Tag Archives: cast

We Can’t All Be Ron Burgundy

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Good morning, and a very merry Monday to you!

Yet again, I find myself needing to apologise to you, you lovely and patient reader, for not having written anything for a while.  Truth be told, preparation for the Fringe is taking up an insane amount of time, and I’m afraid the whole blogging thing slipped through my incredibly disorganised net.  Today’s blog will be an extra 10% funny and uplifting, just for you.

One of the most valuable lessons I’ve learned from working in theatre is that everyone responds to emotional situations differently.  What makes one person cry will make another angry, and what makes one person laugh out loud will at best raise a small smile from someone else.  The bizarre thing is how drastically our emotional responses vary from those of our nearest and dearest.  Certain things that would put you into the Anchorman “glass case of emotion” might only dip your best friend’s toe into the goldfish bowl of vague discomfort.

This can be a very good thing and a fairly weird one.  It’s excellent to surround ourselves with people who can give us fresh perspectives, but sometimes it makes us feel less rational when our friends disagree with our responses.  When it comes to emotional reactions we are particularly vulnerable, because our feelings tend to be relatively instinctive rather than especially thought through.

This is something that has come up quite a lot during rehearsals for Chris is Dead, partly because the content is quite emotionally charged, but also because the people involved are all very different.  Despite his constant cries of “where are all the men?!”, our only male cast member is actually very sensitive to the most upsetting aspects of the story.  (In case you hadn’t guessed, the title of the show pretty much explains what it’s about.  You knew that already, right?)  One of the girls tends to be very good at distancing herself from her character’s grief, and the third is stoically open-minded about how different aspects of the story will affect her at different points of the rehearsal process.

The best and most rewarding aspect of working with these cracking people is the fact that they really respect each other’s views.  It’s hard enough working on a show about death without the cast disagreeing on their feelings about it, so I feel very lucky to be directing three such empathetic and lovely actors.

Although my head is very much stuck in a my-life-has-been-taken-over-by-rehearsals-what-on-earth-is-this-“sleep”-thing-you-speak-of-? sort of place, I can appreciate that the cast’s communal attitude is something that should be more prevalent in the real world.  It might be baffling or annoying to find that we are not on the same wavelength as others around us, but we should have confidence in the validity of our feelings.  We should also make the effort to try and understand where other people are coming from.

Have a stupendously enjoyable Monday.

Get That Poncho Away From Me

Hello, dear reader!  How’s the world with you today?  I hope you’ve remembered your umbrella.

So I am now ankle-deep in rehearsals for the Edinburgh Fringe, and already I have started to rediscover some of the things that inevitably happen in the run up to a show, including issues with rehearsal schedules, quandaries about the best place to buy lunch and realising that the script I’ve printed isn’t the most recent version (“Um, Vicki…didn’t we change that line?” “Oh shit, yeah we did…ok, cross that out.”  “It’s ok Vicks, don’t worry.”  “I DO worry!  This is UNACCEPTABLE!”)

It’s almost impossible to avoid hitting a few clichés when you work in the performing arts, but as a director there are a few traditional tendencies that I’m very keen to avoid.  Basically, I’m desperately trying not to turn into this guy from Friends:

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“You are BAD ACTORS!  This is a TERRIBLE play!!”

Here are a few directing dramas which I sincerely hope don’t make an appearance in the run up to Chris is Dead:

Sleeping with the Star
The “casting couch” cliché is well-known in the film and theatre industries, but I think we can safely avoid this one for three reasons: firstly, I cast this show over a year ago, and there was absolutely no funny business involved at that point.  Secondly, everyone involved with this show is technically taken, so we won’t be looking for anything romantic inside the rehearsal room, and thirdly these people are all good friends who know each other far too well (and have seen each other in far too many compromising situations) to find each other attractive.

Being a Diva
We have a running joke in rehearsals that I refer to the actors as “my talking props”, which I have never and will never do with any serious intent.   Having said that, directors are under a lot of pressure to bring a show together and make all of the elements work, so it’s understandable that sometimes there’s a bit of egotism or drama queenishness involved.  I am very lucky because I know for certain that my cast and operations manager will tell me in no uncertain terms if they think I am heading that way.

Being a Tyrant
As a fairly maternal and “scary-eyed” (not my words) director, the few strict rules I have laid down tend to be followed to the letter.  These are, I hope, all fairly straightforward and reasonable: no alcohol before rehearsals, let us know in advance if you know you’re going to be late, don’t turn up unprepared.  Some directors (myself included) have a natural propensity to take control of situations, but I think that it’s important to keep the balance between laying down sensible laws and throwing your weight around for the sake of it.

Dressing Like an Eejit
It makes sense for directors as well as actors to wear sensible, practical rehearsal clothing.  Today, for instance, I will be rocking the “trainers and ancient jumper” look.  If you ever see me wearing a poncho and beret, you have my permission to shoot.

Have an incredibly amusing Thursday.