twelve minutes before the final performance of the 24 hour theater project and my throat is so swollen I can hardly speak. It seems that too many theatrical orgasms and birthing blocks has taken it's toll on me. Overall it has been quite the experience. There is something totally visceral about going up on the tight wire with little to no net below you. All you can do is trust. Trust that you know the way through the hastily written text that has recently lodged its way into your brain. Trust that if you begin to fall one of your fellow tight roper walkers will keep you from falling. Trust that the audience will gasp in excitement every time you wave your hands looking for balance... We are really all here just for the gasps.
Thus far we have been blessed. No one has bounced off the proverbial pavement placed so far below our feet. Tee minus five minutes and counting... may we be graced once more.
Jan 26, 2008
10:11pm . . .
Well, house is open for the second showing. The adrenalin rush is fading and everyone is starting to feel a little tired. Majel looks glazed. When I gave her a 5 to house opening, she looked at me in disbelief and said, "seriously?" The first showing went smoothly. The house was a little hot, but it didn't keep folks from laughing and enjoying the show. I am off to give 15 to places . . . only 2 hours left til we get to start cleanup. blah! d
Playwright Jitters
So it's about an hour to curtain, and I've seen the script I wrote performed twice now. Luckily, the actors make it much funnier than it actually is. I was able to go home and get more sleep than Joey and Majel, but I came back for the free food - er, to help out. My favorite moment from writing the play last night: me padding out of my writing hovel, slippers on feet, finding Joey and Majel doing something or other with a screen and a projector, and asking, "Joey, is it okay if my characters break into song?" Answer: Yes.
- Jacob
- Jacob
Dramaturgically Yours -- Lavina Jadhwani
In less than 12 hours of rehearsal, we've done a little blitz-dramaturgy on Genevieve Thompson's Play, The Most Grandest Prize. Here's some of the our on-the-fly research from today:
- "What is Haldol?" The answer.
- "What does Kevin Bacon's dance from Footloose look like?" The answer.
- "How does the song 'Hakuna Matata' go?" The answer.
More importantly -- what on earth do these things have in common? Guess you'll have to come to the show to find out... see you at the theater!
- "What is Haldol?" The answer.
- "What does Kevin Bacon's dance from Footloose look like?" The answer.
- "How does the song 'Hakuna Matata' go?" The answer.
More importantly -- what on earth do these things have in common? Guess you'll have to come to the show to find out... see you at the theater!
ICT 24 Hour Project update
Joey again. So we are at the last rotation of the rehearsals before tech begins. Diane, the last minute pick-up queen, is bringing us the last minute things we didn't realize we would need. (see her previous blog to see what that list included) I just wanted to take a quick minute to say:
1. the food spread was made possible by the super supportive people of infamous who brought us things from pb&j fixins to tea and coffee to snacks and chips to beverages to homemade goodies like rice crispie treats and cookies.
2. These shows are going to rock. Listening to the rehearsals through the space has really got me anxious to see them. I can't wait. I have not looked at the scripts since they were handed over to us by the playwrights many, many moons ago.
3. The artists seem to be having a good time mingling during their brief breaks. We set up increments of 1.5 hours for rehearsals with 15 minute breaks for miscellaneous. We also had a lunch break and soon there will be a dinner break with pizza. Hopefully during that time, some more actors and directors can get in here and give you a glimpse of their day.
For now that is all. Send us your notes in the comments and we look forward to seeing you in a few short hours.
1. the food spread was made possible by the super supportive people of infamous who brought us things from pb&j fixins to tea and coffee to snacks and chips to beverages to homemade goodies like rice crispie treats and cookies.
2. These shows are going to rock. Listening to the rehearsals through the space has really got me anxious to see them. I can't wait. I have not looked at the scripts since they were handed over to us by the playwrights many, many moons ago.
3. The artists seem to be having a good time mingling during their brief breaks. We set up increments of 1.5 hours for rehearsals with 15 minute breaks for miscellaneous. We also had a lunch break and soon there will be a dinner break with pizza. Hopefully during that time, some more actors and directors can get in here and give you a glimpse of their day.
For now that is all. Send us your notes in the comments and we look forward to seeing you in a few short hours.
24 Hour Project - Artists reactions
Chris Mathews
-Dear God in Heaven what the hell am I doing? I am so distract...hey these bagels are really yummy! Ummmmmm....bagels....I'm so relieved that my actors and play are so good so they can make me look really smart and funn...oh, now. This spread is just FABULOUS! Wait! Where's my coffee??! DAMNIT Whitney! Stop throwing cheese! Love to Emma B, Sophie P, Jenny, and Jenny's Mom...signing off to deflect the cheese-throwing madwoman.
Danielle Mari (Filas)
-OK-- if nobody's blogged about this yet, I am here to tell you that the food spread is amazing.... no little ol' bowl'o'nuts here. And if someone else has blogged about it... well... the spread is amazing.
Artistically, this is a blast. Very fun to be putting it on its feet on the fly-- the director has to discover moments and beats as things progress in the rehearsal room. The whole thing is just really visceral. And the best part for me is that you have to say "yes and" or the process goes nowhere fast. OK-- I must fly off... herr direktor is calling!
-Dear God in Heaven what the hell am I doing? I am so distract...hey these bagels are really yummy! Ummmmmm....bagels....I'm so relieved that my actors and play are so good so they can make me look really smart and funn...oh, now. This spread is just FABULOUS! Wait! Where's my coffee??! DAMNIT Whitney! Stop throwing cheese! Love to Emma B, Sophie P, Jenny, and Jenny's Mom...signing off to deflect the cheese-throwing madwoman.
Danielle Mari (Filas)
-OK-- if nobody's blogged about this yet, I am here to tell you that the food spread is amazing.... no little ol' bowl'o'nuts here. And if someone else has blogged about it... well... the spread is amazing.
Artistically, this is a blast. Very fun to be putting it on its feet on the fly-- the director has to discover moments and beats as things progress in the rehearsal room. The whole thing is just really visceral. And the best part for me is that you have to say "yes and" or the process goes nowhere fast. OK-- I must fly off... herr direktor is calling!
11:24am... majel
i'm up. i'm up. i'm up. joey is now on the floor "resting". he claims he's past crashing and won't get any sleep. but his eyes are closed and he doesn't seem to be "hearing" anything either. reminds me of when i was a kid and it was bedtime and i would tell my mom "i'm not tired. " (BIG YAWN) "i'm not sleepy, at all!"
the rest was nice, i feel better though i'm sure i don't look it. i ran into whitney hayes in the restroom and she asked me if i got some good sleep. pretty hysterical considering all of the tours of the space and arrivals happened during my "sleep".
so before joey nodded off i received instructions...
- send an email to a musician
- get footloose song and a thump/slicing sound effect
- make a cardboard blade
- find pronounciations
- set up lunch
gotta get to work!
the rest was nice, i feel better though i'm sure i don't look it. i ran into whitney hayes in the restroom and she asked me if i got some good sleep. pretty hysterical considering all of the tours of the space and arrivals happened during my "sleep".
so before joey nodded off i received instructions...
- send an email to a musician
- get footloose song and a thump/slicing sound effect
- make a cardboard blade
- find pronounciations
- set up lunch
gotta get to work!
24 Hous or 240 hours
At this moment I am not quite sure which is more. Joey, here and the directors are now with the actors and some have already started blocking while others are doing some table work. Our musicians have arrived and I have given then the scripts that they will be working with. This year we are going to have the musicians writing songs to bridge two pieces together rather than writing for one show. I think this is going to give a nice transition to each of the pieces and it will fill out the night. It is going to be fun. I swear. I say this though I have not slept. I have been up 26 hours as of now. Hopefully Majel will be up soon, (like she can get any real rest with me coming in and out of the office area we call work space/bedroom) and then I will get to take a nappy nap. (yeah, I am THAT tired.) Ok, that is all for now. Signing off.
6:46am... majel.
just finishing up, what we can finish up without bios, directors, actors etc. things are ready to go for when everyone arrives starting in an hour... except for maybe me and i'm guessing joey. neither of us have slept. 15 minutes ago i was wrapping things up and joe goes "majel, i think you need to blog." i said no. then i whined. then i finished what i was doing, and felt guilty so here i am... blogging. i'm not really sure if it's even worth sleeping right now. part of me is thinking that maybe i'll get a nap in once all the groups start rehearsing. i think that's the part of me that's delusional. i have to admit, it's not that i'm that tired. i'm a night owl. i stay up late all the time. the delusion is coming from the thought of the next 20 sleepless hours.
i'm excited to see what comes from all of this hard work. the plays are great and i think our audiences are really going to enjoy them. when all is said and done, i won't think it was that bad. i wasn't that tired. it was great! for now though... i'm going to go hide under a comforter and pretend that the directors aren't on their way over right now as i type...
i'm excited to see what comes from all of this hard work. the plays are great and i think our audiences are really going to enjoy them. when all is said and done, i won't think it was that bad. i wasn't that tired. it was great! for now though... i'm going to go hide under a comforter and pretend that the directors aren't on their way over right now as i type...
Jan 25, 2008
24 Hour Project 1:15am
Diane here. I am getting ready to go home. I have to remember to bring the following tomorrow (this is my list so I can check it from my computer at home and don't have to write it on my arm) - an extension cord, speaker cable and something that looks like a tazer. Is that how you spell tazer? Does that up the intrigue factor of this project? Oh and safety pins. Joey and I helped James by reading his piece outloud while Majel was working on tomorrow's schedule. Everyone should be thankful that they didn't have to witness that. I am going home now to read about glass shades in the 1900's. D
24 Hour Project
So the 24 Hour Project has officially begun. At 8pm, the playwrights were given their assigned group which includes their image, a director and three actors. Each of the actors had mini-auditions for the playwrights and then went along their merry way, but will return at 9am.
Throughout the first three hours Majel and I have noticed many interesting things about the playwrights.
for now this is all. In the coming hours, we will return with comments on the day and will hopefully have the artists give a couple thoughts of their own. See you all in a bit.
Joey and Majel
Throughout the first three hours Majel and I have noticed many interesting things about the playwrights.
- The guys, James Dunn and Jacob Juntunen, each took their own room and have taken advantage of the dry-erase boards.
- The ladies, Gen Thompson and Marisa Wegrzyn, chose a room together.
- Most, if not all, of them are listening to music.
- Gen has come to us with random questions.
- James has gone all the way downstairs and outside for several cigarette breaks.
- Marisa has gone to our prop table to see what is there.
- Before even beginning Jacob changed into comfy slippers.
for now this is all. In the coming hours, we will return with comments on the day and will hopefully have the artists give a couple thoughts of their own. See you all in a bit.
Joey and Majel
Jan 18, 2008
Audition Tales
As requested, here are some audition stories from members of ICT. Nothing too fancy from me this week. Just nice clean fun, y'all.
See you next week.
Gen
Clarissa Gregg
Soooo......I had this audition for a musical. They wanted a 2 minute comic monologue, and at the time the only 2 minute I had was a LITTLE racy. Not THAT racy, we are all theatre people, right-open minded? The first thing that happens when I walk in is a HUGE roach runs across the floor in front of the stage. I don't think the auditioners could see it, because they were back a few rows. Needless to say, that was a LITTLE unsettling to begin with. Then I realize that that the people I am auditioning for could LITERALLY be my grandparents. Definitely not hip, open minded theatre types, who would get a kick out of the word "pussy" used at the most hilarious point of my monologue. Sooo...I grit my teeth and launch into my monologue and hear a collective,! yet almost silent gasp when I get to the word "pussy" ( even though the line is REALLY funny, I promise!). Then the accompanist-who also looks like my grandpa) BUTCHERS my song ( I am sure he was so taken aback by the word "pussy" that he couldn't concentrate). Then, even though the audition listing said NOTHING about movement or dancing, the choreographer comes up on stage and has me do a few moves, including seeing how high I can kick, with my back turned to the other auditioners, since it is summer and I am wearing a knee length dress and no tights. I was laughing soooo hard as I walked to my car and thinking--at least it would make a GREAT story.....(and maybe an even funnier monologue?!)
Jenn Remke
The first time I ever auditioned for a film here in Chicago, I went in, did my monologue (which I didn't think was that bad), they said "Thank You" and I walked out the door. As soon as I closed the door I could hear the auditors burst into laughter (my monologue was dramatic). I was devastated. I cried for a full day and wanted to give up acting then and there. The next day, they called me in for a call back. I said " Really?! Because, I heard you laugh at me" and the woman said that I must have been mistaken. I went to the call back, thinking the whole time that perhaps they just wanted to laugh at me some more but when I got there it really was only between me and one other girl. A week later, they called and cast me. I unfortunately didn't take the role because something else had come up by then. But it was a true lesson and I've tried hard since to not take what happens in those auditions personally.
Whitney Hayes
See you next week.
Gen
Clarissa Gregg
Soooo......I had this audition for a musical. They wanted a 2 minute comic monologue, and at the time the only 2 minute I had was a LITTLE racy. Not THAT racy, we are all theatre people, right-open minded? The first thing that happens when I walk in is a HUGE roach runs across the floor in front of the stage. I don't think the auditioners could see it, because they were back a few rows. Needless to say, that was a LITTLE unsettling to begin with. Then I realize that that the people I am auditioning for could LITERALLY be my grandparents. Definitely not hip, open minded theatre types, who would get a kick out of the word "pussy" used at the most hilarious point of my monologue. Sooo...I grit my teeth and launch into my monologue and hear a collective,! yet almost silent gasp when I get to the word "pussy" ( even though the line is REALLY funny, I promise!). Then the accompanist-who also looks like my grandpa) BUTCHERS my song ( I am sure he was so taken aback by the word "pussy" that he couldn't concentrate). Then, even though the audition listing said NOTHING about movement or dancing, the choreographer comes up on stage and has me do a few moves, including seeing how high I can kick, with my back turned to the other auditioners, since it is summer and I am wearing a knee length dress and no tights. I was laughing soooo hard as I walked to my car and thinking--at least it would make a GREAT story.....(and maybe an even funnier monologue?!)
Jenn Remke
The first time I ever auditioned for a film here in Chicago, I went in, did my monologue (which I didn't think was that bad), they said "Thank You" and I walked out the door. As soon as I closed the door I could hear the auditors burst into laughter (my monologue was dramatic). I was devastated. I cried for a full day and wanted to give up acting then and there. The next day, they called me in for a call back. I said " Really?! Because, I heard you laugh at me" and the woman said that I must have been mistaken. I went to the call back, thinking the whole time that perhaps they just wanted to laugh at me some more but when I got there it really was only between me and one other girl. A week later, they called and cast me. I unfortunately didn't take the role because something else had come up by then. But it was a true lesson and I've tried hard since to not take what happens in those auditions personally.
Whitney Hayes
A couple of years ago, I had an audition for a company that I was in love with. Thoroughly prepared, clad in movement attire and resume in hand I scurried off to my audition.
Sitting with my fellow auditionees, I trouble-shot my performance piece in my head. I had tailored it specifically to this theater company, to their season, to the director, everything. I knew it cold. It was funny. It was physical. It was musical!
The moment of truth came. I breathed, introduced myself to the auditors and began my piece. The performance went nearly seemlessly, minus the teeny moments of nerves that may have been recognized only by me, but nevertheless.
Finished and relieved, I said "Thank you."
The auditor smiled and said, "Thank you Whitney. This is an impressive list of special skills you have here. You've got some circus skills; that's great. Hey....what does Pittsburgh sound like?"
Sidebar: I had lived in Pittsburgh, PA for a year. Folks there have a distinct accent. Having become comfortable using it, I had added it to my dialect list on my resume.
I was taken completely aback. What does Pittsburgh sound like? Don't screw up. What does he mean? What does Pittsburgh sound like? Searching for a creative response that would exhibit improvisation ability and thoughtfulness, my brain squeezed hard and I proudly stated, "Pittsburgh sounds like .....steel........hitting.......................................................steel."
Starting to giggle, he said, "No. I meant the dialect."
Laura Ciresi Starr
Once I had a casting director tell me on the spot that I wasn't going to be in her show because my monologue just wasn't strong enough. and then she said, "but if you want to come back and audition for me in a year, don't worry, I won't remember you." It was harsh, but some of the best auditioning advice I've ever gotten. It's sometimes helpful to keep in mind that most people don't get cast because they just don't make an impression in a particular audition piece. Only a few are truly bad. and if you just don't make an impression, nobody is laughing at you behind your back or thinking, "What a bad actor!" or anything like that. They've got other things on their minds and are more likely to just forget a forgettable audition after they've seen dozens or hundreds of others (also mostly forgettable). And thus, you can easily try again another day with a perfectly clean slate.
Laura Ciresi Starr
Once I had a casting director tell me on the spot that I wasn't going to be in her show because my monologue just wasn't strong enough. and then she said, "but if you want to come back and audition for me in a year, don't worry, I won't remember you." It was harsh, but some of the best auditioning advice I've ever gotten. It's sometimes helpful to keep in mind that most people don't get cast because they just don't make an impression in a particular audition piece. Only a few are truly bad. and if you just don't make an impression, nobody is laughing at you behind your back or thinking, "What a bad actor!" or anything like that. They've got other things on their minds and are more likely to just forget a forgettable audition after they've seen dozens or hundreds of others (also mostly forgettable). And thus, you can easily try again another day with a perfectly clean slate.
Jan 11, 2008
Keely and Du, Lake of Fire, and Shmushsmortion
Recently, I was perusing Roger Ebert's website for new film reviews when I came across this review of Lake of Fire, a documentary that recently played at the Gene Siskel Film Center in Chicago. Filmmaker Tony Kaye (perhaps best known for his very public battle with producers over the editing of his film American History X) spent 16 years producing this documentary about the U.S. debate over abortion. Ebert says of the film, "Readers often complain about documentaries that don't tell "both sides." Those who care deeply about the issue of abortion in America, no matter which side they are on, may complain that Lake of Fire tells the other side. This is a brave, unflinching, sometimes virtually unwatchable documentary that makes such an effective case for both pro-choice and pro-life that it is impossible to determine which side the filmmaker, Tony Kaye, stands on."
Of course, reading about this film immediately reminded me of reading Keely and Du, Jane Martin's startling 1993 drama that explores the same topic in fictional terms. Keely and Du won the 1994 American Theater Critics Association New Play Award and was nominated for a Pulitzer Prize (Read more about Keely and Du here). Next week, ICT begins rehearsing this challenging and touching work, exploring the relationship that forms between Keely, a young woman seeking an abortion, and Du, the pro-life activist who wants to protect Keely's unborn child. In my assessment of the play, it seems Martin is careful never to paint either side as completely right or wrong, good or evil, allowing the audience an opportunity to form their own conclusions. In this way, Keely and Du is the perfect play to embody ICT's mission.
I wanted to read more to compare Martin's and Kaye's approaches to this controversial topic. In my googling frenzy, I came across a very interesting interview that Kaye did about this film with Scott Tobias from The Onion AV Club. In addition to the interesting insights within the interview itself, the article also sparked quite a lively message board debate about the film and the issue of abortion that I think is worth reading for futher perspective going into Keely and Du. At one point within the message board discussion, Tobias even felt compelled to jump back into the conversation to add his own opinion of the film: "Kaye's trying to survey the landscape and just get a very basic sense of what abortion entails and the war of ideas (and bullets) that's taking place over it. One of the things I appreciated about the movie is its curiosity: You might get a sense of the director's own feelings after watching the film, but it's the furthest thing from agitprop. It's a dispassionate portrait of a passionate issue, and that's not easy to pull off."
A major fracas was created when last summer's Hollywood blockbuster Knocked Up charmed audiences with a story about an unplanned pregnancy that neatly and quickly dismissed abortion as an option. Read about this criticism of the film here. I enjoyed Knocked Up, but this is an interesting discussion. Slate does a good job of compiling all the evidence. I found Barbara Ehrenreich's op-ed piece particularly compelling reading. What did you think?
Sadly, I'm too far away geographically from Chicago to be able to see either Lake of Fire (though I have already saved it on Netflix!) or Keely and Du, so now I am requesting your help. Did anybody see Lake of Fire when it was in Chicago (or anywhere else)? What did you think of it?
I urge you to go see Keely and Du next month and compare and contrast. And then report back to me. I think we could have a really interesting discussion about all this. 2008 marks the 25th anniversary of Roe v. Wade, and yet we are still hotly debating that decision. Weigh in!!!
-Laura
Of course, reading about this film immediately reminded me of reading Keely and Du, Jane Martin's startling 1993 drama that explores the same topic in fictional terms. Keely and Du won the 1994 American Theater Critics Association New Play Award and was nominated for a Pulitzer Prize (Read more about Keely and Du here). Next week, ICT begins rehearsing this challenging and touching work, exploring the relationship that forms between Keely, a young woman seeking an abortion, and Du, the pro-life activist who wants to protect Keely's unborn child. In my assessment of the play, it seems Martin is careful never to paint either side as completely right or wrong, good or evil, allowing the audience an opportunity to form their own conclusions. In this way, Keely and Du is the perfect play to embody ICT's mission.
I wanted to read more to compare Martin's and Kaye's approaches to this controversial topic. In my googling frenzy, I came across a very interesting interview that Kaye did about this film with Scott Tobias from The Onion AV Club. In addition to the interesting insights within the interview itself, the article also sparked quite a lively message board debate about the film and the issue of abortion that I think is worth reading for futher perspective going into Keely and Du. At one point within the message board discussion, Tobias even felt compelled to jump back into the conversation to add his own opinion of the film: "Kaye's trying to survey the landscape and just get a very basic sense of what abortion entails and the war of ideas (and bullets) that's taking place over it. One of the things I appreciated about the movie is its curiosity: You might get a sense of the director's own feelings after watching the film, but it's the furthest thing from agitprop. It's a dispassionate portrait of a passionate issue, and that's not easy to pull off."
A major fracas was created when last summer's Hollywood blockbuster Knocked Up charmed audiences with a story about an unplanned pregnancy that neatly and quickly dismissed abortion as an option. Read about this criticism of the film here. I enjoyed Knocked Up, but this is an interesting discussion. Slate does a good job of compiling all the evidence. I found Barbara Ehrenreich's op-ed piece particularly compelling reading. What did you think?
Sadly, I'm too far away geographically from Chicago to be able to see either Lake of Fire (though I have already saved it on Netflix!) or Keely and Du, so now I am requesting your help. Did anybody see Lake of Fire when it was in Chicago (or anywhere else)? What did you think of it?
I urge you to go see Keely and Du next month and compare and contrast. And then report back to me. I think we could have a really interesting discussion about all this. 2008 marks the 25th anniversary of Roe v. Wade, and yet we are still hotly debating that decision. Weigh in!!!
-Laura
Jan 4, 2008
Blog you back.
Laura Starr is genius with the search engine. She googles (did you know this is an official word in Webster's now?) ICT quite often to see if we have any new hits.
Yesterday, she forwarded me this link. This was someone who auditioned for ICT's upcoming production of Lewis and Clark Reach the Euphrates by Robert Schenkkan. Laura was fascinated by it, mostly because the woman refers to ICT by name and what was said by specific people in the room. I agreed but said I didn't mind, because it's not like she said, "this company treated me like crap and also the assistant director is fat and has frizzy hair."
Oh, all right! Maybe she did offend me just a little bit when she assumed that I was the assistant director rather than the artistic director... was it because I am a woman ... oh hush you ridiculous ego of mine!
It was intriguing to read her account of the auditions for the show. I recall so vividly the terror of it all, but confess that it's been a while since I have had such a clear glimpse into the hell I put others through. Flashback to auditions for Tony and Tina's Wedding, (oh hush!) when I did an improv scene (help me, Jesus) and answered every question my scene partner asked with "no." Or the one where I was auditioning for a role in a film where I was expected to snarf down cookies as I pondered over different shaped bikini lines. I'm so sorry, dear. I wish there was a better way to do these things.
I think the thing that makes me feel worst as an auditor is when an actor travels 50 minutes in snow and sleet, does a 60 second monologue really well, and then we have to be like, "Hey, thanks man. Bye." The look is always like "Are you kidding me? That's it? I thought we'd get to at least second base!" We had over 100 people to consider for 8 roles. That's a lot of nos, man. I start to feel like a real bitch.
But after reading this, I also wished that actors could have as vivid a glimpse into a director's mind, because this woman's interpretations of what we were or were not thinking throughout the audition were incorrect. The biggest misinterpretation would be that our true calling in life is to judge subtle interactions and form big conclusions from them (the shoes, the hair, etc.) I think I want actors to nail the role more than they want to. But somehow, it always comes off as mean spirited judging. Alas. Alack. Poor me. Just kidding. My side of the table is so much safer. Being an actor is terribly gutsy, and that's pretty much my bottom line on the matter.
Except for one thing... I mock actors gleefully when they pull pretend finger guns from their pockets and point it menacingly around the audition room. Oh wait, two things! I also mock actors who do that weird put my head to my chest and invoke my character a la spooky seance and then pop my head up and begin acting thing. Then the third one is when...
Oh dear.
Til next week
G
Yesterday, she forwarded me this link. This was someone who auditioned for ICT's upcoming production of Lewis and Clark Reach the Euphrates by Robert Schenkkan. Laura was fascinated by it, mostly because the woman refers to ICT by name and what was said by specific people in the room. I agreed but said I didn't mind, because it's not like she said, "this company treated me like crap and also the assistant director is fat and has frizzy hair."
Oh, all right! Maybe she did offend me just a little bit when she assumed that I was the assistant director rather than the artistic director... was it because I am a woman ... oh hush you ridiculous ego of mine!
It was intriguing to read her account of the auditions for the show. I recall so vividly the terror of it all, but confess that it's been a while since I have had such a clear glimpse into the hell I put others through. Flashback to auditions for Tony and Tina's Wedding, (oh hush!) when I did an improv scene (help me, Jesus) and answered every question my scene partner asked with "no." Or the one where I was auditioning for a role in a film where I was expected to snarf down cookies as I pondered over different shaped bikini lines. I'm so sorry, dear. I wish there was a better way to do these things.
I think the thing that makes me feel worst as an auditor is when an actor travels 50 minutes in snow and sleet, does a 60 second monologue really well, and then we have to be like, "Hey, thanks man. Bye." The look is always like "Are you kidding me? That's it? I thought we'd get to at least second base!" We had over 100 people to consider for 8 roles. That's a lot of nos, man. I start to feel like a real bitch.
But after reading this, I also wished that actors could have as vivid a glimpse into a director's mind, because this woman's interpretations of what we were or were not thinking throughout the audition were incorrect. The biggest misinterpretation would be that our true calling in life is to judge subtle interactions and form big conclusions from them (the shoes, the hair, etc.) I think I want actors to nail the role more than they want to. But somehow, it always comes off as mean spirited judging. Alas. Alack. Poor me. Just kidding. My side of the table is so much safer. Being an actor is terribly gutsy, and that's pretty much my bottom line on the matter.
Except for one thing... I mock actors gleefully when they pull pretend finger guns from their pockets and point it menacingly around the audition room. Oh wait, two things! I also mock actors who do that weird put my head to my chest and invoke my character a la spooky seance and then pop my head up and begin acting thing. Then the third one is when...
Oh dear.
Til next week
G
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