blogs - brad dunn, director

'tis done

I couldn’t feel more ecstatic about, or proud of, last night. I feel completely fulfilled today.

The show opened with 250+ people in the house (which holds 309) and the actors and band just blew the roof off. What a great opening night. 10 p.m. in Arlington Heights is like midnight in the city, so to have an audience that large is fantastic. The show was definitely at the point where it needed an audience – and the audience taught all of us a few things we didn’t know. That’s the greatest phenomenon of opening nights – things you thought were hilarious, sometimes aren’t; moments you’ve been breezing by are apparently comic genius.

I had wanted to update this journal more in the past two weeks, but the schedule had become pretty insane. Let me tell you a bit about what we’ve been doing.

March 18-20 was spent running through the show from top to bottom. We tightened up cues, ran musical numbers, worked more on the actors’ performances and characters. I think at some point there, we changed some choreography and cut a few more lines.

Things got interesting on Saturday the 22. That was the first day we had an entire band. Micky York, my Musical Director, also played piano/keyboards in the band, which also consisted of guitar, bass and a full drum set. The sound department wired the actors with wireless microphones and we ran through all of the musical numbers in the show. It was AWESOME to hear the music (again) as it was written, with full rock band. And in the same way that an actor’s performance changes completely by putting on a pair of glasses, singing the same songs with a full rockin’ band behind them took the vocal performances to an even greater level.

Tech Week
This is usually a long, dreaded week in theatre. It’s the week before the show opens and involves rehearsals where the actors run the show from one light or sound cue to the next, stopping between each for the tech staff and designers to fix/adjust things. Often you run things over and over, and often the actors sit on their rears for 5, 10, 20 minutes. I have to say, besides one actress developing a bad chest cold on top of her asthma and having to spend the night in an emergency room, it was a pretty smooth tech week.

And she made it back by Saturday.
 
The thanks
First goes to the actors.
Jane Allyson, Debbie DiVerde, Micah Fortenberry, Joel Gross, Stephanie Herman, Jon Landvick, Amy Steele, Matt Whalen and Carrie Wickert (soon to be Buetow!). Great performances – singing, acting, improvising, timing, enthusiasm, energy. I can’t say enough. They worked very hard, adapted to many script and music changes along the way (it was a new work, of course) and brought their incredible talents every day and night.

We also have four very talented understudies that were absolutely essential in this rehearsal process: Kansas Battern, Mik Dempsey, Jim Kozyra and Becky Shallert.

The band
John Stoesser on Guitar, (yes, also the composer), Brian Murphy on Bass, Kevin on Drums. I don’t know Kevin’s last name. Sorry Kevin. The band has a finesse sound, lots of skill. And the composer gets to recreate his work every week on stage. Cool.

I reserve a special slot here for Micky York, the pianist and Musical Director. It’s a huge task to take a totally new score for which there’s no performance precedent and teach the parts, make the modifications necessary to serve the characters and make it stage-ready. He’s done an incredible job.

And next for my choreographer, Kristen Gurbach Jacosbon. Talented, passionate and energetic. She injected earnestness and humor into the dancing – at the same time. The effect was right on the mark.

Rachel Thiltgen, my Stage Manager. A very hardworking young woman who is earning her due. This is often the most surprising thing for outsiders to learn – that when a show opens, it is no longer the Director’s. It is the Stage Manager’s (and the performers’ of course) show to manage and execute and to protect and her job to keep the actors sharp. 

There are so many others to thank, and I’m sure I’ll miss some. kClare Kemock designed costumes that were spot-on, Bill Franz created a great sound design and mix. Mike Wagner worked up the perfect light design. So many other people worked hard to make this thing happen. Production Manager Joe Mohamed, Casting Director Robin Hughes, Executive Director and Producer Matt O’Brien, and the former Executive, Tim Rater, who hired Scott.

And of course Scott Woldman. He’s written three full-length shows. I’ve been in two of them and now directed the third. He creates characters, dialogue and storylines that are charming, sweet and emotional, vulgar, hilarious, inappropriate, shocking, and also romantic. Audiences love his stuff, and people love working with him. I think the dude’s pretty cool. I can’t wait to work with him again.

Spirits were soaring at the post-show party. My wife and I left very late, and it seemed far from over.  The actors should be proud of their performances. The producer expressed his happiness and I received great feedback from a member of the Metropolis Board of Directors, friends and friends’ friends. I couldn’t ask for a better first experience as a director.

Thanks for reading.
Brad Dunn

Milestone Week

Today was full of interruptions, sitting around, and was very productive.

The last several days/nights were devoted entirely to music and choreography – which were needed, since we didn’t have the solo numbers choreographed at all, and some changes had been made to the music. It was like full on workouts for the actors. One of my actresses was having mild flu-like symptoms – not feeling well at all. She said afterwards that the best thing was probably that she sweated it out for 4 hours, because she felt a lot better after rehearsal.

So today was the day we finally were able to stop and tweak every single little moment, every step, joke and pause, as well as deal with a series of hilarious face slappings, and a hair-pulling fight between two of the female characters. It was great. It made for a long day, but it was what we needed to do to shore up lots of little loose moments.

Now is the time in the process when you can really tighten up the show, fix scene changes and make sure the tempo is what it needs to be. No amount of great writing, acting, singing and dancing can overcome poor pacing and slow scene changes. So the pressure is on (me). The implication being of course, that all these other pieces are firmly in place. So today was full of this:

Me: “hold!”
Actor: “Was that, did I, I was supposed to have my drink glass at this point right?”
Me: “Umm, no. I didn’t account for how you guys would have your drink glasses yet.”
Actor 1: “We could grab them before we come out?”
Actor 2: “No, because we dance first.”
Actors 3-9: “yeah…” “or how about…” “Maybe so-and-so could grab mine and then when I head to the table…”
Me: “Yeah, that’s great. Do that.”

And on and on. The cast has been extremely helpful in solving the major traffic jams we have on stage throughout the show. They’ve also been great about dealing with prop needs. So today was really necessary and productive.

Yesterday we did a designer run. It was nerve-wracking for me. Our producer, Matt O’Brien, was there. He gave some good feedback to us afterwards, resulting in some minor cutting and tightening up of the script, which should help tempo. Other than the producer being there, a designer-run is when the design staff come and see what is pretty close to the final product. Close enough anyway, for them to start on the lighting design and sound design. It’s a big job.

The dates take place at tables. We ‘cut’ (I used to be a video editor) from table to table in some sequences very quickly and need the lighting to help move and focus the audiences’ attention. It was also decided that we’ll need a follow-spot – which helps light the solo numbers, and the sound designer began to see how he’ll write cues for turning off and on mics – writing mute scenes, it’s called. It’s an important aspect of designing the sound reinforcement for a musical. He’s got work to do – Nine actors all wearing mics, and a four-piece band, all have to be mixed together, live, every night of the show.

Stumbling through

Thursday March 6 was our “off-book” day. This is the day the actors are expected to have all their lines memorized and to rehearse without a script. Though they are allowed to call for a line. We also ran our first “Stumble-throughs” during the week.

A Stumble-through is when you first run large chunks of the show – or the whole thing, if you’re lucky. It comes once the actors are off-book and all the blocking is in place. Though I don’t know the actual historical reason this is called a stumble-through, I’m guessing it’s because it’s the first time the actors are working without a script, there are many pauses of unknown origin, and since some scenes are running back-to-back for the first time, unblocked or poorly blocked moments are awkwardly exposed.  So the name seems to be well-conceived.

We also worked on music throughout the week – we have some real rock-star voices in the show and it’s fun giving them some real showcase moments.

Today we recorded the music. With it being a new musical, some tweaks and structural modifications have been necessary to accommodate the way the show has evolved. This recording was to document the pieces as they finally have settled, so the rest of the band can learn the tracks, in conjunction with the actual sheet music.

The best part of this is that one of the original composers is playing guitar in the band, so he’s re-learning parts that he originally wrote.

a productive and exhausting week

We spent three nights solidifying the choreography for the show this week. Kristen (Jacobson) has been doing an amazing job dealing with having nine characters who are all equal in importance. She hasn't had the luxury of having people she could push upstage and get out of the way. Instead, with it being an ensemble piece, all the characters are constantly dancing across, up and down stage, switching partners, and the focus is constantly shifting.

It's been fun to collaborate with her, incorporating their actual characters into different parts - or at least adding the flavor of their characterizations to moments. We had a conversation before rehearsals began where we identified several different behavioral patterns of single people who are actively seeking out mates. We talked about mapping those patterns into the movement on stage. I think it's turned out great. I'm really happy with it.

Yesterday we ran through the whole show and blocked it. We had blocked some scenes previously, but had to switch our table sets around - that is, which girls are at which tables throughout the show, and therefore which tables the guys move to as they switch dates. We actually got through everything in one day, including moving into, and out of songs. 

Today was great. There's this opening number called the Spiritual, which I'd heard the recording of, and which we only worked once in rehearsal. And with it being a new musical, the translation from songs recorded by the composer to the performance on stage by the entire cast, I did not yet have a clear idea of how it worked, structurally. It's got all of my favorite qualities of good comedy - it begins to showcase the talent of the actors, and it's hilarious. It's going to be a great way to open the show.

a live test and a long day

We had a great opportunity today to put scenes and songs up in front of a live audience. Fremd High School in Palatine has an event they call Writer's Week, which Scott had performed at before. It showcases literary works of students as well as published authors, lectures and other arts types.

We were invited to perform at two afternoon sessions. There were about 400 people at each - and when I say people, I mean mostly High School students. Though we had edited some lines out for the younger audience, the show in general has a very adult tone. The anxiety I had disappeared immediately, when afterward several administrators and faculty came up to us to tell us how great it was and that it was great for students to get to see new work written by someone local.

I'm so proud of the actors. With only rough blocking in place, and songs only half-worked out, they took the stage and fully committed. The laughs we got were big, and a few of them literally show-stopping. It was good for all of us to see that.

Then it was off for a big cast lunch at Gino's East, then back to Metropolis for a video shoot. Scott had the idea of video taping testimonials of the daters - sort of like you would have an online dating site. So we shot them on-stage, I acted as the off-camera interviewer, and they improvised their way through the answers. It was great.

Most of the actors had not improvised in years, if ever. They've been improvising in rehearsal like they're regulars at Second City, and today on-camera, they created some amazing material. Really funny stuff, and I can't wait to edit it. Though with my current schedule, that will probably be 3 in the morning at some point soon.


Look for it on the Arlington Heights public TV channel and on this website sometime soon!

week two

There are many components to a musical - singing, dancing, script and character work. Speed Dating adds a few others into the mix, including improvised bits and some minor combat. It's a lot to cover for sure.

I decided early on the best thing would be to push through. Just keep pushing and don't get caught up in details yet. This is something I struggle with - I can obsess over small components of a project and lose the larger picture. This week, we managed to push through:

Two actors began working on their solo numbers, and the entire cast learned to sing four of the big five numbers in the show; We choreographed three of those and put in place a rough blocking for all but the final 12 pages. Very productive.

There are lots of physical things in the show, which I love. I think in general, audiences like to see people come into contact onstage - assuming it serves the story. Excessive amounts of physical contact is not something that happens for everyone in their lives. I think there's something very exciting about seeing this - be it sexual in nature, or more combative, or just through dancing - which combines both of these. So this week was very fun.

And the music is absolutely great. It's really exciting because at this point in the process, John and Sandi, the composers, have not heard their creations fully orchestrated and performed by a cast of nine. The songs sound amazing and are both charming and hilarious. I'm looking forward to them coming in and hearing the music.

first week

It was certainly not the week I expected.

I started off going to the doctor on Monday for what I was certain was strep throat. The doctor said the test was negative. Then the first rehearsal on Tuesday was canceled due to the big snowstorm we had. Wednesday and Thursday I made it through rehearsals at a safe distance from my actors, sporting an off-and-on fever and a throat so painful I could barely swallow or talk. Then on Friday the doctor called and said they were wrong, I had strep.

A mega dose of antibiotics on Friday had me feeling about 80% better for rehearsals yesterday and today. The good news. The actors are really funny and making great choices with their characters. We spent the week working scenes between music and dance numbers, then also working on music itself.

For me, the goal is to get as much of the blocking down as possible early on, so the actors can start getting their muscle-memory going. If you've not worked in theatre, you may not know what blocking is. Blocking is quite simply the movement and actions of the actors. I also like to keep in mind the overall stage picture of the show, the patterns of movement, the rhythms, etc. I think I got a little too excited and started to get into character work and more detailed script/line work. Then realized I needed to pull back a bit, and get the overall blocking structure down. So that's what we're going to start doing.

Here's another interesting concept for those new to theatre. Muscle-memory, that is getting your body familiar with the movements of your character on stage, gets an actor into their physical character more quickly which helps them understand their character better and assists in memorizing lines. Non-theatre folk always ask how you memorize so many lines and lyrics, etc. It is, for many actors, the muscle memory that is a huge part of it.

So now I'm about at 85% health, and can't wait to get the second week going.

And on the subject of everyone having just met

That's one of my favorite things about theatre. A large group of people convene, many having never met one another, and then just get to work. There's no other profession like it. Where else do you walk into a room and begin making tiger sounds and kitten claws at someone else and it's fully accepted and supported.

In most work environments, the challenge is to hide behind your learned adulthood - seeming absolutely professional, stoic, smart or possessing some other memorable personality facade. Presenting yourself as an expert in E-commerce Project Management and Data Architecture, Brand Identity Design & Strategy, etc. blah.

This is what Keith Johnstone, author of Impro, talks about. With regard to improvisational theatre, the job of the improviser is to unlearn the cynicism and protectionism that comes with growing up. That adults learn to hide their real selves for fear of being perceived as uncool.

And it's the same in scripted theatre. Be brave. Show up and be unafraid to act a fool. Attempt your ideas with all of your energy. Good performers of all types understand that it is in attempting to fall on your face that the greatest discoveries are made, leading to memorable performances, recognized as truthful to audiences and thus enjoyable - and the reason we make theatre.

I hate that kind of high-minded hubub, by the way. But it's still true.

IT'S ALIVE!

It's unbelievable. I always thought the script was funny. From the first time I read it to the 15th time - always funny. But it's just not the same as hearing it out loud, with real voices.

First, the script just took on a life. It's actual and real, and funnier than I thought.

Second, the characters are real. And they're funny. They're vulnerable, they act like asses, they're sad and thrilled and old and young. All the things they're meant to be, they are.

Third, I'm a genius with casting.

We're up and running. Many of us hadn't met, but everyone came together and just got to work. And it's a bit like the Seattle Fish Toss. You know, where people just hurl large fish across a crowded market at each other. Composer, arranger, writer, musical director, director and of course actors, production and design people, on and on just throwing different ideas around, trying different things - all the ideas in heads that were deemed to be perfect, but in fact have to flow through the filters of everyone else's interpretations and talents. And then of course everything becomes better because of it.

And now two months until rehearsals begin.



  

first read-through

Tomorrow we're having a read-through of the show. All the actors  but one will be there to meet, read, work on a bit of music, digest some of the script and do a quick read-performance of the musical.

It's a low pressure situation for sure, and for sure I'm still nervous.

I don't know why because I love the beginning of projects when everyone meets for the first time. There's such an excitement about. I really dig it. The actors won't be the only ones there - the production department, a few of the designers, Scott (Woldman, the Playwright), the composers John and Sandi Stoesser, the arrangers Loren and Erin, the musical director Micky York - a few others. Maybe even the Board President.

The whole point of the day is for Scott and the Composers to hear their work for the first time. It'll really help them give it a good critique so they can make any rewrites or adjustments they see are necessary before rehearsals begin.

So I'm a bit nervous. But very excited - Scott and I have been talking about this project for months.

A fear I like

Rehearsals begin February 12, which is an insanely long time from now.

The fear I have, that I like, being that I have been able cast an exceptional group of people (compliment not intended for me, rather for the cast), is the possibility of not making it to the beginning of rehearsals with this cast intact. But that's the reality - and one I'd rather live with if it means the potential of making it to opening day with such an extraordinary group of performers. I've had the pleasure of seeing one of my men, who is currently the lead in High School Musical here at Metropolis - Joel Gross, perform quite a few times. He's great. And I'm looking forward to contributing to the transformation of Troy Bolton from school boy hero to desperate 20-something single man who just might do some heavy petting with a 50+ year old. And who makes an appearance as a hip-swinging fat Elvis.

Back to the fear I like. The fear stems from the reality that the show plays once a week - unlike most of our mainstage shows. There are several reasons for this. First, many of the late night shows at Metropolis are new works, in development, which in this geographic area makes them a bit more risky than in some other areas. They are also risky because they are fearless. Especially the ones written by Scott Woldman. This is Woldman's third show produced at Metropolis. The other two (full disclosure, I was in them) sold exceptionally well, were highly regarded by both critics and audiences and were completely unafraid. I love Woldman's work because he tends to spend most of his time in extremes.

It's either a heartbreaking monologue from a 40-something women re-entering the dating scene after losing her husband and lifelong love to a heart attack, or it's a sweet goodnight kiss on a front porch that ends in a very unwelcome, furious leg hump.

Back to the fear I like. Most actors would of course prefer a show that plays three or four times a week. I know from experience, and this is quite understandable. But the casting process happens early to accommodate a theatre that produces a lot - easier to cast all at once than over and over all year long. But this is a fear I like and would prefer to live with because it speaks to the quality of talent we have in this show. And I'm excited about beginning the process and building this thing. I wish it were beginning now.

the first entry... ever.

This is the first-ever Metropolis Performing Arts Centre blog entry. Not an exciting lead-off sentence, but factual.

That's out of the way.

We've begun the process of producing a new musical - Speed Dating the Musical, opening March 29 2008, written by Scott Woldman, with music and lyrics by John and Sandi Stoesser. It's the second show in Metropolis' 2007-08 After Dark Comedy Series. This is the successful late-night comedy series (Saturday nights at 10) begun by Metropolis three years ago, and the third new show written by Scott and produced by Metropolis.

This journal will document the entire process. With the exception of precious things that should be left to the private and sacred relationship between director, writer, cast, crew and producer, I will keep this journal of the entire process, beginning with casting (which has already happened) and ending, probably with opening night. You'll get a little insider's view of the entire process of making a new show happen: from thoughts, to words on paper, rehearsals, designs, discoveries and finally performances on stage.

That's a lot of journaling. I'll try to keep it interesting.

Brad Dunn
Director, Speed Dating the Musical