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Production Concept Package Prepared for The Fantasticks Book and Lyrics by Tom Jones Music by Harvey Schmidt Based on Les Romanesques by Edmond Rostand Produced by Blackfriars of Agnes Scott College Department of Theatre and Dance Department of Music Millennium Events Series Directed by David S. Thompson Scenic, Lighting and Costume Designs by Dudley Sanders Music Directed by Lyn Schenbeck Performance dates October 26-28 and November 2-4, 2002 Prepared by David S. Thompson, Ph.D. Thompson, The Fantasticks 2 DIRECTORIAL NARRATIVE Background For several years, Agnes Scott students have discussed the possibility of staging a musical as part of the theatre season. The notion seems sound on at least one count. A solid theatrical education demands a variety of experiences, both in the classroom setting and in the production arena. Since the last musical staging in Winter Theatre was a production of Godspell in the 1980s, an obvious portion of that variety was missing. On the other side of the coin lies the notion that staging a full production in a particular style for the sake of a well-rounded education makes sense in theory, but may not recognize certain practicalities. Just as we have not mounted a musical in several years, it has been some time since we have thought about attempting a medieval passion play, a nineteenth-century melodrama, a classical Japanese Noh cycle, a Yoruba opera, or a shadow puppet performance. Obviously, some forms are beyond our expertise and desire. Thus, variety is not the only consideration. For theatre students in the United States, it makes sense that they should have experience in musical theatre. The musical as we consider it in this country—not simply a play with music, an interlude or a momentary waltz, but as a non-operatic package of song and story—is an American invention. It is one of the categories of consideration for major awards including the Tony Awards and the Drama Desk Awards. Most significant regional theatre companies stage a musical once every two years, some more often than that. Musicals remain popular with audiences. With the notable exception of The Mousetrap, the longest running productions in major theatre capitals are musicals. Certainly The Fantasticks with its incredible 40-year run makes the point: for most of the world and certain for America, one simply cannot ignore musical theatre. While the reasons for attempting a musical are many, so are the reasons for avoiding them. First, the musical theatre production requires enormous skill from its performers. Audiences simply will not accept an actor who cannot render the character through dialogue, song and dance. Lucky producers find such talent. Educators must teach such skills. Yet, just as it is difficult to find the student who can attain proficiency in math and science and literature, it is difficult enough for students to master a single performing art, not to mention mastering three simultaneously. Second, the increased demands on the performers mean that the production team must have the level of training necessary to interpret the material, teach the students, and stage the performance. Typically, producers will call upon the talents of a director, a choreographer, a musical director, an arranger, and a conductor. In addition the contributions of an assistant director, a stage manager, an assistant choreographer, a dance captain, a rehearsal pianist and, potentially, an entire orchestra. This does not take into account the designers, technicians, assistants and crews required to execute scenery, lighting, sound, costumes, hair, makeup and special effects. From the beginning of the process, musicals require a great many people on the production team or a small team of versatile, talented and energetic artists. Third, musicals typically have large casts. Primarily the reason has to do with placing enough performers onstage to create pleasing dance numbers and strong vocal harmonies. The added performers place increased organizational burdens on producers, not to mention the cost of personal items such as costumes and makeup. Thompson, The Fantasticks 3 Fourth, and potentially most important, is the enormous cost associated with a musical. Even with a cast of students or amateurs, paying the production team has the potential to sink a budget. And as previously noted, the typically large cast means greater expenses. On top of the physical expenses, initial costs associated with scripts and scores (rented rather than purchased as with a play) and royalties are significantly higher. As a point of comparison, such basic costs for a play at Agnes Scott run $350-400; for The Fantasticks, the initial outlay will be $1900. It is a daunting reality. A couple of years ago, Blackfriars, the Theatre Program and the Music Department set into motion exploratory plans to determine the possibility of mounting a musical. To address the issue of performers and personnel, the theatre faculty suggested that students interested such a venture take at least one basic acting class. Theatre students were encouraged to take classes in vocal music. In response, Lyn Schenbeck, who has performance experience and research interests in musical theatre initiated a class titled Musical Theatre Workshop. Both constituencies were encouraged to continue to explore music, theatre, and if possible dance to prepare for a production. While the response was far from universal, many did make an enthusiastic effort to work across disciplines. To address the issue of complexity and expense, the faculty has explored musicals with relatively small casts. As is the case with all productions on our campus, we looked for works that allowed us to use our population to our advantage. Therefore, we hoped to find a musical that de-emphasized choral music in favor of individual characters and favored intimate exchanges over crowds. The Fantasticks allows us to use our women creatively while still maintaining the artistic integrity of the work. Although hiring two men will be necessary, it is something that we must do on occasion and is, therefore, not unusual. To further assist in our effort, the primary collaborators on the production team have agreed to take on as many tasks as possible. Dudley Sanders will design and execute set, lights and costumes. Lyn Schenbeck will direct music and serve as conductor. I will direct and choreograph (which means, of course, that the choreography will be quite simple). For ease of rehearsing, we have agreed that we will need to hire a rehearsal pianist. Dr. Schenbeck has assured us that one of the contacts in the Music Department will be able to play rehearsals and performances at a reasonable price. Concept and Approach One of the most difficult challenges in producing an established and well-loved script lies in balancing expectation and innovation. When that script is the longest running musical in the world, the challenge intensifies considerably. Audiences will come to the theatre expecting that our production will have some resemblance to the OffBroadway version or to some other production that they might have seen. Even those who have never seen The Fantasticks in performance will have expectations based upon the elegance of the songs or what they have heard. For our part, no theatre artist worth working with wishes to lift the essentials from one production and recreate them in his or her own theatre. Theatre, particularly directing, is about interpretation. Therefore, it is a personal and often intimate pursuit. Thompson, The Fantasticks 4 The successful work at the Sullivan Street Theatre is well documented. However, even the authors, Tom Jones and Harvey Schmidt, write frequently that producers and directors approaching The Fantasticks should do what works for the particular theatre and personnel involved. I hope to take their advice to heart. Even if I could I would not want to recreate their production, or even try. At the same time, I want to benefit from the lessons they learned. In no way do I wish to reinvent the wheel with our production. How, then, should we approach the play? Above all I want to emphasize theatricality. The consideration of many different theatrical styles is a hallmark of this musical. In order to make use of our students, I will have the fathers, Hucklebee and Bellomy, the old actors, Henry and Mortimer, and The Mute played by women. All five of these roles are traditionally played by men. The licensing agreement prevents us from altering the script, including the gender of the characters. Even if we could make such a change, it would not be advisable because of the potential domino effect throughout the book. I am not interested in presenting a drag show, something that is difficult to do well and of little consequence in this instance. The artificiality must work in our favor and we must present the women as actors playing a character or series of characters. Therefore, we must make certain that the play is presented like a play in progress, one being created before the eyes of the audience. One chief means of establishing such an attitude involves using the overture and first appearance of the company as a framing device. I plan to stage the overture in a way that suggests a company of actors preparing for performance. They will greet one another, study lines, and set props. Of equal importance, they will acknowledge the audience. In so doing they should immediately establish that these are performers who love to perform and love to greet the crowd. Simultaneously, the company should also be able to focus within the scene. In other words, the fourth wall will rise and fall as necessary to make a point. However, the main point is that the audience will receive several reminders that they are watching a play, ranging from the overture, through El Gallo’s narration, to the introductions of the families and the shtick of the old actors, to the direct address of the final scene. While adding women as players may seem like a departure from the script, I feel that it is actually in keeping with its spirit. Of all the elements I want to maintain, it is that spirit. The simplicity, the charm, the elegance, and above all, the magic of the imagination must shine through. As with the original production, I hope to keep set pieces to a minimum, costumes to involve layer pieces, and lighting to follow the broad sweep of the action when necessary, but remain unobtrusive for most of the time. Whenever possible I would like the feel to be rustic or primitive (in the painterly sense), but not rough or coarse. To further emphasize the magic, all staging devices should be fairly simple and straight-forward. Things will happen because the audience will allow their collective imagination to take them on the journey. For example, if El Gallo needs to freeze Matt or change the lighting, he simply waves his hand. If the audience needs to be let in on the action, then we will play the scene in the house if necessary. Staging will seem simple and reserved on one hand because it will allow a framework for seemingly complicated interplay to transpire. And yet, the simplest gesture in the world will carry the greatest import because we attach significance to it—and because we must use imagination to complete the picture. Thompson, The Fantasticks 5 The magic will suggest a corequisite element, that of the presentation of a fable. The story is sweet and sentimental. What keeps it from crossing the line into something unacceptable is that it never forgets its humanity. Within that humanity are simple, yet profound concepts—love, trust, loyalty, loss, family, support, happiness. Like any fable it involves life, both as it is and as it might be. Accomplishing such stage magic will require strong technique. The most deceptive aspect of The Fantasticks rests with its appearance of simplicity. Even after 40 years, the book is tremendously clever in its approach and the music is very sophisticated, devilishly so in places. Each actor must understand characters and situation as second nature. In addition, the camaraderie of the company must be in evidence. All members of the cast must appear to have solid relationships with each other. When pairings exist, either temporarily or through the arc of the action, the attachment must be particularly strong. Matt and Luisa, Hucklebee and Bellomy, Henry and Mortimer, El Gallo and The Mute must function as teams. In addition, El Gallo must be able to work with each of the other teams and even make the audience a teammate. Each actor must be able to act the scenes, the song and the spaces in between. This is not Brechtian epic theatre, it is a theatrical fable, one in which both the fable and theatricality become strands to weave into the performance fabric. Thompson, The Fantasticks 6 CHARACTER DESCRIPTIONS GENERAL Actors should bear in mind two key premises to the approach to this production. Each carries both a practical and a philosophical or aesthetic component. First, as an educational endeavor at a women’s college, our first responsibility is to our students. This not only includes the performers onstage, but also extends to the entire company and those who attend performances as members of the audience. Second, The Fantasticks is about theatricality, not literalism. Therefore, the framing device of our production is the world of the theatre and performance. This device, one inherent in the script and the original production, allows us to present the concept of actors assuming a variety of roles. In our case women will assume the roles of the fathers, the old actors and the mute. Once the actors assume their roles a further layer is added as some characters operate within the story (Matt, Luisa, Hucklebee, Bellomy) and the rest serve as agents to the play within the play (El Gallo, Mute, Henry, Mortimer). MEN El Gallo As the narrator of the piece, he is the liaison between the audience and the action onstage. As a function of the character rather than through good performing instincts, El Gallo anticipates any slack moments and adjusts rhythms and tempos. He is warm, cordial, and inviting to the audience, yet with darker moments. His attitude toward the rest of the cast reveals a decidedly mysterious side. Above all he is grand and must command attention. Matt As a young lover, he is deeply in love, particularly with the idea of being in love. He lacks experience in the world so, while not stupid, he is naïve and perhaps even foolish at times. His image of a young man in love is one of a gallant protector, meaning that he approaches some decisions with a falsified bravery that is little more than bravado. Thompson, The Fantasticks 7 WOMEN Luisa As a young lover, she is in love. She is in love with love, the idea of love, the idea of being in love and indeed everything remotely romantic. Her dreams are more fanciful than those of Matt. Because of her particular vision of romance, she deals with the world on a particularly naïve level. Although she is responsible for some overly sweet moments in the show, she must remain tender and honest in her portrayal. She must remain honest and not ironic or self-referential. Hucklebee and Bellomy The authors have described the fathers as clown, not in the Ringling Brothers sense, but in the tradition of blustery comic characters whose comedy comes from exploiting a grain of truth. Thinking of them as burlesque or vaudeville sketch comics or commedia dell’arte stock characters approximates the feeling. Although each has a distinct character, they often function as a duo or team. In many ways Hucklebee, Matt’s father, is the more boisterous of the two while Bellomy, Luisa’s father, is more fastidious. So one could think of them as part of a line of famous pairings—Laurel and Hardy, Abbot and Costello, Jackie Gleason and Art Carney, Walter Matthau and Jack Lemmon. (There are exceptions, of course; these are generalities.) Henry and Mortimer These old actors function as another pair of clowns, yet of a slightly different type. They belong to the family of foolish comic servants who move the action while not seeming to contribute anything of substance. As performers their day has long past. Henry can play grand characters and recite Shakespeare, but with very little success these days. Mortimer’s specialty is dying on stage in the manner of great adventures and melodramas. They function as a unit and rarely appear apart from each other. They are entirely theatrical and theirs is the world of the stage. The Mute The Mute is described as borrowing from the “invisible” stage assistant found in some Asian theatrical styles. The Mute serves many functions—setting props as characters need them, assisting El Gallo, and becoming the wall separating the families. While omnipresent the character must also have the ability to fade into the background. This is a functional character that sometimes interacts with the others. Above all, this is not an elf, sprite or fairy, so overt cuteness should be avoided. Thompson, The Fantasticks 8 AUDITIONS The Blackfriars of Agnes Scott College announce auditions for men for their forthcoming production of The Fantasticks by Tom Jones and Harvey Schmidt. Auditions will take place September 4 and 5 at 7:00 p.m. in the Winter Theatre in the Dana Fine Arts Building (corner of S. McDonough St. and E. Dougherty St.) on the Agnes Scott Campus. Callbacks will be held on September 6 at 7:00. Two male roles, El Gallo and Matt, are available. No specific appointment time is necessary. A stipend of $500 is available for each actor. Performances are scheduled for October 26-28 and November 2-4. Rehearsals are scheduled for 7:00-11:00 p.m., Monday through Friday evenings during September and October. For more information please contact David Thompson at 404-471-6250. Thompson, The Fantasticks AUDITION MATERIAL Pages Description 7-9 Plot Synopsis (from MTI Study Guide, for posting) X Character Description (provided by David, for posting) 3 El Gallo’s introduction—“Let me tell you a few things …” 5 Luisa’s introduction—“This morning a bird woke me up.” 7-8 Matt’s introduction—“There is this girl. I’ve studied Biology.” 17 Hucklebee’s introduction—“There are a great many things …” 22 Bellomy’s introduction—“I’m her father.” 38 Henry: “Don’t look at us like we are, sir.” II-1 El Gallo: “Their moon was cardboard, fragile.” CALLBACK MATERIAL II-31-34 Hucklebee and Bellomy II-39-44 El Gallo and Luisa II-59-60 Matt and Luisa 13-16 Matt and Luisa 38-43 El Gallo, Mortimer, Henry 9 Thompson, The Fantasticks CALLBACK LIST WOMEN Alison Trendell Ann Willard Anna Schanche Christina Dresser Jamaiya Havel Kecia Jones Kelli Murgado Kenner Barnes Kristen McElveen Meghan Hammiller Nicole Kennedy MEN Brandon Sauvé Bruce Paulsen Chris Bouchard Joshua Morgan Michael Strelecki 10 Thompson, The Fantasticks 11 CALLBACK POSSIBILITIES NOTE: This is an eyes-only list intended for the sole use of the members of the production team (director, music director, designer, assistant director/stage manager) for The Fantasticks. EL GALLO Bruce Paulsen / Chris Bouchard / Michael Strelecki / MATT Joshua Morgan / Michael Strelecki / Brandon Sauvé / LUISA Kelli Murgado / Jamaiya Havel / Kecia Jones / HUCKLEBEE Kenner Barnes / Kristen McElveen / Nicole Kennedy / BELLOMY Anna Schanche / Nicole Kennedy / HENRY Kristen McElveen / Chistina Dresser / Kenner Barnes / Kecia Jones / MORTIMER Meghan Hammiller / Alison Trendell / Anna Schanche / Christina Dresser / Kecia Jones / MUTE Christina Dresser / Ann Willard / Kecia Jones / Thompson, The Fantasticks DRAFT DRAFT DRAFT 12 DRAFT REHEARSAL SCHEDULE SEPTEMBER (“Try to remember”) M3 T4 W5 TH 6 F7 Labor Day Auditions Auditions Callbacks Vocal Music (David in Charlotte) This gives us a running start on the process and allows Lyn to offer musical homework for the weekend. M 10 Vocal Music (sequence TBA) T 11 Vocal Music W 12 Vocal Music TH 13 Vocal Music F 14 Vocal Music Lyn has carte blanche to do as she sees fit during the first week. If the cast can learn their parts during this week we’re flying. Even if they only get comfortable with the score, we’re in good shape. SU 16 M 17 T 18 W 19 TH 20 F 21 TBA if necessary Read-through Block Act I Block Act I/II Block Act II/Stumble-through Stumble-through (Time TBA) (“A Night Under the Moon”) Since the blocking rehearsals provide only rough movement to assist in physical association and memorization, I think that three nights should do it. It may only take two nights. “Choreography” and more complex staging will take place during the working rehearsals next week. It would be nice if I could accept the invitation to MC the Friday Millennium event given their financial and PR support. However, I would still like to rehearse on Friday, possibly at 9:00 following the event or early afternoon (in Presser if Dudley needs Winter). SU 23 Work Act I music M 24 Work Act I staging T 25 Work Act II music W 26 Work Act II staging TH 27 Work-through F 28 Work/Run-through Lyn’s request to work music on Sunday suggests that an alternating music/staging format may work for us. This arrangement would give us a couple of run-through opportunities, allowing us to catch up if we lose ground on the 21st. OCTOBER (“and the sky grows grey”) SU 30 Work Act I music M1 Work/Run Act I T2 Work Act II music W3 Work/Run Act II TH 4 Run-through F5 Black Cat As with the previous week, the additional Sunday rehearsal allows us to work music then staging and still have a run-through prior to Black Cat, a lost day no matter how we slice it. SU 7 TBA if necessary M8 Work-through T9 Work-through W 10 Work problem scenes TH 11 Work/Run (Stop/Start) F 12 Run-through I’m going to hold off on scheduling the Sunday rehearsal right now. I will make sure that everyone knows that we will use it if we need it. Thompson, The Fantasticks SU 14 TBA (Run-through) M 15 Run-through; work problems T 16 Run-through; work problems W 17 Run-through; work problems TH 18 Fall Break F 19 Fall Break Whether we need a Sunday rehearsal this week depends on the progress made on the 11th and 12th. Regardless of student travel plans, we must have a rehearsal on the 17th. SU 21 M 22 T 23 W 24 TH 25 F 26 SA 27 Run-through First Tech First Dress Full Dress Final Dress Performance Performance (David in Carrollton?) First, although I have indicated that a rehearsal on the 17th is a must, I fear the worst (judging from the past). I think we should schedule a runthrough on Sunday. Second, the GTC convention begins Thursday night and I will stay in Carrollton following the final dress. I’ll be back for opening night and Saturday depends on how it all looks. The only reason that I may be at the convention banquet on Saturday is that the nominating committee is considering me for president. My first duty is here, however. SU 28 Performance (matinee; “fall back” to standard time) NOVEMBER (“It’s a little bit colder”) TH 1 Pick-up rehearsal F2 Performance SA 3 Performance SU 4 Performance (matinee + strike) The exact nature of activities associated with each performance will be determined along with the tech/dress schedule. One factor is the availability of a KC/ACTF respondent. Another is when we can schedule photo call. My jaunt to GTC may have to fall by the wayside. 13 Thompson, The Fantasticks REHEARSAL SCHEDULE SEPTEMBER (“Try to remember”) M3 T4 W5 TH 6 F7 Labor Day Auditions Auditions Callbacks Vocal Music or Read-through (David in Charlotte) M 10 T 11 W 12 TH 13 F 14 Vocal Music or TBA Vocal Music Vocal Music Vocal Music Vocal Music SU 16 M 17 T 18 W 19 TH 20 F 21 TBA if necessary Read-through or Block Act I Block Act I Block Act I/II Block Act II/Stumble-through Night Off (“A Night Under the Moon”) SU 23 M 24 T 25 W 26 TH 27 F 28 Work Act I music Work Act I staging Work Act II music Work Act II staging Work-through Work/Run-through OCTOBER (“and the sky grows grey”) SU 30 M1 T2 W3 TH 4 F5 Work Act I music Work/Run Act I Work Act II music Work/Run Act II Run-through Black Cat SU 7 M8 T9 W 10 TH 11 F 12 TBA if necessary Work-through Work-through Work problem scenes Work/Run (Stop/Start) Run-through SU 14 M 15 T 16 W 17 TH 18 F 19 TBA (Run-through) Run-through; work problems Run-through; work problems Run-through; work problems Fall Break Fall Break SU 21 M 22 T 23 W 24 TH 25 F 26 SA 27 Run-through First Tech First Dress Full Dress Final Dress Performance Performance (David in Carrollton?) SU 28 Performance (matinee; “fall back” to standard time) NOVEMBER (“It’s a little bit colder”) TH 1 F2 SA 3 SU 4 Pick-up rehearsal Performance Performance Performance (matinee + strike) 14 Thompson, The Fantasticks 15 “A few thoughts from your director . . .” 1. First and foremost, thank you for being here and my apologies that I cannot attend. One of the best things about theatre in general and this production in particular is the collaboration. I can assure each of you that in this collaboration, we all share the same vision. So I’m sure that Lyn and Amber can more than make up for my absence. 2. Concerning rehearsals, our basic schedule is Monday through Friday, 7:00 to 11:00. A few times we will have an evening off and it will be necessary to make up the missed rehearsal on Sunday. The time frame does not mean that we should be here until the early morning hours. Amber will have the authority to stop anyone else in the company at 10:45. At that time we will pack up and leave. My ideal is for us to be home or well on our way by 11:00. (The only exception to the time frame will happen during tech week when we will adjust rehearsal times and expectations.) Amber will now distribute the rehearsal schedule. 3. Each of you will receive a libretto/vocal score. These are rented materials and must be returned in good condition after we perform. You will be responsible for any materials and must pay for replacement of lost items. If you must mark blocking and cues, do so lightly in pencil. Erase all marks before returning your script. The publisher is very particular about these points and we must be particular as well. 4. I assume that you are here because you want to be here. I expect to see each of you here promptly at 7:00 for warm ups. If you are not onstage, I expect you to be working on some aspect of your role. I also expect you to do your homework, meaning that you should look review what we have done between rehearsals. We cannot tell you everything, nor would you want us to. You must contribute as artists. 5. Try to take care of yourself. Try to avoid colds, eat well, drink lots of water and get plenty of rest. In other words, don’t look to your director as an example. Let’s try to take care of ourselves and each other. 6. Concerning the read-through, use it as a time of discovery. If you have ideas you want to try—do it. Don’t worry about perfection and don’t push. However, do try to approximate your vision of the role as it stands right now. Don’t get silly or try things that you would never include in performance. 7. Finally, like many of you, I got into theatre because I love it. I can’t think of a better job in the world. Remember that joy, it will serve you well. In short, have fun! Best wishes, David Thompson, The Fantasticks 16 PROPS LIST All properties are listed according to first usage, even though some may require a preset prior to the opening curtain or during intermission. Page numbers correspond to the MTI libretto. ACT I 1 1 1 1 1 1 2 Gallo 2 5 7 8 17 18 22 37 37 37 43 44 46 49 48 50 51 50 ACT II rose hand mirror (?) bench act drape ladder back chair Mute’s bag paper squares, many colors, El 3 oranges/juggling balls clear glass necklace biology book 1 wall stick metal hedge clippers daisy watering can toy drum multicolored “old actor” confetti 2 drumsticks moon/sun Glen drape “leaf” paper squares, “Soon It’s Gonna Rain” blue & green “rain” confetti 2 branches woodblock + striker El Gallo red paper “death” squares 4 wooden swords II-1 II-1 II-10 II-17 II-27 II-30 II-31 II-32 II-38 II-46 II-46 II-46 II-46 II-63 3 plums El Gallo’s bill red ribbon (Luisa’s wrist) rapier sword tambourine Mute’s gray silk for wall winter clothes for Fathers scarf step stool Luisa’s mask “whips” of colored ribbons “puppet drape” for “Round & Round” 4 “flames” streamers white “snow” confetti Thompson, The Fantasticks The Blackfriars of Agnes Scott College The Department of Theatre and Dance The Department of Music and The Millennium Events Committee invite you to join us for our production of the world’s longest running musical October 26-27 & November 2-3, 2001 at 8:00 pm October 28 & November 4, 2001 at 2:00 pm 17 Thompson, The Fantasticks 18 As previously announced, we would like you to be our guest at a performance of The Fantasticks. Each student will receive a complimentary ticket. Each member of the faculty and staff will receive two complimentary tickets—bring a friend! Additional tickets are available as follows: General Public: $10 Faculty, Staff, Seniors, Non-ASC Students: $5 All seating in the Winter Theatre is general admission on a first-come basis. All tickets are treated as will call and are available at box office just prior to the performance. For tickets call the Blackfriars Box Office at x6248.