Archives - April 2010
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Archives - April 2010 |
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Our first production of 2010 will be:
"Run For Your Wife"
by Ray Cooney
Produced by Clare-Louise Mitchell
To run from the 15th to the 17th of April at Findon Village Hall.
Cast
| Mary Smith | .................... | Samantha Merrick |
| Barbara Smith | .................... | Linda Cooper |
| John Smith | .................... | Gareth Jones |
| Detective Sergeant Troughton | .................... | Dave Holden |
| Stanley Gardner | .................... | Nick Roughton |
| Newspaper Reporter | .................... | Zahir White |
| Detective Sergeant Porterhouse | .................... | John Maplesden |
| Bobby Franklyn | .................... | Stuart Gladwell |
PRODUCTION DIARY
Entries
Nothing to report except weather - rehearsals should have started last week, but were called off due to the heavy snow and ice on the ground. Keen we may be, but a severe weather warning is something to be heeded, especially when the route is one of hills, ungritted minor roads and village streets. With a bit of luck, it'll all change for tomorrow.
Rather more promisingly, the play has now been cast, as listed above, and the support machinery for design, publicity and backstage is starting to rumble into place. It's quite possible the producer will be along in a minute, to provide a more detailed view of how much progress has been made...
An Introduction - Clare-L 19/01/10
The first time I read the script of
this play I just could not stop laughing. That was exactly what I had been
waiting for. Script after script had been mildly amusing, stageable and many
more satisfactory things, but none had grabbed me by the collar and said "Cry
with laughter, I'm hilarious". The writer is Ray Cooney and he doesn't mind
taking a risk. This play may not be very PC but I think it is goes so far that
all of us can find it funny.
The story is about a normal average man called John who has somehow managed to
marry two woman and has a wife in Wimbledon and another in Streatham. He manages
a strict schedule so that he is always home when expected and neither wife finds
out about the other.The unexpected happens and John is involved in an incident
which leaves him with a head injury and a groggy mind. Accidentally he gives one
address to the police and the other to the hospital. The police are suspicious
and John finds himself in a situation which becomes more and more complicated.
As each lie is told to cover the truth the spiders web becomes more
unmanageable. Drafting in the help of an unwilling friend adds to the confusion
and soon the cast has the audience fully enthralled and splitting at the seams.
This production is not one to miss, I am sure everyone will enjoy the light
hearted comedy.
Progress So Far - Clare-L 19/01/10
On Monday 12th January the group were finally able to get together for the first
time as the snow had started to melt and the main roads were reasonably ok. I
was very relieved as I was eager to get the show cast.
There were only two ladies available to do the play so after taking part in the
other cast readings it was easy to say which lady would do which part. In the
end Sam was cast as Mary and Linda as Barbara.
It was great to see so many non cast members visiting as well which helped give
us the numbers we needed to read the play through in the other room as we read
the characters in more privacy.
With 8 gentleman available to play 5 parts it was always going to be difficult.
I tried to keep my mind open to any person for any part but even so I had a
couple of pre-conceived ideas. On the night, however, I was surprised by one or
two of my choices.
The first part was cast with semi-newcomer Nick as the part of Stanley. Now I
hadn't seen Nick as an overly comic character but in fact he had me in stitches.
It was clear he had spent time on preparing a character and in fact his facial
expressions were perfect for the part. I narrowed down Dave and Gareth as
potential John's and played them against Nick. That was a tough choice but in
the end it was clear that there was something about Gareth and Nick's characters
that complimented each other in the play.
Next we looked at the two Sergeants and once again I was surprised to find that
long standing member John fit my view of Sergeant Porterhouse perfectly. He
wielded a kind of strangeness to the character that fitted well with the strange
situations he encounters, especially in Act 2.
Dave did a spot on impression of Sergeant Troughton and his stern, deep voice
made the shouting scene wonderful. Stuart was perfect for the part as Bobby but
unfortunately this left three wonderful actors without a part. Luckily Zahir had
graciously agreed to do the half page role as the journalist and take on the
responsibility of costumes. Martin has agreed to run the props division, be milk
monitor and understudy to all the characters. Mike L has taken on the mammoth
task of stage manager and will be able to use his years of experience to help a
reasonably new backstage crew.
Backstage roles have also been filled. We have the usual set build management
team comprising of Pete and John, a lighting and sound team of Damo and Mike M
as well as Mike L, Zahir's and Martin's jobs. Mary has agreed to the role as
prompt and to assist in communication regarding scripts and the licence. Lindsey
is on standby to assist with Producing if I fall ill etc and Carol is on standby
to assist backstage where required. We have a wonderful Front of House team and
overall I am very positive about the start of the production.
So here's to a grand start and fingers crossed it all runs smoothly.
On Wednesday 14th we started with a short production meeting between myself,
Nick and Stage Manager Mike. Much discussion was required on the arches,
entrances, windows and the divider at the back of the stage. There wasn't much
time but overall some of the bigger decisions were made. It was decided that the
windows wouldn't work and instead these will be mimed when required. The cast
had mentioned that they wanted to use cordless phones and so Mike is looking
into that option. I have emailed set build manager Pete to see about different
coloured carpets and we need to start looking for coordinated furniture. Much to
do in this area but it was nice to get things started straight away.
We then started plotting Act 1 and everything went reasonably well. By the end
the actors had grasped the concept of the two separate flats sharing the same
space and in fact were eager to see the end of the Act and stayed half an hour
later to finish it off. From a Directors point of view I was disappointed that
the stage directions seemed to clump the actors together and didn't use the full
space offered by our stage. Some additional work will be required on this next
week.
With that in mind I spent most of this afternoon remapping the blocking for Act
2 and tackling the stage use. The rehearsal itself was slowed down by my
constant interruptions to change the blocking. I do feel however that the
session was very productive and the new blocking looks far better. On Wednesday
we will do Act 2 again because I want to make sure that this blocking is firm in
the minds of the actors. One again we ran over by half an hour and I think I may
need to amend the rehearsal schedule to do Act 1 and 2 over 3 rehearsal days.
The success of the new blocking will need to be applied to Act 1 for Monday so I
have some work to do. Overall I am very happy with the progression of the
production and the actors seem to be really enjoying the script.
Random Ramblings of a Stage-Door Johnnie!! - Martin 20/01/10
Having been asked by the director
to do a few lines from an audience point of view and not being terribly au-fait
with the procedures of the stage (having only joined the troupe after the start
of the last production - "The Importance of Being Ernest", with yours truly as
Lane the butler) it has been very illuminating. So here we are, a casting
session and three rehearsals into the production and it's all starting to make
sense (....ish!!).
From out front, watching the cast go through the blocking and line reading it
looks like semi-organised chaos..!! But the play is already showing how funny
this farce is going to be... (especially as there are some people who don't
actually know what character that are playing at this stage!! He He!!) also the
outbreaks of laughter from the cast who cant keep a straight face at their lines
or the on-stage antics. Again from out front the laughter from Ray Clooney's
lines is showing through as the off stage players laugh at the appropriate and
sometimes not so appropriate places.. All in all I feel this is going to be a
riotous romp. Totally Non-PC... I don't think it will offend anyone as it
is..... 'All Said In the Best Possible Taste'.
Watch this space for more updates......
Detective Sergeant Porterhouse - John 20/01/10
Blogging A Farce - Nick 03/02/10
We're into our third week of rehearsals now, still blocking. Blocking is essentially establishing the moves of the actors, rather like laying the foundations for the performance. It's terribly important to get them right, especially in this show where there are a lot of moves, fast moves at that and where timing is of great importance. There are of course moves laid down in the script but they don't always fit the stage and set that you work with and have to be adapted if not completely reworked to get the desired effects. As actors we are working with our director ... wassername? (who's doing a great job and who's enthusiasm for the show rubs of on us all). Between us work out how best to to fit the various moves into the dialogue. In fact some actors use those moves to remember dia, dia? Words! Myself I work in layers, the moves being the base, then the ah! Dialogue, then working with props ... or is it the other way round? Anyway back to whatever I was writing about ... oh yes, having done that, we all duly note down the moves in our scripts. it's always amusing to see when we next rehearse that particular scene a week or so later how everyone seems to have a different move or position written down. In my case it's easy to explain as my notes are always an indecipherable scribble (sorry wassername). They weren't at the time I wrote them, more of a self explanatory short-hand that will be bound to trigger my 'hows yer father'. However, they key thing is to make sure it's written in illegible ink , sorry, indelible ink on the brain, anyway after a few goes whatever it was, starts to sink in, after all the most important thing in a play is to remember ... something! Now where was I? .... Oh yes ... We're into our third week of rehearsals ...
Sam, aka Mary - Samantha
14/02/10
When Mitch first asked me if I'd be interested in
this play I thought "Yes" as it sounded like fun. What she neglected to tell
me, when I got the part of Mary, is that I would spend half of the second
act in my underwear!! Having been ill for the second reading I didn't
discover this joy until I was blocking Act 2. I thought "Oh well maybe I can
buy some sexy new underwear and charge it to costumes", no such luck. Not
only wasn't this allowed I was then informed that they had to be 'Bridget
Jones knickers', as Mary is so sensible. Where did she think I was going to
get these from? Sadly from my underwear drawer, that's where!
We are well into rehearsals now and Mitch is a strict task master for
detail. God help us if we forget our blocking moves! No seriously though, it
is starting to become a very funny play already. It is difficult learning
lines as there is so much movement and comings and goings on set. Plus lots
of confusion with peoples lines and the scripted misunderstandings. If we
can get the timing right we should pull off a very amusing farce.
Linda and I are madly practicing our opening scene as we have to be in
unison with our moves in our characters separate houses. Lots of counting to
three then GO...
I am looking forward to watching it grow as the weeks go by. Must go, as
HELP! got to know all of Act 1 by Monday. Better get back to my line
learning or Mitch will be cracking her whip.
Report From Prompt
Corner - Mary 17/02/10
Thank You, Alexander Graham Bell! - Mike 21/02/10
Whilst the actual inventor of the telephone is a
disputed subject, dear old Bell holds the trump card in the argument: he was
the man who patented it in 1876 and hence got all the money. A Polish
gentleman, name of Puskas, managed to invent the switchboard later that same
year and a new business was born.
Damn them.
I speak purely from a theatrical point of view (although I have a
considerable dislike for the modern obsession with mobile phones and having
to be in touch every minute of every day, that doesn't actually impact too
much on my personal life - I just don't answer my mobile), since about 90%
of plays written in the last hundred years require a working (ie: ringing)
telephone on stage. Should be easy, right? After having done so many
productions, it ought to be a routine operation.
Well, yes and rather more importantly, no. There are a lot of different
phones in the world and a lot of different technologies that have
underpinned them. Single wire, twisted-pair, 4-wire, wireless, digital, IP,
tone dialling, pulse dialling...I could go on, but the gist of it is that
connecting a phone on stage to something that will make it ring off stage is
not as straightforward as might be imagined.
In an ideal world, there would be a PSTN (Public Switched Telephone Network
- your standard phone line, in fact) socket on stage, all our phones would
be compatible with it and BT-certified for public usage, we'd plug it in and
just dial the number when the script calls for it. It isn't an ideal world,
though, and we don't have such a socket, never mind a vast selection of
different phones that would work on it. What we do have is a number of
period phones in varying states of repair and a couple of line testers.
In days gone by, we used to do phone effects on tape and pretend that it
didn't sound a bit rubbish coming out of the hall speakers instead of from
the phone itself. But it was, which is why we try and avoid it wherever
possible. I quite look forward to doing a modern production with phones -
that would be so easy, now I've got a three-receiver DECT (Digital Enhanced
Cordless Technology) internal switchboard set up. It just works, with each
handset being able to internally dial any other, programmable ring tones,
the lot. Unfortunately, they're nice, shiny, modern handsets in nice, shiny,
powered cradles. Entirely and horribly obviously unsuitable for any
pre-millennium stages.
This is an 80s production (it was going to be staged contemporarily,
originally - hence purchase of the DECT sets - but the script is too much of
it's time for that). Those with long memories may remember that as a time
when people were first allowed to buy their own handsets - until then, they
were leased along with the line from the BT monopoly. Early wireless sets
were just on the market, giving appalling sound quality over very limited
range, but most phones were still either the "traditional" dial type or had
the angular "trimphone" look. Long and the short of it is that I don't have
either in stock, and certainly not one with enough cable to perambulate the
stage (as is needed), or one light enough to be safe to juggle with (as is
also needed).
Phone testers may well be the way forward. They're the yellow
boxes-with-handset-in that BT engineers tote around when they're checking
lines. The only snag with that is that engineers test across the PSTN - we
have to make do with direct-wiring to the phone. That will only work if the
phone is compatible and powered (if it needs power, which started happening
when built-in answering machines and cordless sets came in. The 80s, in
fact). So, first obtain some reasonably-priced (preferably free!) 80s
phones, then try and get them working on a direct circuit, then worry about
how it works on stage. And since the stage is a split-set, two-flat affair
where people in one flat ring the other one, it has to work pretty well
indeed...
Some theatrical events look awesomely impressive and are a piece of cake to
put together (they may look pretty Heath Robinson behind the scenes, but
that's not the point).
Some theatrical events look completely unimpressive and are a tooth-grinding
nightmare to get working.
Phones are definitely in the latter category.
Props, Prompt, Producer & Paper - Gareth 16/03/10
We’re past
the halfway mark now and I sense a mood that things are starting to come
together although there’s still a lot of work to be done. As Mary
rightly pointed out, the pace and lines will have to be slick to carry
this production. Others have remarked on the phones but now we have the
actual beasts we’ll be using and have to come to terms with using them
as if it’s second nature. I do have absolute faith in Mike that they
will ring when required (on the subject of Heath Robinson he wasn’t
around when we ran the entire stage lighting through a 13 amp extension
lead with the foil from a cigarette packet wrapped round the fuse*
– in the days before ‘elf and safety had been invented, of course).
We’ve moved on since those days but we’ll be OK as long as Mike has his
tool for getting the stones out of horses’ hooves!
After a few late nights during blocking we got back to usual hours with
books in hand but now with books down we’re overrunning again and
keeping Mary busy too but she knows exactly how to support the cast
through rehearsals so we can make her redundant on production nights.
It’s interesting to work with somebody new in the role of producer. I
hope all our producers will forgive me if I compare them to breaking in
a new pair of shoes – no matter how good they feel on first wearing they
get more comfortable as time goes on and you learn how to walk in them.
Its 25 years since I produced but I can remember having a final vision
in mind as I read the play of my choice. Mitch has clear ideas on what
she wants, isn’t afraid to say so (naturally retaining the producer’s
prerogative to review and change her mind) but is receptive to input and
suggestions from the cast. As I said it’s all starting to come together
under her direction.
Well I’ve covered props, prompt and producer. Paper? That’s for the
insiders – all will become clear. See you at the production.
* Editor's note - Actually, yes, I was. In the days before we had a proper lighting board, the stage dimmers were two whacking great mad-scientist rheostats that hummed like Sellafield on meltdown and made you want to cackle "It lives, bwahahahaha!" every time you used them. Oh, and most of the lighting was a huge wooden trough suspended at the back filled with ordinary 100W lightbulbs all wired in series. I learned much of my technical improvisation from the sadly-missed Terry Hill, back then, who did indeed fix the main fuse with a bit of tin foil and tested it by wetting his fingers and poking the jury-rig until it gave him a healthy belt of mains electricity. None of your 'elf and safety nonsense: in those days, stagehands were REAL men..!
Producer's Update - Clare-L 16/03/10
Wednesday 3rd March.
Rehearsals are going well. Although Gareth was ill tonight, Martin
stepped in and there was little effect on the rest of the cast. Most
importantly the lines are coming along nicely. I am confident that books
will be down completely by next week. I breathed a sigh of relief that
the blocking seems to have sunk in completely and I only had to correct
the odd movement. We had the real phones this week and the cast have
started getting used to the wires. Also some actors have had to get used
to using the phone in the opposite hand than they are used to, which is
difficult for them. There was some debate over the pronunciation of
"schedule" with the ladies and Martin had even looked it up in the
dictionary. Sam was adamant she was keeping to her pronunciation and
Linda gladly complied. Sorry Martin you lost that one, :-).
A bit of a hum drum rehearsal as the focus is still mostly on lines and
making sure movements are cemented in completely. Can't wait for the
exciting directing bit!
Wednesday 10th March.
Our main actor Gareth was unfortunately ill again tonight, as he has
been brought down by a particularly nasty bug. I did flirt with the idea
of cancelling the rehearsal as Nick had a booked holiday date and holds
the other main part. Understudy, Martin, had already prepared to take
Nick's part and with Zahir and Mike both having the night off I would
have had no-one to play John. In addition anyone standing in for John
would have no idea where to stand and the other actors would either be
out on their blocking to compensate or spend half their time correcting
his position. It did occur to me though that I could play John and
understand reasonably where to place myself. Although I wouldn't be able
to direct, the other 5 actors would get to rehearse on the correct stage
which in itself is a benefit.
Overall the rehearsal was reasonably successful in that respect. It was
frustrating and lacked any real flow but there were humorous moments and
I think each of the actors gained something from continued rehearsal of
their lines and movements. I was especially glad to see Dave as he was
not well and had turned up anyway which was a godsend.
It looks like the lines are coming along nicely - I only saw one hidden
script and everyone knows that from Monday there cannot be a script in
sight.
Monday 15th March
Well what a relief to finally get round to some directing. Although
reading through a script, asking actors to stand in a certain place and
reminding them to learn their lines may be an interesting pastime the
real pleasure with directing is the development of the actual vision. It
is like painting or pottery. You don't mind sketching in or building the
pot on the wheel, but the best part is when you bring on the colour. I
look at directing in a similar way. Sharing your vision of the entire
play and each character with your actors is the most important stage of
the production. Actors have an opportunity to agree or disagree, bring
in their own ideas and discuss motivation, characteristics and so much
more. Finally I was able to take out my pen and paper and start working
on those intricate details which make a play shine. The spectacular
detail in colour.
We did Act 1 tonight and I stopped on 4 occasions to offer notes to the
actors. It is always difficult the first time as you have so much to
say, all of your thoughts over the last 2 months. We ran over somewhat
and as it is a different directing style then they are used to some felt
a break to their flow. With that in mind Monday we are starting spot on
8.05pm and depending on whether actors have already picked up on these
comments it may flow straight through or require a few stops again.
Overall I am pleased by the reaction of the cast. It is always difficult
when you direct a group for the first time and with a different method.
You imagine people will take things personally or react badly to a
request. In fact I have been in the group long enough now that they all
know me. Luckily this means they always seem to understand my good
intentions and I believe after next week everything will more or less be
done on the notes side.
From then on it will be a case of ensuring that lines, blocking and
notes don't slip and working more on the technical and other supportive
roles to the production. Fingers crossed as nothing is ever that easy
:-).
It’s the time of
frustration now, remember the lines forget the moves, think hard about
remembering the moves and forget the lines or better still remember all
the lines at home and forget them at rehearsals!
It’s all a challenge but we will get there eventually….hopefully…..
Now having gone through the play several times you would think you would
get immune to the humorous lines and actions and be able to keep a
straight face but Gareth’s potato machine does it every time with me.
The enjoyment for me in each production is understanding the story/plot
and then seeing how that character are interpreted and developed by the
cast.
There appears to be mixed feeling about this production as it is not PC
and maybe we laugh because we are embarrassed but for what ever reason
we are laughing we hope it will lead to a production enjoyed by all.
The Super said I could say anything, apart from
she was the worst Superintendent I have worked with, so I can safely say
she is not the worst I have ever worked with.
Working with someone you have not worked with before is always an
experience and I have enjoyed working with Clare-Louise over the last
few months. My investigations are almost complete and I will be able to
bring this case to a satisfactory conclusion and reveal my findings by
15 April.
Detective Sergeant Troughton, Wimbledon CID.
From The Papers - Mike 11/04/10
Those nice folks at the Worthing Herald have rather kindly given us a bit of a spread this week and - solely for those who missed it, of course - here it is:
Vorsprung Durch Technik - Mike 11/04/10
The
best and worst day of any production, in my opinion, is the Sunday of
the weekend before*. It's certainly the longest (except, possibly, for
some of us who labour away in the background doing all sorts of
pre-production work), as it's actually a full day's work. The set build,
which is started Saturday evening, has to be completed in full, then the
set has to be decorated, furnished, tarted up, pushed around, fixed,
cleaned and modified where it doesn't fit. After that, it's straight
into setting up the lighting and getting the props sorted, followed by a
(well, actually, the) technical rehearsal. For the crew backstage, it's
the first chance to get a real feel of how difficult the effects plot is
to manage: for the cast, it's the first chance to deal with opening
doors before going through them. For the producer, it's an opportunity
to fret endlessly about all of it - as well as watching the clock as
time runs out. Rather like Scrapheap Challenge, without the budget, but
with nearly as many power tools and, well, scrap.
Get it right and it's a very satisfying place to be. Get it wrong, and
tempers start to fray as people realise the afternoon is fast
approaching evening and they still have two hours of rehearsing lined
up...
Today was, as is often the case, somewhere in between. The build didn't
fall together, the way it does if you're exceptionally lucky (or have a
minimalist producer), but it got built. The decorating went steadily
rather than spectacularly - that's what happens with strong colours:
they need multiple coats of paint - but it's finished now. And although
there wasn't time for a full rehearsal, the noise from the back of the
hall sounded a lot like the cast going through their lines to me.
Importantly, we nailed down the "technical" part of it ( - and when I'm
neither acting nor producing, that's the only bit that bothers me
anyway. A trifle hypocritical, perhaps, but to err is human...). On that
front, it was a good day.
And for those with a burning interest in having an update on the
telecommunications situation: the phones do work.
* Many people just plump for it being the worst, to be fair.
A favourable review, such as the one presented below, is always a nice way to end the production run...
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