Tonight we had our cast photo taken.  It went rather well and was fairly painless.  Get in a line, stand on the stage, smile, click and done.  After the photo was taken we began running through some scenes.

As the character Jaden, it was a little hard to go from taking a photo to acting some of the later scenes in the musical.  Jaden is rather complex and has a lot of conflicting emotions at times. This can make it rather hard to get into character, to portray the lines and make it seem that Jaden actually believes what he is saying.   There are times that what he is saying goes against what he has either said or how he acted in earlier scenes. Let me give you an example of what I am talking about.

Jaden is thinking, “I hate rainy days!” but he says “I love the rain!”  This is hard. How are you suppose to say a line that your character does not agree with?  Why can’t acting be like a photo?  A photo is cut and dry, a freeze frame of what was happening at that point in time.  But acting is not a stop-motion art. Acting is movement, thought and feeling, alive.  So how does one bring life to the stage?  How can you make your character feel, think, move, live?  These are questions that I ask myself before I step onto the stage.

Jaden going to be a fun and hard part to play, and I am going to move, feel, think and try to bring him to life on the stage.  This is my challenge.  Yours is to come and see this show.

The worst part about learning how to stage fight is the learning. John Armour has made stage fighting a beautiful, interesting, exciting art form, and I am thrilled to be able to fight Grant Barclay in several of the scenes of Estranged Identity. The learning isn’t hard because fighting isn’t enjoyable. The learning isn’t hard because the choreography is impossible. The learning isn’t hard because the actors and trainers are boring. In fact, the opposite is true! Fighting is enjoyable; the choreography is very doable; and working with John and Grant has been phenomenal. The worst part is the learning. Let me explain.

The worst part about learning how to fall is the learning.

John Armour

The worst part about learning how to fake punch someone in the gut is the learning. Simply put, actors don’t get things right the first time all the time. Grant has done well at not destroying me, but the first few hits were pretty hard, I’m not gonna lie. Now that things are coming together, the gut-punch isn’t hardly noticeable. But, like I said, learning it was the worst part.

I’d like to say the worst-part about sword-fighting is the learning, as well, but thankfully I can’t yet complain of anything more than a bump on the head.

Through the eyes of a director: Monday, February 8th

Week one of rehearsals for Trueheart Productions started with a complete read-through of the script. It was the first time the entire cast would gather.  After a short welcome and introduction by our stage manager, seventeen actors trooped up onto the stage to sit in a large semi-circle for the undertaking.  

What were these thespians feeling?  Understandably nervous? (“This would be a good time for the earth to swallow me up.”) Arrogantly confident ? (“Everyone is going to be so impressed when they hear me read my lines.”) Or condescendingly lifelesss? (“It’s only a read-through. What a tedious exercise.”). 

Several years ago I read the background story for BBC’s Pride and Prejudice.   I had appreciated that film production.  Its length kept it from the all too common, all too poorly done abbreviating of Austen’s work.  And refreshingly, there was no transposing of contemporary values on these classic literary characters.  Relief, joy. 

So what was their read-through like?  With many seasoned professional actors, it was endearing to read that Jennifer Ehle (Elizabeth) considered it a terrifying ordeal.  Colin Firth (Darcy) was in the gents room groaning aloud in agony before it started.   David Bamber (Mr. Collins) thought that at any moment someone would tap him on his shoulder, mid-sentence and ask him to leave, without a script.

How would the cast of Estranged Identity, a mix of student, community, and professional actors fare under the pressures of a read-through? It sounds like most actors find it a nerve-wracking experience when they are “on show” for the first time. Would our cast survive the fears of being judged prematurely by directors and fellow actors? And would they bring life and energy to this important first-time through the script?

Amazingly, the cast seemed at ease and if anyone was suffering from butterflies, he was able to force them to fly in formation. As one individual brought force and pitch to his lines, others enlivened and joined in. Many lines began to be delivered with interpretive quality and color.

It was a very promising start as the life in Tiffany Barclay’s lines began the process of taking shape as they moved from paper to stage. Next step, two music rehearsals this week run by Estranged Identity’s composer, Ms. Barclay and the show’s conductor, John Carter.

Lead actors getting to know each other

Trueheart Productions has officially embarked on their next adventure: Bringing the World Premiere show of Estranged Identity to the stage April 2010.  It may sound slightly cliché, but this show looks to top the past two world premiere shows Trueheart Productions has brought to the stage.

Rehearsals began last week with orientation and acting training. Our first dry read was met with egger excitement. There is something very exhilarating about being a in a world premiere cast.  This week we worked intensely on Ms. Barclay’s beautiful musical score. I think all involved would agree that her music is an over looked gift in Portland. Dance rehearsal begins tonight and will begin to take form over the next few week.

Stay tuned and watch this show’s journey to the stage!

Acting training

Live musicians accompanied by masterful music add an irreplaceable energy to Trueheart Productions’ Rejected No More.

Ms. Barclay has masterfully created a number of truly memorable songs, filled with dramatic tension and artfully-crafted emotional pacing that is well matched to the lyrics. The applause she is receiving after each major song is well-deserved, and is one of the real treasures of witnessing new music at a live premiere. The orchestra consists of some of Portland’s finest young musical talent, and I am fortunate to be working with an unusually enthusiastic ensemble. We are all looking forward to another successful weekend of performances.

-John Carter, conductor