Tag Archives: Kevin Koppman-Gue
Audiences leapt to their feet night after night throughout this past closing weekend of A Midsummer Night’s Dream: the Musical. It was just the kind of reception that the company had been hoping for from their very first rehearsals – and one that was often repeated throughout the run of the show. Apparently, there was much magic in the music, and many of those who entered the theater new to Shakespeare left wondering what took everyone so long to infuse it with catchy tunes.
“It really makes it so accessible,” one theater-goer said, grinning from ear to ear as she left the theater humming “So Happy Together.” Another patron noted that he had been to the show three times. “I never saw the same play twice,” he said, referring to the energy and acrobatics of the actors and the music. “It was different each time.” Another audience member was regretful that she waited until closing to see the show because it was something she would have liked to share with others and to see again. “Oh, well,” she said. “I’m sad it’s over.”
She’s not the only one. After months of time spent in these characters, it takes a minute sometimes for the actors to step away – not only from the show, but from each other. “I’ll miss everyone,” says Sandy Campbell with a bittersweet smile, as the actors gathered in the lobby to greet family and friends after the final performance. “This show has really grown and we’ve grown together.”
Savvy Scopelleti agrees. “It’s really blossomed,” she says.
Eddie Yaroch weighs in. “The best stage entrance in any play I’ve ever done,” he says, referencing his cruising “Life Could Be a Dream” basketed bicycle ride.
Taylor Peckham admits that he now considers himself a Shakespeare veteran. Remarkably, this stint as Puck (as well as being the musical director of the entire show), was Taylor’s first experience performing the Bard. “And I’m not the only one,” he says, puckishly, looking across the lobby at David McBean, Sandy Campbell, and Lauren King.
Tom Stephenson ponders the nomadic nature of theatre as he glances around the bustling lobby. “It’s always like this,” he says. “You develop camaraderie for such a short, intense time. Then you may not see someone for three years, until you do another show together. But, we’ll always have this – this show will always connect us.”
It is certainly hard to let go of something that has been such an investment of time, talent, and energy. But it has to happen. And in the theatre world, it happens quickly. The company is already looking forward to beginning rehearsals for the next production, Hamlet, which opens in January. And no, Hamlet will not be a musical, even though the question has been posed by at least one audience member at almost every performance.
But there is one more step to complete before this next journey can begin.
Silently observing the festivities in the lobby, electric drill in hand, Michael McKeon, set designer, waits patiently for his cue. “Strike,” as it’s known in the theatre world, is usually a group effort, taking place immediately after the last show, when everyone comes together to dismantle the set. Already some actors have changed into sweats and sneakers to help with the impending task. There is no room for sentimentality about holding onto things in this place. Once the last bow is taken, it is time to move on.
Spotting Sean Cox, co-artistic director of the company, Michael calls out over the crowd, “Is it time?”
A few hours later – sets broken, curtains packed, rope swings untied – it’s as if nothing has happened here. The stage is once again bare, awaiting its next adventure. — T.T.
The opening night of A Midsummer Night’s Dream: the Musical is at last upon us.
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!!
Dateline: Rehearsal. Wednesday, August 29, 745 pm
‘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!”
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
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
In costumes and curls
Rehearsing their harmonic
It was nigh around eight
When the last rehearsal began
The bower finally hung
As the actors filed in.
The company’s final attempt
To make everything right
Knowing tomorrow’s first preview
Would be a memorable night.
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.
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.
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.
“This is not 42nd Street.” Colleen Kollar Smith is very definitive when she clarifies her approach to choreographing A Midsummer Night’s Dream: The Musical, which opens for previews August 30. Rather than layering on the expectations of a traditional musical theatre piece onto the words, Colleen has found that the words of Shakespeare have actually guided her hand. Or rather, her feet.”The process has been remarkably organic,” she says, as we sit down during a rehearsal break amongst the sounds of set construction and strains of sopranos reviewing their descants. “The movement is already built in and all we have to decide is how it supports the story and how to move in and out of the songs in a natural way.”
Tonight, they will attempt a stumble through of Act I, which involves quite a few tunes and dance numbers. The songs involved are taken from the 1960s, an era that Colleen associates with singing along to the music that her mother used to play in the car. Even if you think you aren’t familiar with the tunes of that era, she assures, you will be finishing the lines of the songs along with the actors on stage.
“Somewhere inside of you, you will recognize the music and say, ‘Yes, that speaks to my history,’” she says with a slight touch of nostalgia.
Even though she is four months pregnant, Colleen is intensely interactive with the cast – not only with their dance numbers, but also in the blocking of the scenes. Both she and co-director Christy Yael are quick to stand and direct the actors as they work out their actions and movements. Tonight, a new apparatus – the introduction of the rope swing into Hermia and Helena’s quarreling – has been the subject of much decision-making.
While Colleen has choreographed for Intrepid before (Season Two’s Romeo and Juliet), this is her first directing gig for the company. She doesn’t seem to mind wearing two hats for this production: decisions about what serves the play and how to interpret Shakespeare’s text span any gulf there may be between her two roles. “It’s all about what puts the text at the forefront,” she says.
Colleen is quick to give accolades to the cast, and cites the casting process as the most challenging part of putting together the show so far – more than organizing any big dance numbers. “We took a lot of time casting,” she says, explaining that actors were needed who could not only carry the Shakespearean text, but also the singing and dancing requirements of this production. “I think even if audiences know these actors, they will be surprised by what they will be doing in this show,” she says with anticipation. “We really do have the best cast.”
Colleen is still blown away by how smoothly the process of incorporating dance movement into A Midsummer Night’s Dream has been and believes it really does speak to the universality of the Bard. “It just works,” she says. “It also makes the production approachable, for those who might be intimidated by the thought of seeing Shakespeare play.”
Colleen plans to bring her own four-year-old daughter to a performance, and is perhaps looking forward to recreating some of those “magic moments” she had with her mother while singing and moving to the sounds of the 1960s. She is hoping that, after immersing themselves in this two-hours’ traffic of groove-able tunes, audiences leave with a similar urge to dance it out as well.