Let’s continue, shall we? Last time we talked about the
process of picking a show, securing performance right, and assembling a
production team. Once this was all completed, the brain trust met and decided
that auditions would be set for early January 2016. This would allow us plenty
of time to cast the show, and begin rehearsals for the April production dates.
Over my decades of directing and acting, I’ve had a love/hate relationship with
auditions.
As a director, I get excited about the possibilities. But at the
same time nervous that people won’t show up, or I would have to disappoint some
people. Neither option is fun. To be perfectly honest, when I decide on a show
to direct, I think about who I could possibly cast in each role. I believe you
have to do this in a community theatre setting, because you have to know if you
can realistically cast your show. This method of thinking of people is not to
be confused with pre-casting- this is the method where you decide on certain
actors for specific roles even before auditions. I also have mixed feelings
about pre-casting, and here’s why: many times over the years I’ve heard
complaints in the community that they see the same people in shows over and
over. They know if ______________ is
directing, then __________________ will be in the show. And often that’s true.
But many times pre-casting takes place because people don’t show up for
auditions, and you as a director must plan for that. As an actor I’ve been on
both ends. One of my first experiences at SLT was when I was a freshman in
college, and I heard that SLT was going to be performing a play that I really
liked. But when I inquired about it, I found out that the show had already been
cast, and I wouldn’t even have a chance. I was furious- this was an outrage! A
grave injustice had taken place!! But over the many years, I’ve also been
pre-cast in shows, which, to be frank, is kinda nice. So I definitely see both
sides of the argument. For Spamalot, only one role was going to be pre-cast-
King Arthur. I was casting myself. I didn’t feel too badly about it, because
this show is choc full o’ really good male roles, and each have there own
moments to shine.
As the
audition dates got closer, I was feeling apprehensive- would we get enough
people to cast the show? Would the RIGHT people show up? The last show I
directed, the musical “How to Succeed in Business….”, had a serious audition
problem. Only about 13 people showed up, and I frantically began calling and
begging people to be in my show. Fortunately, this was not the case for
“Spamalot”. We had a tremendous turnout, and we were thrilled. But this brought
a new anxiety. Most of the people that auditioned I knew, and had worked with
over the years. We knew that not everyone was going to get a part, and some
very talented people were going to be told that they were not being cast. So we
began our casting meeting, and it was hard. Extremely hard. We had to make some
tough decisions, and in the end there was some weeping and gnashing of teeth.
But we put together what we felt like was the best cast based on the characters
and the actors. I know there were some disappointed people. I know people
didn’t get the parts they wanted. But sadly- that’s theatre. I’ve auditioned
quite a bit myself over the years, and there were many times I didn’t get the
outcome that I had hoped for. I used to tell my students that if they were
going into the theatre business then they needed to get used to rejection. It
stings. It sucks. But in the end, you just accept it and move on.
We had our
cast about the second week of January. And although the show was still months
away, I was ready to start rehearsals. We began meeting a few times a week to
learn music and choreography. This definitely pays off later on. Finally in
mid-February, we actually got into the theatre. Now it begins! The way Rebecca
and I worked together was that I did most of the actual blocking, and she
organized and coordinated all of the other elements- costuming, lighting, set
building, and numerous other tasks. She also blocked a couple of the scenes in
the show, so she pretty much had her hands in everything! I absolutely couldn’t
have done any of this without her!!
At this
point it becomes a puzzle. Trying to fit all of the pieces together in a race
against the clock. Eight weeks of rehearsal seems like a long time, but believe
you me, that time flew by. Slowly things started to gel and coalesce. Songs
were memorized, lines were learned, and choreography was cleaned up. Costumes
were sewn, sets were built, and props were created. What looked like a long
time on paper, suddenly felt like a mad dash to the finish line. And a few
weeks before opening night, I’ll confess, I was feeling some anxiety. Would it
all come together? Would there ever be a night the entire cast was at
rehearsal? (One of the pitfalls of true community theatre.)
As I write
this we are one day away from opening night. And I have to tell you- I couldn’t
be more proud of the way it’s turned out. This has been a fantastic group of
people to work with! Every person, from the boys who move the sets, to the
people working in the box office, to the fellow actors I join onstage has give
110%, and I am truly honored that they have chosen this production to be a part
of. I can’t wait for you all to see it! (Although I am extremely confident in
it’s quality, I must confess- every show I ever do I wallow a bit in my own
insecurities. Actors are a funny lot.) I’m ready for you to see our baby- our
big, loveable, goofy, silly, sometimes inappropriate baby- warts and all. I
want you as an audience to come away with pains in your sides and sore cheeks
from laughing so much. I want you to have as much fun as we are performing it
for you. So go get those tickets- we’ve been working a LONG time to entertain
you! And remember- always look on the bright side of life……
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