Download Statement of the Problem - California State University

DIRECTING THE UNDERGRADUATE MUSICAL
Sunny S. Mitchell
B.F.A., University of California, Irvine, 2003
PROJECT
Submitted in partial satisfaction of
the requirements for the degree of
MASTER OF ARTS
in
EDUCATION
(Curriculum and Instruction)
at
CALIFORNIA STATE UNIVERSITY, SACRAMENTO
SPRING
2011
ii
DIRECTING THE UNDERGRADUATE MUSICAL
A Project
by
Sunny S. Mitchell
Approved by:
__________________________________, Committee Chair
Crystal Olson, Ed.D.
__________________________________, Second Reader
Mary Robinson
Date: ____________________________
iii
Student: Sunny S. Mitchell
I certify that this student has met the requirements for format contained in the University
format manual, and that this project is suitable for shelving in the Library and credit is to
be awarded for the project.
, Department Chair
Rita M. Johnson, Ed.D.
Date
Department of Teacher Education
iv
Abstract
of
DIRECTING THE UNDERGRADUATE MUSICAL
by
Sunny S. Mitchell
Statement of the Problem
Students in an undergraduate theatre department are hoping to find work in the
theatre profession upon graduation. Their reasonable expectation is that the theatre
department will prepare them for rigors of the professional stage. Many students,
however, finish their college degrees and are not given the necessary tools to succeed in
the industry.
Sources of Data
An action research approach was used to remount a musical for undergraduates to
establish a viable method with which to prepare them for the professional theatre
business. The following tools were used to collect data: video, personal documentation of
the events, and both actor and audience surveys.
Conclusions Reached
This project largely achieved its goals and should be a viable method for directing
undergraduate musicals. Recommendations for future projects include promoting
professionalism by requiring the actors to sign contracts, producing the work in a familiar
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theatre venue, and utilizing a director or choreographer’s assistant to the fullest to
accommodate the shortened production period.
__________________________________, Committee Chair
Crystal Olson, Ed.D.
____________________________
Date
vi
ACKNOWLEDGMENTS
Gratitude and thanks is given to the following individuals for their guidance and
assistance during the course of my thesis work:
Dr. Crystal Olson, thank you for allowing me to share a small part of your arts
cohort. The arts are truly a gift that you give your students, and I am thankful that you
allowed me to participate.
Mary Robinson, thank you for your thought-provoking questions and wonderful
feedback on my writings. I only wish we could have worked together on more projects.
To my husband and daughter, thank you for loving me and supporting me during
all of the trials and tribulations of this masters degree experience.
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TABLE OF CONTENTS
Page
Acknowledgments.............................................................................................................. vi
Chapter
1. INTRODUCTION ...........................................................................................................1
Statement of the Problem .........................................................................................1
Definition of Terms..................................................................................................5
Limitations ...............................................................................................................7
2. REVIEW OF RELEVANT LITERATURE....................................................................8
A Brief History of American Musical Theatre ........................................................8
Directorial Elements for a Professional Musical Theatre Remount ......................17
Directing a University Mainstage Musical Theatre Production ............................26
3. METHODOLOGY ........................................................................................................35
Participants .............................................................................................................35
Procedures and Measures .......................................................................................36
4. DATA ANALYSIS AND FINDINGS ..........................................................................43
Actor Surveys.........................................................................................................43
Audience Surveys ..................................................................................................46
Personal Data .........................................................................................................49
5. DISCUSSION AND RECOMMENDATIONS ............................................................52
Discussion ..............................................................................................................52
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Recommendations ..................................................................................................54
Appendix A. Student Survey Questionnaire ......................................................................57
Appendix B. E:MOTION Dance Ensemble Audience Survey Questionnaire ..................58
Appendix C. Guide to Documentary .................................................................................59
References ..........................................................................................................................63
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1
Chapter 1
INTRODUCTION
Statement of the Problem
Musical theatre is a popular component of American culture. Most audiences of
any age and socio-economic background can identify with an American musical. The
history of American musical theatre is influenced by and mirrors the very fiber of
American history. Showboat, written in 1927, during a time of turmoil in our country,
reflects the wide division between whites and blacks at the time, exhibiting racial tension
and issues concerning a bi-racial character. Oklahoma!, which premiered in 1943, was
based on the novel, Green Grow the Lilacs, and reflects America’s drive for westward
expansion, manifest destiny, and the American heart that is as wide open as the
Oklahoma territory in 1906. The 1968 musical Hair, is highly reflective of its time, with
rock music as its central focus as well as the innate sense of freedom felt by young
America of the time.
It comes as no surprise that actors of all ages can participate in the musical theatre
experience; from community workshops where young children learn to memorize lines
and wear fun costumes, to the Broadway stage where seasoned actors interpret roles in
front of packed houses on a daily basis. Those who decide to make musical theatre acting
a career often perform in community theatre productions and then decide to continue
their education in a university environment. At a university, do those persons creating the
curriculum presume that students are given the necessary tools to be competitive for an
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acting job on Broadway, including the opportunity to perform in university-produced
musicals? Are there certain elements that differentiate the mounting of a university
musical from that of a professional production? Do instructors or directors, dance
teachers or choreographers, really approach the work differently for these students?
Perhaps there is no difference between the university experience and the “real world,” so
that these student actors are prepared for a career and what lies ahead of them should they
decide to try and be successful as professional actors. Directors and choreographers
working in the business were interviewed. The purpose was to determine if those in
academia actually provide a real world experience for the students in an effort to engage
their senses and prepare them for an actor’s life after college.
This project involved the mounting of a musical for university students with the
dual purpose of offering the students a real-life experience during this learning process of
participating in a musical. This approach was designed to provide the historical
background and the knowledge necessary to facilitate the students’ transition into the
musical theatre business. While the project cannot guarantee success, as with any career,
the more tools for the chosen profession one possesses, the more options and versatility
and the more attractive one looks to the opportunity at hand.
This musical theatre project was produced in a university setting by artists already
established in the business. These artists auditioned university students for the musical
project and selected 75-90% of the performers at the college level. A few actors currently
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working in the business comprised the rest of the cast. These professional actors served
as a source of inspiration and additional resources for the student actors.
The selected musical was researched for historical background in order to present
it as accurately as the authors desired. The choreographers and directors who were
interviewed, all of whom have worked either on Broadway, in touring companies, or in
regional theatre lent their expertise to this research (these individuals will be referenced
in Chapter 2). Different versions of the selected musical were reviewed for comparison.
The theatre selected for the project was assessed for potential manipulations for scenic
and lighting design. For further research, the author of this paper also referred to the
multiple times she has seen the production. The script and score were analyzed by the
artistic team, which included the director, choreographer’s assistant, musical director, and
production and lighting designers, to ensure that the staging was streamlined and wellpaced. Due to limited rehearsal time and space, the project needed to be mounted in
considerably less time than is typically granted a musical theatre production at the
university level, but all actors were given adequate study materials prior to the beginning
of rehearsals and like real-world musicals, these actors were expected to do the majority
of their work outside of the rehearsal room.
The first section of Chapter 2 provides an abridged record of the origins and
development of the American musical, from its beginnings in the mid-17th century, to its
current popular form. This section on the history of American musical theatre is based on
material in books, theses and journals from various sources, as well as some background
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information from the author’s professional experience and academic education. The
second section of chapter two presents phone and written interviews from several
directors and choreographers working in the business today. The information obtained
was synthesized into a coherent method of preparation or handbook for the production of
a musical in the university setting. Section two includes publications for reference as
well. Directors and choreographers were interviewed to gain perspective on the
development, preparation, and implementation that is required for each of the respective
parts that help create the whole of the musical theatre project. For the sake of time, and to
create a focus on the hierarchy of personnel that exist for the musical, musical directors,
production designers, lighting designers, costume designers, and stage managers will not
be highlighted in this paper. While these persons do play important roles in the mounting
of a production, they ultimately carry out the director’s vision. Finally, the author
explored through various readings, interviews, and personal experience, the difference, if
any, between the mounting of a musical theatre production for the professional theatre
versus the mounting of such for students in a university setting.
The author has experienced performing as an actor in both professionally
produced musicals and university productions. However, she has not had the opportunity
to direct or choreograph a university-produced musical or a professional musical. She has
worked as assistant choreographer on several professional musicals. This project will
prepare her for the rigors and surprises that may be in store for her professionally as a
director or choreographer in either setting.
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Upon completion of the production, a survey was given to the audience to gauge
their reaction to the performance. Responses to the survey were of great benefit to the
author. For as she honed her skills for future endeavor, she was able to assess the
audience feedback to determine which worked and which did not work within the limits
of her responsibilities. In addition, the actors in the production were also surveyed. They
were asked to give their opinion about which processes worked and which did not work
within the framework of the entire project. Once this information was analyzed along
with the interviews from various working professionals, the author devised a method for
creating a successful musical theatre production in a university setting that allowed the
student actors to learn the necessary tools of the trade in a real world environment.
Definition of Terms
BLOCKING: The act of staging the scenes of a show: telling the actors where to go, what
to do, and when to do it.
BOOK MUSICAL: Music and dance are integrated into the story
CHOREOGRAPHER: One who assists the director in creating the “vision” for the
production, directs all the dance numbers and may or may not assist in blocking musical
numbers that do not require dance.
DIRECTOR: Creates the “vision” for the production wherein the choreographer, musical
director and other designers must assist in bringing this “vision” to life, blocks scene
work and may or may not block musical numbers that do not require dance.
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EXTRAVAGANZA: Elaborate and expensive theatrical production, not necessarily
including a plot, but employing many actors, singers and dancers
MUSICAL DIRECTOR: Rehearses and conducts the orchestra and singers. He or she is
responsible to the choreographer for any revisions or tempo changes during the dance
scenes and is responsible to the director for any other musical moments within the
production.
NOTES: Comments and criticism given from the director, musical director, or
choreographer to the actors to help improve their performance. These are typically given
after a run-through of the production and continue up to, and often past, opening night.
OPERETTA: Like an opera, but lighter in content. It often contains more dialogue than
opera, which is mostly sung.
PROFESSIONAL ACTOR: One who is paid a sum of money to perform in a theatre
production. In the instance of this production, all professional actors hired to participate
are members of the Actor’s Equity Union or have performed with all-Union houses.
PROSCENIUM THEATRE: A standard theatre in which an arch separates the audience
from the stage, where the production is performed. The audience directly faces the stage
and most often the rows of seats are elevated, the row behind slightly higher than the one
in front, in order to see the action on the stage.
REMOUNT: Re-producing a musical that has already been performed; not an original
production.
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SCORE: The musical element of the production. The musical director holds the score that
includes music for all of the musicians in the orchestra while the actors are given only
vocal scores.
SCRIPT: The written element of the production, includes lines for all of the individual
roles and may include some stage, sound, and costume direction
SIDES: Portions of the script given to potential actors to read during the audition process
UPTEMPO: Fast or lively beat of the music
Limitations
The lack of time, an inadequate budget, and a negligent theater were the greatest
limiting factors related to the production. Had the project been affiliated with a university
theatre department, more time would have been devoted to the rehearsal aspect of the
show and a larger budget for sets, props and costumes might have been available, as well
as a familiar theatre and theatre staff.
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Chapter 2
REVIEW OF RELEVANT LITERATURE
A Brief History of American Musical Theatre
Musical theatre is a uniquely American creation. Tracing the roots of American
musical theatre involves looking at the social and economic history of the United States.
Just as the establishment of a foundation for our great country can be traced to the
seventeenth century, so too can the origins of American musical theatre. David Walsh
and Len Platt in Musical Theater and American Culture (2003) noted that,
The history of the musical was largely, until the last decades of the twentieth
century, the history of the relationship between American popular culture and
society, as it changed from the nineteenth century on to make the musical not
simply an index and reflection of American society, but a popular genre that
helped to form, articulate, and instantiate its shape. (p. 2)
Julian Mates, Dean of the Faculty of Visual and Performing Arts, Long Island
University, noted in America’s Musical Stage (1985), how American newspaper
clippings and letters of correspondence from the 1600s and 1700s documented the rising
interest in stage works. Companies sprouted up along the eastern seaboard and toured
various towns to expose new communities to drama, but this practice produced
insufficient revenue. Soon, actors decided to spread out and work in various
communities, traveling westward to share their talents in the pioneering villages. This
exposure in pioneer towns fueled the desire to create theatre in a dramatic company
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exclusive to the individual town, and by the middle of the nineteenth century, theatre
companies and dramas were being produced as far west as California.
In the 1800s, minstrel shows, burlesque houses, opera houses and variety acts, or
vaudeville as it was also called, were the epitome of stage entertainment. Each form of
entertainment largely kept to its own venue (Mates, 1985). Vaudeville shows, or variety
acts, imply just as the genre is named, a variety of different artists who presented their
talents on stage. Most did not have classical training as there were no legitimate acting,
voice, or dancing schools in America at the time. White men would paint their faces
black and perform comedic acts, often using pantomime, in minstrel shows. Opera houses
advertised works by Gilbert and Sullivan, who although they hailed from England, were,
along with Europeans Strauss and Offenbach, considered important precursors to the
history of American musical theatre for their prolific work in the area known as the
operetta (Engel, 1975). In John D. Mitchell’s interview of Broadway conductor, Lehman
Engel, Engel succinctly argued that the Irish composer, Victor Herbert, was largely
responsible for the development of American musical theatre (Mitchell, 1982). Engel
noted that Herbert was looking to emulate the Viennese operetta style circa 1900. While
in New York, he created a style that was simpler than the Viennese style operetta. “He
wrote a simple melody on lyrics, about American life, for a libretto largely about
American life” (Mitchell, 1982, p. 29).
It must be noted that in this era of entertainment, the term burlesque referred to a
form of comedy. It is not until the early to mid-twentieth century that burlesque shows
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began to shift from comedic acts to the revelation of scantily clad women sashaying to
music and shedding articles of clothing for the amusement of the predominantly male
ticketholders (Mates, 1985).
The Black Crook, which debuted in 1866, was arguably the precursor to the
modern American musical. It did contain all of the elements that embody the musical as it
is defined today: some integrated music, acting, dance, and a story line. However, notable
sources such as Julian Mates in America’s Musical Stage refer to it as an extravaganza, a
melodrama, a “girlie show” (p. 128), that held little plot and not really any integration of
story with music. Walsh and Platt (2003), referencing Mates (1985), does give The Black
Crook credit for creating the marketing and producing angle of the then burgeoning
musical theatre business.
It took a major step in the commercialization of popular theater in America since
it established a new form and organization of theatrical management as big
business-as ‘Broadway.’ The musical would need this economic
institutionalization and, as The Black Crook did, it would involve the investment
of huge sums to produce a spectacular event with star performers who were
advertised precisely as such to create and capture an audience. (p. 33)
One of the final precursors to the definitive musical theatre show is the revue.
Florenz Ziegfeld is best known for his lavish revues, his first Ziegfeld’s Follies debuting
in 1907. Rows and rows of barely dressed chorus girls with dazzling legs and even more
dazzling costumes highlighted these shows (Mordden, 1976). Popular songs of the period
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were included in these shows and Ziegfeld made certain the cast was a star-studded array
of popular singers, actors and comedians. Noted composers of the day like George
Gershwin and Cole Porter could be found lending their expertise to the music of these
productions.
It should be noted that in the early 1900s, a young entertainer burst onto the stage,
writing, producing and starring in his own shows: George M. Cohan. Cohan’s work is
considered one of the strong roots of musical theatre (Engel, 1975). His uptempo, fresh
melodies and positive storylines exhibited America beginning to develop stories of her
own - and the audience was hooked. “This, at last, was American musical comedy, with
some of the clichés, formulas, and stereotypes to which it would henceforth cling”
(Ewen, 1959, p. 24). Formulaic musical theatre stories included boy chasing pretty girl,
villain getting caught, and an abundance of chorus girls in dazzling production numbers.
Audiences were so completely entertained by Cohan and Ziegfeld’s Follies they largely
ignored, or rather escaped the horrors of the Great World War to be entertained, and did
not travel to the theatre to think anything other than happy thoughts.
The premiere of Showboat in 1927 marked the beginning of musical theatre as we
know it today. Ziegfeld produced this significant work that for the first time, fully
integrated a plot and music into a single, cohesive show. Ethan Mordden (1976) a notable
English fiction and non-fiction author, wrote of Showboat, “a single-minded piece with
no spare parts, conceived to grow out of itself rather than gather in bits from outside” (p.
106). Showboat was not entertainment for all audiences like Cohan’s productions.
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Sensitive issues such as gambling, racial tensions and marital problems were discussed.
Jerome Kern, a composer of popular songs of the era wrote the music, and Oscar
Hammerstein II, later known for his prolific works with Richard Rodgers, wrote the
lyrics for Showboat. As America was rebounding after the heart wrenching war, a new
era in entertainment, the musical comedy, was born, and the country was ready to
embrace it.
At least 40 musical shows a year were produced in the 1920s. It should be noted
that while there was a large quantity of shows, the quality shows were few and far
between (Cobb, 1978). One thing that is clear is that America was taken with the theatre
in the 1920s. In contrast, the dawn of the motion picture industry in the 1930s sent many
actors and songwriters to Hollywood as the Depression took hold of the country and
closed many of the New York theatres. Noted songwriters turned their musicals into
screenplays for the silver screen (Cobb, 1978). Musicals that garnered particular interest
because of their response to the Depression included Gay Divorce (1932), a hit for Fred
Astaire and Cole Porter’s Anything Goes (1934), a rollicking musical set on a cruise ship
with gambling, flirting, and all-around good times. Cole Porter’s attitude with musicals
written in the 1930s most often centered on forgetting troubles and having a good time.
Most of the musicals of the thirties did not further the development of the musical
comedy as they adhered to the general format that audiences preferred at the time and
that would be financially successful during the years of the Depression and beyond. The
only few of note include Gershwin’s On Your Toes (1936), choreographed by the famous
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dance maker George Balanchine, that successfully included ballet as a story-telling
device, and Pal Joey (1940), written by Rodgers and Hart, which sacrificed the popular
show-stopping numbers of the era in favor of seamless transitions between dialogue. It
became the first musical of its kind to present a presumably villain-type, a gangster, as
the hero of the show. Walsh and Platt (2003) wrote
Pal Joey shows how musical comedy could develop as music drama through this
with its story of another darker underbelly to American life, but one woven out of
some of the same materials as the optimistic version (the individual pursuit of
freedom, success, and wealth). (p. 93)
Pal Joey artfully moved musical theatre into the forties, a decade of prolific
works. “art isn’t life, it’s form” (Mordden, 1976, p. 192). And the form we know as
musical theatre today came to true shape in Oklahoma! (1943). Rodgers and
Hammerstein’s first collaboration, of which there would be many, was based upon a
1930s play by Lynn Riggs, entitled Green Grow the Lilacs, and like Showboat, fully
integrated the music with the plot. The story was told seamlessly through drama, music,
and dance. Walsh and Platt referred to Oklahoma! as “the ideal of the community” (2003,
p. 97) and the creation of the book musical in general as generating “a particular kind of
optimism central to the American Dream and stemming, again, from Enlightenment
ideals and the progressive vision of liberal individualism extended to fund the good of
this ‘good’ society” (p. 97). As Americans moved farther away from the Depression, both
in time and in attitude, society longed for that ideal marriage of heart and home. A new
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era in musical theatre, the book musical, answered the call of the times. The team of
Rodgers and Hammerstein perfected the book musical and continued to produce hit
shows into the 1960s, including Carousel, South Pacific, King & I, and The Sound of
Music. Though each of these musicals was set during significant periods in relation to
American history, South Pacific is set during World War II in the South Pacific, while
The Sound of Music is set in Vienna during the rise of the Nazi regime, the stories
transcend time and remain popular with American audiences today.
While many other popular musicals were produced during the 1950s, West Side
Story holds importance on several points. Leonard Bernstein, most famous for his
classical music, composed the piece, and Stephen Sondheim penned the lyrics to his first
musical and would later create a new generation of musical theatre patrons with the
concept musical. Jerome Robbins, known for his choreographic works with the New
York City Ballet as well as musical theatre productions, both directed and choreographed
the musical, sparking a new generation of artists that would combine both artistic
responsibilities into one. Based upon the tragedy of Shakespeare’s Romeo and Juliet,
West Side Story is set in 1950s New York and speaks about the harsh side of teenage
gangs, but writer Arthur Laurents shows the story through the lens of musical theatre
with humorous scenes that lighten the mood of the show at various moments. Mordden
(1976) referenced the theatre critic Brooks Atkinson who talked about letting the plot
progress largely through dance because the teenage characters would not have the verbal
language necessary to communicate the complexities of their thoughts and feelings, and
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that movement would be the only viable vehicle for translation. While the show did not
have immediate popularity, it was transformed into a movie shortly after its debut on
Broadway and gained instant and lasting success.
During the 1960s, musical theatre works reflected changing times in American
society. The era of rock musicals was born with Bye Bye Birdie (1960), wherein the title
character, Conrad Birdie, is an Elvis Presley figure whose swiveling hips and uptempo
songs make the teenage girls swoon. Hair (1967), the “American tribal love-rock
musical” (“HAIR the Musical on Broadway”, n.d.) ushered in the era of free love to the
musical theatre stage. While there are many other worthy musicals from the sixties, these
two are defined largely by their close association with young American society of the
time.
The 1970s in America saw yet another breakthrough in musical theatre. Stephen
Sondheim, mentioned earlier as lyricist for West Side Story, composed his controversial
Company (1970). Sondheim’s technique of so intimately joining his songs to the action of
the plot, make his songs difficult to understand or enjoy out of context, unlike most book
musical songs (Laufe, 1977). His unique modernizing of musicals, turning from the
popular book musical, marked the beginning of the era of concept musicals. These shows
veered from complex plots in favor of complex characters. Mates (1985) noted,
No songs were permitted that did not have a sound dramatic situation, and all
were to illuminate character. No wonder his hit songs were few, since the better
they were for the show, the worse they might be out of context. (p. 199)
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After the Vietnam conflict and the Watergate scandal, Americans were battleworn and distrustful of their government. They wanted realism and to strive for a more
socially conscious society. Characters in the concept musical reflected this attitude
(Walsh & Platt, 2003, p. 129). Notable concept musicals include Kander and Ebb’s
Cabaret (1966), Chicago (1975), A Chorus Line (1975) and Dreamgirls (1981).
Composer/producer Andrew Lloyd Webber and producer Cameron Mackintosh
ushered in the era of the megamusical in the eighties with Cats (1980), and continued the
phenomenon with Phantom of the Opera (1988). While Webber and Mackintosh began
their meteoric rise to fame in London’s West End, they soon brought their product to
America, where it was embraced quickly and wholeheartedly. Lavish sets, soaring
production costs and huge entertainment value may be considered to have replaced
thoughtful character and plot development from the book musical (Burston, 1998).
Burston noted that “Megamusicals are big global business: capital investments are larger,
markets are bigger, more international and more numerous, and stakes are higher than
ever before in the history of popular music-theatrical production,” (Burston, 1998, p.
205). As Americans had more money to spend on leisure activities, musical theatre
producers risked millions of dollars on the megamusical. Disney productions entered the
arena with shows like Beauty and the Beast (1994) and The Lion King (1997) that were
almost a throwback to the extravaganzas of the nineteenth century (Walsh & Platt, 2003).
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Will the megamusical leave a lasting impression upon America like the previous
variations of the musical comedy? Walsh and Platt (2003) referenced author Mark
Steyn’s 1997 book, Broadway Babies Say Goodnight: Then and Now, and said:
Traditionally, the musical was a popular artistic genre organically connected to
popular culture, musically by the vernacular nature of its song and dance and
dramatically by narrative, lyric, and dialogue that was contemporaneous with and
engaged the society of its time. This gave its essential vitality and relevance. (p.
160)
Walsh and Platt felt that the megamusical was a British, not American invention,
and would not stand the test of time with American audiences as the book musical had
and continues to do to this day (2003). A Showboat production today is just as viable as it
was eighty years ago because the basic elements that create the work are based upon the
very fabric of American lives.
Directorial Elements for a Professional Musical Theatre Remount
Directors creating a successful musical theatre production may utilize different
strategies, dependent upon the show they are mounting, but most of them have very
specific ideas about the directorial components that allow them to achieve their success.
Thelen (2000) compiled interviews with a dozen musical theatre directors approximately
ten years ago, and the author recently conducted nine interviews with directors and
choreographers working professionally today. The following information encompasses
18
the necessary tools for directing in the musical theatre business from those who have a
successful career.
Directors should first and foremost know how to cast the production. Most of the
interviewed directors remarked that casting could be the single most important element of
the job. Dan Mojica, associate director/choreographer for Disney’s Broadway Beauty and
the Beast said, “I am only as good as the talent that I hire and my work can only rise
above, when the talent showcases my work in its best form,” (personal communication,
November 6, 2009. Italics and underlining by Mojica). Directors are ultimately
responsible for casting the principals of the production. If the leads of the show do not
have decent chemistry, or if they do not fit the role effortlessly, the writer’s intentions
will not come across correctly and the show will ultimately fail. Richard Maltby, Jr.,
director and lyricist of several shows, including Starting Here, Starting Now (1978) and
Baby (1984) felt that casting is the director’s enormously important role. Star-power has
little to do with correct casting for a production, it is about the talent for telling a story
that matters (Thelen, 2000). Leland Ball, long-time producer and director of over 50
shows at Sacramento Music Circus, acknowledged that the entire cast needs to be actors
first, even before being able to sing or dance. He claimed that if the artist could not act, it
did not matter how well he or she could sing or dance. Ball referenced the importance of
acting
The script is the black part of the page that has been typed. You and the actors are
going to do the white part of the page, You’re going to do everything that is going
19
on that isn’t in the words. The author only gave you the words and that’s not
everything. I can say I love you and mean one hundred thousand different things.
Just because it says “I love you” on the page, isn’t really a clue as to what’s going
on. (personal communication, October 23, 2009)
Ball remarked that the actors and ultimately the director, were responsible for
conveying the thoughts of the writers and that everyone must be telling the same story.
Peter Brook, a noted English director whose career spans sixty years, also enjoyed
looking past the author’s text to find “the essential living heart of the play-the poetic
inner dream” (Jones, 1986, p. 202). Jones stated that if Brook communicated this inner
meaning, aside from text, his plays would explode into meaning (p. 202) and audiences
would claim that they had never witnessed another version of the play quite like it (1986).
Bob Richard, Associate Choreographer for the Broadway and Los Angeles productions of
How the Grinch Stole Christmas, claimed that telling the story is everything. Even if a
choreographer must alter choreography to suit the needs of the dancer, “it doesn’t change
the story. The story is the most important thing,” (personal communication, October 12,
2009). Bogart referred to this as looking for the question within the context of the story.
“Inside every good play lives a question…we enact plays in order to remember relevant
questions…In rehearsal we try to find shapes and forms to contain the living questions, in
the present, on the stage” (2001, pp. 21-22). Just as Ball and Richard search for the story
to tell the audience, Bogart looks for the question within the story, but for all directors it
20
is this driving force that binds all of the artists together and compels them to create their
musical project.
As a choreographer, Richard’s job is to assist the director in helping to illustrate
the vision of the show. In pre-production, most directors conduct background research for
the musical to help hone in on the vision they are trying to convey. The methods of
research vary, but most will explore the social characteristics of the era in which the
musical is set. John Simpkins, NYU Vocal Performance professor and active director in
regional theatre around the country discussed the significance of research, “it’s about
time and place and images” that can help determine his vision for the production,
(personal communication, November 8, 2009).
Jerome Robbins employed different types of research in his work. For West Side
Story, Robbins completed extensive research on gangs and brought this information to
the theatre for the actors to process. For Fiddler on the Roof, he worked with the actors
on improvisation. He created a real-life scenario for his actors. Placing them in a World
War II concentration camp, he assigned some of them as prisoners and some as guards
and let them interact. These researching techniques would allow the actors to do character
development of their own (Thelen, 2000).
Michael Bloom, head of directing at University of Texas at Austin, noted the two
aspects of research that are important, “illuminate(ing) the action, and it can guide the
director in formulating the world of the play and, ultimately, the production approach”
(2001, p. 25). Bloom felt that conducting research during the pre-production period is
21
significant for the above reasons, but cautioned that too much research can overshadow
the director’s own imagination for production elements and acting choices.
Of the directors interviewed recently, there were differing opinions on whether
referencing the original Broadway production of the musical was beneficial. Ball felt that
listening to the original cast album and any subsequent recordings helped him keep an
open mind about the varying possibilities for actors portraying each role (personal
communication, October 23, 2009). Glenn Casale, director for Broadway, national tour,
and regional theatre, remarked that viewing the original production helps, but only to a
small degree. In pre-production for a summer stock performance of Spamalot, he noted
that watching the Broadway production (performed in a traditional proscenium theatre)
does not help him visualize how he will direct the show for a theatre in the round. His
research will take him to Monty Python and the Holy Grail, the movie upon which
Spamalot is based (personal communication, October 21, 2009). James Rocco, director
for Broadway, off-Broadway and regional theatre, and currently the Artistic Director of
Ordway Center for the Performing Arts in Minnesota, argued strongly against referring to
the original production of a musical. He claimed that the author’s original intentions are
the most important component of the original work. “All the information you need is on
the page and in your interpretation” (personal communication, October 26, 2009). Rocco
stated that any work based on the original director’s work could essentially be considered
plagiary. After Thelen’s extensive interviewing, he felt strongly that it was the director’s
absolute responsibility to research the original production. While Thelen referred
22
specifically to a revival, which often involves some changes to the original script and
score, it follows that he would have the same philosophy for remounting musicals. “The
original artists’ influence over the ‘finished,’ published script is substantial, and to ignore
how a work developed is to limit one’s depth of understanding, which may well hold the
key to the revival’s success” (Thelen, 2000, p. 14). A director will have an easier time
directing a show if he has done the necessary research on the original during preproduction and rehearsal processes.
Establishing the team of director, choreographer, and musical director during the
pre-production process is different depending upon the strengths of the director and the
varying amount of music in each show. While most directors prefer to involve the
choreographer from the beginning to develop ideas that the director may already have,
the musical director may not factor into the equation until casting time. Stafford Arima,
off-Broadway and regional director who recently launched a national tour of Altar Boyz
stated that he prefers to bring in the choreographer from the beginning because he cannot
choreograph, but he does have specific ideas about how the dances should go. Arima said
that he spends a few weeks of pre-production time with the choreographer to make sure
both have the same vision for the show (personal communication, October 7, 2009).
Unless the show is brand new, or has heavy underscoring, music that is playing during
actor dialogue, Arima does not work with the musical director until rehearsal time. Preproduction time with the musical director is more significant for the directors who have
substantial choreography and/or dance in their background. Gary John LaRosa, who is
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billed as a director/choreographer working off-Broadway and in regional theatre, claimed
that he prefers to work with the musical director from the start of pre-production. Getting
music on tape so that dances and scene shifts can be worked out ahead of time can be
extremely important. LaRosa said of musical directors,
Footloose: I just directed the national tour and that is a show that many people
treat very lightly and it gets flipped up and made to be all about the dancing and
all about the slick and the look of the show versus the actually story which is a
very wonderful story…The musical director is in tune with you and will help you
to create the show, the spirit of the show. (personal communication, October 11,
2009)
John Simpkins noted that he prefers to work with both choreographer and musical
director from the beginning to develop a close collaboration among the trio. The idea of
collaboration was also discussed with the directors. Some directors prefer to take the
reigns from the beginning, while others like Simpkins revel in the idea of sharing the
work. He suggested that if the element of trust is present, he can go into the
choreographer’s realm to share his ideas, and conversely, the choreographer can venture
into Simpkins’ rehearsals and comment and contribute. He admitted that the freedom to
do this is not always easy in each case. “I think that it’s those kinds of out-of-date, oldtimey attitudes that don’t help musicals become integrated between everybody’s work”
(personal communication, November 8, 2009). James Rocco is also a firm believer in
collaborating. He noted that “Theatre is about collaboration and taking the journey
24
together always makes for a more cohesive and complete show” (personal
communication, October 26, 2009). Jerome Robbins, on the other hand, had a different
directorial approach. Robbins agreed with the assessment that he was a demanding
director, or as Thelen (2000) termed it “dictatorial” (p. 200), but Thelen also remarked
about Robbins “he said he never asked more from others than he was willing to give
himself” (p. 200). Robbins believed that the director was responsible for every aspect of
the show, since it was the vision of the director that would ultimately be seen on stage.
During pre-production, after the director has conducted research and begun to
craft the vision for the production, efficient and rapid work with the remaining
departments should be a priority. Director Arthur Laurents discussed his pre-production
priority as scenery (Thelen, 2000). If the scenic department knows the vision of the
director and the interaction is often and open, the designer should be able to produce
exactly what the director has in mind. Budgets will often not allow for any rebuilds.
Leland Ball felt that making sure everyone is telling the same story-the director’s visionis the most important. From designers to staff to actors, all of the members should be
working to achieve the same goal (personal communication, October 23, 2009).
Directors should know how to lead a large group of people, including designers
and actors. They need to take charge from the first day of rehearsals and let the entire
company know of the shared vision for the production before any staging or singing
begins. Staging, or blocking, refers to the placement and movement of actors in and
around the stage throughout the show. Tom O’Horgan, who directed the concept musicals
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Hair (1968) and Jesus Christ Superstar (1971), likened the act of blocking to an artist
creating a living sculpture (Thelen, 2000). He preferred to be organized for rehearsal, but
would not write his blocking down ahead of time. He wanted to create his moving
sculpture in real time. O’Horgan had the opportunity to work on original productions that
often allow for more rehearsal time. For those directors and choreographers working on
revivals or remounts, time is much more of a limiting factor and most will do an initial
sketch of the blocking ahead of time. Bob Richard spoke of the difference between
mounting a West Side Story in a proscenium theatre versus theatre in the round. In the
round, he mentioned, there is no real set. The actors become the set and tell the story. In
the proscenium, however, you can stage scenes around a larger set and it becomes part of
the blocking. In all instances except when the cast is an unknown before the start of
rehearsal, some pre-blocking is done to help save time (personal communication,
December 2, 2009). Gary John LaRosa talked about creating the blocking outline along
with the set and light design during the pre-production period. LaRosa summed the
importance of the work,
If a show has a ‘look’ or ‘feel’ or moves in a certain way then the blocking has to
fluidly work with the design. If one waited till actors were present to think about
blocking, it would mean these elements of the show are not in harmony with each
other. (personal communication, December 2, 2009)
The pacing of a show is also an important characteristic of a musical. As authors
carefully integrate music and dance and song, the flow from one scene to the next is
26
significant. Stephen Peithman confirmed this characteristic and stated that the first act of
most musicals is to introduce the characters and the story line, while the second is to
carry out the action of the plot. The first act needs attention devoted to the quick pacing
of the show while the second act inherently should have this pacing as the characters are
motivated to tell the end of the story (Peithman, 2001).
The implementation of the directorial components, including casting, research,
collaboration, efficiency with designer work and the ability to lead a large group of
people, appears to be subjective, with variables surrounding the size of a cast, the amount
of singing or dancing, and the amount of music that is written for the piece. If effectively
utilized through different strategies, all of the above elements will lead to successful
direction of a musical theatre production.
Directing a University Mainstage Musical Theatre Production
Curriculum in almost every college subject is readily available in a campus
bookstore, an online shopping mall, or can be purchased from a student who has
completed the course. It is arguably impossible to find curriculum for collegiate musical
theatre performance. One theory is that directors learn from their mentors in a type of
modern-day apprenticeship. These novice directors would learn first by watching, and
then practicing with a hands-on approach. Thus, trial and error would eliminate the need
to read any type of how-to manual. Jonathan Cole, Willamette University theatre
professor, expressed this theory in his “Liberatory Pedagogy and Activated Directing:
Restructuring the College Rehearsal Room.” He cited an article by Tom Mitchell and
27
agreed with his assessment of the apprenticeship method for new directors. A decade ago,
ten prolific directors were interviewed in The Show Makers and the dominant voice
against the university as a training ground for directors was revealed (Thelen, 2000, p. 2).
Most of the directors interviewed held degrees in areas other than theatre and did indeed
learn from their mentors. Cole (2008) noted the difficult dichotomy that exists for college
professors who direct: that of having to be a teacher as well as the person holding the
reigns of a production.
Not only is there scarce information for the director of a university theatre
production, there is no information readily available for the director of a university
musical theatre production. However, books regarding producing a musical have been
written. Some information about how to create a schedule can be gleaned from these
writings. It is difficult to mimic a complete rehearsal schedule, though, because some
musicals may place more demands upon singers or dancers, principals or chorus.
Working from a template may give a few suggestions, but should only be read for
reference. Haller Laughlin and Randy Wheeler, associate professors of theatre at Florida
School of the Arts and Valdosta State College in Georgia, respectively gave insight for
the director in the audition process that is fairly consistent with that of the interviewed
directors. However, for callbacks the authors, who have worked in academic, community,
and professional theatres, argue that it is important to begin them with physical and vocal
warm-ups (1984). This is not consistent with the real-world concept. In professional
theatre, actors prepare themselves for all auditions and callbacks and must not rely upon
28
the producing organization to be responsible for any preparation, other than sides that the
actor may be asked to read during the audition. In the section entitled, “Directing the
musical”, Laughlin and Wheeler (1984) gave such rudimentary instructions for the
director, including definitions of blocking and choreography, that it would be impossible
to believe that this manual could be focused toward a professional university-produced
musical, but rather a small, amateur community production. However, Laughlin and
Wheeler do speak about a swift tempo for the show, which is an important characteristic
to keep the show moving. “It is the energy emanating from the stage that sweeps an
audience into an emotional relationship with the show” (Laughlin & Wheeler, 1984, p.
40). David Savran (2004) discussed the lack of historical writings and attention given to
musical theatre as a popular form in favor of more “highbrow” theatre. It follows that the
less scholarly information available for the history of a subject, the less will be available
for the creation of a curriculum regarding that subject.
Any university institution with a theatre department has a performance component
with a mainstage production. A musical theatre production utilizes students from the
music, dance, and theatre departments and is most often highlighted in the university
season. The director must ultimately be responsible for this final product. A curriculum
that assists the director in creating a real-world setting in a learning environment would
be beneficial for those students looking to have an acting career. Worthen (2004) argued
to name research in the university arts program as “performance studies.” He believed
29
that there is a viable case for the study of the mainstage university musical theatre
production.
Is the purpose of the season understood as a vehicle for providing training
opportunities…as a source of desperately needed box-office revenue, as the
training ground for M.F.A students…as the sum of the individual directing
priorities of various faculty members, and/or as all of the above? Might the
season…also be understood…as a kind of experiment, a kind of inquiry?
(Worthen, 2004, p. 266)
In the introduction to The American Musical Theater, Brooks Atkinson spoke of
the significance of the musical as a legitimate art form, “theater is poetry, and the musical
stage has the spontaneity of poetry. It is the most effective method for creating
imaginative drama” (Engel, 1975). It should arguably follow that the most effective form
of creative theatre should be researched at the university level.
Cole assessed textbooks focused on directing from authors who created them
based upon their own professional philosophies. In his estimation, none spoke to the
difficult situation of directing in an educational environment (2008). If legitimate
curriculum for actors in a university setting is viable, then perhaps a directing curriculum
could be created from the roots of acting pedagogy.
In light of the recent economic decline of 2008 and 2009, many universities face
program cutbacks. Julia Guichard, University of Miami theatre professor for example,
was forced to combine four semesters of voice and speech into one. Guichard described
30
how she helped prepare her students for an acting career in a dramatically condensed time
frame. The main focus was on critical thinking. She designed her entire curriculum with
this key ingredient in mind. Guichard (2006) felt that if the students were able to master
the art of critical thinking, it would serve them in an acting career where they would
maintain the necessary research skills to prepare and audition for a role by themselves.
Like Cole, Guichard (2006) noted the difficult task of theatre professors. “We must
balance scholarship and practice, technique and artistry, liberal education and
professional practice” (p. 159).
Stacy Wolf (2007), University of Texas at Austin Department of Theatre and
Dance associate professor, argued for the inclusion of musical theatre history in
undergraduate curriculum. Students would learn about the historical landmarks of
musical theatre in history classes and research characters and their relevance to history.
This would enhance critical thinking skills and general research abilities. This practice
would not only benefit the students in the musical theatre production, but would ease the
burden of the director of the university musical theatre production. Due to budget
restraints and outside schedule conflicts, rehearsal time is limited. A director’s chief
concern in any venue should be the mounting of the show. The more preparation for a
role that an actor can do outside the rehearsal hall, the more time the director has for
staging.
Various interviews with professional directors reveal a bias toward the
inadequacies of most college musical theatre departments in preparing students for the
31
rigors of professional theatre. After recently conducting several interviews with directors
currently working in the business, the consensus leaned toward the inability of most
universities to present a real world approach to the musical. Peggy Hickey, a
director/choreographer with an extensive resume spanning musical theatre, opera, TV and
movies, revealed that she has conflicts with her director at UCLA about the approach to a
production. Hickey choreographs for the university’s musical theatre productions. The
director for each musical is a tenured professor who possesses a doctorate in theatre and
has spent his career in academia. As Hickey termed it, “theory meets practice” (personal
communication, October 8, 2009). Hickey lamented that her undergraduate theatre
training did not prepare her for the rigors of the theatre world. Hickey noted,
I think it’s vital, absolutely vital that they have that side of the education as well
as the history of sturm and drung, as well as how to build a flat and what Brecht
did for theatre. These are all important things, but if you don’t know how to get a
job, then we’re not helping them. (personal communication, October 8, 2009)
Glenn Casale, head of graduate directing at UNLV, also found himself at odds
with other members of the faculty with his real-world approach to rehearsals for the
musical theatre production. Casale directs the musicals at the Nevada Conservatory
Theatre (NCT), the performing division of UNLV. He directed the 1999 Tony Awardnominated and Emmy Award-winning Peter Pan for Broadway and for the national tour,
as well as many other national and regional productions, and television series as well. He
claimed that learning various theatrical methods and historical background is valid, but
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musical theatre is a business in the end and a department should train accordingly. He has
tightened the rehearsal schedule at the college to a four-week period, more like a
professional theatre experience (personal communication, October 21, 2009).
Both Hickey and Casale looked to University of Michigan, Carnegie-Mellon, and
University of Cincinnati as model institutions for producing actors that are ready for the
Broadway stage. These three schools prepare the students to be hired at Pittsburgh
theatres, including Pittsburgh Civic Light Opera (PCLO). PCLO requires a one-week
rehearsal period for its summer season of musicals. All actors hired for these productions
must learn music, blocking, dance numbers, costumes and changes, handle props and
scenery, and perform to a live orchestra in a short amount of time. Similarly, Sacramento
Music Circus maintains a two-week rehearsal period for its summer musical theatre
season. In comparison to NCT’s four-week rehearsal period, a shorter rehearsal period
than most other mainstage university productions, professional theatre remains a business
based upon a compressed timeline due to a restricted budget. It demands prepared actors
who can handle the rigors and stress of a short rehearsal period.
The ability to prepare for a performance in a week, and the demand for university
students to be prepared for the rigors of this schedule upon graduation, negate Jonathan
Cole’s (2008) theory of applying liberatory pedagogy to the musical theatre production
curriculum. His suggested method allows for a more democratic approach in which all of
the people involved in the production would contribute their own ideas to the overall
picture. Cole’s (2008) approach would have the director present the material to the actors
33
in real time and open the floor for discussion and interpretation. This would encourage
development of the students’ critical thinking skills. While the concept is worthy, it is not
practical in today’s economy and new sensitive timeline issues. As most of the
interviewed directors have noted, the approach needs to be more like a professional
theatre environment, and the theatre is not a democracy, nor a student-centered learning
environment. Leland Ball, longtime producer and director for the Sacramento Music
Circus summed up this approach
If you’re in an acting, dance, or music class, you’re in the learning phase. Once
you get cast in a production, you’re not being taught anymore. You did the push
ups, you did the prep in class. Now you’re running the race…the director…should
be a director and not a teacher; maybe a director with a lot more patience, maybe
a director with more sensitivity to a young person’s needs, but still a director. You
can’t stop rehearsal and say, ‘Alright everybody, let’s do some push ups here.’
You can’t because you’re in the middle of a race to get to opening night. That’s
what you’re teaching. (personal communication, October 23, 2009)
If the university allows for more than four weeks for the rehearsal process, it may
be valid to attempt some of Cole’s strategies in a pre-workshop format to help create a
safe working environment in which actors feel open to sharing their ideas about
characterization. Novak and Novak suggest improvisations and other games for the
beginning of the rehearsal process to introduce the cast, artistic team, and crew and to
create a “family” environment for the duration of the production (1996).
34
In conclusion, curriculum created for university musical theatre directors must
focus on the concept that the process needs to prepare students for professional theatre. In
order to do this, adherence must be paid to the approach the director takes from preproduction all the way to opening night. The director must take the reigns of the
production and guide the actors through the process as if they were working in a
professional theatre. With the allowance of additional time at the beginning of the
rehearsal process, the director can allow for an easier transition for the cast from student
to full-fledged actor, responsible for researching and critically analyzing their characters,
and maintaining a professional attitude throughout the experience.
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Chapter 3
METHODOLOGY
Remounting a musical theatre production for university students as a means of
preparing them for the professional theatre world is a qualitative research study using an
action research approach. Below is a discussion of the participants, and then a breakdown
of pre-production procedures and the rehearsal approach for The Rocky Horror Show.
Participants
As mentioned in Chapter 1, this production would be largely comprised of
undergraduate students involved in a theatre program, and a method would be devised for
the director to offer these students a real-world method for approaching a musical in an
undergraduate setting.
The Rocky Horror Show has a need for ten principal characters, and my version
included ten ensemble members as well. Traditionally, the same person plays two of the
principal characters, but I chose to cast a different actor in each role. Two of my principal
characters were professional actors, while the remainder included six undergraduate
actors and two recent graduates. The ensemble cast included one high school student, six
undergraduate actors, and two dancers who had graduated approximately two years ago.
The age range for the actors was broad. The high school student was 17 at the time of the
production, while the oldest character, whose role was entirely pre-recorded, was in his
50s at the time of the production. The undergraduate actors ranged in age from 18-22.
36
The undergraduate actors in the production all were enrolled or soon to be
enrolled in the theatre program at California State University, Sacramento, except for one
UC Santa Barbara student, majoring in Dance and Biology and another in the Actor’s
Training Program at Solano College. The undergraduate students included seven males
and four females. The three recent graduates, all female, also participated in the CSUS
theatre program and/or voice program. It is worthy of mentioning that the Assistant
Choreographer was also an undergraduate student. She had experience dancing in a
professional ballet company and is a member of Actor’s Equity as well.
Procedures and Measures
Action Research
Action research was taken in the form of mounting a musical theatre production.
Data was then assessed and analyzed to discover if a viable model was created for
preparing the undergraduate theatre student for the professional musical theatre world.
Pre-production procedures
In light of the present economy in 2010, mounting a musical is a risky endeavor
as most Americans are cutting back on non-essential activities. Many theatre companies
closed in 2009 and several others have downsized their staff and rethought their seasons
to showcase standard popular musicals, or inexpensive musicals that have few cast
members and smaller set and costume costs. Against these odds, I sought to mount a
musical and take on the producer, director, and choreographer roles for the popular fringe
show, The Rocky Horror Show. Most people who have seen the musical Rocky associate
37
it with the Halloween season. I discovered through multiple conversations with die-hard
fans, however, that it is really meant as a New Year’s celebration. Therefore, the show
was mounted December 30, 2010 through January 1, 2011.
Many arts organizations are non-profit, with several donors and sponsorships
from various organizations and private parties. This status provides the company with
discounts when it comes to renting production items, purchasing insurance, and various
other operational tasks, but also allows them the luxury of “up front” money for
marketing, as well as a cushion if ticket sales are not sufficient. Such was not the case for
my production of Rocky. Ninety-five percent of proceeds for this production came from
ticket sales and concessions at the shows. I did not have the luxury of obtaining any
private or corporate donors for this production, and most of the tasks, including
advertising and initial ticket sales became my responsibility.
After securing music rights and a theatre for the production, it was time to focus
on background research. I knew I wanted my production to be vastly different from the
movie that has gained more recognition than the musical, but I did not want to stray so far
from origin that longtime fans of the show would not enjoy it. With the invention of
YouTube, I was able to research several other versions of the show and could decide
what I did not want to see on stage. I also sought the expertise of several Rocky experts
and asked what portions of the show needed to be kept intact to satisfy the most loyal
fans. Then I used my own intuition. I wanted this to be a dance show, first and foremost,
as choreography is my expertise. I also wanted to present the show in a new way that
38
would develop a new breed of fan, and playing on dance and the sexiness of the music
was a great way to pull this new breed into the fold. I utilized movement material I had
already created from a previous dance concert project about Rocky and molded it around
the actor/singers in the 2010 production.
I knew I needed to surround myself with a professional artistic staff for my first
venture as director/choreographer. I chose my musical director and my production
designer in July and began subsequent production meetings and phone calls. While the
music for the production would stay true to the composer’s wishes, the stage layout
would be vastly different from the original production, and, of course, the movie. As this
was to be primarily a dance and singing show, the stage would have to be free of the
clutter that usually accompanies a production of Rocky. We would opt for a nearly bare
stage and rely on a platform and a total of five projector screens to accomplish the work
of a complete set. My production designer recommended a lighting designer and took on
all production assignments for the show.
Vocal auditions were set for the month of October. As Sacramento is such a small
community compared to other artistic hubs, I felt confident that I could derive an actor’s
dance ability at a vocal callback, simply because my musical director and/or I would
already know the actor, or I could simply give the actor a quick series of movements to
determine capability. Several of my actors were selected from this audition method. One
of my principal actors was chosen from an audition for my dance company, and two other
actors were offered the roles based upon the body of work that I had seen them
39
accomplish over the last few years. At the beginning of November, my casting of the
show was completed. I had two professional actors in the cast-each playing a principal
role, who would be ideal “role model for the rest of the undergraduate, or just recently
graduated, cast. The actor cast as the Narrator was also a professional, but we elected to
pre-record all of his lines for insertion in the play, thus taking him out of the rehearsal
process.
Because the task of directing and choreographing the show was so broad, I
selected a choreographer’s assistant in mid-November to block one entire number and
give notes and small additions to other sections of the show. I also brought in a costume
supervisor who would assemble the wardrobe that I had already established, as well as
embellish, and finalize costumes for the entire production. Also in mid-November I had
sent scripts and scores to all the principals to begin their pre-production work. The
ensemble would not need a script since they did not have any dialogue, and their vocals
were not written in the score. Their material would be deciphered on the first day of
rehearsal-exactly one and a half weeks before opening night.
Rehearsal procedures
Due to extremely limited amount of time to prepare for this production, the cast
assembled for its first rehearsal on Monday, December 20th, 10 days prior to opening
night. In this rehearsal, the musical director and I were planning to work through the
music for the entire show in order to give the principals and ensemble enough material to
study before we all reconvened on Monday, December 27th, three days prior to opening
40
night. It was also the intention in those four hours, to begin assembling the beginning
dance numbers of the show. During the week that followed, one-hour rehearsals were
called for some of the principals to learn movement for their specific numbers. When the
entire cast assembled on Monday, December 27th, we structured 27 hours of rehearsal
throughout the days before the show was scheduled to begin on Thursday, December
30th.
We began the rehearsal on Monday with a review of the movement that had been
established the week prior and then proceeded to work through the entirety of Act One,
music and movement. The musical director reviewed with the ensemble while I took the
principals for brief dance and scene work. We then assembled as an entire cast to work
through Act One from beginning to end, approximately 35 minutes of material. By the
end of day one, we had a complete Act One and partial Act Two.
On Tuesday, December 28th, we moved into the theatre for the remainder of the
rehearsals. We allotted two hours in the morning for musical review of Act One and for
ensemble learning of Act Two music. We then took the stage to block through Act One
now that we had full use of the actual physical playing space. After a brief walk through
around the stage for usable entrances and exits, we plotted the show. We ended the day
with a “stumble through” of the show with the Broadway soundtrack so that the company
could focus on blocking and movement, and the ensemble, specifically, could have a
chance to hear where they should be singing, since none of their music is actually written
in the official score for them to read.
41
On Wednesday, December 29th, we began the rehearsal with substantial notes and
cleaning of movement. We blocked the remainder of scene work that could not be
accomplished before the run the day before. The show was run again that morning with
piano and guitar, the first time the company had heard the music live in the theatre. That
afternoon we worked through notes and did another run of the show with costumes,
piano, drums, and bass, adding in the use of microphones for a few of the principal
actors.
On Thursday, December 30th, the day Rocky opened, we completed our first and
only full dress rehearsal with the full band, costumes, lights, props and sound. I did call
the actors in two hours earlier than scheduled for more notes and fixes and to practice
costume quick changes. The show opened on Thursday evening and ran for three more
performances.
Data Collection
I used an action research approach as I remounted a musical for undergraduates to
establish a viable method with which to prepare them for the professional theatre
business. The following tools were used to collect data: video, my personal
documentation of the events, and both actor and audience surveys.
I kept a journal in my binder that also included my script for the show, and any
notes taken during the rehearsal process. Since the rehearsal process was extremely
condensed, I had to make sure that each moment we were rehearsing was used to the
fullest. I consistently had a to-do list of movements to go over and directions to give.
42
My wardrobe supervisor took video footage of the rehearsal process for me to
review. This gave me a chance to take a second look at a rehearsal to see elements that I
missed. A video of the final show was also taken to be able to showcase the end result.
Actor and audience surveys were given out on the final night to gauge the effectiveness
of the rehearsal process and the final production, respectively.
43
Chapter 4
DATA ANALYSIS AND FINDINGS
Data collection was discussed in the preceding chapter. This chapter analyzes the
findings, beginning with a discussion of the surveys received, both from actors and from
audience. It culminates with a discussion of the personal data analyzed at the end of the
production.
Actor Surveys
All undergraduates in the production were asked to fill out surveys. I received
fourteen completed surveys. Of all 14 surveys, 13 actors marked that they had worked in
a professional production prior to this show. I defined “professional” for them as “a type
of theatre that hires paid actors.” This answer was significant for me because it implied
that they knew the rigors of professional theatre and the professionalism that the
company was required to maintain in order to accomplish a quality finished product.
The next questions asked if the actors were given enough rehearsal time to learn
blocking, vocals, dance, and enough time to work with the band. All actors but one
acknowledged that enough time was given to learn blocking. This is a significant result
because blocking must be learned in the rehearsal room and cannot be prepared ahead of
time. The fact that all 13 actors felt enough time was devoted to blocking is a positive
response.
Three actors felt that there was not significant time to learn vocals. I find this
statistic interesting because the principals were all given their scores six weeks ahead of
44
the rehearsal process. As mentioned earlier, there was not an option to learn ensemble
music ahead of time, as it was not written for them. However, all ensemble members
were told to listen to the Broadway soundtrack as a method of learning the ensemble cues
and they were expected to record their musical sessions with the musical director for
additional study outside of rehearsal.
When asked if the actors were given enough time to learn dance, two of the actors
negatively responded. Time was available during the rehearsals to review their dance
numbers, and the assistant choreographer and dance captain were always readily
available. Admittedly, the principals had less time when they were not directly involved
on the stage to go over material. However, those principals that had less than adequate
rehearsal time scheduled were given a video of dance steps to learn during their own
study time. When asked if the actors were given enough time to rehearse with the band,
all actors responded favorably.
When asked to describe the working environment for this production, the actors
were given four prompted choices or if those did not fit, they were free to fill in their own
choices. While it was not specified to only choose one of the options, some actors
selected two of the choices while other selected only one. The selections were:
A.
B.
C.
D.
E.
Intense and Structured
Intense and Unstructured
Relaxed and Unstructured
Relaxed and Structured
None of the above (supply your own phrase:
)
45
Five actors responded that the process was intense and structured. Three actors
responded that the process was relaxed and structured. One actor responded with both an
“A” and a “D”. No actors responded with a “B” or a “C”, significant in that they all felt
the process was structured. This is an important aspect that I was striving to achieve with
such little rehearsal time. Three actors wrote in their own responses. One responded with
“Intense and structured, but with not much rework time.” Another response was “Intense
but low stress; structured but comfortable and flexible.” This process should have been
intense for all involved. Professional theatre calls for this. The fact that so many actors
pointed to the relaxed environment demonstrates that they trusted the staff to do what was
necessary in order to put up a successful production. In turn, it also demonstrates that the
staff was prepared for the speedy process and acted accordingly.
When asked if the actors enjoyed working on this production, all actors responded
favorably.
When asked why they enjoyed working on the production, comments pointed to
professionalism and good cast and crew. Three comments stood out.
The fact that such little rehearsal time was given made me push myself much
harder than in anything prior to this show. I learned to work under intense stress
and with very little time/rehearsal.
It should be noted that the author of the above is the same actor who marked “no”
answers to the questions about enough blocking, vocal, and dance time.
46
It was extremely fun and although the rehearsal time (or lack there of) was short,
the [professionalism} made it much easier than it would have been if this were
treated like a typical community theatre production.
The above author marked positive responses to all the questions and found the
process “Intense and Structured.” As did the author of this response: “I loved moving at
the speed of light! What a great butt kicking, think on your toes experience.”
As a whole, the actor responses were positive and validated the short rehearsal
process that was chosen for this project.
Audience Surveys
Of the 100 surveys distributed, only 39 were returned. The questions were similar
to those of the actors. The first question asked if the audience member had worked in a
professional production before. Again, the term “professional” was defined for them as a
type of theatre that hires paid actors. Ten responded that they had worked in a
professional production before. I will decipher their remaining answers first in the
following paragraphs.
All persons but one responded favorably to the question of whether the actors had
learned their blocking, vocals, dance and if they blended with the band. One person
responded that the actors did not blend with the band due to microphone difficulties.
These difficulties will be discussed in chapter five recommendations. Overall, this is a
positive result for the project if these audience members who have worked in the
47
professional realm before felt that the actors were, in essence, at performance standard
after such a short rehearsal process.
The next question asked the audience to describe the professionalism of the
production, keeping mind our definition of the term for the survey purposes. Their
choices were the following:
A. Broadway show
B. Community theatre (locally produced small theatre productions)
C. Summer stock (Music Circus, for example)
D. College production
E. Not as good as any of the above
F. Not sure
The answers to this question were very diverse. No one reported an “F” answer.
One person responded with an “E”, but the majority of the audience responded with a
“B”. I did find it interesting that one person chose “B” and “C”, while another picked
“A”, “B”, and “C.” Community theatre productions are often given several weeks of
rehearsal, so the cast should be commended for receiving these comparisons. Because the
majority of artists were quite young and still learning how to work in a professional
production, I am satisfied with the results of this question. To measure them against
Broadway standards with professionals working in the business for years would be
unfair.
To the question, “Did you enjoy watching this production?”, all 10 people
responded with a “Yes.” General comments gave positive comments about the cast.
Nineteen audience members reported that they had not worked in a professional
production before. The significance is that they do not have a strong concept of what the
48
rehearsal and pre-production period entails. They only view the final product: the
performance.
Of the 19 non-professional audience members, 15 responded favorably to the
questions asking if the actors learned blocking, vocals, dance, and blending with the
band. One person felt that the actors only partially learned their blocking and vocals, but
did learn their dance. I do not lend too much weight to this survey because blocking and
vocals were easily handled, especially by the final production, though several of the
actors who were not significant dancers continued to have problems with some of the
dance sequences. Two people responded favorably to blocking, vocals and dance, but did
not feel the actors blended with the band, due to microphone issues. This again will be
addressed in Chapter 5.
As to the question, what best describes the professionalism of the production,
responses varied. Eleven people, the majority, felt it was comparable to a community
theatre production. I found it exciting that two people compared it to a Broadway show
and two compared it two a Summer Stock production. One person compared it to a
College Production, while two other surveys make it difficult to tell if they chose
Summer Stock or College Production. This seems overall a positive response to the
project for the reasons listed previously that comparing these young, not widely
experienced actors to the rigors of a Broadway show is quite difficult.
Eighteen audience members responded favorably when asked if they enjoyed
watching the production. The only negative response mentioned that they could not hear
49
the vocals, a consistent issue that plagued the production and will be addressed in
Chapter 5. Notable comments were, “Live theatre interacts [with] the audience! Far better
than the movie!!” and “The engagement [with] the audience really helped the vide. The
actors’ involvement and dedication really showed through.”
Personal Data
While many of my personal notes reflect specific details about the show, general
details fall into distinct categories: professionalism, dance ability, and lack of production
personnel.
Professionalism
This term is broad and far-reaching, but of tremendous importance.
Professionalism refers to how the actor, in this case, conducts him or herself from the
beginning of the audition through the final performance. Most of the students involved in
this production did not realize that they were constantly auditioning. Directors and
choreographers always take note of actors that are easy to work with and can handle the
rigors of the stage. If an actor at any point is less than 100% invested, it shows in the
work that he or she produces and will be assessed for future work as well.
It should be interesting to note that the cast I first assembled by early November
does not reflect the cast I ultimately rehearsed and produced. This is discussed in depth in
my evaluation and recommendation section of Chapter 5. However, my notes lead me to
believe that a sense of the expectations of the director should be given well in advance for
undergraduate students. One student dropped from the show one half hour before the first
50
rehearsal. One student dropped from the show at the end of the first rehearsal. One
student dropped from the show one day after the first rehearsal. One student dropped
from the show two days after the first rehearsal. One student attempted to drop from the
show the evening before opening night.
Another key component of professionalism with regard to theatre is that an actor
should research the show for which he is auditioning. It is also important to do research
on the show once you have been selected to participate. Some of the students who
auditioned for me had not done their research on the show, and when asked to sing a few
bars of the show, could not do so. Many students had not done their research prior to the
commencement of rehearsals. This is inexcusable behavior in professional theatre.
My notes also discuss the importance of using all of rehearsal time. Many actors
were not used during long portions of rehearsal and rather than go over music and dance,
they chose to socialize with each other. This is simply a concept that working
professionals understand. Work comes first during work hours.
Dance Ability
I believe this component arises during many note sessions because of the inequity
throughout the cast. The cast was far better at singing and acting than dancing. I did not
have the opportunity to audition great numbers of actors and so I worked hard with those
that I had. I consistently put two female actors ahead of the ensemble to help cue them
and also to showcase their dance talent.
51
Production Personnel
I noted the importance of production personnel, especially during a very impacted
rehearsal period. Our production staff was so small that they were constantly taking care
of their own needs and we did not come together at the end of every day for a production
meeting.
52
Chapter 5
DISCUSSION AND RECOMMENDATIONS
This chapter addresses the results of the project and deciphers the data received. It
follows with a discussion on recommendations for further study and progress in the area
of directing undergraduate musicals.
Discussion
This project sought to create a method to give undergraduates a professional or
“real world” approach to a musical while in a learning environment. Most professional
standards were met in this production and judging from the surveys received, the goal
was largely met.
As mentioned in Chapter 2, many professional companies are faced with cutbacks
due to the effects of a slow economy at the end of the first decade of the 21st century.
Rehearsal times are shorter and companies may make do with a smaller cast of actors to
fulfill their needs. This project, due to concise pre-planning efforts, succeeded in
showcasing a professional-style production in the most minimal time possible. Audience
surveys remarking upon the professionalism of the production, opted largely for a
community theatre comparison. This should be considered a successful outcome since
many local theatre companies hire seasoned actors for their programming and provide
numerous hours of rehearsal to produce the show. Our project, as discussed in Chapter 3,
combined a large percentage of undergraduates and recent undergraduates with only two
53
professional actors, one of whom was only videotaped and never attended rehearsals. The
project was also put together in a remarkably short amount of time.
A negative aspect, mentioned as the number one drawback to the production by
the audience, was the inability to hear the actors completely due to a flawed microphone
system. It must be noted that this is not the fault of the artistic or production team. The
theatre took the blame for not installing all of the equipment properly and so it remains
that all aspects of the production that were in the hands of the artistic and production
team were handled professionally.
Comments from the actor surveys were mostly positive. A few negative remarks
regarded the little amount of time to learn music. The answer to this, of course, is that the
actors need to learn as much as they can on their own time as their “homework.” The
actors with dialogue and music lines were given their scripts and scores over a month
ahead of the first rehearsal with the understanding that they were to come as prepared as
possible to their first rehearsal. Several actors were also given the opportunity to see
video clips of choreography that would be incorporated into the production as well. Some
chose to utilize this resource, others did not. It is imperative as a professional actor to
utilize all the resources available for research and development of the character.
Addressing the number of actors who excused themselves from the production is
a large concern as well. It is important that the theatre school take some responsibility for
this concept of professionalism and following through with commitment. This cannot be
left to the individual production to handle. Theatre schools should have this sense of
54
commitment infused in its learning philosophy. Student actors must learn that their
actions reflect upon them later in their careers as well and directors, choreographers, and
producers learn to gravitate to actors upon whom they can rely.
Recommendations
Based upon the findings from the survey and notes taken during the process,
several recommendations arise for a future mounting of a project like Rocky. The first
recommendation would be to provide contracts for all the students involved in the
production from their very acceptance of a role. Professional theatres require their actors
to sign their name to paper following contract negotiations. If the purpose of this project
is to provide a professional experience for the student actors, then they should also be
required to treat the production as such and sign a document consenting to work
accordingly. This contract would also give explicit rehearsal scheduling and expectations
of the actors as well as a code of conduct that should be followed throughout the
production process.
The second recommendation would be to utilize a theatre for the production that
the artistic team has worked in prior to this production. In a university setting, this would
obviously be the mainstage theatre space. The theatre utilized for this production was
unfamiliar to the entire artistic and production crew, and therefore we were plagued with
various complications throughout the production process that would not have been an
issue with a familiar theatre space.
55
A third recommendation is to utilize a director’s or a choreographer’s assistant
consistently in a production process that is so short. Because I created 95% of the
direction and choreography, I did not feel that I would need the assistance significantly,
especially since a dance captain was named within the cast who knew all of the dance
numbers and could run them when necessary. However, an assistant is valuable for
organizing and giving notes, as well as looking at the entire stage picture from the house.
A dance captain has none of these abilities since he or she is in the production. Had I
empowered the assistant with more authority, I may have found more time to develop
dance sequences with the leads, ultimately making them feel more at ease with the
choreography.
In summation, this project largely achieved its goals and should be a viable
method for directing undergraduate musicals. With the recommendations listed above put
in place, the production should be highly conceivable and indeed successful.
56
APPENDICES
57
APPENDIX A
Student Survey Questionnaire
For the purposes of the questionnaire, “professional” is defined as a type of theatre that
hires paid actors. A total of 26 hours of rehearsal was allotted for this production for full
company. Principal members had additional hours depending upon their role in the
production.
1.
Have you worked in a professional production before?
Yes
2.
No
Were the actors given enough rehearsal time to learn blocking?
Yes
3.
No
Were the actors given enough rehearsal time to learn vocals?
Yes
4.
No
Were the actors given enough rehearsal time to learn dance?
Yes
5.
No
Were the actors given enough rehearsal time with the band?
Yes
6.
Describe the working environment for this production?
A.
B.
C.
D.
E.
7.
No
Intense and Structured
Intense and Unstructured
Relaxed and Unstructured
Relaxed and Structured
None of the above (supply your own phrase:
Did you enjoy working on this production?
Yes
8.
Why or why not?
No
)
58
APPENDIX B
E:MOTION Dance Ensemble Audience Survey Questionnaire
For the purposes of the questionnaire, “professional” is defined as a type of theatre that
hires paid actors.
1.
Have you worked in a professional production before?
Yes
No
2.
Did the actors learn their blocking?
Yes
No
3.
Did the actors learn their vocals?
Yes
No
4.
Did the actors learn their dance?
Yes
No
5.
Did the actors blend with the band?
Yes
No
6.
What best describes the professionalism of this production?
A.
Broadway show
B.
Community theatre (Locally produced small theatre productions)
C.
Summer stock (Music Circus, for example)
D.
College production
E.
Not as good as any of the above
F.
Not sure
Did you enjoy watching this production?
Yes
No
7.
8.
Why or why not?
59
APPENDIX C
Guide to Documentary
A compilation of rehearsal and performance footage was blended to provide a
humorous, yet insightful look into the making of The Rocky Horror Show. The short and
intense process was never grueling. It was upbeat and positive and the footage should
reflect these feelings.
act one begins
Projector screens are used throughout the production to provide a setting for the mostly
bare stage. This is a sample of what was created for the screens.
Sunny Mitchell
Director/Choreographer
The director/choreographer is shown during the one-day studio process at Sacramento
Dance Academy.
Graham Sobelman
Musical Director
Mr. Sobelman is giving the actors a vocal warm-up during the one-day studio process at
Sacramento Dance Academy.
first full rehearsal day
The actors have already learned the vocals for the opening number, Science Fiction,
Double Feature and are now working out blocking with the lead vocalist, Nicole
Cleveland.
60
showtime
This illustrates a clear difference between the first blocking/rehearsal day and the final
production, complete with costumes, lights, and sets.
working in sync
The opening number highlights an ensemble of actors matching their movements for
precision.
playing in sync
The opening number is shown during the closing performance as the actors have
established a clear rhythm with each other.
kicking it up a notch
The actors have learned their music and blocking and are now working on refinement
with the musical director. Cort Larson is relaxed and confident.
just kicking it
The kickline sequence from Frankenfurter’s first entrance showcases his talents and Brad
and Janet’s confusion as to their new set of circumstances.
chemistry lesson
Rehearsal on stage with actor’s Alex Stewart and Laura Lothian in which Mr. Stewart is
unclear of a cue.
swimming lesson
Ms. Mitchell rehearses Mr. Stewart’s and Ms. Lothian’s, Brad and Janet’s first number in
the rehearsal studio.
61
libido lesson
Brad is overwhelmed by Janet’s affection.
getting it
Learning the most popular number from the show, The Time Warp, in the rehearsal
studio.
oh yeah, he’s got it
Ryan Blanning as Riff Raff shows off his amazing talents during the final performance.
this timing is good
Rehearsal on stage as Frankenfurter, played by Cort Larson, makes his first entrance.
but frankly, no one does it better
Mr. Larson’s movement and vocal talents make him an outstanding lead character.
working it out
A funny sequence showing Brad and Rocky figuring out their dramatic “fight scene”
taking it out (of the vault)
Tim Stewart makes a dashing Eddie, a character with half of a brain since Frankenfurter
has removed the other half and given it to Rocky. Frank kills off Eddie and sends him
back “to the vault.”
kicking it out
A showcase of the extraordinary flexibility of Cort Larson and his girls.
-no brainerRocky does have half of a brain.
62
dishing it out
The infamous “fight sequence” between Brad and Rocky that was perfected in rehearsal.
63
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