Hello all!
Max here, coming at you again from THE OVERWHELMING rehearsal hall. We have just finished working through all the scenes for at least a second time, and everyday the show is coming together more and more. What's really exciting is that all the actors are off-book and have now formed a very intimate kinship with the text, allowing us to really delve into the story of the play. In addition, whereas before when we were working and running individual scenes, we are now starting to piece numerous consecutive scenes together and even running large chunks of the play at one time. With this, we are now really starting to see how the story of the play as a whole will unfold in our production. The challenge now for the actors and for the director is to find the overall arc and pace of the play. Earlier in the rehearsal process, we focused our attention on the arc of each individual scene. The actors were required to examine where their characters were in the beginning of a scene, where they were at the end of that scene and, most importantly, how they got there. Now, the real challenge is taking all these small arcs and bringing them together to create the arc for the whole play. A big component of this, for the actors at least, is figuring out how to shift emotionally from one scene to the next. In this play, with each scene comes a new time, place, and situation, and the actors must be able to bring their characters along with that, some even having to change into entirely different characters in a matter of only moments. It's a tall order, but our actors are already attacking the challenge head-on.
Another exciting part of our current stage in the rehearsal process is that we've begun to include some technical elements, including sound, props, and set pieces, into scene work. With a show as complicated as this one with regard to the story and technical demands, it's really important to bring in these elements as early as possible, so that the actors and creative team can get a feeling for what will work and what won't. What's always interested me is how even the most seemingly inconsequential prop can be the catalyst for lengthy deliberation among the actors, director, and stage management. An audience member might think that the fact that an actor has a wine glass in one scene is not really a big deal. Yet, much thought goes into how that prop will get on stage, how it will be used, and how it will get off stage in time for when the scene shifts to an entirely new location and time in which that prop is no longer appropriate. Of course, in the end, these technical shifts occur seamlessly, their difficult nature never unveiled to the audience. Some of my favorite memories in theatre are being backstage during a show, when the audience is watching what seems like a simple and easy transition, and yet backstage countless stage hands are running around in a fury in order to maintain that the audience is always none the wiser.
That's about all for now. This week we are going to be running the show the whole way through, and we'll really see what we have on our hands. No doubt it'll be exciting!
Over and Out,
Max
Saturday, October 10, 2009
Tuesday, October 6, 2009
Sabrina Sydnor, Marketing Associate
Hello Readers, seasoned Company One fans and those soon to be!
My name is Sabrina and I am the newest addition to the Marketing team here @ C1. I’m going to cut right to the chase — “The Overwhelming” starts in less than a month now and I couldn’t be more excited to get people over to the BCA to see this amazing piece of theatre. As a Marketing Associate, my primary involvement is getting the word out to the masses and I think C1 has really stepped it up with their use of video trailers for each show. On September 29th, many hands of the cast, crew and creative, rallied around videographer, Jordan Harrison, to compile a concise yet incredibly gripping glimpse in to the world of the play.
This being my first foray in to the creation of the video trailer, I was incredibly impressed by the angles, themes and dialogue carefully chosen to capture the piece in two short minutes. I am extremely excited to see how the video trailer effects the overall outcome of the piece - not just from a Marketing/Sales stand point but also, how much the audience is already aware of the world of the play when they arrive. It’s tremendously exciting to work with a company that utilizes the growing trends in a “you-tubed” generation and uses them to draw in a new audience to live theatre. The power of multi-media marketing is here folks, and IT'S HAPPENING at Company One.
-Sabrina
My name is Sabrina and I am the newest addition to the Marketing team here @ C1. I’m going to cut right to the chase — “The Overwhelming” starts in less than a month now and I couldn’t be more excited to get people over to the BCA to see this amazing piece of theatre. As a Marketing Associate, my primary involvement is getting the word out to the masses and I think C1 has really stepped it up with their use of video trailers for each show. On September 29th, many hands of the cast, crew and creative, rallied around videographer, Jordan Harrison, to compile a concise yet incredibly gripping glimpse in to the world of the play.
This being my first foray in to the creation of the video trailer, I was incredibly impressed by the angles, themes and dialogue carefully chosen to capture the piece in two short minutes. I am extremely excited to see how the video trailer effects the overall outcome of the piece - not just from a Marketing/Sales stand point but also, how much the audience is already aware of the world of the play when they arrive. It’s tremendously exciting to work with a company that utilizes the growing trends in a “you-tubed” generation and uses them to draw in a new audience to live theatre. The power of multi-media marketing is here folks, and IT'S HAPPENING at Company One.
-Sabrina
Friday, October 2, 2009
Max Mondi, Artistic Associate
Greetings!
Max here - I'm assisting the director, the fantastic Mr. Shawn LaCount, on "The Overwhelming". I'm going to give you the inside dish on what I'm up to, as we're now in the thick of the rehearsal process.
Already, this has proven be a new and exciting experience for me. This show is not only my first time working with Company One, but it's also my first foray into the entire Boston theatre scene. With this comes the chance to meet and work with a whole host of new (at least for me) artists and dramatists. Also, the show is a unique endeavor unto itself. I have not worked on many shows that not only have such large casts, but also demand the actors to speak such various and numerous dialects and languages, and demand the director and design team to tackle over forty scenes that take place in a vast catalogue of locations and times. From the first time I read the script, I was thrilled by the prospect of collaborating with a group eager to tackle these challenges head-on.
As I said, my role in this production will be assisting the director throughout the rehearsals. This also is a new hat for me to be wearing. In addition to getting to know the cast and production team, another main focus has been figuring out exactly how I should function in my role and how I can best support the production. What has been very rewarding is how I get to act as a second set of eyes for the director. Each rehearsal, after watching the actors work through the text, I get together with the director and dramaturg to talk about the scenes, discussing what's working, what isn't, and what needs to be done next.
So far, we've been able to take a first look into every scene in the play. It's been fascinating to see what everyone's initial impressions of the play are, and it's exciting to see what's going to happen to those impressions as we go. We've just begun working through the play for a second time, so we'll have to wait and see . . .
That's about all for now, but I'll be keeping you updated on all the happenings!
Over and Out,
Max
Max here - I'm assisting the director, the fantastic Mr. Shawn LaCount, on "The Overwhelming". I'm going to give you the inside dish on what I'm up to, as we're now in the thick of the rehearsal process.
Already, this has proven be a new and exciting experience for me. This show is not only my first time working with Company One, but it's also my first foray into the entire Boston theatre scene. With this comes the chance to meet and work with a whole host of new (at least for me) artists and dramatists. Also, the show is a unique endeavor unto itself. I have not worked on many shows that not only have such large casts, but also demand the actors to speak such various and numerous dialects and languages, and demand the director and design team to tackle over forty scenes that take place in a vast catalogue of locations and times. From the first time I read the script, I was thrilled by the prospect of collaborating with a group eager to tackle these challenges head-on.
As I said, my role in this production will be assisting the director throughout the rehearsals. This also is a new hat for me to be wearing. In addition to getting to know the cast and production team, another main focus has been figuring out exactly how I should function in my role and how I can best support the production. What has been very rewarding is how I get to act as a second set of eyes for the director. Each rehearsal, after watching the actors work through the text, I get together with the director and dramaturg to talk about the scenes, discussing what's working, what isn't, and what needs to be done next.
So far, we've been able to take a first look into every scene in the play. It's been fascinating to see what everyone's initial impressions of the play are, and it's exciting to see what's going to happen to those impressions as we go. We've just begun working through the play for a second time, so we'll have to wait and see . . .
That's about all for now, but I'll be keeping you updated on all the happenings!
Over and Out,
Max
Thursday, September 17, 2009
The Human Condition
Week two has begun. I am constantly learning about and shaping Batgirl. Different audiences help with that. Sometimes you have a laugh out loud crowd. And that makes my job real easy. I know that I am making them laugh. I am funny, good. Then there are nights when there are “smilers”, people who you know are enjoying the show, but are quiet none-the-less. That is what throws me off. It has always been an issue with me and comedy…I think funny = laughs and bad = no laughs. I know that isn’t the case. But I am an actor, that’s my fear - that no one is listening. But I know they are.
A question that I have been pondering recently is line drops/mess ups. This is a big damn show to memorize, especially in a short amount of time with limited rehearsals. And sometimes mistakes happen. It happened to me…big time. But I got over it, didn’t run off the stage (thank God), and the non-theatre people didn’t see my mind explode (which it did). And after that happened, I, of course, got angry and cried. I was frustrated with myself immensely. But why? Was it because I looked stupid on stage in front of all those people? Or was it because I feel that I somehow failed my audience? They are the whole reason I perform. For them. So if I miss a line, flub my words, forget, the audience loses out on the experience…but they actually don’t. They experienced theatre. Live theatre. And sometimes it is messy. Sometimes it is wrong. But it is living and breathing and changing. And that is pretty awesome. Because isn’t failure part of the human condition?
-Liz
A question that I have been pondering recently is line drops/mess ups. This is a big damn show to memorize, especially in a short amount of time with limited rehearsals. And sometimes mistakes happen. It happened to me…big time. But I got over it, didn’t run off the stage (thank God), and the non-theatre people didn’t see my mind explode (which it did). And after that happened, I, of course, got angry and cried. I was frustrated with myself immensely. But why? Was it because I looked stupid on stage in front of all those people? Or was it because I feel that I somehow failed my audience? They are the whole reason I perform. For them. So if I miss a line, flub my words, forget, the audience loses out on the experience…but they actually don’t. They experienced theatre. Live theatre. And sometimes it is messy. Sometimes it is wrong. But it is living and breathing and changing. And that is pretty awesome. Because isn’t failure part of the human condition?
-Liz
Sunday, September 6, 2009
From the mind of Batgirl...
Hello! I am Liz Rimar. I play Batgirl. I am writing a blog for you now.
So basically I got a call from our beautiful director, Greg, asking if I wanted to be part of his show, "The Superheroine Monologues". I said heck yes, and here I am. The rehearsal process has been a QUICK one. But I liked it - once I actually got the lines down, it was getting my basic blocking and then playing. Just playing. And for someone who went to drama school and has mostly found acting work in more serious plays, this is a breath of fresh air. Don't get me wrong, I love dramatic pieces and the whatnot, but I am a total goofball at heart. I did have the pleasure of performing in Company One's "Assassins", as basically the comedic character of the piece. But I need silly and ridiculous. And this is what this play is. And the brilliant thing is, as silly as it is, there are poignant moments in each and every monologue.
As for being Batgirl. Wow. She is such a wonderful character. So happy, but like all well written characters, so sad on the inside. She plays to all of my OCD-like habits, and my secret need for perfection. I get to be girly and flip my hair and talk about boys! The research was a blast. And The Poseidon Adventure = amazing! (You'll have to see the show to know what the heck I am talking about). The one thing that I am worried about is performing in my costume. It is a full on spandex bodysuit. And when I first put it on, it severely limited my movement. And I as a person move and flail about a lot. But the containment and constriction of the costume will more than likely have a positive effect on my perfect posture and perfect character. With perfect hair.
-Liz
So basically I got a call from our beautiful director, Greg, asking if I wanted to be part of his show, "The Superheroine Monologues". I said heck yes, and here I am. The rehearsal process has been a QUICK one. But I liked it - once I actually got the lines down, it was getting my basic blocking and then playing. Just playing. And for someone who went to drama school and has mostly found acting work in more serious plays, this is a breath of fresh air. Don't get me wrong, I love dramatic pieces and the whatnot, but I am a total goofball at heart. I did have the pleasure of performing in Company One's "Assassins", as basically the comedic character of the piece. But I need silly and ridiculous. And this is what this play is. And the brilliant thing is, as silly as it is, there are poignant moments in each and every monologue.
As for being Batgirl. Wow. She is such a wonderful character. So happy, but like all well written characters, so sad on the inside. She plays to all of my OCD-like habits, and my secret need for perfection. I get to be girly and flip my hair and talk about boys! The research was a blast. And The Poseidon Adventure = amazing! (You'll have to see the show to know what the heck I am talking about). The one thing that I am worried about is performing in my costume. It is a full on spandex bodysuit. And when I first put it on, it severely limited my movement. And I as a person move and flail about a lot. But the containment and constriction of the costume will more than likely have a positive effect on my perfect posture and perfect character. With perfect hair.
-Liz
Friday, August 7, 2009
Grace Geller: Welcome to the Theatre
Hello again! If you’ve read Jess’s post you’ll know that I’m working with her in the Front of House. Our main goal is to make sure everything is set so the audience can enjoy the show!
Basically, I’ve been working in the lobby and answering any questions you have when you come to see the show. I get to the theater two hours early and set up the lobby with Jess. We work with the Boston Center for the Arts Box Office to check on ticket sales for that night and make sure there haven’t been any problems. By problems, I don’t mean disasters, I just mean that we look to make sure every patron will be happy. For example, a few nights ago a woman mistakenly bought tickets for the wrong night and so we worked with the Box Office to get her new seats in the best place possible.
After checking with the Box Office, we check in with Emily, the stage manager, to make sure there are no problems in the theater. One night we entered the theater and there was music blasting from the ceiling. It sounded like there was a radio playing – not quite ideal for watching a play. Jess and I worked with the producers to get the music (which was from another theater nearby) turned down so that it was only barely audible for our show. After talking with Emily, we do a ‘sweep’ of the seats. We don’t literally ‘sweep’ the theater every night, but we walk through to make sure there are no programs or anything left over from the previous night’s show.
Finally, the crowd arrives and we communicate with Emily (who’s talking with the actors and musicians) about when to open the house. Once the house is open, I usually help people find their seats. Jess keeps running back between the lobby and box office to see if everyone has picked up their tickets – we try not to start the show if there are many tickets waiting to be picked up, but we also can’t hold up the whole show for only a few people.
Once the show starts, Jess and I can breathe. We clean up the lobby and start doing paperwork. Over the past two weeks I have also been watching part of the show to see how it’s going. I thought the show was really great when we opened but it has grown so much over the past three weeks.
Before I go get ready for tonight’s show, I want to put a plug in for ushering. For every show we need two ushers – one to collect tickets and one to sell concessions. While they’re volunteers, they get a free ticket to the show! It’s a great way to see the play. If you’re interested e-mail Jess at comps@companyone.org.
Alright now I’m off to the theater. I hope to see you there! I can’t believe we only have two weeks left! Buy your tickets and come see “After the Quake!”
* Grace
Basically, I’ve been working in the lobby and answering any questions you have when you come to see the show. I get to the theater two hours early and set up the lobby with Jess. We work with the Boston Center for the Arts Box Office to check on ticket sales for that night and make sure there haven’t been any problems. By problems, I don’t mean disasters, I just mean that we look to make sure every patron will be happy. For example, a few nights ago a woman mistakenly bought tickets for the wrong night and so we worked with the Box Office to get her new seats in the best place possible.
After checking with the Box Office, we check in with Emily, the stage manager, to make sure there are no problems in the theater. One night we entered the theater and there was music blasting from the ceiling. It sounded like there was a radio playing – not quite ideal for watching a play. Jess and I worked with the producers to get the music (which was from another theater nearby) turned down so that it was only barely audible for our show. After talking with Emily, we do a ‘sweep’ of the seats. We don’t literally ‘sweep’ the theater every night, but we walk through to make sure there are no programs or anything left over from the previous night’s show.
Finally, the crowd arrives and we communicate with Emily (who’s talking with the actors and musicians) about when to open the house. Once the house is open, I usually help people find their seats. Jess keeps running back between the lobby and box office to see if everyone has picked up their tickets – we try not to start the show if there are many tickets waiting to be picked up, but we also can’t hold up the whole show for only a few people.
Once the show starts, Jess and I can breathe. We clean up the lobby and start doing paperwork. Over the past two weeks I have also been watching part of the show to see how it’s going. I thought the show was really great when we opened but it has grown so much over the past three weeks.
Before I go get ready for tonight’s show, I want to put a plug in for ushering. For every show we need two ushers – one to collect tickets and one to sell concessions. While they’re volunteers, they get a free ticket to the show! It’s a great way to see the play. If you’re interested e-mail Jess at comps@companyone.org.
Alright now I’m off to the theater. I hope to see you there! I can’t believe we only have two weeks left! Buy your tickets and come see “After the Quake!”
* Grace
Tuesday, August 4, 2009
Front of House
Hi again!
So for the past few weeks I’ve been wearing my House Manager hat, as opposed to my production assistant one and life has been hectic. I am in almost constant contact with the Box Office and I’m sure they’re getting a little annoyed with me, but that’s okay. Emily, the stage manager, and I have the task of opening the house and show on time. As far as the house is concerned, she is in charge of making sure the actors are backstage, musicians in place and that everything is set for the audience to join. My job is getting the house open as close to fifteen minutes before curtain as possible. Once the house is open it’s her job to make sure we start as close to our scheduled time as possible, and my job to make sure that everyone gets into the theater. It’s like we have these goals that we come at from two different directions, and when everything goes according to plan we stay on schedule.
There’s also the fine dance of seating latecomers. You don’t want to interrupt the show, but at the same time you want your patron to be able to see what truly is an amazing show. When we decide to seat them, I usually let Grace take charge of that. More often than not she had helped the audience find their seats and knows the best place to put the patrons without disturbing everyone.
With Grace’s help we’ve been keeping records of how many people are coming to see each show and what type of tickets we’re selling. It’s really interesting to see when you get an older theater-going crowd as opposed to a curious younger one. And each night is certainly different. The paperwork and counting of tickets isn’t the most exciting thing in the world, but it is interesting to see the big picture at the end of the day.
I’m also in charge of hiring volunteer ushers. People who want to lend a hand and see the show for free. It’s a really great way to get involved even for just a few hours. You should consider it and email me at comps@companyone.org.
Well, I’m off. If you haven’t seen After the Quake yet, you should. If you have, you should tell your friends to see it. No harm in a little free advertising right?
Have a wonderful day!
Jessica
So for the past few weeks I’ve been wearing my House Manager hat, as opposed to my production assistant one and life has been hectic. I am in almost constant contact with the Box Office and I’m sure they’re getting a little annoyed with me, but that’s okay. Emily, the stage manager, and I have the task of opening the house and show on time. As far as the house is concerned, she is in charge of making sure the actors are backstage, musicians in place and that everything is set for the audience to join. My job is getting the house open as close to fifteen minutes before curtain as possible. Once the house is open it’s her job to make sure we start as close to our scheduled time as possible, and my job to make sure that everyone gets into the theater. It’s like we have these goals that we come at from two different directions, and when everything goes according to plan we stay on schedule.
There’s also the fine dance of seating latecomers. You don’t want to interrupt the show, but at the same time you want your patron to be able to see what truly is an amazing show. When we decide to seat them, I usually let Grace take charge of that. More often than not she had helped the audience find their seats and knows the best place to put the patrons without disturbing everyone.
With Grace’s help we’ve been keeping records of how many people are coming to see each show and what type of tickets we’re selling. It’s really interesting to see when you get an older theater-going crowd as opposed to a curious younger one. And each night is certainly different. The paperwork and counting of tickets isn’t the most exciting thing in the world, but it is interesting to see the big picture at the end of the day.
I’m also in charge of hiring volunteer ushers. People who want to lend a hand and see the show for free. It’s a really great way to get involved even for just a few hours. You should consider it and email me at comps@companyone.org.
Well, I’m off. If you haven’t seen After the Quake yet, you should. If you have, you should tell your friends to see it. No harm in a little free advertising right?
Have a wonderful day!
Jessica
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