ICTL and the Tech Week Blues

For all of you sitting on the edge of your seat: Orphans was selected as an alternate show at ICTL. Also, one of my actors won Best Actor in a Performance. Unbelievable when you consider we had had no dress rehearsals and no tech! I'm proud of us.

But I have no time to rest on any shaky laurels...I have a show to open this Friday! And this week is going to go by so fast. We are missing a thousand small things, another thousand need done...maybe I exaggerate a tad! but not much.

I need something to tamp down the anxiety beast trying to grow in my stomach!

A Little Encouragement

Well, we got ICTL off to a good strong start. The audience laughed and sat forward in their seats. The adjudicators were very complimentary to the actors and had some good suggestions for me. A good time, in general, despite snafus and a couple of minor injuries!

And we're not finished...we have to reacquaint ourselves with the staging we began with, the original studio blocking. We have tech and dress and finishing up all the details we've put off because of the festival. Good thing we have lists! And my SM is doing all she can even tho she's involved in another production.

I hope my actors aren't too burnt out...I'm going to be even more nervous on opening night than I was for this damn festival. They seem eager to get back on task in the studio, though. I'm so lucky; I have three of the best actors in Indiana in my show.

I don't want this revel to end!

Act Two and the Requiem Pics

Things fell together last night. Act Two was the best it's been yet, and I couldn't be more happy with the way my actors are doing. I'm not sure, but I think it might have had something to do with the photography student hanging around taking pictures of the rehearsal. The attractive, young, dark, Turkish photography student.

Boys. I don't want to embarrass anyone, especially not myself, but I think I'm in love with all of my characters...they are becoming so alive that I see them as real. This is something I wasn't quite prepared for, and am not sure how to deal with.

Now, tonight's task is getting through the WHOLE SHOW. In fact, because one of our actors has to be "home" by 9 pm every night, we've had a difficult time getting through it. If we buckle down, start on time, and really push it tonight, we might make it. Buckling down might include cutting out a smoke break, but if it must be, it must.... Wishing it was Wednesday again.

Ho Hum Week

I'm not going to go on again about how I'm missing people this week. In fact, I feel lucky to have this week to get organized and get back to work on Sunday. Yesterday we did the Goodwill trip and found several usable items. My set designer came to rehearsal and we actually started pacing out the set and getting out platforms to use.

So this vague vision, this dream I have been picturing, is actually going to happen. My actors will be set off by things other than their own practice and dedication. I feel I owe it to them for all their work, and have felt alone in that endeavor until this week. So it'a a relief to enjoy the collaboration of other artists who also dedicate themselves to their projects.

I'm relieved because I can't afford to leave the actors at this point; no matter what needs to be done, they still need me to watch them and work with them. They are the show.

I miss rehearsing already and we've still got almost a week to go 'til everyone gets back! I'm ready to put this baby together, and run, run, run!

The To Do List

This week I am missing an actor and my Stage Manager because of spring break...this was bad news at first but I am coming to understand that it may be a good thing.

I have a dozen lists, items for lists, potential lists whirling around right now and they must be nailed down. Each aspect of the show has a to do list. Lists are like invasive species that must be controlled so they don't spread and inbreed.

To do: make a to do list! Make all the designers make to do lists so that my to do list is shorter.

I am costuming the show as well so I have to shift modes from director to costume designer. Things like remembering to bring safety pins to a fitting, or scheduling a fitting, period and being prepared. Sigh...it's like using a different part of my brain. That's why, I suppose, having all this week to get focused on costumes is a more of a blessing than I realized.

Turn of the Screw-Ups

Now that we about to the middle of the process, the pressure is starting to build. The play is blocked and I'd love nothing more than to just spend the rest of the time fine-tuning blocking and acting, but I have to worry about other aspects of the show that many directors don't have to.

I am doing the costumes, my SM is in a practicum at the university and so has scheduling conflicts, and we have to get the set built for the ICTL festival. Which, as I think I mentioned, happens before we open. Oh yeah, the university's spring break is week after next, which means I lose my SM and one actor. For a week. That will be costume, props, and set week.

As my friend Angi just told me, "BREATHE." I can control certain things; others I can't. Of course, that's another trick. Figuring out what's in my control. Taking control and working my ass off.

Blocking & Beyond

Telling actors where to go and when to move is not easy. One must motivate the movement when action is needed but not necessarily called for in the script. This is where many community projects fall flat; they are unable to create an interesting picture or motivate movement that's not in the script. This takes energy and a constant review in the director's mind, a world of the director's own conception which must then be made reality.

Once the blocking is finished, or roughed out at least, the director must still be constantly looking for opportunities to add more to the story, to deepen character, and show more to the audience. Detail upon detail must be added to show the audience something that will startle them, entertain them, or make them wonder about the world they are glimpsing. To involve them, make them care, no matter how ludicrous the actors may behave.

For me, this is going to be the scariest part, perhaps. So they know their lines and where to go, so what? What is going to draw the audience in so completely that they will invest their hopes and feelings in what the actors do and say? It's a process I both crave and fear.