Year to you all!<div class="blogger-post-footer"><a href="https://twitter.com/maybleslondon" class="twitter-follow-button" data-show-count="false" data-size="large">Follow @maybleslondon</a>
<script>!function(d,s,id){var js,fjs=d.getElementsByTagName(s)[0];if(!d.getElementById(id)){js=d.createElement(s);js.id=id;js.src="//platform.twitter.com/widgets.js";fjs.parentNode.insertBefore(js,fjs);}}(document,"script","twitter-wjs");</script></div>Anonymoushttp://www.blogger.com/profile/13027522733754892168noreply@blogger.com0tag:blogger.com,1999:blog-2014782736556068488.post-52515572674354221702011-12-12T08:17:00.000-08:002011-12-12T09:09:38.363-08:00Jemmy Rathbone: Character Notes (Treasure Island)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgftE6I1uf9lIcw_0XEBiFljXoHy7pqn1cNGIBc38IDfEyqvQ2BfhDaiiJ1Ikh-357AUXXMHP0xOFMBxPdz13oLASUtD-V4QKsQ5ovSDQ4JG7SCwVx6261QjikCgMM8uhjCjA0BM9LP2L5N/s1600/pirate.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" oda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgftE6I1uf9lIcw_0XEBiFljXoHy7pqn1cNGIBc38IDfEyqvQ2BfhDaiiJ1Ikh-357AUXXMHP0xOFMBxPdz13oLASUtD-V4QKsQ5ovSDQ4JG7SCwVx6261QjikCgMM8uhjCjA0BM9LP2L5N/s320/pirate.jpg" width="226" /></a></div>In Ken Ludwig's version of Treasure Island, there is a character by the name of Jemmy Rathbone which I have the pleasure of portraying onstage at the Palace Theatre in London, Ontario in February 2012.<br />
I was surprised to find little information about this character online. I only found two movie clips which were far away and out of focus. I found a review which stated "the opening scene with all the pirates chasing Jemmy around the ship was action-packed" but that's it! I was unable to find a character background, history or even a description.<br />
With the help of a book called "the Intent to Live" by Larry Moss, I have worked through questions and homework and created my own version of the infamous Jemmy Rathbone. I wanted to share these with anyone else out there who might be researching and preparing to portray Jemmy onstage. <br />
I have placed the information I created into an 'interview' format with the questions being asked by Larry Moss directly from his book and the answers given by Jemmy himself.<br />
<br />
<span style="color: #93c47d;">WHERE DOES YOUR SCENE TAKE PLACE?</span><br />
<span style="color: cyan;">O' course it toikes place on a bloody ship! It's rainin' and da wind is blowin' a good one and da thunder is louder then I e're heard it before. The waves crashin' against the side o' the ship tossin' us about.</span><br />
<span style="color: #93c47d;">WHAT DO YOU KNOW ABOUT THE OTHER CHARACTERS IN YOUR SCENE?</span><br />
<span style="color: cyan;">Nasty, back-stabbin' swabbers they are. They be yer best mate one day and yer worst enemy the next. Best be careful who ye tell yer plans to or they be usin' it against ya in your weakest toimes.</span><br />
<span style="color: #93c47d;">WHAT DO THE OTHER CHARACTERS SAY ABOUT YOU?</span><br />
<span style="color: cyan;">They have the nerve to fink I'm a cheatin', lyin' pirate who took somefin' I didn't and was gonna partake in the riches wifout keepin' me mates in the 'know'!</span><br />
<span style="color: #93c47d;">GIVEN WHAT THE SCRIPT SAYS, IS IT TRUE?</span><br />
<span style="color: cyan;">Yeah...d'ere prob'ly roight.</span><br />
<span style="color: #93c47d;">WHAT DO YOU KNOW ABOUT YOURSELF WHICH IS RELEVANT TO THE SCENE?</span><br />
<span style="color: cyan;">Well I'm not sure what "REVERENT" means but I do know vat I'm a sneaky guy. I prob'ly fink I'm smarter than I really am. I can also tell ya dat I was on the streets as it were before I got me chance to prove meeself as a man o' the sea. To be straight wif ya - I'd prob'ly do just about anyfin' to get me hands on some gold 'r jewels of any koind.</span><br />
<span style="color: #93c47d;">WHAT DO YOU LITERALLY DO DURING THE SCENE?</span><br />
<span style="color: cyan;">I kant tell ye dat - I've sworn an oath to keep da secrets of the happenins which go about.</span><br />
<span style="color: #93c47d;">WHAT DO THE OTHER CHARACTERS DO TO YOU IN THE SCENE?</span><br />
<span style="color: cyan;">Well I kant bloody well tell ya dat either now can I?! ...unless you got a good 'mount o' gold yer ready to part with...?</span><br />
<span style="color: #93c47d;">WHAT IS YOUR POINT OF VIEW AT THE TOP OF THE SCENE?</span><br />
<span style="color: cyan;">Uh..I'm confused. Can you say da question wif different words or somefin?</span><br />
<span style="color: #93c47d;">OKAAAAY WHAT WERE YOU THINKING AT THE START OF THE SCENE?</span><br />
<span style="color: cyan;">Why didn't you just say dat in first ploice?! I was watch dat noight loike I am most noights. I wasn't tinkin' much but how angry da sea was and how the skies were makin' such a racket that it couldn't mean anythin' good was gonna happen anytime soon.</span><br />
<span style="color: #93c47d;">HOW AND WHY DO YOUR THOUGHTS CHANGE?</span><br />
<span style="color: cyan;">They don't! Nothin' good DOES come from that noight and don't wish to talk about it no more!</span><br />
<span style="color: #93c47d;">WHAT DO YOU WANT?</span><br />
<span style="color: cyan;">I already told yer that Larry, I want me some gold! But gold ain't any good to ya if yer dead so I guess I want to come out of this alive and able to spend me some gold. Go to port in me homeland and buy a drink or two for a special lady...or two. You know what I mean roight Larry? [nudges him]</span><br />
<span style="color: #93c47d;">NO. I DON'T. [sighs] DO YOU HAVE ANY PHYSICAL IMPEDIMENTS?</span><br />
<span style="color: cyan;">You makin' fun o' me knees Larry?! So I ain't as tall as a normal man would be i s'pose but I be fast! Faster than the rest o' these bloakes on this ship! AND, lemme tell you somefin' else! I be the best fighter on this here ship as well!</span><br />
<span style="color: #93c47d;">WHAT PIECE OF MUSIC WOULD YOU PICK TO SYMBOLIZE YOUR CHARACTER?</span><br />
<span style="color: cyan;">Oh, you mean loike a theme song? I've always wanted me own theme song...lemme think...well I s'pose if I were a ballerina or somefin WHICH I'M NOT it would be the "Flight of the Bumblebee" but NO I be a sneaky little pirate with a lot of speed and talent with me fists SO, me theme song would have to be the song from the epic scene in Wizard of Oz when the witch sets the </span><a href="http://www.youtube.com/watch?v=SESI19h4wDo&feature=related" target="_blank"><span style="color: #9fc5e8;">flying monkeys</span></a><span style="color: cyan;"> on Dorothy and her little friends. She had it comin'. </span><br />
<span style="color: #93c47d;">CAN YOU DO AN ANIMAL EXERCISE TO HELP INTERPRET YOUR CHARACTER?</span><br />
<span style="color: cyan;">What the heck is ZAT s'posed to mean?! You comparin' me to an animal dere Larry?! Is ZAT what yer doin?! So I'm a bit like a rat but that don't mean I don't have feelin's and aren't sensitive to those kinds o' remarks Larry! This interview is over! You wanna see more o' Jemmy Rathbone you come see Treasure Island at the Palace Theatre in February 2012. I've enough o' this badgerin'!</span><div class="blogger-post-footer"><a href="https://twitter.com/maybleslondon" class="twitter-follow-button" data-show-count="false" data-size="large">Follow @maybleslondon</a>
<script>!function(d,s,id){var js,fjs=d.getElementsByTagName(s)[0];if(!d.getElementById(id)){js=d.createElement(s);js.id=id;js.src="//platform.twitter.com/widgets.js";fjs.parentNode.insertBefore(js,fjs);}}(document,"script","twitter-wjs");</script></div>Anonymoushttp://www.blogger.com/profile/13027522733754892168noreply@blogger.com0tag:blogger.com,1999:blog-2014782736556068488.post-9077840797572341072011-12-06T08:05:00.000-08:002011-12-06T08:33:14.531-08:00Theatre Stress<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2f6nrXWni7CbzZTw6vIlUBPW2E5v4uXbpo4DEJKWY22fahnFk-Qq8SMNHvEJNy2BFxywdqT-k-GhtyRDk2sSCREuDyv0rzeJV2pxITECFZcAogIEedE9_eplAd8eiPb_5QkkShrYvNB_V/s1600/tight+rope.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" dda="true" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2f6nrXWni7CbzZTw6vIlUBPW2E5v4uXbpo4DEJKWY22fahnFk-Qq8SMNHvEJNy2BFxywdqT-k-GhtyRDk2sSCREuDyv0rzeJV2pxITECFZcAogIEedE9_eplAd8eiPb_5QkkShrYvNB_V/s320/tight+rope.jpg" width="320" /></a></div>So, you have an interest in Community, Professional or Alternative Theatre. You may have a full-time, part-time job or even no job. You may still be in public school or high school or maybe even College or University. You might live with a husband, kids or you might live with your parents or on your own. Maybe you volunteer at a home, with a festival or special events. <br />
Now, let's see how we're going to balance these AND theatre.<br />
Rehearsals in Community Theatre <em>usually</em> last three months from the first read-thru to opening night. Out of seven days every week for those three months, there are usually rehearsals 3-4 evenings and often an afternoon rehearsal on the Saturday or Sunday.<br />
SO, <em>hopefully </em> we are in a job that we can book the time off ahead of time for evening rehearsals and that management is understanding of our needs.<br />
Let's <em>assume</em> that your place of work (or school and after school activities) have been lenient enough to give you the evening AND weekend time off that you require to attend rehearsals. Now you're rehearsing Monday, Tuesday and Thursday evenings and Sunday afternoons. You're working (or attending school activities) Wednesday and Friday evenings and most likely Saturday during the day. This leaves you the time between work (or school) and rehearsals to spend with your family, clean the house and/or cook - that is unless you have someone else who can help you out in those departments. <br />
So far so good. You work (or attend school) Monday and Tuesday during the day and attend rehearsal in the evening.<br />
Wednesday, Friday and Saturday, you work (or attend school) during the day giving you the evening to either work or spend at home with your family or friends.<br />
This leaves Sunday mornings free to spend with the family, maybe even enjoy warm breakfast (assuming you're not called into work for the morning shift). It leaves the afternoon free to attend rehearsals and the evenings open to enjoy dinner. Hopefully.<br />
We are on a roll! We are on fire and so far everything is fitting nicely into place like a puzzle. Nothing is over-lapping. Everyone is happy. Your family is getting their time with you and you're not missing any shifts at work (or practices at school). Your director is happy, your family is happy and your boss (or teacher) is happy.<br />
Now, since everything is working so well, you do the<em> unthinkable</em>.<br />
You audition for another play...and you get the part.<br />
So now, because you just couldn't help yourself, this is what your schedule turns into:<br />
Monday and Tuesday: work/school from 9-5, dinner/snack 5-5:45 and rehearsal from 6:30-10pm<br />
Wednesday: work/school from 9-5, dinner/snack 5-5:30 and rehearsal from 6:30-10pm<br />
Thursday: work/school from 9-5, dinner/snack 5-5:45 and rehearsal from 6:30-10pm<br />
Friday: work/school from 9-5, dinner/snack 5-5:45 and rehearsals from 6:30-10pm<br />
Saturday: work/school stuff from 9-2, lunch/snack 2-2:45, rehearsal from 3-7pm and the evening to chill<br />
Sunday: work/school stuff from 9-2, lunch/snack 2-2:45, rehearsal from 4-8pm and the evening to chill.<br />
At this point, your schedule is slightly hectic and maybe the stress is starting to be felt.<br />
But, we're not done yet.<br />
I've left out the little fact that you don't drive, because you can't afford wheels, so you take the bus and it takes you anywhere from 20 minutes to an hour to get to any place in London, Ontario because we ALL know how effective the transit system is in this city.<br />
I also left out that you don't only attend school and have projects, exams and homework BUT you also work 2 part-time jobs because in this economy, no one can get enough hours at only one job AND with 2 jobs you're guarunteed to have at least 1 job when either place of employment decides to "let you go" because your position is "no longer required with the company".<br />
We can only hope that nothing "comes up" in our work or private lives like a surprise visit from the in-laws, a broken arm, buses running late (because that never happens) or a call from work asking you to come in to cover someone's shift. AH!<br />
So yes, theatre can be stressful BUT it is not the time at rehearsals or the time needed to be put aside to memorize your lines. The stress comes from life around rehearsals. Theatre is a world all on it's own and as long as you dedicate enough time for loved ones, time to love and be loved, time to relax, breathe, eat and sleep - the rewards of theatre will be endless. The payback of hearing the applause of an audience or seeing a standing ovation after a performance makes the journey you took to get there, and the stress you endured simply dissapear.<br />
The stress is similar to the situation of a woman who went through the hours of pain and heavy breathing during labour screaming their head off and calling the nurses and their spouse every bad word known to man, only to be handed their child and be so overwhelmed with joy that they istantly forget all the pain they went through to get there.<br />
Remember: "All work and no play makes Jack a dull boy" ;)<br />
It's worth it.<div class="blogger-post-footer"><a href="https://twitter.com/maybleslondon" class="twitter-follow-button" data-show-count="false" data-size="large">Follow @maybleslondon</a>
<script>!function(d,s,id){var js,fjs=d.getElementsByTagName(s)[0];if(!d.getElementById(id)){js=d.createElement(s);js.id=id;js.src="//platform.twitter.com/widgets.js";fjs.parentNode.insertBefore(js,fjs);}}(document,"script","twitter-wjs");</script></div>Anonymoushttp://www.blogger.com/profile/13027522733754892168noreply@blogger.com0tag:blogger.com,1999:blog-2014782736556068488.post-78485801502502328262011-11-26T07:24:00.000-08:002012-02-13T07:14:32.293-08:00I'm Going to Die Tonight<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3T1E4J1rxW15-ZA7K6CMgPQKM2J_HRJqpW_Nj1O77ydu6wQHi4-yEq-keK5a-RGFYQTUqzYZ83omvz0RlvPyIy2QUEtJCpbcDXwDms8LsMjlCqLUmBMcRK5K_bzYcSUNMdWyE1TO_M_Oi/s1600/chalk-outline.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" sda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3T1E4J1rxW15-ZA7K6CMgPQKM2J_HRJqpW_Nj1O77ydu6wQHi4-yEq-keK5a-RGFYQTUqzYZ83omvz0RlvPyIy2QUEtJCpbcDXwDms8LsMjlCqLUmBMcRK5K_bzYcSUNMdWyE1TO_M_Oi/s1600/chalk-outline.jpg" /></a></div><br />
I know who is going to do it, I know when and where and why they're going to do it.<br />
The only question left is whether ot not I will be able to lie still for 20 minutes or more while everyone else tries to put the pieces together and solve my murder.<br />
That's right. Tonight, I'm going to be killed for the benefit of an audience AND that audience is actually going to pay money to watch it all go down! It's all pretty sick when you think about it - someone actually looked up the words "murder for hire" online to do one of two things: <br />
1) Try to find someone they can hire and pay to kill someone else.<br />
2) Hire a company known as "Murder for Hire" to hold a murder mystery dinner for a special occasion.<br />
Thankfully, someone was not in fact looking to have me killed but rather looking for someone to pretend to kill someone else at their special event or occasion for fun.<br />
I have been working with Murder for Hire now for nearly 4 years and in all the murder mysteries I have performed in, a woman has never been the one to be murdered. In fact, I've played the murderer more often than not. I am PUMPED to have the challenge tonight of being the one to be dragged into the room (preferably by the arms and NOT my hair), dropped on to the floor in the middle of the room for all the guests to gawk at, FACE UP with my eyes closed AND I have to lie there through dessert until the end of the performance without moving (if possible). <br />
In previous performances, there have been guests who went right up to "the body" to investigate gunshot wounds or see if the 'body' is still breathing or not. It amazes how many people ACTUALLY comment on the fact that the 'body' is still breathing! After all this time, people still think actors in murder mysteries ACTUALLY kill someone for the audience's entertainment.<br />
I'm sure tonight's performance will have it's own challenges, laughs and unexpected audience involvement. I will be sure to update this blog post tomorrow to let you all know what it feels like to play dead to entertain others as well as inform you of the "interesting" things audience memebers are certain to do to me while I'm down.<div class="blogger-post-footer"><a href="https://twitter.com/maybleslondon" class="twitter-follow-button" data-show-count="false" data-size="large">Follow @maybleslondon</a>
<script>!function(d,s,id){var js,fjs=d.getElementsByTagName(s)[0];if(!d.getElementById(id)){js=d.createElement(s);js.id=id;js.src="//platform.twitter.com/widgets.js";fjs.parentNode.insertBefore(js,fjs);}}(document,"script","twitter-wjs");</script></div>Anonymoushttp://www.blogger.com/profile/13027522733754892168noreply@blogger.com0tag:blogger.com,1999:blog-2014782736556068488.post-37511450398580405032011-11-16T12:21:00.001-08:002012-03-22T06:16:25.782-07:00My Favourite Monologues for Auditions<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv7at3425p7yDrWwq5ZHEuqxMCRPAwtvD_iP9NVuZzAuFWnuMXdM6oi-dxu53jgBdExV40CYeP7nS2paJrRsiXbVq3Mo6nURndvVw3xezFBaX7uIDyGHEB7uzLQAelEEhAPEG3NrmUzTTs/s1600/spotlight_sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" sda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv7at3425p7yDrWwq5ZHEuqxMCRPAwtvD_iP9NVuZzAuFWnuMXdM6oi-dxu53jgBdExV40CYeP7nS2paJrRsiXbVq3Mo6nURndvVw3xezFBaX7uIDyGHEB7uzLQAelEEhAPEG3NrmUzTTs/s320/spotlight_sm.jpg" width="320" /></a></div><br />
As an actor, I have a sense of what works for me in an audition and how to use my strengths to my advantage. As a director, I also know what I look for in selecting an actor to join a production of mine.<br />
Before listing my favourite monologues to use in auditions I want to elaborate on two things:<br />
<br />
<b>Use your strengths to your benefit in an audition</b>. If you are a fast talker - don't select a monologue which is meant to be performed as slow as molasses. If you are someone who paces or rocks on their feet - don't select a monologue which forces you to stay as still as a statue. If you have a deep voice - don't select a monologue meant to be read by a young boy who hasn't reached puberty yet. In a nutshell - select monologues that will work WITH your strengths rather than against them.<br />
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<b>Select a monologue that is APPROPRIATE for the play and role you are auditioning for</b>. If you are auditioning for a classic piece like "the Crucible" or "the Diary of Anne Frank" - don't select a monologue that Jim Carrey used in "the Mask". If you are auditioning for a contemporary comedy like "the Love List" or "Lend Me a Tenor" - do NOT select a monologue written by Shakespeare. If you are auditioning for the role of a sweet-princess type - don't select a monologue of a character telling a story about murdering their children. In a nutshell - choose a monologue that can be connected in SOME WAY to BOTH the play and role you are auditioning for.<br />
<br />
Now that those are out of the way - here are my favourite monologues to use as audition pieces and my reasons for my love of them:<br />
<br />
<b>#1.<a href="http://www.youtube.com/watch?v=ih9hH0Z5hGU&feature=related" target="_blank">the Iron Giant [movie]</a></b> <b>Hogarth: </b><br />
<i>(wired on caffeine, talking very quickly)</i> "So she moved me up a grade 'cause I wasn't fitting in, so now I'm even more not fitting in. I was getting good grades, you know, like all A's. So my mom says, "You need stimulation." I said, "No, I don't. I'm stimulated enough right now." So she says, "Uh-uh. You don't have a challenge. You need a challenge." So now I'm challenged, all right- I'm challenged to hold on to my lunch money because of all the big mooses who wanna pound me, 'cause they think I'm a shrimpy dork who thinks he's smarter than them! But I don't think I'm smarter, I just do the stupid homework! If everyone else JUST DID THE STUPID HOMEWORK, they could move up a grade and get pounded, too! Is there any more coffee?" <br />
<b>I love this monologue because it is fast-paced and is great for auditions requiring a show of facial expression and voice control. This is also a great audition for people who need to move around as this character paces while delivering his speech.</b><br />
<br />
<b>#2. <a href="http://www.youtube.com/watch?v=-FbSPXC4btU&feature=results_main&playnext=1&list=PL1DCDAF6B54EE92BF" target="_blank">Contact [movie] </a></b><b>Ellie: </b><br />
"I cannot simply withdraw my testimony and concede that this journey to the center of the galaxy, in fact, never took place. Because I can't. I had an experience I can't prove, I can't even explain it, but everything that I know as a human being, everything that I am tells me that it was real. I was part of something wonderful, something that changed me forever; a vision of the Universe that tells us undeniably how tiny, and insignificant, and how rare and precious we all are. A vision that tells us we belong to something that is greater than ourselves. That we are not, that none of us are alone. I wish I could share that. I wish that everyone, if even for one moment, could feel that awe, and humility, and the hope, but... that continues to be my wish."<br />
<b>This is a great monologue for anyone needing to show loss, sadness, desperation and/or vulnerability. This monologue has many words and statements which can be visualized by the actor to create deep feeling and emotion in their voice.</b><br />
<br />
<b>#3. <a href="http://www.youtube.com/watch?v=PQsWLhvuKk8" target="_blank">Blood Diamond [movie]</a> Maddy:</b><br />
"Do you think I’m exploiting his grief? You’re right, it's sh*t. It's like one of those informercials. Y'know, little black babies with swollen bellies with flies in their eyes. It's right here. I've got dead mothers. I've got severed limbs, but it's nothing new. And it might be enough to make some people cry if they read it. Maybe even write a check. But it's not gonna to be enough to make it stop. I am sick of writing about victims but it's all I can f*cking do because I need facts. I need names. I need dates. I need pictures. I need bank accounts. People back home wouldn't buy a ring if they knew it cost someone else their hand. I can't write that story until I get facts that can be verified. Which is to say until I find someone who will go on record. So if that is not you and you're not really gonna help and we’re not really gonna screw, then why don’t you get the f*ck out of my face and let me do my work?"<br />
<b>This monologue affects me personally on a deep, emotional level. This monologue is a prime example of showing desperation AND control. This is a woman who knows what she wants and what she needs</b>. <b>She is a woman willing to do whatever she must in order to get the job done.</b><br />
<br />
<b>#4. <a href="http://www.youtube.com/watch?v=g9OhykhqC2Q" target="_blank">Addams Family [movie]</a> Debbie:</b><br />
"I don't want to hurt anybody. I don't enjoy hurting anybody. I don't like guns or bombs or electric chairs, but sometimes people just won't listen and so I have to use persuasion, and slides. My parents, Sharon and Dave. Generous, doting, or were they? All I ever wanted was a Ballerina Barbie in her pretty pink tutu. My birthday, I was 10 and do you know what they got me? Malibu Barbie. That's not what I wanted, that's not who I was. I was a ballerina. Graceful. Delicate. They had to go. My first husband, the heart surgeon. All day long, coronaries, transplants. "Sorry about dinner, Deb, the Pope has a cold." Husband number 2: the Senator. He loved his state. He loved his country. Sorry Debbie. No Mercedes this year. We have to set an example." Oh yeah. Set this! My latest husband. My late, late husband Fester, and his adorable family. You took me in. You accepted me. But did any of you love me? I mean, really love me? So I killed. So I maimed. So I destroyed one innocent life after another. Aren't I a human being? Don't I yearn and ache...and shop? Don't I deserve love...and jewellery? Good-bye everybody. Wish me luck."<br />
<b>This monologue is perfect for showing a character who has gone over the deep end and crossed the line where sanity and CRAZY meet. This woman feels hurt and taken advantage of (though clearly the problem lies with her and not the rest of the world). This character is cuckoo for cocoa puffs and I love it!</b> <br />
<br />
<b>#5. <a href="http://www.youtube.com/watch?v=WaORYY-Nt6o&feature=related" target="_blank">Titus Andronicus [play & movie]</a> Tamora:</b><br />
<i>(Tamora is caught having an affair and convinces her sons she has done nothing wrong) </i><b><br />
</b><br />
"Have I not reason, think you, to look pale?<br />
These two have ticed me hither to this place,<br />
A barren detested vale you see it is;<br />
The trees, though summer, yet forlorn and lean,<br />
Overcome with moss and baleful mistletoe.<br />
Here never shines the sun; here nothing breeds,<br />
Unless the nightly owl or fatal raven:<br />
And when they showed me this abhorrèd pit,<br />
They told me, here, at dead time of the night,<br />
A thousand fiends, a thousand hissing snakes,<br />
Ten thousand swelling toads, as many urchins,<br />
Would make such fearful and confusèd cries<br />
As any mortal body hearing it<br />
Should straight fall mad, or else die suddenly.<br />
No sooner had they told this hellish tale<br />
But straight they told me they would bind me here<br />
Unto the body of a dismal yew<br />
And leave me to this miserable death.<br />
And then they called me foul adulteress,<br />
Lascivious Goth, and all the bitterest terms<br />
That ever ear did hear to such effect;<br />
And had you not by wondrous fortune come,<br />
This vengeance on me had they executed.<br />
Revenge it, as you love your mother's life,<br />
Or be ye not henceforth called my children." <br />
<b>This is by far my favourite of Shakespeare's plays. This monologue is great for expressing deception, control, power and persuasiveness. Tamora uses the loyalty of her sons to her benefit by making herself to appear innocent and the truly innocent to be the ones who have done wrong.</b><br />
<br />
There are so many great monologues out there and these are only five. Keep reading, looking and researching and keep watching plays.<br />
<br />
The most important thing to keep in mind when selecting a monologue for an audition is to choose a piece that speaks to you - if you don't like it or YOU find it boring, how on earth will you make it exciting for the director watching you perform it?<br />
<br />
Break a Leg!<div class="blogger-post-footer"><a href="https://twitter.com/maybleslondon" class="twitter-follow-button" data-show-count="false" data-size="large">Follow @maybleslondon</a>
<script>!function(d,s,id){var js,fjs=d.getElementsByTagName(s)[0];if(!d.getElementById(id)){js=d.createElement(s);js.id=id;js.src="//platform.twitter.com/widgets.js";fjs.parentNode.insertBefore(js,fjs);}}(document,"script","twitter-wjs");</script></div>Anonymoushttp://www.blogger.com/profile/13027522733754892168noreply@blogger.com6tag:blogger.com,1999:blog-2014782736556068488.post-34355782291300697542011-11-09T06:52:00.000-08:002012-02-13T07:21:43.931-08:00Theatre Therapy<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFtRzU4LDDW6UbOHla9LPSBYf8hoj4UOMVOfQ_ACzwViBY7ugQ8tsZLjr3Am3mET8UYUic7TRCMZdzv911BCKdSJN5Kv6Q17moH3PHfjVEBXF-cKaMO2jvznL5_3FzQMunEsb8cthjPB6S/s1600/therapy.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="264" sda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFtRzU4LDDW6UbOHla9LPSBYf8hoj4UOMVOfQ_ACzwViBY7ugQ8tsZLjr3Am3mET8UYUic7TRCMZdzv911BCKdSJN5Kv6Q17moH3PHfjVEBXF-cKaMO2jvznL5_3FzQMunEsb8cthjPB6S/s320/therapy.png" width="320" /></a></div><br />
"Wake-up, make your lunch, grab a quick coffee and a granola bar, get stuck in traffic and construction on the way to work, try to find parking in the morning rush, get to work, deal with the day's challenges including deadlines, staff and management THEN get back into your car, get stuck in traffic and construction on the way home, get home, find out what groceries you actually have to make dinner, decide on a dish to make that will please the whole family, make a mess of the kitchen while cooking, scarf down dinner, clean the kitchen, maybe watch some TV, brush your teeth, have the kids brush their teeth, struggle with them to get into bed and go to sleep so mom and dad can maybe have a few minutes of alone time before going to bed themselves...and repeat."<br />
Sound familiar?<br />
THEN, once or twice a week, the schedule changes. Instead of going home, you go to a rehearsal. You are greeted with hugs and caring words from your co-actors and crew. You are welcomed with the thoughts, words and support of a whole team. As a group, you work together to achieve the same goal. You can talk about your daily stresses and worries, you can brag (or complain) about your spouse or kids and the group will understand. Theatre IS Therapy - and it doesn't cost $100 per hour!<br />
Just last night, I attended the first production meeting of the "Twiddle Plays" which I will be directing and producing with my theatre company Maybles' Productions. The purpose of this meeting was for the team to meet each other, learn about the company's values and goals and discuss marketing ideas. The stage manager, sound designer, production assistant and leading lady were all present. Over coffee we laughed, joked around and had the opportunity to start building the foundation of this production. <br />
I was overwhelmed by their enthusiasm and support of this production.<br />
When I left, I couldn't help but get a little teary-eyed for I felt like a huge weight was lifted from my shoulders. Having been stressed-out and high-strung over issues at work, I left that meeting feeling lighter, more confident and happy.<br />
During this time when people are having less face-to-face time and more "Facebook" time, it is so important for people to have the kind of contact and connection that only Theatre can provide.<br />
When the going gets tough - the tough do THEATRE!<div class="blogger-post-footer"><a href="https://twitter.com/maybleslondon" class="twitter-follow-button" data-show-count="false" data-size="large">Follow @maybleslondon</a>
<script>!function(d,s,id){var js,fjs=d.getElementsByTagName(s)[0];if(!d.getElementById(id)){js=d.createElement(s);js.id=id;js.src="//platform.twitter.com/widgets.js";fjs.parentNode.insertBefore(js,fjs);}}(document,"script","twitter-wjs");</script></div>Anonymoushttp://www.blogger.com/profile/13027522733754892168noreply@blogger.com0tag:blogger.com,1999:blog-2014782736556068488.post-89117366477168010502011-11-01T14:48:00.000-07:002012-02-13T07:25:00.984-08:00ACTING - it's not just about 'PLAYING'<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-cXkxN38BOvrp-XQdWIpSfEyiIoHOi1q7UwIThJEmXX2g2JG-YKR3HhPUcA21pDruEhEywhIZ1P25CWnspOgu-xPOmKqFPkuWFNjIf8vyG1aw0SCuEB54cn7OweBjkNpm4CVCZareh1xQ/s1600/theatre+performance.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="160" sda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-cXkxN38BOvrp-XQdWIpSfEyiIoHOi1q7UwIThJEmXX2g2JG-YKR3HhPUcA21pDruEhEywhIZ1P25CWnspOgu-xPOmKqFPkuWFNjIf8vyG1aw0SCuEB54cn7OweBjkNpm4CVCZareh1xQ/s320/theatre+performance.png" width="320" /></a></div><br />
Many people think acting is either really easy because all actors do is prance around a stage in silly costumes speaking with silly voices, OR, people think acting is really hard because you have to do and say things in front of other people. There is so much more to Actors and the world of Acting.<br />
Actors don't just 'play'.<span class="messageBody translationEligibleUserMessage" data-ft="{"type":3}"> "[Actors] remind people that things can change, wounds can heal, people can be forgiven, and closed hearts can be open again." - Larry Moss</span><br />
<br />
<span class="messageBody translationEligibleUserMessage" data-ft="{"type":3}">Acting is about making people feel, think and question themselves, others and the world.</span><br />
<span class="messageBody translationEligibleUserMessage" data-ft="{"type":3}">Acting is a means of expression.</span><br />
<span class="messageBody translationEligibleUserMessage" data-ft="{"type":3}">Acting is an outlet for individuals to show others deep emotions and thoughts that are experienced.</span><br />
<span class="messageBody translationEligibleUserMessage" data-ft="{"type":3}">Acting is a way to pretend to be someone else, live in someone else's shoes, have someone else's family, have someone else's dreams and go through someone else's experiences.</span><br />
<span class="messageBody translationEligibleUserMessage" data-ft="{"type":3}">Acting is a vehicle to be used as a way of expressing ideas, concepts and physicality that would otherwise be "socially unacceptable".</span><br />
<span class="messageBody translationEligibleUserMessage" data-ft="{"type":3}">Actors take nothing from an audience except for applause, tears and laughter.</span><br />
<span class="messageBody translationEligibleUserMessage" data-ft="{"type":3}"><br />
</span><br />
<span class="messageBody translationEligibleUserMessage" data-ft="{"type":3}">It is hard work. Rehearsing twice a week, every week for 3 months to put on only 5 or 8 shows. It's a lot of lines to memorize. It means a lot of research into people, places, societies and times in history in order to develop a character. </span><br />
<br />
<span class="messageBody translationEligibleUserMessage" data-ft="{"type":3}">There are people who do not understand why actors do what they do. Especially actors in community & alternative theatre as they do not get paid for their time or hard work. To people who ask "why do you do it?" or "wouldn't you rather do something that pays?" I simply reply by asking them whether or not they have ever volunteered. </span><br />
<br />
<span class="messageBody translationEligibleUserMessage" data-ft="{"type":3}">Acting is volunteering and it is rewarding. Though we do not usually get paid, though we sometimes must endure critics, notes from directors, ridicule from adjudicators and snickers from an audience, we as actors dedicate ourselves to the art of becoming someone else. We live someone else's life, go through their trials and tribulations. We survive the torment of thoughts in their mind, sometimes die as them or worse, experience a loss far greater than any death. We do this so that YOU as an audience member can experience these, through us, from the safety of your seat.</span><br />
<br />
<span class="messageBody translationEligibleUserMessage" data-ft="{"type":3}">This is the gift actors give to us all for the mere price of an applause.</span><div class="blogger-post-footer"><a href="https://twitter.com/maybleslondon" class="twitter-follow-button" data-show-count="false" data-size="large">Follow @maybleslondon</a>
<script>!function(d,s,id){var js,fjs=d.getElementsByTagName(s)[0];if(!d.getElementById(id)){js=d.createElement(s);js.id=id;js.src="//platform.twitter.com/widgets.js";fjs.parentNode.insertBefore(js,fjs);}}(document,"script","twitter-wjs");</script></div>Anonymoushttp://www.blogger.com/profile/13027522733754892168noreply@blogger.com0tag:blogger.com,1999:blog-2014782736556068488.post-67699876617431264352011-10-27T19:35:00.000-07:002012-02-13T07:26:40.780-08:002 Whole Hours of Fightin', and Bitin', and Pushin' and Head-Buttin'......and not a single lad, lass or pirate were harmed.<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4Ri1T5kl7_JKNpWODa70gg_ihSBGU2nGDVsIIt9FWhGeildkzWYaL7CuxE1EClTzR2f5qeOBahRh6Kj6u4chkHHSvY3X07bNpnqJmW0m846BuqcU7sIdNoGRnCKG8fJwJWLUC8fCSVLoE/s1600/sword+fight.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="278" sda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4Ri1T5kl7_JKNpWODa70gg_ihSBGU2nGDVsIIt9FWhGeildkzWYaL7CuxE1EClTzR2f5qeOBahRh6Kj6u4chkHHSvY3X07bNpnqJmW0m846BuqcU7sIdNoGRnCKG8fJwJWLUC8fCSVLoE/s320/sword+fight.gif" width="320" /></a></div><br />
Surprise! Tis I, Jemmy Rathbone, 'ere again to inform all ye puss oozing, theivin' mongrels just what 'appened at this evenin's rehearsal.<br />
The evenin' started with a good...start. The sun twas shinin' and no rain was fallin' down on us (like it has every other night for the past 2 weeks!). Everythin' was "peachy" aboard the Hispaniola and all the nasty filth known as pirates aboard were all but mindin' their own business, that is, until the sword-shieldin' boatswain who answers to the name of "Brock", did take the evenin's activities into his own hands.<br />
It twere every man for himself then.<br />
Afore I knows what's happend, the entire crew has turned their backs against me, ME I say! They approached me swift as hungry felines comin' in for the kill. They were all shieldin' knives in their mouths and holdin' pistols in their hands - pointed in MY direction! I didn't know what I was supposed to do OR what I did to make all me best mates turn against me in a mere moment with enough hate to sink a whole fleet.<br />
I have the queerest feelin' that I've been set-up! But by who?...I think the univarse is tellin' me that I ain't to be findin' out just what has got these powder monkies' knickers in knots until opening night: February 3, 2012 at the Palace Theatre.<br />
Be there to support yer fellow mate, me Jemmy Rathbone, and the rest o' them scurvey dogs upon the great spanish ship - the Hispaniola!<div class="blogger-post-footer"><a href="https://twitter.com/maybleslondon" class="twitter-follow-button" data-show-count="false" data-size="large">Follow @maybleslondon</a>
<script>!function(d,s,id){var js,fjs=d.getElementsByTagName(s)[0];if(!d.getElementById(id)){js=d.createElement(s);js.id=id;js.src="//platform.twitter.com/widgets.js";fjs.parentNode.insertBefore(js,fjs);}}(document,"script","twitter-wjs");</script></div>Anonymoushttp://www.blogger.com/profile/13027522733754892168noreply@blogger.com0tag:blogger.com,1999:blog-2014782736556068488.post-8677199363411022402011-10-25T09:42:00.000-07:002012-01-17T11:01:53.361-08:00ACTORS WANTED for "the Twiddle Plays"<div style="font-family: Arial, Helvetica, sans-serif; text-align: center;">~Maybles' Productions~<br />
the same company that brought you "the LOVE LIST" by Norm Foster in 2010 which won the "Best Comedy of the Year" Award at the Brickendens <br />
is holding auditions for:<br />
<a href="http://www.pioneerdrama.com/SearchDetail.asp?pc=MISSTWIDDL&id=0"><i><b>Miss. Twiddle and the Devil </b></i></a><br />
and</div><div style="font-family: Arial, Helvetica, sans-serif; text-align: center;"><div style="text-align: center;"><span class="text_exposed_hide"></span><a href="http://www.pioneerdrama.com/searchdetail.asp?pc=MISSTANGEL&id=0"><b><i><span class="text_exposed_show">Miss. Twiddle Meets an Angel</span></i></b></a><br />
<span class="text_exposed_show">by Maurice Hill</span></div><div style="text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-dV9PpN11iycYK-Bfn_EeZwl5cyMRM_AlLt9n5hb6KLM_V47HOTzzdEcjYU8EYPMKM-DxxXK3AtCYQKlWOLFTPqCAup4eBTn2d6DeDgGzKIrSfwwFIkjx-px4ypNjT1OwDmV-WnO-v8Rt/s1600/Devil.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-dV9PpN11iycYK-Bfn_EeZwl5cyMRM_AlLt9n5hb6KLM_V47HOTzzdEcjYU8EYPMKM-DxxXK3AtCYQKlWOLFTPqCAup4eBTn2d6DeDgGzKIrSfwwFIkjx-px4ypNjT1OwDmV-WnO-v8Rt/s320/Devil.jpg" width="320" /></a></div><div style="text-align: center;"><br />
</div><span class="text_exposed_show"></span></div><div style="font-family: Arial, Helvetica, sans-serif;"><span class="text_exposed_show"><br />
<i>"2 one-act comedies about a woman so evil that the Devil himself tries to save her soul...so he can avoid spending an eternity with her in Hell."</i><br />
<br />
<b>**NOTE**</b><br />
This is a family-friendly comedy and is not meant to be taken as a religious display or tool in any manner. This production is purely meant to be a source of entertainment for all and should be taken as such.<br />
<br />
<b>Maybles' Productions is a theatre company founded in 2010</b> which produces comedies - TRUE comedies.<br />
Frankly, we think ife is too short for Tragedies.<br />
We bring productions to life through quality acting and hard work. We focus on character development, back story, connections between characters and creating lifelong relationships between our actors.<br />
Our goal is to take the stresses of everyday life and turn them into giggles. Let us take you on a journey to a happy place!<br />
<br />
<b>Group Auditions will be held at the Palace Theatre </b></span></div><div style="font-family: Arial, Helvetica, sans-serif;"><span class="text_exposed_show"><b>(710 Dundas Street, London, Ontario) on:</b><br />
Thursday, January 19th from 7-9:30pm<br />
Saturday, January 21st from 1-3pm<br />
Friday, January 27th from 7-9:30pm<br />
<br />
-Actors are asked to come willing to play with the script, the words, the characters and each other...as actors :)<br />
<br />
-Actors are asked to bring a headshot but do not require to bring a resume. Actors will fill-out a brief information sheet upon arriving to the auditions.<br />
<br />
-Actors are welcome to attend more than one audition if they choose.<br />
<br />
-Actors will participate in group work and cold reads of the scripts. They will not be required to prepare a monologue.<br />
<b><br />
</b></span></div><div style="text-align: center;"><span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;"><b>We will be auditioning for the following roles:</b></span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;"></span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">[*Please Note*</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">the celebrities I have referenced are purely for</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">entertainment purposes only and are not to be taken too seriously.]</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;"></span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;"><b>1. Nicholas Q. Nicholas (the Devil)</b></span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">age: early 30's</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">tall</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">deep/sultry voice</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">suave & smoothe</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">a "ladies' man"</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">ie. Jack the Pumpkin King</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;"></span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;"><b>2. Harry (Devil's aide)</b></span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">age: flexible</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">*must be comfortable wearing full-body tights*</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">awkward/clumsy</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">not too bright</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">unique sound to his voice</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">ie. Danny Devito</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;"></span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;"><b>3. Justice (the Guardian Angel)</b></span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">age: late 30's</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">the perfect specimen of a MAN</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">manly</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">comforting/calm</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">wise</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">ie. George Clooney or Sean Connery</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;"></span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;"><b>4. Biff (the angel's apprentice)</b></span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">age: early 20's</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">young and new at angel...ling</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">eager with angelic looks</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">possibly large eyes & curly hair</span></div><div style="text-align: center;"><div style="text-align: center;"><span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">*also must be comfortable wearing full-body tights*</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">ie. Cupid</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;"></span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;"><b>5. Carrie Simons (the landlady)</b></span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">age: 40+</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">grand and motherly</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">caring</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">"imperious about the establishment she owns"</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">jolly</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">ie. Rita MacNeil</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;"></span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;"><b>6. Emmy (the maid)</b></span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">age: 20's</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">sweet</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">clumsy but likeable</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">bit of a psychic</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">spooks easily</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">ie. Kenzi from Lost Girl</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;"></span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;"><b>7. Letitia Marchbanks (the drunk)</b></span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">age: 35+</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">she's a "happy drunk"</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">drinking is due to some deep, previous loss in her past</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">absent-minded</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">forgetful</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">ie. Feebie from FRIENDS</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;"></span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;"><b>8. Aloysius Humperdinck (always asleep)</b></span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">age: 40+</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">could have been a member of the mafia in his early years</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">snorts, snores and makes strange noises in his sleep</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">lazy and only wakes up when food is mentioned</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">"don't care" attitude</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">ie. Steven Seagal</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;"></span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;"><b>9. Leona Plum (sweet old lady)</b></span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">age: 55+</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">always smiling</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">still has "pep in her step"</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">looks like she'd have 50 cats if she lived alone</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">old & gray on the outside but bursting with energy on the inside!</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">ie. Mrs. Doubtfire</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;"></span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;"><b>10. Abraham Dooley (a charming gentleman)</b></span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">age: 55+</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">*this character has the most wiggle room and can be custom-built by the actor portraying him*</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">he has eyes for Plum but it's a subtle romance.</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;">ie. Richard Dreyfus...with a HAT!</span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;"></span><br />
<span class="text_exposed_show" style="font-family: Arial, Helvetica, sans-serif;"><b>*the role of Miss. Twiddle has already been cast.</b></span></div><span class="text_exposed_show"></span></div><div style="font-family: Arial, Helvetica, sans-serif;"><span class="text_exposed_show"><br />
<b>SHOW DATES:</b><br />
Wednesday, May 16th at 8pm<br />
Thursday, May 17th at 8pm<br />
Friday, May 18th at 8pm<br />
Saturday, May 19th at 2pm<br />
Saturday, May 19th at 8pm<br />
<br />
<b>For more information</b> and to let us know you'll be attending the auditions, please contact the Director, Heather May via <a href="http://www.facebook.com/event.php?eid=245278615522097#%21/profile.php?id=1239868562">Facebook</a>, email (<a href="http://www.blogger.com/goog_1141486796">http://www.blogger.com/goog_1141486796</a><wbr></wbr><span class="word_break"></span> or phone (519-280-4188)<br />
<br />
<b><i>Break legs and keep laughing!</i></b></span></div><div style="font-family: Arial, Helvetica, sans-serif;"><br />
</div><span class="text_exposed_show"><i style="font-family: Arial, Helvetica, sans-serif;">Produced by special arrangement with Pioneer Drama Service, Inc., Englewood, Colorado</i><b><i> </i></b></span><div class="blogger-post-footer"><a href="https://twitter.com/maybleslondon" class="twitter-follow-button" data-show-count="false" data-size="large">Follow @maybleslondon</a>
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