Process .. How Do You Approach a Role?

[mrdreamjeans]

My friend deebee is having a wonderful run of work at various theatres in the Houston area. He's performing in one show, "On Golden Pond" and is beginning rehearsals for a second at the same time. All of this plus his day job! Daunting, but David's up to it! The director of David's second show is encouraging the actors to begin memorizing their scripts now, though rehearsals don't begin for another month. David's thoughts on starting that process now brought up thoughts of a recent discussion of which I was part.

I was a member of a panel who spoke at a Spring Break Theatre Camp in Seattle sponsored by the 5th Avenue Theatre. This happened just before I returned to Texas three weeks ago. The four of us ... the two leading actresses from "Wonderful Town", an experienced actress who does straight plays and myself ... the resident touring expert *grin* ... discussed a variety of issues in achieving and maintaining a long-term career in the theatre before a group of hand-selected and wildly- motivated teens.

One of the moderator's questions was about "process" ... Three out of four of us said we deliberately do not memorize our lines before rehearsals begin. We agreed, that particularly in musicals, vocal parts are not assigned until the first day of rehearsals (and yes, you're expected then to know both your part and lyrics the next day from memory); choreography is often an essential tool in shaping a performance and knowing your lines before actually beginning a production can be a hindrance. Once I'm given blocking, then the next time/day we rehearse the scene, I'm off book. The other factor is that producers cannot require you to do any work on a script before the first day of the union contract, unless they are willing to pay you for your time.

The person with the dissenting view point was the actor who seldom does musicals. She goes into rehearsals knowing her part cold. I found the discussion fascinating. The difference may be in our expertise and the very difference of doing a musical versus a play. I know I don't memorize until I hear the rhythms of the other actors' voices, till I have my blocking and till I know where I am heading musically per the musical director's instructions. My performance doesn't fully come to life until I am wearing the shoes and costumes I will actually wear in the show. That ... and make-up and hair ... are the final shaping elements. For instance, the muttonchops for Officer Lonigan were my entry into that character. I think unlearning something is harder than waiting till rehearsals begin.

Other parts of process discussed were: how we research a role; the mechanics of memorization; work ethic and work ethics (a favorite subject of mine) and preparation. Whether someone is a professional actor, semi-professional or volunteers their time, we are all part of "the theatre community" and can learn from each other. I'd like to hear from my theatre, singer, dancer and musician friends here on live journal about process ... What's your "process"? If you're not a theatre person, what process do you use to do your work successfully?

Comments

[bearfuz.livejournal.com]

Emulsion? Like on film?

[allanh.livejournal.com]

If one thinks that's a creepy thing to consider, would that be "emulsion revulsion"?

I suspect he meant "immersion".

Which means he could edit his posting, and it would be the "immersion version".

I'll quit now.

[mrdreamjeans.livejournal.com]

Interesting. When I've done the rare non-musical, I found that I had to find what was musical in the language in order to get a handle on dialogue. When I've done a play, I still didn't begin memorization until a scene was blocked; however, that did mean that I was off book the following rehearsal. It's amazing how quickly things move, isn't it? Many times, I've had 10 days from first rehearsal to opening. You gotta be fast and consistent. I think it's one of the most exhilarating aspects of the process and at the same time, one of the most frightening. Thanks for sharing!

[guiser1.livejournal.com]

The difference, I think, is literally, the music.

Musicals provide a more concrete structure in the literal music that is employed throughout the story. This makes it easier to learn i think.

Whereas, in a play, the "music" is often derived from the melody that comes from the interweaving of the character voices.

I've directed operas, musicals, and plays, and each is it's own beast. But, without fail, as a director and a producer, I vastly prefer the performer come into a rehearsal process as familiar as is humanly possible with the material.

[mrdreamjeans.livejournal.com]

I agree with you if the director has a reputation for a sure hand and consistent vision. I love it when I work for a director who comes in prepared, organized and sticks to a schedule which is well-thought, logical and doesn't waste anyone's time. It's a joy! So often though in musicals, particularly in the houses where I work most often, familiarity with the material can have a backlash or is a waste of time. Too many elements change in the first rehearsals and the work is for naught. And, as I said earlier, in union productions you can't ask an actor to work on the material before the beginning date of the contract. (I do often read the script several times in advance and look at the keys of the songs, etc, but no memorization.) Thanks for your thoughts, Jeffrey! HUGS!

[daltxfurry.livejournal.com]

I have done a few straight plays, but the rest of the time I have been in musicals. There is definitely a difference in process between the two.

With the straight plays, I try to get off book as much as possible. You have to hope, in community theater, that the director will take care of all the blocking within the first week. Once the blocking is done and written in my script I then start memorizing the show. When I say memorizing the show, I mean the ENTIRE show...if possible. Usually though it is just scenes that I am in. I try and memorize everyone's lines and blocking so that if there is an occurance I can cover if need be or get things back on track.

With musicals, we don't get our scores/scripts until first rehearsal. And sometimes we only get music for scenes we are in, not an enitre score/script. Usually vocals and choreography come first, before the blocking of the scenes. I try and get the vocals down as fast as possible and then get the dances down. Usually combining the two makes it flow together for me and helps me get further into the part. Once we start piecing the scenes together I can get a better understanding of everything. Scene blocking usually starts the 2nd or 3rd week Depending on the show and what character you are playing.

And another reason not to learn the music beforehand (aside from not having the music from which the musical director is taking it from) is that sometimes parts change. And notes are wrong...or the muscial director comes up with a new arrangement.

I was just talking to a friend last night about choreography. He is choreographing a few of the numbers I am in, and when he got to rehearsal he handed me a folder with the steps for a particular number written down. I was appreciative and thanked him and will try and use it, but I have to learn dance from "muscle memory". That is, I just have to keep dancing it. Or running over it my head when I am back in real life. He understood and was the same way.

Anyway, I am rambling. You now know a little bit more about my process for rehearsing a role.

[mrdreamjeans.livejournal.com]

I think I've been in too many long-running tours:) I've never memorized anyone else's lines unless they are cue lines for me. I use it as a way of keeping the material fresh when I'm into the hundreds (and sometimes thousands) of performances of the same show. I think good acting is in the reacting and listening, so the longer I can keep the other actor's lines from becoming routine, so the same for my responses. Of course, I've done so many performances of Andrew Lloyd Webber shows that are sung through ... no spoken dialogue at all ... I am surely open to all kinds of ideas about process.

When are your performances dates for the show you are doing? I may be in Dallas soon! HUGS!

[daltxfurry.livejournal.com]

May 19, 20 and 21. 3 performances only. This is either a blessing or a curse, I haven't decided which yet. When we finally piece the show together and start running through I will have a better idea. :-)

[mrdreamjeans.livejournal.com]

Hmmm .... *rummaging through the drawer of my dresser looking for gas money. I may just have to try and come see it, particularly if you're dancing!

Per a statement you made in an earlier comment, in 30 years as an actor I've never seen a choreographer hand people pages with steps written down. Most dancers I know and have known learn choreography by having it demonstrated first and then through repetition ... getting the steps into their body. Though I'm mostly a singer, I can dance and that's how I learn. Did you find this odd? New to your experience? Or am I the only one who thinks this is unusual?

[daltxfurry.livejournal.com]

In the case of this show it is somewhat helpful because we are getting the number thrown at us and then not rehearsing it again for a week or so. I have the basics in my head but it is nice to look at the music (with the steps written down under the lyrics) and get a little refresher. With the tap sequence it has been helpful to see flap right, left heel, right heel, brush back left, right heel, left toe, right heel then reverse. And it has helped me with the "Maxie Ford" step as well.

Overall though, I do have to do through repetition and "muscle memory" Some people in the cast are more analytical and like it written down. I just have to do it over and over and over and over and over

[deebee.livejournal.com]

interesting topic, neil... i'm glad you brought this up...
in straight plays, i start memorizing after CUTS have been established.
in musicals, i start memorizing (subconsciously) the first time i hear notes. i learn by ear, not reading music, so it comes pretty quick for me, especially if the m.d. goes over & over & over on one song.
clarification: we actually OPEN with violet in a little over a month (june 17)... the rehearsals have already started (my bad... i don't think it was really clear in my journal entry), and, no need to correct it in yours...

[mrdreamjeans.livejournal.com]

As I said, your post from today was the inspiration for the topic, so thanks:)! I misunderstood about "Violet". I didn't realize that you had started rehearsals for it already. None of my work in the past two decades has had longer than a four-week rehearsal period ... of course, that's 6 days a week, 7 for tech week and all four weeks are 8 hours a day, (Four of the tech days are 12-hour days.) so I thought asking you to memorize four weeks out before rehearsals seemed excessive. At the same time, it made me examine what I do. I'm never too old or experienced to learn something new or to try a different way!

I'm interested in the way you learn music! Obviously, you've got a great ear, but do you find that you're at a disadvantage when you don't read music in terms of the theatres where you audition? How do you sightread when they hand you sheet music in an audition and then ask you to sing it cold? I've been in many auditions in NYC where they bring everybody who is called back into one room and hold a sing-off .. one actor after another ... or mix vocal types and sing harmonies on the spot.

I know that many of the dancers I work with don't read music, but most of the singers do. Either way, many folks bring recorders now to the first day of rehearsals, tape their vocal parts and have them down the next day. And please don't misunderstand ... I'm just curious what your experience is in that regard ... not saying what is better ... just curious.

HUGS!

[deebee.livejournal.com]

first of all, i'm not offended by your questions...it is very thought-provoking HOW people learn, so fire away!
1) guess I should've discussed the REASON behind why we started so early, for that has some play (no pun) in our show... we are working with abled-bodies as well as disabled-bodies, so they started early just in case... but, like I mentioned in another post, I am floored at how fast some of these kids learn music and lines! (so, they probably started early for old farts like me---HAHAHA)
2) I do have a slight disadvantage in that I don't read music as well as others... mind you, I do know how to read a little from my days of playing trumpet (first chair) in junior and high school... but, MY way of learning was not memorizing what a B or an E or C was... MY way was HEARING it and copying it... my mom learned paino the same way (I guess it is in our genes). So, if I heard Herb Alpert play something, I'd pick up my trumpet and copy... ANYWAY, not being able to really read music well has only prevented me from auditioning for HGO's Chorus... it intimidates me to have to sight read on the spot... and it frustrates me that ONLY people who can sight read are the ones they want to hear...
It seems painfully obvious that they are missing out on a bunch of EQUALLY (or even better in some cases) qualified actors/singers just because they can't read music... WHATEVER!
I've never been to an audition where they made me sight read... if they did, I guess I would have to explain to them my situation and say "take me or leave me---ball's in YOUR court). yes, I would be arrogant enough to stand my ground... for I know I am more dependable, responsible, and ethical than most singers/actors out there. I know how to sell a song , too... It's probably a shame that MORE directors don't know my abilities... if they did, I'd be the hottest comodity in Houston!

[crunchmd.livejournal.com]

I've done both. In straight plays, I usually start memorizing right away, but I don't go off book until the blocking is complete. I also try to memorize all parts of any scene I'm in, for the same reasons as daltxfurry. There's nothing so frightening as watching your fellow actor suddenly succumb to that "deer in the headlight look", so it pays to be quick on your feet. Two quick stories, both occurred during "Bat Boy". 1. During a tech week, the musical director came in too early for my song que. I finished my lines, as they were integral to the plot (and the end of the act), but then I didn't know how to jump into the song in mid-verse. Somehow I started making up new lyrics on the fly until I could catch up. My on-stage wife later told me "I didn't know what the hell you were singing, but it made sense and it rhymed!". Fortunately, this never occurred during production. 2. During the last 3 dress rehearsals, the director made massive changes to a pivotal scene. Each night, we were given new pages to perform that night. Knowing my parts and those of my partner cold was the only way we got through it. I don't recommend it for the weak of heart.

[mrdreamjeans.livejournal.com]

I bow to your process ... :) As I said to Dick, I don't learn any lines but my own and the cue lines. Of course, by performance time, I'm familiar with everyone's but not to the point of knowing them. I am always amazed when people can go up on their lines and improvise a lyric that makes sense. I am humbled by that talent:)

During rehearsals on opening night day of "Wonderful Town", they cut the opening sequence by 2/3. We got through the cuts one time before we were doing the show for critics. I can't say I'm fond of waiting till the last moment, but with one minor glitch by the tour guide who was affected most, everyone pretty much got it right. Scary, but we got away with it!

I look forward to catching daltxfurry, deebee and you in shows some time soon. I'm a big fan of watching my friends onstage! HUGS!

[mncuddlecub.livejournal.com]

Something I've found interesting about myself is I have a much easier time memorizing after I've rehearsed the scene with the script in hand once.

I could be given the script months in advance and all the time in the world to memorize, but that first day I get there on stage I would stumble through my lines to no end. BUT, give me that one rehearsal with the book, the next one I'll be mostly memorized.

I'm getting ready to do my first play in a few months actually. Normally I prefer musicals, I like the way the music breaks up the show into sections; music/scene/music/scene/etc. So I have a new experience ahead of me. Not only that, but it's a three person show which only two of the characters have lines, of which I am one of, which means... LOTS of memorizing is ahead of me! Maybe I'll have some new insights after ;o)

[mrdreamjeans.livejournal.com]

I always have my script in hand for the blocking rehearsal; I then woodshed the scene so that I know it by the next time we rehearse it, so what you're doing isn't odd by my book:) One of my quirks ... directors who know me expect this ... is that the first time I do a song or scene offbook, I screw it up. Once I expend the nerves, I'm usually good from then on ... I used to find it embarassing, but now I just know it's part of my process and don't let it take on too much importance. I finally can laugh at it.

What's the play you're doing? Is it church-connected or a community theatre production? Let me know! HUGS!

[mncuddlecub.livejournal.com]

I'm very similar, I need to stumble my way around the stage the first time through, and some how it helps me connect with the role... I honestly can't figure out how. It just happens.

The show is called "The Woman in Black", it's a ghost story. It's what my theatre group "5th Season Entertainment" is going to do for our first show. I haven't written much about all that for a while, but I should be talking more about it soon ;o)

**CubHugs**

[mrdreamjeans.livejournal.com]

It's interesting that your first production will be a play instead of a musical, given your love for them. It's very smart to keep costs down by choosing at small-cast play. Good Luck! I look forward to hearing more about it. Btw, Have you thought about doing some kind of fundraiser to get the theatre kicked off with sufficient funds. You have a lot of friends and acquaintances that might donate their time and energy to performing and helping out. Just a thought ....

[mncuddlecub.livejournal.com]

And it's a good thought ;o) Right now this first show is going to be put on with probably only 4-6 people being involved.


And this first show IS the fundraiser. We were planning a bunch of stuff to try and raise funds, and this show being so cheap to produce seemed to work out very well. I won't get into it all right now, but I will be talking about it all more soon.

And yeah, I know it's kind of weird that we're not doing a musical, but they are just so much harder to put together. But believe me when I say that is what we are working up to.

[jhitchin.livejournal.com]

I'm like you. I don't memorize a scene, line of music, or what have you until I've been blocked or had parts assigned. It's harder to unmemorize than to memorize. However, I employ different methods of memorization depending on what it is that I'm doing as I haven't found The One Way that Works For Everything.

Probably the hardest thing for me to memorize is choreography because I need to drill it with the music to match the steps to the beats or phrasings. Usually I don't have a recording with the music I'll be dancing to.

The practice of "running lines" with someone else on book doesn't work for me. I'll know it fine in that context, but when we get on stage to rehearse, it's gone. Usually, if I have to do it quick and dirty, what works for me is to walk the blocking with the lines, or to visualize the scene while saying the lines, and imagining the action and the cue lines.

[mrdreamjeans.livejournal.com]

I agree with your final statement. I think that works well. BTW, Pat, lovesongman raved about your performance in "The Mouse Trap"! Cnogratulations!

[jhitchin.livejournal.com]

*blush* He's so nice! I was very appreciative that he came to see it.