Is there such a thing as too much schmoozing?

Hey Gang!

Monday night was Company One's inaugural Member Schmoozer down at Brownstone, bringing together anyone and everyone related to all things C1. If you happened to miss it, I hate to tell you, but you truly missed out. It was a fantastic time full of faces old and new. And I was there rubbing elbows with everyone. Best of all, from my vantage point, it appeared as though everyone there had a wonderful time. Drinks were flowing as fluidly as conversation, hugs and handshakes were exchanged at a rapid rate, and the cubes of cheese and tiny burgers were stacked high for everyone's enjoyment.



During the course of the festivities, I had the great fortune to meet so many new faces, along with reconnecting with some old ones. I met a couple who have seen every C1 show since 2003. I met artists and designers from other theatres around town. I yucked it up with actors and designers who worked on THE OVERWHELMING and whom I hadn't seen since closing night. What was so great about it, though, was that so many of the people who make a true impact on the company, not just the staff, actors, and directors, but also the donors, board members, fellow artists, and best yet, actual audience members and true fans of the work C1 is doing, were all there in one place. And how great it was to have them all together. It was a collection of so many of the people who together allow the company to exist in the first place and to continue to grow and prosper. It's not just actors, directors, and the staff that keep the theatre going; it's EVERYONE, and the event was a great and a very vital reminder of that.



A director once told me, "Theatre is the act of shared imagination." A great sentiment, though one he was certainly quoting from another director, who was probably quoting someone else, and so on and so forth. Regardless, the point remains. At the time, this director was referring to the imagination being shared between a production, or the art being portrayed on a stage, and the audience, but I think the idea still applies to last night as well. Although no art was necessarily created last night, the Schmoozer showed how theatre is bigger than just a handful of people acting out a scene on a stage. It takes more than just actors, a director, and a script to put on a show. The collective imagination of Company One was on display, and it's safe to say everyone enjoyed the view.

So, is there such a thing as too much schmoozing? God, I hope not.

Over and Out,
Max

That time of year...

This weekend, I caught the opening night performance of Phoenix Theatre Artists and Company One's second stage production CHRISTMAS BELLES, and boy, was it a great time. I did not work on this show, nor did I have the chance to read it, so going into the show on Friday night, I had no idea what to expect. I walked in the packed house, and the first thing I see is a banner running across the upstage wall reading, "Jesus loves almost everyone." When I saw that, I immediately laughed, and the show hadn't even started. (Don't worry. This is the only spoiler that can be found in this post. From this point forward, out of respect to those who have yet to see the show, I will give nothing away.) From the moment the lights went down, it was one hilarious moment after the next, and it was a rioutous good time, with a great, lively cast that leaves everything on the stage. What more can you ask for? I mean, really?

One thing I always ask myself when watching a play, especially one with which I am very unfamiliar, is: "How much of what I'm seeing being played out before me was written into that script, that is, intended by the playwright(s), and how much of it are choices the director, actors and designers made during the rehearsal process?" When watching CHRISTMAS BELLES, I found that I was asking myself this alot, and even now I'm still not so sure at certain moments which was which. You see, some directors view a script as a rigid text that must be adhered to, as a piece of literature or almost like a sacred scripture. Other direstors take a script and follow it more like a loose blue print towards discoveries possibly not intended by the playwright or originator of the work. And, of course, there's everything in between.

But, back to this show, what's interesting is that as I watched the show, I could not tell what was a directorial choice and what was originally written into the script. What this means, to me anyway, is that if they were indeed directorial choices, they did not stand out as being out of place, dramaturgically. That is, they were all bold, yet wholly justified, choices, that added to the new layers to the text, and brought out new ideas that still fit in with the original concept. (Again, I'm not going to give anything away.) And with theatre, when it all fits together, and you can't tell which came first, which came last, but it all seems to fit together naturally, you can't ask for anything more. Moreover, sometimes it's not about what was originally intended by a playwright or what a director decided to do, it's just about what you see before you. The best thing to do then: enjoy!

If you'd like to know more about exactly what I'm talking about, do yourself a favor, get in the holiday sprit and see CHRISTMAS BELLES!

Over and Out,
Max

Closing Night! (and some concluding thoughts...)

Hey, hey, hey!

Well, as it is well known by now, THE OVERWHELMING, sadly, has closed. The show wrapped up last Saturday with a truly brilliant performance given before a very enthusiastic and appreciative crowd. Not surprisingly, it's always sad for me to see a show wrap up. Everyone, from the actors to the crew to the design team, put so much into the show, and, in some ways, you don't want to see it ever end. There's so much preparation, so much that goes into the staging of a production, only to have the actual run just fly by. So much time is taken in getting the show ready and on its feet, and then, it's over so fast. But, this is the nature of theatre. In fact, this is what's so amazing and vital about theatre. You have to catch it before it's gone. Theatre is a must-see event that waits for no one.

What's amazing though, is how together we all created a coherent world on a formerly empty stage. We took a gutted playing space, a blank canvas if you will, and sculpted on it a fully realized, unified world by bringing together costumes, lighting, set, sound, and actors. What's amazing is how less than 12 hours after the show ended, the stage is back to its "natural" state, eager for the next company to come in and create any entirely new world. It took almost two months to create the world of the OVERWHELMING, yet it took mere hours to remove it. But, again, that's theatre for you!

Another thing I want to talk about is something that I brought up in a previous entry: the way in which the show changes over the course of a run. During the three weeks, I saw about 7 performances, and each one, however subtle, was very different from the next. Sometimes, the actors were doing things you did not necessarily want to see. Sometimes scenes moved too fast or too slow, or the actors skipped a small section of text, things that happen in all productions all the time. The kinds of things that only I or someone who's worked on the show, been at every rehearsal, and is intimately familiar with the text and flow of the show would observe, but that would easily pass by unnoticed by audience members. But, other things that changed were simply great to see. I saw so many of the actors become increasingly more comfortable in their characters' shoes and in the space. They realized new things about the text and came to a different, while still justified, delivery of a line. Sometimes, even a whole scene shifted dramatically, taking on an entirely new meaning, while still fitting in with the play as whole. What many people don't realize is that prior to the official run of a show, actors and stage management often don't have that many opportunities to run the whole show from beginning to end. I don't think many people realize this, but we ran the whole show in its nearly final state with all the actors less than 5 times prior to opening. With the myriad of things that needed to be figured out - all the scenes and scene shifts, the costume changes, the huge list of technical cues - it was hard to get in a lot of actual runs, not nearly as many as I'm sure everyone wished we could have afforded. Although the actors certainly covered it well, because they're all such skilled performers, they were still feeling out what the whole show was supposed to be from beginning to end and at the pace at which it needed to be maintained, even by opening night. The actors were still figuring things out during the run, and it was so great to see them continue to explore and try new things, while still sticking to the overall layout of the show as decided in rehearsals.

After the curtain call of the final performance and after the audience had departed from the lobby, the entire cast, crew, and C1 staff came together in the theatre and raised a glass to commemorate everyone's efforts. It was the first time in a while I saw everyone in the room together at the same time, and it was quite moving. You could feel the real emotion that was present among all of us collectively. Everyone knew they had just wrapped up something really important, and pride was resounding off the walls as hugs and kind words were exhanged. It was a joy to take on this play, and everyone certainly knew it without ever having to say it.

The book may be closed on this show, but the best thing you can do is move on to the next. Company One is following up this great show with an equally challenging yet inspiring show, THE GOOD NEGRO. I can't wait to see what happens with that. And honestly, who possibly could?

Over and Out,
Max

Opening Night!

Hello All!

If you haven't heard (and, really, how could you not?), THE OVERWHELMING opened this past weekend! It's now up and running, and is it ever a pleasure to see. From my perspective, having seen this through from the very beginning of the rehearsal process, it is thrilling to watch it now. It's also odd to watch it now not making notes or looking for things to work on. To watch it for the first time simply watching it is a strange, yet unbelievably satisfying feeling.

I was talking to a friend of mine the other day, and he said something to the effect of, "Now that the show is opening, the actor's job is pretty much done." Upon my queries, he further elaborated, "Well, through all the work they did in rehearsals, they pretty much have everything they need down, so they're good to go." I think what my friend was getting at was that in rehearsals, the actors and director spent their time exploring and creating the piece, and now that the "creating" is done, performances are now a matter of replicating what has already been created and set in place. This is a huge misconception that I would like to address now.

Even through a long, productive process that includes rehearsing, teching, and dress rehearsing, a production is never entirely "set." This is what is awesome about theatre, and what really separates it from every single other kind of art. Theatre is a living, breathing artform that changes night to night depending on so many variables. It is not a portrait that once the paint dries it is complete and set in stone forever. It is not a film that, once the final edits are in place, from there exists unfixed on a film reel. Theatre yields no resulting artifacts that can be examined and appreciated years later. Theatre can only be experienced and appreciated in the moment it is presented and never again. Furthermore, to the same effect, the experience of a specific piece of theatre is unique unto itself; that is, even the following night's performance of the same piece of theatre will not produce the same experience. A piece is theatre, no matter how long it runs, changes night to night, moment to moment. In fact, for it to be successful, it has to remain fresh and spontaneous to avoid the dull product that would result from simple replication. THE OVERWHLEMING will indeed continue to grow and develop, especially in that it is now interacting with an audience, one that will never be the exact same night to night. Actors can continue to find things and discover new aspects of their characters and arcs. This is why I love seeing shows more than once, because it's always new, even if it's the same play.

Although the actor's job is not done, and certainly not for the stage management either, my duties on the show, for the most part, are pretty much wrapped up. It's an odd thing. The show is only opening now and will continue to run for the next few weeks, and yet, my job is done. From working on this side of the table, from being able to assist a director, I've seen that directing is kind of like raising a child. You guide your child and try to point it in all the right directions, but, eventually, you have to let the child go off on his/her own. The child will continue to grow, develop, and learn new things, but he/she can do those things all on their own, because you've given them the means and skills to do so. With our child, it is certainly all grown up and more than ready to tackle the world.

Over and Out,
Max

Loading in the Good Times!

Hello All!

So we have now completed our rehearsal process and are now heavily steeped in tech, which commenced last night with our load-in! Now is the time in which the production team and crew assembles the world of the play, and that includes everything from lights to sound to set to props. In order to accomplish this tall order with a very limited amount of time, it meant that everyone needed to step up, pitch in and give a hand, and I was fortunate enough to be included as well. Just to give you an idea, though, if you were to meet me, you would most likely assume I am the type of person who has avoided much manual
labor his entire life, and that assumption wouldn't be far off. So the fact that I was saying things like, "Do you have a longer piece of tie-line?" and "Where did the XLR go?" is quite new to me. But, let me tell you. It was such an incredible experience for me to be part of such a hard working and collaborative team.

Even in the face of a time crunch and of a huge list of things that need to be done and worked out, it amazed me the high spirits in which we collectively found ourselves. There was a certain "lightness" among us, all of us filling the space with some banter and a few laughs, while at the same time maintining a strong and immensely productive focus. And it amazed me how everyone was working on their own projects simultaneously without getting in the way of others. Lighting crew was hanging their instruments and circuiting them while a mere feet away others are adhering sound cable to pipeline, and below both, carpenters are nailing set pieces and platforms down, while in the back painters work furiously to finish the strokes on a
back wall panel. Even though seemingly countless activities are being pursued, everyone still worked together and communicated, with no one stepping on anyone's toes and everyone being repsectful of everyone's needs.

It's so great to be working in an environment in which everyone is truly on the same page and level, with everyone doing what they can to get the job done and with no one being "above" anything. At the risk of sounding "New Age-y," the vibe was so positive in the room that it was palpable. It's a rare thing, not just in theatre but anywhere, to be in an environment in which so many people not only all want to be there but all have the same ends and goals in mind and are truly working together. To be a part of that was absolutely exhilarating.

It was a true joy to be a part of, and I know this will carry over into tomorrow night, when we actually begin tech and work through the show cue-to-cue. But more on that later . . .

That about does it for now. But don't worry; more will be coming later this week!

Over and Out,
Max

An interview with director Shawn LaCount

Anne G. Morgan, Dramaturg: What initially drew you The Overwhelming?

Shawn LaCount: The Overwhelming was one of the most captivating scripts I had read in a long time. Due to the play's structure, its historical themes and the fact that it is mystery and a thriller- I found myself deeply engaged and unable to put the script down. I knew immediately that Company One had to produce it.

AM: What attracts you to the characters and relationships within this story? How do you hope an audience will identify with them?

SL: I find the characters and relationships in The Overwhelming to be real, complex, and quite familiar. J.T. Rogers has created a play that is clearly based on real people and issues. Over the course of the play I sympathize with characters at some points and get frustrated with them at others, much like I do with the people in my own life. This is a testament to the strong writing. I think audience members will identify with different characters and hopefully this will cause some interesting discussions after the show!

AM: Why do you think this is an important story to tell? How do you think this is relevant to today's audiences, 15 years after the genocide?

SL: Although The Overwhelming is set in 1994 immediately before the Rwandan genocide, I really don't see it as a play about the genocide. The play is about nationality, trust, loyalty, conviction, and family. In many ways, the relationship between Jack and Linda resembles the internal struggles of 1994 Rwanda itself. The concept of genocide or holocaust to most Americans is mind-boggling. How could things anywhere ever get so bad that one group of people decides to annihilate another? It is a difficult question, but as Joseph explains to Geoffrey, "It is not hatred that drives" such horrific events, "but fear." I always think the concept of "fear" makes for good drama. People act in the most fascinating and often irrational ways when they are faced with their biggest fears.

AM: This play is set against a very specific historical background. How does influence your approach?

SL: When directing any play, it is of the utmost importance to search for truth through integrity. If you are representing a historically accurate place with real people, it becomes even more important to do your homework and not make assumptions. However, the idea of truth is subjective. The beauty of a play like this one is that 1994 Rwanda sounds like a very different place depending on who is speaking about it. The play tries to look at the situation with the Tutsi and Hutu on a level playing field, but, at the end of the day, I don’t believe that it is possible to have a neutral standpoint on issues of life and death.


AM: What did you anticipate being challenging about telling this story and how have you approached that in the rehearsal process?

SL: This is a very complicated play with lots of information in several languages and many, many characters. As a director, I was worried about telling a clear story that would keep an audience engaged right through the end. Luckily, we have a great team working very hard on the production; from actors to designers to our dramaturge – we have many wonderful collaborators!

AM: What ideas and concepts have influenced your collaborations with the designers? What were your goals for the creation of the physical world of the play?

SL: The entire design team for The Overwhelming has made a concerted effort to keep the staging and the world of the play simple. Our aim has been to clear the way for the most fluid and exciting story possible with very few effects or theatricality. The play wants to feel like a mystery and a roller coaster ride at that same time. Audiences will likely find themselves on the edge of their seats by the time the lights go down.

Exploring vs. Settling

With less than a week left before we go into tech., things are really cooking in the rehearsal hall, which brings to mind a dilemma that always fascinates me: As we are now refining and fine tuning the play, how much can we still allow the actors to continue exploring the text, their characters, and the space and allow them to continue trying new things, employing new tactics and actions, and making different choices, all the while realizing we need to lock things down and set things in place? A big question is: Is it ever too late to make changes before opening night? If so, when? What’s the deadline? You certainly wouldn’t want to set this too early, lest you stifle your actors. You want your actors to feel free and comfortable enough to explore the piece of theatre you together are creating, and you want to offer them the time to find not only what is right for the show and for their characters, but also, and in some ways most importantly, what is right for them as actors, because, in the end, they have to own it for themselves. You don’t want to cut off exploration too early because then they may settle into something they are not ready or willing to settle into, which could result disastrously in tedious and monotonous performances. A show can be successful only when the action is fresh for the actors, so that no matter how many times they run a scene, the words they say and the actions they execute always feel as though they are being done for the first time ever.

Of course, at the same time, the deadline of opening night is always looming, its approach unstoppable. Of course, decisions need to be made, blocking needs to be set, and actions need to be settled on. I feel that in our production, it is certainly not about setting an explicit deadline for all choices to be made that precludes any further exploration. Art certainly can’t work that way. For us, as with many productions, it’s all about finding something that works, and having the confidence to lock that in place, while being flexible to the prospect of discovering something new. For something that isn’t working, we are trusting that we will find the time to figure it out, all the while always keeping in mind the approach of tech. In the end, you have to trust the people around you and keep communication open. That’s the only way theatre ever works.

That’s about all for now. Next up, Tech!


Over and Out,
Max