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The Pillowman posted:Anybody worked with "My First Time" before? You have to approach that character like he is: A real person. Don't think about "How can I make this monologue be a certain way?". Think about : "How can I bring out the truth of this monologue?" Now, maybe that's going create a sarcastic minister. But really, does that sound right to you? Unless the playwright has chosen to give you clues that this character must be played in a specific way, you should let it be true to itself. If this character hates gay and pre-marital sex, so be it. Let him have his speech. Let him be true to himself. If that offends people, that's okay. In fact, challenging audiences is one of Theatre's many important facets.
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Dec 14, 2010 01:28
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I love the alternate voice. It's challenging. Everyone can go on stage and thank the audience, comfort them, and tell them that their weaknesses are understandable, that they would've made better choices than Hamlet, Oedipus or Othello. Is it a good speech? Was it written by a neutral playwright who gave the minister a fair shake (explaining how one's relationship to God becomes not just a job or a calling but an entire being?) Can you get into his skin - why does he want people to repent and come towards his vision of God? If it's a laundry list of cliches you're within your rights to cut it. Don't put it last or anything, but give it weight - make it really a viable perspective, and it'll fit in your play.
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Dec 14, 2010 07:56
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Named Ashamed posted:You have to approach that character like he is: A real person. Seconding this (thirding?). The sarcastic approach is a director trying to protect him/herself from either being seen to agree with the character or endorse that point of view. At least that's the impression I get. Maybe it just made them uncomfortable. At any rate, you owe it to yourself and the actor to make the monologue as real as possible. You can add subtexts or allude to some sort of character flaw, but make sure it's organic. If you're concerned about it, and if you have any control over the running order, I'd sandwich it between two of the stronger, shorter, light-hearted monologues.
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Dec 14, 2010 15:37
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Leaf Coneybear posted:Well almost all my experience is stage work, but we take two on-camera classes for our BFA program. Honestly, I'm not one of those people that says "broadway or bust"... to tell you the truth, those people annoy the gently caress out of me. Of course, I want to get as far as I can, but if I'm in a good-sized city doing challenging, good work at a respected theatre, and making a living that's comfortable enough to get rid of the need for a day job, I call that success. And even that goal is lofty in this business. Making enough money for a decent living from live theatre is very, very difficult to do. If you're successful in New York, *very* successful in Chicago, or willing to travel around regional theatres and with national tours then you can maybe make 30-40k a year from theatre--and this is if you're constantly working, all year long. Obviously there are exceptions to this rule but it's mainly if you turn into a megastar in the Broadway musical scene (think Nathan Lane) and you can make millions that way. Everyone else either augments (or tries to augment) the theatre work with commercial/film/TV or else accepts that they will have to make some of their money from either teaching or some other side job. That said, if you're comfortable with an end goal of 40,000 a year and/or you have no problem teaching or maybe working some small side job to get all the bills paid, you have a nice range of opportunities. Chicago is a fantastic theatre city and is especially friendly to young actors who aren't Equity yet and are looking to do professional theatre. Minnesota's Twin Cities also have an awesome theatre scene. San Francisco, Austin, San Diego (you'll be competing with LA actors for some of the bigger stuff here), and Washington DC (competition with new York actors exists but only for the bigger stuff) are all other good mid-to-large-sized towns with strong theatre scenes (DC's is more of a theatre/TV hybrid but still not a bad place to get started). Eventually you'll start getting a feel for what you really love (whether you want to stay in one city and do the work there, or travel around and work different regional theatres, Shakespeare festivals, and things like that) and you can focus your training, networking, and money into pursuing that dream. For what you're talking about ("doing challenging, good work at a respected theatre"), you have to realize that very rarely is challenging, good work going to pay the bills for you; that said, your best bet for steady work and the chance to really explore artistically is to join or form a theatre company. Most of the theatre work in Chicago and much of the theatre elsewhere is done in companies with a core group of ensemble actors; this is your best way to have a steady supply of shows and to get the chance to do the work you want to be doing. When you decide where you want to go, the next step is to get yourself in the scene, and the only way for this to happen is through hard work. So many students come out of school with a head full of craft knowledge and next to no business knowledge, and they get frustrated when you learn that you have to put in the work to actually advance your career. It's really tough! You have to meet people and get people to start to know who you are through any means possible--attending industry nights of shows or opening nights (and schmoozing at the post-show banquets), going to staged readings or readings of new plays (or, even better, volunteering your time and being part of those readings), SEEING THE THEATRE THAT IS HAPPENING IN YOUR CITY (this is so important--so many people want to be in the scene but aren't actually seeing what's getting put on!), taking classes (another biggie, although this one costs money so you need to be careful and judicious--choose good classes from studios with good reputations that are likely to further your career by developing your skill set and giving you the chance to get to know your teacher, who ideally is heavily involved in the scene themselves), going to industry events/fundraisers, reading the local columns and following the news in your city, etc. etc. You have to do this constantly and keep up the pressure--I like to set a rule of thumb of "At least once a week I have done something to advance my career"; whether it's submitting for agents or for a specific company, meeting with/corresponding with someone important in the scene, going out for a big general audition--something. Keep yourself active, focused, and driven while continuing to hone your skills and eventually you'll break into whatever scene you want to be a part of. And don't forget to be having fun along the way! That sounds really corny but the fact is that it's going to take a long time for you to hit your goal and you're going to hear a whole lot of people tell you "no" along the way, so make sure you're living your life and having as much fun as you can while you pursue your dream. Make friends, have fun hobbies (as long as they don't interfere too much with your main hobby/career), eat good food, have awesome experiences. As camp counselor as this sounds, your singleminded drive for acting nirvana isn't going to keep you afloat during the lean years of your career--it's the other stuff that keep you going. Acting is the destination, and for a long time you're probably going to be living the journey, so make sure you're enjoying it or you will burn out very quickly.
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Dec 14, 2010 18:31
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Thanks for the advice. Last years director is a good friend of mine, and I know he was really concerned about the monologue, especially because it's a giant condemnation of homosexual sex and he's gay. I'll be honest with the monologue. My concern at this point is the people on college campuses who love to complain bitching about these plays for these monologues and then trying to stop sexuality plays.
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Dec 14, 2010 21:56
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If people try to shut your play down it will literally be the best publicity you could possibly hope to get. Nothing excites college students more than someone trying to Limit Our Free Speech and if you make a fuss about it you can get a big public debate going. I realize this sounds mercenary but conflict sells.
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Dec 14, 2010 22:59
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What's the best way to option off my children's play (previously posted)? I don't imagine I want to charge a lot of money to perform it (probably a nominal $25) but I want it to be widely produced.
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Dec 15, 2010 07:54
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Golden Bee posted:What's the best way to option off my children's play (previously posted)? I don't imagine I want to charge a lot of money to perform it (probably a nominal $25) but I want it to be widely produced. Have you had a "succesful" production of it with an established company? Most of the new plays I hear about around here get published after they have a good run at one of the established theatres, who will usually help you out with finding a good publisher/distributor.
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Dec 15, 2010 17:42
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Success! I'm back from that 5min Music and Theatre collaboration. It went over very well and turned out great. I don't know what else to say other than that. Now I need some other project to fill the void.
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Dec 16, 2010 04:35
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Just to quickly vent to a non-biased group of theatre people: If my town's theater doesn't hire me as Artistic Director, I will lose my mind. I'm earning my degree in just a few months, which will already make me more qualified than the theater's EXECUTIVE Director. I have qualifications and recommendations out the rear end in a top hat. Plus, as much cash as the theater is bringing, they desperately need some fresh perspective. I cannot watch one more musical that, as amazing as the performers are, consists of blocking that is just everyone standing in clumps onstage as they sing, with no filling action or blocking during musical breaks, so everyone is just standing there waiting to sing. There's not an actual "director" in that entire theater, and it shows. El Tortuga fucked around with this message at 03:27 on Dec 20, 2010 |
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Dec 20, 2010 02:18
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El Tortuga posted:consists of blocking that is just everyone standing in clumps onstage as they sing, with no filling action or blocking during musical breaks, so everyone is just standing there waiting to sing. That sounds terrible. Here's hoping you can change all that. It's not limited to musical numbers, either. I've seen plenty of plays or sketch revues where every scene is 2-3 people sitting or standing semi-circle center stage, talking at the audience. They don't even mix up where they stand, either, it's just them standing there, right in the middle of the stage, talking, for an hour, interrupted only by light changes.
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Dec 20, 2010 03:03
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antiloquax posted:That sounds terrible. Here's hoping you can change all that. It's surprising how often the basics of staging are what's screaming to you the most to be fixed. More often the biggest problems in shows are people standing in straight lines, people not cheating out, people not moving when other actors stand in front of them, the list goes on.
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Dec 20, 2010 03:27
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Does anyone use Playwriting software? Any recommendations? I ask this because the two leading programs I know about, Final Draft and Celtx, are not very good for separate reasons. Celtx's format for plays is some bastardization of a Shakespearian format, and is simply not good at all. Final Draft 8 has many excellent formats to use. The problem is it starts to get crippling typing lag after about 10 pages. The program can't keep up with even my slowest typing speed. Seeing as professional programs are expensive, I wanted to hear direct testimonials from writers before I buy.
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Dec 20, 2010 21:39
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El Tortuga posted:Just to quickly vent to a non-biased group of theatre people: If my town's theater doesn't hire me as Artistic Director, I will lose my mind. I'm earning my degree in just a few months, which will already make me more qualified than the theater's EXECUTIVE Director. I have qualifications and recommendations out the rear end in a top hat. Plus, as much cash as the theater is bringing, they desperately need some fresh perspective. Dunno how big your theatre is but often times the AD is so busy fundraising and dealing with administrative bullshit that he/she doesn't get the chance to actually direct any shows!
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Dec 20, 2010 23:36
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OSheaman posted:Dunno how big your theatre is but often times the AD is so busy fundraising and dealing with administrative bullshit that he/she doesn't get the chance to actually direct any shows! It's pretty big, all those duties fall under the Executive Director. The job of the AD would be direct the artistic vision of the theater, which it needs.
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Dec 21, 2010 02:23
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CeltX has been fine for my needs, but BACK UP FREQUENTLY. I lost about 20-30 minutes of work on a draft and can't re-open it, even with Spick (Steven Pick), the maker of CeltX. Luckily I backed up to a PDF every evening.
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Dec 21, 2010 04:31
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El Tortuga posted:It's pretty big, all those duties fall under the Executive Director. The job of the AD would be direct the artistic vision of the theater, which it needs. Your artistic vision should be "How many times can I actually get away with spraying the audience with blood in this production of Titus Andronicus?" That's basically how Steppenwolf got started, could work for you too! 
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Dec 21, 2010 18:47
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I just got the best carpenter's Christmas ever: a screw gun, a skil saw, a sawzall, an angled-head light, a solar-powered LED light (well, electrician's christmas in this case), some gloves, and a loving rad toolbelt. I also got a magnetic armband from a graduating friend for holding screws and, more importantly, safety pins. If you ever see a stage manager that isn't a carpenter or electrician or both, they're a god drat spy. (That said, I entertained the idea of Assistant Costuming this semester before I realized how many classes I was taking) Also, I get to direct next Fall. I just spent all of last semester getting really into Brecht and I'm about to finish Boal, so I have in mind a really specific idea and just need to find a play to match it. Basically, my school loving hates the theatre program and, I think, is trying to phase it out. Right now, the head of my school's liberal arts college is sitting on the decision for us to stage Ragtime next semester because of guns and ignorance. He won't turn it down, but he's going to sit on it and run down the clock until we give him something else. On top of this, we're losing our offices and classroom, so inside our found space shop that we turn into a black box for each and every god drat show we do, we're losing our light room and most of our stock storage so we can fit our classrooms inside. We're pissed. We're really pissed. From the perspective of the company, we want action. However, we're the actors and techies, not the spectators. The people watching this will be the ones with their hands around our collective throat. So I'm going to force them to be spectators, I'm taking the action out of their hands and placing it in ours -- but I want them to think. I want them to think about what they're doing to us and to feel that we have a right to exist. To that end, if I could stage Fitzcarraldo in our space, I would. But if you're not actually hauling a 320-ton steamer over a mountain then the message seems a little lost in translation. I have Threepenny Opera in my back pocket and I really want to see the bear from Ubu the King explode into confetti, but it just doesn't seem to fit that precise niche I want to stage. Is this what Piscator was talking about when he said that there weren't any proper plays for him to stage?
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Dec 26, 2010 20:18
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And that, ladies and gentlemen, is exactly the attitude you should have each and every time you stage a Brecht play.
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Dec 27, 2010 17:34
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On revision 3.2 of my full-length mystery. If anyone wants a read, I'd be happy for your feedback. I've got a director and we're setting objectives, hopefully holding auditions in mid january. Is there a standard list of guidelines we should create? We want to: *Find funding (local sponsors and Kickstarter) *Get the actors (we both have plenty of ideas and people interested) *Get the tech staff *Get space for rehearsals and staging
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Dec 29, 2010 02:42
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A by no means all inclusive list, but some things you should definitely keep in mind. *Hire a Technical Director and have, at the least, Set, Lighting, and Costume Designers before you even think of rehearsing. Even before auditions, if that's at all possible. A TD that knows how to work with a practically non-existent budget is a thing of magic. Also, your TD should know where to get cheap lumber in your town and how to recognize what Class D white pine lumber isn't too lovely to use. *The Set Designer chooses style, time period, and set colors. The director gets the final say. Then the Artistic Director steps in a week or two after the decision has been made and takes a huge poo poo on the production table. *If you don't have a reliable Stage Manager, you're not going to get anything done. Period. This is just as important as having a Director and Technical Director. (I'm available )*You can only rough block until you get some levels and a floor plan from your Set Designer. Once you have that, you'll have to reblock it in detail (which can just be on your first runthrough since your actors will probably be pretty rusty on the earliest blocking you've done) *Your Props Master, Paint Charge, and Master Carp are not doormats. Treat them with respect because they're doing a loving ton of work for you without complaint. Props Masters are some of the biggest whipping posts in theatre and your Paint Charge is not only the person with the know-how to prevent you from spending a drat fortune on paint, but the person capable of delivering the exact colors the director agrees to on the Set Designer's front elevations. *Your entire techie crew - save maybe your costumers since they have enough poo poo on their plate - should expect to double as either carpenters, electricians, or painters. Carpenters should own at least a screw gun, everything else should be provided by your TD. I've been trained in or have done just about every job there is to do on a show. If you have any questions then shoot. Wolfgang Pauli fucked around with this message at 08:29 on Dec 29, 2010 |
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Dec 29, 2010 08:27
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I would love to read it; I'm not really a playwright but I'd be happy to give you an actor/director's point of view. Shoot me a copy at nrshea AT gmail DOT com and I'll give it a read 
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Dec 29, 2010 16:14
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Sent it over, Oshea. Puck, you don't live in Boston, do you? I would hire you on, sure. Luckily, since the play is set in America in modern times, costuming is going to be relatively easy (and if I get actors and actresses of the same size, all my director and I have to do is discuss color, material and theme).
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Dec 29, 2010 23:48
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Is anyone here experienced with producing Fringe Festival Shows? I'm applying to the Minneapolis 2011 Fringe Fest lottery. The thing is, I'm also applying for Fee Deferment. This requires that I give a fairly accurate forecast of what I expect to spend and earn with this show. There are even specific categories to fill out and total up, as you can see on the 2nd page of this PDF. I've never been the producer or had anything to do with the financials of professional theatre, even a fringe show like this. Essentially, aside from throwing out a random lump sum like "maybe $2000?" I have no clue at all. I'll be writing the show, so no royalties. Minimal scenery, but costume design might be more intricate than usual. We're probably going to try to market and publicize like crazy too. Anybody with prior experience in Fringe Fest shows have pointers and ballpark estimates for what I should be budgeting for?
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Dec 30, 2010 02:24
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Named Ashamed posted:Is anyone here experienced with producing Fringe Festival Shows? 1. Do you have a Technical Director? 2. Will you have any stock to pull from? Touring sets usually build light plots out of the performance space's on-hand inventory based on an adaptable plot created by the lighting designer. *edit* Do you have a company that's working on this? What exactly do you get out of applying to Fringe? I mean, is it just some festival you bring your touring set to and perform? Estimations really aren't too hard, you just need to have an idea of what you're looking at and know your local pricing options. Wolfgang Pauli fucked around with this message at 05:30 on Dec 30, 2010 |
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Dec 30, 2010 05:24
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How could I have gone all this time without knowing this thread existed? I'm a fellow theater geek/techie, but I'm leaning more towards the costume/makeup design aspect of it all. Magic Hate Ball posted:Anyone know anything about The Exonerated? I'm supposed to be crewing it in a couple months. I know this is late, but during the time you posted this the community college I currently go to was doing it as well. I wasn't crewing it but I did go to see a performance and thought it was such a massive set but it worked out well. Though it would have been a better theater experience if it wasn't for these meddling teenagers that sat next to me. 
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Dec 30, 2010 07:56
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Wolfgang Pauli posted:You're going to need an expectation of labor and material costs. The TD is the person who will look at a set design, plan out the set units from that design, and then analyze material costs and build times. The Costume Designer will handle the same kind of build schedule for your costuming. It's a great place to try out new work and get your feet wet. I'm only a college student at the moment. I know very little of the technical side of things (haven't taken those classes yet). I'm also working completely from the ground up. I thought a Fringe is a good place to learn by doing. My idea is to write the script and then apply for a slot. If I do get it, I then have about 3 months to see if I can get a full crew together. If I can't, I can be refunded for space fees. Here's the issue: The fee deferral is due on the day of the lottery deadline. I don't want to drum up a full crew and then have to disband if our lot isn't drawn. But, I do want to get that fee deferred if I can. So, I should ask for a technical director to consult me on this project. I think asking some of my profs would also be a good idea. I suppose a better question for everyone would have been: I'm creating a 1 hour play from scratch. No existing script, no existing company, no existing resources. What are the very first things I should be doing to start out?
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Dec 30, 2010 08:36
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Well, you're definitely going to need a director. Three months is a huge amount of time to put a show together. Drag in as many professors and fellow techies as you can. As far as pricing a build goes, it only really comes down to how many flats and platforms you need and how much it costs to build one in your town. Your professors will almost certainly encourage any kind of independent work their students are trying to produce (unless they're assholes who want things done their way) Like I told Golden Bee, getting a production team (Director, SM, TD, designers, and Publicity) together would probably be step one to producing one of your own plays. Pricing everything out is going to depend on what you want to do. Keep in mind that most of the people doing this won't be producing new work, they'll be staging a pre-existing play. Something to look at as Production Manager is to count the seats, look at ticket prices, and figure out what kind of revenue you're looking at here. If you're a playwright, you should be on The Loop and start sending stuff out to everything you can.
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Dec 30, 2010 09:09
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FleshColoredBeard posted:I know this is late, but during the time you posted this the community college I currently go to was doing it as well. I wasn't crewing it but I did go to see a performance and thought it was such a massive set but it worked out well. Though it would have been a better theater experience if it wasn't for these meddling teenagers that sat next to me. Cool! What'd they do? We had two "wings" of doorways, three on one side, two on the other, that at first were closed downstage and crammed the early action down there onto the apron. Upstage was a large prison tower with a door and a little window up top for a searchlight. As the play went on the wings opened inwards (usually pretty clumsily) and eventually the tower lifted out and the stage was completely open.
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Dec 30, 2010 10:25
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Fringe Festivals rock. And Golden Bee, I'm reading your play now EDIT: Finished reading Golden Bee's play, and it's loving awesome. Very funny, with excellent pacing and hysterical characters; if anyone wants a fun read ask him to forward the script your way, because I had a blast reading it and now I want to put it up in Chicago somehow. OSheaman fucked around with this message at 18:41 on Dec 30, 2010 |
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Dec 30, 2010 15:42
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OSheaman posted:because I had a blast reading it and now I want to put it up in Chicago somehow. We could get the entire Creative Convention Chicago Contingent in on it. I'm good for $50 and a file cabinet full of headshots. I completely rewrote the Richard Daley play so it's now a ridiculous faux action movie, we bagged a pretty spiffy cast of people, and I'm actually designing the stage for the first time in two years. I'm a little excited about seeing how it comes together. I've pretty much decided that next year is time for me to go big or go home.
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Dec 31, 2010 00:37
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Magic Hate Ball posted:Cool! What'd they do? We had two "wings" of doorways, three on one side, two on the other, that at first were closed downstage and crammed the early action down there onto the apron. Upstage was a large prison tower with a door and a little window up top for a searchlight. As the play went on the wings opened inwards (usually pretty clumsily) and eventually the tower lifted out and the stage was completely open. Oddly enough that sounds very similar from what I saw. If I remember correctly, there were police sirens on each side near the wings that went off during one of the police scenes. By any chance did this same community college do "36 Views" and "Mr. Marmalade" this semester, because if so i'm going to crap my theater pants.
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Dec 31, 2010 00:56
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Crap away! Are you an active theater student there/here? This is awesome. edit: also how did the show look? Obviously I never got to see it but I've always been curious how well those final moments played out. Magic Hate Ball fucked around with this message at 01:11 on Dec 31, 2010 |
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Dec 31, 2010 01:05
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Magic Hate Ball posted:Crap away! Are you an active theater student there/here? This is awesome. If you don't mind me asking, how come you didn't get to see it? Right now I'm currently a student at the community college, majoring in theater. I don't know if anyone here has seen a performance of "36 Views" or "Mr. Marmalade" but I'd like to know how it was done if you saw/crewed it. 36 Views- For our production we used the main theater and it was probably one of the most interesting of plays i've seen considering a lot of projections were used and have never have seen that done before. I was working on costumes during the show, helping the main costumer who was dressing the main character because of the elaborate multi-layer kimono she wears. Mr. Marmalade- This production took place in the black box. I helped run the lights which was fun. My teacher, the lighting designer, preset every thing so come show time, I had to push "Go" on the lightboard.
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Dec 31, 2010 03:03
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I was the fly-puller and so I never really got an opportunity to watch it. I take it you know Chris and Chuck and Debbie. Taking any classes next semester? I'll be doing scenic design with Chris (took his stagecraft class last spring, building sets etc) and playwriting with Chuck. This is so cool.
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Dec 31, 2010 03:35
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Actually, that's one thing I have no experience with. Our space doesn't have a fly system.
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Dec 31, 2010 05:03
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Like a black box? Flies are really fun to work with, so that kind of sucks. I guess you work mostly with multipurpose/modular sets and roll-ons?
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Jan 2, 2011 01:15
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We have a found space that we turned into a black box. It's a really old gymnasium that's part of a building we share with the school's Museum. Everything is in there, shop, light and paint rooms, costuming - and now that we've lost our class and office space, it's the only remaining classroom we have. We don't even have a lighting grid, we have trusses 18 feet up that we lay gas pipes across. We have a cherrypicker that looks like a siege tower to get up there. We experiment with pulleys in lieu of a fly system from time to time. Having something descend from the trusses is something that always winds up in One Acts. I had a build a puppet for a Giant in the children's show we just did. The leg was eight feet tall and a rod puppet that two people carried while another operator was on a rope pulley arm that ended up being 10 1/2 feet long. It was holding this pin that it stabbed poo poo with, so one slip and it would fly down and impale one of us in the face. We don't have too too much wing space, so any set changes will usually be something flipped around that's on casters or sliders. Every now and then we'll have some big impressive set piece that we have to haul on. For the children's show we had two masters of the universe (two Hollywoods screwed together to make an 8'x8' flat) close together and we used that cover to bring a twelve foot tower onstage (theoretically at least, between the tower and the squeaky casters on another flat we spun around, it sounded like we were constructing the thing then and there). All in all, I'm glad that I have this kind of make-do-with-what-you-have experience - or I would be if the school would stop taking poo poo away from us and unfairly censoring us. And our space is much better than the school's auditorium. It has a few acoustic dead spots (center-center stage will be silent from center-center house) and the center line for stage and house is off by like a foot and a half. We're not allowed to touch the sound board and the lighting grid can't be lowered without a key that our techie professor has (and a light call with her is not a very fun light call. I love her, but she's gone off the deep end this last semester)
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Jan 2, 2011 01:55
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I saw a great production of Mr. Marmalade in Feb 09. I don't remember a tremendous amount, but Lucy changed outfits between scenes on stage. There was a little butcher-paper drawing section, the title of the acts were announced to upstage music, and the 'yard' was visible upstage behind a window that faced a blue backdrop. Edit: I ended up casting Lucy to be on my comedy CD, and she'll likely appear as "Mom De La Torre" in Apocrypha on Albatross Street. She always ends up in the "baby" role and I think it's fun to cast against type. Golden Bee fucked around with this message at 02:07 on Jan 2, 2011 |
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Jan 2, 2011 02:00
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Magic Hate Ball posted:I was the fly-puller and so I never really got an opportunity to watch it. I take it you know Chris and Chuck and Debbie. Taking any classes next semester? I'll be doing scenic design with Chris (took his stagecraft class last spring, building sets etc) and playwriting with Chuck. This is so cool. I'm taking the remaining theater classes I need to proudly obtain my AA in theater arts  Just another practicum, though costume was full I really want to see if I can get squeezed in and an acting class, a workshop and a drama lit. Though I'm having an issue with the voice class because I didn't know it was only offered in the Fall (stupid counselors) and I really don't want to wait till next Fall for that one class. Let's see how this situation plays out. Golden Bee posted:I saw a great production of Mr. Marmalade in Feb 09. I don't remember a tremendous amount, but Lucy changed outfits between scenes on stage. There was a little butcher-paper drawing section, the title of the acts were announced to upstage music, and the 'yard' was visible upstage behind a window that faced a blue backdrop.
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Jan 2, 2011 21:18
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