Tuesday, December 16, 2008
Tuesday, December 9, 2008
Sadness, Accomplishment, Development
Howdy,
Tonight was the closing night of the run at Clark. It went wonderfully. All four performances were full. The audience responded to everything. They were fully engaged from point one - according to Kate Rafey. The actors said the play continued to grow. I'm going to write about that in a moment...but before tonight's final performance on the blog was the most generous comment from Jewdee - it's from a posting two days ago - and you have to read it. It confirmed from experience everything that Leah, Jamie D, Scott, and myself have been aiming for in the character of Ruthie. I wish I had these words for rehearsal because they so accurately describe what we are striving for - from experience. When I read it I was stroke by the generosity of spirit Jewdee has in sharing her insight. Then I was upset because I wanted to apply this information, apply it better, if possible. And then I realized this blog is part of the development process. This information Jewdee shared with us all will be here for as long as the blog is here...and is a reference point for every production that happens of this play. And that in itself is incredibly valuable...and for that not only do I thank Jewdee, but Trevor at LAByrinth for suggesting the blog for the process.
At 11:15PM tonight I finally called Kate Rafey (best collegiate stage manager ever) and learned she was sad that it was over. "It should still keep running. The actors are still growing..and it's so good." Dan's mom came a second time and thought it was better. And Dan is anxious to apply what he has learned to his next project...which may be some Shanley short plays (keeping it in the LAB family) and Leah doesn't want it to end. Which of course it's not going to. The play will get done again. Hopefully in New York. But in the conversation about their growth in this process, it was heart warming to hear about the sadness that they were feeling. Sad, not because they were going to miss each other, or the magical bond of the play, but a sadness that tends to be mixed evenly with pride. Proud of what you have done, and a feeling that sits deep within you...yearns to be recognized - and even when it is...wants more than anything to be sustained. In your next project, the continuation of this project...in some way...wanting to be recognized for doing something extraordinary. And everyone involved in the Clark production of Sweet Storm is feeling that contradiction that sits in the title - they are sad that this lag of the journey has ended but they are very proud of how far they came. And so am I. The play is stronger and better for everything that Kate Rafey, Dan Derks, and Leah Henoch brought to it. Thank you.
Goodnight,
Padraic
Tonight was the closing night of the run at Clark. It went wonderfully. All four performances were full. The audience responded to everything. They were fully engaged from point one - according to Kate Rafey. The actors said the play continued to grow. I'm going to write about that in a moment...but before tonight's final performance on the blog was the most generous comment from Jewdee - it's from a posting two days ago - and you have to read it. It confirmed from experience everything that Leah, Jamie D, Scott, and myself have been aiming for in the character of Ruthie. I wish I had these words for rehearsal because they so accurately describe what we are striving for - from experience. When I read it I was stroke by the generosity of spirit Jewdee has in sharing her insight. Then I was upset because I wanted to apply this information, apply it better, if possible. And then I realized this blog is part of the development process. This information Jewdee shared with us all will be here for as long as the blog is here...and is a reference point for every production that happens of this play. And that in itself is incredibly valuable...and for that not only do I thank Jewdee, but Trevor at LAByrinth for suggesting the blog for the process.
At 11:15PM tonight I finally called Kate Rafey (best collegiate stage manager ever) and learned she was sad that it was over. "It should still keep running. The actors are still growing..and it's so good." Dan's mom came a second time and thought it was better. And Dan is anxious to apply what he has learned to his next project...which may be some Shanley short plays (keeping it in the LAB family) and Leah doesn't want it to end. Which of course it's not going to. The play will get done again. Hopefully in New York. But in the conversation about their growth in this process, it was heart warming to hear about the sadness that they were feeling. Sad, not because they were going to miss each other, or the magical bond of the play, but a sadness that tends to be mixed evenly with pride. Proud of what you have done, and a feeling that sits deep within you...yearns to be recognized - and even when it is...wants more than anything to be sustained. In your next project, the continuation of this project...in some way...wanting to be recognized for doing something extraordinary. And everyone involved in the Clark production of Sweet Storm is feeling that contradiction that sits in the title - they are sad that this lag of the journey has ended but they are very proud of how far they came. And so am I. The play is stronger and better for everything that Kate Rafey, Dan Derks, and Leah Henoch brought to it. Thank you.
Goodnight,
Padraic
Monday, December 8, 2008
Development from afar or Love is in the Air
Howdy,
When I remounted The Dirty Talk with Kevin and Sidney - I remember talking about at rehearsal that it is a privilege to be able to revisit a play you love. Once in a decade type of an event in a career. It is actually a fourth in a lifetime event for me with Sweet Storm. This is the first revisit I've had with a different cast - but it is equally as special. And what makes it special is the investment everyone puts into the play. This play demands it - because it's about allowing us to be loved and to love. And you can't do that half assed. As I mentioned I could only see the first performance at Clark. Mainly because I had committed to get back to the LAByrinth Master Classes on Sunday and Monday - and you can't get from Worcester to NYC very easily - so I had to return Saturday morning. I have been honored the last two nights to get a call from the stage manager, Kate Rafey (the best college stage manager ever) and Dan and Leah - both nights reporting on the growth of the play and setting goals for tomorrow's performance. Goals of growth. And it really reminds me of the three performances we did at The Public with Jamie D. and Eric T. because in each of those we pushed for growth. And each show got better and better - and it sounds like that is happening in Clark as well.
A valuable lesson was learned by both actors tonight. Saturday's prep was so good and so strong...that they set new goals and made the assumption that there prep would be there because it was there last night. Something they won't do Monday because they both realized they still have to do the prep to realize the early moments of the play. At the same time they knew it wasn't as strong and they put the focus on the other and trusted them, invested in them, and as Kate Rafey texted me...'the actors were good'.
I love getting the calls at night to hear how it went, and what they want to strengthen tomorrow. I love that they care about the play as much as I do, and Jamie, Eric, Jessica, Lea, Betsy, Sarah, Martin and all do.
My quote of the night comes from Dan (Bo)- "It's amazing we are able to approach each performance as an opportunity of growth. Usually you're going on stage trying to make up for things you didn't get to in the process. Here we're not trying to catch up, we're trying to add to it. And make it more specific. And that's really cool."
That's the feckin' spirit of LAByrinth if I ever heard it.
Goodnight,
Padraic
When I remounted The Dirty Talk with Kevin and Sidney - I remember talking about at rehearsal that it is a privilege to be able to revisit a play you love. Once in a decade type of an event in a career. It is actually a fourth in a lifetime event for me with Sweet Storm. This is the first revisit I've had with a different cast - but it is equally as special. And what makes it special is the investment everyone puts into the play. This play demands it - because it's about allowing us to be loved and to love. And you can't do that half assed. As I mentioned I could only see the first performance at Clark. Mainly because I had committed to get back to the LAByrinth Master Classes on Sunday and Monday - and you can't get from Worcester to NYC very easily - so I had to return Saturday morning. I have been honored the last two nights to get a call from the stage manager, Kate Rafey (the best college stage manager ever) and Dan and Leah - both nights reporting on the growth of the play and setting goals for tomorrow's performance. Goals of growth. And it really reminds me of the three performances we did at The Public with Jamie D. and Eric T. because in each of those we pushed for growth. And each show got better and better - and it sounds like that is happening in Clark as well.
A valuable lesson was learned by both actors tonight. Saturday's prep was so good and so strong...that they set new goals and made the assumption that there prep would be there because it was there last night. Something they won't do Monday because they both realized they still have to do the prep to realize the early moments of the play. At the same time they knew it wasn't as strong and they put the focus on the other and trusted them, invested in them, and as Kate Rafey texted me...'the actors were good'.
I love getting the calls at night to hear how it went, and what they want to strengthen tomorrow. I love that they care about the play as much as I do, and Jamie, Eric, Jessica, Lea, Betsy, Sarah, Martin and all do.
My quote of the night comes from Dan (Bo)- "It's amazing we are able to approach each performance as an opportunity of growth. Usually you're going on stage trying to make up for things you didn't get to in the process. Here we're not trying to catch up, we're trying to add to it. And make it more specific. And that's really cool."
That's the feckin' spirit of LAByrinth if I ever heard it.
Goodnight,
Padraic
Saturday, December 6, 2008
UP and UP
Howdy,
The production/workshop at Clark is up and running. It opened last night and was tremendous. The actors really are giving it their all and is a lovely piece for young actors. The one thing that is great about Sweet Storm is it holds what ever ability you have and supports that story. But as the actors get more specific and go deeper - it will tell that story too. And from all reports the second night...which I missed. We rehearsed today at noon, working a few points, mainly finding points of release for Ruthie, where she doesn't have to hold back. She found them. And from all reports it went even better today than yesterday. Which is all anyone can ask. Both actors called me seperately after the show to say how good the other actor was. That was fantastic. Also, Leah pointed out the feeling in the beginning of the play of the audience thinking Bo is so nice and that Ruthie is a little whiney helped her because that energy - she realized is probably what happens to these characters in real life. Bo is considered great for marrying and caring for a sick girl, and she doesn't appear grateful enough. I liked hearing it as an acting tool...and as an accurate journey the audience goes on with the two of them.
One note for the next full production - Clark got fake gardenias...and boy those are impressive flowers. It makes the whole room look fuller and about the burst. At Clark we had a similiar set as at The Public but with interesting flats and the stage was raised a foot off the ground. We were able to convey the idea of height and climbing into the tree house. Still no trapdoor - but the elevation was realized. And it does help tell the story.
I hope the play happens in NYC - and that the Clark team gets to meet the NYC team. I know the Leah, Dan, and Kate Rafey - the stage manager - would love it.
Goodnight,
Padraic
The production/workshop at Clark is up and running. It opened last night and was tremendous. The actors really are giving it their all and is a lovely piece for young actors. The one thing that is great about Sweet Storm is it holds what ever ability you have and supports that story. But as the actors get more specific and go deeper - it will tell that story too. And from all reports the second night...which I missed. We rehearsed today at noon, working a few points, mainly finding points of release for Ruthie, where she doesn't have to hold back. She found them. And from all reports it went even better today than yesterday. Which is all anyone can ask. Both actors called me seperately after the show to say how good the other actor was. That was fantastic. Also, Leah pointed out the feeling in the beginning of the play of the audience thinking Bo is so nice and that Ruthie is a little whiney helped her because that energy - she realized is probably what happens to these characters in real life. Bo is considered great for marrying and caring for a sick girl, and she doesn't appear grateful enough. I liked hearing it as an acting tool...and as an accurate journey the audience goes on with the two of them.
One note for the next full production - Clark got fake gardenias...and boy those are impressive flowers. It makes the whole room look fuller and about the burst. At Clark we had a similiar set as at The Public but with interesting flats and the stage was raised a foot off the ground. We were able to convey the idea of height and climbing into the tree house. Still no trapdoor - but the elevation was realized. And it does help tell the story.
I hope the play happens in NYC - and that the Clark team gets to meet the NYC team. I know the Leah, Dan, and Kate Rafey - the stage manager - would love it.
Goodnight,
Padraic
Tuesday, December 2, 2008
The value in working slow
Howdy,
I wish this workshop at Clark was happening in the NYC so everyone could see it. Obviously, Jamie Dunn and Eric T. Miller were brilliant. But these two students - Leah and Dan are knocking it out. Really growing every day and doing all they can to bring these two to life. It is a treat to work with them. I've learned a lot about the play, the need for an astute sharp eye, and the basics of acting - the stakes are invested in the other person. That btw was a great reminder from a conversation with Charles Goforth.
My Quick findings:
Both characters are in a similar place of status to one another.
If each is trying to be worthy (in some form or another) of the other's love it keeps it very active and the stakes are always present.
If Ruthie is investing in Bo getting what he deserves...it makes her less 'spoiled' as it were. It takes away from her dissappointment it makes it more about her love for him and she becomes much more sympathetic. (By much more - I mean a tremendous amount to the subtle eye of someone who knows the play really well - but it's better.)
It seems obvious that the stakes reside in the other person...but it does take working with students to remind you of the obvious so that to ensure that the emotions of self identifying pain of Ruthie's is grounded - or more empathetic.
I'm looking forward to seeing how this effects the rehearsals and discoveries when we go back to work on the play in NYC this Spring. Stay tuned for more information.
Goodnight,
Padraic
I wish this workshop at Clark was happening in the NYC so everyone could see it. Obviously, Jamie Dunn and Eric T. Miller were brilliant. But these two students - Leah and Dan are knocking it out. Really growing every day and doing all they can to bring these two to life. It is a treat to work with them. I've learned a lot about the play, the need for an astute sharp eye, and the basics of acting - the stakes are invested in the other person. That btw was a great reminder from a conversation with Charles Goforth.
My Quick findings:
Both characters are in a similar place of status to one another.
If each is trying to be worthy (in some form or another) of the other's love it keeps it very active and the stakes are always present.
If Ruthie is investing in Bo getting what he deserves...it makes her less 'spoiled' as it were. It takes away from her dissappointment it makes it more about her love for him and she becomes much more sympathetic. (By much more - I mean a tremendous amount to the subtle eye of someone who knows the play really well - but it's better.)
It seems obvious that the stakes reside in the other person...but it does take working with students to remind you of the obvious so that to ensure that the emotions of self identifying pain of Ruthie's is grounded - or more empathetic.
I'm looking forward to seeing how this effects the rehearsals and discoveries when we go back to work on the play in NYC this Spring. Stay tuned for more information.
Goodnight,
Padraic
Tuesday, November 25, 2008
God is in the details
Howdy,
I was invited to Clark to work on this play with students because my friend who teaches here saw the presentation at The Public LAB series in June. I realize now that our designers were so good, so good, that he didn't realize how hard the play is. By that I mean...where are you going to get 50 gardenias, and these sound cues, and wait...the clothes get chocolate on them every night, and she has to change clothes on stage? I mention all of this because our designers were so good that few people noticed all the detail in finding the right dress, the right nightgown, the right pair of boxers...all of it. Because working with students in a 'workshop' no one is specifically in charge of anything. So, the phrase I keep repeating is "Yes, the clothes are simple, but they have to be specific." You can substitute the word 'clothes' with any other that applies to the play.
I'm not complaining - just grateful for the efforts of others.
Also, I'm watching the specifics of the actors, and how lazer specific the internal life needs to be great in a play. Pushing Leah - the actress playing Ruthie to get specific when Bo is pushing her to tell him what she wants...In trying to get her to name the one thing that would make her happy...She named being able to 'successfully' consummate the marriage. And it took a while to get that answer, I didn't know it was the answer - I actually thought the answer was " I don't know" but wanted to push so she could feel the frustration of not knowing...but when that answer came out, it helped to clarify how she is listening. It also made the stakes and fears specific for her. And I realized, yes, when I don't know...there is always a specific tartget of need, want, or fear...and that specificness is what makes the behavior in acting exciting and engaging.
Scott's rewrite is great. It took the actors a couple of days to make it not jarring to my ear to hear something new. And now that have a sense of ownership of it...the change is very powerful. That Scott Hudson is a feckin' good writer.
Goodnight,
Padraic
I was invited to Clark to work on this play with students because my friend who teaches here saw the presentation at The Public LAB series in June. I realize now that our designers were so good, so good, that he didn't realize how hard the play is. By that I mean...where are you going to get 50 gardenias, and these sound cues, and wait...the clothes get chocolate on them every night, and she has to change clothes on stage? I mention all of this because our designers were so good that few people noticed all the detail in finding the right dress, the right nightgown, the right pair of boxers...all of it. Because working with students in a 'workshop' no one is specifically in charge of anything. So, the phrase I keep repeating is "Yes, the clothes are simple, but they have to be specific." You can substitute the word 'clothes' with any other that applies to the play.
I'm not complaining - just grateful for the efforts of others.
Also, I'm watching the specifics of the actors, and how lazer specific the internal life needs to be great in a play. Pushing Leah - the actress playing Ruthie to get specific when Bo is pushing her to tell him what she wants...In trying to get her to name the one thing that would make her happy...She named being able to 'successfully' consummate the marriage. And it took a while to get that answer, I didn't know it was the answer - I actually thought the answer was " I don't know" but wanted to push so she could feel the frustration of not knowing...but when that answer came out, it helped to clarify how she is listening. It also made the stakes and fears specific for her. And I realized, yes, when I don't know...there is always a specific tartget of need, want, or fear...and that specificness is what makes the behavior in acting exciting and engaging.
Scott's rewrite is great. It took the actors a couple of days to make it not jarring to my ear to hear something new. And now that have a sense of ownership of it...the change is very powerful. That Scott Hudson is a feckin' good writer.
Goodnight,
Padraic
Thursday, November 20, 2008
Continuous Learning
Howdy,
What is great about taking a play back into development, and with new actors, is you hear it differently. Working with Leah and Dan at Clark - I've heard some of the levels of humor and friendship that need to be a little more present in the play. Also, I'm learning about the specifics of love, what is it exactly these two individuals get from the other - in just their relationship. Just by knowing and being with the other that they get from no other. Watching these two young actors discuss that with each other today really deepened how specific this relationship, well probably every relationship is, but specifically this one for the play - how their interactions inform their relationship to the world and the journey. (I'm leaving the word journey in the blog...it seems less specific than I want to be but for now - it stays.)
This play is wonderful to work on with students - because it works with what ever level of specificness you are capable of achieving in action and emotion. The deeper and more specific work you do the stronger the play. It can support you and you learn - and expand with the actor. Also, it forces you to keep learning and growing. I saw Jamie at the LAB party last night - and she said she still is stopped in the middle of doing something with an "Aha" moment about a moment in SWEET STORM.
those "Aha" moments make it a great play to work on with young actors.
Okay - I'm hoping to keep this blog up. I hope to learn more about the development process - if not of the play, maybe of actors and directors.
Goodnight,
Padraic
What is great about taking a play back into development, and with new actors, is you hear it differently. Working with Leah and Dan at Clark - I've heard some of the levels of humor and friendship that need to be a little more present in the play. Also, I'm learning about the specifics of love, what is it exactly these two individuals get from the other - in just their relationship. Just by knowing and being with the other that they get from no other. Watching these two young actors discuss that with each other today really deepened how specific this relationship, well probably every relationship is, but specifically this one for the play - how their interactions inform their relationship to the world and the journey. (I'm leaving the word journey in the blog...it seems less specific than I want to be but for now - it stays.)
This play is wonderful to work on with students - because it works with what ever level of specificness you are capable of achieving in action and emotion. The deeper and more specific work you do the stronger the play. It can support you and you learn - and expand with the actor. Also, it forces you to keep learning and growing. I saw Jamie at the LAB party last night - and she said she still is stopped in the middle of doing something with an "Aha" moment about a moment in SWEET STORM.
those "Aha" moments make it a great play to work on with young actors.
Okay - I'm hoping to keep this blog up. I hope to learn more about the development process - if not of the play, maybe of actors and directors.
Goodnight,
Padraic
Wednesday, November 19, 2008
Life after the Summer Winds
Howdy,
I am in LAByrinth's off speaking with Trevor, who began the idea of blogging for the Play Development Process of the Public LAB presentation of SWEET STORM, and we were talking about the value of the blog in all of our Development or Production Processes. And well - I'm a fan. I love sharing the process with you - whomever you are, because I think the process of creating a play is challenging and should never be done alone. And sharing my experience with you - makes me understand it better, and possibly for those of you venturing into your own process reading these postings will give you comfort in your process. And for the voyeur or fan who is just curious what's happening with this play...hey good to see you again.
Two things happening with Scott Hudson's SWEET STORM. The first is after seeing the play at the Public LAB in June Clark University invited me up to work on the play with their students. We are doing a presentation with the similar level of tech as the Public LAB. It is more of a workshop for the actors. Who, thus far, are great. Leah and Dan are playing Ruthie and Bo. They are meeting every challenge and working as hard as they can. And they love the play. I also have the fortune of a brilliant post grad stage manager - Kate who is holding the tree house together as I commute to Worcester, MA and NYC. We are doing the presentations in a wonderful rehearsal room with a giant tree blowing outside the window. We are hoping to light this tree for our presentation - hopefully the wind and rain will be there too. For more details - I will share as they come.
Oh - and Scott added some text that we are trying out. So far so good.
Second piece of news: there is a theater company in New York interested in producing the play in the Spring of '09. It is still in the discussion phase as of now - so I won't mention the Company involved. But I will say that their interest stems from seeing the Public LAB presentation as well - and that they thought the play was beautiful and about the risk involved in allowing another person to love you. And the absence of cynism - was not only heart warming, but also a little threatening - and something that the world should experience today. All of that was lovely.
Now that Trevor has jogged my memory of the blogging - I'll keep you posted about the Clark Presentation, and any news on the possible Spring Production.
Goodnight,
Padraic
I am in LAByrinth's off speaking with Trevor, who began the idea of blogging for the Play Development Process of the Public LAB presentation of SWEET STORM, and we were talking about the value of the blog in all of our Development or Production Processes. And well - I'm a fan. I love sharing the process with you - whomever you are, because I think the process of creating a play is challenging and should never be done alone. And sharing my experience with you - makes me understand it better, and possibly for those of you venturing into your own process reading these postings will give you comfort in your process. And for the voyeur or fan who is just curious what's happening with this play...hey good to see you again.
Two things happening with Scott Hudson's SWEET STORM. The first is after seeing the play at the Public LAB in June Clark University invited me up to work on the play with their students. We are doing a presentation with the similar level of tech as the Public LAB. It is more of a workshop for the actors. Who, thus far, are great. Leah and Dan are playing Ruthie and Bo. They are meeting every challenge and working as hard as they can. And they love the play. I also have the fortune of a brilliant post grad stage manager - Kate who is holding the tree house together as I commute to Worcester, MA and NYC. We are doing the presentations in a wonderful rehearsal room with a giant tree blowing outside the window. We are hoping to light this tree for our presentation - hopefully the wind and rain will be there too. For more details - I will share as they come.
Oh - and Scott added some text that we are trying out. So far so good.
Second piece of news: there is a theater company in New York interested in producing the play in the Spring of '09. It is still in the discussion phase as of now - so I won't mention the Company involved. But I will say that their interest stems from seeing the Public LAB presentation as well - and that they thought the play was beautiful and about the risk involved in allowing another person to love you. And the absence of cynism - was not only heart warming, but also a little threatening - and something that the world should experience today. All of that was lovely.
Now that Trevor has jogged my memory of the blogging - I'll keep you posted about the Clark Presentation, and any news on the possible Spring Production.
Goodnight,
Padraic
Sunday, July 6, 2008
Follow Up
Howdy,
Hope all had a lovely 4th of July weekend. I didn't want to post because I love the picture of the company that worked on the production being the last shot on the blog. But then I realized eventually there would be other posts - so might as well go now. Also, Scott and I had a very productive follow up conversation on Thursday regarding the play and the process. Thank you to all of the comments, on the blog and in person. We really talked about - maybe this is directing and acting thought - but we talked about how when Ruthie really captures the Southern sweet girl she was before getting Polio - it really taps into the struggle she is facing as she confronts the negativity she is allowing to creep in. We also discussed with the wonderful detail work Eric T. and Jamie D. were doing, it allowed us to focus on the behavior of their relationship before the illness. I look forward to incorporating more of that work in any future productions. Also, Scott and I discussed the value of naming the illness, polio, in the play - it would have to organic and not expositional, but we don't want people guessing...for too long about what happened to Ruthie. That was a very useful note from the blog. Thank you for that.
Goodnight,
Padraic
Hope all had a lovely 4th of July weekend. I didn't want to post because I love the picture of the company that worked on the production being the last shot on the blog. But then I realized eventually there would be other posts - so might as well go now. Also, Scott and I had a very productive follow up conversation on Thursday regarding the play and the process. Thank you to all of the comments, on the blog and in person. We really talked about - maybe this is directing and acting thought - but we talked about how when Ruthie really captures the Southern sweet girl she was before getting Polio - it really taps into the struggle she is facing as she confronts the negativity she is allowing to creep in. We also discussed with the wonderful detail work Eric T. and Jamie D. were doing, it allowed us to focus on the behavior of their relationship before the illness. I look forward to incorporating more of that work in any future productions. Also, Scott and I discussed the value of naming the illness, polio, in the play - it would have to organic and not expositional, but we don't want people guessing...for too long about what happened to Ruthie. That was a very useful note from the blog. Thank you for that.
Goodnight,
Padraic
Wednesday, June 25, 2008
The Cast and Crew!
Here's the team for Sweet Storm (not the whole team, but everyone present), assembled after the dress rehearsal, Thursday 6/19/08.
From left to right: Carly Whitaker (our Assistant Scenic Designer from Bennington), Sarah Sidman (one of LAB's fantastic Lighting Designers), Jamie Dunn (the one and only Ruthie), Jessica J. Felix (our tremendous Stage Manager), Eric T. Miller (the one and only Bo), Padraic our fine director, Martin Andrew (Scenic Designer), the playwright himself Scott Hudson, Elizabeth Rhodes (one of LAB's great Sound Designers), Lauren Lopez (production assistant extraordinaire), David Jackson (Assistant Director - and a genius with his own company, Impetuous Theater), and Becky Harris (our other Production Assistant extraordinaire).
Beautiful Photo by Thom Kaine.
From left to right: Carly Whitaker (our Assistant Scenic Designer from Bennington), Sarah Sidman (one of LAB's fantastic Lighting Designers), Jamie Dunn (the one and only Ruthie), Jessica J. Felix (our tremendous Stage Manager), Eric T. Miller (the one and only Bo), Padraic our fine director, Martin Andrew (Scenic Designer), the playwright himself Scott Hudson, Elizabeth Rhodes (one of LAB's great Sound Designers), Lauren Lopez (production assistant extraordinaire), David Jackson (Assistant Director - and a genius with his own company, Impetuous Theater), and Becky Harris (our other Production Assistant extraordinaire).
Beautiful Photo by Thom Kaine.
Production Photos 1
Here are the first of the production photos! Thom Kaine took these shots at the dress rehearsal on Thursday evening 6/19, and I think they're great. If you want to see more of his work, you can do so here. All the photos are of Eric T. Miller (playing Bo) and Jamie Dunn (playing Ruthie).
Sunday, June 22, 2008
Presentation 3 - Goodnight
Howdy,
This was our final presentation in the Public LAB workshop. The goal of our workshop was met. The play has been developed to its fullest and is in production fighting shape.
I will update you on any news regarding the play. I hope you enjoyed the show - and the development process. It is now time to hear your comments.
It has been an honor.
Goodnight,
Padraic
This was our final presentation in the Public LAB workshop. The goal of our workshop was met. The play has been developed to its fullest and is in production fighting shape.
I will update you on any news regarding the play. I hope you enjoyed the show - and the development process. It is now time to hear your comments.
It has been an honor.
Goodnight,
Padraic
Saturday, June 21, 2008
PERFORMANCE 3! 6/21/08 closing night
A great final performance. What a show.
Stage Manager notes: "Really Terrific Show! Nothing but the best from the audience. The actors took 2 curtain calls due to the ravenous applause! Moments that got a large response: Very Top Entrance, New Boxers, Mr. Jenkins burnin' in hell, Scrooge, Gloria Hattersfield, Blue Jay, Collecting the gardenias, Colas (open cooler and preacher push!!!!), Cutlery, Fish!!!, Ladder Break.
1 props note: All props are stored at the Shiva right now.
1 set note: Set Elements are stored in the Shiva right now.
1 costumes note: Becky washed all the costumes and they are stored in the Shiva.
Running time: 1 hour 13 minutes.
If you saw this performance, please post a comment and tell us your thoughts. The show might be over for now, but we'll be talking about it for a long time.
Stage Manager notes: "Really Terrific Show! Nothing but the best from the audience. The actors took 2 curtain calls due to the ravenous applause! Moments that got a large response: Very Top Entrance, New Boxers, Mr. Jenkins burnin' in hell, Scrooge, Gloria Hattersfield, Blue Jay, Collecting the gardenias, Colas (open cooler and preacher push!!!!), Cutlery, Fish!!!, Ladder Break.
1 props note: All props are stored at the Shiva right now.
1 set note: Set Elements are stored in the Shiva right now.
1 costumes note: Becky washed all the costumes and they are stored in the Shiva.
Running time: 1 hour 13 minutes.
If you saw this performance, please post a comment and tell us your thoughts. The show might be over for now, but we'll be talking about it for a long time.
Presentation 2 - director cut
Howdy,
I'm posting for continuity. I don't want to combine the two shows together because we did implement notes from what we learned during last night's run. Scott took one of Brett C's notes - and put it into the script. It truly added to the hope. Great eye for detail. And I talked with Jamie D. after my discussion with E-Rod. Her prep was great. Very powerful. Huge growth.
Only a couple of notes for tonight. And I saw a blocking opportunity that can help tell the story - we'll put that in. Also, we added water, meaning I sprayed the actors down before the show- you know, cuz it's raining outside, at the top of show - helped the reality. Bout time we tried that.
For more details - read below: You have the performance report and photos. Thanks Trevor.
Thanks Rebecca for your comments.
They are going to go even deeper, and more specific, with a spirit of play.
Designers rock. P.A. rock. Jessica...rocks them all.
Look forward to the final presentation tonight. We have learned a lot - and hope to learn more tonight.
Goodnight,
Padraic
I'm posting for continuity. I don't want to combine the two shows together because we did implement notes from what we learned during last night's run. Scott took one of Brett C's notes - and put it into the script. It truly added to the hope. Great eye for detail. And I talked with Jamie D. after my discussion with E-Rod. Her prep was great. Very powerful. Huge growth.
Only a couple of notes for tonight. And I saw a blocking opportunity that can help tell the story - we'll put that in. Also, we added water, meaning I sprayed the actors down before the show- you know, cuz it's raining outside, at the top of show - helped the reality. Bout time we tried that.
For more details - read below: You have the performance report and photos. Thanks Trevor.
Thanks Rebecca for your comments.
They are going to go even deeper, and more specific, with a spirit of play.
Designers rock. P.A. rock. Jessica...rocks them all.
Look forward to the final presentation tonight. We have learned a lot - and hope to learn more tonight.
Goodnight,
Padraic
PERFORMANCE 2! 6/21/08 matinee
Another happy audience. Partial standing ovation.
Stage Manager reports that there were "Huge responses for: Hanger!!, Boxers!!, Mrs. Owens section, Gloria Hatersfield, Blue Jays, Bo collecting the flowers, Colas, Cutlery, the whole Cake scene, The Fish!!!, Opening the radio."
Padraic will be giving the cast notes at 6pm, before tonight's performance.
Props note: cola cap still tight!
If you saw this performance, PLEASE POST A COMMENT!
Running time: 1 hour, 11 minutes (we gained 1 minute).
Stage Manager reports that there were "Huge responses for: Hanger!!, Boxers!!, Mrs. Owens section, Gloria Hatersfield, Blue Jays, Bo collecting the flowers, Colas, Cutlery, the whole Cake scene, The Fish!!!, Opening the radio."
Padraic will be giving the cast notes at 6pm, before tonight's performance.
Props note: cola cap still tight!
If you saw this performance, PLEASE POST A COMMENT!
Running time: 1 hour, 11 minutes (we gained 1 minute).
Production Photographs
Thom Kaine, one of LAByrinth's fantastic interns stepped in at the last minute to take photographs at the Dress Rehearsal (Monique, our irreplaceable Company Photographer, wasn't able to be there). The results are A WORK OF ART. We'll post them on the blog in a couple of days, but in the meantime, you can check them out here. (http://tkaine.carbonmade.com/projects/2080233#1)
Thanks Thom - great work!
Thanks Thom - great work!
Presentation 1 - "Open"
Howdy,
Way to go everyone. The pressure that became apparent yesterday, the pressure of sharing the work...well that pressure clarified what we needed to focus on. And the courage, strength and commitment to meet that challenge. We rehearsed a couple of clarifying moments - blocking with sound. A lighting moment or two, looked at and found the best quilt for the bed spread. Thank you Marieke for bringing in the perfect option.
Audience - it was sold out...but it also proved that if you come, you will get in. Everyone got a seat - so please, come to the theater and see the play.
This presentation tonight was fantastic - everything came together in a lovely way. Audience, actors, tech...all parts. There was a tremendous amount of love after the presentation. I'm not going to write about that too much. I hope you all will come and experience it for yourself tomorrow. Either at 2pm or 8pm.
However, I am going to focus on the 'development' aspect of presenting work like this. If it was a one time shot - I'd be basking in the glow of our success. And Scott and I would talk in a day or two after we come down from this achievement - and get a sense of clarity about what happened tonight. However, because we have a show at 2pm tomorrow. We celebrated tonight...and then scheduled rehearsal tomorrow morning. There are a couple of beats to look at again. Mainly to tighten up, to keep the stakes present, and - some people say louder, faster, funnier...but most of the time...faster is good for allowing the characters to be effected by what is going on in certain areas. The heightened emotions motivate things...and makes them less intellectual and more visceral. So we will explore that.
The other reason we are working is because it is a 'workshop' not a run. I don't want the cast, or Scott - to think we are done because the audience liked us. And there is a terror, or slight fear, that comfort will settle in. Rehearsal is not to prevent comfort but to focus or efforts.
Okay, one more thing I love about LAByrinth. I went to the E. 4th Street Bar after the presentation. Rounds of praise for all. And then when the backroom emptied E-Rod and I talked about how to make each moment more emotionally specific and deeper for the actors. She talked about the key being in the emotional preparation before going on stage. It was good...it was things the actors, Scott, and I talked about during the process...but to hear it again got me focused back on reminding the actors and pushing them to continue to reach. Even if it pushes off the security of what we had tonight...because we know what tonight was, but our goal is to see what the play can be.
After that conversation Brett C. had two text thoughts for Scott. Scott left early...but he asked Brett and he is passing them on to me. One of them is to remove the biggest laugh in the play...but with a lot of good emotionally honest reasons for the journey of the play. And Scott and I will talk about these points - and we do have rehearsal, so we can look at it. Put it up infront of the audience in the afternoon and try something else in the evening.
It is growing. So - if you came tonight...feel free to come again.
I'm very happy with the work of all. And excited about tomorrow knowing that everyone wants to continue working.
Hope to see you all tomorrow at the presentation.
Goodnight,
Padraic
Way to go everyone. The pressure that became apparent yesterday, the pressure of sharing the work...well that pressure clarified what we needed to focus on. And the courage, strength and commitment to meet that challenge. We rehearsed a couple of clarifying moments - blocking with sound. A lighting moment or two, looked at and found the best quilt for the bed spread. Thank you Marieke for bringing in the perfect option.
Audience - it was sold out...but it also proved that if you come, you will get in. Everyone got a seat - so please, come to the theater and see the play.
This presentation tonight was fantastic - everything came together in a lovely way. Audience, actors, tech...all parts. There was a tremendous amount of love after the presentation. I'm not going to write about that too much. I hope you all will come and experience it for yourself tomorrow. Either at 2pm or 8pm.
However, I am going to focus on the 'development' aspect of presenting work like this. If it was a one time shot - I'd be basking in the glow of our success. And Scott and I would talk in a day or two after we come down from this achievement - and get a sense of clarity about what happened tonight. However, because we have a show at 2pm tomorrow. We celebrated tonight...and then scheduled rehearsal tomorrow morning. There are a couple of beats to look at again. Mainly to tighten up, to keep the stakes present, and - some people say louder, faster, funnier...but most of the time...faster is good for allowing the characters to be effected by what is going on in certain areas. The heightened emotions motivate things...and makes them less intellectual and more visceral. So we will explore that.
The other reason we are working is because it is a 'workshop' not a run. I don't want the cast, or Scott - to think we are done because the audience liked us. And there is a terror, or slight fear, that comfort will settle in. Rehearsal is not to prevent comfort but to focus or efforts.
Okay, one more thing I love about LAByrinth. I went to the E. 4th Street Bar after the presentation. Rounds of praise for all. And then when the backroom emptied E-Rod and I talked about how to make each moment more emotionally specific and deeper for the actors. She talked about the key being in the emotional preparation before going on stage. It was good...it was things the actors, Scott, and I talked about during the process...but to hear it again got me focused back on reminding the actors and pushing them to continue to reach. Even if it pushes off the security of what we had tonight...because we know what tonight was, but our goal is to see what the play can be.
After that conversation Brett C. had two text thoughts for Scott. Scott left early...but he asked Brett and he is passing them on to me. One of them is to remove the biggest laugh in the play...but with a lot of good emotionally honest reasons for the journey of the play. And Scott and I will talk about these points - and we do have rehearsal, so we can look at it. Put it up infront of the audience in the afternoon and try something else in the evening.
It is growing. So - if you came tonight...feel free to come again.
I'm very happy with the work of all. And excited about tomorrow knowing that everyone wants to continue working.
Hope to see you all tomorrow at the presentation.
Goodnight,
Padraic
Friday, June 20, 2008
PERFORMANCE 1! 6/20/08
A fantastic first performance. Everybody very pleased. The audience gave the show a standing ovation, and thunderous applause went on for over a minute after the actors had finished their bows.
Stage Manager notes: "Moments the audience really liked: the no hanger situation, Bo showing his boxers!!!, Mr. Jenkins going to hell, The Gloria Hattersfield story, The getting of the Cola, The Cola Push!!!, Gettsyburg, Cutlery!!!, The Wedding Fish!!!"
2 notes for the actors.
1 props note (a cola cap was on too tight - adjust for preset)
1 costume note (approval for the boxer shorts!)
Running time: 1 hour, 10 minutes.
If you saw this performance, PLEASE POST A COMMENT!
Stage Manager notes: "Moments the audience really liked: the no hanger situation, Bo showing his boxers!!!, Mr. Jenkins going to hell, The Gloria Hattersfield story, The getting of the Cola, The Cola Push!!!, Gettsyburg, Cutlery!!!, The Wedding Fish!!!"
2 notes for the actors.
1 props note (a cola cap was on too tight - adjust for preset)
1 costume note (approval for the boxer shorts!)
Running time: 1 hour, 10 minutes.
If you saw this performance, PLEASE POST A COMMENT!
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