Loading in the Good Times!

Hello All!

So we have now completed our rehearsal process and are now heavily steeped in tech, which commenced last night with our load-in! Now is the time in which the production team and crew assembles the world of the play, and that includes everything from lights to sound to set to props. In order to accomplish this tall order with a very limited amount of time, it meant that everyone needed to step up, pitch in and give a hand, and I was fortunate enough to be included as well. Just to give you an idea, though, if you were to meet me, you would most likely assume I am the type of person who has avoided much manual
labor his entire life, and that assumption wouldn't be far off. So the fact that I was saying things like, "Do you have a longer piece of tie-line?" and "Where did the XLR go?" is quite new to me. But, let me tell you. It was such an incredible experience for me to be part of such a hard working and collaborative team.

Even in the face of a time crunch and of a huge list of things that need to be done and worked out, it amazed me the high spirits in which we collectively found ourselves. There was a certain "lightness" among us, all of us filling the space with some banter and a few laughs, while at the same time maintining a strong and immensely productive focus. And it amazed me how everyone was working on their own projects simultaneously without getting in the way of others. Lighting crew was hanging their instruments and circuiting them while a mere feet away others are adhering sound cable to pipeline, and below both, carpenters are nailing set pieces and platforms down, while in the back painters work furiously to finish the strokes on a
back wall panel. Even though seemingly countless activities are being pursued, everyone still worked together and communicated, with no one stepping on anyone's toes and everyone being repsectful of everyone's needs.

It's so great to be working in an environment in which everyone is truly on the same page and level, with everyone doing what they can to get the job done and with no one being "above" anything. At the risk of sounding "New Age-y," the vibe was so positive in the room that it was palpable. It's a rare thing, not just in theatre but anywhere, to be in an environment in which so many people not only all want to be there but all have the same ends and goals in mind and are truly working together. To be a part of that was absolutely exhilarating.

It was a true joy to be a part of, and I know this will carry over into tomorrow night, when we actually begin tech and work through the show cue-to-cue. But more on that later . . .

That about does it for now. But don't worry; more will be coming later this week!

Over and Out,
Max

Exploring vs. Settling

With less than a week left before we go into tech., things are really cooking in the rehearsal hall, which brings to mind a dilemma that always fascinates me: As we are now refining and fine tuning the play, how much can we still allow the actors to continue exploring the text, their characters, and the space and allow them to continue trying new things, employing new tactics and actions, and making different choices, all the while realizing we need to lock things down and set things in place? A big question is: Is it ever too late to make changes before opening night? If so, when? What’s the deadline? You certainly wouldn’t want to set this too early, lest you stifle your actors. You want your actors to feel free and comfortable enough to explore the piece of theatre you together are creating, and you want to offer them the time to find not only what is right for the show and for their characters, but also, and in some ways most importantly, what is right for them as actors, because, in the end, they have to own it for themselves. You don’t want to cut off exploration too early because then they may settle into something they are not ready or willing to settle into, which could result disastrously in tedious and monotonous performances. A show can be successful only when the action is fresh for the actors, so that no matter how many times they run a scene, the words they say and the actions they execute always feel as though they are being done for the first time ever.

Of course, at the same time, the deadline of opening night is always looming, its approach unstoppable. Of course, decisions need to be made, blocking needs to be set, and actions need to be settled on. I feel that in our production, it is certainly not about setting an explicit deadline for all choices to be made that precludes any further exploration. Art certainly can’t work that way. For us, as with many productions, it’s all about finding something that works, and having the confidence to lock that in place, while being flexible to the prospect of discovering something new. For something that isn’t working, we are trusting that we will find the time to figure it out, all the while always keeping in mind the approach of tech. In the end, you have to trust the people around you and keep communication open. That’s the only way theatre ever works.

That’s about all for now. Next up, Tech!


Over and Out,
Max

Tech...Dress...Costumes...

So I just got home from rehearsal tonight and today's was the closest it's been to the final production. We've been doing tech all week but the second run today was with all the lights in the house out and everyone watched it as if they were just an audience. It was great!

Parts that were pretty funny in rehearsal were hilarious this time around and there were little bits here and there that the actors changed, like intonations and expressions, that were great! It really felt like it was coming together. Backstage, it definitely is. We added green to Frog yesterday and after the additions of some snaps, velcro, patches, and other little things, there's not too much left to do. The Big Bear hat might change before opening but really, everything is coming together. Even the bra trick is usually fast enough! Searching for the right top for Giselle was pretty tough and overall, I think most of the shopping time went to that but the top she has now is perfect and I'm glad the color works well for Sayoko, even if it wasn't what was originally planned.

The musicians have their costumes now too and they look great! The style is great on them and the color ties in well with the set without hiding them. Commuting to and from rehearsal every night this week has been a little tougher than I would have hoped but I've learned my way around Boston and the Mass Pike pretty well, which is an unexpected perk. I think my favorite part of this whole experience has been Sydney's comment about her pajamas. It's always nice to hear that a costume you worked on is an actor's "most favorite costume ever" (and she looks adorable in it). I'm really looking forward to hearing what my friends and family think of the show after it opens.

*Paige*

Grace Geller: Putting it all Together

Happy July 4th to everyone! I hope you all had a great weekend. This was the first year I spent the 4th in Boston and it was beautiful! I got a spot with some friends on the Esplanade RIGHT in front of the barge. The fireworks (and Boston Pops) were amazing!

On Thursday I went to help ‘clean’ and add small touches to the set. I was under the impression this would mean sweeping (which it did), but was unaware I would also be given power tools – not my forte but I managed. I’ve been looking at the set model for weeks and enjoyed watching the elements come together. I don’t want to give anything away, but the set contains many surprises. As in “After the Quake,” where the story transitions from fantasy to reality, the set itself is full of magical transformations. Watch out for people and objects appearing out of nowhere!

As for rehearsals, we had a long break and are now in the theater! The set is mostly finished and so today we were able to play with all the different prop and set pieces. Unlike many plays where stagehands move elements of a set, such as chairs, in “After the Quake” the actors are the ones to change things. We spent a while today explaining all the transformative elements to the actors and working out kinks.

Besides using the set, tonight we also rehearsed a full run with music for the first time. We’ve added music to every section individually, but have never run through the whole play at once with all the music. Although we added a lot, the run went pretty well. It was also great to be able to hear the play – actors and musicians – and check the volume in the theater. The incorporation of music tonight went really well. The music feels very fluid and truly is a necessary character in the play.

This week we’re doing full run-throughs of the production leading in to tech next week. Because we’ve already worked in sound and set (which are normally two major components of tech week), hopefully tech will go pretty easily as we will mostly just have to work in lights.

I look forward to watching it for the next two weeks from every seat, every angle, to make sure every audience members gets the full experience. I’m so excited for the show to start! Buy your tickets! It’s going to be a great production.

See you there!

* Grace

The World Comes Together

First off, I just have to say that I forgot how much I absolutely adore walking through Boston at night in the summer. One of my favorite things to do. I was thinking about that as I walked to the T from rehearsal tonight and deciding exactly what I would write in this blog entry.

That being said, the show has grown so much it’s hard to believe we have so little time left before opening. I’ve spent the past week or so away from rehearsals. When I wasn’t off celebrating the fourth (hope you had a good one) I was helping Nick and Mark build the set. Now, I’ll be honest. When it comes to carpentry, I’m much better at building a quarter-inch scale model of a set than the “full scale model”, as one of my teachers fondly refers to it. I can work an X-Acto knife much better than a table saw. Still, it was nice to be back in a scene shop. I find the smell of sawdust oddly comforting. And it was nice to be able really feel progress coming along. I mean, watching the rehearsals you can see the actors get more and more into character each night. They truly are progressing, but for me I was really gearing to go. And it was great to be given a drill, some screws and wood and told to build a step, and then to have that step there. It’s a nice little ego boost.

Problem was, the scene shop was at the rehearsal space which is not near the theater. And so we had that day where we carried every piece of furniture into a uhaul, and then out of the uhaul and into the theater. I was reminded of carrying set from the stage of my high school to the back of the bomb shelter (yea we had one, it was creepy) where we stored things. But on load-in day, when I was doing my best to help carry the bed, I just kept thinking about those long walks with some obscure piece of set. I had a little nostalgic moment there. But once we had everything unloaded in the actual space I jumped immediately back to ATQ mode. Soon enough, this little world we’ve been talking about for months was actually taking shape. And once the painting started it just started to come together that much more. I helped a bit with the texture of the bamboo and Sean did a really great job making the floor actually look like bamboo. Props to him.

But now that I’m back in rehearsals I’m a bit baffled by how far they’ve come. It’s almost a completely different show, but in a great way. There was one moment tonight where Sydney screamed a scream of terror and I had completely forgot it was coming. I literally jumped. And though I’m only twenty, my innate maternal instincts went crazy. And then I was just impressed by the work they’re doing.

You’ll just have to see for yourselves what I’m talking about. I’m really glad I’ve gotten to see this show transform so much.

Have a good one!

Jessica

Paige Warren: Holding Down the Fort

So while Miranda is away on a vacation this week, she left me with a couple assignments to work on. I'm currently in the middle of working on Sala's (Sydney's character's) pajamas and trying to think of more ways to make the illusive 'bra trick' work as well as researching different potential narrator hats.

Last week she asked me to look up "too cool for school" hairdos for Sala which was great! I'm a huge fan of Harajuku fashions (particularly Decora and EGL) so I realized a lot of those styles, which are based on little girl hairstyles, would work really well on Sala. I happen to have the Fruits and Fresh Fruits books which I went through, marking the styles that would work for Sydney, and passed the research off to Miranda.

This process has already been really rewarding and I'm eager to get back to work on the pj's. I am a little anxious since I'll be speaking in Miranda's place for her at this Sunday's production meeting but I know I don't have too much to be worried about since everyone's always been really nice and welcoming at the meetings. Next week we're really gonna dive right into building, shopping for, and painting more of the pieces as we get closer to tech week.

*Paige*

Nick Tosches: The Technical Side

Hello once again everyone out in internet land. A lot has happened since my last blog and since there is no sense in beating around the bush with pleasantries, so I shall get right down to business.

We started set build this week and things have been going awesomely. Mark asked me what project I would like to take on with the set, and after some thought I decided to work on the archway (it’s going to be a floating Japanese style pagoda roof/arch thing). I chose this project because I wanted to learn how to rig and hang something large that isn’t just a flat piece of scenery. So most of the job will be done during load in, but I succeeded in finishing building the frame work and 3 sides of the facing in only two days. Besides the set building, Mark has been teaching me the nuances of being a tech director from scheduling to what pieces of scenery are a priority and such. He has taken the time to discuss how to deal with designers and directors and how you can make their vision come true while doing your other duties, and this week’s lesson was that something should not fail simply from a lack of trying. Even though your first instinct may be to say no because what is designed or asked for seems impossible, impractical, or over budget, there is almost always a way to execute it.

So next week is looking to be just as fun and tiring as this week was, as we finish the set build and begin our load in. I am also looking forward to the designer run this weekend and hopefully we’ll be able to keep up this awesome pace that we have set for ourselves. See you all later around the blogosphere!

-Nick

ATQ: Jess Strikes Again...

Hello again from your friendly PA. After the Quake is going swimmingly (I like adjectives). But honestly, as each week passes the show gets better and better. Now with the rough blocking done, the actors are starting to really delve into their characters and why they do the things they do. It’s part of what I personally love about theater, watching a play grow and transform from the first read-through to opening night. You see ‘characters’ become people and a whole be created in front of you. It’s really something and this cast is really growing with their characters.

The set is now being started as well and I’m excited to see this world literally come into being. I have a soft spot for scenic design, specifically painting, and I can’t wait to finish the building and get to work on painting it. I think the model and designs fit the concepts for this show so well, that I really just want it to be opening night so everything falls into place. I won’t give too many details; I couldn’t do it justice, so you’ll just have to come see it for yourself (:. But I just love that everything is starting to take shape. We’ve been talking about this deadline of sorts, opening night being in the middle of july, but as it gets closer and closer everything sort of starts coming together. It’s exciting and I’m so happy to be a part of it.

I really am ready to get into House Manager mode. The stage management crew and I have all been joking, we all wear glasses, but when I trade my PA hat for my house manager hat I’ll start donning my contacts. Just a little anecdote to make you chuckle. Speaking of stage management, I told Alycia I’d mention her fantastic drawings that are decorating my folder. My particular favorite is the wood that says “Hey. We’re Norwegian.” But thanks to this show Norwegian Wood is slowly climbing its way up my list of favorite Beatles songs. The music is really bringing this show together. The cast was doing such a good job, but me saying music when the script calls for it just isn’t the same as hearing the violin and bass clarinet come in with their haunting melodies. It was like the missing piece to the puzzle and it fits so organically that it’s no wonder why the script calls for so many specific music cues. I’m really just excited to see it all finished and come together.

Happy Theatering!
Jessica

P.S. If you haven’t checked out the video trailer, you should. It’s pretty baller: http://www.companyone.org/theatre_show_2008_quake/photos_videos.shtml

The end before the beginning...

SO HERE IT IS. Production Week. Opening on Friday. Scary, but terribly exciting.

We're ready. I know I spent last week praising the work of my co-actors, and ironically, we weren't necessarily in as good a shape as I had thought we were, but that's to be expected when you make the move into the actual space. LaCount kicked our butts on got us right back on track. Last week was good; now we're kick ass.

The sound, lights and set have added so much. It is a straight-up playground for this material- creepy, seedy, dank and dark.

Come see it. Come see it. Come see it. Saturday the 12th is sold out, but the rest of the run is open. Go get tickets. Now.

Oh, and check out the trailer for the show posted below.

Lots of love, wish me luck.
-Nik

McCaela Joins the Blogging Ranks

Hey, it's Nik. May I present...a guest blogger! McCaela Donovan, playing Lynette "Squeaky" Fromme, is here to share a bit of her mind with us. And it was her birthday on Wednesday, so she's really cool now.

Hey. It's McCaela.

When Nik first asked me to write a blog, my first thought (to quote Sarah Jane Moore in "Gun Song") was “…Shit!” Rather than give you some boring overview, however, I would like to take this time to give you a brief synopsis of why I love this cast:

-Nik (The Balladeer) - is the glue. There has not been one day where Nik has not been smiling, laughing, and talking to each and every member of this cast. He is genuinely thankful and happy to be there each day and you can tell he loves this show. His spirit and energy are both beautiful and palpable.

-Liz (Sarah Jane Moore)- is a character. Insane, bubbly, a clumsiness oddly reminiscent of the role that she plays. Liz is all of these things but she also has a quiet thoughtfulness to her who takes her work seriously, and then knows when to let it go and have a great time. If I were trapped on a desert island I would want Liz there to entertain me.

-Blake (Giuseppe Zangara)- is my little muffin. It is unfair because I’ve known Blake for two years prior to this experience, but I’m so thankful to be in a show with him. His raw sense of humor, solid commitment, and his ambition are just a few things I admire about him. Plus, he makes me loosen up and laugh my ass off, which is just a pure gift in itself.

-Ed (Leon Czolgosz)- is a working man, born in the middle of Michigan. Or he’s just Ed. Intimidating at first until you hear his infectious laugh, and then you just want to hug him and put him in your pocket. Although out of touch with today’s world, as in the facebook generation, we forgive him because Ed knows when it is time to work and when it’s time to crack the group up with a joke or comment. And we forgive him even though he cannot remember when to come in with his lines for Scene 16.

-David (John Wilkes Booth)- as Aretha once sang, the only word for David is R-E-S-P-E-C-T! Although I still have yet to know David as well as some others I know that he takes his craft very seriously. His commitment to this show and his dedication to this character make me want to work harder, if only to bring my work to his level. I know many among us feel the same. We could not have found a better leader.

-Jeff (Charles Guiteau)- drives a truck. Which is perfect. I don’t know why, I just love it. I have said this before, but I did not think that someone could impress me as much as Dennis O’Hare did when he played this role, but Jeff has done just that. His comedic timing and loveable spirit engulf the stage, not to mention the crazy twinkle in his eye that tells us that something is a little…off. Always professional, always positive and joyful, Jeff is a wonderful piece of the puzzle that completes this cast.

-Chris (The Proprietor)- is a badass. And he’s loving it. It has been wonderful watching Chris’ interpretation of the Proprietor grow. He keeps finding small but crucial moments to seduce us and the audience with his intentions. And if Chris’ voice could be described as a food, it would be Velveeta shells and cheese….delicious. He is quiet at first but there’s a lot to him and I look forward to getting to know him more.

-Mason (Sam Byck)- is not an asshole. His character is, but he’s not. He is a bit disconcerting when onstage, because he swears at everyone, but he has a lot of commitment to this role. His monologue work is genuine, funny, and twisted all at the same time. He’s the only person that could say ‘fuck you’ to Jeff and still be likeable.

-Penny (Billy Moore)- is a coin, but also a beautiful person. Our bonding began over a giant bowl of JP Licks ice cream and I hope it continues. A gorgeous and powerful voice, great stage presence is overshadowed by her genuine sweetness and fun personality. Don’t let her fool you, she may look sweet but there’s a wild child in there somewhere!

-Danny (David Herold)- cracks me up. He has that kind of ‘huck finn’ boyish face that I just want to squeeze. Adorable and funny, he is a no nonsense talent that I am excited to get to know when we finally have more than one rehearsal together! Plus his face in the ‘Roosevelt’ song could not be more perfect. Love it.

-Meredith (Emma Goldman)- eminates strength and beauty. Her scenes are full of power, touching moments, and clear glimpses of spot on humor that make her such a complicated character. I believe that Meredith is all of these as a person as well, and more, I’m sure. I’m excited to get to know her better as this process goes on. In the short time I’ve been around her, I feel that she has a maternal presence that makes you feel like everything is going to be ok, and maybe a little crazy sassy lady in there as well…we will see…

-Jon (Lee Harvey Oswald)- is like a ken doll except with a lot of substance. Adorable and sweet, Jon views his character with a positive hopefulness that only Jon could. Most people wouldn’t want to dig into Oswald’s motivations. Jon is not only willing to go there, but is willing to view him in a sympathetic light instead of pinpointing him as the villain. I think this speaks to Jon as a person and it will be interesting for the audience to see this side of his character as well.

-Nathanael (John Hinckley)- is my favorite duet partner. We bonded way back when we auditioned together. Nathaniel has a quiet exterior at first, but once you crack through the shell he has a ridiculous sense of humor and is just an all around great guy that you can count on. He has put so much research into his character and has made you want to root for Hinckley, even if he is a loser. And it’s nice to be around a person who you know will always make you smile.

Sorry if that was a bit indulgent and long winded, but all these people have made this a wonderful experience so far. Although I didn’t describe them, Shawn (the director), Emily (the stage manager), Jackie (the choreographer), Greg (asst. to the director), Jess and Ellyn (the asst stage managers), Jo (the musical director) and Sarah (the production manager), and everyone else with Company One have been amazing to work with, and continue to challenge me and all of us everyday. Thank you to them and everyone! (And Emily…I will try to be early to rehearsal from now on!!)

-McCaela

Putting it all together...

After weeks and weeks of work, we started this week off with our first stumble-thru of the show. All crew and production team were present, and we in the cast were stoked to show them what we'd been doing.

Posted are a few photos from the rehearsal – there were a ton taken and we’ll probably post more with the next few entries.

It went through without a hitch, pretty much. A couple of mess ups on the last few songs...but let's be real. It's Sondheim. We had a good time, our "audience" enjoyed themselves, and the process continues.

Now that we've done that run, the name of the game is "clean up." Our amazing choreographer Jackie is in this week to tighten up the show - sharpen up a few of the numbers and help us pin down all things physical.

The nice thing that I've been noticing lately is that the cast is really starting to bond. Don't get me wrong, everyone's been nice for the whole process. There was a change this week, though...the "buddy-buddy-ness" stopped being just because we're all good people and started going into the "we actually like doing this show with this particular group" phase. It truly is a spectacular cast...we work hard, we bond well, and we REALLY know how to joke around and have a good time.

I'm gonna go to bed now. Cuz I'm tired. So yea.
-Nik

Ballads and Bonding

Nik Walker, coming at you with round two. Thanks to Alex and eclectic_liz for commenting on my last entry. Y'all make me feel special.

Question: Why is it as hot as you know what here in jolly old Boston? What was it today, 100 degrees? God, why are you so mad at us? Not cool, man. Not cool.

Sunday, after rehearsal, some fellow ASSASSINS kiddies and I beat the heat by going to the cafe next door for some ice cream. It was mad chill bonding with them - we gotta to do it more in the future. Blake Pfeil and Danny O'Connor, our Guiseppe Zangara and David Herold (respectively), are ABSOLUTELY HILARIOUS. If you see them on the street, please go up to them and ask to hang with them; they will definitely show you a rollicking good time. Also with us that day were Penny Hansen of the ensemble and Meredith Stypinski, who is playing Emma Goldman. Actually, as we speak, Meredith is right now at a callback in NYC for a touring production of Oliver! Break a leg, Stypinski.

This past week, we blocked two of my three Ballad scenes - "The Ballad of Booth" and "The Ballad of Guiteau". David and I are having a ton of fun playing around with the racially charged tensions in "Booth", especially because I happen to be a black man, and Booth is, as demonstrated in the scene, a blatant racist. I'm excited about Company One's casting decision in this instance...putting a black man forth as the representation of America in this particular show is an incredibly bold, fertile and provocative move, especially now in the midst of the Obama Mania that has swept the nation. It could potentially put a new spin on the show that's never been explored before. I've done some research, and I really can't find any other place where The Balladeer has been cast with a person of color. Anybody have any thoughts on this? I'm definitely interested to see how this pans out by opening
night.

Well, I gotta bounce. Liz Fenstermaker, the show's dramaturg, is coming to rehearsal tonight to give us historical contexts for our characters and help us out with any queries. I always love that stuff. That's right. I am pumped to get edu-ma-cated.

Talk to you soon.
-Nik

Assassins: The First Week

Sup y'all. Nik Walker here, representing the cast and crew of Company One's 2008 summer mainstage, Stephen Sondheim's ASSASSINS.

Words aren't enough to describe how pumped I am to be a part of (and to be blogging with you guys about) this show. ASSASSINS has been my favorite musical since 7th grade; Company One has been one of my favorite theater companies since freshman year of high school, and The Balladeer has been one my favorite characters in musical theater for just as long - so the fact that I'm doing ASSASSINS with Company One and playing The Balladeer is just plain ridiculous. I'm not going to lie, I've never blogged before...it feels a little like I'm trapped in the ending of an episode of Doogie Howser, but anyway, look forward to a check-in on this site about once a week, with updates on rehearsals, behind-the-scenes stuff, shout outs from other cast members and tons o' fun.

We had a read-thru/sing-thru of the piece this past Monday after a week of busting out on the music. It was so good to hear everyone doing their thing, so many great choices were being made - I was bopping along uncontrollably. Jeff Mahoney is quite a force to be reckoned with - loud, proud and has put forth what is, in his words, a "Bat Shit Nuts" Guiteau. John Wilkes Booth is also electrifying in the hands of David DaCosta. We talked a couple of rehearsals back about where he wants to take the actor-turned-assassin with this production. He's done a lot of historical research on Booth, and he's very excited to see where this vantage point puts him.

Jeff, David, Mason Sand (playing Sam Byck), Ed Hoopman (playing Leon Csolgosz) and I were sitting around on our break time, discussing the large periods for each of us in the show where we don't have anything to do...the scenes for each character are pretty evenly spread. Ah, the wonders of a true ensemble piece. I think we unanimously decided that there would be plenty of runs across the street to the pizza parlor for a slice and a soda during performances. Hey, if the audience can't see us, we are most definitely not on the clock.

Talk to you soon.
-Nik