Andrew Koch, Author at Dramatics Magazine Online

The Basics of Good Stage Lighting Design

Andrew Koch — Tue, 04 Jun 2024 12:52:08 +0000

The spotlight is one of the most iconic symbols of the performing arts, and just one of many tools at the lighting designer’s disposal. In this article, we’ll introduce some principles of lighting design and the ways they can enhance your production. How you achieve these effects will depend on your troupe’s experience level and access to lights and tech, but these basics will help you understand the “what” and “why” of lighting design.

What is stage lighting design?

Lighting design is a kind of blueprint for the show’s light fixtures. Just like a script tells actors what to say and choreography tells dancers how and when to move, lighting design informs your technicians how a scene will be lit.

Through cues, technicians mark how and when different lights will go on and off. Cues often hit at the beginning and end of a scene but could also occur when a character enters or leaves the stage, a musical number begins, or the main action shifts from one part of the stage to another.

What makes for good stage lighting?

At a basic level, your lighting should make it easy for the audience to see what the director wants them to see, and when done well, it is both practical and creative. A blog post by Illuminated Integration, an effects consulting group, highlights four roles lighting design plays:

Illuminating the stage: Allow the audience to see the actors, set, and props so they can understand the action on stage. For safety reasons, it also allows performers to see each other and their surroundings.
Highlighting different areas: Draw the audience’s attention to a particular character, action or sub-scene, or pan from one part of the stage to another.

Setting the scene: Enhance the setting to reflect the place and time a scene is depicting. Perhaps wavy blue lights to suggest an undersea environment, or a flickering streetlamp for a seedy alley. Also consider time of day: Is it evening or morning? Can the lighting help indicate that time has passed—a sunrise, or sunset?
Controlling the mood: Hint at the character’s emotional state or provide a suggestion for how the audience might be feeling. Warm, cozy light might convey happiness, but harsh strobe lights indicate danger or excitement.

In the first video of a webinar series all about lighting design, Electronic Theatre Controls (or ETC, a manufacturer of lighting equipment) adds a fifth role: composition. Theatre is an art form. Like other visual arts, lighting designers can use the tools available to them—texture, lines, colors, shapes and so on—to aesthetically frame a picture of the action on stage.

And, like other parts of a production, effective lighting design supports the wider show’s creative vision. Make sure you stay in contact with your director and consider how lighting will affect other aspects of the show: blocking, choreography, sets, sound, and costumes.

Tools of lighting design

The specific kinds of lights and the technology you use to schedule and deploy cues will vary by troupe. But these are some of the creative levers you’ll have available to you as you put together a light design:

Intensity: Bright lights are more revealing than dim ones and can help convey a tone.
Color: Many colors are associated with emotions—red for anger or passion, blue for sadness, and so on. Also consider how colors will interact with sets and costumes, and how they can enhance the setting (e.g., a warm orange glow to suggest a sunset).
Movement: How do you transition from one lighting scheme to another? Is the light static, or does it flash or come on/off at meaningful times? Does the light need to move to follow a character or some action?
Distribution: Does the light come from one source, or many? Is it directly above the stage, or at an angle? How focused is it?
Shadow: Consider where light won’t be. Is a character half in shadow because they’re withholding information or can’t be trusted? Can you use shadows to create texture?

ETC has a helpful guide to many of these elements. And you can read how one student lighting technician approached her role.

Example: The Phantom’s Reveal

Note that good lighting design doesn’t necessarily show everything on stage. Indeed, there may be times in which you want a certain character or action to be in shadow. Consider the filmed production of Phantom of the Opera at Royal Albert Hall.

During “All I Ask of You,” Raoul and Christine sing of their love for each other in conventional lighting. As they exit the stage, the Phantom appears from behind the proscenium arch, lit overhead by a bright light. Unbeknownst to the lovers—and the audience—he watched the whole scene from the shadows.

The lighting choice is both functional and thematic:

Functional: The change in lighting draws the audience’s attention to this unusual part of the stage, helping reveal the Phantom’s presence.
Thematic: The lighting is eerie, unexpected, and unsettling. And the audience sees the Phantom as he sees himself—brutal, mysterious, and bitterly alone.

Good lighting design requires thoughtful consideration of how to best use the properties of light to help the show. And it requires practice—get started!

Andrew Koch is a writer and editor from Cincinnati. He volunteered to hang stage lights in a community production of Joseph and the Amazing Technicolor Dreamcoat.

The post The Basics of Good Stage Lighting Design appeared first on Dramatics Magazine Online.

Set Strike 101

Andrew Koch — Tue, 19 Mar 2024 16:35:18 +0000

The curtains may have closed, but your work isn’t finished! The last step for most theatre productions is the set strike, where everything from the show comes down. While your theatre teacher or director will help guide you, if this is your first strike, you may have plenty of questions. Here’s what you need to know.

What is a Set Strike?

After the final performance, oftentimes the cast and crew come together to pack up everything that was created for the production. At strike, you’ll essentially return the theater to how it was before the show. This leaves a blank slate for other groups using the space, including your troupe.

According to the American Association of Community Theatre, the word “strike” has been used by theatre groups for at least 100 years. Sailors from as early as the 1300s used “strike” to mean “lower a mast or sail,” usually when preparing to drop the anchor (such as at the end of a journey).

Set strike generally takes place immediately after the final performance, but (depending on the venue and other factors, such as school schedules) it may be held a couple of days later.

What Will I Do at Strike?

Your theatre teacher will assign tasks to make sure everyone’s time is being used efficiently. A “strike plan” collects their notes in an organized document that might be shared with cast and crew before strike day. The crew will likely work in their respective departments, with cast members assigned tasks where needed.

During strike, you might:

Deconstruct set pieces.
Determine what set pieces, props, and/or costumes will be kept.
Move items into storage.
Take down lighting and sound equipment and return them to their rightful places.
Remove posters, banners, and other promotional materials.
Recycle any leftover programs, tickets, and so on.
Tidy up and sweep/vacuum the wings, green room, and any other common area (possibly including the theater’s lobby and house).
Return borrowed costume pieces.
Collect scripts/librettos to be returned to the licensing agency.

Safety is paramount! Listen carefully to instructions and be aware of your surroundings – especially around power tools, ladders, and sharp objects like loose nails and screws. Not to worry though, you’ll always have an adult nearby if you have any questions or concerns.

What Will I Need for Strike?

Because you’ll be moving around quite a bit (and likely on the ground), you’ll want to wear closed-toe shoes and comfortable clothes that you don’t mind getting dirty. Depending on the job you’ve been assigned, you’ll be provided tools (screwdrivers, drills and bits, etc.), work gloves, sewing essentials, or trash bags.

Also, be sure to bring some refreshments to stay energized and hydrated, although this will likely be coordinated by the teachers.

You’ll also need to bring any materials that you rented from the licensing company, including scripts and scores. Follow your director’s instructions on erasing any marks you’ve made from them—licensing companies may have rules about this.

What Will the Theatre Department Keep?

Your director, producer, or technical director likely has ideas about what materials should be saved for future productions and what can be discarded.

Items designed specifically for a show (say, a bejeweled handheld magic mirror from Beauty and the Beast) probably can’t be used in other shows. But they might be saved and loaned out if a nearby troupe will also be putting on that show soon.

Here are some factors your company’s decision-makers might consider:

What shows your troupe will be doing next, if known.
Other uses: Basic items like stairs, platforms, or simple furniture can easily be adapted for other shows.
The item’s condition: No need to save splintered wood, costume pieces that have holes (although your costume shop will likely want to make repairs), or paint splotches.
How difficult the item was to find or make.
How much storage space you have (and how tricky a piece is to store safely).
Your troupe’s typical budget: some troupes keep each and every screw for reuse in future productions as a way to cut costs.

The troupe will also obviously need to return anything that was borrowed from cast/crew members, costume shops, or other theatre groups.

Should I Expect to Attend Strike Even if I’m Not on Crew?

Yes! In school and community productions, strike is usually an “all call” for everyone involved: cast, crew, and directorial staff.

Even if attendance isn’t mandatory, you should help your cast and crew mates. It’s very rare that a theatre teacher will pass up unsolicited support. In addition to being the right thing to do, your enthusiastic participation will leave a lasting good impression if you want to work with the troupe again.

Plus, this will likely be your last opportunity to see most of the cast and crew in the same place. Over the course of a production, cast and crew can become a kind of family. Cherish the remaining time you have with each other.

Theatre is a team sport. Roll up your sleeves, grab a hammer or drill, and pitch in!

Andrew Koch is a writer and editor from Cincinnati.

The post Set Strike 101 appeared first on Dramatics Magazine Online.

How to Build Your Costume Plan

Andrew Koch — Thu, 25 Jan 2024 13:46:33 +0000

Costumes can make or break the audience’s ability to believe a show – and a costume plan can make or break the costuming process. If you’re leading your show’s costume team, begin with a plan to help you stay organized before, during, and after the production.

Benefits of a Costume Plan

A costume plan (or costume plot) helps you track all the pieces in your show, from large dresses to incidentals like hats and jewelry. While it may take some work, an organized costume plan can help in every step of the process.

Before the show: Track pieces as you assign them to characters, then follow their progress throughout pre-production.
During the show: Tells the costumer exactly where any pieces are supposed to be, with ready-made checklists to run through before the show. The run crew will also know what (if any) pieces need to be set up in the wings or transported on stage between scenes.
After the show: Consult the plan to remind the crew what your company can keep after strike and what needs to be returned to another company.

How to Start a Costume Plan

You’ll first want to decide where to keep your costume plan. Some may prefer to write one by hand, but paper copies can be easily lost or hard to share. A spreadsheet made in Microsoft Excel or Google Sheets is easier to edit and share, keeping everyone up-to-date on the show’s progress.

Part of a costume plan for a production of Shakespeare’s The Tempest, created in Google Sheets

Next, determine how you’ll organize your plan. You could sort entries by scene, character, ownership status, or some other field. But you’ll want to be consistent and systematic, preventing you from losing or forgetting about pieces.

Your costume plan may change throughout the production, and that’s okay! Your plot should reflect the current status of the costumes, even if they’ve shifted from your initial idea.

7 Must-Haves in Your Costume Plan

Now that you’ve decided where to begin, knowing what to include on your spreadsheet is just as important. Be sure to record each of the following pieces of information in your plot:

1. Scene Information

Some costume pieces may need to be worn for some scenes in a show, but not others. Joseph’s coat in Joseph and the Amazing Technicolor Dreamcoat, for example, needs to be brought on stage by one character, worn by a different actor, removed by another, and then used again at the end of the show – all by different actors, depending on the director’s blocking.

Dividing the show into scenes and marking costumes accordingly can help you track where pieces need to be, particularly if they’ll be used in multiple scenes and places during the run. It can also help you see when and where any quick-changes occur.

If the script doesn’t list individual scenes (or those listed in the script aren’t working for you), talk to your director and stage manager. They can help you divide the script into more-manageable scenes.

2. Character Name

Who’s wearing the costume? Note any situations in which pieces switch between characters or are used as props. You could list the actor’s name instead, but that might be cumbersome (especially if multiple actors are playing the same role, such as if the show is double-cast or an understudy takes the stage). If you’re so inclined, you could color-code your plan. Assign a color to each character or just to principal characters and ensemble groups.

3. Ownership

Is the piece borrowed or did your team construct it? Pieces made by your crew will be easier to spot in spreadsheet form, allowing you to start assigning them early in the production process. This column will also help you easily determine whether you’re allowed to make significant alterations to a piece.

4. Status

Is the piece stage-ready, or does it still need alterations? (And have you started it at all?) You can also use your spreadsheet as a way to assign and track progress on any alterations.

5. Color Notes

Good costume design uses colors to help the audience easily identify characters or traits. Colors can help the audience distinguish characters from each other, or (alternatively) suggest how characters are related. You might include a column in your plan that tracks what primary colors are associated with each character and their costume(s).

6. Transition Notes

Indicate whether the actor will need help changing out of the costume and into another, as in a quick-change. You’ll want to assign costume team members or run crew to help actors with quick-changes, though you might not be able to anticipate all of them until you’ve run through the show a few times.

7. Type of Item

You might also think about your costumes as smaller segments – for example: tops, bottoms, shoes, and accessories. This will help you make sure you have a full costume for each character.

With a comprehensive costume plan, you can keep your whole cast and crew up to date with your design as it comes together.

Andrew Koch is a writer and editor from Cincinnati. He thanks his wife for sharing her custom-built costume plan for this article.

The post How to Build Your Costume Plan appeared first on Dramatics Magazine Online.

Callback Audition: An Actor’s Guide

Andrew Koch — Fri, 01 Dec 2023 14:19:11 +0000

Congratulations! You made it through a nerve-racking preliminary audition. But now you’ve been asked to attend another round of evaluation: the callback audition.

If you’ve never been, callbacks can seem intimidating. Here’s what you should know ahead of time, and how you can make the most of it.

What Are Callback Auditions?

Most shows have auditions, for which actors might be asked to prepare a monologue and/or (if the show is a musical) a song. Casting directors and other members of the production team use auditions to evaluate actors’ potential and make decisions about who will fill each role.

A callback audition is a second wave of testing: an opportunity for directors to finalize a cast list. Quite literally, actors are “called back” to the audition space to continue vying for a spot in the production. For some directors, callbacks are merely a “final cut” for certain roles. Others use callbacks exclusively to fine-tune a cast list they’ve already made.

Who Gets a Callback?

Generally, actors who receive callbacks for certain roles are the finalists for those roles. However, some actors may be asked to read for multiple characters.

What Will You Be Asked to Do?

Unlike auditions, you likely won’t need to memorize any materials ahead of a callback. Most callbacks involve readings from the play or musical: You’ll be given the script and asked to perform certain scenes from the show for the production team, likely alongside other actors who have also been called back. Sometimes you’ll be given some time with the material, other times, you may receive the material at the callback and be asked to perform a “cold reading,” without much prep time at all.

Note you may be asked to read for a role you didn’t audition for. Follow the director’s request, even if you aren’t interested in that role; they may simply be experimenting, and you can always decline a role if you don’t want it. (Who knows? You might be surprised to find you like playing an unexpected character!) Mostly, you want to appear receptive to the creative process of the director, display an apt ability to make strong choices and take risks, and be game, willing, and pleasant to work with.

7 Tips for a Great Callback Audition

Much of the same audition etiquette advice also applies to callbacks. Be courteous and professional, arrive early, and bring your acting resume.

Specifically, keep these principles in mind:

A Thespian participates in Thespy adjudication at ITF 2023. Photo by David Slaughter

Carefully follow all instructions: Prepare any materials as instructed and stay active and engaged during the callback itself.
Know the show: Now that you’ll be performing lines from the show itself, it’s even more important to understand the show and your (potential) role in it. Familiarize yourself with the character(s) you’ve been asked to read for. You won’t be expected to know every nuance of a character yet, but study at least the basics: the character’s motivation, their brief biography, and their dramatic arc throughout the show. If you have time, read the whole script, or watch a recording of the performance. Of course, if the show is a brand new original work, you may not have the ability to learn much ahead of the callback. Do as much research as you can.
Be flexible: As in auditions, directors are evaluating how well you take criticism and can adapt to their vision. Listen to and incorporate their suggestions for how to read a line or approach a scene—even if you don’t necessarily agree with them. Try things various ways, if you get the opportunity to read more than once.
Support your fellow actors: If you’re asked to read with another actor, treat them courteously and respect their creative decisions. The casting director will likely be assessing how you and other actors interact—both your on-stage chemistry and your level of professionalism—so be open and respectful. (After all, they may soon be your castmate!)
A group of Thespians prepare for adjudication at ITF 2023. Photo by David Slaughter
Try not to be nervous: Receiving an invitation to a callback audition is a good sign! The director saw what they liked in your audition and wants to spend more time assessing you for a role (or multiple roles). While certainly not a guarantee you’ll be cast, a callback reflects you’ve passed the hardest part of the audition process: making a favorable impression on the casting director.
Stay true to yourself: Again, the casting director saw something they liked in your audition. Don’t suddenly present yourself differently from how you did then, and definitely don’t try to copy a famous actor’s performance of a role. (A casting director isn’t interested in your imitation of Hugh Jackman’s Harold Hill. They want your Harold Hill.)
Follow up: The production team will almost certainly confirm how they’ll inform you on their casting decisions. But if they don’t (or they haven’t contacted you in the time frame they originally announced), it’s appropriate to reach out for clarification. Just be sure to check all locations information may have been conveyed already, like a callboard or your spam folder!

What if I didn’t get a callback?

Don’t panic if you didn’t receive a callback. That doesn’t necessarily mean you won’t be cast—the director may simply feel they’ve seen enough of your performance and resume to make a casting decision. Or perhaps the callbacks are only for certain roles or ensembles rather than the full cast.

Once you’re through the callback process, learn how to prepare for a table read or handle not getting the part you wanted.

Andrew Koch is a writer and editor from Cincinnati.

The post Callback Audition: An Actor’s Guide appeared first on Dramatics Magazine Online.

Audition for Community Theatre

Andrew Koch — Wed, 28 Jun 2023 22:31:01 +0000

What are you doing this summer? Your love of theatre doesn’t have to end with the school year (or even with high school graduation). Acting opportunities are all around you—if you know where to look.

If you want something more organized than a backyard performance but less professional than a regional theatre, community theatre troupes might be right for you. Though mostly made up of amateurs, community theatres perform shows for the general public and bring accessible theatre to your city.

Here are five reasons to audition for a local community theatre.

Get more acting experience

Quality may be better than quantity, but you’ll still want several roles on your acting resume. Your school likely has time to do only two or three shows in a year (and may be dormant over the summer). But community theatres can operate year-round, giving you additional chances to hone your craft.

Community theatres can also be a fresh start. You may regularly compete with other students for roles you want, but the pool of actors in your age group might be smaller at a community theatre. And you’ll work with a new director and a wider variety of castmates—including older actors who have valuable experience to share (more on this later).

Acting in community theatres can even open you up to a wider variety of roles. A local community theatre might be able to put on shows that your school can’t. For example, maybe you want to play a role from a show that’s too risque (say, Cabaret) or logistically difficult (say, Phantom of the Opera) for your school to put on, or a show for which the rights aren’t available.

Broaden your theatre knowledge

Many companies are volunteer-led, meaning everyone pitches in. In addition to your acting role, you could take on tech responsibilities that will help you round out your resume.

The troupe I’ve been involved with as an adult performs in a public park’s amphitheater. As part of the agreement between the troupe and park, everything must come down after each rehearsal and performance: lights, sets, props and even backstage tents that the actors sit underneath.

By helping out, I’ve expanded my theatre skill set and developed a greater appreciation for the hard work that goes into a show. Though I’ve only been credited as an actor, I’ve also:

taken down and put up set pieces
hung lights and curtains
edited and formatted programs
worked concessions
set up stands and chairs for the orchestra

You might also have an opportunity to assist with costuming, makeup, or marketing the show, or even direct!

Network with local directors and actors

If you’d like to act professionally, community theatres help you meet key people in the local industry, such as directors and actors. They can give you important feedback and expose you to different styles and techniques, and keep you informed of other opportunities (both educational and professional).

Building these relationships can also “get your foot in the door” for future shows. In addition, directors make helpful references for jobs, and can write letters of recommendation for colleges or scholarship programs.

Don’t forget to ask veteran actors for their advice. Some of my favorite memories of community theatre are killing time backstage by tapping the brains of actors who have been in the business for years, even decades—the different roles they’ve played, how the companies have evolved, and even the “drama” behind the drama.

Give back to your community

Local arts need participants, in addition to patrons! Support the arts by showing up in your community. Your troupe might perform free shows at places like nursing homes and schools, bringing theatre to audiences who otherwise wouldn’t have access to it. Or it might provide opportunities for actors who have disabilities or other life circumstances that prevent them from participating elsewhere.

You can also give back by being the mentor you always wanted. Take other new or young actors under your wing, and share what you’ve learned to help them grow.

Have fun!

Make lifelong friends and keep your love of theatre strong. Find a troupe that’s a good fit for you, and you’ll have a creative outlet that lasts—not just for summer vacation, but also after graduation and throughout your adult life.

For more, check out the American Association of Community Theatre and similar organizations for your region.

Andrew Koch is a writer and editor from Cincinnati. He performed in his first community theatre show at age 24.re

The post Audition for Community Theatre appeared first on Dramatics Magazine Online.

Do This Musical, Not That One

Andrew Koch — Wed, 17 May 2023 21:16:58 +0000

Choosing popular musicals for your program’s next productions can be tempting. Sure, top-of-the-charts cast recordings draw new people to the art of musical theatre, and it can be exciting to tap into that energy.

But popular shows aren’t always feasible. You want your program to stand out, and maybe even attract a general audience. That’s made harder by choosing a show that several other schools are performing or have recently staged. And that’s on top of licensing issues: Companies may grant rights to a popular show to only a handful of schools or programs in a region.

When planning your next season, consider these six less-performed (but no less substantial) musicals.

Popular Musicals in their Own Ways

1776 instead of Hamilton
A cultural phenomenon that sparked interest in both civics and theatre alike, Hamilton remains on Broadway and not at a community or school theater near you. But the oft-overlooked 1776 also dramatizes the founding of the United States (and, indeed was referenced in Hamilton’s “The Adams Administration”).

Of note: 1776’s characters are overwhelmingly male and white, in stark contrast to Hamilton’s race-blind approach to casting. But a 2022 all-non-male revival of 1776 paved the way for new ways of staging the show.

Honorable mentions: Lin-Manuel Miranda’s In the Heights or Bring It On. Both incorporate styles of nontraditional music and have several roles explicitly for people of color.

Once Upon a Mattress instead of Shrek
Though decades older than everyone’s favorite ogre, Once Upon a Mattress (a comedic take on The Princess and the Pea) is also a send-up of traditional fairy tales. And, like other suggestions on this list, Mattress offers more prominent roles for actresses than its male dominated counterpart, Shrek.

Mattress is a comedy, albeit with a different sense of humor. Shrek’s bawdy potty humor and pop-culture references are swapped for physical comedy and sexual innuendo. Mattress’ title itself is a double entendre, and there’s a whole song in which a father pantomimes “the birds and the bees” to his son.

Popular Musicals from the Good Old Days

All Shook Up instead of Grease
Both of these musicals are set in the 1950s. And both of these two shows are full of leather jackets and poodle skirts. All Shook Up trades Grease’s iconic doo-wop pastiche for Elvis Presley’s iconic songbook. School boards or principals concerned with Grease’s mature content might be much more supportive of the more wholesome All Shook Up.

Another reason to choose All Shook Up is that it benefits from not having a popular film adaptation that audiences will compare it to.

Popular Musicals You’ll Want to Get to Know

Once on This Island instead of The Little Mermaid
Disney’s The Little Mermaid tied for the ninth most-produced full-length musical in the Educational Theatre Association’s 2022 play survey. And for good reason: The show’s songs and characters are instantly recognizable to generations of theater goers, and its large cast allows many actors to get involved.

But Once on This Island is based on the same Hans Christian Anderson fairy tale—and it offers more roles for women (Ariel and Ursula are the only two female characters with significant lines in Mermaid) and people of color. The music is just as catchy, featuring a score from Broadway legends Stephen Flaherty and Lynn Ahrens.

Young Frankenstein instead of The Addams Family
The Addams Family, another of EdTA’s top-10 most-produced musicals, is a macabre comedy based on a much-beloved family of characters. Young Frankenstein checks several of the same boxes: a rip-roaring musical based on the popular Mel Brooks film of the same name. Both shows also allow for some audience participation, and don’t require the audience to know the source material to enjoy.

Pippin instead of The Greatest Showman
The Greatest Showman may not be a stage musical (yet), but the 2017 film’s popularity persists. Pippin, the 1972 brainchild of Stephen Schwartz and Bob Fosse, is also set in a kind of circus and features stirring melodies and physical stunts. A 2013 revival starring Patina Miller as the Lead Player (a role historically played by a man) brought new relevance to the show.

Andrew Koch is a writer and editor from Cincinnati. 1776 is his favorite “unpopular” show.

The post Do This Musical, Not That One appeared first on Dramatics Magazine Online.

Believable Characters

Andrew Koch — Thu, 06 Apr 2023 20:03:29 +0000

Acting isn’t just playing pretend. As an actor, you embody a key part of a show. Through your words and actions, you’ll move the story forward, play off other characters, and help convey the show’s themes. Empathetic, authentic performances also create emotional connections with the audience, allowing them to see characters not as roles in a play, but real-life people.

Your role in the show is a big responsibility! Here are four simple ways to bring your character to life.

Believable Characters in 4 Simple Steps

1. Read!
Read the whole script, cover to cover. Take notes about what your character does and (critically) what others say about them. If possible, do this before your production’s table read so you can hit the ground running. Here are other tips for reading through a play, including what elements you might focus on.

Your character study shouldn’t end when you’ve read your script or learned your blocking. As you’re learning lines, try different “takes.” Say your lines using different inflections, or processed through different emotions. This will open up new possibilities for your character (all subject, of course, to your director’s guidance).

2. Consider motivation
You might have heard the stereotypical, melodramatic actor ask “But what’s my motivation?” There’s truth in that trope, as cringeworthy as it may be. Actors need to understand their character’s wants and needs to make them believable.

Ask yourself what your character wants in each scene, and how they do or don’t get it as the action unfolds. Don’t just think about how you would feel and act—the key is getting inside the character’s head, and acting accordingly.

You should also think about how your character’s motivation might change throughout a scene. Maybe they entered the stage to get a snack from a refrigerator, but stayed after becoming interested in a conversation the other characters are having. Showing the different stages of that shift adds authenticity to your performance.

Lindsay Kujawa shares more tips for developing a character in this article. She suggests figuring out how a character’s internal emotions should be reflected externally in your action, as well as placing yourself in the character’s historical, social, political, cultural, religious and economic context. You might even complete creative exercises, like journaling, listening to a playlist inspired by the character, or creating a mood board.

3. Use your whole body
Always be aware of what your body is doing on stage, because the audience can see it. Little decisions can make or break an audience member’s immersion in the show. Any action that reminds them that the person on stage is you and not a character shatters the illusion.

Watch for any ticks or tendencies you might have, such as a repeated arm gesture or subconsciously swaying from side to side. (My wife, who’s been involved with theater for 20 years, calls the latter the “actor’s hula.”) Record and watch your performance. Does the character talk and move like you, or like your character? If you can’t be an objective judge of this, ask a trusted friend.

Here are some suggestions to involve your body in a positive way:

● Walk: Your character may strut into a scene, or tip-toe so lightly that they go unnoticed by other characters.

● Posture: Does your character slouch, or stand up straight? Consider factors like their self-confidence (both in general and in the scene), age and physical ability, occupation, and economic class.

● Arms: Are they crossed in frustration? Clenched behind the back, or placed on the hips? How expressive is your character with their hands while speaking?

● Sitting: Are legs crossed, or straight? If straight, how far apart are your feet?
Consider habits as well. Maybe your character is always fidgeting with something, or has a tendency to stroke his beard in thought. Involve your hair and costumes, too—a piece of hair that’s always in your face or clothes that look shabby, for example. Consult with your tech team.

Author’s note: Leaning into a character to this degree can be challenging. But the more you do, the less awkward and vulnerable you’ll feel. Start big and use those actions to make smaller changes to your body, thereby creating more realistic movements. Remember: you’re not doing these things—your character is!

4. Interact with the world of the show

You should be in character every second you’re on stage—including (and maybe especially) when your character isn’t the center of attention. A good actor knows the most important person on stage is everyone else. How does your character react to what’s being said in conversation. Or, if you’re meant to be in the background of a scene, how are you interacting with others or objects around you?

Though most of your movements and reactions will be prescribed (i.e., decided and rehearsed ahead of time), try to make them seem natural. You don’t want to remind the audience that you know how a scene unfolds ahead of time! Wait to respond until you hear or see something occur, rather than anticipating cues based on rehearsals.

Andrew Koch is a writer and editor from Cincinnati. As a character-development exercise, he once attended a cast dinner as his character.

The post Believable Characters appeared first on Dramatics Magazine Online.

Vocal Warm-Ups

Andrew Koch — Fri, 24 Mar 2023 19:12:19 +0000

Vocal warm-ups make for a great cast- bonding activity, and are an opportunity to get out pre-show jitters. You wouldn’t run a marathon (or do any exercise, for that matter) without stretching first. And as any good voice or diction coach will remind you, the muscles in your mouth are no different. Vocal warm-ups are crucial “stretches” as you prepare for a rehearsal or performance—good both for vocal health and for ensuring the audience will understand what each actor is saying on stage.

Here are 8 tongue twisters that go beyond “unique New York” and will get your whole cast buzzing. Have actors deliver the line in character for an extra creative twist.

1. Who washed Washington’s…?
There’s a whole host of Ws in this one—forcing you to keep the words at the front of your mouth and focusing on articulating the latter part of each word. For an extra challenge, sing the phrase, then go up or down a half-step with each iteration:

Who washed Washington’s white woolen underwear when Washington’s washerwoman went west?

(My high school theater program added a short beat between “washerwoman” and “went west.”)

2. The lips, the teeth, the tip of the tongue…
This one is short and sweet. But you’ll be surprised how difficult it can be to say each word in order! Try at faster and faster speeds to sharpen your -s, t- and th- sounds:

The lips, the teeth, the tip of the tongue.
The tip of the tongue, the teeth, the lips.

3. To sit in solemn silence…
This classic dates to at least 1885, where it appeared at the end of the song “I Am So Proud” in Gilbert and Sullivan’s opera The Mikado. You might perform this as a call-and-response, with the cast repeating each phrase after a “cantor:”

To sit in solemn silence
On a dull dark dock
In a pestilential prison
With a life-long lock.
Awaiting the sensation
Of a short, sharp shock
From a cheap and chippy chopper
On a big, black block

Gilbert and Sullivan shows, in general, are a great source for tongue twisters. Hamilton fans will recognize the title of the fast-paced “I Am the Very Model of a Modern Major General” from the duo’s Pirates of Penzance.

4. A big black bug…
As in “Who washed Washington’s,” the alliteration in this phrase allows you to practice separating each word:

A big black bug bit a big black bear
And the big black bear bled blue.

5. Mommy made me mash…
This tongue twister practically melts in your mouth:

Mommy made me mash my M&Ms, oh my!

It’s even “sweeter” when set to music, doubling as an excellent singing warm-up.

6. How much wood…
You’ve probably heard the first half of this famous tongue twister, but the second half adds a bit of complexity:

How much would could a woodchuck chuck
If a woodchuck could chuck wood?
As much wood as a woodchuck could chuck
If a woodchuck could chuck wood.

Like “To Sit in Solemn Silence,” this phrase also has its origins on the stage: the 1903 musical The Runaways.

7. Peter Piper…
Another infamous tongue twister, this nursery rhyme about Peter and his pickled peppers (first documented in 1813) has a few different versions:

Peter Piper picked a peck of pickled peppers.
If Peter Piper picked a peck of pickled peppers,
How many pickled peppers did Peter Piper pick?

All those popping Ps make this a great option for mic checks, too.

8. Something from your (or another) show…
If there’s a troublesome line of dialogue in your show itself, have the whole cast walk through that—even if just one actor will say the line on stage.

For something more musical, you could try “The Speed Test” from Thoroughly Modern Millie or “Supercalifragilisticexpialidocious” from Mary Poppins. A fast-paced rap from Hamilton (Lafayette’s entrance in “Guns and Ships” or Angelica’s “So this is what it feels like to match wits…” in “Satisfied”) might also do the trick.

The Benefits of Vocal Warm-Ups

Your cast has worked hard to memorize their lines and bring pathos to the dialogue. By helping your actors be heard clearly, vocal warmups will ensure they clearly share all that effort with the audience.

Andrew Koch is a writer and editor from Cincinnati. In addition to tongue twisters, he also warms up with strange-sounding vocal exercises.

The post Vocal Warm-Ups appeared first on Dramatics Magazine Online.

How to Prep for a Table Read

Andrew Koch — Wed, 28 Dec 2022 22:52:31 +0000

Once you’ve been cast in a show or named as part of a crew, you’re probably eager to get started. But there’s likely a step between you and the first rehearsal: a table read.

The table read is an opportunity for the whole cast (and, in some cases, crew) to review the show together and identify the most-important themes and scenes. With the crew’s involvement, a table read also helps troubleshoot specific lighting, prop, and costume needs, and highlight difficult transitions, blocking, choreography, and more.

You may have read parts of the script for your audition, either to prepare or during a callback. But a table read outlines the scope of the entire show. It gives everyone important context that they might not otherwise get until a full run-through (which comes much later in the process).

How to Prep for a Table Read

Note that the following advice is for troupes that are about to put on a production. We have a separate article on how a playwright can run a table read when workshopping a new script.

1. Read the whole script ahead of time

You’ll get more from the table read if you walk in with a working knowledge of the script. Read it from cover to cover, including the scenes when your character is not on stage. As you go, take notes on:

Your lines and stage directions
When you enter or exit the stage
Any props or notes about costumes for your character
What other people say about your character: Do they have specific mannerisms or a distinct way of speaking? What do the other characters think of them?
Clues in dialogue about your character’s backstory: Where do they come from? How do they see themselves?
What songs you’re participating in, including any reprises or interlude

Similarly, crew members should highlight the needs for their department in each scene: props, sound cues, and stage directions about lighting or sets. They should also note any scene, costume, or wig changes, especially those that happen quickly (e.g., that will require a quick-change).

If you’re working with scripts from a licensing company, take any notes in pencil only. The licensing companies require this so any notes can be erased when you return your script.

2. Research the show itself

Learn what you can about the playwright and the time in which the show was written. This might help you pick up on key thematic elements or decide how to approach a character. For example, researching The Crucible by Arthur Miller might reveal how the show was written as an allegory for the Red Scare, adding extra nuance to your performance. Also consider:

The genre (e.g., comedy or drama)
The time period in which it’s set
Dialects and vocabulary its characters would have, given the setting

3. Stay focused

Treat the table read as if it were a performance you’d paid to see, listening to every line and stage direction (even those that don’t directly impact you). The goal is to understand the whole show, which you won’t be able to do if you tune out some of it.

This will better help you to follow your director’s instructions. They might interject with comments about how your company will stage a scene or handle a piece of dialogue. Pay attention, also, to how they talk about characters (yours, as well as others), and what vision they seem to have for the show as a whole. Take notes—this will save you time later.

4. Don’t stress about singing

If you’re putting on a musical, you may or may not sing through the show as part of your table read. The director might provide vocal tracks or a piano arrangement, have the cast speak through the lyrics, or play a recording of the show’s music.

If you’re asked to sing, give it your best effort. But don’t worry if you lack polish. The director will understand that you probably haven’t had rehearsal time yet and may still be learning the music.

Andrew Koch is a writer and editor from Cincinnati. He always feels a little awkward at table reads because he doesn’t know how much to get into character.

The post How to Prep for a Table Read appeared first on Dramatics Magazine Online.

Design a Costume Quick-Change

Andrew Koch — Wed, 30 Nov 2022 22:38:23 +0000

Costumes are crucial to any show. Costume quick-change is key, but screenwriters occasionally leave only a short amount of time to transition from one to the next—sometimes not even enough for the actor to get to the dressing room and back.
In cases like these, you’ll need to design a smooth costume quick-change. Here’s how.

8 Steps to a Successful Costume Quick-Change

1. Read the whole script
Hopefully, you’ve already done this! Reading the script is also the first step to any good costume design. Look for any mention of clothing in dialogue or stage directions. Some quick changes are important plot points and will be obvious. But others might only be implied: for example, back-to-back scenes in which a character has very different costume needs.

Don’t look at scenes in isolation—it’s critical to imagine how characters will flow from one scene to the next. How much dialogue will you have for the quick-change to occur? What do you know about the blocking and choreography, and how much time will it take? Is it just one character who needs a fast costume change, or several? Also consider that a character may need to remain on stage even after their last line.

Attend a readthrough or rehearsal (even if you’re still early in the production schedule) to have a better understanding of the scene’s pacing, as well as the actor’s physical needs. You might even time the section of the script.

2. Talk with the director
The quick-change should align with the rest of the show, and your director—who’s involved in every part of the production—will have that perspective. Ask them the following:
● Will the quick-change occur on stage, or off?
● What else is happening on stage at the time?
● What else is happening in the wings at the time?
● Are there on-stage effects (such as lighting or smoke) that will affect the change, either by hiding it or making it more difficult to navigate?
● How are microphones going to be involved?
● Will hair style or wigs also need to be changed?

Your director can help you more fully understand the bigger picture—and you can help them understand what a realistic time frame is for the change.

3. Costume with the quick-change in mind

If possible, your quick-change should be a major factor as you’re designing the relevant costumes. Start with the costume being changed into (i.e., the second being worn). How will the actor put it on, and will they need help from crew members? It obviously needs to go on quickly and may need to be hidden underneath or behind the first costume. Likewise, your crew must be able to remove the first costume quickly, then set it to the side.

One solution could be layers. Can the actor wear the second costume (or at least some elements of it) underneath the first? Removing items is usually faster than putting them on, especially if you make use of “rigging” like snaps (see number 6) or fabrics designed to tear away.

4. Minimize the items being changed
The fewer items being changed, the faster the quick-change will be. Here are a few tips for limiting the number of articles you’ll need to change:
● Combine pieces by sewing them together: This limits the number of pieces being moved and the hands needed. Elsa’s famous “Let it Go” quick-change in Frozen is made possible by her coronation costume being just one piece, rather than a separate skirt, bodice and long-sleeved shirt. (Elsa’s second outfit is also underneath her first, as suggested in number 3.)
● Keep some items the same: Choose shoes, pants, undershirts, etc., that can be used in both costumes. This will save you, the actors, and the crew time and stress.
● Use wigs: Natural hair—with bobby pins, hair ties, ribbons, and sweat—can be extremely difficult to manipulate quickly. If your actor needs to change hair styles or color, wig changes can achieve the same look from the audience with less fuss.

5. Ensure modesty for the actor
Don’t forget the actor! This is a no-brainer if the quick-change is happening on stage as part of the show. But you should also consider modesty if the change is happening off stage. Some actors may have no qualms about changing in the wings in front of other actors and crew members, but you should check to ensure their comfort.

You could have the actor wear skin-colored underclothing (such as camisoles or bike shorts) or a leotard to help them feel more comfortable. You should also set up some time to have the actor meet and talk with the crew members who will be helping them.

6. Design the quick rig
Once you have your costumes and a plan, it’s time to add the “quick rig”: any modifications you need to make to the pieces to facilitate the quick-change. These usually take the form of fasteners that allow pieces to come off more quickly.

Each type of fastener has its benefits:
● Velcro is fast, but loud when removed.
● Snaps are fast and quieter than velcro but can tear fabric if not sewn on properly.
● Buttons are quieter and slower still and may be visible to the audience.
● Zippers are fast and quiet but could become caught mid-zip, hindering the rest of the change.
● Magnets are quick, fast, and discrete. But they may come undone at inopportune times, such as during choreography.
● Hook and eye fasteners hold well but are difficult to fasten quickly.
Decide which works best for the costume pieces and quick-change and make the needed alterations.

7. Organize and choreograph the crew
Just like action on stage, you’ll need to choreograph who goes where and does what during a quick-change. Planning this out ahead of time will prevent something not being fastened or a piece being dropped.

Part of your planning should involve “props” for those helping with the change. Lights are often dim backstage, so small flashlights for crew members can help everyone see better. And all crew members should have an apron with emergency items in case something goes wrong: safety pins, bobby pins, extra fabric, and body tape.

As you’re planning the quick-change’s movements, resist the urge to have the actor do too much. Their focus should be on the scene just before or after, not on the mechanics of the quick-change. In most cases, the actor can help the most by letting the crew do their work.

8. Practice!
Quick-changes are difficult to execute. Practice makes progress, which leads to perfection! Run the change at different speeds and levels of light—slowly at first and in full light, then faster and in lighting closer to the show’s. It may take you up until opening night to work it out. But keep at it and check in with your crew about ways you can improve.

Andrew Koch is a writer and editor from Cincinnati. He thanks his wife (who, as a costumer for a production of Beauty and the Beast, got Belle’s quick-change down to 37 seconds) for her help with this article.

The post Design a Costume Quick-Change appeared first on Dramatics Magazine Online.