Shakespeare and Modern Dress
In my own practice with Shakespeare, I originally embraced modern dress. This was done for several reasons including budget.
Firstly as actual “original practice”, Shakespeare’s actors wore modern dress – they happened to be Elizabethan. Shakespeare’s theatre was written for his modern audience. Julius Caesar and Titus Andronicus where presented as a Rome much like modern Elizabethan and Jacobean London complete with reference to modern technology like cannons. This was easily recognisable to his audience.
The second reason was audience clarity. In order to give the audience a direct and immediate connection or recognition to the characters, we strived to present them in a recognizable way. How would Julius Caesar and Brutus dress or behave in our world. Who would they be if we looked around us?
The third reason was artistic. If these plays are immortal, we have to prove it each time out. By modernising the wardrobe and settings, we are in a position to directly challenge the belief of Shakespeare for all ages and through this challenge find the truths he has embedded in the text.
One has to be careful in modern dress. There is a potential for limiting the play rather than supporting it. A prime example is the recent Timon of Athens at the National Theatre. Timon’s descent was wonderfully modern with him living homeless under a bridge (and a great performance!). The poet, painter, merchant and Apemantus were based strongly on modern British celebrities. Rather than helping lift the piece to us, however, this choice limited the scope. The characters became to close to Stephen Fry and J K Rowling thus taking us out of the play to our now, rather than deepening our understanding of it. The idea of Apemantus as an aging rocker is a good one and was extremly well played by the artist, but may have been more successful had it not been so precise to an individual in popular culture thereby allowing the character to exist to the plays needs him to, rather how our society needs him to, and allowing the audience make up their own minds.
In my own work, we had similar discussions around Julius Caesar done shortly after President Bush’s election and just before a provicial election. Through modern dress and power suits we were able to respond to the modern world and explore the similarities the play and us. Shakespeare’s Rome however is not my Ottawa or Victoria or my neighbours Washington. They have similarities but also differences. Putting Caesar in cowboy boots would have brought up the question of “how can the sky rain fire” in Washington rather than allowing the sky to rain fire in ancient Rome and allow the play to progress.
The worlds created in Shakespeare’s plays are not our own. They have many similarities but also many differences. In order to allow the difference such ritual murder in Titus Andronicus or the existence of fairies in a Midsummer Night’s Dream, an approach could be “this is similar to…” rather than “ This is…”.
Stella Adler on Theatre
“
The word theatre comes from the Greeks. It means the seeing place. It is the place people come to see the truth about life and the social situation. The theatre is a spiritual and social X-ray of its time. The theatre was created to tell people the truth about life and the social situation.”
- Stella Adler
The Stage is a magic circle
“The stage is a magic circle where only the most real things happen, a neutral territory outside the jurisdiction of Fate where stars may be crossed with impunity. A truer and more real place does not exist in all the universe.”
― P.S. Baber, Cassie Draws the Universe
On Verse and Prose: Why do Shakespeare’s Characters Speak It?
As a playwright Shakespeare seems to leave little to chance. He feeds his characters with a heartbeat, a breathing pattern, and if you follow first folio work as I do, a whole series of clues and movements that allow the language too physically and internally move the actor. Shakespeare’s earlier plays may have been engaged in blank verse as the common practice, however as an actor, he would have had an immediate physical reaction and intimate knowledge of how it affects the performer and drama from the inside.
This intimate knowledge of playing and theatre coming from the practising artist perspective gives us the wonderful meta’s moments like “ O for a muse of fire…” and “We are such stuff as dreams are made on…”. These all carry a deep meaning to the people who toil in the realm of making the imaginary real. By placing words “…a pour player who struts and frets…” in Richard Burbage’s mouth, the most famous actor of his time (or as he might have wished to believe) on a stage Burbage owns, Shakespeare, like any good playwright, is playing the actor as much as the audience.
As his plays developed, the choice of who speaks in verse or prose and when becomes more and more specific. Both Coriolanus and Volumnia in Coriolanus speak in prose as well as verse, despite being an aristocratic characters, Caliban, Stephano and Trinculo all have verse in The Tempest despite being of low status and not limited to magic. Michael Pennington’s comments in Sweet William maybe of use to us here – “The more characters suffer the more articulate they become”. Does speaking in verse fall into articulation?
Additionally, Shakespeare’s genius as a story teller lies in his ability to take a common practice and break the rules in couple short strokes for dramatic effect. He does this with story, with structure and, like all great poets, with verse. As an actor and a playwright with a tremendous sense of character, it stands to reason he would also use the tensions between prose and verse, not just for the audience reception, but for character.
I have developed a theory regarding performance arts practices. This theory follows the idea of rising states in the need communication. If we imagine ourselves trying to get information about a fire across to someone who cannot understand us, there is a progression in the attempts to communicate and this equates to a performance practice. First you speak normally – this equals spoken prose; then as the stakes go up you look for ways to explain, you try and control or structure your information – this equals verse or poetry; next we start making sounds – this equals song or opera; and lastly we engage in movement, waving our hands around franticly and gesturing – this equals dance. Interestingly, as the need to communicate rises, the discipline required within the corresponding art form rises as well. At East 15, Simon Usher spoke to freedom through form in “the form is the key to the emotion”. If the key for the actor is through the form (and I agree with this), can the form be an active character choice just as a character in a musical doesn’t sing for no reason?
If Shakespeare is consciously using verse and prose, line structures and the words in them to signify differences and move actors, and the act of speaking verse automatically plays on both the actor and audience, what does the choice (whether consciously or subconsciously) to use verse of verse give us and how can it shed light on the characters given circumstance or phycology?
Jack Paterson
Why do Shakespeare?
In Defense of the Classical Text
In 2009 after Mad Duck’s Coriolanus, I put producing and directing Shakespeare aside in order to pursue other work in new practices including large theatre, new play and translation development and multi-disciplinary work. The remarkable discovery was that my work on Shakespeare had greatly prepared me for work in all these forms.
There is very little in modern playwriting that Shakespeare did not already engage in. His work embraces a gritty realism (the murderers in Richard III and Macbeth, the soldiers around the camp fires in Henry V), absurdism (Comedy of Errors), flights of fantasy and magic (The Tempest), a non –realistic approach to Time/Space (Hamlet) and real time approach to time space (The Tempest), High Drama right next to Low Comedy (The Tempest again), poetic and emotional character perspectives (Lear), meta theatrics (pretty much all of them), social commentary (Coriolanus) and character perspectives. In short, the sheer theatricality of his work engages in almost every theatrical devise with the possible exception of non-linear narrative. As the Elizabethans still lived in a world of metaphor Shakespeare’s expressions of life and living takes many forms.As a director the material is suited to wonderful blend of realistic or method work and conceptual design work. Like Opera, the poetry inspires large imagery that can be woven through the works without detracting from the text itself.
It is impossible as an artist to approach Shakespeare through any other lens but his or her own. We don’t know enough about the Elizabethan/ Jacobean’s performance practices to do anything but make educated guesses. As a result a certain amount of translation has already been done as we apply our own perspectives to the material (how far we wish to go in that direction is up to us as the artists). It is similar to Translation where a piece will invariably be of the time of its translation simply because the translator is of that “now” and will be affected in their thinking by their current society and the events surrounding them no matter how faithful they are trying to be to the source.
Simply by telling a story, I am doing so in a modern Canadian voice. I am a Canadian. I was born and raised in Canada. My perspectives, values, questions, fears, concerns, etc. are informed by the environment I was raised in and the world that surround me as are my inspirations. As a result, no matter what I do, it will be in a Canadian voice and of the time I am working on it. With Mad Duck our production of Julius Caesar was heavily influenced by the American election, Titus Andronicus by the Afghanistan and Iraqi wars and Coriolanus in an attempt to understand the right wing militaristic side of society and use of mob mentality in politics. All these issues were constantly in the media, spoken about on the bus or in coffee shops and unavoidable in daily life.
When we think of teenagers in love we will automatically apply them to our teenage experiences and those of the young ones around us. The same is true of all the relashonships. Fathers and daughters, mothers and sons, lords and servants will all be understood through our own perspectives as we cannot actually see them any other way.In other words Shakespeare had his wars and politics but we have unfortunately have our inescapable own. He has character relationships of his own society and we have ours. And, as we don’t live in isolation, they will affect our perspectives as designers, actors and directors even if we are attempting the most traditional of productions.
The original practises of the bare stage, the still evolving language of the period and the verse and poetry are unique in lending themselves to interpretation. As a result, the director/ interpreter is potentially better able to address the issues of now immediately through the metaphor than an new work trapped in a several year development process or a play limited by specific setting, location and language that leave so many great plays as young as a few years restricted to a specific period of time.
Jack Paterson
PS: Don’t worry New Works – I will be defending you too soon!
Shakespeare the Internatial
What makes Shakespeare international? Why are artists from non-western Anglo cultures compelled to adapt his stories? Why are his plays done across the world in different languages? If one does not understand the words, how does one know if it’s any good?
Having worked in translation (mostly as a dramaturg), I am aware of the difficulties in transposing ideas from one culture to another, and with a playwright who’s words are seemingly so important how we judge his plays this is doubly difficult. Tadeuz Bredecki, when I was at the Shaw Festival, explained to me that all Polish adaptations were twice as long due to the Polish language not having double meaning for words. He then went on to say that his directing always went back to Shakespeare. I have heard this same feeling uttered by German, French and Quebecois directors.
One of the joys of this module at East 15 was discussing this question with classmates from across the world, from Iran to Greece to Romania to China. Although there are many Shakespeare translations ranging from pour (In one country because it was written by a king who can’t be corrected!) to fantastic. Is this because of western culture cultural dominance or is it something more?
The common consensus is the main appeal is the depth or breadth of the emotion and human experience expressed in the plays. But if you can read the words how do you know it’s there? The answer seems to lie in the circumstances. The situations Shakespeare creates for his characters resonate beyond western culture just as they resonate beyond time for us. Additionally the rhythms appear to also come through. Wither this is spoken in English to a non-English ear or read in English by those unfamiliar with Shakespeare, the iambic heartbeat and changing breaking rhythms have a visceral effect that is deeper than language.
In conclusion it appears as if the circumstances and rhythms used to express them are the clue to the non-anglo ear to Shakespeare’s profundity. These are recognisable and the words are then an added bonus.
London is Calling and The Summer in Review
As I write this missive, I am flying over the Atlantic Ocean, on my way to London. I am heading off to do an MFA in Theatre Direction at East 15. This exciting new adventure has been inspired by the diverse artists, aesthetics and forms of theatre production I have discovered over the last three seasons traveling and working across the Canadian landscape. With a personal focus on world and international theatre practices, this is a wonderful new opportunity of discovery and learning in the performing arts.
It has been an exciting summer that started in Ottawa and Calgary with The Magnetic North Theatre Festival. As the final leg of my Three Provinces, Three Mandates, Three Companies Artistic Director Residency Series , it was a perfect way to wrap up the a season dedicated to learning the different practices and models of theatre production, development and creation across the country. This has been a tremendous national journey and I owe a huge thank you to Brenda Leadlay, Ann Connors and the rest of the Magnetic North team and artists.
Back in Vancouver, the rest of July was knee deep in francophone plays in translation. France Perras and I launched BoucheWHACKED! Theatre Collective with a site specific installation of Governor General Award winning play The List at the Neanderthal Festival. The run was sold out and we received tremendous feedback. Also at Neanderthal, our Ta Gueule Reading Series started with an Encounter with playwright/ actor Gilles Poulin-Denis moderated by Anita Rochon. I then directed staged readings of Étienne Lepage’s outrageous Howl Red and we weere joined, from New York, by translator Chantal Bilodeau. Next I staged a site specific reading of Marc Prescott’s heart breaking Encore in the Cultch bar.
As always, the Neaderthal Festival proved to be a great way to catch up on Vancouver’s emerging young companies and artists like Hardline Productions and Delinquent Theatre.
August was spent in new play development where I participated in Screaming Weenie’s Clean Sheets workshop of A Singularity of Desire . This was shortly followed by Urban Ink and Playwrights’ Workshop Montreal’s workshop of Sal Capone by Omari Newton.
My last few days in Vancouver where spent as a reviewer for Plank Magazine as we took on the task of reviewing the entire Vancouver Fringe Festival.
A tremendous thank you to all the artists and administrators who has helped make these last three years exploring the Canadian Theatre scene such a wonderful theatrical adventure.
A la prochaine and see you soon!
Jack Paterson
2012 Summer in Review
May-July:
Artistic Director Mentorship: The Magnetic North Theatre Festival
Three Provinces, Three Mandates, Three Companies
The 2011/ 2012 season was dedicated to developing a working understanding of the diverse theatre production, presentation and development processes of Canadian Theatre both artistically and administratively. The residencies included PACT Meetings, Season Budgeting and Programing, New Play Development to Festival Production, meetings with Artists, Grant Writing and Fundraising, Board Development and Management.
- Playwrights’ Workshop Montreal, Emma Tibaldo
(Montreal, Quebec) - Theatre Conspiracy, Tim Carlson
(Vancouver, British Columbia) - The Magnetic North Theatre Festival, Brenda Leadlay
(Ottawa, Ontario & Calgary, Alberta)
This final section was dedicated to National Festival curatorship,administration and the presentation/ production of works from across the country. It was also a great opportunity to discover and meet with artists, presenters and theatre creators from other provinces.
July:
BoucheWHACKED! Theatre Collective
THE LIST
By Jennifer Tremblay
Translated by Shelley Tepperman
Featuring France Perras
Directed by Jack Paterson
Set and Art by Moe Curtin, Sound by Jordan Watkins
Assistant Directed by Michael Gunion
Stage Managed by Anthony Liam Kearns
“…a mesmerizing performance by Perras… Paterson is exploring smaller and smaller spaces — and for The List that tightly focused space really works.” Jo Ledingham, The Courier
Ta Gueule Reading Series
Contemporary Canadian Plays in English Translation
Encounter/ Rencontre: Gilles Poulin‐Denis
We presented Vancouver’s own multi-lingual theatre artist as he read excerpts from the English translation of his Governor General Award nominated play Rearview and a discussion about working in both of Canada’s official languages. Moderated by Anita Rochon
Howl Red
By Étienne Lepage
Translated by Chantal Bilodeau
“All you need is a hint of butter
‘Cause those like me
are best eaten raw”
Featuring Sam Dulmage, Patrick Mercado, Katherine Gauthier, Jessica Heafey, Julia Henderson, Gilles Poulin-Denis, Alexis Quednau, Damian Rumph and Troy Anthony Young. Staged by Jack Paterson
Encore
Written and translated by Marc Prescott
“It would be a poet’s kiss. Passionate. Intoxicating. Exalting…It will break the mold of all the other kisses that preceded it…”
Featuring France Perras and Art Kitching.
Staged by Jack Paterson
“Howl Red has given me added insight into how we are the way we are, how we make choices, why we make choices… Few pieces have ever made me this uncomfortable.” Kimberley Dawn, GVPTA Blog: A Collection of Voices
August:
Screaming Weenie: Clean Sheets
THE SINGULARITY OF DESIRE
By Judy M. Miles
Dramaturged by C.E. Gatchalian
Featuring Leanna Brodie, Dominique Brownes, Dawn Wendy McLeod, and Jack Paterson
When twentysomething Valerie / Vond begins hir transition journey from female to male, s/he crosses an event horizon in hir life. The Singularity of Desire explores difference and desire: differences in religion, in cultures, and in the mysterious sources and gravitational forces of sexual desire.
Urban Ink, Playwrights’ Workshop Montreal and Black Theatre Workshop
SAL CAPONE WORKSHOP
by Omari Newton
Directed by Diane Roberts
Dramturgy by Emma Tibaldo
The fatal police shooting of a talented but troubled young DJ irrevocably changes the lives of his three friends. The future of their once promising hip-hop group is now in jeopardy. Can these troubled poets salvage their dreams in the face of this tragedy?
Using elements of hip hop, spoken word, experimental sound & video, The Lamentable Tragedy of Sal Capone examines class struggles, racism, homophobia, and the legitimized fear/distrust of authority as only a few of the factors responsible for the nihilistic world view festering in neighbourhoods across North America.
Howl Red
BoucheWHACKED! Theatre Collective and The Neanderthal Arts Festival present:
The Ta Gueule Staged Reading Series
Contemporary Canadian Plays in English Translation
Neanderthal Festival, The Cultch ● 1895 Venables St.
Pay What You Can at the Door
GET BOUCHEWHACKED!
Vancouver’s top talent in an exciting selection of contemporary Francophone award winning plays in translation.
Tuesday, July 24 2012, The Cultch Culture Lab
Howl Red
By Étienne Lepage, Translated by Chantal Bilodeau
Ten characters caught on the spot, as if a door was cracked open on a moment in their lives. They talk, they scream, they say everything they mean and a few things they don’t and then the door closes again. Controversial, gritty and often beautiful.
Featuring Sam Dulmage, Patrick Mercado, Katherine Gauthier, Julia Henderson, David Mott, Gilles Poulin-Denis, Alexis Quednau, Damian Rumph and Troy Anthony Young. Staged by Jack Paterson
“Howl Red has given me added insight into how we are the way we are, how we make choices, why we make choices, if there’s anything to life that isn’t mired in muck, and what I believe about faith and hope and humanity. Few pieces have ever made me this uncomfortable.”
Kimberley Dawn, GVPTA Blog: A Collection of Voices
“Howl Red was one of the funniest plays I have ever seen (heard?). Thank you to all who brought this piece to Vancouver!”
Scott Button, Audience Member
Ben Cameron: The true power of the performing arts from Ted Talks
“The arts, whatever they do, whenever they call us together, invite us to look at our fellow human being with generosity and curiosity.” Ben Cameron
Ben Cameron is the Program Director, Arts, at the Doris Duke Charitable Foundation in New York, where he supervises a $13 million grants program aimed at the theatre, contemporary dance, jazz and presenting fields. Grants happen in three main areas: commissioning and distribution of new works; building strong arts organizations; and supporting national arts organizations.
During 13 seasons, Cameron has been a panelist on the opera quiz during the Live from the Metropolitan radio broadcasts from New York. He has also served as a member of the Tony Awards Nominating Committee.
The Ugly One Roundup
The Ugly One closed this weekend to great houses and terrific audience response. Plan B, an artists driven collective, played to an audience over 500 with many repeat viewers. A tremendous thank you to everyone who came out and supported the West Coast premiere of this internation hit.
“This is a delightfully weirdly ominous show of quirky wit and stylish production… a great cast… this unique play… hugely funny… Bravo to director Richard Wolfe”- OutTV
“…excellent production…a strong ensemble…Hats off to the designers…Directed crisply by Richard Wolfe… I really appreciate seeing Canadian productions of contemporary plays by foreign writers…” - Plank Magazine
And from our audience:
“Incisive, biting and incredibly satisfying…a great night at the theatre!”
“ Great show!..I laughed my a** off!”
“…definitely worth seeing…..a superb script and a superb cast!”
The Ugly One
By Marius von Mayenburg
Translated by Maja Zade
Directed by Richard Wolfe
“…fiendishly clever…scalpel sharp.” - Sunday Telegraph
Lette thought he was normal with a successful career, and a happy marriage. So when his utter ugliness is revealed, he turns to plastic surgery for help. After the bandages come off he awakens with an Adonis-like face and his world is turned inside out. Lette begins to question… is there such a thing as being too beautiful? The Ugly One is a scalpel-sharp comedy about beauty, money, and cosmetic surgery.
Award winning director Richard Wolfe (Artistic Director of PI Theatre) leads a collective of some of Vancouver’s top talent. Featuring veteran stage, film and television performer David Beairsto (Theatre North West, Smallville) as Lette, the man with the face; up-and-coming favorite Amber Lewis (Soulpepper, Bard on the Beach, Arts Club); Jessie Award Winner Jack Paterson (Shaw Festival, Mad Duck Collective); and Jessie Award Winner Brian J. Sutton (Axis Theatre).
Lighting Design by Jessie winner Jergus Oprsal, Sound Design by Jordan Watkins, Set & Costumes by Roxana Chapela, Stage Managed by Wren Handman, Assistant Stage Managed by Jocelynn Mortlock, and Assistant Directed by Michael Gunion.
The Ugly One ran at the Jericho Arts Centre (1675 Discovery) from Feb 22 to March 4, Wednesday through Saturday at 8pm, and Saturday and Sunday at 2pm. Running time: 1hr. Tickets are $20 for reservation or Pay-What-You-Can at the door.
photos by Michael O’Shea
Fall at Playwrights’ Workshop Montreal
Dear Friends
- Les Jounees de la Culture
It has been a rich and wonderfully full time. Merci Montreal, This wonderful city and its artistic community have become like a second home and family, I going to miss you. A la prochaine!
- The Birthday Party
In other Autum News:
I joined playwright Lucia Frangione and actor Alex Williams in Toronto for a dramaturgy workshop on Lucia’s new script Sanctuaire.
A piece I worked on for audio artist Morgan Young inspired by two poems by Richard Brautigan was featured at the Electrogals Festival (Portland, USA) and the Simon Fraser University Electroacoustic 25th Anniversary Concert Series (Vancouver).
I also hit the stage again in the Concordia University director’s projects. Joining Vance Gillis and Daphne Lorian, I played Goldberg in a site specific scene from Pinter’s The Birthday Party directed by Jen Cressey. It was great challenge and a wonderful opportunity to participate with and discover Montreal’s upcoming talent.
Other Theatre highlights included seeing the beautiful production of Equus (Segal), The Ugly One (Theatre Smash, Toronto), Johanna Nutter’s My Pregnant Brothertranslated and performed in French (La Licorne), The Big Plan (Freestanding) and A Thousand Paper Cranes (Geordie Productions) and checking out the new works at Pipeline (InfiniTheatre) and New Words (NTS).
Up next:
Back to Vancouver for the winter and further theatre adventures.
Happy Holidays!
Jack Paterson
Henry 5:In Creation
The Firehall Arts Centre
BC BUDS 2011
Firehall Spring Arts Fair
presents
MD Theatre Collective
Henry 5: In Creation
Join MD Collective members Nita Bowerman, Lisa Oppenheim, Keith Martin Gordey, Mike Wasko, Art Kitching and director Jack Paterson in an open exploration as they explore the potential of a 5 person production of William Shakespeare’s Henry V.
Sunday May 22
11:30am – 1:30pm & 3:30pm – 5:30pm
Firehall Arts Centre
280 East Cordova Street
Free
From Behind the Table: The General Auditions Part 3 – Monologue Choices and Presentation”
From Behind the Table: General Auditions Part 3
Monologue Choices and Presentation
Originally published on
http://www.bizbooks.net
“Choose a piece that you love…Choose a piece that you relate to…Choose a piece that perhaps espouses things in which you believe…It is also smart to choose a piece spoken by a character that you could conceivably play” – Michael Shamata, Artistic Director, The Belfry Theatre (Victoria)
Contrasting Monologues:
Most general auditions will ask for 2 contrasting monologues. I’m struck every time with the question “What does that mean?” even when it’s me putting it on the call notice.
What we are looking for is two different performance qualities. In classical theatre it’s easier – Comedy vs. Tragedy, Prose vs. Verse. In modern theatre where the lines between the two blur, think along the lines of Character Role vs. Straight Role, Dramatic vs. Comic, Naturalism vs. Stylized, Still vs. Movement (can you walk and talk at the same time). Are they thematically different? Do they help demonstrate your range?
It’s always good to get a second opinion on whether the monologues actually showcase different skill sets or sides of yourself.
From the Season or Not from the Season:
I suggest choosing monologues where a character is similar to a character in the season rather than the character itself. Most AD’s and directors will have a strong idea of their lead characters in their head that you can’t possibly live up to. The best bet is to showcase those qualities in yourself and plant the idea rather than trying to fit into a box you can’t see. Also, everybody else will be doing them. You may pull off the audition fantastically but after the 10th time the monologue has been heard the Auditoners will be tuning out. When the auditions are called for the show itself they may then ask you to read for the character.
From the Internet and Film:
In general internet and film monologues don’t fly in theatre auditions. Most AD’s have an aversion to them so best leave them alone.
Theatre for Youth Audiences:
“Books are fine as long as the piece has some dramatic action on it. Again, I’m looking for acting ability. I would also consider looking at adult plays with young characters in them, as long as the speech has some meat on the bones.” – Pablo Felices-Luna, Artistic Director, Carousel Players (St.Catharines, ON)
The biggest complaint one hears from TYA practitioners is inappropriate monologues. Take a look at the age ranges the company performs for. If it’s 3-5 year olds, ya might not want to do that David Mamet or Neil Labute monologue you’ve been dying to try out. Fit the monologue to the company.
One of the great things about Theatre for Youth Audiences is a lot of it is based on literature. One can always pull out a favorite storybook from childhood and build a monologue. TYA also tends to use a lot of wonderful theatricality – if you juggle, do acrobatics, clown work, etc this is a place to showcase it.
For a teen-based issue-company like Greenthumb Theatre in Vancouver you want a different approach. Hit their webpage and see what kinds of characters are usually brought to the company’s stage then take a look at any adult material that includes characters in the right age range.
“Even though it may be a general audition the theatre will probably be looking to cast the season they’ve announced. If there’s something the actor thinks they’re appropriate for they should attempt to do everything possible to win the role by tailoring the choice of monologue to the role they think they’re right for.” - George Pothitos, Artistic Director, Neptune Theatre
Modern and Canadian Content:
“I love it when I get wind of a Canadian monologue from a show that I haven’t yet seen.” – Del Surjik, Artistic Director, Persephone Theatre
Many companies will ask for a Canadian monologue, so it’s good to have one in the bag. Doing a Canadian monologue also shows an interest in the work that most Canadian companies are doing and therefore an interest in them and support of both the Canadian and Local Theatre Scene.
Canadian Monologues are not the easiest to find, especially if you are looking for new plays. Place to look are the local reference libraries, Solo Collective Archives, organizations like Playwrights Theatre Centre, Playwrights Montreal, Manitoba Theatre Centre, Alberta Theatre Projects, Playwrights Guild of Canada and of course Biz Books.
Check out the web pages of theatres doing new work and go discover the playwrights. There are a few good monologue books out there like She Said by Judith Thompson, and He Said by David Ferry. Also the Summerworks Festival is now publishing their productions.
Shakespeare and Classical:
“Be ready at anytime to do a Shakespeare piece…Change pieces regularly – learn new ones for the pleasure of it.” – Christopher Gaze, Artistic Director, Bard on the Beach
You will need one speech in verse and one in prose. You also want to skip the “Purple speeches”(DPG). The Hamlets, Richard the Third and Lady Ann, Henry the Fifths, Rosalind, Macbeth and Lady Macbeth, Romeo and Juliets, etc. Basically, if it’s famous – avoid it. Firstly you can’t measure up to the Artistic Director’s version in their head and, like above, everybody is doing them. Give yourself the opportunity to stand out – read the lesser done plays and other playwrights of the time period such as Christopher Marlow, Thomas Middleton, John Ford and Lope De Vega (I just finished Joost Van Den Vondel’s Lucifer and Life is a Dream by Calderon de la Barca – both chock full of great monologues). There are some great speeches out there.
This does make life a little difficult for women. Unfortunately when you remove the famous women from Shakespeare you are left with very little unless, of course, you go outside the box. Spanish and French playwrights are a good source (as they actually wrote for female actors) such as Moliere, De Vega, etc. Greek and Roman texts will also do the job – they’ve got some great verse and the ancients also told a mean fart joke. There is also the opportunity to do a male speech that you have always wanted to try (see quote below).
“…it is refreshing to see actresses and actors choosing speeches from the less popular plays. I am always impressed that they have been inspired by or taken the time to sit down and read the lesser known plays and prepare a speech I don’t see often. It shows me that they have a sense of curiosity and risk taking. I also don’t mind if actresses choose to do a monologue written for a male, providing they have the passion for it. For me the key to a successful monologue is to have read the entire play, and to know what motivates the character, be it male or female.To know what the events are that lead up to the moment that they are compelled to speak the thoughts they are about to utter.” – Marianne Copithorne, Artistic Director, Freewill Shakespeare Festival
Modern Classic
For the Modern Classical (Shaw, Tennessee Williams, etc) the same rules apply. Try looking outside of England and America (F. Garcia Lorca, Jean Anouilh, Nikolai Gogol, etc). If the company is doing an Irish play find an Irish monologue. Allow yourself to come in with something different that they may not have heard before.
“I am always a big fan of people who are confident, sincere and in full command of their pieces.” – Philip Akin, Artistic Director, Obsidian Theatre Company
Eye Contact and Targets:
Most Artistic Directors would prefer that you did not use them as a target or focal point. This is not always the rule, but is most often the case. It is always alright to ask if they would prefer to be used or not. The reason for this is they are gathering information and want to be able to break contact from you to do what they need to do with their note pad or laptop. Also not all AD’s or directors are actors and are comfortable being scene partners.
Place your targets just to the left and right of the auditioners shoulders. This will allow you to be open and connected with your audience member without invading their space.
The Chair:
There will always be a chair available for you. It is there for you. You don’t need permission.
Starting:
Tell us what you are doing. If you tell both monologues then you can continue your pieces uninterrupted. Here is the information we need: Play, Character, Scene, Playwright
Between Monologues or Mind the Gap:
This is often a tricky moment for actors. You’ve finished your 1st monologue then what? You don’t need to wait for us – we in fact are waiting for you. Think of the two monologues as 2 separate parts of one show and this moment joins them. Give yourself a breath, find your given circumstances and your targets and go when ready.
In Case of Emergency or Stopping:
If you have to stop then stop. Roll back to the top – take your time and when you are ready, dive back in. Remember a lot of Artistic Directors have been in your place and know where you are coming from. There is no need to apologize or beat yourself up.
Preparation:
I find it very useful to think of an audition as a 4 minute solo production with two monologues on a four by four foot stage. Rarely are AD’s and directors interested in process at auditions. They are trying to glean from 5-10minutes if you can handle a full on production and what you may be like in the rehearsal hall. Anything you wouldn’t do on stage in a production (sip your tea, chug your water, jump and down releasing sound) – don’t do here. Process is for the rehearsal hall, this is about performance.
Coaching:
Get coaching. The difference between a monologue that has be run in the shower, mumbled on the subway or done to an empty room and a monologue that has been done out loud with an audience is enormous. If you don’t have a coach, get a friend or someone whose opinion you value to run it with you. Try the monologues as many different ways as you can individually then run them one after another with the between space. A third eye will also help fill in the gaps that you may be missing and give you a real person to connect with.
When coaching, I will actually run the entire audition from the hallway to the pieces to the interview.
“I will throw a “Spaniard in the works”, by asking them to repeat the piece but do it as…” – Erskine Smith, Artistic Director, Victoria Playhouse
Variables:
When working your monologues, try them in many different ways from silly to serious. There is a strong possibility that a director may ask you to try something differently. This is done to see if the actor can take direction and quite often the direction will be nonsensicle, in order to see how willing the performer is to go with them. If you need time to look it over then ask for it. Be prepared to be flexible and try out new things.
Given Circumstances and Targets:
The common complaints from Artistic Directors tends to be basic acting. It is easy in the audition stress to leave out or not be secure in the simple things. In fact I did this a few weeks ago week
Read the play and know the scene the monologue is from in depth. We can tell if you haven’t and the possibility of you missing important points is enormous. Show us that you know what you are doing.
Who, what, when, where and why are just as important here as they are on stage. A monologue does not take place in a vacuum and we have to create the the monologues life before, during and after the text. Take the time to go back of the basics. Why am I saying these words? Where am I? etc. And then own them.
Who are you talking to?
This is a big one. Unfortunately most actors end up talking at a curtain or a wall. Every monologue is actually a dialogue wither it be with yourself, another character or the audience.. Who are you speaking to and why? Take the time to fully create the person or target you are interacting with and the tension between the two.
Final Thoughts:
I’m repeating myself from the first blog here but most importantly, this is your opportunity. It is your chance to do a four minute play of material you want to do. Do it for you, enjoy the process and allow yourself to shine. Trust that the right gigs will come at the right time.
“Remember you are a business and you are the only one that will make the phone ring – so persevere, practice, act whenever you can, wherever you can. You will become better by just doing it more and more.”- Christopher Gaze, Artistic Director, Bard on the Beach
Special Thanks to the following AD’s and directors who took the time out of their busy schedules to lend their advice and support to this blog:
Philip Akin (Artistic Director, Obsidian Theatre Company), Marianne Copithorne, Artistic Director, Freewill Shakespeare Festival), Christopher Gaze (Artistic Director, Bard on the Beach), Dean Paul Gibson (Director), Pablo Felices-Luna (Artistic Director, Carousel Players), Robert Metcalfe (Artistic Director, Prairie Theatre Exchange), Mieko Ouchi (Co-Artistic Director, Concrete Theatre), George Pothitos (Artistic Director, Neptune Theatre), Erskine Smith (Artistic Director, Victoria Playhouse), Michael Shamata (Artistic Director, The Belfry), Del Surjik (Artistic Director, Persephone Theatre), John Wright (Artistic Director, Blackbird Theatre)
From Behind the Table: The General Audition Part 2 – The Interview
Originally published on
http://www.bizbooks.net
From Behind the Table: 
The General AuditionPart 2 – The Interview
“Generally, I just really enjoy it when actors come in with a positive attitude and are excited to share their work with us. That makes it a pleasure to audition them and a good experience for us as well…if actors are relaxed and are able to share who they are with us, the chances of us using them is much better. “ Mieko Ouchi, Artistic Director, Concrete Theatre (Edmonton)
An audition is a job interview that happens to a have a 4 minute solo show on a 4 foot by 4 foot stage in the middle of it. It took me years to come to this realization, in fact I faintly remember somebody in theatre school saying this and being outraged by it, but after many many mistakes, experiencing both sides of the table for large and small companies and doing everything from invited auditions to New York cattle calls, it suddenly seems simple – We want to meet you in your best light. Easy to say but not necessarily easy to do.
So – how can we help you shine?
The more comfortable you are with all the little things around the performance portion the better your chance to enjoy the audition and then the interview process. For that reason I’m focusing on the interview aspect. This is something we often overlook in our panic to find the right monologue and be the best actor we can be (and god, how we realy realy want the job), however it is just as important and sometimes more so. I have yet to meet a director or Artistic Director who believes that the monologue is the best way to cast a show. Most of us behind the table have been in your position, and are well aware of the difficulties involved for the performer.
We try as hard as we can in theatre to make it seem as less job interviewy as possible, but the truth remains that that is indeed what it is. All things important to a regular job interview are just as important in an audition. Who is this person and can we work with this individual? This begins the minute you enter the room. We try not to judge but human beings are human beings.
As a new actor this is a chance to make a strong first impression or as someone who has been around for a bit it’s a chance to reconnect and put yourself out there in a fresh light.
Preparation:
- Information to know:
More you know about the company and their season the better. This will help not only in your monologue choice but also offer you something to talk about during the interview. Take the hour or two to google the company; be familiar with the company’s season and mandate (if that information isn’t readily available check out their previous season). Is there a play, playwright or author there that you really enjoy? What about the mandate excites you?
It’s not enough to simply want to pay the rent by practicing your craft – we all want that. Those of us behind the table are passionate about our work, we wouldn’t be doing it otherwise, and are looking for people who share in that passion.
Read the plays if you can; A lot of companies will have the scripts available at the local reference library. Get down there and read ‘em. Again same question – what excites you about them?
- Your Resume:
Give your resume a scan – look at the last few gigs. Think of some positive experienced you had on those projects. Many directors will use questions about previous shows in an attempt to lighten the atmosphere and get to know you. How did you like working with insert name or company? These will usually be pulled from the last few credits on the resume. If you are fresh out of school, think of a few positive things about the program to talk about.
- Special Skills:
if you have any special skills – singing, dancing or musical instruments, etc – be prepared to showcase them. Have something in the bag ready to go. There is a strong chance you will be asked to demonstrate even if it was not put on the posting. Artistic Directors and Directors are always on the lookout for extra skills.
I once watched a Theatre for Young Audience AD in Vancouver grin from ear to ear as an auditionee made her an animal balloon (after two days in the hall, it was a treat). Another auditionee in Montreal worked street dancing into his monologue and received cheers for his effort. They made a mark.
- Things to bring:
Always bring a couple extra headshot and resumes. Have them out of your bag and ready to be passed out. Make sure they are stapled (one in the top corner will do), paper clipped or double side taped. The amount of paper flowing over the table is sometimes overwhelming. Have pity on us and make it easy. We don’t want to loose your stuff in the maelstrom.
“Choose a monologue you really, really know and can inhabit with complete ease. Know what kind of play the company is likely to be doing and perhaps try to choose something that will interest them…you are not auditioning for a role, but for the chance to audition for a role.” – John Wright, Artistic Director, Blackbird Theatre
Presentation:
- What to wear?
Some people won’t care about this, however those that do will quite strongly. Clothing is our first experience of you. Better to take the time to for a positive first impression than a negative.
Dress nicely. Put a little effort in to it. Wear something comfortable that makes you feel good and is suitable for the pieces you are doing (there is nothing worse than getting flashed during a monologue. You may have been brilliant but that’s all we remember). Save the track pants and T shirts for rehearsal.
- Warm up
Take the time to stretch and do a vocal warm up before heading out. Just like going on stage, you are entering a stressful situation and want to be as relaxed, available and on your voice as possible.
The Audition:
- Show up!
As actors, we will find all kinds of reasons not to show up. I certainly did it early in my career. The thing is – it will be remembered. The theatre community is also small enough that is may be remembered for a long time. Time and effort has been put into who received audition slots, and the people preparing the auditions are giving you an opportunity – other people did not get a slot. A no show will also affect the entire days scheduling. If there is a real emergency or a valid reason not to be there, then call.
- Arrival and Signing in
Show up early and sign in. Make sure you give yourself enough time to deal with traffic, transit etc. If you come rushing into the audition in a panic – you are not going to be at your best during the performance. By showing up early you have time to put on your game face and find a positive place to be in before entering the room. Different people have different ways for this. I know an actor who plays a character at auditions – the character happens to be an awful lot like himself in a good mood. Some people meditate, some people work their stuff and others just hang out and talk. Find what is right for you and respect other people’s processes.
It’s alright to be nervous, most of us our on both sides of the table are, be ok with where you are at.
If you are asked to go during earlier slot and are not ready yet, it’s perfectly normal to ask to wait for your time.
When signing in, be polite to the staff. They maybe anyone from family members of the AD, Board Member’s volunteering or the company General Manager and, guaranteed, they will be having a beer with the AD afterwards. They are working hard to for the help make the auditions run smoothly and may have a lot on their plate.
- Patience
There are a lot of people to be seen and despite all the best efforts on everybody’s side auditions often fall behind. Please be patient with us. We are doing the best we can. If you are booking time off work, it’s best to add an hour after your time slot. You don’t need the extra stress and hey, if the time ends being free, treat yourself to a cappuccino.
“The people you’re auditioning for want you to succeed. They are hoping that you’ll be great. They are on your side, and many of them have been through what you’re going through… After your audition, go for coffee and forget it. ” - Robert Metcalfe, Artistic Director of Prairie Theatre Exchange (Winnipeg)
The Interview:
So you’ve done your monologues. Your heart is pounding. Your brain is going “oh my god I hope they didn’t notice that or this or I hope they liked it and everything in you is crying in you to flee the room and somebody says “pull up a chair, tell a little about yourself.”
Take a breath.
Remember we are here for you. This is an opportunity for you to hang out with people in the same craft as you. It’s a chance for you to get to know them as well as them to know you. It actually can be quite fun.
- Questions to be ready for:
Tell us a little about yourself…
This question is heard a lot. This is not meant to be personal question, but a way into conversation. Think of something light that you enjoyed and are open to talking about (Have you been on a trip lately?) – if you can think of anything see the next question.
Are you doing anything at the moment?
If you are doing a show, then this is a great moment to share some positive things that are going on the production. If you’re not, what classes are you taking? Side projects? or plays that you are reading that excite you? What have you seen recently that excite you?
No matter where you are in life you are always doing something that supports your craft. A reply can start something like “I been taking the time to see a lot of plays lately and..” or “I’ve been concentrating on reading scripts…”.
Do you have any questions for us?
This is a chance for you to start a segment of the conversation. Truth be told, it rarely works as the actor usually just want to get the hell out of there. If you feel up to it, try and ask something about them that interests you artistically. This is about supporting them or showing an interest in their product. It is not about sucking up.
The Big Don’t!
I hate to say it but I’ve done it, people have done it in my hall and I’ve had it done about me. For whatever reason it’s done, be it passion, fear, vulnerability, or simply being opinionated and speaking your mind, avoid saying anything negative about somebody. It is a small community and things get misunderstood – word will get around. We want to you in your best light. Save the horror stories about the last show and the passionate discussions about theory and methods for the bar after rehearsal. This is not the place.
Leaving:
A smile, a handshake and go reward yourself.
Be confident, trust in yourself and enjoy the process.
Additional Note:
As I was working on this blog I did my 3rd audition in 3 years. Wow! Did I ever bite! Everything went wrong performance wise. I blanked, my dyslexia kick up a storm on the reading portion and my nerves were having a field day. The interview however was fantastic. I reconnected with 2 directors who I had met previously who also share a passion for Shakespeare and a playwright I haven’t seen in years. I left with 2 cards in my pocket and had a wonderful time.
From Behind the Table: The General Audition Part 1
Originally published on
http://www.bizbooks.net
From Behind the Table:
General Auditions
Part 1
I recently had the unique opportunity to attend the General Auditions organized by the Quebec Drama Federation. The room was a combination of Montreal and Quebec’s Artistic Directors from both the Regonal Theatres (including Roy Surette (The Centaur Theatre), Bryna Wasserman (The Segal Center), Andrew Johnston (Hudson Village Theatre) and other local companies Emma Tibaldo (Playwright’s Workshop Montreal), Clare Schapiro (Imago Theatre)), a mix ranging from of Theatre for Young Audiences (Dean Fleming (Geordie Productions)) to the indie Fringe scene (Jeremy Hechtman (MainLine Theatre))and several freelance directors.
What made this event so distinctive for me was that I was both a Auditor in my role as Artist in Residence at the Centaur Theatre and an Auditioner as my recent experiences at the Shaw Festival’s Director’s Project had inspired me to hit the boards again. It had been over three years since I done an audition and although I have sat on Directors side of the table many times and often coached for Auditions, all the old questions, concerns and terrors returned. This was an opportunity to observe the AD’s at work as well as the actors and get up there myself. My goal over the next few blogs is share what I’ve learned through that process.
Part 1 will address General Auditions and what ithey are. Part 2 will be about Preparation and Part Three will be about the Monologues themselves. A tremendouse thank you to all the Artistic Directors, directors and actors who shared their insights for this blog.
What is a General Audition?
Canadian Actor’s Equity Association (CAEA)and the Professional Association of Canadian Theatres Producers (PACT) have agreed that PACT members will hold at least one General Audition a year in order to review available talent. These auditions will be attended by the Artistic Director or another senior representative of the theatre who works in a casting capacity. Each year, each professional company does just that. Companies doing over a show a season are required to do hold 2 days for CAEA Member and Apprentice auditions; they also will do 1 day of non equity auditions. You should never have to pay for an audition.
How do I get one?
Notices are posted on the CAEA Email for Equity calls. Non Equity Notices tend to be posted on through local Arts organizations such as The Alliance for Arts and Culture in Vancouver, QDF in Montreal or Toronto Alliance for the Performing Arts in Toronto.
Submit a headshot, resume and cover letter. The cover letter doesn’t have to be long. It can be a short paragraph or two on why you want to work for the organization. Make it about them and why you would be a good fit for them (Why are passionate about their material, season or mandate?). Some organization will accept email, while others will expect mailed packages.
Why Should I do It or To General or Not To General?
Yes! Do it! There is nothing to lose and everything to gain. Remember that Artistic Directors and directors are human and as much as we may wish to be omnipotent, we’re not and in fact have very minimal brain space. Even if you and I have been friends for years and worked together on many shows, I just might not have thought of you for a part. Any opportunity to remind us of you, showcase yourself or demonstrate a side to you we may not have thought of should be taken advantage of. If you are new to the scene – get out there and make yourself known.
Generals are an opportunity for AD’s and Directors to be reminded of the current talent and introduced to new talent. Many companies will already have their leads cast for the season and may only be casting the smaller roles, however that is not always the case (one company I have worked for actually makes a point of casting roles from the generals). Think of the audition is a long term investment: you may not get a part now, but this opens the door for down the road.
That being said…be prepared and rock our socks off!
What happens if I don’t get a Slot or To Crash or Not to Crash?
Some people are to going to hate me for this but again – Yes! Do it! There is nothing to lose and everything to gain! Most companies will have a waiting list – get on it. Shows up early, early slots are unfortunately quite often missed and there may be a chance to slip in. Also you have to be twice as prepared. You may not have been called because the AD knows your work and is trying to see as many new people in a limited time or because they don’t feel you are right for their season or projects (this is never a reflection on your talent or skills, simply the mindset of the individuals doing the casting – do not take it personally – it isn’t). The people organizing the Auditions have been running around for weeks trying to sort everything out so be prepared to wait and go by their schedule, you may be there a while (I always bring a novel). They may turn you away – again this isn’t personal. If you get in, and most companies will try and get you in, show us the passion that made you take the risk to come down in the first place despite not being booked.
Behind the table:
The people behind the table are not the enemy. They want you to do well. They have been sitting there sometimes for days in uncomfortable chairs, drinking too much coffee and ignoring the fires that are going off at their offices. They are here for you and want you to do succeed. Depending on your call time they may have trouble showing it, but no one wants you to do badly. As shocking as it may seem, we are your friends and equals.
Most importantly, this is your opportunity. It is your chance to do a four minute play of material you want to do. Do it for yourself and allow yourself to shine.
“I never expect anyone to be brilliant in an audition. It is almost an impossibility. Was anyone ever brilliant while acting with a chair? What I do hope to find someone who seems capable and someone with whom I might want to spend four weeks in a rehearsal hall” Michael Shamata, Artistic Director of The Belfry Theatre, Victoria, BC
