SO EXCITING!!!
Monday, January 31, 2011
Photo Shoot
We're getting down to the wire with the production. Now that the posters are in, the script is complete and the actors & production team are gearing up for tech week, we also have to get our ducks all in a row in regards to publicity and marketing for the show. Luckily, we have a friend in Doug Birkenheuer of Birkenheuer Photography. Doug is an incredible talented photographer and he volunteered his services for our production. We're working on getting the finalized pics out soon, but here's a behind the scenes look at yesterdays photo shoot.
SO EXCITING!!!
SO EXCITING!!!
Saturday, January 22, 2011
A Note on the Set from Allegra
We are walking a very fine line with this play, because the text demands specificity - real, material things that you would find in a real living room - but it also travels a TON. So we need the set to be real enough to support the play, but fluid and paired down enough to be quickly transformed. Also, the more specific you get, the harder it is to feel neutral (obviously, since they're opposites), and the less neutral you are, the harder it is to make the audience believe that you've changed locations. So our job with the set and props is to create our own version of neutral - kind of an Everyman Livingroom, that would work for the KIND of american family that we have but isn't necessarily the SPECIFIC living room of our family.
Here's an early draft of the layout for Cynthia and Darryl's House:
Wednesday, January 19, 2011
What was going on in 1985? I remember!!
The other night at rehearsal, during a flashback scene featuring a high school aged Cynthia (Brit Cooper Robinson) and Darryl (yours truly), our director, Nate Silver inquired, "What was going on in 1985?" A hush fell over the room. Somewhat proudly and a bit reluctantly, I announced, "Well, I know...I WAS a teenager in 1985." And then it sunk in that I was the oldest person in the cast. But with great pride, I offered up that it was the year many great things happened including the release of "We Are The World." However, I kept it secret that it was just the beginning of my loyalty to then new pop diva, Madonna.
I began to reflect on how different things were back then. We didn't have cell phones to text our friends. We didn't have computers to do research or write papers with for class. And we certainly didn't know how to skype. I mean, they only did that on The Jetsons, way, way, way in the future! But yet, being a teen in the 1980's still came with much of what teens go through now: peer pressure, heartbreak, demands to succeed, and figuring out "who you are." These are all things we have to think about during these flashback scenes. What was it like to have all that pressure and still be so optimistic? How great was it to see the world as yours to conquer? And how fantastic was it to live in big dreams?
Cut to me - the 40 year old version of myself. Since my teenage years in the late 1980's, so much has happened. I went off to college, came out of the closet, had my heart broken, moved to three different cities since 1992, and have had some tough setbacks along the way. And with all that, there have come wonderful successes, treasured relationships and experiences I would not trade for anything in the world. While I am different from Darryl, a married man who is 45 with three children all in their early 20's, we do have many similarities. I cherish his optimism and belief that things can always be amazing. He dreams of a lottery win like I dream of a Tony Award. It may never happen, but why lose that spirit of belief? I share his adoration of his family and the important role they play in his life. While I don't have children of my own, (yet...you never know), I have two wonderful nephews and a beautiful goddaughter who I care for as much as any parent would. And, in the end, that same guy who started to really find himself in the 1980's and continues to do so, is just like Darryl. A man who is ever evolving, doing the best he can for himself and the ones he loves, and hopefully remembering the lyrics to "We Are The World" when needed.
- Patrick Rybarczyk (as Darryl)
I began to reflect on how different things were back then. We didn't have cell phones to text our friends. We didn't have computers to do research or write papers with for class. And we certainly didn't know how to skype. I mean, they only did that on The Jetsons, way, way, way in the future! But yet, being a teen in the 1980's still came with much of what teens go through now: peer pressure, heartbreak, demands to succeed, and figuring out "who you are." These are all things we have to think about during these flashback scenes. What was it like to have all that pressure and still be so optimistic? How great was it to see the world as yours to conquer? And how fantastic was it to live in big dreams?
Cut to me - the 40 year old version of myself. Since my teenage years in the late 1980's, so much has happened. I went off to college, came out of the closet, had my heart broken, moved to three different cities since 1992, and have had some tough setbacks along the way. And with all that, there have come wonderful successes, treasured relationships and experiences I would not trade for anything in the world. While I am different from Darryl, a married man who is 45 with three children all in their early 20's, we do have many similarities. I cherish his optimism and belief that things can always be amazing. He dreams of a lottery win like I dream of a Tony Award. It may never happen, but why lose that spirit of belief? I share his adoration of his family and the important role they play in his life. While I don't have children of my own, (yet...you never know), I have two wonderful nephews and a beautiful goddaughter who I care for as much as any parent would. And, in the end, that same guy who started to really find himself in the 1980's and continues to do so, is just like Darryl. A man who is ever evolving, doing the best he can for himself and the ones he loves, and hopefully remembering the lyrics to "We Are The World" when needed.
- Patrick Rybarczyk (as Darryl)
Tuesday, January 18, 2011
Chattin' it up with our director, Nate Silver
Nate Silver, the director of Run-of-the-Mill sat down with us to answer a few questions.
Do you have any questions for Nate? Send them our way so he can answer them in his next video blog!
Why Theatre?
I think every theatre enthusiast has his or her own reasons for loving the art. I know my list is a mile long (don't get me started!) Whatever your rationale, we can appreciate diverse ideas right?
So I thought I would do a little research on the topic. Here are a few reasons I found to appreciate theatre from various sources:
- "The 'Play' is an important part of our ancient history. From as far back as the ancient Greeks the play formed a key element of our community, from story telling through to providing an outlet for entertainment and escape. The 'Play' has always been a valued part of our culture."
- "It's a truly live experience. There is a charm and ambience that comes from a live performance in front of a live audience. This dynamic delivers an almost electrifying presence that just isn't possible in a cinema environment or on your wide screen TV at home [no matter how big it is]."
- "The arts in general, and theater in particular, have historically pried open the caskets of hypocrisy and dead yet despotic ideas, and tossed their contents back into the sea."
- "Theater humanises, prison dehumanises...theatre in prisons can perform an essential purpose. Its role isn't necessarily to educate. Neither is it to preach or pass on ideas about drug use or unprotected sex. It is to celebrate humanity for a time."
...Maybe theatre isn't just "play" after all (pardon the pun). Just some food for thought.
~Faith Frangenberg
So I thought I would do a little research on the topic. Here are a few reasons I found to appreciate theatre from various sources:
- "The 'Play' is an important part of our ancient history. From as far back as the ancient Greeks the play formed a key element of our community, from story telling through to providing an outlet for entertainment and escape. The 'Play' has always been a valued part of our culture."
- "It's a truly live experience. There is a charm and ambience that comes from a live performance in front of a live audience. This dynamic delivers an almost electrifying presence that just isn't possible in a cinema environment or on your wide screen TV at home [no matter how big it is]."
- "The arts in general, and theater in particular, have historically pried open the caskets of hypocrisy and dead yet despotic ideas, and tossed their contents back into the sea."
- "Theater humanises, prison dehumanises...theatre in prisons can perform an essential purpose. Its role isn't necessarily to educate. Neither is it to preach or pass on ideas about drug use or unprotected sex. It is to celebrate humanity for a time."
...Maybe theatre isn't just "play" after all (pardon the pun). Just some food for thought.
~Faith Frangenberg
Monday, January 17, 2011
Tyler Dean's Weekly Video Blog
We sent our playwright, Tyler Dean, some questions for our blog. He's going to try to upload a new video every week.
Here's Blog #1
If you have any questions, send them along.
walk a mile in their shoes
I fell in love with theatre at a young age, but it wasn't until I was older that I realized I'm passionate about theatre because at it's heart, theatre is about the human experience. the exploration of the differences within that experience is what fascinates and moves us as audience members and it's what continues to compel me in this art.
throughout the last week of rehearsals, I've been reminded that so much of an actor's responsibility is seeking understanding. we must seek to understand our fellow actors, the director and the text as well as the people we're interpreting on stage and the story they find themselves within. in order to gain understanding total agreement isn't a requirement, but an open mind is a necessity. going beyond familiar perspectives can easily result in discomfort, but the insight it provides is invaluable to us, not only as actors, but as people.
to step into someone else's shoes and walk much further than a mile is an actor's basic requirement. as a cast we've already experienced a family's confrontation with crisis, victories and painful secrets. turns out the family unit is the perfect spectrum in which to watch human experiences collide, crash and possibly rebound.
-brit cooper robinson (Cynthia)
throughout the last week of rehearsals, I've been reminded that so much of an actor's responsibility is seeking understanding. we must seek to understand our fellow actors, the director and the text as well as the people we're interpreting on stage and the story they find themselves within. in order to gain understanding total agreement isn't a requirement, but an open mind is a necessity. going beyond familiar perspectives can easily result in discomfort, but the insight it provides is invaluable to us, not only as actors, but as people.
to step into someone else's shoes and walk much further than a mile is an actor's basic requirement. as a cast we've already experienced a family's confrontation with crisis, victories and painful secrets. turns out the family unit is the perfect spectrum in which to watch human experiences collide, crash and possibly rebound.
-brit cooper robinson (Cynthia)
RISK
What do you usually think of when you hear/see the word "risk"? Whatever it is, it's probably not good. According to dictionary.com risk is defined as exposure to the chance of injury or loss; a hazard or dangerous chance. Injury. Loss. Danger. NO THANKS! However, I must point out that it is merely exposure to the chance of this pain; pain is not a guarantee.
I'm not saying it's good to gamble your life savings on black, but the investor made his millions by taking a risk. No, you don't need to jump of the top of the Sears Tower- it will always be the ST- to feel alive, but skydiving could positively change your life. And no, if the object of your desire is happily married, professing your love won't do much good, but if you never cuddle with your friend on the couch, you'll never be happily surprised at the amazing love you now make. Some things are worth the risk.
RISK, FAIL, RISK AGAIN
Actors live to risk. At rehearsal last Thursday, we worked on Stacy's graduation dinner scene. Is starts with grins, beers, and laughter; a very happy scene. (Happiness also being a risk, because if you never let yourself be happy, then you never know what it's like to lose it.) Donna enters thinking the family knows about David's infidelity, and is swept away be the love the family still holds for her. Darrel starts asking the big questions- big risk- and all hell breaks loose. This roller-coaster ride is how we end the first act; a family slowly shred by truth.
At University, we're taught different techniques on how to reach these emotional levels, how to place ourselves in these mental realms, but not always how to get back down/out. Grounding is a vital part of the process. Where does all the "almost-there-but-not-enough-to-release" energy go? If the actor can't ground the energy, it becomes toxic inside of her, and destroy the life it belongs to.
Personally, I need affection to stabilize... yes, like a kitty cat. Affection translates into love, solidarity, alliance. This cast is so great at giving each other what they need. Example: David had been wanting to touch Donna while at dinner, but she wouldn't let him. After the scene, Michael lets me butt my forehead between his shoulder blades, and rest my head on his back until the room stops spinning. With a hug of reassurance that we are still friends- it sounds silly, but projection is a powerful thing- I'm purified and willing to risk again
A CALLING
Actors live to risk. We risk our psychological well-being, our emotional stability, our mental health, our mortal bodies all to tell stories, to change lives, to have fun. Yes, actors are absolutely mad, but the reward is so great, that to not risk is certain death!
So I leave you all with a sincere question:
for what are YOU willing to risk?
I'm not saying it's good to gamble your life savings on black, but the investor made his millions by taking a risk. No, you don't need to jump of the top of the Sears Tower- it will always be the ST- to feel alive, but skydiving could positively change your life. And no, if the object of your desire is happily married, professing your love won't do much good, but if you never cuddle with your friend on the couch, you'll never be happily surprised at the amazing love you now make. Some things are worth the risk.
RISK, FAIL, RISK AGAIN
Actors live to risk. At rehearsal last Thursday, we worked on Stacy's graduation dinner scene. Is starts with grins, beers, and laughter; a very happy scene. (Happiness also being a risk, because if you never let yourself be happy, then you never know what it's like to lose it.) Donna enters thinking the family knows about David's infidelity, and is swept away be the love the family still holds for her. Darrel starts asking the big questions- big risk- and all hell breaks loose. This roller-coaster ride is how we end the first act; a family slowly shred by truth.
At University, we're taught different techniques on how to reach these emotional levels, how to place ourselves in these mental realms, but not always how to get back down/out. Grounding is a vital part of the process. Where does all the "almost-there-but-not-enough-to-release" energy go? If the actor can't ground the energy, it becomes toxic inside of her, and destroy the life it belongs to.
Personally, I need affection to stabilize... yes, like a kitty cat. Affection translates into love, solidarity, alliance. This cast is so great at giving each other what they need. Example: David had been wanting to touch Donna while at dinner, but she wouldn't let him. After the scene, Michael lets me butt my forehead between his shoulder blades, and rest my head on his back until the room stops spinning. With a hug of reassurance that we are still friends- it sounds silly, but projection is a powerful thing- I'm purified and willing to risk again
A CALLING
Actors live to risk. We risk our psychological well-being, our emotional stability, our mental health, our mortal bodies all to tell stories, to change lives, to have fun. Yes, actors are absolutely mad, but the reward is so great, that to not risk is certain death!
So I leave you all with a sincere question:
for what are YOU willing to risk?
Sunday, January 16, 2011
GO Time!!
Run-of-the-Mill is in that really exciting stage right now - moving from planning to implementation. Implementation... otherwise known as the "DO" phase! Planning is essential, but now comes the fun part.
This Sunday night meeting sort of put everything in perspective. aka there is lots of work to be done - so let's get the ball rolling! Allegra, our set designer, created a fabulous scene-by-scene storyboard and suggested a color scheme: light blue, light yellow, & gray, with red accents.
We now also have a props list, poster layout (thanks to Debo our graphic designer!), costumes ideas, and our producer Les is working on a Press Release. We have our work cut out for us, but I know we're up for it!!
This Sunday night meeting sort of put everything in perspective. aka there is lots of work to be done - so let's get the ball rolling! Allegra, our set designer, created a fabulous scene-by-scene storyboard and suggested a color scheme: light blue, light yellow, & gray, with red accents.
We now also have a props list, poster layout (thanks to Debo our graphic designer!), costumes ideas, and our producer Les is working on a Press Release. We have our work cut out for us, but I know we're up for it!!
 |
| Our costume designer Paula. She is wonderful because she works with the cast to help visually capture who the character is. |
 |
| Meanwhile, our actors are learning more and more about their characters each rehearsal. Last Thursday they worked on the last scene in Act One, a particularly intense point in the play. I love this scene because, like this play, it is real! These are problems that today's families face. Is this picture adorable or what?? |
More to come people!
Interested in tickets? Check out our website: Go to http://currentlyuntitledtheatre.org/ and click on the link for 'Brown Paper Tickets.' You won't regret it!!
Ciao!
Wednesday, January 12, 2011
Win or Lose?
Tonight's rehearsal was one of insight -- specifically, insight into the characters' thoughts, feelings and rationale. Our director Nate kicked off the evening with a simple exercise to help the players get in touch with their characters' feelngs. Actors Brit and Andrea rehearsed a scene where they argue, with the following stipulations:
1. Stand on opposite corners of the room
2. After each line, say "win" or "lose"
This uncomplicated formula exposed the connection between the dialogue and the character's position in the argument beautifully. How interesting to see and hear how these two words affected tone, inflection, and expression! To me, this exercise worked well through our automatic responses as human beings. What do you feel when someone calls you a winner? What about a loser? I associate the word "win" with empowerment, triumph, success... on the other hand "lose" drums up feelings of failure and defeat. Who can help but have knee-jerk reactions to such sensibilities?
It was watching the characters come to life. Who first said "enjoy the process?" I think they had it right.
My camera acted up a bit tonight. Got a few photos at least!
1. Stand on opposite corners of the room
2. After each line, say "win" or "lose"
This uncomplicated formula exposed the connection between the dialogue and the character's position in the argument beautifully. How interesting to see and hear how these two words affected tone, inflection, and expression! To me, this exercise worked well through our automatic responses as human beings. What do you feel when someone calls you a winner? What about a loser? I associate the word "win" with empowerment, triumph, success... on the other hand "lose" drums up feelings of failure and defeat. Who can help but have knee-jerk reactions to such sensibilities?
It was watching the characters come to life. Who first said "enjoy the process?" I think they had it right.
My camera acted up a bit tonight. Got a few photos at least!
 |
| Mother and Daughter time! |
 |
| Cast chemistry |
...a successful evening!!
Tuesday, January 11, 2011
Advantages
Chicago is the home of new work, where artists of all levels come to hone their craft and take risks. I've been here for a bit- long enough to be jaded- and to be honest, I wasn't even going to audition for "Run of the Mill" because it was all about family. Families look alike. I look...different. After repeatedly seeing the notice hanging in the Acting Studio, I tossed my hat to the wind and went for it. My risk paid off!
In The Beginning There Were Workshops
Work-shopping a show might sound elementary, but I have been a part of "new-work" productions that left me stranded on opening night with important plot questions, and a writer whose only answer is "well, what do you think"... no thanks.
I arrive to the first workshop a bit nervous- I'm playing the young wife...will they like me? What is my husband like? What is the director like? Is the script good?- but after a few minutes small-talk with the cast and production team as everyone trickled in to Act One, my worries ebbed and excitement began to flow.
Company Advantages
The team worked the pre-script for 5 days before the holidays, and on the the last day Silver (director), asks us to think about our advantages as a company, and I found we have 3 great advantages creating the foundation of CUT: communication, timing, and humor.
Communication cultivates a safe space of mutual respect and understanding, where everyone involved feels secure enough to take risks and be open to feedback; Grandpa John referred to it as "the Art of Conversation"- where active listening meets quiet wisdom. The result: pleasant surprises! For example, last night we had a David/Donna scene on it's feet, for the first time, where there is an intense kiss. I was expecting to just read through the kiss as we had always done, but Michael, knowing that I trust him, decided to go for it, and planted me one of the hottest kisses. The scene requires I push him away, so I did, and retreated stage left, clinging to a chair till I stopped swooning. I admit I didn't know he had it in him. It's going to be hot! Pleasant surprise.
Timing is everything, and that holds true for CUT. With strong timing, you know where you stand, what's ahead, and how to best prepare. When we started workshops, we had no Collin, but relationships were still explored, bonds established, and loving limitations set. On the last day of workshops, Dan walked in (whom I'd met through another production but hadn't worked with) and slid perfectly into place! Talk about timing!! It just goes to show there's no need to rush; the right man will come along when it's time. ;)
Humor doesn't mean jokes. It's a state of mind, a perspective, a level of communication what lets you know you're people when near them. Humor is vital because not only does it purify the energy of a space when the material is heavy, it's just fun. Yes. Remember that? Fun? Well we have it, and the production will reflect that, making our humor a part of the audience's life.
What It Takes
You know you're on the right path when you love what it is you're doing, and you have strong allies that feel the same. A director with clear vision, a witty writer who listens, an intelligent cast, and a faithful production team... CUT has it all.
I'm finishing this post a few minutes before I must leave for tonight's rehearsal, and have to let you all know how truly excited I am- we're working the "Ladies" scene tonight. :)
I can't wait to see what happens next; stay tuned!
In The Beginning There Were Workshops
Work-shopping a show might sound elementary, but I have been a part of "new-work" productions that left me stranded on opening night with important plot questions, and a writer whose only answer is "well, what do you think"... no thanks.
I arrive to the first workshop a bit nervous- I'm playing the young wife...will they like me? What is my husband like? What is the director like? Is the script good?- but after a few minutes small-talk with the cast and production team as everyone trickled in to Act One, my worries ebbed and excitement began to flow.
Company Advantages
The team worked the pre-script for 5 days before the holidays, and on the the last day Silver (director), asks us to think about our advantages as a company, and I found we have 3 great advantages creating the foundation of CUT: communication, timing, and humor.
Communication cultivates a safe space of mutual respect and understanding, where everyone involved feels secure enough to take risks and be open to feedback; Grandpa John referred to it as "the Art of Conversation"- where active listening meets quiet wisdom. The result: pleasant surprises! For example, last night we had a David/Donna scene on it's feet, for the first time, where there is an intense kiss. I was expecting to just read through the kiss as we had always done, but Michael, knowing that I trust him, decided to go for it, and planted me one of the hottest kisses. The scene requires I push him away, so I did, and retreated stage left, clinging to a chair till I stopped swooning. I admit I didn't know he had it in him. It's going to be hot! Pleasant surprise.
Timing is everything, and that holds true for CUT. With strong timing, you know where you stand, what's ahead, and how to best prepare. When we started workshops, we had no Collin, but relationships were still explored, bonds established, and loving limitations set. On the last day of workshops, Dan walked in (whom I'd met through another production but hadn't worked with) and slid perfectly into place! Talk about timing!! It just goes to show there's no need to rush; the right man will come along when it's time. ;)
Humor doesn't mean jokes. It's a state of mind, a perspective, a level of communication what lets you know you're people when near them. Humor is vital because not only does it purify the energy of a space when the material is heavy, it's just fun. Yes. Remember that? Fun? Well we have it, and the production will reflect that, making our humor a part of the audience's life.
What It Takes
You know you're on the right path when you love what it is you're doing, and you have strong allies that feel the same. A director with clear vision, a witty writer who listens, an intelligent cast, and a faithful production team... CUT has it all.
I'm finishing this post a few minutes before I must leave for tonight's rehearsal, and have to let you all know how truly excited I am- we're working the "Ladies" scene tonight. :)
I can't wait to see what happens next; stay tuned!
Monday, January 10, 2011
PRESENTING...
Chicago. January. For the few who don't know what this means, let me just say -- It's cold. I don't mean chilly... How does one put this in perspective? I walked outside this morning into 22 degree weather and thought, "Hey, it feels pretty good today." As a newbie to Chicago's legendary winter season, I finally decided to get active and stay warm.
The logical choice? Theatre of course!! (What did you think?) So, yesterday I bundled up and headed to my first production meeting with 'Currently Untitled Theatre.'
Location: Act One Studios
Topic: The Play, "Run-of-the-Mill"
The excitement in the room was contagious. From the moment I walked in, I caught a wave. These people are talented, passionate, creative, and savvy! Stellar combination. We dove into the meeting straight away. So many diverse ideas, plans and plots -- and yet, cohesion. One by one each crew member's role was more clearly defined. I left the meeting feeling energized and optimistic, as opposed to overwhelmed and stressed, as is too often the case subsequent such events.
And the excitement was just beginning. Next on the agenda for the evening: The first reading with the cast and a majority of the crew present (even one via Skype)! It was a privilege to share this moment with the people who have worked so hard to breathe "Run-of-the-Mill" into existence.
The logical choice? Theatre of course!! (What did you think?) So, yesterday I bundled up and headed to my first production meeting with 'Currently Untitled Theatre.'
Location: Act One Studios
Topic: The Play, "Run-of-the-Mill"
The excitement in the room was contagious. From the moment I walked in, I caught a wave. These people are talented, passionate, creative, and savvy! Stellar combination. We dove into the meeting straight away. So many diverse ideas, plans and plots -- and yet, cohesion. One by one each crew member's role was more clearly defined. I left the meeting feeling energized and optimistic, as opposed to overwhelmed and stressed, as is too often the case subsequent such events.
And the excitement was just beginning. Next on the agenda for the evening: The first reading with the cast and a majority of the crew present (even one via Skype)! It was a privilege to share this moment with the people who have worked so hard to breathe "Run-of-the-Mill" into existence.
 |
| Gorgeous copy of the script! |
 |
| Reading Act One. |
 |
| ...Getting into it. |
You've just seen all the actors -- and now...
...This is our director!
Who's Who...
Nate Silver - Director
Tyler Dean - Playwright
Les Rorick - Producer
The Crew:
Breanna Smith-Sneed - Stage Manager
Allegra Shunk - Designer
Will McCandless - Sounds Designer
Andrew Knight - Dramaturg
Gretchen Allnut - Production Consultant
Debo Adeniyi - Graphic Designer
Paula Consdorf - Costume Designer
Faith Frangenberg - Props Designer
Paula Consdorf - Costume Designer
Faith Frangenberg - Props Designer
The Cast:
Brit Cooper Robinson - as Cynthia
Patrick Rybarczyk - as Darryl
Mike Hahalyak - as David
Virginia Marie - as Donna
Andrea DeCamp - as Stacy
Dan Toot - as Collin
So now, as I brave the bitter cold, I feel warm and cozy, armed with the knowledge that I have the honor of being a part of a great team and a wonderful play!
...More to come! Ciao!
Faith Frangenberg
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