What happened to Committment?
Wed, 25 Feb 2004, 10:37 amHarbour12 posts in thread
What happened to Committment?
Wed, 25 Feb 2004, 10:37 amThere used to be a saying "The show must go on".
People were committed to a particular club (or two) and that no matter how bad the play was, or how unbearable the situation, there was a commitment from everyone involved in a production to carry on. There was a dedication to the audience to go ahead. That seems to have been lost over the last few years.
Now, actors are only interested in performing for themselves - stuff the audience, and if my ego gets hurt, then there is no hestitation in pulling out - stuff the consequences. And I can understand and sympathise with some of the reasons. It is very distressing to the self when there are 'problems' with a production, or a person, that can make the rehearsals very unbearable, and I think there isn't a time in every show when I would like to quit. BUT, we are not in this for yourselves. We do this to bring entertainment to others and by pulling out of a production before it goes up is a disappointment to the audience and to everyone else involved. Not to mention the cost of reimbursement of memberships, royalties, publicity, tickets, etc.
But this appears to be the way of the future, and it's sad. Virtually every club is struggling to find committed members to run the Club, or do backstage or FOH. It is often left to a few overworked and dedicated individuals, while all the rest flitter from club to club to perform, then move on when the going gets tough.
Well, it's not good enough. That is why productions and theatre's fold - no commitment. If you are going to perform in a show, be committed, otherwise DON'T waste yours and our time coming to auditions.
There, I got that off my chest. Now, is there anyone out there that cares?
People were committed to a particular club (or two) and that no matter how bad the play was, or how unbearable the situation, there was a commitment from everyone involved in a production to carry on. There was a dedication to the audience to go ahead. That seems to have been lost over the last few years.
Now, actors are only interested in performing for themselves - stuff the audience, and if my ego gets hurt, then there is no hestitation in pulling out - stuff the consequences. And I can understand and sympathise with some of the reasons. It is very distressing to the self when there are 'problems' with a production, or a person, that can make the rehearsals very unbearable, and I think there isn't a time in every show when I would like to quit. BUT, we are not in this for yourselves. We do this to bring entertainment to others and by pulling out of a production before it goes up is a disappointment to the audience and to everyone else involved. Not to mention the cost of reimbursement of memberships, royalties, publicity, tickets, etc.
But this appears to be the way of the future, and it's sad. Virtually every club is struggling to find committed members to run the Club, or do backstage or FOH. It is often left to a few overworked and dedicated individuals, while all the rest flitter from club to club to perform, then move on when the going gets tough.
Well, it's not good enough. That is why productions and theatre's fold - no commitment. If you are going to perform in a show, be committed, otherwise DON'T waste yours and our time coming to auditions.
There, I got that off my chest. Now, is there anyone out there that cares?
Re: What happened to Committment?
Wed, 25 Feb 2004, 02:31 pmRob is referring to me.
I understand and sympathise with his frustration and anger.
Perhaps a fable should be told and please, there is no inference, reference, or bearing to any person, or situation, alive, deceased, or merely existing.
Good morning Â…Â…..
Thanks for the offer to help with the lines, itÂ’s much appreciated, however, things have degenerated so much, IÂ’m actually going to pull out today, which is I know, a dreadful thing to do at this late stage (two weeks before it goes up). To explain.
I think I may have told you about the lead actor and her shocking manner of arguing with the director on every point and correcting everyone else? Two weeks ago, it was obvious the play was in trouble, as she continually overrode the director and scolded the rest of us. Morale had never had the opportunity to build and the whole thing was turning into a distasteful chore.
Two of us, independently of each other could not attend a Sunday rehearsal and on the Monday night, we were challenged by a theatre member, who spent 15 minutes haranguing us about attitude and how we owed something to the members. It was insulting and rather like being addressed by an out of control teacher. Of course, the chap concerned was not remotely aware of the real problem, which the cast and crew quietly sat thinking about, durign the ill- conceived lecture.
One guy chose to leave and she did in fact quieten down for a few days. Things became normal and the cast began to come together – there was even humour in the air. I thought she’d seen the error of her ways, however, it turned out it was the after shock of an event outside the theatre, that had temporarily seem sanity return, for last night she let fly again.
She had no hesitation in telling the director that it was the worst time she’d ever had, she was not enjoying it and finding it extremely difficult. He had had us start with a gabble, which as you know, can be a bit of fun and I’ve found to be a good bonding mechanism. She told him she didn’t do it that way, as she learnt and gave her lines reacting to other actors. Then later, rehearsing on stage, she threw her dummy in the dirt every time somebody missed a word, saying she had to have the right cue – the exact word to know when to come in and so on and so on and so on.
The effect on the rest of us is catastrophic. It’s a difficult, although interesting play to learn – the language is stilted – possibly due to the English phrases and inflections that don’t rest easily with an Australian vernacular. She has, in effect killed the whole play - certainly for me, I don't have the right to speak for anyone else. Although we know most of the lines, the continual arguing and stopping is utterly confusing and after an hour or so of it, I find I no longer know where I am, in terms of lines, or blocking, let alone any pretence at acting.
Then the director will explain that we, or me, or whoever, is not blocking properly and doing things way too slowly. HeÂ’s quite right by that stage - but how could anybody under those conditions? And heÂ’s rightly panicking, as weÂ’re two weeks out and most of us now donÂ’t have the second act down, but of course, everyoneÂ’s spirit is broken, including his I suspect. One just stands appalled at the whole process, it has become a living nightmare and one just wants to get out. I canÂ’t even bring myself to pick up the script anymore.
I drove home last night and spent most of the night tossing and turning worrying about it all – after spending yesterday in bed sick and only getting up to attend the play rehearsal! I do this for fun, as a hobby and to learn about acting, unfortunately, I am learning nothing, there is absolutely no fun, creativity, or calm reason in the process and it has become a major source of worry and concern for me. The crazy thing is, if it was a work situation, I would have been to one of my directors and insisted that the person concerned was removed. Here, in an amateur situation, the rest of us continue to suffer and there is no escape, as the culprit is considered perfect for the part and very experienced.
The director wants me to attend an extra rehearsal tonight, presumably as I’m “not getting” it! I ‘m getting it alright, it’s just that as I mentioned earlier, I find it impossible to work under these conditions. Besides, the only time I have to learn my lines, is night time, so each extra rehearsal that we have, takes away another opportunity to learn the lines. Yet he’s right, in that we need extra rehearsals. Don’t get me wrong, he’s a damn good bloke, I like him and the rest of the cast and crew, but she’s out of control, and he has no hope of reigning her back in, so we’re all (including her, strangely enough), paying the price.
To me, although my experience is minimal, the only way to save it, is to put off the opening for another two weeks, however the diva then can’t do it. As for me, after wrestling with the decision, I intend to follow the sage advice given in the “Desiderata.” I guess I’m going to make myself the most hated person at the theatre and I do regret that, but I’m getting out. Life is precious and I would rather spend the time I have with my children and friends. Indeed, I’d have to say that at this very moment, I don’t ever want to see a stage again.
Greg Ross
I understand and sympathise with his frustration and anger.
Perhaps a fable should be told and please, there is no inference, reference, or bearing to any person, or situation, alive, deceased, or merely existing.
Good morning Â…Â…..
Thanks for the offer to help with the lines, itÂ’s much appreciated, however, things have degenerated so much, IÂ’m actually going to pull out today, which is I know, a dreadful thing to do at this late stage (two weeks before it goes up). To explain.
I think I may have told you about the lead actor and her shocking manner of arguing with the director on every point and correcting everyone else? Two weeks ago, it was obvious the play was in trouble, as she continually overrode the director and scolded the rest of us. Morale had never had the opportunity to build and the whole thing was turning into a distasteful chore.
Two of us, independently of each other could not attend a Sunday rehearsal and on the Monday night, we were challenged by a theatre member, who spent 15 minutes haranguing us about attitude and how we owed something to the members. It was insulting and rather like being addressed by an out of control teacher. Of course, the chap concerned was not remotely aware of the real problem, which the cast and crew quietly sat thinking about, durign the ill- conceived lecture.
One guy chose to leave and she did in fact quieten down for a few days. Things became normal and the cast began to come together – there was even humour in the air. I thought she’d seen the error of her ways, however, it turned out it was the after shock of an event outside the theatre, that had temporarily seem sanity return, for last night she let fly again.
She had no hesitation in telling the director that it was the worst time she’d ever had, she was not enjoying it and finding it extremely difficult. He had had us start with a gabble, which as you know, can be a bit of fun and I’ve found to be a good bonding mechanism. She told him she didn’t do it that way, as she learnt and gave her lines reacting to other actors. Then later, rehearsing on stage, she threw her dummy in the dirt every time somebody missed a word, saying she had to have the right cue – the exact word to know when to come in and so on and so on and so on.
The effect on the rest of us is catastrophic. It’s a difficult, although interesting play to learn – the language is stilted – possibly due to the English phrases and inflections that don’t rest easily with an Australian vernacular. She has, in effect killed the whole play - certainly for me, I don't have the right to speak for anyone else. Although we know most of the lines, the continual arguing and stopping is utterly confusing and after an hour or so of it, I find I no longer know where I am, in terms of lines, or blocking, let alone any pretence at acting.
Then the director will explain that we, or me, or whoever, is not blocking properly and doing things way too slowly. HeÂ’s quite right by that stage - but how could anybody under those conditions? And heÂ’s rightly panicking, as weÂ’re two weeks out and most of us now donÂ’t have the second act down, but of course, everyoneÂ’s spirit is broken, including his I suspect. One just stands appalled at the whole process, it has become a living nightmare and one just wants to get out. I canÂ’t even bring myself to pick up the script anymore.
I drove home last night and spent most of the night tossing and turning worrying about it all – after spending yesterday in bed sick and only getting up to attend the play rehearsal! I do this for fun, as a hobby and to learn about acting, unfortunately, I am learning nothing, there is absolutely no fun, creativity, or calm reason in the process and it has become a major source of worry and concern for me. The crazy thing is, if it was a work situation, I would have been to one of my directors and insisted that the person concerned was removed. Here, in an amateur situation, the rest of us continue to suffer and there is no escape, as the culprit is considered perfect for the part and very experienced.
The director wants me to attend an extra rehearsal tonight, presumably as I’m “not getting” it! I ‘m getting it alright, it’s just that as I mentioned earlier, I find it impossible to work under these conditions. Besides, the only time I have to learn my lines, is night time, so each extra rehearsal that we have, takes away another opportunity to learn the lines. Yet he’s right, in that we need extra rehearsals. Don’t get me wrong, he’s a damn good bloke, I like him and the rest of the cast and crew, but she’s out of control, and he has no hope of reigning her back in, so we’re all (including her, strangely enough), paying the price.
To me, although my experience is minimal, the only way to save it, is to put off the opening for another two weeks, however the diva then can’t do it. As for me, after wrestling with the decision, I intend to follow the sage advice given in the “Desiderata.” I guess I’m going to make myself the most hated person at the theatre and I do regret that, but I’m getting out. Life is precious and I would rather spend the time I have with my children and friends. Indeed, I’d have to say that at this very moment, I don’t ever want to see a stage again.
Greg Ross
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