Not in the way you may be thinking...
Just read this article about cellphones ruinous effects not only by audiences on performances, but on backstage by cast and crew of the shows themselves. I have been there.
For my own part, I do have a cell phone, and have had for most of my years in the theatre. But I have several rules for it's being with me during a show.
1) It stays in the green room or the dressing room. If I am in the house watching the rehearsal, I do not need a phone with me for that, and I would be sickened to have my phone interrupt the rehearsal process.
2) It goes on mute once I get to the theater. Not only could a ring still be heard on stage, depending on the venue, but I have always viewed the green room as a sanctuary for actors, each of whom require a different level of preparation and respite. I'd rather be over-considerate of that than under-considerate.
3) If I don't have time between my scenes to use the bathroom comfortably, than i don't have time to check my phone. I was once in a show where between my final scene in Act I, the intermission, and my first scene in Act II, 50 minutes elapsed. Fifty. That remains my longest break between scenes ever, and I would check messages at some point during it. I also do so for shorter breaks than that one at times, (especially if fantasy football is involved) but if I need to scramble to get back on stage, I'm doing things wrong.
Though I try not to be the cell phone police in a show, i will mention to someone if their phone is going off causing a disturbance. Once or twice I moved the guilty phone to another location of my own accord.
Most of the people I have worked with in shows have been good about phones, but even the local groups I sometimes do shows with have had an increase in cell phone encroachment from both audience and cast/crew. It is worrisome, and it pisses me off, to be frank.
At least, however, there is some tiny solace that even the big dogs, such as the actors and the venues mentioned in the article, have to deal with the same sort of bologna.
Showing posts with label green room. Show all posts
Showing posts with label green room. Show all posts
Wednesday, August 19, 2015
Wednesday, September 25, 2013
Pre-Performance Playlist Possibilities
My fellow actors have asked me about music enough lately that I thought the subject warranted a closer look. Specifically, what sort of music should (or shouldn’t) an actor listen to before starting a show.
Portable music has been part of the pre-curtain ritual for years. It is just the devices that have changed. Regardless of what plays the music however, I do think there are some guidelines for their usage.
To begin with, I am not in favor of people playing their music, regardless of genre, without headphones. Certainly not in dressing rooms or common areas. This actually happens in almost every show I am in, sadly. If an entire cast can come to agreement about a play list, fine. But such universal permission is rarely secured, and thus I am subjected to what the person with either no sense or courtesy to bring headphones decides is the right kind of music for the dressing room. Please, do everyone a service and only listen to music if you have headphones. Even the smallest of casts are likely to have divergent pre-show rituals and varied musical tastes.
What sort of music one should be listening to privately with headphones is to a great degree subjective, naturally. Different music does different things for each person. So while I cannot recommend or discourage specific songs, I do offer some results that music should have, so one can choose their own music appropriately.
The simple view is this…listen to a mix of music that is skewed towards upbeat, (that is to say anything that peps you up) during anytime before the 30 minutes until curtain mark. This is the time to get pumped, so use what works.
At around 30 minutes until curtain, start slowing your selections down a bit, skewing the list more towards the tunes that relax you and help you focus. With less then 10 before curtain, if you are listening to anything at all, (which I usually do not) make it the music that most easily makes you calm, helps you collect your thoughts, and puts you in a receptive frame of mind. Energy is good, but don’t be head banging this late in the game. Be pepped but centered. Of course, don’t put yourself to sleep with lullabies either.
Music of course is very personal, and there are exceptions to every rule. Yet we all have certain songs that affect us certain ways. If nothing else, be aware of how any given song or band makes you feel, ask yourself if that is the way an actor should be feeling right before a show, and listen accordingly.
Just don’t miss “places.”
(This piece originally appeared on Showbizradio.net on November 18, 2009)
Saturday, July 16, 2011
Rosencrantz and Guildenstern are Back
The start of the second and final weekend of this show was notable for a few things, not the least of which was a more subdued atmosphere. It may just have been me of course, but everyone just seemed more laid back last night. No doubt three days rest, and know we had a full weekend under our belt was to thank for this in large part.
It was quieter in the green room most of the time. Less tension. I think the fact that it was a cool night helped a great deal. It was actually cooler outside than inside for a change.
The performance itself also seemed tempered a bit, which I suppose could be see as either good or bad depending on one's point of view. Yet in this case it could not be avoided. "Guildenstern" was suffering from a sore throat and weakened voice. Despite it giving out somewhat near the end of the play, his voice was intelligible the entire time. But the actor's usual intense, high energy voice variations and volume were not possible. Hence the play took on a more intimate approach if you will.
Our audience was again small. 14 by my quick headcount through the curtain. Someone out there was laughing quite a bit though, which I am sure helps things a long. I still hope for a bigger crowd at least tonight, however.
My own experience was also relaxed going in. I have not been unsatisfied with any of my three previous performances, but something always seemed a bit missing. I always seemed to be looking for it. Tonight, heading into the play with such ease I think helped me smooth some of the rougher edges. I am willing to say that last night was my best performance of the run so far. Hamlet just came to me, and I proceeded to present him with even more confidence than usual. It is a small part, but I could not have asked for much more in terms of how I felt on stage. There was no moment of transcendence to another world or any such thing, but then again that is rarely my goal when I perform. No, I just felt that my movements, diction, cadence, motivation, and enunciation all blended into the best mix thus far last night. If the remaining two shows go as well as last night, the entire thing will be quite the success.
I also added a bit to something I started doing on Sunday. I tap at, "clean", and listen to the wall near me during my first entrance with Polonious, wherein Hamlet is pretending to be mad. I thought it added something to Hamlet's "antic disposition". I don't think most people have understood why I do it, but it give the scene more depth for me. When Polonious leaves the stage, I stop, as I believe Hamlet would do. After all, in the real play, just as Polonious leaves Hamlet utters, "These tedious old fools."
Even "To be or not to be..." was timed, in silence, to near perfection to coincide with what else was happening on stage. I began my entrance mouthing "for who would bear the whips and scorns of time...". That seemed to be good timing. At least last night. We will see if it will be again.
I still get nervous in Act Three when I have to move that huge umbrella and deck chair in the dark, but it went fine tonight. I did what I tried on Sunday, and I think at long last I have, knock on wood, found the rhythm to make that work.
One of only two goofs to which I was privy were discovering someone's cigarette lighter on the stage during one of my scenes. It was fortunate that I end that scenes with a low bow before exiting. I merely grabbed it on the bow and stood up as normal to exit. I could have left it there, but I thought given the nature of its round shape someone might slip on it.
The other goof was me having to exchange the letter in Act Three in the dark. Not a major problem there. Just had to move slowly and make the glow tape my friend.
Coming back to a show to start the second weekend of a two weekend run is always an interesting experience. Depending on how things have gone up to that point, the few days off between weekend can either seem like two weeks, or a mere few hours. But regardless there often seems to be a different feel to a show on the second weekend, and the second Friday in particular. A cast can either use this or be thrown by it. In this case, I think most of the cast used it to their advantage.
History indicates that in about 85% of the cases, the second Saturday is the best performance for such runs. What will this second Saturday bring?
It was quieter in the green room most of the time. Less tension. I think the fact that it was a cool night helped a great deal. It was actually cooler outside than inside for a change.
The performance itself also seemed tempered a bit, which I suppose could be see as either good or bad depending on one's point of view. Yet in this case it could not be avoided. "Guildenstern" was suffering from a sore throat and weakened voice. Despite it giving out somewhat near the end of the play, his voice was intelligible the entire time. But the actor's usual intense, high energy voice variations and volume were not possible. Hence the play took on a more intimate approach if you will.
Our audience was again small. 14 by my quick headcount through the curtain. Someone out there was laughing quite a bit though, which I am sure helps things a long. I still hope for a bigger crowd at least tonight, however.
My own experience was also relaxed going in. I have not been unsatisfied with any of my three previous performances, but something always seemed a bit missing. I always seemed to be looking for it. Tonight, heading into the play with such ease I think helped me smooth some of the rougher edges. I am willing to say that last night was my best performance of the run so far. Hamlet just came to me, and I proceeded to present him with even more confidence than usual. It is a small part, but I could not have asked for much more in terms of how I felt on stage. There was no moment of transcendence to another world or any such thing, but then again that is rarely my goal when I perform. No, I just felt that my movements, diction, cadence, motivation, and enunciation all blended into the best mix thus far last night. If the remaining two shows go as well as last night, the entire thing will be quite the success.
I also added a bit to something I started doing on Sunday. I tap at, "clean", and listen to the wall near me during my first entrance with Polonious, wherein Hamlet is pretending to be mad. I thought it added something to Hamlet's "antic disposition". I don't think most people have understood why I do it, but it give the scene more depth for me. When Polonious leaves the stage, I stop, as I believe Hamlet would do. After all, in the real play, just as Polonious leaves Hamlet utters, "These tedious old fools."
Even "To be or not to be..." was timed, in silence, to near perfection to coincide with what else was happening on stage. I began my entrance mouthing "for who would bear the whips and scorns of time...". That seemed to be good timing. At least last night. We will see if it will be again.
I still get nervous in Act Three when I have to move that huge umbrella and deck chair in the dark, but it went fine tonight. I did what I tried on Sunday, and I think at long last I have, knock on wood, found the rhythm to make that work.
One of only two goofs to which I was privy were discovering someone's cigarette lighter on the stage during one of my scenes. It was fortunate that I end that scenes with a low bow before exiting. I merely grabbed it on the bow and stood up as normal to exit. I could have left it there, but I thought given the nature of its round shape someone might slip on it.
The other goof was me having to exchange the letter in Act Three in the dark. Not a major problem there. Just had to move slowly and make the glow tape my friend.
Coming back to a show to start the second weekend of a two weekend run is always an interesting experience. Depending on how things have gone up to that point, the few days off between weekend can either seem like two weeks, or a mere few hours. But regardless there often seems to be a different feel to a show on the second weekend, and the second Friday in particular. A cast can either use this or be thrown by it. In this case, I think most of the cast used it to their advantage.
History indicates that in about 85% of the cases, the second Saturday is the best performance for such runs. What will this second Saturday bring?
Friday, July 08, 2011
The Final Approach
Last night was our final rehearsal. I don't buy into the notion that a final rehearsal is the opposite of what opening night will be, but even if I did, I wouldn't know how to categorize it. The energy was low, but we didn't bomb or anything.
This is one of those shows that needs an audience. Yes I realize that they all do when you get down to it, but what I mean is that I have discovered that certain shows get to a point where rehearsing starts to get a bit pointless. So invested in the presence of an audience is the script that beyond a certain point one can only guess as to how prepared a show is to go on, and I think we have reached that point. It needs an audience.
My best guess is that there are some tricky spots and pot holes here and there, but that each rehearsal has filled some of them this week. An extra week would have been ideal, but I would gather the show is ready to tentatively take off tonight. I think perhaps the first 15 minutes or so may be slow in going, and then the show and the audience will commence to thaw.
Silly as it is, I am proud to report that none of my snaps came undone during my scenes last night. I think I have finally mastered the limitations of my movements in same, and can gesticulate without causing a problem. There was also a piece of velcro added to the fly of my knickers, so that potential embarassment is no longer an issue. (I had used a safety pin the night before.)
I do think i need to slow down a few of my lines, but that shouldn't be difficult.
I also worked out some of the lighting cue difficulties I had had in Act Three. I need to give a subtle cue to the lighting guy who cannot see the whole stage, but other than that, no problem.
The only unpleasantness about last night is that I had to ask some people in the green room to quiet down do I could hear cues. There has been a lot of yelling and exuberant talking back there of late, but last night we had singing pop songs in harmony, and I really couldn't determine a thing as to cue from the monitor. I believe I angered some people, and while that is not my intention, I do need to hear my cues. Hopefully the presence of the audience will help with that as well.
I didn't time the show, but it seems to take about as long as it did the night before. We were done with everything, including notes, at about 11:00PM. The show is probably a solid two hours and 30 minutes.
For my own part, I continued to perform at about the same level as I have all week. Which is why I hope that tonight there will be that extra spark I mentioned in my previous entry. All of the difficulties and practice and such is behind me now. I am confident that I can and have provided my cast mates with what they need during my scenes. I wish everyone well of course, but I cannot spend too much time any longer pondering what is happening when I am not on stage. (Other than my cues, of course.) Despite the large blocks of time I have without doing anything, I hope to go inward tonight, and just enjoy the fact that I am Hamlet. If I can do that, it should be a fun opening night.
This is one of those shows that needs an audience. Yes I realize that they all do when you get down to it, but what I mean is that I have discovered that certain shows get to a point where rehearsing starts to get a bit pointless. So invested in the presence of an audience is the script that beyond a certain point one can only guess as to how prepared a show is to go on, and I think we have reached that point. It needs an audience.
My best guess is that there are some tricky spots and pot holes here and there, but that each rehearsal has filled some of them this week. An extra week would have been ideal, but I would gather the show is ready to tentatively take off tonight. I think perhaps the first 15 minutes or so may be slow in going, and then the show and the audience will commence to thaw.
Silly as it is, I am proud to report that none of my snaps came undone during my scenes last night. I think I have finally mastered the limitations of my movements in same, and can gesticulate without causing a problem. There was also a piece of velcro added to the fly of my knickers, so that potential embarassment is no longer an issue. (I had used a safety pin the night before.)
I do think i need to slow down a few of my lines, but that shouldn't be difficult.
I also worked out some of the lighting cue difficulties I had had in Act Three. I need to give a subtle cue to the lighting guy who cannot see the whole stage, but other than that, no problem.
The only unpleasantness about last night is that I had to ask some people in the green room to quiet down do I could hear cues. There has been a lot of yelling and exuberant talking back there of late, but last night we had singing pop songs in harmony, and I really couldn't determine a thing as to cue from the monitor. I believe I angered some people, and while that is not my intention, I do need to hear my cues. Hopefully the presence of the audience will help with that as well.
I didn't time the show, but it seems to take about as long as it did the night before. We were done with everything, including notes, at about 11:00PM. The show is probably a solid two hours and 30 minutes.
For my own part, I continued to perform at about the same level as I have all week. Which is why I hope that tonight there will be that extra spark I mentioned in my previous entry. All of the difficulties and practice and such is behind me now. I am confident that I can and have provided my cast mates with what they need during my scenes. I wish everyone well of course, but I cannot spend too much time any longer pondering what is happening when I am not on stage. (Other than my cues, of course.) Despite the large blocks of time I have without doing anything, I hope to go inward tonight, and just enjoy the fact that I am Hamlet. If I can do that, it should be a fun opening night.
Wednesday, April 06, 2011
My Latest ShowBiz Radio Post
This week in my column over at Showbizradio.net, I mention the importance of getting centered as an actor.
We all have different ways of doing this, and I don't advocate one specific method, though I do advocate one specific aspect of getting centered before a show: time alone.
I don't think it is that radical of me to suggest that one cannot get totally centered while talking to or carrying on with other people. Even if you do this before you get centered as part of your routine, taking some time alone in a private corner of the venue to wash away distracting thoughts come highly recommended by me.
Read for yourself.
We all have different ways of doing this, and I don't advocate one specific method, though I do advocate one specific aspect of getting centered before a show: time alone.
I don't think it is that radical of me to suggest that one cannot get totally centered while talking to or carrying on with other people. Even if you do this before you get centered as part of your routine, taking some time alone in a private corner of the venue to wash away distracting thoughts come highly recommended by me.
Read for yourself.
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