Between Thursday and Friday, we did out first work-through of the show! Hooray! We've got it blocked out, and all the choreography has been taught—now it's just a matter of cleaning and polishing. This evening we'll move into Stump Theatre (we've been rehearsing in the EZ black box) and make sure everything gets spaced out correctly, and before we know it we'll be doing full run-throughs. I can't believe how quickly the show is coming together. Looking back to our first rehearsal, when the cast was learning the complex Hand Jive choreography, it's nice to see how far we've come.
There's still a lot of work to be done, of course. The music moves extremely quickly, so the dance numbers still need tightening. There are still occasional traffic problems that need resolving. Timing of the lines isn't quite right. But the outline of the show is there- now we just need to fill in the blanks. Hopefully moving into the space will help with blocking and dancing—the actors can really get a feel for the size of the stage, which is hard when you're working in a slightly more cramped space. Even when you've got the boundaries of the space taped out on the floor, it's still a bit of an adjustment to move.
Time is ticking away, but we're in great shape. I can't wait to start adding more technical elements!
--Sarah Coon
Sunday, January 30, 2011
Friday, January 28, 2011
Department of Self-Promotion: Summer Update
I recently recorded a podcast with Andy Bliss, artistic director or the Nief-Norf Project, one of the experimental music groups I play with regularly. We talk about the upcoming summer festival at Furman University, including a collaborative project with KSU senior BFA dance student Sharon Kriz. Enjoy!
--Bill Sallak (Moderator/Assistant Professor/Dance Music Director)
nief-norf Chronicles Episode #8 from Andy Bliss on Vimeo.
--Bill Sallak (Moderator/Assistant Professor/Dance Music Director)
Monday, January 24, 2011
Learning the Ropes
We're into our second week, and we're still pushing forward hard. We've gotten a lot of the show blocked out over the past few days, including a few groups scenes and a lot of the choreography. Tonight the cast will learn the choreography for another group number (Shakin' at the Hop) and then we'll review everything we've learned. It's great to see so much progress being made in such a small time! The choreography is intricate, but the cast is picking it up like champs.
Blocking the scenes is going really quickly as well. It's a different experience working on this show; because it's a recreation of the European tour, a lot of the blocking is already determined. We don't have to start from scratch. Mac will give the actors the blocking, and we run it to see if there are any changes that need to be made. He'll usually sit down with the actors then to discuss the circumstances of the scene: why are you here, what time is it, where are we, etc. Then he'll use that to help the actors hone in on specific actions and objectives. What is it your character wants in this scene? How will they go about getting it? With that in mind, we'll run the scene again and see how it works.
The blocking isn't concrete; things are added and subtracted depending on how well they work, or if they look natural. Occasionally, 'bits' (in many cases, physical jokes) that worked overseas don't play as well here. That's a really interesting insight he shared: certain jokes or types of humor that we find funny don't work in other countries, and vice versa. It makes sense, but it's not something that I ever really thought about. Grease encompasses a specific time and feeling in American culture... how is that interpreted elsewhere?
Grease is the word... but does something get lost in translation?
--Sarah Coon
Blocking the scenes is going really quickly as well. It's a different experience working on this show; because it's a recreation of the European tour, a lot of the blocking is already determined. We don't have to start from scratch. Mac will give the actors the blocking, and we run it to see if there are any changes that need to be made. He'll usually sit down with the actors then to discuss the circumstances of the scene: why are you here, what time is it, where are we, etc. Then he'll use that to help the actors hone in on specific actions and objectives. What is it your character wants in this scene? How will they go about getting it? With that in mind, we'll run the scene again and see how it works.
The blocking isn't concrete; things are added and subtracted depending on how well they work, or if they look natural. Occasionally, 'bits' (in many cases, physical jokes) that worked overseas don't play as well here. That's a really interesting insight he shared: certain jokes or types of humor that we find funny don't work in other countries, and vice versa. It makes sense, but it's not something that I ever really thought about. Grease encompasses a specific time and feeling in American culture... how is that interpreted elsewhere?
Grease is the word... but does something get lost in translation?
--Sarah Coon
Saturday, January 15, 2011
Devising Theatre: Health and Care
When I walked into the first class for Seminar in Devising Theatre: Health and Care, I wasn’t sure exactly what to expect. I had signed up for it last semester to fulfill my last seminar class as an undergraduate theatre studies major at Kent. I was extremely apprehensive when I signed up for a class that so intensely involves acting, considering I am engaged in a stage management concentration and I haven’t been on the stage since high school. I was pleasantly surprised.
After going over a few housekeeping notes (syllabus, etc.), we began to play a few games to get to know the people in the room (which by the way is a huge class—about 30 or so). One game that struck me as extremely interesting involved everyone in the room grouping themselves together (based on an instruction given by instructor Katherine Burke) without speaking. This led to flapping arms, pointing at things, and some valiant, yet unrecognizable efforts at pantomiming (an example would be favorite food—try and pantomime Greek food. It’s hard). While some of it was comical, the idea that most of the people in the room became aware of was the fact that although it is entirely possible, it is still extremely difficult to communicate without speech. We had to work together as a company to obtain a common goal.
One exercise that we did that truly inspired me took place near the end of our first class. One person went into the middle of a circle created by the rest of the group and said exactly how they were feeling in that moment. Anyone from the outside of the circle could then tap the person in the middle on the shoulder, and build on that statement of how they were feeling. People made statements that a lot of times you may be thinking, but are afraid to say out loud. It was extremely organic and honest. This is one of the unique things that Devising Theatre allows artists to do: it enables them to collaborate on a project in a very organic and vulnerable way.
Although I was very inspired, I am still trying to work my way out of my ‘I like to be in the booth and call the show, not be on stage’ shell. I believe that this class will allow me to grow as a theatre artist, giving me the opportunity to see theatre from a completely different angle. I am hoping that next time I will be able to step into the circle and proclaim to the world exactly how I feel.
--Vanessa Gabriele
After going over a few housekeeping notes (syllabus, etc.), we began to play a few games to get to know the people in the room (which by the way is a huge class—about 30 or so). One game that struck me as extremely interesting involved everyone in the room grouping themselves together (based on an instruction given by instructor Katherine Burke) without speaking. This led to flapping arms, pointing at things, and some valiant, yet unrecognizable efforts at pantomiming (an example would be favorite food—try and pantomime Greek food. It’s hard). While some of it was comical, the idea that most of the people in the room became aware of was the fact that although it is entirely possible, it is still extremely difficult to communicate without speech. We had to work together as a company to obtain a common goal.
One exercise that we did that truly inspired me took place near the end of our first class. One person went into the middle of a circle created by the rest of the group and said exactly how they were feeling in that moment. Anyone from the outside of the circle could then tap the person in the middle on the shoulder, and build on that statement of how they were feeling. People made statements that a lot of times you may be thinking, but are afraid to say out loud. It was extremely organic and honest. This is one of the unique things that Devising Theatre allows artists to do: it enables them to collaborate on a project in a very organic and vulnerable way.
Although I was very inspired, I am still trying to work my way out of my ‘I like to be in the booth and call the show, not be on stage’ shell. I believe that this class will allow me to grow as a theatre artist, giving me the opportunity to see theatre from a completely different angle. I am hoping that next time I will be able to step into the circle and proclaim to the world exactly how I feel.
--Vanessa Gabriele
Thursday, January 13, 2011
Hitting the Ground Jiving
Whoa! It's almost the end of our first week back, and it whipped by! I came back to Kent Sunday for our first choreography rehearsal for Grease. The cast spent 8 hours learning parts of the Hand Jive from our amazing choreographer, Felicity. It's a really complex number: the pace is lightning fast, with several tricks and lifts happening right on top of each other. I was holding my breath for a lot of the lifts, imagining faces smacking into the floor or walls. But the cast picked it up quickly, and it's shaping up to be a show-stopper.
Monday was a music rehearsal, and Tuesday was the first read-thru/sing-thru of the whole show, and design presentations. This is a really modern version of Grease; Michael, the director, wants it to look and sound like a flashy rock and roll concert, and from what I've seen, the designers are going to give him just that. This isn't your parents' Grease, folks. This is louder, faster, bigger, and raunchier!
Last night (Wednesday) we finished putting all the pieces of the Hand Jive and bringing it up to it's face-meltingly fast tempo. It needs some polishing, but the work that's been done leaves me in awe each time. It's some of the most athletic, powerful dancing I've seen for a musical here. There's a really cool blending of 50's and contemporary styles here, which is making the piece have a really fresh, new energy to it.
I'm informally dubbing this show "Grease 2.0." Seeing it revamped is really exciting... I can't wait for everyone else to get in on the action!
--Sarah Coon
Monday was a music rehearsal, and Tuesday was the first read-thru/sing-thru of the whole show, and design presentations. This is a really modern version of Grease; Michael, the director, wants it to look and sound like a flashy rock and roll concert, and from what I've seen, the designers are going to give him just that. This isn't your parents' Grease, folks. This is louder, faster, bigger, and raunchier!
Last night (Wednesday) we finished putting all the pieces of the Hand Jive and bringing it up to it's face-meltingly fast tempo. It needs some polishing, but the work that's been done leaves me in awe each time. It's some of the most athletic, powerful dancing I've seen for a musical here. There's a really cool blending of 50's and contemporary styles here, which is making the piece have a really fresh, new energy to it.
I'm informally dubbing this show "Grease 2.0." Seeing it revamped is really exciting... I can't wait for everyone else to get in on the action!
--Sarah Coon
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