To sum up… What makes the best…? (Part 10)

Good people. That’s what you need more than anything is good people who are willing to give their time to a project. Then you got to let them run with it! Give them the tools to succeed, support them and believe in them.

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This community of theatre we work in is so accepting, so dynamic and so very, very rewarding. Take a chance on a new role in theatre. Push yourself to succeed and then give someone near you a push as well. You’ll never know what you can accomplish until you try.

The theatre needs you. It needs you to perform, to produce, to create, to direct, to sew, to dance, to sing, to sell, and most importantly, it needs you to attend and support the creative efforts of your community. So get out there and get involved. You won’t be sorry.

Share these with your friends and get them to join you in your love of theatre – they won’t be sorry either.

Part 10=People

Part 9=Actors http://www.theloversthedreamersandyou.com/what-makes-the-best-part-9/

Part 8=Directors http://www.theloversthedreamersandyou.com/what-makes-the-best-part-8/

Part 7=Music Directors http://www.theloversthedreamersandyou.com/what-makes-the-best-part-7/

Part 6=Choreographers http://www.theloversthedreamersandyou.com/what-makes-the-best-part-6/

Part 5=Lighting Designers http://www.theloversthedreamersandyou.com/what-makes-the-best-part-5/

Part 4=Costume Designers http://www.theloversthedreamersandyou.com/what-makes-the-best-part-4/

Part 3=Set Designers http://www.theloversthedreamersandyou.com/what-makes-the-best-part-3/

Part 2=Stage Managers http://www.theloversthedreamersandyou.com/what-makes-the-best-part-2/

Part 1=Producers http://www.theloversthedreamersandyou.com/what-makes-the-best/

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What makes the best…?(Part 9)

Actor…?

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“What I really want to be… is an Actor.”

Really? Are you sure?

No really? Are you? Cause here’s the deal. It’s a tough job. Sure it can be fun, rewarding and at times even lucrative, but acting is one of the toughest gigs in the whole business of show. Here’s why…

You have to be ready for rejection. Lots of it. Daily. You not only have to be ready for it, you have to almost crave it. You have to be prepared to seek out criticism so that you can grow from it and improve. Not everyone has the guts for that. It’s tough to get rejected at your work on a regular basis and still want to do it each day.

You have to know how to act. And no, people are not just born with “it”. I don’t believe that. You can learn it. Sure, some folks have an innate quality that draws us to their performances, but if you want to be good, and I mean really good, then you’ve got to practice and learn and study and get rejected. And then start all over again. That is the only way to get really good.

You have to do it all – especially these days as film, television and stage demands are so much greater. You have to act, sing, dance, tumble, do voices, fight, crochet, whatever! You’ve got to be able to do it. And not just SAY you can do it, you’ve got to be skilled at it, or don’t say that you are.

You’ve got to be ready to take risks. No everyone was born with a voice ‘like buttah…’ but if you want to act, you’ve got to sing. No actor made a good living staying away from singing. Get some lessons. Learn some repetoire, develop a taste for musicals and Gilbert & Sullivan and all the rest. Know the material and know your strengths and then keep practicing them. Ditto for dance. And whatever other skill you want to put on the bottom of that resume.

When you do get a part, be fun to work with – for heaven’s sake! You want to work again, don’t you? Be on time, be organised, take notes, be prepared and learn your part. Come with ideas and be willing to play, but be ready for a vision that you weren’t expecting and go with it! Nothing pleases an artistic team more than a flexible actor who is willing to grow.

So, if out of all these roles in the 9 parts of this series, if THIS one still stands out for you above all else, then go for it. With gusto. Cause that’s the only way you are going to have any success!

Break a leg!

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What makes the best…?(Part 8)

Director????

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Lots of things, really, but we’ll just mention a few. A few vital things like, vision, planning, creativity and an ability to inspire others. The best directors I’ve worked with were able to see potential in others and bring it out of them. They could see the future character, or the singing ability or dancing ability or comedic/dramatic ability and they knew the performer could deliver. They knew it so intensely that could even give confidence to the entire team that some crazy difficult show or scene was possible – sometimes during supposedly insurmountable odds. Their vision and confidence carried the entire team to the finish line and even if there might have been some doubt or hesitation along the way, they wouldn’t let that stop the progress of the show.

The best directors have a plan for success. They get down to the business of planning their rehearsal process for success and they share that plan with the entire team. They are also open to suggestions from the team. No one is excluded and no idea is too small to be ignored. The best directors seek out ideas from their team and make sure all those contributions feel valued and honoured. You never know when brilliance will strike and you can’t possibly be the only person with good ideas. But if you’ve explained your vision and you’ve inspired your team, then you’ll definitely be setting the stage for great ideas and they’ll come your way. Be ready for them.

Creativity goes with the entire job – and is vital to every aspect of being a director. You’ve got to be creative in your casting, in your scheduling, in your promotion, in your staging, your design of your show and even in how you end your project. Always be on the lookout for new ideas, new ways of approaching your work and new ways to challenge your creativity as a director. It is taxing, for sure, but it is also very rewarding.

Choose a new project – get out there and plan for new challenges, it’s truly rewarding.

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What makes the best…?(Part 7)

Music Director

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A good musician can play their instrument – well. They can interpret music and convey meaning to the audience to help them feel something during the listening. A good musician can even teach another musician how to do the same. A Music Director needs to have all of these skills and more. They need to be a leader and be able to guide others to their own level of excellence. A Music Director needs to know the show they are working on inside out and backwards, they need to be able to bring the music to life, while teaching those who may never have read music before how to convey what they are reading to an audience.

A Music Director is in the Director’s corner and has his/her back on the artistic decisions that affect the show. They know how to take that vision and translate it into the music and make it workable for the singers, dancers and the musicians. It’s not an easy task. It’s a lot of people with varying skills and levels of confidence. And a really great Musical Director – by the end of the show has made all of those involved feel like they’ve performed better than ever before.

Some Music Directors also assemble the band – most do, as a matter of fact. They source the parts for those musicians to play and sometimes even arrange or re-write those parts. Music Directors frequently deal with inadequate to illegible scores sent by publishing companies who seem to feel that music is less important and does not require any of their time or effort to make readable. It astonishes me the amount of times I’ve worked with a score that is rife with errors, typos, incorrect lyrics and musical “infractions”. While typos are bad, and really inexcusable from publishing companies, a typo in a music score has the potential to really derail any rehearsal – depending upon the level of confusion that the mistake can create. This can range from one note being out of place and deciphered by smart musicians in a matter of minutes, to entire songs having different lyrics and arriving in different keys for the instrumentalists who are playing or the vocalists who are singing the song! (And yet, the publishers still expect payment for these!?!). Here’s the deal, a really great Musical Director can solve all of these problems, or even head them off at the pass before the rest of the company even needs to deal with them.

It’s a big job – but somebody’s got to do it!

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What makes the best…?(Part 6)

Choreographer?

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There are lots of skills necessary to be a great Choreographer. Obviously a knowledge of and experience in dance is necessary and in my book, the wider the knowledge base, the greater the scope for creation. Skill as a dancer is also useful, but exceptional skill may not be necessary. Many great Choreographers have become so after dance careers that may have been less than stellar – but their passion for the art form has kept them returning to the craft and led them to find other ways to contribute.

Here’s an interesting article on that take: http://www.danceadvantage.net/2012/09/28/great-choreographers/

For Choreographic work in Theatre the skills are specific. The dance should, whenever possible, further the story or service the plot in some fashion. While the style may still be presentational, it should fit within the world of the play or musical. While I enjoy the acrobatics and technique of a superbly performed routine, I will always appreciate movement that tells us about character and storyline to showy moves. When superb technique is available and can be crafted and utilized to further the character and plot, then exceptional choreography is taking place and can be transformative for the audience.

Knowing when to keep it simple is also a great skill. There are times when the character or performer or moment in the story needs very little movement to garner a reaction with the audience. Knowing how & when to make use of simple movements to “move” and audience is an essential skill for a choreographer.

Speaking a language that the team can understand is vital. Dancers have knowledge of specific terminology and a shorthand that may mean nothing to the Musical Director or the Stage Manager or even some of the performers. A good Choreographer will have the skills to communicate their work and their needs for support in design and vision to the entire production.  For example, the ability to read music is essential for strong communication with the team.

The next time you are in an audience, ask yourself to analyse what the choreographer has assembled. Does it speak to you? Did it help you understand or appreciate the story or the characters? Did it “move” you? If so, then you were witnessing some great Choreography.

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What makes the best…?(Part 5)

Lighting Designer????

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Seriously? What does make the best Lighting Designer? I don’t know, exactly… even though I may have tried my hand at some Lighting Design, I still don’t know what makes the BEST Lighting Designer because this can be a really elusive section of the entire design process – and yet, so VERY integral.

For example, when great stage design ends, great lighting design should take over. Lighting can create and add so much to every production. Lighting, in theatre is the CGI of live entertainment. That sounds like a really loaded statement, and it is… but it is also true. Ask any really experienced Lighting Designer if the theatre they are working in has enough equipment and they’ll tell you – “there’s never enough equipment”. Another lamp, another dimmer pack, a hazer… there’s always room for more and it will give you more – almost exponentially more, especially in the hands of a pro-lighting designer. More than CGI would, I wager.

A pro will read the script. And read it again, and again, and probably again. Their medium is very, very visual and ephemerally so… Mood, sense, time, place – lighting design will give you all of these things. Lighting can scare you, inspire you or feel barely noticeable at all, but it will totally affect your sense of appreciation of the production! Totally!

Once they’ve read it… they’ll probably make a few strong decisions and then come to the director for some vision. Lighting Designers know how to interpret the strange language that Directors speak and they’ll translate that into colour and make it fit with the palate of the Stage Designer and the Costume Designer and they’ll use their skills and talents to make other people’s work look extra good.

They will also spend countless hours above the stage with heavy objects arranging them to face in just the right area with just the right colour and texture to create some ephemeral existence for us to enjoy. And then… they’ll go home, very, very, very late at night. They create entirely in the dark and they disappear once the work is done. Often, if you notice their work… they are sad that attention was brought away from the action on stage. But for me.. the beauty of light is something worth noting. I certainly take time to note it. Do you? Take note at your next production. I think it’s worth it.

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What makes the best…? (Part 4)

Costume Designer??? Lots of passion for fashion – that’s for sure. But a passion for fashion isn’t enough. You may enjoy dressing yourself, but do you enjoy dressing others? In different time periods – perhaps real or imagined? Do you love thrift shopping? And sewing? Because all of these desires and skills are a must for a great Costume Designer.

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The best are creative and usually on ridiculously small budgets. Sure, Broadway and Stratford designers can buy the finest silks for their gowns, but for the regular theatre folk, scrounging,  repurposing and borrowing is essential to costume a show on a simple budget.

The passion for fashion will allow the great Costume Designers the opportunity to find and sew amazing outfits for men, women, children and sometimes creatures that you could barely imagine. They’ll make them in a variety of sizes to match a large chorus of dancing boys and girls and they’ll find designer gowns abandoned in Value Village and scurry them home to their personal storage for some future use – because they are certain that they’ll be able to use them in the future… for something.

They’ll deal with Diva actresses and actors who don’t want to wear what has been chosen for them. They’ll deal with directors who know exactly what they want and others who have no idea what people should wear in 1950, Victorian times or even today. They’ll deal with deadlines and schedule changes, missing actors and torn or soiled items and do it all with a smile. And when the show is over… they’ll take all the costumes home and clean them, fix them, sort them and store them lovingly away for the next time they are called into use.

Then… they’ll start again – on the next show!

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Podcast #11 with Special Guests LDT Online

Here we go again, this time with special guests Matt Loop and Andrea Hutchison of LDT Online.  We talk about the fine art of editing and the creativity behind creating new media.  We also deliver a heart-wrenching rendition of the famous 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, where we can’t seem to ever say 1, 2, 3.  Hilarity all around.  Be sure to check out LDTonline.ca for all the latest and greatest theatre updates in London and check out our facebook page for some more of Andrea’s wonderful photography!

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What makes the best…? (Part 3)

Set Designers are crucial the a show’s success. They are also crucial to the creative process of the director – at least they are to my creative process. No matter what the play or musical is about, if I don’t have a set design, then I can’t see the show coming to life in my head and in turn I will have difficulty in bringing that vision to the cast for them to give it life.

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I’m a pretty visual person, but I work kinetically on a play. This means that I need to be able to feel in my gut what is the crux of a scene and give it some truth in the physical relationships of the characters involved. That holds true if it is a musical number or a dramatic, tension filled scene and the spatial relationships of the players can really affect the kinetic feeling of the scene.

A great Set Designer will read the play. Then they’ll read it again and then they’ll talk with the director and eventually be able to give them some plans, either 2D or 3D – preferably both –  to help them show the entire team the world that they will be living and working in for the life of the show. The sooner a Set Designer can provide this, the better. If you don’t know the layout of your apartment, for example, how can you go shopping for furniture?

A superb Set Designer will solve script problems. Sometimes problems that you didn’t even realize were there. They’ll be able to give you solutions to scripts that read more like movies – many authors seem to forget that it is hard to transition from the dining room of a tavern to a seaside in a matter of seconds. Your Set Designer can have creative tools up their sleeve to help to tell the story in a seamless manner. They will also help to tie in the colour palate of your show and give the whole world a real sense of belonging.

Aside from knowledge of building and a good aesthetic sense, a flexible personality is necessary for a great Set Designer. They need to be able to take their artistic sensibilities and skills and apply them to the whole vision of the show. They will consider the movement of the actors, the potential difficulties of costumes and the location and operations of lighting and sound equipment. They can give a director levels to play on and moveable pieces to bring an imaginary world to an audience. And they will probably finish their design long before the other members of the crew will finish theirs. A good set design will inform the whole production – and the whole production’s process.

It’s a big job. And we always need someone to do it. Could that someone be you?

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What makes the best….? (Part 2)

Stage Managers are so vital to the success of a show. As many of you dear readers know, we have a little phrase we use to honour our regular Stage Manager, “No Joe, No Show!” And that literally came from the fact that without our talented and organized and discpilined SM, we wouldn’t have a show. But how do you know if you’ve got a good one or not? Or if the show you are watching had a good one? That can be tough, actually.

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It’s tough because if the show has a really good SM, then it’s likely you wouldn’t give the job another thought. Many young actors shy away from the responsibility of SM, some for their knowledge of what the job entails, but many for their lack of knowledge of the importance of the role. If anyone ever wishes to direct, then I say, they must first Stage Manage.

A good SM is disciplined, organized and creative. They know how to put their bible of the show together and how to keep track of all the minutia of details that can make or break a rehearsal. An exceptional SM has their binder ready before first rehearsal with media release forms, health and safety forms, extra copies of first rehearsal schedules, contact lists and whatever else might be necessary to answer questions and keep everyone on track.

A good SM can keep the cast AND the crew in line – this includes the Director. So, and exceptional SM has the respect and admiration of the director. They can work well together and the SM knows that if they call a halt to rehearsal for whatever reason, the Director will understand that it was for the good of the show and not meant as a slight to anyone involved. An exceptional SM will be that moderator, note-taker and interpreter of the Director’s vision. Often Directors and Actors (and other creators as a matter of fact) will get caught up in their creation and what they are trying to say or do – so caught up in fact that they may need a translator. If your SM is really good and has been really paying attention, then they already know what you are trying to say even before you say it. And they help make it happen.

In the end, the show belongs to the Stage Manager. It won’t happen without them. No calls are given, no audience is admitted and no curtain goes up without them. You hand over the keys and they control the destiny of the show, so find a good one, nuture them – and while you’re at it… find another one, because the really good ones get snapped up fast!!!

Do you want that kind of responsibility and knowledge of a show??? Then get out there and join a production to learn what it takes to be a Stage Manager!

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