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The Lincoln Center, Fort Collins
Before opening night, courtesy of our wonderful costume designer Rebecca, I got to see the matinee of West Side Story. It’s one of those musicals that I don’t actually remember seeing for the first time. I’ve been watching it, and hearing the score, since before I was even conscious. It moves me to tears every time.
Now that I’m an immigrant in America myself, it’s even more poignant. Thankfully, I have never personally experienced the racism, or gang violence, depicted in the show, but the story of being in America trying for a new and better life, and unrequited love, tugs at my heart strings. The performances were amazing. I need to start dancing again!!! It was fun seeing ads for The Tempest in the Playbill...!
Now that I’m an immigrant in America myself, it’s even more poignant. Thankfully, I have never personally experienced the racism, or gang violence, depicted in the show, but the story of being in America trying for a new and better life, and unrequited love, tugs at my heart strings. The performances were amazing. I need to start dancing again!!! It was fun seeing ads for The Tempest in the Playbill...!
Ariel, almost ready for the stage
Opening night is always such a buzz, and the show went wonderfully. A few minor hiccups here and there - I tripped on something at the side of the stage on one entrance, nearly missed another entrance entirely at the end of the show... But the audience, full of friends and supporters of OpenStage, was warm and lovely.
Now I have to wait another WEEK to step into Ariel’s boots again. What does one do without rehearsal to go to?!
Now I have to wait another WEEK to step into Ariel’s boots again. What does one do without rehearsal to go to?!
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Ali (Miranda) sings to her wig, with hair designer Kirsty in the background.
Mon/Tues/Wed were tech/dress rehearsals with very few stops, and at the end of the night we were sent home to sleep rather than staying for notes. Total luxury! And it is so nice to be able to saunter the two blocks home from the Lincoln Center!
Thanks to the publicity shoot, and green screen filming, the design team are well-practised in getting me into costume and make-up. I hadn’t had a chance to rehearse with my full harpy costume, so the run on Monday night was the first attempt at getting through the entire harpy speech with arms elevated over my head, carrying ski poles draped in fabric, with a mask on my face. Fun times.
Thursday was a free preview for students and educators, with a Q&A at the end of the performance. I loved walking into the Lincoln Center and hearing the orchestra rehearsing West Side Story in the auditorium next door. The national tour is currently playing in Fort Collins, and I got a kick out of being in the same building!
Overall, the show went well. A few technical hiccups in act 2, but the show went on, and we all survived. Totally thrilling to finally have an audience (especially my Aaron!), and a very receptive one too. We had a class of high school students who have been studying The Tempest, a group of uni students, and a dad with his young daughter, Katie. Although small, the Q&A was fun. It was great to receive feedback directly from the audience, and hear their different reactions to the show. I enjoyed chatting with Katie, who is performing in her school’s production of Beauty and the Beast. I was impressed that Katie’s dad was introducing his daughter to Shakespeare at such a young age.
We realized that, even with all the tech elements in place, the harpy scene was far too long and not quite packing the punch it needed. Overnight Denise sent revisions, and I had the fun of quickly re-learning lines.
It occurred to me afterwards that in high school, my class had gone to see a production of King Lear. We had spent the next day dissecting the performance, how they had interpreted the script, what they had cut, the various design elements etc. It was a delight to realize I am now on the other side, exactly where I have always wanted to be.
Friday was a corporate performance for one of the show’s sponsors, KUNC. A very different crowd from the student night. I love the challenge of performing for a quiet audience. You have to give the same energetic performance, even when you’re not receiving feedback from the audience in terms of laughs or visuals (in this show I generally can’t actually see the audience until curtain call. A mixed blessing), even when the audience is small, and even when the person in the third row is yawning or falling asleep.
A really lovely week surrounded by hard-working, awesome, folk. It’s great to be back in the theatre. The luxury of having my hair and make-up done each night, wearing a gorgeous costume, playing a fun character, and speaking delicious words. The lights, the hazer, the audience. The heart racing adrenalin of standing in the wings before your entrance, waiting for your cue... It’s good to be home.
Thanks to the publicity shoot, and green screen filming, the design team are well-practised in getting me into costume and make-up. I hadn’t had a chance to rehearse with my full harpy costume, so the run on Monday night was the first attempt at getting through the entire harpy speech with arms elevated over my head, carrying ski poles draped in fabric, with a mask on my face. Fun times.
Thursday was a free preview for students and educators, with a Q&A at the end of the performance. I loved walking into the Lincoln Center and hearing the orchestra rehearsing West Side Story in the auditorium next door. The national tour is currently playing in Fort Collins, and I got a kick out of being in the same building!
Overall, the show went well. A few technical hiccups in act 2, but the show went on, and we all survived. Totally thrilling to finally have an audience (especially my Aaron!), and a very receptive one too. We had a class of high school students who have been studying The Tempest, a group of uni students, and a dad with his young daughter, Katie. Although small, the Q&A was fun. It was great to receive feedback directly from the audience, and hear their different reactions to the show. I enjoyed chatting with Katie, who is performing in her school’s production of Beauty and the Beast. I was impressed that Katie’s dad was introducing his daughter to Shakespeare at such a young age.
We realized that, even with all the tech elements in place, the harpy scene was far too long and not quite packing the punch it needed. Overnight Denise sent revisions, and I had the fun of quickly re-learning lines.
It occurred to me afterwards that in high school, my class had gone to see a production of King Lear. We had spent the next day dissecting the performance, how they had interpreted the script, what they had cut, the various design elements etc. It was a delight to realize I am now on the other side, exactly where I have always wanted to be.
Friday was a corporate performance for one of the show’s sponsors, KUNC. A very different crowd from the student night. I love the challenge of performing for a quiet audience. You have to give the same energetic performance, even when you’re not receiving feedback from the audience in terms of laughs or visuals (in this show I generally can’t actually see the audience until curtain call. A mixed blessing), even when the audience is small, and even when the person in the third row is yawning or falling asleep.
A really lovely week surrounded by hard-working, awesome, folk. It’s great to be back in the theatre. The luxury of having my hair and make-up done each night, wearing a gorgeous costume, playing a fun character, and speaking delicious words. The lights, the hazer, the audience. The heart racing adrenalin of standing in the wings before your entrance, waiting for your cue... It’s good to be home.
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Set ready for the truck
Bruce on the stairway to heaven
Set on truck
The process of moving into the theatre is known by different names around the English-speaking world: set-in, bump-in, and load-in. All mean the same thing: a long day where the set is moved from the rehearsal space into the performance space, the lights are hung and focused, and the theatre is made ready for the show's season. Here in FoCo, this day is known as "set-in".
Sunday morning dawned bright and chilly. Aaron headed to the theatre, an easy two blocks from our house, at 8am to help hang lights. I arrived at the warehouse at 10am and met Spike, our set designer and builder, and a small group of volunteers - Bruce, Rose, and Patricia. We helped to load the truck with the set pieces. Bruce was on driving duty, and it took two trips from the warehouse to the theatre to load in the set.
Sunday morning dawned bright and chilly. Aaron headed to the theatre, an easy two blocks from our house, at 8am to help hang lights. I arrived at the warehouse at 10am and met Spike, our set designer and builder, and a small group of volunteers - Bruce, Rose, and Patricia. We helped to load the truck with the set pieces. Bruce was on driving duty, and it took two trips from the warehouse to the theatre to load in the set.
Installing the set into the theatre
Aaron hanging lights
Projections are a complicated business.
Price, our projection designer, at work
At the theatre we were joined by our stage manager Aubrey, cast members Al, and Bas, and volunteers Shannon, Emelina, Steve, Evin, and Grant. We taped down the floor, and moved in the set.
Once the set was in place, the lighting crew, headed by Brandon, were back to finish focusing the lights. Mercedes was up on the genie (like a miniature cherry picker), Karlee was on the lighting board bringing up cues, and Aaron and I helped to move the genie around as required. Price and John, our projection designers, were busy working on aligning the projections to the set. Super cool to see the footage from the green screen filming come to life on the set!
A loooong day, but exciting to see the set in place and the technical elements of the show starting to come together.
Once the set was in place, the lighting crew, headed by Brandon, were back to finish focusing the lights. Mercedes was up on the genie (like a miniature cherry picker), Karlee was on the lighting board bringing up cues, and Aaron and I helped to move the genie around as required. Price and John, our projection designers, were busy working on aligning the projections to the set. Super cool to see the footage from the green screen filming come to life on the set!
A loooong day, but exciting to see the set in place and the technical elements of the show starting to come together.
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Spent the week running the entire show at each rehearsal. Lots of attention to detail within the text, fine-tuning blocking, re-discovering emotional moments.
Met Michael, our props master, who is helping to create the harpy costume. Tried on different masks and was given some ski poles to practise the wings. Brandon, Grant, and Price (light, sound, and projection designers) were in throughout the week to watch the show and make notes.
Excited to be moving into the theatre on the weekend...!
Met Michael, our props master, who is helping to create the harpy costume. Tried on different masks and was given some ski poles to practise the wings. Brandon, Grant, and Price (light, sound, and projection designers) were in throughout the week to watch the show and make notes.
Excited to be moving into the theatre on the weekend...!
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Green screen filming became this on stage
Green screen day! Met Denise and the design team at the University for the Arts. Quickly into costume, hair, and make-up. Met Price and John, our projection designers, and Grant, the sound designer, and headed into the studio to film the footage for the masque.
Had a ball standing in front of the camera, pulling spirit faces and making googley eyes. All those years of sitting in front of a mirror and practising wiggling my eyebrows paid off today!
At rehearsal, ran act 2. Not quite on my game tonight. Felt heavy on my feet. How can I move more lightly?
Had a ball standing in front of the camera, pulling spirit faces and making googley eyes. All those years of sitting in front of a mirror and practising wiggling my eyebrows paid off today!
At rehearsal, ran act 2. Not quite on my game tonight. Felt heavy on my feet. How can I move more lightly?
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Picture by Mary Pridgen, Bare Bones Photography
In the afternoon had a photo shoot with Judi (Prospero) for the promo material. So. Much. Fun. Our design team is just wonderful to work with. I am totally in love with my costume and make-up!
Afterwards I had time to either wash my face and go straight to rehearsal, or get dinner and go straight to rehearsal. I chose food, and I chose the close-by and super quick Chipotle. Chipotle is set-up so that during busy periods (ie. dinner) you'll be served by approximately six people. Every single person stared at my insane hair and make-up (not very common for Fort Collins), and not a single person asked why I was wearing insane hair and make-up. I smiled insanely at every single server, grabbed my burrito, and spirited away up College Ave as fast as my little blue bicycle would take me!
At rehearsal, we ran Act 1. Fudged the “sailors under hatches stowed” line. Grr. Also remembered at the end of the act that I was supposed to incorporate more laughing. Damn. Otherwise a good run.
Denise talked about the poetry and music of the language, and not being afraid of it -
“Don’t go into fear, go into love. Let the poetry be music”. I love this.
GENERAL NOTES
Afterwards I had time to either wash my face and go straight to rehearsal, or get dinner and go straight to rehearsal. I chose food, and I chose the close-by and super quick Chipotle. Chipotle is set-up so that during busy periods (ie. dinner) you'll be served by approximately six people. Every single person stared at my insane hair and make-up (not very common for Fort Collins), and not a single person asked why I was wearing insane hair and make-up. I smiled insanely at every single server, grabbed my burrito, and spirited away up College Ave as fast as my little blue bicycle would take me!
At rehearsal, we ran Act 1. Fudged the “sailors under hatches stowed” line. Grr. Also remembered at the end of the act that I was supposed to incorporate more laughing. Damn. Otherwise a good run.
Denise talked about the poetry and music of the language, and not being afraid of it -
“Don’t go into fear, go into love. Let the poetry be music”. I love this.
GENERAL NOTES
- keep discovering
- Use “Willy’s” pauses and emphases, not your own speech patterns
- Absolutely NO paraphrasing!
- savouring the way the language feels, moves, and sits in your body.
- Connecting emotion to the line: know the level and quality and where it sits in the body
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Aubrey, our stage manager, has been taking line notes and has put them up as a google doc. Interesting to see where paraphrasing happens, what lines are dropped or muddled. My mission is to get to zero line notes!
Tonight we talked through the final scene. It's a tough few pages. Everyone is on stage, but Prospero has most of the dialogue. We all need to find ways to end our stories without speaking. Exploring the idea that the final scene is where everything is most at risk for each character: will it all come together? Will they get their desires? How to engage without over-acting when you’re not speaking, finding the connection to emotion and getting out of the brain and into the body, discovering the moments in the scene and not standing back from the emotion. Exhausting, but really fun and meaty stuff. For Ariel, I keep thinking, "Will I get my freedom? Will she release me now? Now? Now?!" I feel like a little kid. "Now can I have it? Now? How about now? I was reeeeally good!!! NOW?!"
I love watching Denise give notes at the end of rehearsal. Her energy seems indefatigable!
Tonight we talked through the final scene. It's a tough few pages. Everyone is on stage, but Prospero has most of the dialogue. We all need to find ways to end our stories without speaking. Exploring the idea that the final scene is where everything is most at risk for each character: will it all come together? Will they get their desires? How to engage without over-acting when you’re not speaking, finding the connection to emotion and getting out of the brain and into the body, discovering the moments in the scene and not standing back from the emotion. Exhausting, but really fun and meaty stuff. For Ariel, I keep thinking, "Will I get my freedom? Will she release me now? Now? Now?!" I feel like a little kid. "Now can I have it? Now? How about now? I was reeeeally good!!! NOW?!"
I love watching Denise give notes at the end of rehearsal. Her energy seems indefatigable!
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An approximation of me being told I will not be singing.
It's official. I definitely won't be singing/fluting in this production. All. The. Sadness... BUT! I've been told I can be more musical with the poetry. Hurray?!
We ran act 1. Vastly improved from last week!
General notes:
We ran act 1. Vastly improved from last week!
General notes:
- Where is the passion coming from in your body?
- Intensity and connection to emotion
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Rebecca's costume sketch for Ariel
Work-in-progress Ariel
Next week we have a photo shoot, and filming for the projections, so Judi/Prospero and I got together with the design team to do a try run of hair/make-up/costume. So. Much. Fun! What luxury to have separate hair/make-up/and costume designers!
My costume, designed by Rebecca Spafford, is stunning. Bright colors, easy to move around in, and totally evocative of a bird-spirit! Make-up by Suzann Ridolfi is shimmery with white and copper highlights in the cheekbones and brow. My hair, designed by Kirsten Hovorka, will be hairsprayed up, with copper tints combed through. Seeing it all together, I can finally visualize the kind of bird spirit that Ariel is.
Our team of designers have done an amazing job. The attention to detail, the collaboration between director and designers - if my collar is too high, will it diminish from the jerky/twitchy gestures?, will the audience be able to see my profile? - is just wonderful to witness.
My costume, designed by Rebecca Spafford, is stunning. Bright colors, easy to move around in, and totally evocative of a bird-spirit! Make-up by Suzann Ridolfi is shimmery with white and copper highlights in the cheekbones and brow. My hair, designed by Kirsten Hovorka, will be hairsprayed up, with copper tints combed through. Seeing it all together, I can finally visualize the kind of bird spirit that Ariel is.
Our team of designers have done an amazing job. The attention to detail, the collaboration between director and designers - if my collar is too high, will it diminish from the jerky/twitchy gestures?, will the audience be able to see my profile? - is just wonderful to witness.
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Off-book for Act 2. Much better. Set reinforced, feel safer on the top platform. Having much more fun.