Dancing by the light of the moon

I continue to marvel at how productive our time with Suzy has been for this show; it feels as if we are accomplishing much more, much more quickly than we did doing West Side Story, but it's hard to know how much of this is just a matter of dim memory and how much is accurate. In any case, with a month until the preview, we have completed choreography for many songs, almost completed it for a couple more, and have only one solo and one ensemble number left to do from scratch. The solos are a piece of cake, especially with Lacey and Jeff in the leads; they are such a joy to watch at work. Suzy refers to her process with these two as "Add water and stir."

I met with Rebekah, the lighting designer, this afternoon over lunch, and we went through the script, page by page, while I described the action and the mood and she asked the occasional question or threw in a suggestion. I think she will light the show just right.

Sound check

Last night we had a good-sized audience for our sound check at the Little Theatre, and the evening was most productive, in two ways. First, having an audience for the songs created some nervous energy that I reminded the cast afterwards can be very useful when it comes time for our official performances. I said, "Use that energy. Convert the feeling that you might throw up into an opportunity to have fun." The audience was wonderfully supportive and helpful, and I think we learned a lot about what we need to do not only for our show but for all future musicals at the theatre. Second, we created some buzz among a big group of people who will, we hope, spread the word. Of course I took the opportunity to invite everyone to get his ticket if he didn't have it already! As they left, many in attendance commented to me that the show is going to be great, and this was based on a choreography-free, costume- and set-free, and pretty-much-just-standing-and-singing rehearsal. Into the bargain, I got to "play" the role of Winnie, who was absent. For the duet "Who Do You Love, I Hope," it was a real performance, a very unusual experience for me, since I hadn't acted (for an audience) in decades. I had a blast!

Taking a chance

Last night I did a daring thing, for me, and took a stab at staging the finale. There were two reasons for this--one, to save time in our allotted time with Suzy for the longer, more dancelike pieces, and two, because I thought I had an idea or two and thought it would be a good exercise for me. I'm not totally happy with how it looks, but I'll tweak it and then show it to Suzy. And even if she completely throws it out, at least we will have given her something to work with. Suzy has appreciated the groundwork we've laid for all the musical numbers, which has enabled her to start at a point more advanced than square one.

Dolly's winners

Last night we worked on the nitty-gritty of several scenes that had emerged from our runthrough last week as needing TLC. We didn't sing a note or dance a step, but we accomplished a great deal. Cody, who will understudy the role of Tommy (and play the part for one performance), came for rehearsal (one of his very first) and plunged right into the action when asked. Kudos to him! At T.C. (Dolly)'s request, the winners of her "Name That Moment" entry posed for a picture (from left--Jessica (Rice-a-Roni), me (Crackerjack), Ramon (Rice-a-Roni), and Holly (Daffy Taffy). This game has been a great idea. The three entries we've gotten so far are lots of fun and also insightful.

Magic slippers

It’s just plain exhilarating, stimulating, and inspiring to spend the hours making our show. Not only were the numbers we dance captained during the week in excellent shape on first runthroughs (by Suzy's standards), but we accomplished a huge amount of new stuff today. The opener is completely done, the Pantomime is nearly done, Suzy and Lacey whipped through Annie’s Show Biz reprise, and we finished choreographing “Anything You Can Do.” I made an executive decision to replace Liana with Pat as the Queen of England, since Liana is missing these two weeks, and all were forewarned that they might be pulled from numbers for which they missed the rehearsals. Suzy, John, and Pat herself were all completely on board with that decision.

Suzy and I have engaged in a mutual-admiration society this evening, exchanging extolling emails. What a pleasure it is to work with her—she is so professional and respectful and unbelievably brilliant. Today’s rehearsal was scary good. People are beginning to find the zone, and I see huge potential for the show. We don’t want to peak too early, so I have to keep thinking of ways to up the ante. Name That Moment is one good technique, for sure! T.C.’s first entry in our game was awesome—so playful and fun and also meaningful. Suzy’s entry today was totally different but also fully felt. This will make a great collection as a souvenir for the company!

Dancing at Lughnasa

Tonight I went to see the current show at SLOLT, the one whose excellent set is preventing us from rehearsing Annie Get Your Gun in our ultimate performance space. It’s Dancing at Lughnasa, directed by Anet Carlin, and, with full appreciation and admiration for Anet’s work and that of the actors, this was my second experience of this play by Brian Friel, and I simply do not care much for the piece. It was hard for me to engage, and I’m not entirely sure of all the reasons. One, two, and three may have to do with my total preoccupation with AGYG these days (about as different a play as you could have, to follow Lughnasa). But reasons four, five, and six have everything to do with the play itself. This Irish domestic drama has an arc, but it is subtle, and it requires a level of attention that is not easily attained. It has humor, but not enough (to my sensibility). It is in turns serious and light, but it's not always clear which is meant. In addition, I felt that there was too much narration (the stage equivalent of the movie voiceover, a device that shortcuts to the goal of a play). Add to that a highly stylized delivery with the erratic Irish accents, and I never could find a foothold. However, the set (as I’ve said), staging, character development, and relationships were impressive, and Anet’s directorial gifts were evident in the show. She obviously has a great ear, good economy of movement, and a fine sense of humor. And she has clearly and lovingly attended to the script. I preferred some performances to others, but all eight actors were invested, present, and consistent. It was very good to see how much everyone seemed to care about the show. All in all, this was an evening in which there was much to applaud except, unfortunately, the script itself.

Name That Moment

I have been inspired to invent an email game, "Name That Moment," for the Annie Get Your Gun company to play between now and May 24, exactly five weeks from today. The following is an excerpt from the email I sent this morning.

"Here are the rules: Every day a different person in our company must offer a favorite moment from the previous rehearsal. If your assignment were today, for example, your comment would be due tomorrow. You can write about one or more actors, a director or a crew member, a scene, a song, a bit of choreography, a line or a move, or even something that happened during rehearsal that did not involve the actual action (for example, 'I loved when Rene' unveiled Dolly's hat with the bird that Annie will shoot off'). You must refer to a moment that everyone present either did or saw, and you must include at least one other person besides yourself in your comments. For example, if my assignment were last night's rehearsal, I would say, 'My favorite moment from last night's runthrough was the opening. The singing, dancing, energy, and character have never been better, and I thought, wow, we have ourselves a show!' Or, I might say, 'That moment when the whole company sang, 'I've-Got-the-Sun,' with the rhythmic punching in the air, after the patti-cake section, raised goosebumps on my arms!' A third example might be the moment between Sitting Bull and Annie about her chestful of gold and medals, which was riotously funny. These are examples, but you must pick just one moment to describe, your very favorite, for whatever reason."

Then I assigned a rehearsal between now and May 24 to each person, followed by this:

"At our cast party, after the close of the show, there will be (really good) prizes for the following entries, in no particular order: funniest, most poignant, most keenly observed, best written, and most original. As director and inventor of the game, the decisions are mine and are to be considered final.

"If you have any questions about the rules for this game, please ask me, especially before it's your turn! I look forward eagerly to your entries, and hope that you will have loads of fun playing Name That Moment!

"Reply code: 'Oy, not another game . . . well, OK!'" (I always include a reply code in my company emails, so I can be sure everyone has received my bons mots.)

Four times better

After last night's runthrough, I sent an email to the company, urging more energy and commitment to their work from here on out, and I'm very happy to report that tonight's runthrough was immensely improved over last night's; it was like a different show! How pleased am I! Afterwards, I told the cast that they are all stars to me, and that I am enjoying myself tremendously working on this show. The music, choreography, blocking, line retention, and spirit were all amped up like crazy for this runthrough, and for the first time I felt as if a real audience could have watched the rehearsal and gone home smiling. I'm pretty jazzed about how things are going, and I think all of the cast feels the same way.

We had a productive meeting about the sound in the theatre this afternoon, as well, and John and I both came away from that feeling that we're in pretty good shape, and will be able to work with the existing setup without too many adjustments. That was a huge relief.

Boarding the train

We were all excited on Monday, because we were finally able to get into our ultimate performing space, the Little Theatre, only to find that it is impossible for us to rehearse on the set for the current production, Dancing at Lughnasa, sad to say. So yesterday morning I made a lot of phone calls, scrambling for alternate spaces for all our rehearsals until the Lughnasa set is struck on May 6. I was pleased by the wonderful cooperation I found from Congregation Beth David and St. Stephen's Church, both of whom readily extended our use of their spaces.

It was a good thing, because it enabled us to have another full runthrough last evening, even fuller this time with the addition of the choreographed numbers. Every runthrough teaches me a lot about what still needs the most work. What I learned last night is that I need to go into the ensemble scenes and block more specific moves for the ensemble members, who need more to do to be really present in the scene. I intend to spend a whole rehearsal on that next week. That said, the show is gaining momentum. The music is generally in very good shape, and some of the actors are beginning to find a comfortable zone to inhabit that just works every time they get on the stage. Great progress is also happening in terms of costumes and props. We preview five weeks from tomorrow, and I think we have time to get into good shape for that goal.

Show biz birthday, part 2

My cast surprised me with a delicious chocolate cake, a lovely bouquet of roses last night, and a card signed by everybody--awww! Here I'm wearing Dolly's boa and showing off the flowers and the card Carey made for me, which amused everyone greatly.


The second picture shows the running circle that will be the big ta-da at the end of the opening number, which is really the most complicated one in the show. We pretty much finished choreographing it and two of Annie and Frank's duets, so we are in good shape going into tomorrow's marathon. For such a tiny person, Suzy certainly fills the room when she is at work.

A show biz birthday

Today is my birthday, and it finds me very cheerful indeed. My show is going great, I'm feeling young and healthy (even if I am 56), and dear ones--far and near--have remembered me very sweetly. This morning I received this lovely e-card from my sister Carey. I will frame and save it forever!

Sculpting a lump of clay

When Suzy works, it's as if she takes a lump of clay at the beginning of the night, and in three hours, she's sculpted a balanced, graceful, living, breathing work of art. These pictures don't do justice to our progress on the opening number last night, but the top left shot shows the cast singing "There's No Business Like Show Business" for her (she asked them to raise their hands when they were singing). Then we see Annie and her three siblings (and that's Pawnee Bill in the upper right corner of the picture). In the lower left are John (music director and multi-character ensemble member) and Jena (ensemble and Annie's understudy) in quite a different pose from the one I posted during their music rehearsal a few weeks ago. Finally, here's the cast in the pose they strike just before the climactic kickline part of the number. Suzy scribbles notes while she's listening to the number, seems to get a grasp of the piece after about two repetitions, and then works in sections. After consulting briefly with John and me, she jumps on the train and takes everyone for a thrilling ride. Watching the cast (especially newcomers to her work) responding to her ideas and instructions makes for great theatre in and of itself.

Before our first choreo rehearsal

Of course I'll have a report after our first choreography rehearsal tonight, but I have to say how excited I am, looking forward to it. We have the opening ("There's No Business Like Show Business") and the Entr'acte/Pantomime on the agenda for tonight. The actors are expected to dress all in black, wear their show shoes (character shoes for the women and cowboy boots or moccasins for the men), and remember their knee pads! Suzy will probably first say, "Show me any tricks you can do," whereupon the more acrobatic cast members will do their cartwheels and headstands and back flips, which she will promptly incorporate into the number. Yay, now begins the marriage of music and dance--such fun!

Charlie Brown

Yesterday I went with John (AGYG music director), Ron (Pawnee Bill), and Niklas (John's German exchange student) to see You're a Good Man, Charlie Brown at Unity, a play in this season's Kelrick Productions. It was a five-character piece, geared toward children but starring all people over the age of 15. It was a special treat to see our Annie (Lucy Van Pelt) and
Frank (Snoopy) doing characters completely different from the ones they play in our show. Jeff as Snoopy was particularly hilarious in the number "Suppertime," during which he vamped and frolicked all over the stage, and sang in every style from blues/gospel to opera. What a hoot!

After the show, we four went for a delicious Italian feast at Giuseppi's in downtown SLO, to which John treated us all--an early celebration of my birthday coming up this week. I had a ball all day long, and was delighted to reaffirm, once again, how very much good culture there is of which to partake in the beautiful San Luis Obispo.

We have fun!

Here are some of our players, as we restored our borrowed rehearsal space, the First American Title Company community room, to its prerehearsal state tonight. Clockwise from upper left: Jeff, who's playing Frank. As I shot the pic, he said, "I'm moving tables la la la." Next is Lacey, who's our Annie: "Try to get my better side." Jena (Annie understudy and ensemble member) and Jessica (Winnie) are pictured next. They said to each other, "What shall we do?" and came up with the pose you see. Then comes Ramon, our lovable Tommy, who said: "Oh, good; you got my good side."

We laughed ourselves silly in tonight's rehearsal, which was an intense working of several scenes, starting with the ones the kids are in, and ending with the leads. As an evening proceeds, we find ourselves getting giddier and giddier, no one more so than yours truly. Tonight we had Dolly kicking Winnie in the posterior as she exited (we'll keep it in), and Annie (Jena) and Tommy kickboxing in the corner (we won't keep that in). It is really exhilarating to watch the show coming into its own, and even more rewarding than that is how wonderfully everyone seems to be getting along and enjoying him- or herself. That is the most gratifying part of this process for me: how darned much just plain fun it is for all concerned!

First full runthrough

Tonight we had our first full runthrough, off book and with full music. We haven't added choreography yet; that process will begin next week, and, I must say, we are ready for that step. This runthrough was extremely encouraging. We got through the entire show in two hours and twenty minutes, which means that, with the inevitable tightening up that will come with further rehearsal, the show shouldn't exceed two and a quarter hours, with intermission . . . at least that is our goal. It was particularly fine, because we were in a brand new rehearsal space tonight, and so the cast had to adapt to it as well as perform the entire show. Lacey and Jeff are very fine as Annie and Frank, and even more inspiring than their talent is their dedication; they've learned everything so completely that they barely had to ask for a line. Their few duets are really fine--spine tingling, actually. And the sound of the ensemble on the big numbers is great. With the recording of the ensemble songs to double the sound of the chorus, it should be very good indeed. In fact, I told the cast afterwards that we are closer to being ready with the music than with the scenes. So my work is cut out for me, but I feel up to the challenge, and, with seven weeks until we open, comfortable that our time will be ample to accomplish the goal. We also took a bunch more head shots tonight for the program. I wish I had them to post here, but Ron (Jack-of-All-Trades) took them on his camera, so I must wait to receive the CD from him. Stay tuned for a picture or two of some of our players.

Pieces of the show

Yesterday Ron (my actor cum designer/carpenter/all-around handyman sine qua non) and I drove up to Cambria to the home of my dear friend, Jayne. When I directed at Coast Union High School (a lifetime ago) Jayne choreographed the shows. But she is a professional artist, having recently joined the brand new Trader Joe's in Templeton as a sign painter, and she (bless her heart) agreed to head up painting the seven flats for Annie Get Your Gun. So Ron ordered and precut the flats, and we delivered them to Jayne's, where we sat around her kitchen table and discussed all the scenes and how they should look and the historical context of the show, and came up with a plan for the seven flats. These will be BIG paintings! Each scene's backdrop will consist of two flats (each in two pieces), which, when joined, will measure 7-1/2 feet high by 16 feet wide. Jayne will have to find a way to lay out the lightweight board (1/4 inch wide), so she can prime, sketch, and paint. It's quite an undertaking. But our meeting went great, and both she and Ron are a tremendous source of inspiration and good ideas, so I'm really excited about how the set is going to look.