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Now that I’ve gotten excited about theatre, I also need to stop the feeling of dread that’s started about it. Ugh. I mean, I WANT to do this, very much I just don’t want to fall into the habit of being unable to say NO and do back to back shows again. I must remember to things in moderation, and in this case, not kill myself with being devoted to the show too much. That devotion is pretty much what killed my enjoyment of theatre and lead to my taking a break from Church Hill in the first place. That, and somehow I was always made to feel guilty because I’d said no to a production, and then somehow got talked into doing it anyway because I was the last person they’d come to because everyone else said no before that – in the case of new directors I was uncertain about working for. This time? I’m totally going to trust my gut instinct about people in the shows. If I’m not sure about the director, I’m just not going to work for them. In the past, the two directors I wasn’t sure I turned out to be right about them.

The first was Joan, who was from Texas and claims to have done stage directing professionally. Theatre in the round mostly. You’d never have known it from the way she attempted to put together Seven Keys to Baldpate, or tried. She was so bad, having not progressed passed 3 pages of blocking in 5 rehearsals and at least 10-15 hours of rehearsal time, that her cast mutinied against her and all quit. Sylvia, the person who I loved working for most at Church Hill, had to scramble together a production to fill that summer slot – one of our busiest seasons. We did Love Letters then, in which I got to be Stage Manager and Melissa for some of the performances. We used the Seven Keys cast to fill in the roles, for those that wanted to stay and work on it, and it turned out really well even with different couples for different weekends/days. It was also an interesting experiment.

The second was working for Mr. Brown. I forget his first name, but that’s probably a good thing. This was working on Bell, Book and Candle. The production was a total and complete nightmare. That was almost as bad as Seven Keys really. He decided every rehearsal that the blocking needed changing – up through and including dress rehearsals and performances. After performances he was /calling/ the cast directly to change stuff. That’s JUST NOT DONE! Not done. Ever. It was so bad that during one of the dress rehearsals I got to the theatre a little late, saw what he was doing, noticed no one saw me, turned around, and went back home. I couldn’t take 3 hours of a rehearsal that was supposed to go through from start to finish as a performance being turned into a working rehearsal. There was no character or relationship development at all during this production. It was all blocking, blocking, blocking. Bleh.

So, here’s where I stand – nervous, excited, happy, fretful. Mostly? Nervous. It’s hard not to be, coming back from that. But, I’m going to go in with a positive attitude, see how they work together, and see if I have anything I want to offer them. We’ll go from there. For me, it’s not me who’s on probation, but them. It’s also kind of scary because I don’t know any of these people, and I only met Nancy’s friend very briefly yesterday so I can’t even say I really know him. I’m not really good at going to a place with groups of absolute strangers and mixing in. We’ll see. It doesn’t hurt to go and check things out. So, that’s where I am right now, with this.

If I do get involved, the play they are doing is: How to Succeed (In Business and in Life). I’ll keep people appraised and if I’m involved and people are interested I’ll let ya’ll know about tickets, shows and stuff.


Nynrose - Lisa Christie
Cuendillar MUSH

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