Phil Murphy's Journal

Hey everyone...just a reminder that Jeanette and Pinky wish to see those of you who did not parade costumes last night on Monday at 6:30. And those of you who were in costumes last night, Jeanette wants you to start wearing them to get a good feel for them and the ability to make changes. It's important as we may have to set up a dressing station backstage.
On another note, I really want to thank everyone for the perseverance that is being shown. I know the rehearsals get longer and tiring, but it is the way of our world. Stay with it and keep focused. Use your downtime over the next few days to review your lines and blocking. It's important. Whether you choose to believe it or not, I am serious when I say we are actually in pretty good shape for as many days out as we are.
ACTING LESSON #6
There are a few words that get bandied about when one discusses acting and the stage: Risk-taking and vulnerability. These are very important concepts, and are sorely misunderstood. Let me try and bring some focus to them. I think it will benefit all of you in your continuing work whether for this show or any other you may take.
First do something for me: Think of a time when you were frightened to your wits end...something really scary and horrifying, and I don't mean when you auditioned for me :). Now try to relive that experience. Note what happens to you physically. Feel the sensations...(Go ahead, DO IT...it's okay...it's part of the acting process...you know DOing)...What do you feel? What are the sensations?
If you are like most people, your heart will begin to race; your hands will become clammy...or even sweat; your temperature will rise; you'll feel flushed; and your stomach will begin to knot up. Feel it?
Now I want you to think about a time when you were the most exhilarated, thrilled, or ecstatic...something really joyful! Now relive that experience to it's fullest...create a movie in your mind, but don't just be a spectator. Truly relive it. See yourself within the experience.
If you are like most people, your heart will begin to race; your hands will become clammy...or even sweat; your temperature will rise; you'll feel flushed; and your stomach will begin to knot up. Seem familiar?
Funny thing is your body doesn't know the difference between fear and exhilaration. It's your mind that perceives the difference, and our response, our behaviors, are based on those perceptions and learned over time.
Now you may ask why I suggested this exercise? It's an important exercise for this reason: As an actor, it is my job to bring energy to a performance. It is within the line that connects these two extreme sensations that we discover that energy. You may call it nervous energy, or what you will. Adrenaline is the base, and it feeds the fight(exhilaration) or flight(fear) experience. You hold the key to turning nervous energy into the positive energy you need to make this or any play come to life. In order for a play and your performance to rise above the mundane, you must LIVE in your characters' shoes...find their reality. DO it; ACT it. "Action" not "Being." Being is a passive state. Doing is active...and it's really scary!
That's what fear is all about, and when you feel it you must channel it.
Now, once you  understand this concept you can begin to glean what vulnerability as an actor is all about. As you continue to explore in this manner, you'll begin to discover the character's emotional life. As these emotions bubble up to the surface, you will truly feel...maybe even for the first time...what it means to be truly vulnerable.
This leads to the next concept. It is at the moment of vulnerability that we can speak to risk-taking. Part of risk-taking-the one most commonly referenced- is doing different things onstage. While this is an element of risk-taking, I tend to think of it as only a small part of the equation. The larger part, and the part many people rarely get to experience as actors, is rooted in the emotional life of the character. At the moment you've had to bare a side of your own self through your character. That moment of intense vulnerability where one fear stands paramount: What if they believe I'm really like this? If they do, you have just become an actor of worth, fleeting though that moment may be, there is no greater risk, nor is there any greater reward for an actor.
No matter how large or small a part one plays, this is the essence of the actor. That's why there are no small parts. Each one demands the full extent of your ability. And to be truthful, the hardest task goes often to the individual who tackles more than one role, as they must find and create numerous lives-a truly daunting task, but so much fun.
This is my favorite part of acting...finding this character within yourself opens up worlds most people never ever explore. It was Plato who taught of the importance of a life examined. It's nice to know because you chose to express yourself through acting that yours will be well examined.
Love you all! See you next week. Phil

Phil Murphy Traverse City, Michigan, USA "The Fourth Coast" "The trouble with life is there's no background music."

Bill Dungjen's City of Angels Journal

3/15/01

Tonight we open
A full house of people 
and Exhilaration

Well, after the final dress, which went pretty well aside from a few frayed tempers, it is pretty clear that we need an audience.  I think we have gotten too complacent and have been leaning on being able to stop.  The energy was low in spots, but I think it's a matter of no response.  It's hard to get going without a little help.  Tonight I think the audience, the cast, and the crew will all be amazed at what we are capable of.  This show is as tight as rehearsal is going to make it.  Now bring on the people.  We need a little laughter, applause, and just a hint of terror.  We may make a few mistakes tonight, but we will charge on.  I can't wait to see what happens. See you at 8:00.

3/14/01

A week since I wrote
It might as well be a year
So much has happened

I've just been caught up in a whirl of activity. Susan being sick, the final rehearsals of the show, my job going crazy for the last couple of days, what else? To be honest, I have been too overwhelmed by the speed of things to form a coherent thought. I'm not promising that that has changed today, but I am going to try to get something down. I woke up yesterday with a sore throat and ran in a panic to the urgent care. It certainly seemed urgent. I told the doctor why I couldn't have a sore throat and he prescribed everything he could think of to help. I feel better today although it was a trick dragging myself out of bed this morning. Last night's dress rehearsal went very well I thought. The problems that we encountered should be easily remedied for tonight. I expect a brilliant run at it and a high-energy final dress. Susan sang her songs last night and sounded great. Especially having been sick like she has. Any lines that were dropped were picked right up and covered (thanks Steve), all the sets got to where they need to be pretty well and everyone learned a thing or two to put into play tonight. I'm babbling, I'm excited, but I can't focus it down into a coherent point so I'll just leave it at this… I love this stuff. It's a rush. I wouldn't trade this experience on a bet, the people involved in this show are a treat, the show itself is a blast and I am grateful to be a part of it. See you tonight.

3/7/01

Almost got through it
In a single rehearsal
Hope springs eternal

I couldn't even bring myself to write a journal entry yesterday. I was too crabby and frustrated. Tuesday night was long, hard, and painful. I wouldn't even talk to Susan in the car on the way home. Not that she was the problem, but I've learned enough to know when to keep my mouth shut because I don't know what will come out of it. It took us four hours to get through one act on Tuesday night. Wednesday morning broke clear and sunny and after breakfast I felt like a new man. Monica and Susan Snyder came out to the Friendly Frankfort Rotary Club meeting with Mary Gillette and Brian and I to present some of the songs from the show and some information about the OTP. (I know, who would have thought that Brian and I are Rotarians…it's a long story.) The presentation went well, the club enjoyed it, and it gave me some additional energy for the rehearsal. We hit the stage running and, with very few bumps, shot through (all but one scene of) the show in 3 1/2 hours. Everyone looked bright eyed and ready to go for the whole thing. It's all coming together. What a feeling. It's like having the proverbial thorn-in-the-paw removed. I have a new sense of the show, a new energy for the next week of rehearsals and a palpable sense of excitement about opening next Thursday. Sure there are things to get nailed down, and Susan is still battling with the dregs of her illness, but she is feeling much better, we don't have as far to go as I thought. It's always a surprise

3/6/01

Sick is not so good
Susan needs to get better
We have all missed her

Although she looks 1000% better this morning, she still sounds like a frog. She has taken this week's worth of being bedridden with remarkable grace. She has been upset about not being able to get to rehearsal. If there ever was a perfectionist when it comes to this kind of stuff, it is my wife. I have confidence that she will be working triple time once her antibiotics kick in. Last night, she missed a pretty good rehearsal. We stayed late, but it was worth it. We ran Act one in it's entirety and worked through a sizable portion of Act 2. The set crew was in attendance and there were some bumps here and there, but for the most part, people really put in the effort to get through the thing. It will come together, I saw it lurking out there, just around the corner, it's just a matter of us getting to the corner.

3/5/01

Cordless drill holsters
Hammers swing from a tool belt
The set goes up quick

Many people spent their weekend, or at least a portion of it at the theater building things, gluing things, painting things, and learning what things had to go where and when and how. What a rush of activity. It was fun to see that. I am hopeful again. Hopeful that we can put as much energy and focus into the upcoming week of rehearsals as we did into the set and props that we all worked on. I've been running over my lines and working hard on getting things in order. Here goes…I'm looking forward to it.

3/1/01

In the excitement
My focus begins to fail
As I am menaced

Once it gets to be 9:30 and we are still plugging away trying to get the first act run, everyone gets a little cranky. Not that we don't have good reasons. My reasons were sterling. There are unfamiliar bodies onstage with us. People lurking in the wings swinging large pieces of furniture around and trying to maneuver props around the actors who are standing around gawking at the new set pieces. The tech crew is blinding us with errant lighting instruments and deafening us with feedback and really loud amplifications of the quartet. There are mic cords to trip over, set pieces with wheels on them to avoid being crushed by, people who aren't entirely sure what their next line is, confused blocking, costumers waiting to jab us with pins, and there is the ever-present threat of orchestra members showing up to bonk us all on the heads with trombone slides and flying tympani mallets. The next morning, however, it makes you a little shamefaced. The big finale of act one looked more like a comedy act than a big finale, not because of the gauntlet of minor horrors that we ran through all night, but because I was tired and crabby and unfocused at 10:15. I'll try to do a better job of keeping it together. I'll do my best to remember that all of these people are here to make me look good (better) out there. Eventually, I'll get the words to that song learned in the right order. I promise. Now can I go home? Please?

2/28/01

Fifteen days until
City of Angels opens
To a crowded house

Tomorrow is March. That means we open in two weeks. While we haven't had a full run through yet, things are shaping up. Most of the cast knows their lines and blocking and those that don't are beginning to come under heavy pressure. I always enjoy the last couple of weeks, they move so quickly that all of a sudden, the show is up and running and you don’t remember how you got there. Additions of tech, set, props, orchestra, costumes, and trying to figure out where you need to be for your next entrance and how best to get there, take a lot of attention. It's exhausting, it's bewildering at times, but it’s never dull. We sang with the orchestra last night and that went fairly well, some rough spots that will smooth in time, but all in all satisfying to get through all the music in one night.

2/26/01

What else can I do
With only three weeks to go
Until we go up?

Several of the cast spent Saturday working on some of the set. Susan put wheels on a platform; Brian and I put up the cyclorama. Steve and Brett Nichols worked on the track system. Mike Nunn worked on all of it. I understand that some folks came by on Sunday and painted and built some more. What a great thing. To be invested in the production in more than one fashion. There's more to this stuff than just getting up and acting, now we can all point to the items we worked on with pride as well as accepting the applause at the end of each show. The set is taking shape, the show is showing some semblance of contiguity, and some of the scenes actually look like something. In the best light, this is not too bad. This is the point in the show that always appears to be a giant train wreck. Nothing is perfected, no one is exact, and nothing is quite finished. Personally, I have a love/hate feeling toward this. It's fun to let go and just ride it out, but it's tough to avoid the occasional nightmare where you are onstage with no lines or no set or no music or, especially, no costume. Things always smooth out, the show always comes together, and people always make miracles occur and tighten up their parts. I could go on and on, but my knuckles are getting whiter and whiter as I think all this over.

2/21/01 Two and one half hours
Eleven out of nineteen
This could go smoother

I wrote almost this same journal entry for JC Superstar last year at this time. At the risk of appearing stuffy, I have to continue…I know that most shows get into this position. I understand that it is a tremendous endeavor to put a thing like this together. I realize that it takes a long time and a lot of hard work. I can see that it can get dull for the folks who sit around waiting for their scene to roll around. I cannot see that it is necessary to fill up every instant of down time with idle conversation and aimless wandering. I understand that this sounds unnecessarily harsh, but from the point of view of someone who is waiting in the wings for an entrance that keeps getting delayed due to the unfocused tone of our rehearsals, this is how it appears. I am not trying to get down on anyone, I am simply asking for a little concentration and focus. It is not that difficult to train your mind to be involved with the rehearsal. If your attention begins to wander, maybe you could contemplate some business that would further your characters involvement in the scene, maybe you could look around for someone to interact with to make the scene look more natural. There are a million and one scene changes in this show, it might be helpful to figure out what set piece goes where and how you could help to get it there to make the rehearsal move more quickly and productively. There are many things that can occupy your time that are beneficial to the show and not so distracting to the rehearsal process.

2/19/01

After rehearsal
Some folks go out for a drink
And we look for you

We decided to have a party so the cast could get together outside of rehearsal and socialize. The rehearsal process has been pretty disjointed as we have jumped around and blocked a scene here and a scene there. We really haven’t had a chance to bond, or talk, or just take the time to get to know the rest of the cast. It’s high time we took a minute and got together. If nothing else, it will make the parties after the shows more fun. There are some great people in the cast, we can have a bunch of fun, I just know it. I’m starting to sound like Andy Hardy. Gee.

2/14/01

Off book for both acts
Free to move around the stage
And begin to act

Yee-hah! I am stoked. My energy from now on is directed to getting off book and getting into the character. Now that we've run the whole show (more or less), I am excited to get into it. The part offers some nice moments to play over a wide range and I can't wait to get into it. The most fun was getting to see what we have to deal with in the scenes that we have blocked over the course of the last 2 nights. Now that I know what I'm doing (and to whom) I can't stop thinking about the little things to make it believable. What a riot.

2/13/01

Off book for Act one
Now we are running Act two
And all of us whine

Now really, what a dirty trick. "Be off book for Act one by Monday everyone!" And then Monday rolls around and we run Act two? I can deal with that, Act two hasn't quite gotten blocked all the way yet, so we do need to get that out of our way. I am enjoying running the show. Especially after Brian and I were talking this morning and he mentioned that we have 17 rehearsals left until we open. That made my hair stand on end. I guess I am going to have to duct tape my script to my hands until I get the dang thing memorized cold. On a lighter note, it was fun to have Monica back, she makes rehearsals so much more light hearted and enjoyable by simply providing her sunny presence. Welcome back from Florida. (Now if we can just get Steve Morse back home, we'll all be a family again)

2/9/01

One month left to go
Now we begin the running
This ought to be fun

Last night we ran Act 1. That's just what I was looking for. Even though we were missing some people and we skipped several scenes, it started to make more sense. I was surprised at how close I was to being off book for the act. Act 2 is a whole different ball game, but it should follow along nicely. I was pleased with what I saw. In the month we have left, I think we can put together a fun show. On a side note, I volunteered to make the desk/beds for the set. Mike Nunn and I put together some plans and I made a prototype. He thought it was too tall, so I volunteered to make another one. He was very careful about the way he told me it was not perfect. It brought home to me the truly cool aspect of this theater. It is volunteer. These sets don't just magically appear, the props don't just wander in of their own volition, there are people who put in a ton of time to do these things. The nice thing is the care and kindness shown to the volunteers. Mike put his criticisms to me so gingerly because, as he said, the worst thing to say to a volunteer is, "Good Work, now do it again, it's not right." I was the one who ended up tearing the thing apart and starting over because I wanted it to be right, I think I got it put together correctly this time, it's a good height and it should support the weight it needs to support. As I am one of those weights, I will reap what I've sown if it's not structurally sound. Here's hoping I don't end up on the floor.

2/7/01

Where is everyone?
I ask as we sit and wait.
And now I will crab!

Last night, we were missing a ton of people. We were planning on blocking the big party scene in Act 2. Almost everyone is in it. Almost no one showed up. I was pleased to be able to work on blocking my solo numbers, but I really felt for the folks who showed up and sat around waiting until they were told to go home. It’s a little frustrating to have these kinds of delays, especially when the crew is so well organized. We all have schedules broken down by scene, there is a chart that lists the parts and then extrapolates the scenes the parts are involved in, how much easier could it be? We’ve stuck to the schedules for the most part. We’ve always started with the scheduled stuff and then fit in what we could otherwise. I mean, come on, let’s get it together. Show up, be on time, get into it. Crab, Crab, Crab. Now that we’ve blocked most of the scenes and talked over most of the concept, I can’t wait to start running this thing. It’s one thing to do a scene here and a scene there, but it’s tough (at least for me) to get to the actual acting without a little context. I want to get into running the show so I can figure out where I am going to be and what I am going to be coming from. It just helps, for me, to be able to map out the emotional highway I’ll need to follow. I guess I’ll just keep showing up ready and keep my fingers crossed.

2/1/01

A tryst with Susan
A new meaning to the word
Extramarital

When you really get into a scene and start picking apart all the little details, it's amazing to see how many different ways it could be played. Last night, we worked all the scenes that Susan and I have together, we were the only ones at rehearsal and that made it an interesting night. There was some discussion of how odd it seems to come on to your real life wife onstage in front of an audience. There was also some discussion of how goofy I came across while trying to be alluring. That's the kind of support you can only get from a spouse. It was a good night in my opinion, we ran 3 or 4 scenes and really got into the relationship between Donna and Stine. It's much plainer now, who these people are and what they are trying to accomplish. I especially liked the discussion on how to get the audience to sympathize with a character that you think is an idiot. Never two nights the same in this hobby are there? As an extra treat, we got to listen to the band all night as they rehearsed across the hall.

1/30/01 

Let out the jacket
Double-check the trouser break
And loosen the vest

Where are these costumers when you really need them? I have tried on a million suits at vintage stores and resale shops and they all fit at least as poorly as the one Jeannette put on me last night. The difference is that these people can pin a gathering here, rip a seam there, and voila, the thing fits like a glove. From the glimpses of the costuming that I’ve seen lately, this is going to be as cool a show to look at as it is to listen to. Now, how do I get a costumer for my house?

01/25/01 

As the time flows on
We exhaust our potential
And it irritates

It's irritating to get to a rehearsal at the appointed time and sit around waiting for someone to get there. It's not that it's one specific person either. That's the worst part, you can't get mad at one person for consistently being late. It's one person one night, and another the next. I know it happens to everyone. It happens to me more often than I would like. All whining aside, we are moving along pretty well, I haven't been to a rehearsal that didn't cover the better part of the scheduled blocking and that is something to be pleased with. Looking at the silver lining of the thing, it's nice to have the time to chat with the other people who own watches while we wait.

 

Can you tell that I'm
Haiku-ku for O T P
Now you know how much

1/24/01

We waste not, Want not
Run our scene in the Green Room
Still can’t kiss yet though

Monica (Gabby/Bobbi) and I both found ourselves at rehearsal last night with nothing to do so we found a corner to work our scene in. We talked it over and worked out some of the phrasing and the peaks and valleys, then we ran it over and over and over… For the relatively small amount of time we spent, the scene really responded. We talked about Stine and Gabby and their relationship, that always helps. It’s nice to get to know Monica a little more too. I had to laugh when she mentioned the journal entry about our kiss and how she felt the same way.

1/22/01

Stand over here now
Then you cross and there's a kiss
"But my wife's watching..."

That's a new experience. Susan and I have always played opposite each other in that situation so the kissing was no problem. I know it will work out fine eventually, but it was funny to snuggle up to my "wife" while my WIFE was looking on. We left the kiss for a later rehearsal. Susan and I talked about it later and she thought it was cute that I was mildly disconcerted. We also took some time to look at the drawings of the set during a lull in the blocking.  Phil talked about what set pieces would live where and what room we'd have backstage. With all the set pieces and backstage folks we'll need to manipulate them, it appears to me that we'll be doing the show in an 8 square inch spot somewhere in front of the proscenium. I am prepared to be amazed.

1/17/01
Trumpets in the den
Trombones in the laundry room
Drum Set in the tub

At the risk of gushing, I love that band. I want them to come live at my house, we have plenty of room, I'll get a bigger car and they can just follow me around and punctuate my conversations with big fanfares and rim-shots for all my jokes. For just starting this whole process, the cast is pretty tight, the songs all sound great and the people are very friendly. I look forward to being social with them. When you don't do this but once a year, it's always a pleasant surprise that it's always so much fun. As much as I would enjoy just singing with this band for 4 months, I am looking forward to digging into the blocking and putting the scenes together.

1/12/01
What a kick it is
Singing into the strong wind
Of a hot Big Band

Holy cow.  That’s all I can come up with for that experience.  It always seemed like it would be a rush to sing with a big band, but the mind boggles at the actual experience.  They were a little cramped in the green room, but it didn’t affect their sound at all. If anything they were amplified by the little box of a room they were stuffed into.  The band was only part of the fun, it was really fun to be able to hear the other singers for the first time, we have a really strong cast. And, lest I forget, the quartet wandered in as well.  They still look dazed, but happy.  It looks like they are having a blast. That was so much fun, I laughed all the way home.  What a gas! 

1/11/01
Now we have read it
Tonight we will sing it through
Then we go to work

It's always fun to see the first read through to see what kinds of characters we will have.  I love the first glimpse of the decisions people have made.  This show is very funny, I laughed at every page. What a blast.

After a quick vocal rehearsal with Tom tonight, Donna/Oolie, Gabby/Bobbi, Stone, Alaura/Carla, and I are going to sing with the orchestra.  I'm looking forward to that simply because of Joe Rice's comments, "The band will blow you away…WOW!"

1/5/01
I sing with Tom Stokes
I try on suits for Jeannette
And still no read through

I am always impressed by organization ( as I have none ) and this production team is really impressive.  The orchestra is rehearsing before the cast, the costumers are going gangbusters, the whole thing will be ready to put together by the time we get the stage from Rainmaker.  Holy cow, this is going to be fun.  Imagine having time to work on the acting portion of the show…

12/21/00
Libretto and script
Meeting the other actors
What is this tape for?

WOW.  What a production meeting.  It was fun to see everyone in one place. 

There's a great energy to that first meeting.  That feeling of looking forward to the next four months and wondering what the experience will be like.  Personally, I like the thought of all the twists the characters will take.  I like to see them develop.  It's like a puzzle.  I was especially pleased to get a giant package of stuff from Tom Stokes.  He gave us all tapes of our parts, then our parts with the accompaniment, then just the accompaniment.  It's like show karaoke.  What a great idea.  I hope I can get mine dubbed down to CD.  Talk about handy.

12/18/00
Singing swinging jazz
Men of Quartet excited
Angel City…More!

Since the cast list came out, I have run into both the men of the Angel City Four.  They've both told the same story more or less.  Before they actually listened to the CD, they were thinking, "Yeah, how hard can some quartet music be…" Then they listened to it.  The fun part of the story is the looks on their faces.  Rather than being worried or horrified about the complexity of the music, they have this beatific smile, like they have just received a totally unexpected check in the mail.  If there were a caption for their looks, it would read, "COOOOOOOOL!"

I like that.

12/13/00
Anxious to joyful
Tough tryouts make for great parts
Now I will be Stine

I just love to audition.  Your blood gets pumping, your heart pounds, your knees shake, your breath quickens, what a rush.  I had anticipated a jammed house with a million people coming out of the woodwork to try out for this show.  Not to say that the talent wasn't there, the people that did come out must have made casting a nightmare.  I'm always amazed at the depth of talent that this area houses.  At any rate, it is a thrill to get a great role like this one and it sets you to walking on air.  Giddy as a schoolgirl, if you know what I mean. I always look forward to getting to know the cast and getting into the show.   It's a special treat to be involved in a show with my wife and my brother too. I can't wait.

Cara's Journal

3/7
We. Ran. The. Show.  That felt good, and it was wonderful to have the orchestra there. The tech crew has been amazing,too. So much is coming together so quickly... Anybody got ideas for mental warm-ups? It still seems like we need a group huddle before we start. And speaking of mental, am I alone in this or is anyone else staring at the wall, totally wired, until about 2 a.m. each night with song loops stuck in their head? "Puppet! Upstart! Bet a large aMOUNT on...DeMille!" Seriously sleep deprived and bordering on dysfunctional. Still, excited because today is HAIR THURSDAY...a new world of pin curls and pageboys.

P.S. Kelly, Monica and I are for hire (or, we'll pay you) if anyone else needs someone to take their song and step gleefully all over it (no Susan, really, we're sooo glad you feel better...) 

3/1 
It's a daunting prospect to share space with Dungjen the Younger¹s haikus and ponderings on the show, but I'd like to share these thoughts from a newcomer¹s perspective. 
1. Sudden ennui struck on Monday at the post-rehearsal Minerva¹s session as I looked around the bar and realized we were nearing the end of the ride; you are an amazing group with so much talent, patience, and generosity of spirit. I am already dreading the end of the show. I want to sit in the dark of the house and eat Twizzlers and watch Act One 'til the cows come home. 
2. By the way, the Angel City Four is SO ON lately! Anyone notice how sassy they're getting?? 
3. I've had some nifty pre-show nightmares already, including one where Monica stood in a balcony and lectured us, a la Eva Peron, on the importance of diction; and one where Bill and Brian were performing "Nothing Without You" to a packed house of elderly people on an Alaskan cruise ship. I¹ll let you know if I decode these into something useful.
After weeks of fragmented work and independent study, this last week has been like being whipped through Willy Wonka¹s tunnel in that spooky boat. Frightening and fabulous. Can¹t wait for next week, when the heat is on and we get to work closely with all crew and cast on such a delicious show. 

Joe's Journal

A journal subject:

The third rehearsal of the City of Angels orchestra is behind us now. I am thrilled with the level of expertise this ensemble has shown me thusfar. It's a mix of orchestra "old-timers" and folks brand new to the playhouse brand of show. Some have a good deal of history (musical) behind them -- having played with Woody Herman, Stan Kenton, and other well known bands -- jazz, folk and rock idioms. These guys swing bigtime.

Virtually the entire cast of leads came in to sing through their solo numbers with the band. The Angel City Four and Jimmy Powers also came. Wow! I didn't hear any insecurity on anyone's part. A few flubs here and there -- some forgotten notes or attempts to sing what was on the CD rather than what's in the score -- but overall, this show is going to sound pretty professional. At this point, we're still two months out from opening night, and already the singers have committed much of their music to memory - fabulous! That means that Phil will be truly able to focus on the acting without having to fuss over musical lines that still have to be referred to in print.

My major concern at this point is finding the time with the orchestra to work through the 39 separate pieces we have to play (counting the little four measure transition pieces). I have invited the singers to come in and work out with the band, but that eliminates the important time we need to accomplish the balance of the show. We still have approximately 12 to 14 transitions we have not read for the first time. Luckily, it has not become critical, but it might. I may have to simply say to the singers, "stay away for a night." This is not a major worry, however. I have superb musicians playing this show. They sight read better than some groups I conducted on an opening night (slight exaggeration).

Little things have to be attended to: 1) depend less on bass drum and let the bass player carry the tempo and beat (Roland is feeling so responsible); 2) work on the entire ensemble to lower the volume level a notch; 3) concentrate more on precision on the jazz licks. 4) work on better balance between sections; and 5) get everyone there on time so we can end on time.

Joe

 

Anatomy of a play

Don Kuehlhorn
Presenting a play on main stage or in studio theater requires more work than memorizing lines. Many hours of preparation go into the production of any theatrical piece even before auditions have taken place. This page will chronicle, as best we can, the meetings, discussions and decisions which must take place to present a play. We hope it interests you.

April 9, 2001

It's over! We ran the run. we performed the performance. Now it is a memory,  good memory, a great memory, but a memory none the less. We had some problems along the way. The stage crew could have used more time to prepare. We lost some Playhouse friends way too early in our lives. We had more good times though. We found some new talents we hope will stay with the playhouse. We found new talents in ourselves we hope will stay with us. I don't know the final dollar figure of our production. I am sure we made money but maybe not what we budgeted to receive. It is not the money though that makes a great show.  It is the people and the community we find with our hobby. Yes we need the ticket money to open the next show but If we don't make the friends and people connections then who wants to come back for another show? It's over. Let the new play begin.  

April 5, 2001

Here we are at the last weekend of our run. The attendance has not been the greatest. We hear a lot of people who think the play is "racy" We have some scenes that stretch the envelope some but none that would be offensive. Those that have seen the show like it. Wonder why more don't come because of the "likes" then the "racys"?   The cast let down a little last week. If happens when you get into a show and you get comfortable with the part. A certain complacency sets in. The director pointed out the fact and the show came right back to the level of great. The audience never knew but we did. Now for the last weekend, we will remind the cast again...just in case. Don't bother to buy a ticket for closing night that is sold out. After all, here we are at the last weekend.

March 27, 2001

Here we are in the middle of our run. We have performed for 7 audiences. It was rough in the beginning. Backstage crew was still getting used to the stage moves. The cast was settling into their roles and getting used to the audience reactions. We all had problems yet the show is a great success. Our audiences could be better, yet, the audiences that have seen the show rave about the talent. Our orchestra is superb. The cast is consistent and entertaining. The stage crew delivers a moving experience. I am proud to be a part of this show. It is hard to know why we have a such a low  attendance. We perform the same show regardless of the audience size, we just would like more audience. We are in the middle of our run and feeling good.

March 16, 2001

We opened last night. The energy was there. The audience was there. We had a great show. Now we need to get the rest of the shows done without losing the energy. The stage crew is the last part of any show to get organized. No matter when we get a crew, it is the last few days that all the properties and furniture and set pieces are available to work with. The last couple of rehearsals the crew was still getting it together. We ( i am on the crew too) were not synchronized with the set pieces and who would carry and place what piece. The director and stage manager would rant and rave at us until we got it right only to start all over when we goofed up the next scene. No matter, when push came to shove on opening night we rallied round the stage and gave a great performance ourselves. I know of two mistakes that I made but the audience never knew. That is the measure of performance. Can you err and make it look like it should be there anyway? We'll be better tonight. When you come to the show. Try to see the stage crew. My guess is the first time you will but after that we will be set dressing and nothing more. This is a tribute to good acting and good stage crewing. We opened last night and we are good! 

March 13, 2001

I am back in the saddle! Last week I went to Germany on vacation. It was wonderful, I have pictures!!!!! I knew it was at the end of the rehearsal process for "City.." but I was visiting my daughter and that is that! I used the internet to saty in touch for information only. I couldn't do anything from there and really didn't want to do anything but vacation. Now I am back, rested and raring to go. I hear that it goes well. Same as any production in the finally week of rehearsal. All the pieces coming together make for a spectacular crash early on. The stage crew still needs some adjustment. It is  a technical show and needs more choreography from the stage crew point of view. Heck we have two days left...Plenty of time. and I am bake in the saddle! 

February 28, 2001

Many things yet to do. We completed a full sing through of the show with orchestra last night. Took a long time but well worth it, both for the performers and the orchestra. Now we must finish the set, finish hanging the lights, finish the furniture pieces we need and finish the costumes. We have a costume parade tonight. That will tell us what else we need or what needs to be changed. along about Sunday we must incorporate the set pieces , costumes and properties into the running of the show. We need to train the back stage crew for set movement. We have to incorporate the sound cues into the show. We worked some last night as well but only some. I suppose we have over twenty sound cues and more light cues. The cast is coming along fine. Ever rehearsal we get a little closer to the show we want. The bonding is there for mutual support. We just need rehearsal time now. Aside from that all this, I have to worry about getting a t-shirt or other logo emblazened piece for show memorabilia, make sure the posters get out for the publicity, and prepare the closing night party. So many things to do yet! 

February 25, 2001

It is called a work bee. Sometimes these bees are mandatory and sometimes not. Today's was not. In order to complete the set build and accumulation of properties, we spend long hours at the playhouse. This Sunday we had a work bee in which as many people, crew and actors, show up to help with whatever needs doing for the show. We will accept help from anyone at these "bees". Today we built drops and painted a lot of the set a flat base coat. Color will come later. We, also, installed some mechanicals which will change the set quickly and with some sort of magic. In the wood room desks and pianos and all sorts of special creations came to life. We had more than enough people for this bee. Too many and someone does not work. They get upset that they came all the way for nothing. Next bee will have more that enough work for all. We created things this time. Next time we paint and color and decorate. We do the detail work I dislike the most. Today was fun. Next time it will be work. Must be why they call it  a work bee. 

February 22, 2001

Whew!! Made it through this week's rehearsals without physical damage! We are 13 rehearsals out from performance. We are, at this writing, three weeks from opening night. The pressure mounts. Last night we ran the second half of the second act. The first half we ran the night before. We expected to run the entire act but our director worked scenes and worked them again. Last night he did the same thing! Not unusual, it is the process. We, also, ran the Scene from "heck". In most shows I have been involved with, we have one scene which is very difficult. For "City" it is the last scene, 2-19. Very complex, very busy. This scene involves movement and stage setting and backward lines and the finale. We did this scene at the end of a very long night.  Tempers were held in check and we got through it. We have survived the Scene from "heck". I heard the first of many complaints last night, as well. When we get this close to opening night, most, if not all actors, get the feeling that they haven't had enough rehearsal time, or vocal practice time or been directed. Truth is they are scared. They should be!. I always am! This is the narcotic that brings me back to the theater time after time. The fear of performing and not doing well. These guys have nothing to fear but their own minds. We got through the Scene from "heck". We'll have enough of the other stuff as well. Whew!!

February 20, 2001

Everyone is back from vacation, I think. We have started full act rehearsals. In reality, we run as much of the act as we can while Phil stops and starts adjusting the scenes. This is the process, start and stop, stop and start. At least the actors get a sense of the play as a linear event. They can see where and how their scenes fit in. Set construction proceeds, as does properties and the necessary furniture we want. Costumes are almost complete. We await early March to see them on stage. Our lighting designer, also performer, begins the light plot this weekend. He must draw up a set of lights for the various scenes, hang the instruments to light the plot he drew, then program the light board to turn on only the specific lights for a specific scene. Lastly, the sound designer has to deliver the pre-recorded sounds for director approval. Still plent of time, three weeks and 14 rehearsals. I am going on vacation soon. 

February 13, 2001

We talked with the Properties crew yesterday. This show has some interesting aspects to it. We don't have the traditional set, too many scenes, so things are light and suggestive. As such, we don't have properties. We need props for specific actions but not many. This means the Properties crew can, and will, become the set dressers. Set Dressers find the small objects you see on stage that add interest to the show but little else. On the bigger shows where you have a single interior, for instance, these duties are separate. On related issues, we have almost the whole cast back. Vacations, personal issues, and the flu have made the blocking schedule a nightmare. We assemble at the theater to find out who made it in and work from there. Some make it all the time, others succumb to life's relentless push. The set is taking shape. Costumes reports continued progress. Soon we will have a running crew at rehearsal and start the process of back stage choreography. At least the Properties crew is on.. 

February 9, 2001

We have our problems. Last night the director got a little hot under the collar. We have several performers who have yet to show for a rehearsal. We have many performers who seem to need their script way too much for being a month out. We have other theater functions wanting our stage for their purposes which would cut into our rehearsal time. We don't have much rehearsal time left, maybe 18-19 days. So with the pressure mounting, the director got a little loud and demanding. He, like all of us,  is starting to feel the pressure of opening night looming ever closer. The actors don't see it because they are fighting script and blocking. The director sees that the set crew hasn't started building. He sees our light designer on vacation for a week so the lights aren't set yet. We haven't gotten the properties person in to start her collection process yet. All this will happen, of course. It always has but the wanting of it is a hard thing to hold down. The show will go on time. It will be gang busters too. Yet as I said , we have our problems.

February 6, 2001

My days as an actor have ended, for now. I have put on the producer hat full time. No more am I a performer with a dressing room and a time commitment. Now, I go to the playhouse and look for things to do. I wander through the halls just another person. Though we don't make too much of actors, when you are in a current production the air feels and smells a little better. It seems as if people move to the side so you have the aisle. That is past and I step aside for everyone else now. How fleeting fame is. My days as an actor have ended... but are not over.

January 29, 2001

This is the down time for a producer. The actors are acting. The director is directing. The stage people are staging. And I am waiting until I am needed. My job, as I see it, is to ask every production staff person what they need. If they say "nothing" then I hang around seeing if they can't see the forest for the trees. Meaning that they have so much to do, they can't see that they need help. If I don't see something to do there, then I go on to the next production person and ask the question again. Some producers organize the closing night cast party and make sure the presents are bought. I think the producer gets his nose in everywhere and gets a lot, I mean a lot, of dirty, who died and made you god, looks. Too bad all the people we have involved in this show are doing their job. I have nothing to do. Like I said, this is the down time for a producer.

January 24, 2001

These production meetings sure are interesting. We had one tonight to discuss the time frame for having our stage put together. The lighting designer gave his date.  Properties found out that she was responsible for some of the stage dressing. Our stage manager discussed bringing crew in at least a month before we open(usually two weeks if not less). The sound designer talked about the pre-recording we did and will still have to do and the complexity of the sound. We should have 8 body microphones on stage, at least two stand mikes if not 3 or 4, and 25-30 sound cues all to run during the show! Did I mention we did some pre-recording? The script calls for orchestra underneath a voice-over while the character is on stage. It, also, calls for the Angel City 4 to sing over a radio. We chose to record these and play them back over the speaker system. It only took three hours to get the necessary 10 minutes worth of sound! We still must rerecord the sound to cut out all the takes that didn't. I passed a lot of this information on at the production meeting. It made it interesting.

January 19, 2001

Final got the full stage design, all 47 scenes of it! That is right 47 scene changes for this show. That is a lot of changes. We showed them to the stage manager. He is not unhappy but not thrilled with it either. George, our stage manager, must find people to move the furniture and flats and whatever in a timely fashion. This means as fast as they can so that the audience sees a musical instead of a set change festival. That is a challenge, yet the other challenge is where do you put all this furniture and flats and the cast? It will be interesting to see how this turns out. Let me tell you right now that we will not have 47 scene changes. Always, when the construction starts, the set changes do to the real life constraints of our stage. Still the adventurous design will yield more changes than a normal show. How high can you count?

January 16, 2001

Finally made it to a rehearsal! This just happened to be the first full singing rehearsal for the cast leads. We have two types of cast members in this play, the cast leads and the chorus. The cast leads do all the solo singing. We need the chorus to fill in the stage and to give body to the songs. The chorus is essential in any play. Unfortunately, they don't do much work. (Where have I heard that before?)  Usually the chorus is made up of new people getting their theatrical feet wet. However, in this play the complexity of the piece means that we prefer to have experienced players in the chorus. That is how we cast the show and we hope it holds up during the rehearsal process. The lack of stimulation may cause some attrition. I'll let you know. Concerning the rehearsal last night...  these guys and gals are really good!
I am glad I finally got to rehearsal. 

January 11, 2001

We had our first rehearsal with the cast last Wednesday. Usually the first rehearsal is a read-through with everyone introducing themselves and then we read the play out loud. This rehearsal was no different. I was out of town that day so I am relating this experience second hand. 
I am preparing to open in our current production in a week. While we rehearse on main stage, the band rehearses in the room right across the hallway. Tonight the lead vocalists came in to rehearse with the band. WOW!!!! These guys are good. The vocal coaches have done a great job and the performers themselves certainly have done their home work.  They put the extra time we have available to us to good use. Did I mention the band was certainly their equal in talent? Well, they were! Next week we  start blocking and that will cut into any voice rehearsal time we could have. So far we are ahead of the game. Let's hope we keep it that way.

January 04, 2001

Haven't been at this journal for a while. Been busy. We started with a bang talking about set design. So far we haven't got a full design. He's been busy. The quartet has been rehearsing all through the holiday season. They have been busy. The band rehearsed last night along with the quartet at OTP, while the current main stage show was rehearsing. The playhouse was busy. it has been a busy couple of weeks and only looks to get busier. Hang on for a great Ride!

December 29, 2000   

Last entry of the year. We have been on vacation, kind of, for the past couple of weeks. Because of the holidays we auditioned early then distributed scripts and hoped all would read on their own until January 10 when we start in earnest. The band and the quartet have started rehearsing already. It is disconcerting to have a cast and not be working. We are so far ahead right now with time that it will be difficult to see the end of the process. This may give us a false sense of security. "We have plenty of time." Then before we know it, Showtime! Of course, there is never enough time. Talk to any actor of director and you will find that they needed just one more week. We don't have anymore weeks this year. Happy and safe New Year.

December  20, 2000

Met with the cast yesterday to deliver scripts and talk about the process from now til opening night. We had two of the proposed cast drop out, not bad for a cast of 25+. When you audition for a role some people think you are auditioning for the play no matter what role you get. I don't believe that. I have auditioned for a specific role and not getting it I have declined other parts. This should be a pleasureable situation. If I get cast in something I don't want or like I will be miserable for the whole time and make life miserable for everyone else as well. We make choices. 
Now we challenge ourselves to read the book over this long holiday break. We must work alone and be prepared for our next full meeting in January.

December 18, 2000

We had a few who decided not to accept roles, mostly people who want more to do then what we have left to offer. I have done it and I know what they are going through. After all, we do this to work hard and have fun. We don't want to sit while the others play.
Tomorrow the cast comes together for the first time. We meet each other and get scripts, calendars and just see who's who. This is the thrilling part. After the holidays, mid-January, we start the rehearsal process. Even before that, though,  the quartet and orchestra have begun their work. They have a huge job ahead of them. Perfection is the key word here. 

December 14, 2000

The messages are coming hot and heavy. Not a single denial in the bunch. We are a show! Well, we have performers for a show. The work begins soon. The Angel City 4(quartet) start rehearsing this week. They have their work cut out for them. Their Manhatten Transfer style of singing(close harmonies, fast paced music) is difficult to do. They need all the time they can get. The orchestra is starting rehearsals soon as well. The cast begins their work in mid-January. 'Course they will have their scripts in a week and should have read through most of it by then!

December 13, 2000

Last night we held the final audition for our play. We had enough talent to cast the show however we could have always used more! Now we await the affirmative responses. The play is alive and ready to rehearse!

December 11, 2000

First audition night. When you select a play to present, the first hurdle you face is finding the performers to help you present it. Usually you have fingernails chewed to the quick until you see someone walk into the auditorium to audition. The nightmare is that you offer an audition and no one comes.
Not so for our show. We had about 25 people audition. I'd say at least 25 could be cast right now. The others, well in a pinch we could work with them. The production staff discussion after the audition showed relief on the part of all concerned. This is not an easy play. It will require dedication and a willingness to work. A mainstay of many plays presented by community theater is the video. Review the video and get your character, blocking , etc. No video exists to fall review. We will make it up as we go along.  Tonight... another audition.

October 18, 2000

Mike Nunn, Phil Murphy, Don Kuehlhorn, George Hunting present:
Mike asked us to look at the trucks on mainstage used by "West Side Story". They are the kind of truck he envisions for our show. As we walked on stage He discussed a semi-circular level on which tables could be mounted for various scenes, toward the back of the playing space. He also demonstrated the style of back drop for the entire stage. A cut-out affair that would light from both sides. Rear illumination would give one shape, front illumination another. We eliminate a scene change with this technique. 
The discussion quickly turned to scene changes. We have about 40 scene changes. Some 10 in bedrooms, several in nightclubs, several outdoor scenes and more indoor office scenes, all different and fast (a page or three). How do you design a set to accommodate all the changes without taking time to black out and set the scene? We discussed using a different kind of truck. One that didn't have wheels at all. We thought about the bedroom scenes that could be the same and just change little items on the fly. Phil discussed his desire to have a minimalist show and focus the action on the actors. Sets could change with physical pieces and with light. George Hunting stressed the need to have as few stage hands as possible yet more than enough to handle the biggest set change, whatever that may be. Next  meeting set for November 8, 2000 Production

September 20, Production Meeting

Attendees, Don Kuehlhorn, Phil Murphy, George Hunting, Mike Nunn
Phil began with a note about tech crew. He has names of individuals interested in working on show.
His next topic was the set design. He discussed with Mike Nunn his ideas. He wanted a sense of impermanence to the set. Having set pieces that were light weight hanging on other set pieces. Starting with a scene that stays on stage the entire show and changes only with other pieces covering part of that scene. Use the Blue Note Lounge as the a basic set. Possibly add silhouette figures. Use lighting to change locations and mood.

Problems noted. Fast scene changes. need for several playing levels. color to black and white staging effects.

Mike Nunn talked about stages we have had before, revolving, trucks, flying scenes in. He noted that duality of the show one color , one black and white, and how they could play against each other..

Meeting ended with discussion of having crew involved early in show. this will be a difficult show to tech and the sooner the back stage crew is on board the better the tech will be.

Next meeting October 11th

Attention Jazz Singers Old Town Playhouse is presenting the hit musical "City of Angels" March 15 through April 7 (next spring). It's a terrific show that features some great jazz. The music for the show is written by Cy Coleman, one of the greatest writers for jazz big band and Manhattan Transfer-style vocal quartet. The vocal quartet plays a very important and necessary part in the show. The music is often skat singing, with very tight harmonies. It swings bigtime! Auditions are 7pm Monday and Tuesday evening, December 11 and 12 downstairs at OTP. Bring a song that demonstrates your ability to sing in a jazz/swing style. One verse and chorus are all we need. You can bring a tape accompaniment, your own pianist, or sing it alone. We might have a piano player, but there's no guarantee they could sight-read your music. Then we'll ask you to do some simple sight reading and interval recognition. Then we'll put you in a group with three other singers and teach you a brief part from the show so we can hear how you sound when blended with three others. Rehearsals for the "Angel City Four" will begin soon after the quartet has been chosen. Vocal coach for the quartet is Shelly Tober. You must be able to commit to all eleven shows for us to even consider you. You might also be asked to do a couple of performances of you music to community groups to promote the show. Hope to see you at the audition, Joe Rice, Music Director

Hedges MacDonald Preview

No journal on the production of "City of Angels" would be complete without a little historical perspective.  Having recently hosted a screening of "The Big Sleep", the Humphrey Bogart - Lauren Bacall movie that served as the basis for the show's movie script, I would like to share with a larger audience some of my musings from that occasion. 
Some might say that "The Big Sleep" was Warner Brothers' unofficial sequel to "The Maltese Falcon", in which Bogart played Dashiell Hammet's private eye, Sam Spade with a secretary who was the prototype for "City of Angels's" Oolie.   In the later film he is Raymond Chandler's not dissimilar sleuth, Philip Marlowe. Lauren Bacall, at age 20, was in her second film, having recently debuted as Bogart's leading lady in "To Have and Have Not".  During the first film their chemistry offscreen equaled that which was onscreen. This time they carried it much further and Bogie left his alcoholic third wife for his eventual fourth and final nuptials.    The repurcussions of all this effected the movie's shooting schedule, with many delays resulting from Bogie's heavy drinking.            
 The "City of Angels" character, Bobbi may have been suggested by this third wife, Mayo Methot.  Folks in Hollywood nicknamed her "Sluggie", and the couple was referred to as the "battling Bogarts".  Bobbi's line, "Beatings cost extra" may have been a sly reference to their relationship. Bobbi is Stone's soon to be ex wife in the play who goes from a job singing in a nightclub to a later career as a hooker.  The low budget film noir classic, "Detour" has a similar seedy chanteuse in a fleabag New York club whose identical career ambitions take her to Hollywood and spell trouble for male lead Tom Neal, an actor whose own life would have made a good noir script (his once promising career was destroyed by his aggressive and combative ways, and he spent his later years in prison for killing his last wife)  
The character Mallory in "City" has a prototype in "The Big Sleep" character Carmen Sherwood.  The young actress playing that role was quite innocent, even by l940's standards. When told she had to fake an orgasm on camera she was totally at a loss until veteran actor Regis Toomey (whose role as Bogart's buddy probably suggested Lt. Munoz) carefully explained what the word meant. Our Mallory, Tamara Hunter has a bedroom scene, but at no time will she appear nude.  I played her father the last time around (in "A Funny Thing Happened on the Way to the Forum") and Paul Furlong has the honors this time, so she is in good hands.  
The late 40's, when our play is set, was a time of transition in Hollywood and America.  FDR was dead and the New Deal Democrats were leaderless, while a conservative group, The Motion Picture Alliance for the Preservation of American ideals (with Walt Disney, Gary Cooper, and Clark Gable among its members) was formed and began to gain power. Their efforts to clean up Hollywood eventually lead to the infamous blacklist of the 50's.  There was also racial strife (hinted at in our script), with the traditional "transplanted white midwestern " population joined by blacks and hispanics. The "zoot suit riots", in which white servicemen battled Hispanics in the streets of L.A. was an early indicator of the trouble. Stine, the novelist turned screenwriter in the show, is a nod to novelist William Faulkner, who was brought to Hollywood from Mississippi to adapt Chandler's novel to the screen (he had done similar service to "To Have and Have Not"). He collaborated with 2 other writers.  As the production fell behind schedule, many rewrites were done to pare down the script. Producer-director Howard Hawks (the partial inspiration for Buddy Fidler, who bears some resemblance to 20th Fox mogul Buddy Adler, as well) did some of the rewrites. Hawks, a director with unusual autonomy  at the studio, found himself under pressure that he wasn't used to as the filming dragged on.  At the request of Bacall's agent, the picture was later reworked to spotlight her and the chemistry the two stars had together.  With every change the book's plot became less recognizable, as does Stine's in the show. For playgoers with fond memories of the Hollywood films of the 1940's, this play is sure to provide some deja vu.  For some in the cast there is deja vu of a different sort.  15 years ago, I was the title corpse in the Studio production, "Oh, Dad, Poor Dad, Mama's Hung You in the Closet, and I'm Feeling So Sad".  In a memorable scene, Kathy Kocevar (playing Rosalie) had to stuff me back into the closet I had just fallen out of.  Now in "City" my character Dr. Mandril is a corpus delecti in one scene and gets wheeled onstage on a gurney by none other than Ms. Kocevar, playing a nurse.  Not all death defying acts have to wait a year.