Director Wayne Erreca's Journal
Current Journal Entry
November 26:
I couldn't have hoped for a better pairing of actors for The Fallen in Coeur d' Alene. The old adage, "Quality comes before quantity" is a true reflection of the auditions held this last Monday and Tuesday. Having more fingers on both hands than the total of individuals turning out to audition I received a tremendous gift in the talented few who did show up. I'm anxously looking forward to working with this cluster of actors who won't mind rolling up their sleeves and getting their elbows dirty.

Wayne Erreca

November 27.2005
Before we begin this challenging adventure of staging an original play a word of appreciation is in order. I want to express my deep gratitude to Michelle Perez Dungjen and the Artistic Board of Directors, along with Margaret Schaal for helping to make this opportunity possible at the Old Town Playhouse. Without their vision in seeing the necessity for "new play development" my work would unfortunately be gathering dust in my desk drawer like so many other playwrights orphaned work is. As with most children coming into this world the parents main concern isn't whether the child is beautiful or not, but only that it be born healthy. This also is my aspiration, for all new plays are not without their wrinkles and birthmarks and pointy little heads. With new plays facing public scrutiny it is a known fact the odds of everyone liking it is slim at best. Even Edward Albee, Arthur Miller, and Neil Simon had their share of critics abhorring their work, imagination that. Most playwrights do not set out to write a smash hit for fame and fortune, but to lay down a string of meaningful words presenting thoughts and images, and conveying interesting perspectives of this world we live in. All in attendance may not adhere to what they hear and see, but perhaps a single few will find an ounce of value to be drawn from it.
For those who do not know me I arrived in Traverse City in 2003 from San Diego, California. From 1996 to 2003, I held the position of Artistic Director and President of Octad-One Productions, Inc. at the Manhattan Playhouse (also known as the Eastside Repertory Theatre). Due to a severe and incapacitating injury I was unable to continue at the theatre so I decided to relocate to Traverse City to allow myself time to mend and decide on my future. While here, I've written several plays, "Roulette", The Fallen in Coeur d' Alene. The Servant's Ring, and am currently moving into the second act of "A Brooklyn Affair". I have worked in theatre over twenty-five years, acting and directing, and was the protege of the late Mr. Martin Gerrish,
As I've already mentioned, due to health reasons I have unfortunately been sidelined from taking a more active role in utilizing my abilities as actor and director at the Old Town Playhouse. Hopefully through my efforts as a playwright I'll be able to contribute creatively to the general whole. Once again, I'm thankful for this opportunity to once again work at the craft I've grown to love over the years.
Wayne

November 28th, 2005
We held our read-thru on Monday evening with only the ladies, Ashleigh Hanchett, Stephanie Young and Sandra McClain  in attendance, along with stage manager Tina O'Rourke. Unfortunately, our two gentlemen, Justin Harris and Daniel Jablonski were doing double-duty in rehearsal for "Anatomy of a Murder". My entire cast, accept for Sandra have roles in Mike Kelly's production, which created a potential scheduling nightmare. With assistance from Margaret Schaal, I believe we now have this obstacle underhand. The remainder of the cast and I shared an insightful first meeting and even indulged in a slice of punkin pie.

December 1st, 2005
Thursday
At long last we held our first rehearsal with Ashleigh Hanchett playing Cynthia and Justin Harris in the role of Tyrone. As most productions do, we began blocking and focusing on the emotional inflection required to set the scene. It never fails to amaze me when directing one of my plays how foreign it all seems at the beginning of the rehearsal process, primarily with getting used to real-live, flesh and blood actors filling the characters shoes. What oddly stands out is the unfamiliarity. In the months and sometimes years writing a play, spending time with invisible characters known only to you through your third eye, you grow accustomed to how they sound and appear. Then, when the times comes to cast the show, you’re facing completely different faces and personalities, that often hold no similarities to the original characters you had in mind. It’s no wonder why many playwrights choose to have their work directed by another. When first beginning to rehearse the thought often comes to my mind, “Who are these imposters? Where did my original characters run off to?” Thankfully, this dilemma only lasts for a very brief moment for I’ve learned from prior experience in working with other fine actors that they’re able to galvanize themselves into their roles, claiming ownership, and bringing their own magic to the stage. As a playwright directing his/her own show you definitely need to let go of old character images and be willing to embrace the new. Soon, as you break through the ice and each actor deepens in their understanding you discover they’re not imposters after all, but are perfect in so many ways. As a director I’ve worked with other playwrights who did have an extremely difficult time letting go of certain established images in their work. One playwright who comes to mind who was absolutely wonderful in allowing the creative process to have full reign was California playwright David Wiener, who penned “Van Meegeren; Master Forger” and “Louis and Irving”. He was the prime example of how a playwright should behave with a director. As we continue with our rehearsals, I’ll find great joy in witnessing the cast members transform themselves before my eyes.
Wayne


December 4th, 2005
Sunday

Ashleigh Hanchett, Justin Harris, and I chipped away at the play again. We had an excellent rehearsal digging deeper into the characters and the ambience of the opening scene. Blocking scenes is the most challenging and inspirational aspect of directing a production in my opinion. It’s a vital necessity for the foundation to be securely grounded. Both, Justin and Ashleigh threw themselves into three continuous hours of detailed scene work. It’s always a pleasure working with actors who want to act and are not satisfied until they’ve reached the core of their character.

Wayne

December 5th, 2005
Monday

Sandra McClain, playing the role of Roselyn Stevens joined together with Ashleigh Hanchett (Cynthia Temple) to rehearse their opening scene. Sandra portrays the fiancée of Sidney Wellborn who is the estranged father of Cynthia Temple. Roselyn arrives unexpectedly for a visit and what ensues is a mix of uncomfortable emotions and a hint of solidarity. We accomplished our goal and working with
each actor was a delight.

Wayne

December 8th, 2005
Thursday

We made up for lost-time with a inspirational rehearsal with Justin Harris, Sandra McClain, and Ashleigh Hanchett. The cast is showing signs of cutting their teeth and finding their character’s voice and rhythm. We still have a majority of the production to block but we’re making steady progress.

Wayne

December 9th, 2005
Friday

Finally, as an entire cast, we met together for our first collective rehearsal. It was wonderful seeing and hearing Daniel Jablonski (Sidney Wellborn), Ashleigh Hanchett (Cynthia Temple), Stephanie Young (Samantha Wellborn), Justin Harris (Tyrone Temple), and Sandra McClain (Roselyn Stevens). Their chemistry is delightful and full of promise for things to come. As a playwright, you definitely cannot be totally positive of what you’ve written until it’s put to the stage. It’s both a wonderful and frightening revelation and I never grow tired of the process.

Wayne

December 16th, 2005
Friday

After nearly a week of absence the cast assembled once again. We started on page one and went through the blocking up to page twenty-five, then proceeded to block out to page thirty-four. We’ve been working on emotional inflection, movement, personal business, and character motivation. Once Act One is outlined we’ll follow-up by  dissecting each section throughout, setting the pace, emotional intensity, and appropriate
nuances. It is becoming increasingly evident that a mere stage reading of this production doesn’t capture its full essence, but as with so many plays it’s not until you jump into the trenches that you begin to discover it’s true inner workings. The same can be true of many airplane designs when put to the test of flight, only then can one be sure of the validity of it’s engineering. I’m continually satisfied with the work ethics of this cast. If
this production proves unsuccessful it won’t be a reflection of any lack of effort on their behalf.

Wayne

December 17, 2005
Saturday

We finally completed blocking Act One. This has given us the basic perimeters to work from, providing us a canvas in which to fill in the necessary details. It is this particular rehearsal stage I find the most intriguing. It allows us to take each line, movement, and
inflection and to scrutinize the technical levels allotted to them, both visually, audibly, emotionally, calibrating tempo, and intensity. It is at this point where the actors really become absorbed in their characters from constant repetition and in-depth study of their
motivations. We intend to fuse together Act One during the remainder of the month of December.

Wayne

December 20, 2005
Tuesday

In the early stages of rehearsal where various emotional and technical layers are applied in building each scene, the overall picture begins to come into focus. It also reveals how much further you have to go to achieve your goals. Presently, our cast is completely blocked on the first Act and are quickly getting off book. We’re now at the stage where there is only one direction left to go for each actor and that is internally, by submerging themselves within their lines. This is the major difference separating dramas from musicals, and most comedies. Most dramas won’t allow you to act in a presentational manner, but demand that you go inward. This is when things start getting interesting for each actor and imposes their strongest challenge. Now that we’re blocked and somewhat familiar with our lines, this is the point where our true work really begins.

Wayne

December 22nd, 2005
Thursday

We had a major breakthrough in our character development. It has taken until now to establish a clear definition of each player’s role and it was a breath of fresh air. I just love the digging aspect of rehearsal where new discoveries often magically appear. In achieving this new level the emotional cohesion between actors is greatly solidified. With four of our five characters actively involved in “Anatomy of a Murder” which opens this coming January 13th, we won’t be gathering as a cast again until January 6th. The cast has been informed to be completely off-book by no later than January 15th. In looking back over our hard work during the month of December I’m confident we’ll make even stronger strides in January.

Wayne
December 30th, 2005

Friday

Justin Harris and Sandra McClain worked on the opening scene of Act Two. It went surprisingly well. I was greatly encouraged by their chemistry. It's such a treat seeing these characters materialize on stage, especially when they live up to the original creative expectations. We won't be getting together again as a cast until January 6th and 7th, then we will have another long delay until January 15th. This sporadic rehearsal schedule is a challenge, but thankfully the cast appears to have a strong retention of memory helping us not to lose valuable ground.

Wayne



January 6th, 2006 Friday

Finally, the entire cast was assembled and we went over Act One and the first scene of Act Two. It was encouraging to see that we didn't lose any ground. We're situated nicely for when we begin really digging into each scene come January 15th through February 9th. Each character is developing, slowly but surely, and there is already glimpses of magic entering in. Thus far, the rehearsal process is challenging, creative, and invigorating.

Wayne

January 14th, 2006
Saturday

We're now a little less than a month from opening and Ashleigh, Stephanie, Daniel, and Sandra worked a scene in Act Two, pages 55 to 60. With this rehearsal we begin our first run of consistent, back-to-back rehearsals, which I've been looking forward to. After Sunday's rehearsal we will have the entire show blocked, along with a clear understanding of the emotional levels, movement, and motivations. With our rehearsal time remaining, we'll be able to focus on each section, compressing all that we've learned. This is a wonderful stage we're entering into. Where the actors can forget about their lines and throw themselves into the emotion of the moment. We've come a long way since our first read-thru and it's very rewarding seeing how hard each actor has worked in developing their character. In spite of the eventual outcome of the play, it is already a success, having the privilege of working with this particular group of actors.

Wayne

January 15th, 2006
Sunday

The entire cast assembled and completed the blocking of Act Two. We now have our canvas to apply our colors. Most of the cast have their lines and are ready to submerge underneath them. With the rehearsals remaining we'll concentrate on condensing all that we've learned and to calibrate the necessary emotional levels, and tempo. Rehearsing a show is a series of layers and we're ready for the next step which will bring us greater depth and clarity to the characters and storyline. Just having the blocking and lines is the first stage, the beginning, the canvas from which to work from. Our next step will hopefully bring the art and magic, where the actors can move about effortlessly on the stream of emotion, giving no heed to what their next line will be.

Wayne


January 16-18, 2006
Monday-Wednesday


We're now at the midway-point of our rehearsal process with the cast nearly off-book. This is the stage of rehearsals that I truly enjoy where we can compress everything we've learned to date and establish the proper levels of emotional intensity and pace, along with adding little details of business helping to embellish the play's nuances. We're also beginning to establish our stage area by setting perimeters. By this coming weekend we will be incorporating a few furnishings and applying set construction of necessary walls. Lighing & sound will follow close behind. It is clearly apparent that the cast is becoming deeply engrossed in the edgy theme of the production, shouldering a vital intensity that it demands. This is a welcome sight for it reveals honest emotions, helping to flesh out their characters with a true perspective. The assorted parts of the play are finally coming together.

Wayne

January 21 & 22, 2006
Saturday & Sunday

We're beginning to run the show now and seeing where the ragged spots are. The actors are still struggling somewhat with their lines, but are making steady headway. As we near our February 10th opening everyone is starting to feel the pressure intensifying which is a good sign. It helps to channel an actor's focus and determination. It also sharpens a dramatic actor's character with an all important edge. We have a lot of ground to cover and it will be interesting seeing it come together. The entire cast of "The Fallen" are buckling down for the hard work ahead and are determined to hit the stage in open stride, come-what-may. It's a pleasure to work with each of them through, thick or thin, smooth sailing or turbulent weather.

Wayne

January 23, 2006
Monday


We have the early assemblance of a play and are running Act One & Act Two. Still remaining are many rough edges, but continually bright moments keep peeking out. As the play evolves in the passing week or so, it will be interesting to witness it progress. Each actor is working hard at fleshing out his character.

Wayne

January 24th, 2006
Tuesday

As a playwright working his new play, I must say, I'm extremely appreciative in what I'm seeing. Although, many rough edges still exist and the actors are not fully confident with their lines, movement, and motivations, what does come through clearly is that the scene structure works. This is why stage readings fall drastically short when reviewing the worth of a new play. It isn't until you put a newly constructed boat into the water that you discover if there are any leaks. This further demonstrates the absolute need for more workshops to exist, allowing aspiring playwrights to work their craft. Stage readings usually only focus on the words, but not the structure. A plays structure cannot be fully considered until it is stretched and pulled and given to the necessary stage requirements it demands. I'm confident with the rehearsals remaining that our actors will be shored-up and won't be springing any fatal leaks.

Wayne

January 28th, 2006
Saturday

We have made some wonderful accomplishments over the last two rehearsals. I'm glad to say our cast is now off-book, aside from an occasional dropped line here and there which should tidy up before our opening on the 10th. It's absolutely mind-boggling how quickly it's pulled together. Now, with lines in tow, we can get down to the really important work of tapping into the emotional current of the production. The labourous detail accomplished in fashioning each scene, plugging any gapping holes, and taking notice of our emotional inflection, we're at the point that I love most, where the actors can confidently move about expressing themselves effortlessly. We still need to address our lighting and sound system requirements as we enter into this last leg of rehearsals. Now that "Anatomy of a Murder" is concluded, our five actors can give full attention to their task at hand. I'm extremely impressed with the growth each actor has manifested and also grateful for their dedication and hard-work. Costume design by Sandra McClain is near completion and should offer up a nice visual for the production. Candice Rowland has rounded up many fine props which will help to flesh out the show as well. As it currently looks, we're right where I like us to be, growing in personal confidence yet hungering for more creative depth and emotion.

Wayne



January 29th, 2006
Sunday

Thanks to Phil Murphy we have lights on our set! And he did a splendid job doing it. THE FALLEN in Coeur d' Alene production is rapidly taking shape due to the extremely hard work the actors are putting in. I'm very grateful to them and I'm confident it will clearly show to the audience as well. We still need to apply our sound scheme and hopefully will have that up-and-going through the course of this week. I just love seeing actors evolve in their roles. A magical aspect I never grow tired of. I can honestly say we have a show to perform now and I look forward to using our remaining rehearsals to fine tune and polish it up a bit.

Wayne

January 30th, 2006
Monday

The Record-Eagle Newspaper sent a photographer to this evenings rehearsal. After his taking a few pictures we worked on cue-to-cue and the last scenes of Act One & Two. Sandra's costume design is near completion and the set is taking shape. By this weekend, we should be poised for our final  rehearsals with everything in tact. Hopefully, over the coming days our cast will grow in confidence and tighten in all the necessary places. Regardless of the future audience assessment of the play, it has greatly accomplished its primary goal, by showing it has legs, and that it can hold various degrees of emotional content.

Wayne

January 31, 2006
Tuesday

Our rehearsal was typical in what happens so often where you think you've previously taken one step forward but then shocklingly realise you've only taken two steps back. We're at the stage where the actors have been given the necessary tools to achieve their goals, lines learned, emotional motivations to support them, movement to visually rotate the scenes, and the tempo to perform them. What was displayed though were actors merely going through the gestures, speaking their lines without conviction and purpose and greatly lacking energy. This is a real problem but as I've witnessed in directing prior productions it can be successfully overcome by the actors taking responsibility in performing their roles with passion and purpose, and not just delivering their lines without the emotional intensity they require. This often happens when actors choose to "mail in their performance" rather than making it an experience for themselves and the audience. The bright note though is that the entire cast is off-book, fully blocked, and heading in the right direction. Now, only if our production can apply the necessary passion, we can look forward to a successful run.

Wayne

February 1, 2006
Wednesday

All coins have a flipside and now the same can be said of, The Fallen in Coeur d' Alene. Not exactly sure of what I was to witness going into rehearsal Wednesday evening, especially after enduring such a lackluster performance the previous night, I was pleasantly surprized by what unfolded before my eyes. Each of the five actors in the play took the stage possessing conviction and passion like never before. They came in and out of scenes convincingly portraying characters who are engaging, interesting, and filled with purpose. For this very reason do I never grow tired of the process of constructing a play for the stage. It's amazing what a fine line separates success from failure. The technical aspects are essential, but the heart of the actor is absolute, for without the human passion most plays will remain barren and lifeless. I've always believed the stage is an "emotional medium" with "intelectual" coming in a close second. Most audiences desire to be moved as well as enlightened. Needless-to-say. I'm quite pleased in what I saw and heard this evening. Bravo to the actors.

Wayne

February 2, 2006
Thursday

THE FALLEN in Coeur d' Alene has sound! Thanks to Gary Bolton! He was extremely helpful in setting up our sound system. It's such a pleasure hearing our sound scheme through clear speakers instead of the "boom-box" we've been using for rehearsals. We worked on Act Two. It didn't have the confidence and passion level that Act One possessed the other night but it definitely was a far cry better than our disappointing rehearsal on Tuesday evening. With the number of rehearsals remaining I'm sure we'll tighten up and have a balanced show for opening night. Our prop manager Candice Rowland is adding finishing touches to our set which is accommodating the production quite nicely. Where we presently stand is a plateau that cannot be achieved with a "stage reading" only. We have successfully rehearsed every corner of the play and can now clearly see it has legs. It stands on its own merits. Of course, the audience will be the final judge of its initial worth, but as a playwright, I'm very grateful we now have a complete theatrical entity to offer for their entertainment.

Wayne

February 6, 2006
Monday

We're finally at the moment of truth. In the final week of rehearsals the primary question facing each of us is, "Are we prepared?" . I trust we're ready. Each actor has all the tools necessary to put in a respectable performance, with lines and movement committed to memory, motivations well in tact, and a sense of timing for each scene. The essential ingredient which is an absolute on opening night is passion. A conviction of purpose and meaning behind every word. With everything in place, the set, lighting, costumes, props, lines, movement, and sound perfectly placed will have no affect if lacking that most key element, passion.

Wayne


February 6th, 2006
Monday
We are nearing the end of our fantastic journey in rehearsing an original play for the stage and it has been filled with many interesting highs and lows to be put into our book of memories. Last evenings rehearsal confirmed to every actor that they are a part of a real show. There was present the familiar "buzz" when you've reached the end of the show and realize it was an exciting experience, having you look forward to the next performance, allowing you to feel it once again. As a director and playwright, my hat is off to each of the cast members, Ashleigh Hanchett, Justin Harris, Sandra McClain, Daniel Jablonski, and Stephanie Young who have put forth the necessary hard work to assemble a respectable show, full of passion and depth, humor and anquish, and peaks and valleys.
The actors look forward to an audience and I trust they shall be entertained.

Wayne


February 8, 2006
Wednesday

I've been waiting for this day to arrive and now it has finally come. The day I would be able to look at my actors and see the characters I envisioned over a year ago. They have achieved a wonderful goal and I am extremely proud of each one of them. They have put the time and hard work in and are now ready to perform for an audience. Come-what-may, they already deserve a standing ovation.

Wayne

February 8, 2006
Thursday

I've just returned home after seeing our preview performance and am emotionally exhausted, but in a very pleasant way. All five actors worked their hearts out and made a definite impression with the minimal audience in attendance. As a playwright I'm greatly satisified that this new play has legs and can stand on its own merits and as a director I'm immensely proud of the achievement accomplished by them. As I watched each of them on stage this evening I kept reminding myself how most of them had never participated in a drama before, but by their performances you would never believe it. This evening was the end of one journey and the beginning of another. Many questions have been answered and now I look forward to seeing how the audiences embrace this piece of work. As we begin this new journey I'm confident of one vital aspect and that is the appreciation the audiences will have for each of the actors.

Wayne


February 10th, 2006
Friday

Opening night! We had a respectable audience numbering over thirty. Enough to get a fair cross-section of opinion. Unfortunately, the Studio Theatre productions don't receive any formal printed reviews, so I will make an objective critique. The only familiar face in attendance from the Old Town Playhouse was Rick Korndorfer and Janine which was a welcome sight.

The Fallen in Coeur d' Alene opens with several short scenes, presenting Cynthia and Tyrone Temple, played convincingly by Ashleigh Hanchett and Justin Harris. Their shared tension quickly manifests, presenting the groundwork of their relationship. Cynthia is under medical care from a prior incident that has her struggling with deep depressions. Both Hanchett and Harris dive headfirst into this emotional framework with a clear focus and superbly detailed performance. Soon entering is Roselyn Stevens, who's shoes accomplished actor Sandra McClain fits well in and offers an enlightening twist that jump-starts the production. This begins a dizzying ride of emotional intrique for Cynthia Temple. The Fallen in Coeur d' Alene is a tightly structured, eclectic macabre, with a dash of humor thrown in. Daniel Jablonski is Sidney Wellborn, the estranged father of Cynthia who is soon to arrive for a visit after a twenty year absence. He is a successful New York stage actor in the twilight of his career. Jablonski brings a depth and tragic quality to Sidney that is quite gripping. Stephanie Young completes this ensemble with a strong depiction of Cynthia's younger sister, Samantha Wellborn. Once all these players find themselves under the same roof in the tranquil community of Coeur d' Alene, Idaho, hidden feelings, desires, and padlocked ancient truths scratch their way to the surface, forcing each individual to be unmasked for the very first time. The technical aspects of this production lend a supporting flavor. The simple setting captures the eloquence of a upper-society, turn-of-the-century parlor. The lighting is an interesting mix of multiple shades, from dark to subtle, showcasing the actors in a sharpening focus. Playwright, Wayne Erreca, who also directed this original piece, has dished up a witty, well-crafted blend of dialogue that is both emotionally engaging and whimsically lighthearted. The Fallen in Coeur d' Alene is a tour de force of stong acting and an adrenalin rush-of-a- ride for the connoisseur of intrique.

Wayne





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