A Quick Thought on Precision in the Theatre

Recently, I saw a play at one of the larger theaters in town that solidified a belief I've had for quite some time now.

Let me start by saying I thought the play was very well done. It was a solid piece of engaging and important theatrical art. The actors were all incredibly available, their navigation of the stage was alive and purposeful, and the production values were first rate. I was impressed.

But not as much as I could have been.

Even though everything was seemingly in place for this production to be successful (And considering I bought the last ticket that night, success wasn't a problem.) the one crucial piece missing, at least for me, was a concrete sense of communal precision in the work I witnessed.

Let me explain.

As I watched the show, it became clear to me that I was observing a wonderful group of inspired and talented actors who were hindered by constraints of the modern approach to producing a piece of theatre. On average, the typical play is rehearsed for about four to five weeks. The actors meet on the first day; perhaps they know each other from other shows or they could be meeting for the first time. The play is read at a table, there is discussion of what it means and what's being said, then everyone goes home to begin memorizing lines and doing their individual work. From then on, the destination is opening night. The attention is given primarily to staging the show and incorporating the technical aspects of the production. And yes, there is time for continued discussion and debate, but that type of exploration can never outweigh the primary objective of opening the play.

However, there was a time in the theatre where instead of rehearsing for only four or five weeks, a company of artists would spend four to five months working on a play. Actors were given the time and space to truly explore the more nuanced and complex aspects of the script. More time was available to develop a common vocal and physical vocabulary that more appropriately served the ensemble and the production. The cast had the opportunity to know and understand each other's personal aesthetics with more depth and intimacy. All things considered, this type of rehearsal timeline always produces more consistent, inspired, and precise work. In fact, a friend of mine in New York just began a rehearsal process that is scheduled to take an entire year! Think about how good you could be at something if you gave yourself an entire year to practice it. Imagine how brilliant you would be.

This is a major issue in our current theatre culture. Too often are good performers from differing artistic points-of-view and training backgrounds thrown together and expected to "make the magic happen". Sometimes it comes together beautifully, other times it falls flat. And there are many gradations in between.

I say let's take the guess work out of it. Let's make well defined, precise, and penetrating pieces of theatre all the time. And for god's sake, let's give ourselves the time we need to do it.

peace.

A Quick Thought on Good Theatre

I saw some really good theatre yesterday, a fortunate occurrence that happens far less often than it should.

The show I saw wasn't perfect; honestly I don't think a perfect show exists. However what made the show fun, entertaining, and inspiring to watch was the extraordinary sense of bravery and humility from the ensemble. Bravery and humility seem to be the more artistically constructive relatives of fear and fearlessness I've explored in this earlier post.

Firstly, the piece was a brand new work of theatre, not something from the pages of an anthology. This meant the show was attempting to comment on the here and now in very immediate and contemporary terms. Additionally, the staging seldom resembled the standard film-envying methods of most modern drama, conventions that often serve as aesthetic crutches for many theatre artists and patrons. Breaking convention and addressing the now are always a scary prospects, and a significant amounts of bravery and humility are absolutely necessary in committing to this kind of work.

It's a difficult balance to navigate.

Nevertheless, it was quite refreshing to watch a group of performers who understand the risks they are taking and approach them with thought, sensation, and engagement. It was a really good time.

peace.

A Quick Thought on Bad Theatre

I saw some really bad theatre yesterday, an unfortunate occurrence that happens all too often.

From my experience, bad theatre usually stems from one of two things: either an overabundance or extreme absence of fear.

On the one hand, when a company takes reckless and unsupported liberties with a play, their fearlessness and complete abandon produces theatre that is wayward, lacking purpose and direction. The audience leaves feeling confused and attacked, not by the story but rather the presentation of the play.

On the other hand, when a company of actors is afraid of the urgency or immediacy of a play's content and impact, the result is an artistic paralysis that prevents the ensemble from being available to adventurous theatrical exploration. The show becomes half-hearted, flat, and monochromatic.

It's a difficult balance to navigate.

Of the two, I must say I prefer the former. Shows approach with this perspective at least have a level of investment and engagement that keeps them somewhat entertaining. What I saw yesterday more resembled the latter, which is far, FAR more depressing.

(sigh)

peace.

Perfecto!

I figure there's been enough coverage of the Wisconsin union battle everywhere else today, so I figured I leave it alone for now. Besides, I was inspired today by something much more illuminating.

Currently, I've been working with the Philadelphia Shakespeare Theatre as an actor for their school tour of Hamlet. The production consists of one production manager and four actors who practically pack the entire show in a minivan and travel to various public schools in the Delaware Valley to perform. With the exception of the cat who plays Hamlet, each actor plays multiple roles (I'm Polonius, Horatio, Laertes, and Rozencrantz.) and the script is cut from its original four hour length to an hour and twenty minutes or so. After each performance we have a brief question-and-answer session with the students, shake a few hands and such, then pack up our stuff to make our way back to the theater.

Today's performance was at a vocational high school here in Philadelphia. When we arrived, we unloaded our stuff and began setting up on the stage in the school's "cafetorium". As we were loading in, much of the student body were finishing their breakfast in the same room, and it was immediately apparent the school was attended by a majority of African-American students.

Now, I am as susceptible to the frailties of human prejudice as anyone else. Not only that, at times I am apprehensive as to how my work will be received by the folks in my own community. I don't think is incredibly stereotypical to say many African-Americans, though politically liberal and progressive, trend towards social conservatism. Therefore, a stigma exists in the black community towards the exploration of performing arts. Many people who do what I do know this whether they like to admit it or not, which is why quality productions of Shakespeare, Chekov, or even August Wilson are a rarity in black communities. (Boy, I'm going to get in a lot of trouble!)

So I'm expecting the worst; disinterest, lack of attention, sleeping, heckling, etc.

WRONG, WRONG, WRONG.

From the very first moment of the show these kids were incredibly engaged, and their energy was palpable. There received every word and had wonderful responses to every action. Many times throughout the show my cast mates and I heard many verbal responses to the events on stage like, "Oh snap! He killed Polonius!" or, "Wow!" and even, "Get 'em Hamlet!"

By the way, for all of you regular theatre goers, most of us actors like these types of responses. Read up on the groundlings that patronized The Globe.

After the show and a wonderfully rambunctious q&a, the kids made their way to the stage to shake hands and take pictures with all of us. And let me tell ya, there's nothing like a 17 year old asking for an autograph to stroke one's ego. It's almost narcotic-like.

As we were leaving the school we were still in disbelief as to how much fun we had performing at 8:30am. We never expected it. And I think we all learned something as well. All people hope for engagement, especially those that may not have ready access to it. I think it's safe to say we walked a little taller today. Days like today are why we do what we do.

peace.