Monday, August 6, 2012

MONDAY AUGUST 6


Only 4 more rehearsals before tech week. And tonight will be the first rehearsal for J. Blanchard (Simon Stimson.) Please welcome J and help him with entrances and exits, please!

Tech week belongs to the tech crew: John Wind on light design, Jean Furter on sound design, and Sedric Willis our light board op. (Be sure to thank these guys!) I’d like everyone to be pretty much picture perfect by next Monday so that focus can be given to the tech crew. They are the ones who make you look good on stage.

Speaking of looking good, some of you have asked about costumes for the wedding and funeral scenes. I’d like to keep the overall feel simple and neutral. Sarah wore her “wedding gown” last Thursday; it’s a simple white sundress in a very flattering cut. She doesn’t carry a bouquet, but I may try a small, wedding veil on her this week.  It communicates that she is a bride and it looks good on her. That’s all it needs to do.

Howie Newsome is wearing cargo pants and a nicer corduroy shirt. He’s not the kind of man who would own or wear a suit. It keeps his look outdoorsy, but it’s a few levels nicer than his work clothes.

The baseball players should wear trousers and perhaps a polo or other short sleeved shirt to the wedding. Their taunting scene with George wouldn’t make sense if they wore nick slacks or, for the girls, dresses. I'll have four identical baseball caps for you to wear this week.

The Webb’s and Gibb’s families would wear semi formal clothing- nice dresses for the ladies; slacks and long sleeved shirts for the men. They’d probably also wear a tie and a jacket.

Mrs. Soames would certainly be in a dress. Sam Craig would likely wear a suit. The key is to keep it simple and in a neutral palette. Likewise, accessories like necklaces or earrings should be simple and flattering. Pearls or simple chains would be good choices.

With the exception of the baseball players, you can all probably wear nearly the same outfits for the funeral scene. If some of you can switch to a black dress or black jacket, great. If not, that’s OK. I usually wind up attending two or three funerals a year, and believe me, I’ve never been to one yet where EVERYONE wore black.

Let’s keep up the pacing tonight; the show in its final form simply cannot run three hours! (And we haven’t even been taking intermissions.)

 Fun fact #11

On p 30, Mrs. Gibbs says “Myrtle Webb! Look at that moon will you! Potato weather for sure.”

What, you may ask, does the moon have to do with potatoes?

There is a great deal of folklore about the four phases of the moon, the varying rate of gravitational pull, tides, and gardening. Just as the moon pulls the oceans into high and low tides, so the moon also pulls moisture up or down from the soil.

In the first quarter, the new moon, water is pulled up high in the soil. Seeds swell and sprout more easily and the increasing light makes leaves grow faster. Crops that grow above ground and produce seed outside the fruit do best when planted in this phase. Examples: lettuce, spinach, broccoli, cabbage, cauliflower, and grains.

In the second quarter, the gravitational pull is less but there is even more moonlight. Types of crops that prefer to be planted in this phase of the moon are ones that produce above ground but have seeds inside their fruit. Examples: beans, melons, peas, peppers, squash, tomatoes.

In the third quarter, after the full moon, the gravitational pull is once again strong resulting in increased soil moisture. But the light is waning. This is the best time to plant root crops. Examples: beets, carrots, onions, peanuts, and, of course, potatoes.

In the fourth quarter, gravitational pull is decreased and light is at a minimum. This is a time of rest.

So the full moon that sparks romantic thoughts for George and Emily makes Mrs. Gibbs think of planting potatoes.

This circa 1900 farmer appears to have planted a bumper crop of root vegetables.












Thursday, August 2, 2012

THURSDAY AUGUST 1


I’m very disappointed to tell you that Mike Hudson (Simon Stimson) came to me last night to let me know that he’s dropping the show. He accepted a part at a theatre whose rehearsal calendar conflicts with our show dates.

I’m pleased when an actor gets an equity gig, but not when it happens at the expense of another show. I now have to start looking for yet ANOTHER actor who can fill a role. Not someone who auditioned, who both wanted to be in and earned a spot in our show, but rather someone who is available and is doing me a favor. And I have to spend valuable rehearsal time going over back to basic blocking and motivations with this new person, things that have already been done weeks earlier, instead of focusing my attention on your more finessed performances.

I will endeavor, for your sake, to find the best possible actor to play Simon Stimson.

Please look at this as a lesson in why and how you should commit to a show. Decide when you audition if you truly want to be in a production, regardless of the size of the role. Don’t entertain second thoughts a few weeks before opening. Be open and above board when noting rehearsal conflicts. Be extremely careful when you’re cast in one show and then decide to audition for someone else.

I loved watching every minute of last night’s rehearsal. Robert, you’re doing a great job as George and I’m pleased that you’re ramping up so quickly. Whitney, LD, Rita and Jeff, you’re fascinating to watch; it feels like I’m looking in the window of someone’s house and surreptitiously observing what’s going on there. Sarah, last night when you said good-bye to the world, the sadness and loss in your face was palpable. And it was all the more powerful because you simply stood there and experienced letting go of everything that you loved. 

Show posters should be coming in tonight and more promotional materials for you to have on Monday. Take them to work or, when school starts up again, to your classes. You have taken on a sometimes stodgy American classic and given it new dramatic depth. I’m very proud of you all.

Wednesday, August 1, 2012

Research and Reminders

Hi gang!


Program bios are due this week! It never hurts to get them in early!

**Please check yourselves on your mime work. We really need to be conscious of the space required for everything. This video is a silly take on what we're actually doing while we mime.
http://www.youtube.com/watch?v=tkxFbz1a3As

*Keep working on your lines. If Lisa hasn't given you license to ad lib please avoid all paraphrasing. 

I saw this painting at the Chicago Art Institute. It made me think of our kitchens. This image has so much life.

Take a second to listen to Handel's Largo. Mr. Webb mentions it.
http://www.youtube.com/watch?v=rq1Iv3DkwVs

Robinson Crusoe-
http://en.wikipedia.org/wiki/Robinson_Crusoe

Whistler's Mother-
http://en.wikipedia.org/wiki/Whistler%27s_Mother




WEDNESDAY JULY 29


Lots of news today!

First, welcome Robert Lewis! Thank you for stepping in to fill the role of George. I want to encourage everyone to not only welcome Robert, but help him find his place. He has a lot of ground to cover, but we’re an ensemble; we all work together to make this show the best that it can possibly be.

Second, it’s time to start bringing in costume pieces. Some of you already have; this helps you define your character even more because you move differently when you wear different clothing. Try to wear something that you would wear to do the same activity that your character does. What would you wear to attend school or to fix breakfast? How about addressing a meeting? Leading a cart horse around outside? Attending a wedding?

Overall the rules are simple. 
  • Keep colors in a neutral palette. See July 8 blog entry for color swatches.
  • Keep options simple. Most of you should be able to manage just fine with a pair of trousers, two shirts, a jacket and overcoat, for instance. You don’t need a completely new outfit every time you set foot onstage. Try and use pieces for more than one scene.
  • Dress for the weather. Act I is a mild spring day and evening. Act II is rainy until the drug store scene. Act III starts off rainy and mild but during Emily’s regression, it’s bitterly cold.
  • Try to avoid a major shopping spree. That is, unless you just like to buy new clothes. 

 Mario has brought in some great weather related pieces if you want to get an idea. He wears a raincoat in Act II but changes to a coat, gloves and knit cap for Emily’s 12th birthday. Jeff did the same about a week ago. Thanks, guys!

Note: There is now a costume rack backstage for you to keep things on. I'll add individual dividers to separate your stuff from everyone else's. If you hang it up correctly, you should have no trouble finding it again later. Put smaller things, like gloves, into the pockets of your coat. If at all possible, label the all small stuff!

Third, I’ve made an executive decision: We won’t be recording the song “Blest Be the Tie.” I know you all sound lovely and we’ve already devoted a few hours to working on it. But Robert needs the rehearsal time more than I think you guys need to hear yourselves sing during the show. (Did you know that our Robert actually recorded our ASTB tracks? He’s apparently an amazing music director also! Please thank him for doing that, particularly since we won’t be using them now.)

Lastly, I’m seeing absolute gold onstage. The Webbs and Gibbs spouses look so real, so MARRIED. I can see the longing and frustration in your faces even as you go through the motions of your day. Doug, your Sam Craig has a whole range of subtle feelings going on during your one scene in the cemetery. Patrick, you communicate that you care very deeply about the people in Grover’s Corners. And that care is going to be translated to the audience in a very short time.

Kids in the show, I would suggest that you watch these actors every night; you can a learn an awful lot.

Fun fact # 10
This man cared about his congregation so much!
"Blest Be the Tie That Binds" was written by John Fawcett (1740-1817.) He was a preacher at the small Baptist church in Wainsgate, England in 1772 when he received a call to move to a much larger, more prestigious church in London. He preached his farewell sermon, then loaded his family and belongings on a wagon for the move. As his tearful parishioners surrounded him to say their goodbyes, he made a snap decision to stay with these people whom he loved. He wrote “Blest Be the Tie” to commemorate that event.

It’s fitting that Wilder chose this song, which speaks to community life in such a poignant way, to frame his play.

The touching melody that you guys learned was written by someone else, a Swiss composer named Hans Georg Nageli.







Tuesday, July 31, 2012

TUESDAY JULY 31


It is with sadness and regret that I inform you that Matt Elliott (George) has to drop his role. His manager at Half Price Books initially agreed to be flexible for the run of the show, but is now requiring Matt to work evenings. Matt cannot guarantee, from one evening to the next, that he’ll be able to attend rehearsals or performances.

I have some feelers out for a replacement, but have yet to reach everyone I’m trying to contact. I hope to have an answer by tonight. It’s difficult to rehearse scenes when Matt isn’t there, so it’s imperative that a replacement is found soon.

Which leads me to the second of today’s weighty topics: absenteeism. I hate to harp on you guys, but it’s really critical that you be at every rehearsal. You all made a commitment to the show. And the bulk of you have been really diligent about attending rehearsals. I believe the problem lies with the conception that some of the smaller parts will not be missed.

The truth is YOU ARE MISSED! It’s increasingly difficult to finesse scenes if there are always three or four actors missing. Believe it or not, we’ve been rehearsing since the end of June and we have yet to have a single rehearsal with the entire cast present. I realize that some of your parts seem to be insignificant in terms of lines. But you’re a part of this cast, and when you’re gone, everyone around you is affected by it.

Please make every effort to attend all rehearsals (and performances!) from here out!

Tonight I'll have a seating chart for the wedding, since that proved problematic last night. Everyone have a good day!

The wedding always looks nicer when EVERYONE is there!







Monday, July 30, 2012

MONDAY JULY 30

Quick reminders:

  • We're doing ALL ACTS tonight!
  • Try and wear the right shoes for rehearsal. I don't mind if you wear flip flops all day long, but bring some rehearsal shoes and change when you arrive.
  • No scripts on stage. You can call for lines all you want.
  • We should only be missing Rita and Michel tonight, so Desi and Emily, you may have scripts to read in Mrs. Gibbs and Mrs. Soames.
See everybody at 7:00!

Friday, July 27, 2012

FRIDAY JULY 27


Now that you are off book for the entire show, or very nearly so, I’m anxious to start delving deeper into what’s happening with your character.

Everything that your character does in Our Town is important. These people care very deeply about their lives and they want to communicate something to the audience. As an example, let’s look at Mrs. Webb and Mrs. Gibbs.

Mrs. Gibbs is pleasant and easy going. She cares deeply for her husband and she worries that he overworks himself. Her house is reasonably clean and her children well mannered and of average intelligence. Son George is gifted athletically. But she has a dream. She longs to see Paris and has even found a way to make this dream happen: she can easily sell a clunky antique and have enough money to make her dream come true.

What happens when she broaches the subject with her husband? As she relates the story to Myrtle, he makes a joke about it, doesn’t treat it seriously. She later tells Frank that it’s her “duty” to see that he gets a rest. What does he say? He tells her that there’s “no sense in going over that again.” Doc Gibbs gets to see his Civil War battlefields every other year. She’s never been to Paris even once, and is shot down if she brings up the subject. How does this make her feel? Is she angry? Resigned? Disappointed? All of the above?

I think Whitney hit on something on Tuesday (24th) during the green bean scene. As she talks about their biennial trip to Civil War battlefields, she becomes almost comically sarcastic about it. I don’t think Julia Gibbs is a shrew and regularly tears her husband down, but she is clearly disappointed that her dream is never going to be realized and her husband doesn’t particularly care. Then she can’t even get Myrtle to listen to her!

Now let’s look at Myrtle Webb. Like Julia, Myrtle has two children. Her daughter Emily is blessed with a wonderful mind. Son Wally, not so much. Her relationship with her husband is a bit more strained; there’s probably more tension at their dinner table than across the way at the Gibbs. Why is it, though, that Myrtle finds it so difficult to pay her daughter a simple compliment? Did she come from a family that tended to close themselves off from one another emotionally? Is her marriage to Charles so dead that she is depressed and loses herself in her work? Is she embarrassed by any show of emotional delight that she can’t bring herself to say things?

All of the answers to these questions inform everything that Whitney and Rita do on stage. As both of these ladies lay out breakfast, what are they thinking? They surely don’t have to concentrate on how to set a table; they’ve done it thousands of times. But as each woman catches a glance out her window, what does she see? What does she long to see? What thoughts go through her mind? 

This sort of analysis is critical for everyone in the show. Even the school children. You guys have to cross the stage three different times. It shouldn’t look exactly the same every time, should it? Sometimes you’re late or you’ve forgotten something. Sometimes you’ve had a tiring day and walk slowly. You may be the best of friends with someone in the morning but by the afternoon, you’ve quarreled and aren’t on speaking terms. Perhaps you’ve gotten a good grade on an exam and can’t wait to get home and show your mom.

Let all of these things help you build a character that is so complex the audience can't help but be mesmerized by you!

Fun Fact about Our Town #9
On p 8, Howie tells Doc Gibbs that Bessie is going on 17.

Horses typically celebrate their birthdays on Jan 1, and Act I happens in May. So either Bessie turned 16 in January 1901, or, more likely since Howie appears to knows her exact age, she was born on Howie’s farm and is in fact almost 17. She might have been foaled in June or even as late as July.

Horses nowadays live to be 20 to 30. But their working life is considerably shorter, depending on the type of work that they do. Since Bessie lived in an era before antibiotics and routine surgery for large animals, she is probably nearing the end of her life. At the very least, she is late middle age. Since she puts in an appearance in Act II, which happens on July 7, 1904, we know that Bessie lives to be nearly 20.

So along with the morning star that gets wonderful bright just before it goes out on p 2, Mrs. Gibbs death foretold on p 4 and Joe Crowell on p 7, here's yet ANOTHER reference to the end of life in Wilder's Our Town.


A horse pulling a milk cart. Notice how tall the back of the wagon is? You almost need a step ladder to access it.