Dramatic Appreciation Final: Mock Production

.:Ruined:.

My (Director’s) “Unifying Vision”:

      One of the first images that came to mind after reading Ruined was the mosquito. Not only is the mosquito easily connected with the Congo, but it also carries with it the utter discomfort that’s displayed constantly by the characters throughout the show. I wouldn’t make the mosquito some awkward motif, but I would use its characteristics to fine-tune the collective elements of the show. For instance, it’s use in spreading disease relates to the “ruined” condition the women have been left with, and just as a person is left uncomfortable after been bitten, so are the women after being aggressively used.

Location and Theatre Space:

            The above is a photo from Lookingglass’s original play Trust. In you’re not familiar with Trust, it’s a show about a teenage girl who gets raped by a man she originally perceives to be her age when meeting him online. Obviously, this was a heavy piece to put on and see. When I saw it this past spring, I felt that the intimate theatre space was perfect—allowing the audience to feel involved, though only watching, and the audience it seemed to attract (at least the night I was there) received the weight of the subject matter well. Ruined is also a heavy show, and one that I feel might overwhelm or even offend some audiences. But, on the other hand, I feel that some of Ruined’s power comes from how involving and relatable you allow it to be to your audience. That’s why I feel that this theatre location (Chicago) and theatre space (the Lookingglass Theater) would fit for my production of Ruined because it would fit my expectations and goals for the audience’s experience.

Scenic Design:
 

      All the action of the play takes place at Mama Nadi’s, mostly inside with a scene or two outside. With that in mind, I really want to emphasize the strong Congolese culture (the colors, style/method of architecture, key in/outdoor surroundings, etc). However, I don’t want to overpower the intimate space with an enormous set—which pushed me toward basic set. That’s why I really liked the Lookingglass Theater. In Trust, most of their “set” was projected pictures on a computer screen behind the actors. This allowed them to minimize the actual set they used—using only basic chairs and tables, along with their props. I found this very functional. They had the benefits of an elaborate set without the hassle of actually having to work around it. 

      This technique also allows me to work with my mosquito theme. Scientists believe that if the mosquitoes were eradicated that their cease of existence wouldn’t affect any ecosystems. Somehow, I would like the set designer(s) to toy with that idea. To create a place that is very much there, but with the feeling that if it were wiped out, no one would notice.

Costume Design:

            There’s going to be patterns, and lots of them: bright, organic, lively, individual patterns. It just wouldn’t be Congolese clothing without them. So really, what it breaks down to is who will be wearing what colors/patterns. However, there will be some definite color themes throughout. Red will be a key color. Just as the mosquito stabs and sucks the blood from its victim, so has the life been sucked from the women by their (paying) abusers. Plus, Mama Nadi even makes reference to “red [being] her [and Sophie’s] color.”  Red supposedly gives off a passionate vibe, draws attention, and is a sign of danger (in signs, financial graphs, etc). Other colors I would like used include, pink, blue, and green.  Since pink is commonly associated with being female, it will be used in characters (such as Josephine) who take pride in flaunting their femininity. Blue would be used for more vulnerable characters (e.g. Sophie and maybe Salima) who commonly catch the eye of the men; this would lean on the fact that mosquitoes are attracted to blue twice a much as to any other color. Humans discern different shades of green easier than any of variety of the same color. This would come in handy when discerning the differences in government and rebel soldier uniforms. When I researched what each might look like, they are surprisingly very similar in design.

Government

Rebel

Lighting Design:

            Everyone that comes into Mama Nadi’s bar seems to get/buy at least one cigarette (pack). So, I would imagine, there’s going to be smoke everywhere. Which, I think actually gives the space a neat look, lighting wise. I don’t see this being an issue for the scenes done during the day. I would want the light designer(s) to make it look as much like natural light as possible; however, that may or may not be functional for lighting the whole stage.  The main point is, that during the day, the lighting is very basic, because (in theory) with the sun and whatnot, much other light isn’t necessary—especially with the lack of Mama’s funds. On the flip side, at night, there is a need for artificial light. I want there to be intense color. The use of reds and blues and greens (mentioned before as reoccurring colors) hanging in the smoky air will give the bar a night club-ish feel, and will hint at the attitude and even danger of the scene(s).

Red Light w/ Fog

Green and Blue Light w/ Fog

Sound Design:

            There’s so much sound in this show. There’s the sound of music and the sounds of war and everything in between. I imagine the music when Sophie and Mama are singing being very upbeat and modern and ironically fun. But, I also think the sounds of war that are taking place all around them—even within them—are very present.  The sounds of war wouldn’t just be blatant gunfire—a specified. I feel it could also come out through instruments, drums, and other such objects.  I think for the overall sound of this show, I would challenge the sound designer(s) to use untraditional resources. For instance, in relating to my mosquito theme, I really thought it was neat how designers used the sound of people talking to sound like flies for The Shining movie trailer.  I would want the sound designer(s) for Ruined to aim for “very real” without being very literal.


Sophie & Mama's Singing Music



War Music (children sing until 0:25, drums start at 1:25)



The Shining Trailer w/  “Fly-People” Sounds

Sources (in order of use):

"Portraits from the Congo - The Big Picture." Boston.com. Web. 11 Dec. 2010. <http://www.boston.com/bigpicture/2009/02/portraits_from_the_congo.html>.

Fran. The Jurga Report: Horse Health Headlines. Web. 11 Dec. 2010. <http://horsehealth.blogs.equisearch.com/2010_07_01_archive.html>.

"Mosquitoes: National Pest Management Association Pest Guide." Pestworld.org, the Official Web Site of the National Pest Management Association (NPMA) - the Trade Association for Exterminators. Web. 11 Dec. 2010. <http://www.pestworld.com/mosquitoes>.

"Raymond Fox, Allison Torem « Chicago Theater Blog." Chicago Theater Blog. Web. 11 Dec. 2010. <http://chicagotheaterblog.com/2010/03/14/review-trust-lookingglass-theatre/raymond-fox-allison-torem-4/>.

"World Is Witness » Field Updates." Preventing Genocide. Web. 11 Dec. 2010. <http://blogs.ushmm.org/WorldIsWitness/updates/2008/08>.

"Mosquito." Wikipedia, the Free Encyclopedia. Web. 11 Dec. 2010. <http://en.wikipedia.org/wiki/Mosquito>.

"Congo: Female Leaders? It’s Possible! « Afronline – The Voice Of Africa." Afronline – The Voice Of Africa. Web. 11 Dec. 2010. <http://www.afronline.org/?p=4396>.

"{Color Meaning, Symbolism and Psychology} - Sensational Color." Color Advice and Insights from the Experts - Sensational Color. Web. 11 Dec. 2010. <http://www.sensationalcolor.com/color-messages-meanings/color-meaning-symbolism-psychology/>.

"Congo Army behind Instability, Smuggling: U.N. - Worldnews.com." Web. 11 Dec. 2010. <http://article.wn.com/view/2010/11/29/Congo_army_behind_instability_smuggling_UN/>.

"Child Soldiers: the Brothers Trained to Kill Each Other - Telegraph." Telegraph.co.uk - Telegraph Online, Daily Telegraph and Sunday Telegraph - Telegraph. Web. 11 Dec. 2010. <http://www.telegraph.co.uk/news/worldnews/4360268/Child-soldiers-the-brothers-trained-to-kill-each-other.html>.

""window Sunlight" Pictures on VisualizeUs." Social Bookmarking for Pictures on VisualizeUs. Web. 11 Dec. 2010. <http://vi.sualize.us/tag/window,sunlight/>.

"Six Flags Fright Fest Pictures." Family Vacation Getaways at Los Angeles Theme Parks. Web. 11 Dec. 2010. <http://www.family-vacation-getaways-at-los-angeles-theme-parks.com/Six-Flags-Fright-Fest-Pictures.html>.

"Is This the World's Most Relaxing Room? | Mail Online." Home | Mail Online. Web. 11 Dec. 2010. <http://www.dailymail.co.uk/sciencetech/article-1079339/Is-worlds-relaxing-room.html>.

"YouTube - 50 Years of Music from Congo @BOZAR." YouTube - Broadcast Yourself. Web. 11 Dec. 2010. <http://www.youtube.com/watch?v=zaRjMU2n7Jk>.

"YouTube - Tribute to Congo Victims." YouTube - Broadcast Yourself. Web. 11 Dec. 2010. <http://www.youtube.com/watch?v=bYbASug0t2s>.

"YouTube - The Shining (1980) Trailer- Alternate Version." YouTube - Broadcast Yourself. Web. 11 Dec. 2010. <http://www.youtube.com/watch?v=I6qDqdYY6-Y>.

Dearly Departed

On November 10-14, 2010, I had the joy of being cast in David Brottell and Jessie Jones’ Southern Baptist family comedy “Dearly Departed”, directed by Geoffrey Kershner. While we—the cast and crew—worked on the show for at least 5-6 weeks, the real test and fun were the actual performances and their audiences.

Show 1 (Nov. 10): “In the Beginning…”

            This was probably one of the most risky performances, at least to me. It was the first real audience we had and we weren’t all that sure how many people would come out on a Wednesday night, and what they would find funny, where/how long they’d laugh, etc. I felt happy when we were told that most of the center section was full. It was way more people than I was expecting. However, I was kind of taken back by that night’s lack of laughter. It wasn’t that they didn’t laugh; it wasn’t that they didn’t think we were funny. They just didn’t seem to be laughing as much or as loud or even when I felt they should. For instance, my character Lucille’s scene with a very pregnant and quirky character Nadine, I thought, was a very funny scene. In fact, it was one of those scenes that, in rehearsal, I had to work really hard not to break character and laugh at her/us. The audience was dead to us. They barely even laughed. Even though we as a cast were warned of this happening, Bridgett (Nadine) and I still felt like chopped liver as we walked laugh-less into the wings after our performance. It made us feel like, “What did we do wrong? We did everything the way we usually do it, so what ‘didn’t’ we do right?”

Show 2 (Nov. 11): “LOL”

            I went into the second performance feeling like, if I could handle last night’s audience, I can handle tonight’s. To my surprise, not only were there a bit more people, but they were very lively. They burst and giggled at everything both planned and not planned to be funny. They were just a happy group. It made me feel better as a performer. Though every performance is different, it’s still nice to get affirmation that you did something right. I honestly think Thursday night was our best night. We as a cast were “on it” and the audience gave off a great amount of energy. It just felt right.

Show 3 (Nov. 12): “TGIF”

            We were packed out. Friday night felt by far the best-filled performance. However, that night’s audience felt like a middle ground between the silently amused first audience and the boisterously entertained second audience. It was like a lukewarm. Not hot, not cold, okay, but not exactly comfortable. Plus, I have to admit, I knew a huge chunk of my family was in the audience that night. So, I was both on the cocky “last night’s performance rocked” ride and the “oh, my, gosh; my family’s out there” nervous mobile. Overall, it was a good show. We got enough reaction from the audience to feel good, but enough lack to keep us trying to make them laugh some more.

Show 4 (Nov. 13): “Paulie, Wanna Cracker?”

            This was known as judge night. Even though we all knew they technically weren’t “judges”, that they were “responders”, everyone was wide eyed and determined to do our best for the KCACTF people. On top of that, I knew my high school theatre teacher was in the audience. It was like, “No pressure guys. This is just the one that counts.” “Discussing” their “opinions” of our show alone could be a whole other blog entry. Honestly, I hated that night. Not only was I nervous about hearing their response, then I couldn’t even see the people after the performance because the KCACTF people were there, then—in my opinion—they didn’t even “get” our performance. It was very disheartening. While I heard audience members discussing the character Delightful and her foods, the scene with the brothers Junior and Ray, and even Nadine/Pastor Hooker; I can honestly say after all five performances, only from the KCACTF  people did I hear anyone questioning the motivations and the “stakes” of Veda offering Raynelle a cracker. Just saying…

Show 5 (Nov. 14): “Byyyyyyyyye!!!!”

            After four performances at night, it took so much effort to have energy for an afternoon performance. The audience itself was—as expected—a lot of older people. This made them a very similar—in reaction—to the Friday (maybe even the Wednesday) night audience. Plus, it was very sad, at least for me. This was our last show. “The last hurray” as a cast. It was easy to joke about being over it, and being ready to move on, and “get some sleep”, but…deep down it was rather melancholy. I don’t think the audience was aware of this underlying understanding, but as I watched all the wooden stereotypical backdrop pictures get put into storage, as the wigs were taken downstairs, the dressing rooms and stage were stripped clean of all memory of our little comedy, I felt the hole in your heart you get when you know something’s over, and you know you’re going to miss it.  Like Raynelle says, you’re not happy or sad, you’re more like glad. Glad you were a part of it.

It was fun. The audience definitely impacts the direction of the mood of the performance. You could feel it even before it was your turn on stage how your scene was going to play out. Then again, sometimes there’s no way to know what’s going to happen. For instance, Sam (Delightful) had the audience in stitches, literally having them roar with laughter when her spray cheese can exploded the dairy mush all over her face on opening night. Then there was Judson’s (Ray’s) “wedding ring” flying off, my (Lucille’s) white bracelet flinging off my arm, skipped lines, flubbed lines, the cross for the Joy of Life Singers almost crashing to the ground. Then there are the connections we formed as a cast. You could come to every show, but if you weren’t in the show, you just wouldn’t understand all the little things. It’s special. It’s what makes you come back and want to be a part of another show. It’s that hole you feel when the show’s over. It’s the empty space in you schedule the next day. It’s cheese cans, beans, days-old corndogs, casket brochures that never seem to be ready on time. It’s tangled wigs, painted on age, practiced combat. There’s just nothing like being in a live show. You’d have to be in one to understand.

Anna in the Tropics

On October 16, 2010, I went to see Anna in the Tropics by Nilo Cruz and directed by Walter Kmiec. The show was performed in the J. M. Goddard Theater on the Daytona campus of Daytona State College. Call me silly, but the moment I walked into the performance space, I noticed the “wood” roll-out mat floors and fell in love with the set. I don’t think I’ve ever seen a show in that theater before. I knew I was going to appreciate the performance when I saw that there was no physically built up stage. It was just a flat floor in front of the stadium staggered audience seats, decorated to fit the time—1930’s, place—cigar factory, and action of the show yet to begin.

            Speaking of begin, the show was approximately 10 minutes late in starting. This seemed to go over remotely smoothly with my fellow audience members; however, I did hear a few behind me discussing the time and there was a steady buzz of other chit-chat even after the lights came on which finally started to hush once the actors began speaking.

            The beginning music kind of confused me. It was pretty, but I didn’t get at first that the crackling was supposed to be a record player from that time period. I wasn’t the only one with this problem. I heard the folks behind me questioning the theater’s sound system. It wasn’t until one of them asked if it could be the record, that I “got it”.

            It was very interesting watching this show that was right in front of me. I felt as if it was even closer to the audience than the Gillespy Theater in the New Journal Center—then again, that could just be me opinion. I liked it though. Because there was not built up stage and the actors were literally same-level right in front of you, it had more of a personal “I’m really there with them” feel.

            I was on the second row leading to the right of the “stage”, so for sight lines I think I would have benefited from being a bit higher. For instance, the “Waiting for the Lector in the Boat” scene was sort of blocked out from me because from where I was seated I saw their backs and profiles. Then again, how else could they have staged that? Like I said, it was more in my choice in seating than staging direction.

            The audience, in general, was very passive. They reacted only when traditional audience convention allowed—laughing, “oooh”-ing, “awww”-ing, clapping, etc… This was definitely a “watch the people in the fish bowl like a scientist”, “realism” attitude audience. But, that was okay, because it was the type of performance that would have been awkward with an active audience.

            My mother had tagged along with me to the performance, and we most definitely discussed it afterward—even days later! My mother, a much more conservative, traditional person, walked away from Anna in the Tropics with the conclusion that it was “all about sex, and fulfilling people’s sexually needs, no matter what.” Mainly, “It was all about sensuality”. I, on the other, saw all that, but I also saw the struggle of the family fighting to survive in a foreign country, failing to conform to modern technology, and doing the best they could to cope with that and everything else going on in their personal lives. The fact is, my mother and I are similar, but different people with different life experiences. So, while we both saw the other’s point of view, it was interesting that we both walked away with different messages.

            Ah, live theater; there’s just nothing like being a part of one of its live audiences.


BTW: Earlier I mentioned that overall the audience for the night I went to see Anna in the Tropics was on the passive side. However, like everything else in life, there were a few exceptions. Now, there are certain things that I would think you wouldn’t do at a (theatre) performance out of common sense—yeah, I know; not so common anymore. Well, just a little FYI for anyone who might happen to read this—other than Geoff (Drama Appreciation Teacher), don’t mess with the props! Or, anything else that isn’t yours to mess with, for that matter. You guessed it; during intermission people were actually going up and messing with the props. Luckily for them, by the time I noticed intermission was about over and the lights were signally the show to begin. I’m all for “Lending a Hand” and “Supporting the Arts”…Just keep your hands off the art.

           

Alternative Paths to Performance

.:Burlesque:.

Summary:

Burlesque is a form of variety theatre. In the early 19^th century, it began as a mockery—or jest—type of performance. From there it grew into a risqué performance style. In 20^th century America, it became a wild combination of musical theatre and strip tease known for its mix of satire, performance art, adult entertainment, and broad comedic acts. It has continued to evolve ever since. Today, it is regaining popularity as a performance genre where both women and men appreciate it. Burlesque is not stripping nor do the performers “have to” get naked. In fact, a true burlesque performer may get close to, but is not completely naked. Burlesque is about liberating both the performer and the audience from the fear of social taboo. It’s all about releasing the intrigue and humor of “the tease”.

Seeing A Performance:

Seeing a burlesque performance is very similar to seeing most American performances today. People would have tickets, they would go into a theater, they would sit in the audience seats in front of the stage, and the burlesque dancers would come out on stage and perform. Depending on the burlesque troupe’s performance style preference, a person may or may not be subject to nudity. However, what is guaranteed—at least, if it’s a descent burlesque show—is music (maybe even singing), dancing or other music accommodating movement (today, maybe acrobatics?), and comedy through (of course) the tease.

Visuals:

This picture shows three burlesque dancers from about the 19^th century in (modest for today, but) skimpy (for the time) outfits. Each woman is either holding or using or wearing feathers, scarf-like wraps which would be used for teasing the audience. Their bright and flashy attention getting costumes would have fit right into the performance.

This is a poster for the New York School of Burlesque. You can see a lady—most likely the head mistress featured in the video below—in heels (the typical shoe for burlesquers) holding two red fans (a typical tease prop among burlesque performers).

(This video was edited to maintain the G/PG rating of this blog.)

Original video: http://www.youtube.com/watch?v=_FULfBON60I

This video is a CBS morning story about the New York School of Burlesque. It shows short clips of the ladies being trained for burlesque and it discusses the effects learning this form of dance has on the ladies. It goes on to discuss the original meaning of the word “burlesque” and how that has affected its growth and gaining popularity. Finally, it gives a glimpse into today’s burlesque’s star’s life and what she feels about her art form.

Interesting Facts:

-Burlesque dancers don’t go by their real names. Each comes up with an individual and personal stage name. (E.g. Dita Von Teese).

-Burlesque is not limited to female dancers. Males also have their own form of burlesque. 

-While when it started, attending burlesque shows were popular among the men. Today, burlesque is just as if not more popular with women than it is with men.

Sources:

Ciccarone, Tara Jill. Burlesque 101. 04 Dec. 2008

<http://www.nolafugees.com/index.php?option=com_content&view=article&id=271:burlesque-101&catid=19:investigations>

Murgatroid Mittens, Kittie. FAQ You – A Guide for Modern Burlesquers. 04 Oct. 2009

<http://www.kittie.me.uk/faq-you-a-guide-for-modern-burlesquers/#more-1112>

“Burlesque.” Wikipedia, the free encyclopedia. 2010. 16 October 2010 <http://en.wikipedia.org/wiki/Burlesque>

Felner, Mira, and Orenstein, Claudia. The World of Theatre: Tradition and Innovation. Pearson Education, Inc., 2006.

Commedia dell'Arte

.:Commedia dell’Arte:.

Summary:

Commedia dell’arte took place in the 16^th century during the Renaissance and was an improvisational theatre form. Commedia dell’arte took a series of “stock characters” that were recognized by their hand made masks and performed improvised but memorized scenario plays. The main focus of these plays was themed around love intrigues and money tricks. Important parts of each play were random (having nothing to do with the plot) stunts the players would do for comic relief. Some of these stunts, or lazzi, were acrobatic tricks, juggling, pantomime, etc.

 

Seeing A Performance:

Though they were known to have performed in palaces for royals, Commedia dell’Arte players usually traveled from town to town in a wagon, which transformed into the stage, and performed in general street scenes. The set itself was very basic and minimal while they used wondrous variety of props--everything from food to animals to weapons. Townspeople would come outside and gather around the wagon-made-stage to watch the show. The characters would come out in specialized costumes and masks with over exaggerated body language. The costumes would not only inform of distinct character, they would also emphasize mood/emotion and social class. Though there would be no script, there would be a clear beginning, middle, and end divided into scenes. Music was a very important part of these performances. In fact, it wasn’t usually for the audience to join in the “merry making” by the end of the show.

 

Visuals:

This image depicts Commedia dell-arte players performing on their stage transformed from their wagon for the gathered, standing townspeople. The lack of elaborate set is also visible in the picture. 

This image depicts the stock character Pantalone. He’s being played by and/or wearing a mask to make him look like an old man. He meets the posture stereotype by being bent over with his rear sticking out. This posture tells us that both he’s old, and that he is slouching to better protect his money—which is usually held in a pouch around he waist. He’s wearing a red and black costume with hat and shoes very similar to typical costumes his character is supposed to wear. He’s depicting what the classic Pantalone character is supposed to look like.

 

The man in the video is instructing and showing a group of presumably theatre students how to be the character Pantalone. He shows them how to move in proper posture, different reactions and gestures Pantalone is classic to have in use in a variety of situations, whether they be scheming or rejoicing.

 

Interesting Facts:

-Women were actually allowed to play women’s roles, as opposed to most other theatre of the time.

-Not all the characters wore masks; the women and young lovers didn’t wear masks. Instead they wore heavy/distinguishing makeup.

-The term “slapstick came from the character Arlecchino who had two sticks that were tied together that made a lot of noise when they smacked—or “slapped”—together.

 

Sources:

Bellinger, Martha Fletcher. A Short History of the Drama. New York: Henry Holt and Company, 1927. pp. 153-7. <http://www.theatrehistory.com/italian/commedia_dell_arte_001.html>

Rudlin, John. Commedia dell’Arte: an Actor’s Handbook. 28 Feb. 2000 <http://www1.american.edu/IRVINE/jenn/>

Last, First. About.com. Commedia dell’Arte: Parts 1-3. <http://italian.about.com/library/weekly/aa110800a.htm>

Felner, Mira, and Orenstein, Claudia. The World of Theatre: Tradition and Innovation. Pearson Education, Inc., 2006.