Doctor In The House

I chose to submit Doctor In the House because, well, we decided on a year of mostly light hearted stuff to get some bums on seats, and I had a copy of D.I.T.H. at home. OK, laziness on my part. Down Palmyra way at Melville Theatre, we had had a slow year. The plays we had chosen to present, whilst they may have been fulfilling to actors and directors, seemed to be driving the theatre going punters away. This is not to cast aspertions on either those who chose the plays, or those who presented them. I had seen, or been involved in all of the seasons in 2008, and thought that the quality was up to our usual standard. So, when calling for submissions for 2009, we decided on a year that would hopefully appeal to our local audience, and with a bit of luck, get some not so local to travel. This is my first go at directing a full length play at MTC, having directed a one act play in 2008, and a theatre restaurant show in QLD many years back. I was given the first season of the year, so had only a short time to get my stuff together. Fortunately for Melville, 2008 finished well with Suddenly At Home and A Chorus Line both pulling in good numbers, so the pressure was off a bit. Auditions were announced, I made a lot of calls and sent a lot of emails to drum up some interest. I was genuinely surprised that people who I hold in high regard seemed to be interested in the project, but would they turn up at audition day? I hadn't pre-cast any of the roles, though one actor who I had worked with on several shows would be sipping drinks with way too many umbrellas in them on Kuta beach when the day came around, so I was at least keeping him in mind for a role. Audition day rolled around, and I actually had more people turn up than roles on offer. What was I to do? I had to tell some of these people "No". I also had a couple of people turn up at auditions who wanted to help out backstage, so I took their numbers. I had already organised a SM. Due to the ages/sexes/talent of those at auditions, I was unable to cast only one role, but filled that later in the day, thanks to one of my cast members making a phone call. I had a full cast and crew. I was driving the lights for A Chorus Line at the time, and we just managed to squeeze in a read-through before Christmas. Rehearsal began in early January. Some of the cast are old hands, and some are relative newcomers to the stage, or have been away from it for a long time. Unlike some shows I've been involved with, this cast seem to accept what I ask them to do, with very little argument. I'm happy to take suggestions from the cast, and sometimes put up my hand and say "I was wrong, it looks better your way." Now we are 3 and a half weeks from opening night. The set is built, but not painted. Props are being organised. Costumes are on the way. The blocking is done. Another week and the scripts are down, I hope. The blocking has been a bit tricky. The script is very busy. There are very few times in the show when the actors are static, so it has been....challenging to a relative newcomer. Now the fine tuning begins. Once the actors get those bloody books out of their hands, they can begin to be the character, instead of an actor holding a script. Another three and a half weeks, and my job is done. I'm guessing that until then, I'm going to be fairly busy. Bookings can be made on 9330 4565. Opening night is February 27th. And...Melville theatre now has AIR CONDITIONING thanks to the Department of Culture and the Arts Ignite grant. The cast are.... Tony Grimsdyke - Martin Lindsay Simon Sparrow - Tom Walding John Evans - Lewis Johnson Vera - Laila Gampfer Sir Lancelot Spratt - Stuart Riches Riggie - Molly Sheehan Matron - Judy Pinnock Bromley - David Pragnell Janet - Christine Dixon