Thomas Azar (Benvolio) reports from Romeo and Juliet tech:
Tech week: the time when the magic of theater is carefully, painstakingly constructed. All of the planning, all of the rehearsing... now we get to see how far we really have to go. It's a long process—tech week can feel like tech month if things aren't going well. The hours can be lengthy, especially if you work backstage instead of onstage. However, if all goes well, then the audience never sees the strings (and there are a lot of 'em), and it all looks like magic.
I have to say, this tech week feels like it's going well. Last night, we teched (yes, that is a verb in theater) the first half of the show, and I don't think we stopped for single moment. That's a big deal, especially considering the tech-heavy scenes like the dance (lots o' lights and sound) and the fights (how thick should the blood be?). When we got to the end of our Act I, Alex (who's playing Romeo) said, with the sound of enjoyment in his voice, “It feels like we're actually running the show.”
Indeed it did, and it's thanks in large part to the tireless efforts of the crew. Seriously, these guys and gals are some truly talented people, and they deserve a round of applause nightly for their work. This show, and indeed all shows, cannot be what it is without its crew. After the actors have left the theater at 12:30am, they're still there, working on lights, sounds, props, etc., and planning the next day. Too cool, these folks, too cool.
So, tech week invariably means we're nearing Opening Night. Previews start Wednesday (got your tickets?) so we as a cast get our first taste of how this thing flies in front of a real audience. If you're planning on coming to see the show this week, might I suggest bringing a blanket? It's been a little bit chilly out at the Bruns this past week. Of course, the weather could (and probably will) change nightly; that's one string we have yet to be able to pull.
Showing posts with label By Thomas Azar (actor). Show all posts
Showing posts with label By Thomas Azar (actor). Show all posts
Tuesday, May 26, 2009
Wednesday, May 20, 2009
Thomas Azar on Crowd Scenes, Street Brawls, and Traffic Jams.
This is the latest in a series of actor blogs about our upcoming production of Romeo and Juliet. For this entry, Thomas Azar (who portrays Benvolio) writes about staging crowd scenes, the choreography of street brawls, and making it all work.
Mounting a show is always a monumental undertaking, especially when that show is staged in an outdoor theater. Planning starts well in advance of the first day of rehearsals. When we, the actors, show up for that first day, we are greeted with design sketches and renderings detailing the set and costumes, and the director explains the overall vision for the show. This advance planning is absolutely essential to the production, because it gives the actors a (somewhat) concrete frame in which to work and experiment.
Of course, all of this planning doesn't stop once rehearsals start. Once the actors are on their feet, things only get more complicated. Have you ever wondered how much time goes into staging big crowd scenes? Let me tell you: a whole hell of a lot. And there is no shortage of crowd scenes in Romeo and Juliet. The play starts with a melee right in the middle of the street, the “ancient grudge break[ing] to new mutiny” before the audience's very eyes.
Dave Maier, Cal Shakes' Resident Fight Director, worked with us for a number of hours on staging the multiple fights that happen simultaneously. What starts as an exchange between Tybalt and Benvolio erupts into an all-out brawl between the Capulets and Montagues. Discovering and rehearsing the fights takes quite a while, but placing these fights into the action of the scene takes just about as long. It's one thing to work through the fight when the stage is empty, but add props, scenery, and (oh the horror!) other actors, and you've got a genuine traffic jam on your hands.
Jonathan (Moscone, the show's director) takes what Dave has created and shapes it into the story of the play. I kid you not, much time has been spent on stuff like, “This chair needs to go here so this actor can cross to here and say this line.” It may seem like a silly waste of time, but such attention to detail is essential in crafting a tale from the chaos that begins the play. So, when you see Romeo and Juliet, please enjoy the big scenes, such as that first fight and the dance party; we've put a considerable amount of sweat (and perhaps a little blood, but only a few tears) into making them a lot of fun for the audience.
Mounting a show is always a monumental undertaking, especially when that show is staged in an outdoor theater. Planning starts well in advance of the first day of rehearsals. When we, the actors, show up for that first day, we are greeted with design sketches and renderings detailing the set and costumes, and the director explains the overall vision for the show. This advance planning is absolutely essential to the production, because it gives the actors a (somewhat) concrete frame in which to work and experiment.
Of course, all of this planning doesn't stop once rehearsals start. Once the actors are on their feet, things only get more complicated. Have you ever wondered how much time goes into staging big crowd scenes? Let me tell you: a whole hell of a lot. And there is no shortage of crowd scenes in Romeo and Juliet. The play starts with a melee right in the middle of the street, the “ancient grudge break[ing] to new mutiny” before the audience's very eyes.
Dave Maier, Cal Shakes' Resident Fight Director, worked with us for a number of hours on staging the multiple fights that happen simultaneously. What starts as an exchange between Tybalt and Benvolio erupts into an all-out brawl between the Capulets and Montagues. Discovering and rehearsing the fights takes quite a while, but placing these fights into the action of the scene takes just about as long. It's one thing to work through the fight when the stage is empty, but add props, scenery, and (oh the horror!) other actors, and you've got a genuine traffic jam on your hands.
Jonathan (Moscone, the show's director) takes what Dave has created and shapes it into the story of the play. I kid you not, much time has been spent on stuff like, “This chair needs to go here so this actor can cross to here and say this line.” It may seem like a silly waste of time, but such attention to detail is essential in crafting a tale from the chaos that begins the play. So, when you see Romeo and Juliet, please enjoy the big scenes, such as that first fight and the dance party; we've put a considerable amount of sweat (and perhaps a little blood, but only a few tears) into making them a lot of fun for the audience.
Monday, May 11, 2009
First actor blog of the season! Or, insights from inside the warehouse
What follows is our first actor blog of 2009. This one is by Thomas Azar, who plays Benvolio in Romeo and Juliet, currently in rehearsals. Tom also portrayed Valentine and Curio in 2008’s
Twelfth Night (yes, he was one of the guys in the purple pants), and was in the Ensemble of 2007’s Richard III.
Since rehearsals for Romeo & Juliet have been under way for about two weeks now, it seems kind of silly to try to start from the beginning. However, it does seem necessary to catch you, dear readers, up on what's been happening inside the big warehouse that is the Cal Shakes rehearsal hall. Here are some interesting tidbits from the past two weeks:
- This R&J is fast and violent. Jonathan Moscone, the director, has more than once referred to the idea that the characters are trying to catch up to the plot. The events of the play happen in very quick succession, and this production seems to heighten that even more, to the point where, as characters, we are trying our best not to drown in the misery that can (and will) envelop Verona.
- For those of you wondering, yes, it is a "modern-day" adaptation, but don't let that turn off the purists. Jonathan is very true to the heart of Shakespeare's words. As a matter of fact, as we read through the scenes for the first time, he asked us not only "what are you saying?," but just as (if not more) importantly, "why?". These are real people with real problems, and Jonathan does not let anyone forget that.
- The party where our star-crossed lovers meet has a kicking dance sequence. (Kickin' as in high-energy and fierce, not kicking as in can-can. -ed) I think Mary Beth Cavanaugh, the dance choreographer, has done an awesome job of creating a grungy/swingy feel. And it's really fun to do the "Moscone jump."
- Vespas are deceptively fast little buggers, especially when you have no prior experience driving one.
- This cast is a marvelous ensemble. I've had the pleasure of working with many of them before, most right here at Cal Shakes. And those that I haven't worked with before are most likely not new to you, especially if you've attended any Bay Area theater in the past decade. Even though we're still a couple of weeks out from opening, one can already get caught up in watching the actors work on their scenes. These guys and gals are truly a talented bunch.
So, you are more or less up-to-speed with Romeo & Juliet rehearsals. Keep your eyes peeled for further insights from inside the warehouse. (And for even more backstage lowdown, come to the free Inside Scoop tonight at the Orinda Library, for a panel discussion and Q&A with director Moscone, dramaturg Philippa Kelly, and actors Alex Morf and Sarah Nealis—Romeo and Juliet, respectively.)
Twelfth Night (yes, he was one of the guys in the purple pants), and was in the Ensemble of 2007’s Richard III.
Since rehearsals for Romeo & Juliet have been under way for about two weeks now, it seems kind of silly to try to start from the beginning. However, it does seem necessary to catch you, dear readers, up on what's been happening inside the big warehouse that is the Cal Shakes rehearsal hall. Here are some interesting tidbits from the past two weeks:- This R&J is fast and violent. Jonathan Moscone, the director, has more than once referred to the idea that the characters are trying to catch up to the plot. The events of the play happen in very quick succession, and this production seems to heighten that even more, to the point where, as characters, we are trying our best not to drown in the misery that can (and will) envelop Verona.
- For those of you wondering, yes, it is a "modern-day" adaptation, but don't let that turn off the purists. Jonathan is very true to the heart of Shakespeare's words. As a matter of fact, as we read through the scenes for the first time, he asked us not only "what are you saying?," but just as (if not more) importantly, "why?". These are real people with real problems, and Jonathan does not let anyone forget that.
- The party where our star-crossed lovers meet has a kicking dance sequence. (Kickin' as in high-energy and fierce, not kicking as in can-can. -ed) I think Mary Beth Cavanaugh, the dance choreographer, has done an awesome job of creating a grungy/swingy feel. And it's really fun to do the "Moscone jump."
- Vespas are deceptively fast little buggers, especially when you have no prior experience driving one.
- This cast is a marvelous ensemble. I've had the pleasure of working with many of them before, most right here at Cal Shakes. And those that I haven't worked with before are most likely not new to you, especially if you've attended any Bay Area theater in the past decade. Even though we're still a couple of weeks out from opening, one can already get caught up in watching the actors work on their scenes. These guys and gals are truly a talented bunch.
So, you are more or less up-to-speed with Romeo & Juliet rehearsals. Keep your eyes peeled for further insights from inside the warehouse. (And for even more backstage lowdown, come to the free Inside Scoop tonight at the Orinda Library, for a panel discussion and Q&A with director Moscone, dramaturg Philippa Kelly, and actors Alex Morf and Sarah Nealis—Romeo and Juliet, respectively.)
Subscribe to:
Posts (Atom)
Posts
