Too many hats

Yikes.  May 29?  Really?

Well, rehearsals have been going well.  We’re finally starting to put together the music/singing, the choreography, the acting, the blocking, and the orchestra.  Oh, and the scene changes.  Wowza.  And we’ve got a MONSTEROUSLY HUGE cast.  Like 55 people or something ridiculous.  Fun stuff.

And the show is looking good.  Tom Jackson – no, not this one… This one! - is really amazing.  Very keen sense of what’s going to be auditorily (is that even a word?) effective – the timing, the enunciation/diction, everything.  As anal as I am about so many things, I can truly appreciate Tom’s retentiveness.

 You can get details on the show here or here.  But definitely come see it.

The songs, unlike the soundtrack I’ve heard from Broadway, are emotionally alive, and gripping (which, frankly, makes it difficult for me to sing, since I am often choking back the tears myself as I do).

The early standouts for me so far are: Christy Stouffer (as Golde), Christa Ladny (as Tzeitel), Olivia Ercolano (as Hodel), Joan Ashwel plays an inspired Yente.  Also, although Chuck Dick (the Director) was my highschool acting teacher, I haven’t seen him act prior to this play.  I am impressed.  At least for this role, he’s well suited.

OK.  Time to try (again) to get some sleep.

Just completed another Pippin-filled weekend (including our final Sunday matinee). Just two more weeks to go. (boo-hoo).

Friday, everyone seemed to have low energy. Somehow the band got off track in the middle of a song, which really threw Shayna and the dancers off, but they did their best and eventually recovered. I can’t put my finger on it, but the dynamics were just not right all night. Still, got positive comments from the audience.

Saturday was, in my opinion, one of our best shows ever. I felt such energy from it, that it carried over into our Sunday show…

Sunday. Hmmm. Well, on the plus side – good energy, things were going well, my mom and sister showed, as well as my wife (pleasant surprise, since she had already seen it once). Then, at the beginning of the second act, the power went out. We assumed it was a circuit breaker, and went crazy flipping switches, but it turned out to be the entire block. It stayed out the WHOLE second act. But the cast and the band, much to their credit and reflecting INCREDIBLE professionalism, carried on and performed wonderfully. It even gave us some opportunity to snicker at ourselves as we heard ourselves say our normal lines like “Could you hold the light please?” or in reference to taking away all the “magic” of the theatre from Pippin himself, Shayna says to kill the lights. It was fabulous. Like in inside joke that everyone knew. Really great show, in spite of the problems. And – God not being without a sense of humor – the lights came back on just after the theatre cleared.

And I did take the part of the Constable in Fiddler on the Roof with PTC. Rehearsals sart June 1, and I’m getting excited. It will be fun working with them again. I’ll keep you up to date on that as well.

I am now starting to plan a very small musical to direct as a joint Arnold Christian Academy/New Covenant Church production (like I did with last year’s A Tree as high as the Ceiling). Andrea Nebbia (my co-conspirator and producer of ATAHATC) made a great suggestion of a mini-review – recognized snippets from various shows. I’ll be exploring how to make that happen. We’ll probably start auditioning immediately at the beginning of next school year, and plan for a December/January production.

Also, as the director of the CWA Players, a new production company from Christian Walk Alive, the organization that produces A Work in Progress, I am starting to explore what to choose as our inaugural production. I am somewhat set on doing a musical; and am smitten with the idea of a stage adaptation of “Prince of Egypt.” So I need to figure out if and how that can happen.

Found this review from the Laurel Leader for our current production of Pippin.

Go see it now. Right now. What are you waiting for?

Oh, it’s not the right day, or time. OK. Well, when it is – GO SEE IT!

And say Hi to me while you’re there.

But wait until meet & greet time afterwards – don’t just shout “Hi Mark!” in the middle of the play. That would be rude. Funny. As. Heck. But rude.

Under the “Better late than never” category, I ran across this review of Frankenstein from the Bay Weekly:

Pasadena Theatre Company Frankenstein

If you’re familiar only with Frankenstein monster movies, you re in for a surprise.

Reviewed by Kat Bennett

The Pasadena Theatre Company gets the spooking season off to a jolt with Frankenstein, its tragic tale of horror, twisted science and dark philosophy. Victor Gialanella play stays close to Mary Shelly famous novel; if you re familiar only with Frankenstein monster movies, you re in for a surprise.We like plays that make people think, says Sharon Steele, executive producer, publicity agent and box office manager. Frankenstein revolves on the dangers of playing god.

The tragedy begins in the laboratory where Victor Frankenstein (Dave Duvall) and Henry Clerval (Alex Campbell) argue about Frankenstein intention to create life. Once animated, the monster (Grail Schroeder) escapes. Lost in the woods, he is taken in by an old blind woman (Joan Ashwell) and taught to read and write. When thieves kill the old woman, the philosophical and literate creature is overcome with rage. See-sawing between human tenderness and animal passion, he seeks Frankenstein to demand that the doctor create a companion for him. Again thwarted, the monster wreaks vengeance until, overcome with remorse, he ends the tale in true tragic form.

As William, the younger brother of the obsessed doctor, Douglas Hanna is outstanding as he brings the audience through innocence to terror. Mark Jeweler is quite convincing as Herr Mueller, the town mayor, and Erin Kelly Justine evokes remembrances of the nanny from Romeo and Juliette. Alas, other adult players miss the mark. There is much handwringing and hunching but little distinct character development.

Clever set design allows the actors to move from foreground to stage left and stage right for seamless scene changes; however the technique risks confusing younger viewers. Costumes are lovely and appropriate for the play setting: Switzerland in the 1900s. The music is pleasantly haunting but often obscured by a mysterious 60-cycle hum.

As a theater company, Pasadena is homeless, which may explain its attraction to similarly homeless monsters. Frankenstein joins Jeykl and Hyde and Dracula as the third monster drama the company has tackled. Homelessness may deepen the company sympathy, but it also dampens the actors performances. The emotional vocal range of the actors is dulled as they struggle to project their voices on an unfamiliar stage.

It very sad, said Steele. We are a non-profit group and just can afford the fees, which are going up again.

As well as a theater location to call home, the company seeks a corporate sponsor.

Despite these limitations, the company has organized a full cast, including several talented local children. But because the play contains simulated gunshots and several murders, including one of a child, it may not be suitable for very young children.

As a rarely seen script, Gialanella Frankenstein is worth watching. First performed on Broadway in 1981, it is a complex play that offers a challenge of emotional range and philosophical depth to any company daring enough to take it on.

Director: Mark Tyler. Producer: Sharon Steele. Costumers: Rionn Kelly and Joan Ashwell. Lighting designer and technical director: Chuck Dick. Lighting technician: Megan Downey. With Camela Ebaugh (Elizabeth), Marisa Balatico (Katherine Frankenstein), Jason Bland (Hans Heinrich), Robert Frezza (Hans Metz), Rosemary Frezza (Frau Mueller), Sharn Jamie Heads (Peter Schmidt), Adeline Heuchan (Fran), Delanie Johnson (Sarah), Katahdin Kehoe (Heidi), Marjorie Kehoe (Alphonsa Frankenstein), Meghan Lynch (Emily), Josh Magness (Robert), Kelsey Reed (Mary) and Charly Stahly (Gertie).

Playing through Oct. 16 at 8pm FSa; 3pm Su and Sa Oct. 15 @ Humanities Recital Hall, Anne Arundel Community College, Arnold. $15: 410-975-0200 x 2.

Brandon and I recently auditioned for Fiddler On The Roof with the Pasadena Theatre Company The audition went well. HUGE turnout – 100+ people over two days.

Mistakes I made: I forgot to bring my water bottle, to help keep myself hydrated and lubricated. I still have not memorized the words to the song I audition with, so I can not engage the auditors as much when I’m reading off the page. I have got to figure out how to overcome my apparent total deficiency when it comes to dancing – I did REALLY bad during the dance audition.

Things I did well: I stood at the front of the stage, not obscured by anything (unlike MANY other people). I filled the auditorium vocally, projecting well, demonstrating that I have the power to do so (again, unlike MANY other people, who either don’t have the power, or didn’t demonstrate it).

Other things (possibly) in my favor: Chuck Dick is directing this production. He was my high school acting teacher, and also was involved in Frankenstein – So he’s familiar with me, my capabilities, etc.

Outcome: I have been offered the part of The Constable (What is up with that? First Frankenstein and now Fiddler… Am I being typecast?) It’s not as big a part as I would like, but… Someone’s got to play the roll, and “there are no small parts.” So I will almost certainly accept the offer and take the part unless I discover a conflict I am not aware of currently.

Brandon was also offered a part, though I believe only in the ensemble. He has decided not to take the offer – his summer is going to be too busy, with a planned 1-month missions trip to Peru and a desired two-week vacation to California to see his cousin.

I’ll update everyone more as the cast and auditions for Fiddler start to unfold.

We now have 4 performances under our belt, with another one this afternoon (Sunday, May 21), and continuing through June 10.

The cast is continuing to bond and grow together. It’s a wonderful, amazing thing, and a joy to be a part of. I love these guys (gender nuetral)!

I recently rented the DVD of the broadway performance of Pippin, with Ben Vereen as the Leading Player. With all due respect to Bob Fosse (the director of it), it was awful. Truely dreadful. I am so glad I had not seen this prior to auditioning for Alex, for two reasons: 1) I probably would not have wanted to be involved, and 2) It would have colored my performance and not allowed me to give Alex what he was looking for.

Pippin as a very whimsical production, that does not take itself too seriously, and makes fun of musicals. I get that. But the broadway version was way too campy for my taste. Our production has fun, and is funny, but doesn’t go over the top.

I also was surprised how… Raunchy… the broadway version was. I am very glad that Alex (along with significant help from Krissy Selvestro and Julie Waite) toned it down and made it more family friendly. It is still risque, and walks the line, but I am comfortable with it and with my kids being in it (and I’m a pretty conservative evangelical Christian).

In previous posts, I have mentioned specific cast members by name. I don’t want anyone to misinterpret that – it only represented particular “standouts” in my mind at that time. Without exception, everyone in the cast is fantastic. I am so impressed at the quality of this group and of this production. Now I’m gushing again. Well, what can I say? I love this business!!!

Come see the play! You won’t regret it.

I’ve said it before… I LOVE acting. I love the process, I love the work, I love the people, I love the results, I just love everything about it. I can’t even say “I love everything about it except…” There’s no exception. I simply love it.

We’ve been working VERY hard and VERY often on Pippin. To bring you up to date, fairly early in rehearsals, I brought Matthew (my middle son) with me, because logistically I had to. He was immediately drafted into the cast as well. So now it’s my and all of the boys.

The cast is great. Alex is a fantastic (if not a little anal, but that’s a very good thing) director. Julie Waite is the music director, and is amazing, both as the director and as an actor… Got to see her stand in for an actor who was unavailable for an extended period of time during our rehearsals, and Julie needed to understudy for her. Julie was the consumate professional. Learned the part (blocking, choreography, lines, and music) in under 5 days, and absolutely NAILED the character. Great acting, full use of her tools, and just an all around really superb job. Kristin Silvestro is the choreographer, and is also amazing. A wonderful sense of humor, timing, vision, and ability to put up with us dweebs who can’t dance our way out of a wet paper bag to save our own lives.

The cast is bonding, far more than I experienced on Frankenstein, and it’s a lot of fun being with them, watching us all grow throughout the process. Charly Stahly (who was also with me in Frankenstein) is adorable as the Duck/Lamb; Tim Grieb is great as Pippin (He’s got a very innocent/naive quality to him, perfect for Pippin, though the actor himself is neither.) And Shayna Blass stands out as the Lead Player – Watch this girl, she’s got star potential; very broadway.

I also am appreciating the friendship and playfulness of Nicole Hagey. She’s a lot of fun, and cute as a button. I also see potential here.

Today we start rehearsing with the full band, which will definitely add a new dimension to the whole experience. Next week starts Tech Week (AKA Hell Week, and for good reason) – rehearsals every night! And then we open on Friday May 12. 12 performances over 5 weeks.

I really hope you can make it. I’d love to see you there. And stick around afterwards for the meet & greet. Introduce yourself. And Enjoy the show (That’s an order).

For a well known HVAC company in the Washington metropolitan area. The audition was at BlueRock Productions, and I had a great time. It was one of those (unfortunately) rare moments as an actor where I felt I did everything exactly the way I intended to.

I previewed the script, got a flavor for the characters, especially the one I was expecting to audition for. I made specific conscious choices about how I was going to portray this character, who he was, etc. I got there and was relaxed (If I can fault myself for one thing it was trusting that I had my trusty water-bottle with me – which I did not. Fortunately, they offered me a bottle of water, which I gladly accepted.)

I ran through my performance a number of times in the van on the way there, and was totally prepared and in the zone.

Then I got there and they gave me some direction on the character, and what they wanted was not exactly what I had prepared – go figure. But it was cool – they knew what they wanted. And I was able to take the decisions I had made about the character and change the specific things they wanted changed, without it throwing my game off. This is CRITICAL to successful acting.

And they wanted me to audition for a different character as well – one which I did not expect to be appropriate for based on the character description.

But I did my thing. And they seemed to love it.

Not sure if I’ll get the part yet – though it’s a pretty tight schedule, so I’ll likely know in just a couple of days… But the important thing is that I walked out of there without a single thought or sense of “Geez, I wish I had remembered that I wanted to do this or that.” or “Man, I can’t believe how nervous I was, and when they wanted me to do something different, I just couldn’t pull it off.”

No, today was good. And whether I get the part or not, I did my best.

And that’s all I can ever ask of myself.

And it feels GREAT!

Alex Campbell, who played Henry in Frankenstein is directing (along with Mark Tyler, who directed Frankenstein) Pippin, at the Laurel Mill Playhouse.

My oldest (Brandon) and youngest (Cory) auditioned, along with me, and we have all been cast. We are all “players,” with Brandon also being the “talking head” and Cory being “Theo.”

We’re all thrilled – to be cast, to be working with such a fabulous cast, to be working with Alex and Mark (again, in my case), and to be in a musical – which has been something I’ve looked forward to for quite a while.

Hope you all can come check us out… The schedule is on the website.