Hamilton-Gibson Blog

Georgie? Where are you?

Well, another one down. The young fellow I was hoping would take the part of Georgie is not going to due to a concern about homework not getting done. I certainly don't blame the parents for saying no to his participation, but, of course, I'm disappointed that he can't take the role. In situations like these I tend to get pushy and overstep my purview. I begin to argue with parents...my bad. Try to cajole them and work to have them change their mind. As a parent I would probably be ready to smack me if someone tried that with me. I tend to get caught up in the productions I'm working on. Back off, Putnam.

 

First dance rehearsal on Wednesday. It's going to take some work, I hear. I was only there for the first part, but got reports that it'll take a few rehearsals to get the the polka relaxed. It's a beautiful scene...one of the few tender moments in the play where we see some genuine recognizable affection...no yelling, no commands or demands. And the dancing needs to be relaxed: these two were high school dance stars!

 

Great work yesterday with Ellen and Rudy. Their four brief scenes are nearly memorized and they're really talking to one another. Sounds natural. Hunter has a tendency to get whiny when Rudy gets excited. I seem to be sensitive to whiny-soundedness recently. We talked through the scene and he could hear the difference. Scenes can be played in so many different ways. The kid runs into the apartment and cries out to his mother about the location of his brother's comic books. They're gone and he knows his brother will be angry when he finds out they're missing. So...does Rudy come running in with a big whiny "Mom?" sliding all over five different pitches? Or is he more demanding with one big forceful "Mom!" Rudy is very intelligent and mature in his thinking processes. He's also still 12 years old. And 12 years old in the 1950s is way younger than 12 years old in 2012. The scene could go either way. We keep exploring.

 

I remember reading an article about Dustin Hoffman and his tendency to try scenes in a million different ways, right up to production --or filming--time. Some directors found it un-nerving, but he kept exploring. I like it. That's way is great about the rehearsal process....it's a constant "re-hearing" of the lines/scene/character and we keep exploring until it finds a natural-ness.

 

One time at one of the AACT festivals I heard an adjudicator say to one of the actors who had just completed a scene that it sounded as if he--the actor--had gotten stuck in a first read. I objected to the adjudicator's comment: how could he possible know what the first read sounded like? But over the years I've sensed the same thing as an actor reads a line in the first few rehearsals, and it's stuck in his/her mind and never changes...and it doesn't work.

 

Of course, as actors, we may feel very comfortable with that first read and since the whole thing is so scary anyway--memorizing a million lines and trying to be someone else and not letting the other actors down--we tend to grab at something sure and defined and hold on to it. But that isn't good acting. Good acting involves being vulnerable and allowing ourselves to be scared and honest and uneasy...and trusting of the other actors on stage. Being human is all of that...and good acting must be also....or we're not really climbing around in the character's skin.

 

Georgie? Where are you?

Georgie is getting to me

Georgie is getting to me. And I read the news release from a few years ago when the actual “Georgie” died. He appears to have been well-loved by his family, and indeed many in Buffalo as his father took him with him to many civic and business meetings. Georgie was like his constant companion.

I think the age relationship in the play is pretty accurate: Rudy is 12, Georgie is 13. He had Down Syndrome. He lived to be close to 60.

The playwright discusses how acceptance and tolerance were simply the norm: Georgie was part of the family and they loved him.

I want to convey that love in our production. Not just the love of Georgie, but of the entire family. Overall, even in the tirades and yelling and misunderstanding and embarrassment, there is love…and it’s very strong. Some have said that this play is about a dysfunctional family—I think I’ve said it on occasion—but when looking at the condition of today’s “family” by comparison the Pazinski family was very functional. They just didn’t know how to show it. I wonder if that was a 1950s thing, or a Buffalo thing, or a Polish family thing, or….maybe just a human thing.

Working on the list of props and furniture. (The TV story…I’ll write about that soon.) Also the music. 1950s…but what music? And the costumes. Advertising needs to get cranked up real soon. And how to get people to understand that we couldn’t exist without corporate sponsors. THANKS, Elite Therapy!

The hunt for Georgie

We “auditioned” the fellow for Georgie. I think we could have made it work in terms of his abilities, but he appears to be too old. He’s late teen-aged years, but almost looks older, and it wasn’t until he was working with the other kids in the family that it became clear that he simply appears too old. George is actually supposed to be 13, though there is no actual reference in the text/lines. He is almost the “family pet” in the sense of “teacher’s pet,” the favored one by the others, the darling of the family; and in my mind the actor needs to be younger….early teen or even pre-teen. I couldn’t see this until we worked on Friday with this fellow.

After going through his scenes with the rest of the cast, I am reminded again that we may have some complaint about the language in this play. Georgie and the parents all use some words that some will find offensive, and I’m sensitive particularly to comments about the wisdom of presenting a play that allows children to use such words. Ten years ago we probably wouldn’t have presented this play. The fact that we are presenting it now indicates…what? That I’ve changed? Perhaps. That the board has changed? That audiences have changed?

I remember at one audition about six years ago that one senior citizen indicated that she was using words (in the audition) that she had never spoken in her life. She’s a woman I respect greatly and has a deep and abiding faith and is compassionate and gracious…and I’ve never heard her use such language. I did not cast her in the role. She attended a performance of the play.

Context, I believe, is next to everything. I’d love to discuss this further, and welcome any responses. In the meantime I’ll stand with the decision to produce the script as written, and urge the audience to be aware of the context of the play. I made sure that parents of every child who auditioned had read the play and are ok with their child being in it.

And the hunt for Georgie continues.

Really Putnam?

Someone responded to my discussion of the McCarthy hunt and the Salem witch trials and Rudy’s questions: “Really, Putnam? You’re talking about them in the same sentence? There’s no comparison.”

Of course, the degree is different, however the concept, I still contend, is the same. I think groups—particularly strong powerful groups—have a fear of self-examination. I think individuals have a fear of self-examination. If we examine too closely we may turn up something that will change things or that will hurt or that will threaten our safe existence. America in the 50s was afraid of losing the “peace” we’d achieved after the war. The Catholic Church—or any strong religious group—is afraid of….what?....losing members? Losing control? How about the white slaveholders? They had a lot to lose if they honestly examined the situation they were in. Individuals avoid self-examination for fear of finding something that may threaten their healthy existence.

How the heck did we get on this topic? Oh, yes….Rudy. Dear Rudy. I love this character. In fact, each one of these characters in this play is so human…so wonderfully unique…so…struggling…I can’t help but love them. And Rudy questions. This questioning provides much of the conflict of the play. And it’s healthy conflict…and self-examination. In the 50s self-examination was shunned.

The beauty of working on a play is that we can explore whole new ideas and eras and issues and characters. It’s one of the huge benefits of working in theatre. Did you read Barbara Biddison’s response to one of the blogs a few days ago? We found, when working on UNDER THE LINTEL that our discussions ranged over huge territory. One thing lead to another…that’s the cool part…one thing does lead to another. We found our discussions when working on the play tied in to current news, books we had read, films we had seen, people we had known.

Great rehearsal last night. We went over the last scene a number of times. The whole family is in it—we still don’t have a Georgie yet—and this group really began to get comfortable with each other. Jeff is a natural jokester so he keeps us hopping with his RobinWilliams-esque banter. As the rehearsal progressed, everyone became looser. I’m hoping to plan some meals so this family can really get acquainted. (I don’t think you can really know a person until you have at least eaten one meal with them!)

A candidate for Georgie is coming tomorrow to rehearsal. He does not have Down’s Syndrome, but he is mentally challenged. I’m looking forward to working with him—I’ve met him once—and hope it will all work out.

My mind is also running in the marketing end of things: how are we going to get people to see this production? It doesn’t have name recognition and we are having to offer a disclaimer indicating that there may be some language that is potentially offensive to some people. That may keep some people away. (More on “context” in another blog.) It’s not a huge cast so we don’t have large numbers of extended family members who will come. One positive: Only Deb, Marie, and Jeff are from Wellsboro. Sophie and Thomas are from the Valley; Hunter is from Mansfield.  So we may get some new audience members from outside of Wellsboro. And over half the cast have never been in a HG play, so hopefully we’ll see some new faces. How to convince a community that live theatre is worth seeing is a challenge….and another blog.

A search for the truth

We have been considering producing THE CRUCIBLE. In fact, we've considered it a number of times over the last 20 years. It's a rough play. Witch trials in Salem, Massachusetts in the mid-1600s. Arthur Miller wrote it as something of a response to the McCarthy "witch hunt" of the 1950s. Root out the communists. I'm currently reading Barbara Kingsolver's latest book THE LACUNA. It deals, in part, with a writer who becomes the object of suspicion during the McCarthy era. It's frightening, frustrating, haunting...

 

I mention this because OVER THE TAVERN deals with this. It takes place in the 50s, but rather than even mentioning the McCarthy proceedings, it deals with the questioning of the Catholic Church. Young Rudy has some serious and, in my mind, very legitimate questions. As a father I am more and more reminded that any question is legitimate if asked sincerely; but the questioning becomes a problem in OTT--as in the McCarthy hunt-- when that governing body, whether it is political or religious, is afraid of self-examination. As a potential member of the Catholic Church--Rudy is preparing for confirmation--he ought to scrutinize and examine and question before he jumps in feet first. As Americans, don't we have an obligation to question and examine and scrutinize our government without fear of being labeled Communist--or worse: anti-American? During the McCarthy era, reason seemed to hide in a closet (we know all about J. Edgar Hoover's closet) while unbridled paranoia took over.

 

THE LACUNA is a terrific read, but as the story progresses (I'm not through with it yet) it becomes more and more horrific as the fear of those in authority--THEIR own fear, not fear OF them--colors thoughts of the public and ruins lives. OVER THE TAVERN is comedy--it really is VERY funny--but under or over it all hovers this truth of Rudy's exploration. As we progress into our Presidential race, it's a timely reminder. The press in the McCarthy age fueled the flames of fear and unreasonableness...we would do well to remember this as we read and listen to 24-hour news coverage. Regardless of my individual views of the Roman Catholic Church, I cheer Rudy in his honest search for truth. I cheer institutions--religious or political--which also welcome that honest search.

 

Perhaps it's time for us to produce THE CRUCIBLE.  In the meantime, I'm going to laugh with OTT.

First full cast rehearsal

The first rehearsal with everyone (except Georgie) in the cast. This moment of hearing all the voices for the first time really jazzes me. After all the struggle of coming up with a cast, this moment is kind of the litmus test: did I choose correctly? Even though I encourage the cast members not to worry about expression and delivery of lines, it's difficult not to evaluate just what we've come up with. I think I am fairly objective at these moments and am able to look beyond the un-polished-ness of the read to see the potential. Of course, that's what the agony of the decision-making weeks is all about: trying to see beyond to the potential. So by this first read--hopefully--I've arrived at the place where I can see the potential and am ready to dig in to get everyone to that same realization.

 

As we worked through the scene when the nun arrives at the apartment, everyone has a chance to be the focus of attention. As we read through it I began breathing freely: this cast is going to work. Whew.

 

I'm hearing voices

Had a rehearsal with Chet and Ellen (Jeff Ryan and Deb Sawyer). They have two scenes alone and we read through them a few times each. Hearing actual voices is one of the great leaps in the process. I’ve read the script a number of times silently, but now hearing voices is a whole new experience. Great fun…and deepens the relationship with each character exponentially. I love getting to know characters in a play.

One time years ago someone indicated that they felt I didn’t live my own life…that I was living in the characters of the plays I directed. It arrested my attention enough to analyze the statement. I think I’m quite objective about my relationship with plays and characters and my conclusion was—and still is—clearly that I am not living vicariously through the characters. I do, indeed, get to know them really well; but ultimately Atticus Finch provides the framework: you can’t really get to know a person until you crawl around in their skin for a while. And by getting to know another—seeing through their eyes—one can live a fuller life; one that is deeper in understanding of the human condition.

Chet is a difficult character. I’m not sure he’s one that I could be friends with. But I’ve begun climbing into his skin a bit, and my life is already richer. As a father, I can identify with him from the outset more than the other characters. I’m looking forward to walking in his shoes for the next few months.

Ellen is almost an Atticus Finch. Well…in that she can deal with each of her kids as individuals. She doesn’t lose her cool. She’s the glue that holds the family together. Anyone who can do this certainly is worth getting to know.

A bigger rehearsal this Saturday. Not everyone can be there, but most…and we’ll begin corporately climbing into each of these characters. This is the really fun part.

I’m also really excited with our Rudy. He’s young…which has given me some pause for concern, but he’s brimming with personality and a smile that will engage and audience like nothing else. After going back and forth about the feel of the age of Rudy, I’m glad we’re on the younger side of 12 rather than the older. Thomas—who plays Eddie—is tall and lanky; great contrast with our Rudy. They’ve never met, so I’m looking forward to Saturday to have them together.

One more family member found

One more cast. Hunter Brion joins the ranks in the role of Rudy. I auditioned a few boys and had a very difficult time deciding. Won’t go into all the deciding factors, but the guys were all so close, and I’m sure they could all play the part well, that the decision was tough.

Hunter may look more closely related to the other “family” members, he’s a bit smaller than the others, and he seemed to demonstrate more energy. As I said, it was a close call and I hated to have to say no to the others since they were equally as excited about the role and certainly read well.

Still on the hunt for Georgie. Am wondering if I’m locked into thinking we HAVE to cast a Down Syndrome boy. The question has arisen: does it have to be a boy? Could the part be changed to a girl? There are some girls who may fit the role…but they’re girls.  My first response is Georgie has to be a boy, but am re-thinking this.

At least we can dig into rehearsals now with an almost-full-cast. Sent out possible rehearsal dates and times to cast members and will set schedule as soon as I hear back from all of them.

I’m working through, also, how to best use Linda Iseri. She’s interested in helping to direct, stage manage, produce etc. We’ve explored the role of a “producer” in the past, but never have gotten very far. I’d like to really use such a person more than I have in the past. Barbara Biddison and Linda helped a great deal with running lines for GRACE & GLORIE and it was a big help. Often the actors simply need to run through scenes—over and over—to get the flow and lines and feel, and both Barbara and Linda were a great help with this. It’s good, too, to get another perspective from time to time on more than just “do the actors have the lines memorized.” Barbara played a huge role in this capacity with UNDER THE LINTEL.

And we're off...!

One step at a time. In the midst of the wonderful frenzy of opening GRACE & GLORIE, I've been able to solidify another cast member. Marie Coll has accepted the role of Sister Clarissa. Marie has never been in an HG play before and is excited about getting her feet wet. Whew. I'm meeting with a few boys this weekend for other two roles.

 

Last night at the final rehearsal for G&G I found myself again marveling at the power of live theatre. Watching these two women inhabit the skin of Grace and Gloria is a privilege. That performance last night--at the rehearsal--will never be repeated. The one tonight for Relay for Life team members and cancer survivors will never be repeated. Opening night tomorrow will never be repeated. That's a powerful thought...and I'm so glad I am witness to so many unique moments...and am grateful for the opportunity to spend so much of my life in the process.

 

Even if the process can be harrowing due to casting issues.  But I'm envisioning getting started. Deb and Jeff are getting together this Saturday for our first rehearsal. We'll read through the two major scenes that Ellen and Chet have alone. I've also sent out some dates for certain pages of the script to be memorized.

 

And we're off..........!

The Cast...so far

Sheesh…days since I’ve written about this process. I’m just not in the habit of writing as I go through it. I should get a laptop so I could get more down on paper and out of my mind.

Yesterday I wrote the auditionees whom I did not cast. I emailed those who supplied an email address. I just don’t have time to call them, however. The cast list that I have so far should go up on the website tomorrow. No…why wait? The whole purpose of this blog is to chart this step by step.

So, as of this moment on Wednesday morning the following people have been cast: Thomas Bates as Eddie; Sophie Vayansky as Annie; Jeff Ryan as Chet the father; and Deb Sawyer as Ellen the mother. The last three have all been in an HG play before. Thomas has never been in an HG play. I did see him in Elkland High School’s production of ROBIN HOOD last spring.

I’m going check with each of these to see if it’s ok with them for me to talk about what we work on as we go through the rehearsals. Everybody has some quirks and mannerisms and tendencies that sometime get in the way of the character. I’d really like to be able to write about how we wrestle with them…the quirks, not the people.

For example, in GRACE AND GLORIE, Kris has a tendency to allow her voice to get pinched and a bit whiney when she gets excited or questioning. We’ve worked on it in this play (she’s been in others before but we’ve never really addressed it) and she’s responding and working through it. While we’re on G&G…it opens Friday night. I hope everyone comes to see it. Having just two in the cast is a unique experience. Except for some of the ten-minute plays, I don’t believe we’ve ever had a two-hander before. (Oh, yes, I DO I DO was just two people, but one of them was me so that doesn’t count…I couldn’t address the quirks and tendencies and habits ‘cause I couldn’t see them!)

There is an entirely new dynamic to having just two in the cast. Thankfully these two work well together…really well. They really communicate and support each other. It’s a fairly long play—nearly 2 ½ hours—and they both are on stage the entire time. It’s a beautiful production with these two talented women…I wish I had charted that process, too.

Back to OTT…see…I get distracted with other productions and responsibilities (I still have to finish the set for G&G, and finish the program, and answer the phone to take reservations) in the midst of casting OTT. I’m still searching for Georgie…haven’t given up on the possibility of casting a Down Syndrome boy, and Rudy.  We had a few people audition for Rudy, but there wasn’t a sure connection—certainly not for lack of talent…these guys are talented; but just not quite right for this part.

Sister Clarissa is cast pending an ok from a doctor.