So that was the play that was. I remember having a tired and emotional conversation on Saturday night with somebody (although I may have been talking to a pot plant, as I was very, very tired and emotional) on the subject of theatre as Art. Many Art forms are permanent, like sculpture, writing or painting. But theatre belongs to that group of Art forms that exist only in the moment. We can record a show (and hopefully Dee’s gentleman friend has managed this). But it’s no substitute for being there on the night and feeling the electricity pulse through the audience as they suspend their belief and get carried away on the wave of emotion coming from the stage.
I am extremely proud today to be identified with this play. It has been described by many seasoned theatre goers as the best play they’ve seen in Leeson Park. It has been universally praised by all who watched it and I believe that everyone involved from the cast to the back stage people enjoyed the process. And that’s what it’s all about. We do this for fun after all.
And yet it is gone. Three months work gone in three nights, like some monumental bonfire. We took the set down yesterday and we all felt that tinge of sadness that something that had been so important in our lives in the last three months is now over. In years to come, all that will be left is a line in a program that “The Memory of Water” was LPP’s November play for 2006 and perhaps the odd story in the Leeson Lounge after future rehearsals. I can picture a 26 year old Andrew in 2010, nursing his first pint of Guinness and telling the story about how his table lamp caused a electro magnetic short circuit on the Friday causing all the stage lights to fail. Nobody will be around to say that actually his elbow slipped and he hit the off button. In 2015, Craig will be telling people in the Abbey (as he prepares to Stage Manage the debut production of Charles Richard’s “Emergency Landing on Mars”, which followed the Broadway success of his play “Sprouts and Ladders and other foods we used to eat before GM ruined everything”) that his first outing was on a little known play back in 2006 that involved chucking handfuls of fake snow onto the stage. During rehearsals for the 2015 production of “McFly, the Musical”, Noeleen will regale the cast with memories of her first stage kiss and the night Alan forgot where he was.
It’s kind of appropriate for this play, that all we have now are memories.
I tried to thank everyone on Saturday, but if I didn’t, I’ll extend a general one now. We had fantastic support for this play from LPP members and others. From people who helped put the stage up, to those who did front of house, to the cast and their hard work and dedication and to Team Rankin. I want to say a particular thanks to some new people and some who have been around a bit longer. Roger mentioned that this was the first program in approx. 40 years that he wasn’t listed in and Maud mentioned that they couldn’t make the party on Saturday because of other commitments and that this was the first in a long time that they would miss. I want to say a special thank you to both of them as they continue to be the backbone of Leeson Park and I know that Team Rankin in particular are grateful for the help and support they received.
I also want to mention some new members who have joined the group during the life of the play. Sarah Jane came on board as prompt and also threw herself into the general work. She did a great job and hopefully we can see her on stage soon. Noeleen will testify that doing prompt is a great apprenticeship. Inge and Lindsay (the latest addition to Team Rankin) also made their debut with us in helping out back stage and front of house. We hope to see more of them in the future.
All of the above just proves that fantastic community spirit still exists in this country (despite the best efforts of the Fianna Fail/PD government to destroy it, but that’s the story for a different blog).
All that remains to be said is that this play is over and for three nights magic existed in a church hall in Leeson Park. But you had to be there! The good news is that we’ll do it all again in April.
As Teresa said, “That’s the end of the story. The end. Full stop. Finito. La Fin. I’ve had far too much to drink”.
Monday, December 04, 2006
Monday, November 27, 2006
Directors Notes Issue 13
To the outside world, it may seem as though the play is just 2 hours long. Those of us on the inside know it’s a much longer process. The “Play within the Play” commenced back in August and will finish sometime on Sunday afternoon when the set is taken down.
Along the way, it has been mainly a comedy, but drama and mystery have also crept in. We have had the search for a coffin, the soap opera leading to the first screen kiss between Mary and Mike and the high queen hissy fits when it came to taking publicity photos. As things developed, I’ve become less certain as to whether Craig our stage manager has taken on this role for fun, or whether it’s all one big project for his Sociology studies in Trinity. He could write a paper on why people who are keen to step out on stage in front of 200 paying customers are shy about having their picture taken. We actors are either very vain or we descend from some nomadic red Indian tribe. You take my picture, you steal my soul.
We put the stage up this weekend, and magnificent it looks too. Big thank you to all involved. The spirit of community still lives on, despite the Celtic Tiger’s best efforts to strangle it.
Tonight we get on stage for the first dress rehearsal. If this is not a complete disaster, I’ll be shocked. Normally they run to about 3 hours! We’ll see if we can beat that (leaving out a few pages should help). But the real stuff starts here. This is what the last three months have been about. The chance to step into the lights, breathe in the oxygen and allow yourself to be carried off on the magic carpet of theatre. Destiny awaits for those brave enough to grasp it!
Along the way, it has been mainly a comedy, but drama and mystery have also crept in. We have had the search for a coffin, the soap opera leading to the first screen kiss between Mary and Mike and the high queen hissy fits when it came to taking publicity photos. As things developed, I’ve become less certain as to whether Craig our stage manager has taken on this role for fun, or whether it’s all one big project for his Sociology studies in Trinity. He could write a paper on why people who are keen to step out on stage in front of 200 paying customers are shy about having their picture taken. We actors are either very vain or we descend from some nomadic red Indian tribe. You take my picture, you steal my soul.
We put the stage up this weekend, and magnificent it looks too. Big thank you to all involved. The spirit of community still lives on, despite the Celtic Tiger’s best efforts to strangle it.
Tonight we get on stage for the first dress rehearsal. If this is not a complete disaster, I’ll be shocked. Normally they run to about 3 hours! We’ll see if we can beat that (leaving out a few pages should help). But the real stuff starts here. This is what the last three months have been about. The chance to step into the lights, breathe in the oxygen and allow yourself to be carried off on the magic carpet of theatre. Destiny awaits for those brave enough to grasp it!
Friday, November 24, 2006
Directors Notes Issue 12
We had our last rehearsal in the “space” otherwise known as Room 6 of Centenary Hall last night. Tomorrow we start the zen process (Noeleen’s words) of erecting the stage and then the play takes on a whole new character. Adrenalin starts pumping through the veins of the cast while yours truly rediscovers some of his many but forgotten phobias. Ladders, electricity and electric saws come to mind. I remember some years ago being cornered by Roger (who deserves a page on Leeson Park Players website all to himself). Roger could have saved Apollo 13 with a roll of double sided sticky tape and a hammer. Unfortunately he assumes that everyone else could too.
Roger spotted that I had assumed my normal position of standing in the centre of the stage so as best to observe everybody else working. Rogers loathes such laziness in the way that nature abhors a vacuum. So he handed me a baker light phone and some wire and told me to “rig it up to the board back stage so that it rings on stage”. He might as well have been speaking Swahili. I gamely figured that this would involve cutting a hole though the set to feed the wire through. Two hours later I had succeeded in cutting a hole that you could squeeze a bus through and found myself holding two pieces of electrical wire in one of those moments that Edison must have lived through. I got a A in Science in my inter, so I knew that if you stuck two pieces of wire together, you’d get a bang and what little hair I have left would stand on end. So I meekly made my way back to Roger (who was building a conservatory from some toilet paper and empty washing up liquid bottles). I asked him how I should connect the two wires. He suggested some masking tape as though I’d just asked him how to plug a kettle in. I muttered something about how this didn’t meet with Health and Safety standards and various EU initiatives. He looked at me like the pond scum that I am and said “Its only 9 volts, it won’t kill you”. I slouched away shamefully thinking “A smack in the belly with a wet fish wouldn’t kill you either, but I’d prefer not to get it”.
The happy ending is that the phone worked and I had a little sense of achievement every time it rang on stage. I say all this because we need as many hands as possible tomorrow and Sunday to get the stage up and ready to do justice to all the hard work the cast have put in. So no matter how inept you feel, we’ll find a job for you.
I had intended a rabble rousing speech at the end of last night’s rehearsal, but we had to leave in a bit of a hurry. Perhaps it’s just as well, because that phase of the play is now history. The next stage begins with putting up the stage, and then the stage after that is acting on the stage. I can’t think of anymore puns, so see you tomorrow!!!
Roger spotted that I had assumed my normal position of standing in the centre of the stage so as best to observe everybody else working. Rogers loathes such laziness in the way that nature abhors a vacuum. So he handed me a baker light phone and some wire and told me to “rig it up to the board back stage so that it rings on stage”. He might as well have been speaking Swahili. I gamely figured that this would involve cutting a hole though the set to feed the wire through. Two hours later I had succeeded in cutting a hole that you could squeeze a bus through and found myself holding two pieces of electrical wire in one of those moments that Edison must have lived through. I got a A in Science in my inter, so I knew that if you stuck two pieces of wire together, you’d get a bang and what little hair I have left would stand on end. So I meekly made my way back to Roger (who was building a conservatory from some toilet paper and empty washing up liquid bottles). I asked him how I should connect the two wires. He suggested some masking tape as though I’d just asked him how to plug a kettle in. I muttered something about how this didn’t meet with Health and Safety standards and various EU initiatives. He looked at me like the pond scum that I am and said “Its only 9 volts, it won’t kill you”. I slouched away shamefully thinking “A smack in the belly with a wet fish wouldn’t kill you either, but I’d prefer not to get it”.
The happy ending is that the phone worked and I had a little sense of achievement every time it rang on stage. I say all this because we need as many hands as possible tomorrow and Sunday to get the stage up and ready to do justice to all the hard work the cast have put in. So no matter how inept you feel, we’ll find a job for you.
I had intended a rabble rousing speech at the end of last night’s rehearsal, but we had to leave in a bit of a hurry. Perhaps it’s just as well, because that phase of the play is now history. The next stage begins with putting up the stage, and then the stage after that is acting on the stage. I can’t think of anymore puns, so see you tomorrow!!!
Tuesday, November 21, 2006
Directors Notes Issue 11
The last week of rehearsals is always interesting in the life cycle of a play. Nobody wants to admit it of course, but for each cast member, a little bit of their mind is saying that they hate this bloody play and can’t wait for it to be over. Of course, the liberation of the stage next week will banish all such thoughts until at least the last dress rehearsal. Then the final panic drive will come when we wonder why we do this at all?
But that’s all part of the mystery and majesty of drama of course. The risk, the adrenalin, the terrifying balancing act between triumph and disaster. Then again, as Frank says, “It’s all a load of twaddle”.
The energy in Act 1 last night was fantastic and we raced through it. Act 2 was a little slower and made me realise for the first time that this is actually an exhausting play. The small cast have to carry two hours of action and dialogue, which must be tiring (despite the fact that some of them are lying in bed for most of it!). For Mary and Theresa in particular, there is not much time to lounge back stage getting your breath and mind back. It’s going to be a challenge to keep that energy going in Act 2, but I’m confident that the cast will rise to it. I’m thinking of imposing a 10pm curfew for the next 12 days and an alcohol ban. But as I’d have to lead by example, I scrapped this idea. But Vitamin C and “health food supplements” are a must. I’ve yet to be involved in a November play that didn’t include a mass outbreak of cold symptoms on the eve of performance.
So we enter the final week in what has felt like the Big Brother house. On Thursday we say goodbye to the confines of room 6 and escape to the prairies of the stage.
As the Boss said, “We have one last chance to make it real. To trade in these wings for some wheels. Climb in back. Heaven’s waiting on down the track……”
But that’s all part of the mystery and majesty of drama of course. The risk, the adrenalin, the terrifying balancing act between triumph and disaster. Then again, as Frank says, “It’s all a load of twaddle”.
The energy in Act 1 last night was fantastic and we raced through it. Act 2 was a little slower and made me realise for the first time that this is actually an exhausting play. The small cast have to carry two hours of action and dialogue, which must be tiring (despite the fact that some of them are lying in bed for most of it!). For Mary and Theresa in particular, there is not much time to lounge back stage getting your breath and mind back. It’s going to be a challenge to keep that energy going in Act 2, but I’m confident that the cast will rise to it. I’m thinking of imposing a 10pm curfew for the next 12 days and an alcohol ban. But as I’d have to lead by example, I scrapped this idea. But Vitamin C and “health food supplements” are a must. I’ve yet to be involved in a November play that didn’t include a mass outbreak of cold symptoms on the eve of performance.
So we enter the final week in what has felt like the Big Brother house. On Thursday we say goodbye to the confines of room 6 and escape to the prairies of the stage.
As the Boss said, “We have one last chance to make it real. To trade in these wings for some wheels. Climb in back. Heaven’s waiting on down the track……”
Wednesday, November 15, 2006
Directors Notes Issue 10
As that red nosed muppet of a manager, Alex Ferguson, once said “we’re now entering squeaky bum time”. He was talking about that end of the season feeling, when Man United get overtaken by Arsenal, but for us, it’s the realisation that our days in the safe confines of the rehearsal room are coming to an end and that soon the unforgiving mistress of the stage will take hold.
Three rehearsals left. Three hundred lines still to be learned. Three sisters still to dress. The cast are doing well however and I’m confident that we will peak on November 30th. As Director, I’m struggling with some of the technical issues. Does green eye shadow go with green taffeta? Do windows open inwards or outwards? That sort of thing. Never has the phrase “It’ll be alright on the night” seemed more apt.
The crew are coming together nicely, Team Rankin have put a model of the set together including models of Charles and myself. All I can say is, you’ve been watching too much South Park guys. Jean is adding to her props collection with every rehearsal. Still looking for a breast pump though [NOTE TO WEBMASTER: REMOVE POLICALLY INCORRECT JOKE THAT FOLLOWS] [REMOVED]. Clothes for the wardrobe are the next big challenge.
We also have a prompt, so big hello to Sarah Jane and here’s hoping you have nothing to do.
We’re doing a workshop on Sunday morning. Despite Craig’s sarcastic comment that this was just an excuse for an extra panicky rehearsal, we’re actually doing this so that we can practice some of the more physical scenes, such as costume change and the mad scene at the end of Act 1 (I wish I had a more descriptive way of describing that scene, but “mad” will have to do). Hope to see everyone there at 11am.
Three rehearsals left. Three hundred lines still to be learned. Three sisters still to dress. The cast are doing well however and I’m confident that we will peak on November 30th. As Director, I’m struggling with some of the technical issues. Does green eye shadow go with green taffeta? Do windows open inwards or outwards? That sort of thing. Never has the phrase “It’ll be alright on the night” seemed more apt.
The crew are coming together nicely, Team Rankin have put a model of the set together including models of Charles and myself. All I can say is, you’ve been watching too much South Park guys. Jean is adding to her props collection with every rehearsal. Still looking for a breast pump though [NOTE TO WEBMASTER: REMOVE POLICALLY INCORRECT JOKE THAT FOLLOWS] [REMOVED]. Clothes for the wardrobe are the next big challenge.
We also have a prompt, so big hello to Sarah Jane and here’s hoping you have nothing to do.
We’re doing a workshop on Sunday morning. Despite Craig’s sarcastic comment that this was just an excuse for an extra panicky rehearsal, we’re actually doing this so that we can practice some of the more physical scenes, such as costume change and the mad scene at the end of Act 1 (I wish I had a more descriptive way of describing that scene, but “mad” will have to do). Hope to see everyone there at 11am.
Tuesday, November 07, 2006
Directors Notes Issue 9
We’re at that point in rehearsals when it’s all about lines, lines, lines. Character development and artistic flair are all very well, but it doesn’t amount to much if you don’t know your lines!
Having said that, I think the cast are well advanced in this regard. We have 3 weeks left to production and are well on track. At least we won’t be stale when we hit the stage! Every play I’ve been involved with has this fallow period when scripts go down for the first time, but lines aren’t perfect. It can make it an eternity to get through one speech and cast doubt on the production team’s belief that we can bring this in under two hours.
Same as it ever was, as those philosophers in Talking Heads used to say.
Jean arrived last night with the first batch of props. This play will have more props that Steptoe and Sons living room. One prop she doesn’t have to worry about is the coffin, which Siobhan has managed to source from one of her friends in the funeral business. That’s dead on, as we’d say in Dundalk. Any other dead puns can be left in the comment box below.
On the subject of the coffin, I’d like to use this portal to offer some subtle direction to our two men. When carrying the coffin out, you should be facing each other with Mike walking backwards. Otherwise the joke of “left, no your left” doesn’t really work! I’m too shy to point out these things in person.
Having said that, I think the cast are well advanced in this regard. We have 3 weeks left to production and are well on track. At least we won’t be stale when we hit the stage! Every play I’ve been involved with has this fallow period when scripts go down for the first time, but lines aren’t perfect. It can make it an eternity to get through one speech and cast doubt on the production team’s belief that we can bring this in under two hours.
Same as it ever was, as those philosophers in Talking Heads used to say.
Jean arrived last night with the first batch of props. This play will have more props that Steptoe and Sons living room. One prop she doesn’t have to worry about is the coffin, which Siobhan has managed to source from one of her friends in the funeral business. That’s dead on, as we’d say in Dundalk. Any other dead puns can be left in the comment box below.
On the subject of the coffin, I’d like to use this portal to offer some subtle direction to our two men. When carrying the coffin out, you should be facing each other with Mike walking backwards. Otherwise the joke of “left, no your left” doesn’t really work! I’m too shy to point out these things in person.
Tuesday, October 31, 2006
Directors Notes Issue 8
One of the many challenges a Director faces in the course of rehearsals is to take the cast out of their comfort zone. Nervous energy is important to any production and nothing is worse than a cast feeling relaxed with four weeks to go to opening night.
As is traditional on Bank Holidays, we decamped from our normal rehearsal setting to Charles and Jacqui’s kitchen. Many great decisions have been made at that table and some of literature’s greatest pieces have been dissected. We have also discussed weightier tones, such as whether dogs should be exterminated and is a house in Rathmines allowed to be a corner of a foreign field that is forever England.
5 of the cast gathered for a read through of the play. From a practical perspective, this tests the cast on their line knowledge, but it also brings them to a different environment. When you rehearse in the same place each week, you start to associate lines with particular movements and your position in the space. When somebody offers you a glass, it’s easy to say “thanks very much” If you’re not offered a glass, it’s more difficult to remember your line. As things don’t always happen as you would expect on stage, you need to get the cast into the mindset that they own the lines independently from the setting and the action. And sitting around a kitchen table with the 1812 overture going on outside on a Halloween Eve, is as good a change from normal as you could ask for.
It was good to see that everyone had brought something for the day that was in it (except me of course) and we feasted on braic and banana cake until the dogs came in and ruined everything. Then we had to go outside and do something with fire that I don’t want to go into. Dogs and fire are two of my main phobias. Having the two of them together wasn’t fun. Ask Noeleen about tin-foil, she knows what I mean.
As is traditional on Bank Holidays, we decamped from our normal rehearsal setting to Charles and Jacqui’s kitchen. Many great decisions have been made at that table and some of literature’s greatest pieces have been dissected. We have also discussed weightier tones, such as whether dogs should be exterminated and is a house in Rathmines allowed to be a corner of a foreign field that is forever England.
5 of the cast gathered for a read through of the play. From a practical perspective, this tests the cast on their line knowledge, but it also brings them to a different environment. When you rehearse in the same place each week, you start to associate lines with particular movements and your position in the space. When somebody offers you a glass, it’s easy to say “thanks very much” If you’re not offered a glass, it’s more difficult to remember your line. As things don’t always happen as you would expect on stage, you need to get the cast into the mindset that they own the lines independently from the setting and the action. And sitting around a kitchen table with the 1812 overture going on outside on a Halloween Eve, is as good a change from normal as you could ask for.
It was good to see that everyone had brought something for the day that was in it (except me of course) and we feasted on braic and banana cake until the dogs came in and ruined everything. Then we had to go outside and do something with fire that I don’t want to go into. Dogs and fire are two of my main phobias. Having the two of them together wasn’t fun. Ask Noeleen about tin-foil, she knows what I mean.
Friday, October 27, 2006
Directors Notes Issue 7
I’m guessing that last night’s rehearsal was the fist all female one since “Top Girls” in 2002. I can only imagine what the rehearsals for that play must have been like, given some of the conversation that went on in the interval and the pub afterwards. Let’s just say that I now know more about the mechanics of breast pumps than I ever needed to.
Apart from that, the rehearsal was great fun. With the absence of the cynical male characters, we were able to try some warm games which worked quite well. Even if the cast did figure them out in about 30 seconds.
We’re doing a line call on Monday in Charles’s gaff at 7.30pm. Which reminds me. I must drop him a line and tell him. Nothing worse than putting your feet up to watch Coronation Street and 5 unexpected cast members turn up in search of a play.
We also had a tech meeting on Wednesday which went well. Team Rankin will be looking after the set, lighting, sound etc, We’re in very safe hands. We have 3 technical issues to address and our combined talents will be put to test in resolving these. The main one at present is our requirement for a coffin. If anyone has any bright ideas in this regard, they would be welcome. I thought you could knock one up in 30 minutes with some plywood and a lick of varnish. Which just shows you what I know! Lighting will also be a challenge with Roger making the brave suggestion that we blind the audience. We will have to arrange for them to sign waivers on the way in.
The only other news is that we’re off to Karaoke tonight for a bit of “Team Building”. Hopefully we can knock out a few Nat King Cole numbers, so it won’t come as such a shock to the cast when Nat is playing constantly in the background during the performance.
Apart from that, the rehearsal was great fun. With the absence of the cynical male characters, we were able to try some warm games which worked quite well. Even if the cast did figure them out in about 30 seconds.
We’re doing a line call on Monday in Charles’s gaff at 7.30pm. Which reminds me. I must drop him a line and tell him. Nothing worse than putting your feet up to watch Coronation Street and 5 unexpected cast members turn up in search of a play.
We also had a tech meeting on Wednesday which went well. Team Rankin will be looking after the set, lighting, sound etc, We’re in very safe hands. We have 3 technical issues to address and our combined talents will be put to test in resolving these. The main one at present is our requirement for a coffin. If anyone has any bright ideas in this regard, they would be welcome. I thought you could knock one up in 30 minutes with some plywood and a lick of varnish. Which just shows you what I know! Lighting will also be a challenge with Roger making the brave suggestion that we blind the audience. We will have to arrange for them to sign waivers on the way in.
The only other news is that we’re off to Karaoke tonight for a bit of “Team Building”. Hopefully we can knock out a few Nat King Cole numbers, so it won’t come as such a shock to the cast when Nat is playing constantly in the background during the performance.
Tuesday, October 24, 2006
Directors Notes Issue 6
Very giddy rehearsals last night, which may have been caused by me having a beer beforehand. You can’t beat alcohol for bringing some life to proceedings. This reminds me that we have to get the Whiskey bottle into play soon. Inebriation causes most of the dark secrets to emerge in this play and so the Whiskey bottle is such a strong character that it deserves mention in the cast list and to have it’s photograph displayed on the welcome board on opening night. At least we know it won’t go running to Craig to have some photo-shop touching up done!
The bottle goes on a drunken odyssey across the stage, that both Homer the Greek and the resident of Springfield would be proud of. Like some ancient relic, it gets caressed by each of the cast members in turn until it ends up on Vi’s coffin. Not sure how many of the audience will get this, but isn’t that the joy of theatre? So I’m going to spend this bank holiday weekend finishing off a bottle of Jameson so I can provide a prop for next week’s rehearsals.
It all comes back to alcohol. Oh and hash cookies, but more of that anon!
The bottle goes on a drunken odyssey across the stage, that both Homer the Greek and the resident of Springfield would be proud of. Like some ancient relic, it gets caressed by each of the cast members in turn until it ends up on Vi’s coffin. Not sure how many of the audience will get this, but isn’t that the joy of theatre? So I’m going to spend this bank holiday weekend finishing off a bottle of Jameson so I can provide a prop for next week’s rehearsals.
It all comes back to alcohol. Oh and hash cookies, but more of that anon!
The Art of Prompting
I was musing on the role of a Prompt the other day and feel that it's a very misunderstood role. It's one that We tend to give to a New Member and then not tell them how to do it - so that other New Members, or indeed the uninitiated Members, don't fully appreciate what a Prompt is. They think that a Prompt is only there to feed them lines during a performance should they, heaven forbid, Forget Their Lines. No. No, no, no, no, no. Wrong.
A Prompt is there to facilitate swift rehearsals and to assist in the following of the script during rehearsals. More your Script Supervisor really. During an actual Performance the Rules of Prompting are these:
1. NEVER prompt.
2. ONLY prompt in an Emergency.
3. NEVER prompt.
However, during rehearsals a Prompt should be following the script, giving lines when requested *note* and marking on their script where people mess up. Thus, a good Prompt will note when an actor is consistently messing up a line and can quietly point this out to them. Generally I find that when learning lines there can be Sticking Points and a good Prompt will assist you to overcome them. Often you think you are sailing through a piece and actually you've missed a Vital Plot Point - the good Prompt will tell you this. Or maybe you're paraphrasing a little which sometimes is OK but sometimes the playwright used a particular word for particular effect - some words are funnier than others for example. The good Prompt will tell you this too. Marvelous marvelous people the Good Prompts.
Bad Prompt stories include the time when a really tragic pause During Performance (SHOCK HORROR - see rules above) was interrupted by the Bad Prompt (shall remain nameless) giving the next line, very loudly.
Good Prompt stories include the time when an actor forgot to ask someone to marry them and decided to leave the stage - Good Prompt recognised this was an Emergency (see rules above) and managed to save the day (and the play) without alerting the audience.
We used to have an Excellent Prompt. Really The Best... but she went and moved to Canada. She liked being a Prompt so that she could be involved in the production but not have to learn lines (although to be honest by the end of the play she could probably quote more of it than most of the actors) and not have to Be On Stage. Rehearsals are fun, and the Prompt can be very much involved in that process. Interested in being a Prompt? Contact us through the website.
A Prompt is there to facilitate swift rehearsals and to assist in the following of the script during rehearsals. More your Script Supervisor really. During an actual Performance the Rules of Prompting are these:
1. NEVER prompt.
2. ONLY prompt in an Emergency.
3. NEVER prompt.
However, during rehearsals a Prompt should be following the script, giving lines when requested *note* and marking on their script where people mess up. Thus, a good Prompt will note when an actor is consistently messing up a line and can quietly point this out to them. Generally I find that when learning lines there can be Sticking Points and a good Prompt will assist you to overcome them. Often you think you are sailing through a piece and actually you've missed a Vital Plot Point - the good Prompt will tell you this. Or maybe you're paraphrasing a little which sometimes is OK but sometimes the playwright used a particular word for particular effect - some words are funnier than others for example. The good Prompt will tell you this too. Marvelous marvelous people the Good Prompts.
Bad Prompt stories include the time when a really tragic pause During Performance (SHOCK HORROR - see rules above) was interrupted by the Bad Prompt (shall remain nameless) giving the next line, very loudly.
Good Prompt stories include the time when an actor forgot to ask someone to marry them and decided to leave the stage - Good Prompt recognised this was an Emergency (see rules above) and managed to save the day (and the play) without alerting the audience.
We used to have an Excellent Prompt. Really The Best... but she went and moved to Canada. She liked being a Prompt so that she could be involved in the production but not have to learn lines (although to be honest by the end of the play she could probably quote more of it than most of the actors) and not have to Be On Stage. Rehearsals are fun, and the Prompt can be very much involved in that process. Interested in being a Prompt? Contact us through the website.
Tuesday, October 17, 2006
Directors Notes Issue 5
There are times when you’re directing, when you want to dive into the middle of the set and become one of the actors. Not because you think you can do it better than the people already there, but because there comes a point in the evolution of a play, when it’s more fun to be in than to watch.
We’re in the early stages of books down, but it’s already evident that the cast are metamorphosing from the nervous caterpillars of three weeks ago, to the beautiful butterflies of movement and grace. Hands are coming into play, faces are fixed and interested in the dialogue of others (rather than being buried in a script) and bodies are slouching or leaping as they should be.
Now that hands are free, we can start thinking about props. And it’s no exaggeration to say that this play has more props than Dicken’s Old Curiosity Shop. Everything from breast pumps to medical journals to electronic organisers to coffins. We somewhat press-ganged Jean Hickey into being props manager last night and I’m not sure she knows what she’s let herself in for. I think we also got the other jobs sorted, with Sinead agreeing to do prompt (but only for rehearsals), Props but only on Friday night and Assistant stage manager, but only on Thursday and Friday. And people say you can’t tie lawyers down to dates.
Roll on Thursday, when the Whiskey bottle will make its debut and begin its procession round the stage like St.Teresa of Avila dragging her bones round Ireland. The Whiskey will be the star of this play, so treat her gently.
We’re in the early stages of books down, but it’s already evident that the cast are metamorphosing from the nervous caterpillars of three weeks ago, to the beautiful butterflies of movement and grace. Hands are coming into play, faces are fixed and interested in the dialogue of others (rather than being buried in a script) and bodies are slouching or leaping as they should be.
Now that hands are free, we can start thinking about props. And it’s no exaggeration to say that this play has more props than Dicken’s Old Curiosity Shop. Everything from breast pumps to medical journals to electronic organisers to coffins. We somewhat press-ganged Jean Hickey into being props manager last night and I’m not sure she knows what she’s let herself in for. I think we also got the other jobs sorted, with Sinead agreeing to do prompt (but only for rehearsals), Props but only on Friday night and Assistant stage manager, but only on Thursday and Friday. And people say you can’t tie lawyers down to dates.
Roll on Thursday, when the Whiskey bottle will make its debut and begin its procession round the stage like St.Teresa of Avila dragging her bones round Ireland. The Whiskey will be the star of this play, so treat her gently.
Friday, October 13, 2006
Directors Notes - Issue 4
Special thanks today to Siobhan, who not only read in Mary’s part last night but did it with aplomb and enthusiasm. So good in fact, that I might get all the cast to read somebody else’s part at future rehearsals.
Books down went quite well, with top marks going to Susannah for not only knowing most of her lines but introducing a number of previously unseen facial expressions as she desperately strove to recall a word from the inner sanctums of the mind. As Theresa would say “You have a vacant one, a screwed up eye-balls one, a thousand yard stare one and a “I’m foreign and don’t understand these words anyway” one.” Whatever helps you remember your lines is good for me.
I should also pay tribute to Alan’s miming techniques as he acted out Theresa’s lines in an effort help Susannah’s memory. It brings a whole new meaning to prompting. It also shows that despite my best efforts, Stanislavski techniques are sneaking into rehearsals. I blame Noeleen!
Onwards to Monday and books down for Act 2. This is when Charles’ playwriting skills will come to the fore as he will completely re-write his part by saying the first words that come into his head. If he could do it to Wilde, then Sheelagh Stephenson’s work is not safe!
Books down went quite well, with top marks going to Susannah for not only knowing most of her lines but introducing a number of previously unseen facial expressions as she desperately strove to recall a word from the inner sanctums of the mind. As Theresa would say “You have a vacant one, a screwed up eye-balls one, a thousand yard stare one and a “I’m foreign and don’t understand these words anyway” one.” Whatever helps you remember your lines is good for me.
I should also pay tribute to Alan’s miming techniques as he acted out Theresa’s lines in an effort help Susannah’s memory. It brings a whole new meaning to prompting. It also shows that despite my best efforts, Stanislavski techniques are sneaking into rehearsals. I blame Noeleen!
Onwards to Monday and books down for Act 2. This is when Charles’ playwriting skills will come to the fore as he will completely re-write his part by saying the first words that come into his head. If he could do it to Wilde, then Sheelagh Stephenson’s work is not safe!
Tuesday, October 10, 2006
Directors Notes Issue 3
Monday’s rehearsal was the first one to be held with a full cast and the last to be held with scripts. There’s nothing like the threat of ‘scripts down’ to keep a cast on their toes. As a Director of course, it’s also an opportunity to bring some physicality into the production. We can start practicing those Greg Loganis like dives across the bed to get to the phone, we can have a proper WWF all girl fight over the famous green tin and it’s hidden secrets and Dee can practice her medium pace deliveries as she tries to take Charles head off.
Now that we’re at the books down stage, it’s time to think about all those other things which will make this production work. Lighting, sound and props are going to be key to this play. I’ll be calling on Andrew (I see dead people) Rankin to bring the lighting experience he gained while filming autopsies to the table. We have a ghost and a coffin in the play after all. We also face some challenges in getting Vi to appear from thin air at the end of Act 1. Perhaps those nice people from Le Tempete will loan us one of their holograms?
In terms of props, I’ll make a list, but if anyone knows where we can get a breast pump and a coffin, let me know!
Until Thursday then. Keep learning those lines.
Now that we’re at the books down stage, it’s time to think about all those other things which will make this production work. Lighting, sound and props are going to be key to this play. I’ll be calling on Andrew (I see dead people) Rankin to bring the lighting experience he gained while filming autopsies to the table. We have a ghost and a coffin in the play after all. We also face some challenges in getting Vi to appear from thin air at the end of Act 1. Perhaps those nice people from Le Tempete will loan us one of their holograms?
In terms of props, I’ll make a list, but if anyone knows where we can get a breast pump and a coffin, let me know!
Until Thursday then. Keep learning those lines.
Friday, October 06, 2006
Directors Notes Issue 2
Confessions of a Director. I have an obsession with windows. I’d like to think that they are portals into the soul, or an opportunity for the audience to see beyond the confines of the stage and step into the wider world.
However, in truth it’s an easy get out when you’re stuck for a move on a static set. “Sure why don’t you go and stare plaintively out the window”. I reckon I have about four such moves in the play now and that satisfies my fetish for now.
Last night’s rehearsal was fantastic, full of energy and laughter. And that’s pretty much how all rehearsals should be. We’d like to think that we do this drama stuff for the purposes of high art. In fact we do it for fun and last night was the best example of this. Tribute has to be paid to the three sisters in particular (Dee, Susannah and Noeleen) who are really starting to gel as a family unit. Next thing they’ll be arguing over who cooks the Christmas dinner and which of them will get the house when the Will is sorted out.
We tried a couple of theatre games during the break, which were good fun. Memo to Charles. The results you get from these games are in direct proportion to the effort you put in!
Looking forward to Monday when we finally have a full cast (after last night’s false alarm). Until then, I’m off to look through the square window and see if I can come up with some more inspiration.
However, in truth it’s an easy get out when you’re stuck for a move on a static set. “Sure why don’t you go and stare plaintively out the window”. I reckon I have about four such moves in the play now and that satisfies my fetish for now.
Last night’s rehearsal was fantastic, full of energy and laughter. And that’s pretty much how all rehearsals should be. We’d like to think that we do this drama stuff for the purposes of high art. In fact we do it for fun and last night was the best example of this. Tribute has to be paid to the three sisters in particular (Dee, Susannah and Noeleen) who are really starting to gel as a family unit. Next thing they’ll be arguing over who cooks the Christmas dinner and which of them will get the house when the Will is sorted out.
We tried a couple of theatre games during the break, which were good fun. Memo to Charles. The results you get from these games are in direct proportion to the effort you put in!
Looking forward to Monday when we finally have a full cast (after last night’s false alarm). Until then, I’m off to look through the square window and see if I can come up with some more inspiration.
Thursday, October 05, 2006
Directors Notes Issue 1
We hope to set a new record for Leeson Park Players tonight when we will have a full cast at rehearsals. Needless to say, as Director, I'm giddy with excitement. We have 18 rehearsals left before we hit the stage on November 30th for the production of "The Memory of Water" and my main concern is how to stop the cast from getting bored.
A number of suggestions have been made. We could start each rehearsal with a game of hug-tag, the rules for which can pretty much be found in the title. Unfortunately, the lack of a full cast would lead to people hugging themselves, which is not a sight you want see in a Methodist Hall. We could hum the vowels as loudly as possible while standing on one foot. I don’t see any practical benefit in this, apart from loosening inhibitions (and with the amount of bed hopping that goes on this play, that’s no bad thing).
As for the play itself, it’s coming on nicely. Books down next week will change all that of course, when the cast will be transformed into a collection of gibbering idiots, gazing at the ceiling with screwed up eye-sockets and thinking “I knew this bloody line when I was in the shower earlier”.
Other than that, my main concern is the cast and crew party on December 2nd. My experience is that you can never start planning these things early enough.
A number of suggestions have been made. We could start each rehearsal with a game of hug-tag, the rules for which can pretty much be found in the title. Unfortunately, the lack of a full cast would lead to people hugging themselves, which is not a sight you want see in a Methodist Hall. We could hum the vowels as loudly as possible while standing on one foot. I don’t see any practical benefit in this, apart from loosening inhibitions (and with the amount of bed hopping that goes on this play, that’s no bad thing).
As for the play itself, it’s coming on nicely. Books down next week will change all that of course, when the cast will be transformed into a collection of gibbering idiots, gazing at the ceiling with screwed up eye-sockets and thinking “I knew this bloody line when I was in the shower earlier”.
Other than that, my main concern is the cast and crew party on December 2nd. My experience is that you can never start planning these things early enough.
Tuesday, October 03, 2006
An Invitation!
Hello Hello all Members of LPP... you're invited to the evening celebration of David Bowles' wedding! It's on November the 10th (that's a Friday) in a Castle in Co Kildare. If you'd like to go get in contact with us via this blog (leave a comment so I know who you are) or email via the website. I won't put the Exact Details on here as You Never Know who might take advantage. Anyway, LPPers - you're invited to David and Michelle's wedding.
Meanwhile - This Friday there is a Theatre Outing - going to the Gaeity to the Russian award winning play - part of the Dublin Theatre Festival. I think Charles has still got a ticket so if you want to go get in contact!
Rehearsals... going well I think. The Director is contemplating putting some Notes up here on the blog, which might be a bit scary for the cast members but should be very interesting for anyone else. I await the Notes with interest. Scripts will start to Go Down from next week (that's scary in itself for the cast members!) so it should really begin to take shape... still early days early days. We still haven't had a Full Cast at rehearsals and there are only 6 in it!
Meanwhile - This Friday there is a Theatre Outing - going to the Gaeity to the Russian award winning play - part of the Dublin Theatre Festival. I think Charles has still got a ticket so if you want to go get in contact!
Rehearsals... going well I think. The Director is contemplating putting some Notes up here on the blog, which might be a bit scary for the cast members but should be very interesting for anyone else. I await the Notes with interest. Scripts will start to Go Down from next week (that's scary in itself for the cast members!) so it should really begin to take shape... still early days early days. We still haven't had a Full Cast at rehearsals and there are only 6 in it!
Friday, September 22, 2006
Rehearsal in Progress
Rehearsals are now in progress for The Memory of Water. It's early days but it might be even funnier than we thought. I suppose I should tell you who is in it. Noleen, Dee, Susannah and Siobhan are the sisters and mother, Charles and Alan are the partners of two of the sisters. Not giving much away am I? The committee will be meeting to divy up the jobs and get things rolling very soon.
There was a New Person (Welcome New Person!) visitor to rehearsals last night - who even did some reading in for us. So you see, if you come down to have a look you might be made useful!
Oh, and if you know of a Charity that you could sell tickets with all the benefits going to the charity - we just ask for bums on seats - get in contact as we're always looking for worthy causes to support.
There was a New Person (Welcome New Person!) visitor to rehearsals last night - who even did some reading in for us. So you see, if you come down to have a look you might be made useful!
Oh, and if you know of a Charity that you could sell tickets with all the benefits going to the charity - we just ask for bums on seats - get in contact as we're always looking for worthy causes to support.
Friday, September 15, 2006
AGM Hon Sec report
The Hon Sec suggested you might like to read his report from the AGM... so here it is...
There was a sad start to the year with the death of Sheila Marlow. Sheila had been a member since 1992. She was a lively and active member of the society. She was meticulous in her preparation and whole hearted in her every performance.
Our two plays this year were by Charles Richards and Oscar Wilde. They are now level on four plays each. Both were large cast plays, each with 12 and they were well attended, well received and made money.
A Fete Worse Than Death left some audience members confused as to whether justice was done and indeed, who did what - which is a major flaw in a whodunit. A Woman of No Importance was beautifully designed and costumed. Credit is due too to Helena for her direction in her swansong for Leeson Park and a terrific cast.
Our outings this year were to ‘Hamlet’ at the Peacock, The Merry Wives of Windsor at Airfield and The Constant Wife at the Gate. The Hamlet was cut to two hours and there was a lot of cutting of body parts going on on stage that sent Roly and Helena to the bar for Act II. The Merry Wives..we decided wasn’t one of Shakespeares best but the setting in Airfield Gardens and the staging made for a terrific evening nonetheless. The Constant Wife was a delight.
We made full use of the Drama League of Ireland courses this year. Andrew attended a week end lighting course in Birr. On the strength of his additional expertise he was appointed lighting designer on a series of CDs on dissection produced by the College of Surgeons. Noeleen and Adrian attended the week long Summer School in Limerick. Adrian now does a very good impression of a packet of Rice Crispies running for a bus, Noeleen can do this as well but with the emphasis on the comedy. More seriously, the whole Summer School was very well run, good value for money, a lot was learnt, good contacts and friendships made. Adrian has booked for next year and Noeleen hasn’t ruled it out.
The play reading evening was held at Jean and Garrett’s for the 5th year running. Noteworthy were the Dancing at Lugnasa all female ensemble piece, Dee’s reading from Alan Bennett’s Talking Heads and Jean and Garret giving us their Basil and Sybil Fawlty impressions.
Fine weather saw us Bar B Q ing once more on Bray Head. Croquet was the game of choice, the Treasure Hunt had valuable prizes this year and Roger again led the more energetic out on the Inca trail.
While we supported our traditional charities during the year, we also helped Craig for the Mozambique project where he worked with orphans of the AIDS epidemic there.
Sinead and Siobhan read plays widely and produced an excellent list of plays with synopses that will be very useful in choosing plays for the Spring.
There was a sad start to the year with the death of Sheila Marlow. Sheila had been a member since 1992. She was a lively and active member of the society. She was meticulous in her preparation and whole hearted in her every performance.
Our two plays this year were by Charles Richards and Oscar Wilde. They are now level on four plays each. Both were large cast plays, each with 12 and they were well attended, well received and made money.
A Fete Worse Than Death left some audience members confused as to whether justice was done and indeed, who did what - which is a major flaw in a whodunit. A Woman of No Importance was beautifully designed and costumed. Credit is due too to Helena for her direction in her swansong for Leeson Park and a terrific cast.
Our outings this year were to ‘Hamlet’ at the Peacock, The Merry Wives of Windsor at Airfield and The Constant Wife at the Gate. The Hamlet was cut to two hours and there was a lot of cutting of body parts going on on stage that sent Roly and Helena to the bar for Act II. The Merry Wives..we decided wasn’t one of Shakespeares best but the setting in Airfield Gardens and the staging made for a terrific evening nonetheless. The Constant Wife was a delight.
We made full use of the Drama League of Ireland courses this year. Andrew attended a week end lighting course in Birr. On the strength of his additional expertise he was appointed lighting designer on a series of CDs on dissection produced by the College of Surgeons. Noeleen and Adrian attended the week long Summer School in Limerick. Adrian now does a very good impression of a packet of Rice Crispies running for a bus, Noeleen can do this as well but with the emphasis on the comedy. More seriously, the whole Summer School was very well run, good value for money, a lot was learnt, good contacts and friendships made. Adrian has booked for next year and Noeleen hasn’t ruled it out.
The play reading evening was held at Jean and Garrett’s for the 5th year running. Noteworthy were the Dancing at Lugnasa all female ensemble piece, Dee’s reading from Alan Bennett’s Talking Heads and Jean and Garret giving us their Basil and Sybil Fawlty impressions.
Fine weather saw us Bar B Q ing once more on Bray Head. Croquet was the game of choice, the Treasure Hunt had valuable prizes this year and Roger again led the more energetic out on the Inca trail.
While we supported our traditional charities during the year, we also helped Craig for the Mozambique project where he worked with orphans of the AIDS epidemic there.
Sinead and Siobhan read plays widely and produced an excellent list of plays with synopses that will be very useful in choosing plays for the Spring.
Tuesday, September 12, 2006
Auditions Auditions Auditions...
OK, so I'm going to repeat myself.
The Auditions for the next play are on Thursday (14th September). Members and prospective members are welcome to try out.
The play is called The Memory of Water by Shelagh Stevenson. It's a play about 3 sisters gathering in the family home for their mothers funeral. There are 6 parts, 4 female and 2 male.
Adrian Chapman is our director, his second play for LPP.
If you want more details either email the Hon Sec from the website (www.leesonparkplayers.com) or leave a comment here.
The Auditions for the next play are on Thursday (14th September). Members and prospective members are welcome to try out.
The play is called The Memory of Water by Shelagh Stevenson. It's a play about 3 sisters gathering in the family home for their mothers funeral. There are 6 parts, 4 female and 2 male.
Adrian Chapman is our director, his second play for LPP.
If you want more details either email the Hon Sec from the website (www.leesonparkplayers.com) or leave a comment here.
Friday, September 08, 2006
The Next Play...
Well it was the AGM last night and it was quite a good turn out. Important things were discussed and decisions made and that's always a good thing at one of our meetings!
The Next Play will be The Memory of Water by Shelagh Stevenson. A wonderful play about 3 sisters who gather for the funeral of their mother. Quite funny, Quite sad, Quite a lot to think about. There are 4 female parts and 2 male. Auditions will be on the 14th of September at 8pm in Wesley House... all welcome to come along. And remember even if acting is not your thing there are plenty of other things for you to do which are important to the staging of the play - lights, costume, sfx, props, prompt... to name a few.
As it's a New Year for LPP the annual sub is now due too, €15 for individual members or €25 for family/household membership, payable to the Hon Treasurer.
Hope to see you at auditions!
The Next Play will be The Memory of Water by Shelagh Stevenson. A wonderful play about 3 sisters who gather for the funeral of their mother. Quite funny, Quite sad, Quite a lot to think about. There are 4 female parts and 2 male. Auditions will be on the 14th of September at 8pm in Wesley House... all welcome to come along. And remember even if acting is not your thing there are plenty of other things for you to do which are important to the staging of the play - lights, costume, sfx, props, prompt... to name a few.
As it's a New Year for LPP the annual sub is now due too, €15 for individual members or €25 for family/household membership, payable to the Hon Treasurer.
Hope to see you at auditions!
Monday, August 14, 2006
AGM September 7th
The Annual General Meeting is to be held on September the 7th this year in Wesley House, Leeson Park. This is a meeting for Members and is where the committee for the next year will be elected. The officers (Treasurer and Secretary) for 2005/6 will present their reports and the officers for 2006/7 will be elected. Other items of interest and importance to the Players will be discussed and sometimes decided upon. It is also the start of a new Membership year and therefore membership fees are due from that meeting. At the moment membership fees are €15 per member or €25 per household... a Bargain I'm sure you'll agree. It's really not the place for people Thinking of joining to attend as there won't be any drama going on - other than the debates on policy if there are any! The Auditions for the next play will probably be the following Monday for a play directed by Adrian Chapman and is most likely to be The Memory of Water by Shelagh Stevenson. more about that later.
Monday, June 12, 2006
Barbeque
The Barbecue on Saturday was lovely. The weather was a little windy but still the weather was kind and short sleeves and hats was the order of the day. Delicious things were cooked on the barby brought by their consumers and generous salads accompanied. Croquet was played, Adrian and Charles being most enthusiastic, with Laura showing a fine aptitude. A treasure hunt up the hill followed, organised by Charles, which the ensemble enjoyed. There was even birthday cake for Jackie.
Thank You Very Much to Roger and Maud for hosting us again this year, and thank everyone else for coming along.
While we’re here I’d like to wish a belated Special Birthday to Roger who let a momentous birthday slip by without mentioning it to anyone.
Thank You Very Much to Roger and Maud for hosting us again this year, and thank everyone else for coming along.
While we’re here I’d like to wish a belated Special Birthday to Roger who let a momentous birthday slip by without mentioning it to anyone.
Tuesday, June 06, 2006
Leeson Park BBQ This Saturday
It's the annual Leeson Park BBQ this Saturday at Maud and Rogers (cousins) place in Bray Head at 3pm. If you're a member you should come along!! The setting is fabulous, the view spectacular and the company (obviously) is scintilating. Just bring along something to cook on the barby and maybe a salad or something to share with the rest of us. If you need directions email Charles - which you can do from the website www.leesonparkplayers.com (rather than this blog). It's a lovely day out... last year there was a competitive game of croquet... and a treasure hunt... and the sun shone...
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