SHOW POSTER

Our beautiful show poster [Artwork by Kaylee Holmes, Design by Ron Barnett]

Dialect Resources: AUDIO EXAMPLES

Here is a very useful site with audio examples of the british dialect we are aiming to achieve. See especially the "South-East" examples.

http://web.ku.edu/~idea/europe/england/england.htm

Check it out...let me know what you notice.

Dialect Resources: FILMS

Here are some films that have characters using the dialect we are looking for. Also take note of how upper-class British characters carry themselves in these films.

Remains of the Day
Howard's End
The Importance of Being Earnest
An Ideal Husband
Pride and Prejudice
Sense and Sensibility
The Queen

CAST & CREW LIST FOR

BLITHE SPIRIT

CAST:
Charles – Jared Larson
Madame Arcati – Taylor Foster
Elvira – Tatiana Tindall
Ruth – Cassidy Jones
Edith – Heather Hale
Dr. Bradman – Thad Hughson
Mrs. Bradman – Hayden Fisher

Thank you to all who auditioned! I had a lot of fun with you during the audition process. Remember – whether your name is on this list or not –you have something important to offer to those around you!

CREW:
Stage Manager – Amanda Worman
Asst. Stage Manager – Josiah Thurston
Light Design – Kacy Helwig
Crew-
Jonathan Maywald
Tavin Boynton
Joshua Hooker
Chris Berg
McKayla Gunn
Amy Smith
Stephen Norton

Rehearsals begin on Monday, September 13th at 3:30pm in the auditorium with an all-cast and crew read through of the play.

Please contact Caleb Thurston (calebthurston@gmail.com) or Mr. Barnett if you have any questions.

Opening up & narrowing down

Opening up: being receptive to any idea, any contribution, any desire, any instinct that occurs onstage.

Narrowing down: having the courage to select, refine, specify, commit to bold choices onstage.

I first read this description of the rehearsal process in John Barton's text, Playing Shakespeare and it has often come to mind since. Directing is the art of opening up and narrowing down. Unfortunately, directors are often experts in one and not the other. (I tend to be better at narrowing than opening. I am learning.) But in the delicate balancing game, both are needed.

Opening up: allowing the actors freedom to give input and collaborate with the director. A posture of humility from all participants that says, "I do not have all the answers to this puzzle we call the play." An attittude of courage that says, "My creative instincts are not only valid but valuable. I have something to offer."

Narrowing down: the careful processs of selecting the most specific choice that best serves the story. Giving the actors the security of clear parameters, blocking, and direction choices. An attitude that says, "there is truth to be found here, there is empowerment in making big, committed decisions."

It should also be noted that much of the art in opening up and narrowing down rests in the timing. When is it time to turn from opening to narrowing? Again, the image of a balancing game comes to mind. A turn too early may stifle creative output. Narrowing too late, leaves actors unsure, unsettled, ungrounded. A great director is sensitive to the needs of his cast and the piece (each is different) to know when it is time to turn the corner.

If art reflects life: what season am I in? Am I opening up my heart to new lessons, new hurts, new adventures, new people? Am I narrowing down, digging deeper, removing layers, seeking truth, comitting to bold decisions? Am I sensitive to the turning of these seasons, the finesse of balancing?

May I continue to learn the art of opening up and narrowing down in both directing and in life.

How to select and prepare a monologue for your audition

At auditions, each actor will have 5-minutes with the director to present a monologue of your choosing. You can always choose to read a piece that I provide, but I would prefer if you find your own monologue, memorize and prepare it for your audition. Plus, I believe you will gain more that way!

Some tips to help you find a monologue:

1) Stick with the time limit (less than 2 minutes). Too short is better than too long.
2) Find a monologue that is close to your age and type. (For example, I probably should not choose a monologue featuring a fifty-year-old African-American hippy)
3) Look at plays you know or have been in. It is easier (but not necessary) to play a monologue for which you know the whole back story. There are also several valuable online resources for monologues.
4) Choose a monologue in which the character is fighting for something...not just retelling a story.
5) Do not choose a monologue from a movie or TV show.
6) Choose a monologue you enjoy! :)

Some tips for preparing a monologue:

1) Memorize it well...so you don't have to worry about the words when it comes time for your audition.
2) Find your target. Who are you talking to? Why does this person need to hear what you have to say?
3) Practice in front of at least one other person. You don't want the first time to present your monologue to be in front of the director.
4) Time it so that you are not surprised by the length of your performance.
5) When speaking to your target, use your imagination to place them out in the audience (not at the director) and direct the text to them.

CASTING: The characters of Blithe Spirit

I will be casting 5 women and 2 men in Blithe Spirit. Here is who I am looking for:

Charles Condomine: A wealthy author of popular novels, he orchestrates a seance as research for his latest book.
Ruth Condomine: His current wife; a bit uptight, trying to play the social role to perfection
Elvira: Charles' deceased first wife, who comes back as a ghost, determined to woo Charles and bring him back with her
Edith: The Codomine's shy, inexperienced house maid
Madame Arcati: A colorful, dramatic medium who whole-heartedly believes in what she does
Dr. Bradman & Mrs. Bradman: The local physician and his wife, they are Charles' guests and friends