Tag Archives: Brian Mackey

The Ever-Auspicious Opening Evening

The opening night of A Midsummer Night’s Dream: the Musical is at last upon us.

Another opening, another show!

Despite months of casting and development, weeks of rehearsal, and days of previews, it is tonight’s performance has been circled on everyone’s calendar from the very beginning.  That’s definitely enough to make theatre people a little nervous.  But, it might make them a little superstitious as well.

Well-known are the traditional superstitions of the theatre that date back to Shakespeare’s day and before.  For instance, it is bad luck to whistle in the theatre, mostly because in the past whistling was used to communicate between the sailors who were hired to run the ropes and flies from the catwalks during a show.  A misplaced whistle could be a dangerous thing.  And of course, most people know never to say the real name of Shakespeare’s “Scottish play” in a theatre; however, if you ask any actors what the “cure” for this misstep is, you will get a different answer each time:  “Turn in a circle three times, throw salt over your shoulder, go outside and curse.  Or is it run around the theatre three times?  Wait, do you throw the salt over your right or left shoulder?”  And, yes, it’s true that everyone says “break a leg” instead of “good luck” before a show.

Given the superstitious nature of this environment, we thought it might be fun to see how some of our actors approach opening night, or any of the regularly superstitious habits they practice to through the run of the show.  As we are also doing a play about magic and mystery, it seemed only fitting that we find out about the magic that takes place offstage as well.

At first glance, most of the company denied having any opening night traditions or habits at all.  However, eventually some ritualistic practices did emerge.  And, one thing is very clear – every actor has very specific feelings about opening night.

“It’s like a roller coaster,” says Eddie Yaroch (Peter Quince).  “There is this terrific tension, like you are clacking up the metal chain that leads to your first line on stage.  Once that first line is said, everything lets go and the show runs itself.”  Traditionally, Eddie will repeat his first line to himself over and over again as he’s getting ready to go on, anticipating that moment.

Tom Stephenson (Bottom) agrees.  “It’s like being the groom at a wedding.  Excitement and terror before you go on, then lots of fun after you’re on stage.”

They both decided that opening night audiences were the best:  “It’s opening night – the crowd cheers for you.”

Other actors focus more on their preparation for their roles to shake the performance nerves.  Rin Ehlers (Helena) takes a walk through her blocking upon arrival at the theatre to solidify her character’s journey in her mind.  Savvy Scopelleti (Snout) tunes into the perspective of her character – an immigrant needing to belong – by repeating a handful of key phrases to herself in her Russian accent during the hours before going onstage.

There is also something to be said for camaraderie among cast members.  Especially on opening or closing night, Lauren King (Hermia) feels it’s important to acknowledge the company’s journey and usually tries to make little gifts or write little notes for her castmates.  “The first professional show I ever did, someone did that for me,” Lauren says.  “I’ve never forgotten that.”

Brian Mackey (Demetrius) and Kevin Koppman-Gue (Lysander) share similar approaches to dealing with their opening night nerves.  “I like to be social and joke around with everyone until the second before I step onstage,” says Kevin.  “The more I’m in my head about the show, the more chance there is for me to flub up.”  Brian also tries to avoid the nervousness that infiltrates the dressing rooms as showtime nears.  “People are pacing,” he says.  “I read Sports Illustrated.”

“There’ s something special about opening night,” says Taylor Peckham (Puck/Musical Director).  “I like to get dressed up and celebrate it.”

We couldn’t agree more, Taylor.  Here’s to an auspiciously amazing opening night.  Break a leg!!

- T.T.

 

‘Twas the Night Before Previews…

 

Dateline:  Rehearsal.  Wednesday, August 29, 745 pm

Looking handsome

‘Twas the night before previews

And in the Clayton E. Liggett

Were just the sounds of fine-tuning

And a director shouting, “I dig it!”

 

Ropes and bowers and trees!

The rope swings were hung

From the stage grid with care

In hopes that “knot spacing”

Was finally secure.

 

Patrick was tucked

In the sound booth and gave

Life to the piano

Patrick Hoyny, sound guru

When Taylor would wave.

 

And what was there left

on the list to complete?

Sharon just smiles and says,

“I can’t feel my feet.”

 

The actors run round

Savvy Scopelleti, en wing

In costumes and curls

Rehearsing their harmonic

Poetic pearls.

 

It was nigh around eight

When the last rehearsal began

The bower finally hung

Sean Cox, rope and bower master

As the actors filed in.

 

The company’s final attempt

To make everything right

Knowing tomorrow’s first preview

Would be a memorable night.

- T.T.

 

 

 

Previews begin tonight!

 

A Day in the Life of a Superhero Stage Manager

The lovers hold their sleeping positions while lighting cues are programmed around them.

Once a show opens to the public, it is every theatre company’s hope that the performances seem effortless and smooth. However, the road to awesome is paved with…well, technical rehearsals. A Midsummer Night’s Dream: the Musical, has been fairy-wing-deep in tech rehearsals all weekend as we prepare for our first preview on August 30. For the non-thespian crowd, tech days are the very last of the rehearsals – the ones right before the first preview and right after the actors have completely finished setting their movement on the stage. During these final days, the lighting cues, sound cues, and any other technical elements of the show are layered in. These rehearsals are typically lengthier than any others, as it takes time to – not only decide what works best for each and every moment of the play – but also to actually make each and every moment happen.

Jupiterimages/Getty Images

Basically, it looks like this:  actors waiting around to take their places on stage for particular scenes, production crew members randomly popping out of lighting grids, sound cues filtering through the speaker system at odd times during the three or four or eight hours in the theatre that day. The stage is always dark, except for the lekos and fresnels blinking through programmed cues. The stage is also quiet, so those who need to convey information to the directors or stage manager from all corners of the theatre can do so efficiently. The actors give way to the production team, who are coloring and creating the world in which they all will be living for the next four weekends.

Sharon dons coal miner headgear.
“The better to see the script with.”

To give a real behind-the-scenes glimpse into a technical rehearsal, though, there is only one person you need to talk to: the stage manager, aka the boss of the show once it opens. We caught up with Sharon Strich, Intrepid’s resident stage manager, and asked her to give us her moment to moment schedule from one day in her life on this technical rehearsal weekend. She obliged with one caveat:  “This post might scare people.” How crazy can one day of rehearsal be? Well, for one thing, we forgot she had other things to do – like a day job.

Hold onto your seats, folks.   – T.T.

A Day in the Life, by Sharon Strich – Saturday August 25, 2012

1:30am (yes, you read that right) – Wake up to do pre-rehearsal work on script and other paperwork.

4:00am – Leave for work at Starbucks.

9:20am – Finish work at Starbucks. Head to the theatre with really strong caffeine in hand.

9:45am – Set up the theatre for tech rehearsal, including my tech table, where I will live for the next few days.

10:00am – Tech rehearsal officially starts.

10:38am - Mic fittings, check fairy sound cues, organize company.

11:30am – Begin cue to cue lighting and sound rehearsal starting with Act II, scene i.

12:33pm – Break. Place glow tape on the set so the actors don’t kill themselves in the dark.

12:44pm - Continue cue to cue rehearsal, starting with Act II, scene i.

2:08pm – Break. Safety walk with John (Oberon) through his path to the catwalk during Act II, scene ii. Treacherous.

2:24pm – Continue cue to cue rehearsal, starting with Act II, scene ii.

3:21pm – Break. Check progress of the set in the shop. Coming along nicely!

3:27pm – Continue cue to cue rehearsal of Act II, scene ii.

3:54pm - Costume time!

5:00pm – Dinner break. Run for Starbucks, altoids, and chocolate; eat a sandwich for “dinner”; prep the ropes that will be moved later; talk through lighting cues with Curtis (lighting designer); talk about Puck’s pants with Christy (co-director) and Beth (costumer).

6:20pm – Continue cue to cue rehearsal, starting with Act III, scene i.

7:39pm – Break. Talk through more lighting cues with Curtis.

7:51pm – Continue cue to cue rehearsal, starting with Act III, scene ii.

9:04pm – Break. Work lighting looks for the chase sequence.  Very cool.

9:18pm – Continue cue to cue, starting with Act IV, scene i.

9:46pm – Actors released. Scenic work begins with awesome members of the crew.

9:50pm - Work through lighting shifts for the chase. Magical!

10:15pm - Re-hang two upstage ropes, discuss the plan and pick a paint color for Titania’s bower, paint the wood on the ladders and the Puck nest, cover the stairs in fabric and jute, paint the floor, start to dress the Puck nest, realize we need more jute for Puck nest, hang the front curtain.

2:30am – End of day. Head home.

3:15am – Once home, write rehearsal report and send to production staff, send any necessary production related e-mails, work on paperwork.

4:00am – Find my pillow before I hit the floor, pretty sure I will hit the snooze button when my alarm goes off in two hours.

Notes, iPad, script, water, caffeine, snacks, and aspirin make for a happy technical rehearsal.