And, we are done...

Am working on several future posts for this 'JOURNEY' blog, before setting it down for a little 'nap' while I develop the director's blog for my next show, A MIDSUMMER NIGHT'S DREAM with Springfield StageWorks. 

There are several more photos to come, as well as answering many of the messages and questions I have been posed by audience members of our SOLD OUT run! Look for these in the near future.  And, of course, any future information regarding cast and show will be touched on in the blog.

Just wanted to add the link to Grace Davis' Theatre blog, Thick Skin Required, as she has posted a review for our show this evening. 

REVIEW: Dependent Upon The Kindness of Others

Many thanks to Gracie for attending the show, as well as all who attended the show.   You were a joy to perform for. 

Directing directors...

 Here we go...

Well, we have almost made it through tech week and will officially move into production week on Monday.  A lot of tweaking and final molding will be taking place tonight in our final tech rehearsal and final dress and photographic rehearsals will take place Monday through Wednesday. 

There are still a few actor technique issues that need addressing, an actor performance that still needs to find a path of it's own (rather than borrowing from another actor), and an ego or two that needs taming... but for the most part, the bulk of the cast is pulling off an AMAZING performance.  It is likely time for a little reminder about why actors do what they do... why true artists 'love the art IN themselves, NOT themselves in the art...'  Yes, my students hear that all the time, as it is one of those quotes from Stanislavski that I attempt to inspire them with.  

One of my own personal challenges in this show has been directing other directors.  Three of my actors are also directors and I have been incredibly impressed with how they have adapted to my style of directing. One is quite young, while the other two are very seasoned, but all have worked professionally and really raise the bar for the cast I have assembled!  My style  is clearly nothing like how they would approach the show, but for the most part, they have respected my vision wholeheartedly.  I have appreciated all of their comments and input, much of which  I have tried. 

Their viewpoint and critical eyes see things I may miss, having, myself,  seen this show in rehearsal night after night...  I never want watching these scenes to get old, as there are so many beautiful and genuinely 'real' moments in the show, but my own eye is starting to tire...  But, I trust most of my actors to delve completely into this wonderful Williams' work and give me a fresh, yet consistent performance each night!

Tech Week Extravaganza...

Well, here we are in Tech week, working out all the lighting, costuming, prop and sound issues.  And, there are a multitude of those!  But, every run we do, we work out many more issues and the show slowly pulls together.  This show will be nothing like anything I (or from what I have been told, most other people) have seen at Xenia before!

I am currently working with an exhausted cast and crew, so have given them the day off tomorrow to rest up and get ready for a full 'as show' run on Thursday.  We have, sadly, lost two very valuable cast members in the last week... One to a serious gall bladder disorder, requiring surgery; and another, to a kidney issue, also requiring surgery.  While we are worried about and thinking of these wonderful girls, we know they wish us well on this production!  It is never easy to work around missing actors, but my amazing cast has pulled together and helped (or was bribed;)  )  fill the empty holes.  

It is at this time in the process that I must start letting go of the show... not easy for the co-dependent personality that I am.   I have lived and breathed STREETCAR solidly since May and giving up control shall be very difficult.  I am a perfectionist by nature, but now it is time to let go of those issues and details that can't be resolved, no matter how much I want them to be.  I have made major strides today, as I have looked away from some niggley issues that, a week ago, I would have spent hours trying to correct... well, not today!  Major progress! 

 I feel that it may be time to acknowledge my cast and some of the crew, who have done so much, and have inspired me beyond my own imagination.  I don't mention them by name much, but it is time they became known...

Cassandra Engber is my amazing Blanche -- This woman has not flinched once, at my sometimes unconventional, vision of Blanche.  Through our collaboration she is producing a Blanche that is just as I would play her... she is taking everything in and pulling the character I want out the other side. 

Juliet Howard-Welch is my Stella -- And, yes, my daughter.  I have NEVER had the pleasure of directing her in a principal role before.  There was always too much drama with parents of my previous company's members, that I never allowed myself to consider Juliet for a role like this.  This child told me before casting ... 'I will do anything in the show you need me to do...'  What an attitude for an Actor's Equity Candidate, with tons of professional experience.  I get far more 'diva' behaviour from those who have no reason to be 'diva.'  Even this time, though I felt she was the best for the role and had an amazing chemistry with the rest of the cast, I didn't want to cast her.  I was actually outvoted.  Juliet has pulled an amazing character out of the depths.  She played Blanche in High School (not a play I would have chosen for high schoolers to attempt) and was amazing in that, but I do feel her Stella is far more honest. 

Daniel Wilson is an amazing Mitch.  I first met Daniel when we were both in a production of Titus Andronicus -- he as Lucius and I as Tamora.  I was thrilled when he walked into my auditions. He just gave me a quality in Mitch that I had to have.  I didn't recognize his performance at all at auditions, as his style was SO different from Titus.  I realized why after some time working with him, but I am entirely besotted with his portrayal of Mitch.

Geoff Moss  has become one of my most valuable cast members and a very respected colleague.  Geoff is my set designer and plays Pablo in my show and for both of these instances of participation, I am very grateful.  He has created my set, just as I saw it, has added and adjusted everything I wanted... No, he wouldn't give me my hard wood floor, but, that is one of those things I really didn't need, now did I?  He has really stepped up and done everything I have asked of him as Pablo... he (as a director, himself) hasn't agreed with it all, but he has tried it all the same.

Josh Katawick is my Young Collector and most definitely one of the most naturally talented individuals I have ever met.  Sure, when I met him back in February at our first read thru of Titus Andronicus (where he played Saturninus), we couldn't stand each other.  But, over the course of that show, we became friends and I am thrilled to share the experience of Streetcar with him.  I didn't get him into rehearsals until 2 weeks ago, as he was working with the Shakespeare Theatre of New Jersey, but now it seems like he has been here the entire time.  He, like Geoff, needs only a little coercion to do what I want him to in the show.  His talents will make this show great.  I just have to make sure he auditions for my next show (Midsummer in Springfield). 

Brandon Saldivar is our very own 'Mr. Congeniality'... with his cheerful smile, good visual eye and excellent attitude, he makes a great ensemble 'glue', keeping us all together.  He makes friends easily and quickly and seems to know how to keep everyone in a good mood.  He is in my ensemble as the Sailor and a prostitute and he works just as hard as the most principal actor does. 

Diana Hart  is another incredibly positive influence gracing our cast.  She plays the Mexican Woman and a prostitute.  I am so happy to finally be able to work with her (I saw her in a show at Xenia a few months ago) and feels she is amazing as the Mexican Woman, one of those characters that are usually thrown away in other productions of STREETCAR I have seen.  But, her portrayal is pretty vital and adds so much to the show.  She has truly made a smaller role into something utterly meaningful. 

Jennifer Sivers-Shrader is a great Eunice. I first met Jenn in another show several months ago and love her shy, but sweet personality.  She also has done everything I have asked of her and really helped solidify the wonderful ensemble which has developed between my cast.  Jenn is one of the few people involved with XACT on a regular basis with professional experience.  Jenn is super sassy on stage and that is just what I want from my Eunice.

Mike Frazier literally 'walks through walls'... all the time.  I adore Mike.  I also met him several months ago and love working with him.  He and Jenn balance each other beautifully and should be a lot of fun to watch. Let the bickering begin.

Titus Wolverton is my Stanley and he has been my biggest challenge.  This young man is a vital piece of my Streetcar puzzle and has worked hard to create a character (perhaps not always my vision of the character) that will play on stage.  He has faced an impossible challenge with Stanley... trying to find something new in the role.  This task is not an easy one... with so much focus on Brando's portrayal out there, any actor could get caught up in the Gospel of Brando and will struggle to find something new and genuine.  But, he is still trying.

Austin Smith is my Stanley understudy and general factotum.  Austin was also in the same production of Streetcar that Juliet was in (playing Steve) and has grown immensely as an actor since.  He has stepped in for any actor that has not been there (and there hasn't been a rehearsal where he hasn't been used).  He has anticipated the show's every need.  This is a young actor that has been truly vital to the show.

Kelly Bennington is my Assistant Director and production SM and has truly kept me organized.  I met Kelly originally at a cast party for a show I did last autumn.  She has since become my friend and I thank god, that we still are after working together.  This attorney by day, has truly turned into a potential director.  I have really thrown her into the deep end, but she has popped right back up for more every time.  I know being involved with the show has been hard for her, but she has really stepped up and made my job so much easier.  She is now stepping into the role of the Nurse, as well. 

Joe Hochadel is well... one WOW musician.  Just met this gentleman a few weeks ago, but his music through my show has really brought the spirit of NOLA to us.   I have been friends with his wife, Cathy for some time now, but am thrilled to get to know, Joe, as well.  He has been very free with suggestions and ideas and given us such a sense and feel for the city. 

Having covered the cast, I also have a fabulous crew.  Will introduce them at a later time, but really wanted to acknowledge my wonderful cast.

This has indeed been a difficult show -- well, any show with this much emotional tragedy written in to it is bound to be wrought with stress and drama, BUT I have to say... far less stressful than any of the 40+ children's theatre productions I have worked on.  This ensemble cast has been a delight... yes, we have had disagreements, issues, stress nights... but, we have come out on the other side with a new idea or view or onstage situation to try. 

Now for a little amusement - found this odd little video on YouTube of cast member, Josh.  It shall leave us all wondering... 'what could it mean...'

Rest well, wonderful cast...

A frustrated director...

 Just a little update... These posts will be getting less profound and likely more immediate or personal, as the days progress..

Stress levels are running very high this week...

• Have lost my glasses twice (they were on my head), have lost my phone at least 3 times while wanting to text someone (I was talking on it), have left this room 4 times to do something but keep forgetting what it was by the time I reach the next room, and can't remember the simplest of words... old age, perhaps?

• Tech rehearsals start tomorrow, while I have spent the day dealing with trivial political garbage about the spelling of the word theatre... from the theater.  People should really know when to quit. All this while still moving, while still unpacking, working on the list of a million cues, while still doing PR that someone else dropped the ball on...  Wow, this reminds me of something... 

• We have lost a valued cast member due to illness and impending gall bladder surgery, so I will spend the next few days trying to replace her and rework her ensemble scenes.  AND, we still have another cast member in the hospital with kidney stones.   Wishing both of these girls a speedy recovery.

• We still have that never-ending list of niggly little props and niggly little details that have to be addressed, while reviewing the 'big picture' of the show, itself

• Have been told of an actor in the cast who wants to emulate another actor's interpretation and has said backstage that he will play his character any way he wants to when the time comes... hmm...

• AND, we are not done moving our household stuff from our old house yet...

Yep, a standard tech week!  Only only 7 more rehearsals.  

BUT, the show is coming along beautifully.  Only a tiny bit of cast drama (most of it is occurring outside of the protection of our cast and crew ensemble), set is amazing, costumes are coming along, we are well within budget (so far!), and lighting is underway today, as Andy is doing set and focus as I type (though he should be helping finish our move)...

Now, enough whiny nonsense.  Much to do before STREETCAR makes a stop in Xenia!

The journey to Elysian Fields...

Tennessee Williams crafted a famous allegorical line... 'Take a streetcar named Desire, Transfer to one called Cemeteries, ride six blocks and get off at Elysian Fields...'  Anyone with a shred of classical knowledge knows that Elysian Fields may refer to the 'heaven' of ancient classical culture - Elysium, Elysian Plains, or Elysian Fields.

When in High School, I often wondered exactly what Williams was trying to say.  Always looking for the story behind the story or hidden symbol, I struggled through scores of reference books trying to make sense of it all for an English paper.  Well, years later, here we are...  In my mind (and numerous others, I am sure), this wonderfully visual piece of text clearly shows the journey that Blanche is about to take (or is about to finish, as her life has been one long ride of desire and despair.)  The nature and consequences of DESIRE (of every sort, carnal or innocent) will surely lead the individual to the physical resting place of CEMETERIES, ultimately resulting in arrival at ELYSIAN FIELDS.  We see her haunted with a past filled with pain, while seeking love in every possible form... all leading to death and eventually, Peace... rest.  In some sad form, at the end of the play, Blanche may ultimately reach the peace and rest she needs and desires... we can feel that, if we don't think too hard about many of the techniques and 'explorations' of psychiatric medicine during this time period...

Now, as we are continuing the latter part of our text work, we are discovering many other aspects of Blanche's character and potential history to explore.  But, that takes us back to the original idea of this post... Elysian Fields... Is Williams' Elysian Fields really the restful 'heaven' Blanche seeks, when she finds her sister.  Well, in the current state, I would have to say no.  Even textually, Williams allows us the vision of a derelict, decrepit ruin, not far from the ruin of Belle Reve that Blanche just left.  Having visited New Orleans many times while playing parent to a Tulane University student, I went in search of 632 Elysian Fields.  This is what I found...

 These two buildings stand right next to each other at the point 632 would have stood... The white one on the left and the yellow on the right.  The photographs below depict other buildings on or around Elysian Fields. 

Playing with the poster....

 

Playing with the poster....  Will be exploring other poster alternatives over the next few days...

Just a Quickie...

Nothing profound today, just a few impromptu pictures taken at rehearsal tonight...

Auditions... Auditions... Auditions... 4 days to go!

Four days to go...

This will likely be the last post before I announce casting for A Streetcar Named Desire, so now is the time for me to wish those of you planning to attend, a great big 'Break A Leg.'... Though, you never know, I may think of something else I want to share before then!

It is also time to remind you to email or facebook message me with any final questions or requests for early audition forms, preferably before Saturday.  I am also happy to review your resume and photo early, so send it on!


Anyone who would like to audition, but cannot attend either of the sessions, please contact me immediately to arrange an alternate audition spot (either earlier on Monday or over the weekend.)  I would be happy to arrange an early audition for you. 

My Email is lisalhw@att.net 
My facebook is Lisa Howard-Welch Facebook

Just a few reminders about auditions:

• Doors open at approximately 6:45pm at the theatre
• Monday, July 11 open session will be from 7pm to approx 9 (we will run later if necessary)  
• Tuesday, July 12 open session will be from 7pm to 8 pm only, and has limited  audition space available.  Callbacks will be from 8 to approx 10pm on July 12
• Auditions will be run in small group format - 6 to 10 people will be auditioned at a time, on a 'first come, first served' basis according to the order of sign in.  Each group will remain in the theatre approx 20 to 30 minutes.  Some actors may be asked to remain for an additional session.  
• At the end of each group session, a Callback list will be sent out and those called back should attend the Tuesday callbacks, beginning at 8pm.
• Audition will be Cold Reading; however, those wishing to audition for Stella should prepare the song Summertime to be sung without accompaniment.  
• If for some reason you are not available for call backs, please indicate this on the audition form.

• Don't forget to bring a written list of known conflicts for the period beginning July 18 through September 19.  I will be creating the schedule around the conflicts of those who are cast, so it is important that this is turned in at auditions, with your paperwork.  All written conflicts presented by those actors who are cast will be honored, so be honest on this list.  

This is going to be a great show and I can't wait to meet all those who are auditioning!

To Mitch... or not to Mitch...

I haven't had too many inquiries regarding Harold 'Mitch' Mitchell... Just 3 or 4, but all but one have asked the same questions or expressed the same issues:  

'I want Stanley, but may not be (fill in the blank with one of these) physically right/attractive enough/ a good enough actor... so I am going to try for Mitch...'  

Ok, guys... Just so you understand - Mitch is a wonderful character.  A sensitive, gentle, loving man, who is drawn to Blanche.  Perhaps he sees what is under all the protective pretense that she armors herself with (which I think he does) and falls for her.  He truly cares for Blanche by the point in the play where she talks of her 'young husband'.  She opens up to him and expresses something that could actually lie at the root of much of her emotional trauma.  

The actor who is cast as Mitch will indeed be a strong and talented performer.  He will have a powerful onstage chemistry with the actress playing Blanche and will be an important emotional anchor for the production.  I really feel that the connection that Blanche and Mitch develop is just as powerful as that of Stella and Stanley, but as their relationship is condemned and manipulated from the start by Stanley, it is doomed.  Mitch is not a 'consolation' role, as many of the actors who have contacted me feel he is.  The actor playing Mitch, must be just as emotionally powerful as the actor playing Stanley.  It will be a challenge, but to be honest, Mitch is one of my favorite characters in the play. 

Some general Mitch background... He lives with his dying mother.  Perhaps this is why he is so sensitive.  He is a gentleman, well raised, with integrity and a sense of what is right.  As far as age, he should fall in the playing range of 30's.  Physically... well, we can't get around the scriptual description.  Let's just say  'Sweaty, clumsy, big guy, enjoys working out and moral sensitive women...'  And, perhaps even a walk on the beach.  Mitch and Blanche are initially drawn together out of a need of companionship.  But, while she is with him, the tiny expressions of trust are soon overshadowing Blanche's need to continue with her facade and we see a little of the inner workings of her soul.  

I have to wonder -- if the two of them had been left to their own devices and developed a relationship away from Stanley, if he would have become that chivalric hero she always wanted and needed.  Perhaps, she would have finally found that person who could love her... and she could have dropped the false facade, let go of all the pretensions and learned to love herself.  


If only...

Streetcar is on track at WTF in Massachusetts...

 Streetcar is making the rounds this season...

 

A few years ago, I spent part of my summer in the Berkshires and had the opportunity to see a wonderful production of Romeo and Juliet at the Williamstown Theatre Festival with Emmy Rossum as Juliet.  Granted, that was when the festival was still under the Artistic Directorship of Roger Rees...

Now, several years later, WTF is producing another play that lies so close to my heart.  Getting pretty good reviews, this production is only suffering from minor 'nit picky' issues.  Still open through this weekend, so if you are going to be anywhere near Williams College (or Northern Mass or Southern Vermont -- see it!) 

WTF Streetcar Page

Williamstown Theatre Festival produces A STREETCAR NAMED DESIRE

Just an FYI.

Blanche DuBois... She always depended on the kindness of strangers...

I know I promised to focus on both Blanche and Stella in this post, but I think Blanche is such a complex character, that she deserves the focus today.  I will discuss Stella later in the week.

Blanche is one of those characters often played adequately, but rarely played honestly.  First and foremost, Blanche is human and shares many of the same issues, stresses, unhappiness, and challenges of women today.  Like Blanche, we are all struggling with issues from our past and as we try to start anew, we face so many challenges. We falter, we succeed, we stumble and sometimes we get right back up and continue on our path.  But for some women, getting up and moving on gets more difficult every time they have to do it, making it easier to fall into despair and depression.  Any other inherent emotional or personality issues will then be amplified.    

The most common question thus far has involved dialect.  Blanche should have a strong Mississippi  dialect.  As she spends time in New Orleans, some of the NOLA inflection will layer itself on top of that, as it is very easy to pick up and top off any other regional accent.  And, no... The Mississippi dialect is NOT the same as the NOLA dialect. 

I feel it is important that any actress playing Blanche must call upon what is deep within herself and bring forth many levels of emotional experience.  I do NOT want a copy of another artist's version of Blanche.  What I term as 'photocopy' acting is entirely unacceptable to me.  The actress who is cast as Blanche will be able to bring forth truth and honesty into her performance. I hope for an actress with experience in life, emotions, distress, unhappiness, despair, elation... a full spectrum of emotional experience.  Of course, she must be able to display a solid theatrical background and the trappings that go along with that (clear and truthful dialect, diction and articulation, projection, motivated movement, levels, subtext, organic growth and all the other elements that make up a solid and believable performance.)  I do not want her to be portrayed as any other Blanche I have seen - I do not want her stereotyped.  Every movement, every word, every thought... there are reasons for everything she does.  Not everything is done for selfish and narcissistic reasons.  Her past has led her to this point.  I do not see her as a solid manipulator.   As I told one potential cast member:

"When we meet her at the start of the play, she has indeed suffered and is broken, but trying to get back on her feet.  Trying to be strong through all of her suffering and doing it in the way she was taught a woman does it.  I want her to have made some sort of self realization before coming into the play, as though she is getting a new start,  I want her to be optimistic, yet fragile… I do want her to have a  little more conscious power, as though she senses where she is heading , and struggling to keep everything in control as best she can.  There is a level of despair in Blanche, that I want to clearly pull through, even when she is smiling and enjoying herself.  Though the rape is probably the major point of climax in the play, it is not the only underlying theme.  Mental illness, the struggle between past conventions vs. modern progression,  and abuse on all levels… these are some of the things we will discuss when rehearsals go into character and table work..."

 If you wish to call my approach ' method' then, by all means, do.  That is how I was trained in Drama School and that is the approach I use when I take on a role myself.  So many people today misunderstand the true meaning of 'method'...  and attack those who use it.  Stanisalvski's teachings are so very basic and necessary.  Most actors who shun this technique, actually do not realize that much of what they do as an actor, has roots in method teachings.  Because this play was written and developed during the height of popularity  of this 'new style of acting', we will definitely be utilizing it in this production.

As far as character development, we will spend a bit of time in tablework, discussing character issues.  I encourage anyone hoping to audition for this role to take a look at some of the analytical writings of STREETCAR and Blanche online.  Many clues to symbolism and character workings can be found in them; however, be prepared - we will be starting fresh with our own take on the story, our own ideas and new thoughts.  We will toss out all the old pre-conceived ideas and reevaluate for ourselves.  

 Something to think about - Who did Williams base his character of Blanche DuBois on?  He did base many of the characters he wrote on people in his life.  Perhaps his institutionalized sister... or even himself... 


Now, I leave you with photos of some recent Blanche DuBois... some professional productions, some not.  

 

A little photographic inspiration...

So, wanted to put out a couple of nice little pics from one of my many visits to New Orleans... for a little inspiration.  Will add my normal Tuesday post tomorrow... to discuss Blanche and Stella...

A Streetcar, as it travels down St. Charles in the Garden District, near Tulane University...

This is actually on Elysian Fields...

This is in the Quarter....

 Also, in the quarter...

 At Cafe Beignet on Bourbon... none of that Cafe du Monde nonsense for me... Best beignets are in the quarter in CB.

Finally, a building in Laurel, Mississippi...

Until Tuesday.

Set, Production Meetings, and Stanley, oh my....

Have been so busy tying up other theatre projects (both enjoyable and tedious), but am now back on track for Streetcar.  Begin production meetings next week and am excited to get the set underway... My visions are far bigger than the budget will allow, but have the budget numbers now and am scaling down to my non-negotiable set elements.  Am really pleased with what may be appearing on stage!

So pleased to hear from more auditionees!  Love hearing everyone's ideas about characters, portrayal, approach... Will make auditions so much richer and give me so much to consider!  Speaking of auditions, I will be posting more reminders and details as the next weeks progress.  And, don't forget, if you would like to have your audition form pre-filled to save time on the night, then just message me through facebook, give me your e-mail address, and I will forward you a PDF as soon as I can!

Now, as most of my inquiries have been about one particular brutish character, I think we shall take a little look at him right now.  What to say about Stanley... most of the questions that have been posed, have to do with dialect and what I am looking for. What I have said to most of the queries regarding Stanley's dialect and character: 

"As for Stanley, Williams does not give us much in the way of a firm 'back story' for Stanley, it is something that (with guidance from the director) should be left up to actor interpretation. There are a number of clues in the script that can lead character development in a number of directions. Honestly, I prefer to see how an auditioning actor interprets a character, without a lot of early directorial input... So, I would like to see what you feel is the strongest direction to take the character.

But, the guidance I will give you may help you get started and give you some things to think about. First, It is not as simple as saying that his dialect should be taken in one direction or another. His accent will be layered with different regional and European dialects. For example, we know that Stanley was born in the US to Polish Immigrants... because of this, he grew up around the polish language and / or accent in the home. This will affect his current American regional accent. It is probable that his family immigrated into New York and lived there for a period of time, giving him a dialect suitable to that area. He likely moved to New Orleans in his late teens to find work, as New Orleans and the Gulf Coast was an area of growth and development during the 30's and 40's. So... We could surmise that Stanley left his parent's home to find work in the south. His regional dialect was already strongly developed, but the NOLA accent is a very strong one, quickly influencing any accent already developed."

I know, some of you have actually had this sent to you in an e-mail in response to questions...  More insight will come soon.  As for the subject of dialect, in general, a fan of an authentic dialect... one that has truly been studied is properly formed. Listen to the sounds, observe the mouth formations, and understand the sound and places of resonance... Also, it always helped me to have a little look at the history of the dialect or accent I was attempting.

Now, to get in the mood, have a little look of one of the lovely little gems that exist in the Quarter.

More in a day or so!

Just show me what YOU have...

As I previously posted, I am getting a lot of pre-audition actor introductions.   And, I love meeting the auditionees beforehand.  So, feel free to keep the introductions coming... send your resumes, photos, questions!  I love talking 'Streetcar' right now! 

Honestly, what I love about auditioning such a classic show is seeing each actor's interpretation of such well-known characters, watching an actor grow from the first reading of an audition scene to the final scene they read for me.  What I really want to see is what YOU have, what you can bring to the stage, what your vision of the character is.  These characters are human... they must, fundamentally, show all levels of emotion and humanity.  They will be developed from your personality, so who you are and what you have to offer are what I am looking for on audition night.  Yes, of course, I need to see the 3 Actor Tools in play:  Voice (are diction, articulation and projection strong),  Mind (is the actor able to visualize a character and 'live' their life on stage),  and Body (can they move and give me appropriate motivated action)... and can they tie it all together. 

Many are asking what I am looking for in certain characters, what kind of dialect, what physical features, how I want certain lines delivered, what they can do to make their audition stand out... I have to say -- it won't be that easy to get that kind of information out of me.  ;)  I don't want to see a finished product on audition night!  I will, however, leave clues to what I would ultimately like to see in the final production, here on this page.  Each day or two, I will post some of my thoughts on one of the characters.    So, keep an eye out!

The Streetcar is getting a little closer everyday...

It is becoming apparent that STREETCAR is working it's way closer and closer to Xenia, as we prepare for the upcoming auditions.   

Many potential cast members have contacted me to introduce themselves and I am always happy to get those 'Actor Introduction messages' as an audition approaches.  It gives me the chance to 'meet' my auditionees ahead of that stressful audition day.   Also, excited to hear from some of my past students and theatre colleagues who are coming out to audition.

At present, my only issue is finding the right Assistant Director and Stage Manager.  Will be putting out an 'all call' for both positions soon.

If anyone knows of a potential directorial team member, send them my way!