Plus we got to test the unusual performance format. More than just our show doing well, I am pleased by the proof of concept. People will come to a show with a cabaret-style setup and buy the snacks and have a good time. That is a doable endeavor that will succeed. Hold Thy Peace could use this format for side projects in the future.
Schwartz is a shit theater space, let me tell you. It's more meant to be a lecture hall than a performance venue, so opportunities for tech are minimal-- a presention sound system and a couple of light switches you can flip on and off are pretty much the extent of it. But we chose it because it fit the aesthetic of our show. I didn't want the polished atmosphere of trying to immerse you in the illusion of another world that so much theater aims for. Instead we wanted, as I like to say, all the nuts and bolts of theater on display. Instead of hiding the trappings of a production, we used them as our set dressing-- you could see our cruddy worklights on the side aisles, the props tables and costume rack set out in plain view. And on top of that, the actors were almost never out of sight, always in character off to the sides even when they weren't on the stage. It drove the point of the metatheater home nicely, and created an immersion of another sort, one where the audience almost feels like it's on the inside of the production rather than just being witness to the final product of it.
It wouldn't have happened without our fabulous staff. Sari, Sam, and Elena came in to wrangle the lousy space and equipment into submission, making our technical functions work in spite of everything. The hardworking waitstaff made up of Plesser, Caitlin, Charlotte, Tziporah, and Simon I thank most graciously for lending their time and effort to pulling off this whole "cabaret with concessions" scheme. Rachel is consistently one of the only designers I feel like I can simply hand off the job to, because I always trust her to do good work. And of course there's Bernie, for whom none of my theatrical endeavors would ever get off the ground. He supports me tirelessly with his work and expertise, and I can't express how amazing I find it that he can take the entire technical burden off my shoulders and make it appear, almost by magic, for me every single time.
My cast was great as well. Lenny, for example, blows me away with how incredibly generous an actor she is, having an excellent sense of how to balance the push-pull of onstage interaction. I chose the role of the Fool for her just to watch her GO, and she did not disappoint. For someone so big and active onstage, she really know how to share it, to extend when it's her time such that she holds the eye captive, and to withdraw to allow attention to shift to those onstage with her. She and Andrew have a particularly remarkable ability to read one another, to pick up on where the other is going and then to move to meet and balance them. I saw it first in Othello when they played Iago and Roderigo, but it definitely showed here too. Andrew himself is finally really hitting his stride as an actor, learning how to use his physicality, make effective choices, and convey expression with his voice. I can't wait to see how he continues to grow; this was a very good semester for him, first with an important serious role in Margaret, and then a comedic one in Merely Players.
Steph was so great in her part as the Director. The character was very much outside her acting experience, and she'd also never done comedy before, so the great work she did here really impressed me with her stretching. The character is in many ways one big parody of yours truly, and Steph exaggerated many of my habits and mannerisms to great effect. I loved how she threw herself into it, pushed herself and tried stuff to see what worked. I think she was one of the funniest parts of the show and probably my favorite of the characters.
I love Gigi's acting. I find her to be incredibly expressive and her enthusiasm makes her a joy to work with. She was my first choice for the role of the Ingenue because pretty much all of her previous roles required her to portray a more mature and dignified presence, something she is very good at, but I love seeing people do things that are different. She was adorable and charming, using a lot of her natural energy to bring the character to life.
Ben was just perfect as the Lead. I don't think he's ever had such a large important role before, so the chance to really get into and develop a character helped him immensely. I find it is often the case that an actor with growing room will often make a lot of progress if trusted with a part he can really work with. Ben has a gift for comedy, which helped, but I think it also encouraged him to create a definite physicality and expressiveness in letting him cut loose and really own the stage. I wonder if he can translate that forward leap into drama as well, and I look forward to seeing what he's like in his next role.
I just fell in love with niobien*'s work. The play would not support another person with dialogue, but I wanted to have a stage manager character in there. It was Bernie's suggestion to make the character silent. It turned out to be the coolest idea. People have a prejudice against non-speaking roles as less important, but pantomime is a difficult and dying art and I did NOT write this role to be a throwaway. It takes a lot of skill and effort to convey yourself without getting to say what you're thinking. Carolyn was amazing at that. She's never done a show as an actor before, but she was so enthusiastic and adventurous. Her expressions and her instincts were wonderful, making the character funny, endearing, and totally readable. I'd love to work with her again in a speaking role, but I am so glad that I trusted the difficult challenge of building a character out of pantomime to her.
April made for an excellent Diva. She learned to balance the over-the-topness of her character's humor with the occasional moments that demanded real, serious acting. She had great chemistry with Ben, and they made for some really fabulous interaction. Those two characters are supposed to constantly try to outdo each other, and it's no small thing that they managed to convey that without actually upstaging each other or failing to work together on the meta-level.
I also loved the visual texture provided by the techie characters, Emma, Jenna, and Miriam. Having them support the scenes made for so much additional humor. Their pieces required a lot of timing, energy, and discernment to nail just right, and they did wonderful things with it. This is a very pro-techie show, you'll notice, depicting them as the most competent and least screwed-up people involved. Though make what you will of my choosing to make the stage manager the silent character; some would say I have stolen that technical voice, while others may see it as a a reflection of how she's given up in the wake of so much actor madness.
Thus concludes my second produced play. Here's hoping that things continue on this vein, and I am blessed with such wonderful collaborators who will help me put on my work. Thank you again, all who shared the experience with me, and came to see the results of our labors. <3
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