Theatre Etiquette - Multiple Shows?

Fri, 19 Oct 2007, 01:17 pm

Meercat73 posts in thread

Just wondering what everyones opinion is on taking on more than one show at a time in community theatre? Examples: A Director or Musical Director taking on two projects and then splitting their time between the two (OR neglecting one in favour of the other!) A leading actor accepting a role in another production then having to divide their time between roles. My opinion is that you need to commit to one project, so that you can make the best show you can and put all your effort into it. It always seems that others have to pick up the slack for those that accept more than they can handle? Just my opinion and I am interested to hear what others think, as it seems a lot of people now have more than one project going at once. I cant imagine doing this, as once Im in a show - I can only think about one role, one set of songs, one set of dances and so on????

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RandomBoiWed, 7 Nov 2007, 03:24 pm

My 2 Cents - soon there will be enough here to buy a yacht!

I have worked in and around theatre for a long time. More than anything I like to view shows, but I have been in my fair share and I now work in Arts Administration so I'm still surrounded by theatre and actors.

I want to begin by addressing the initial question of this post - Just wondering what everyones opinion is on taking on more than one show at a time in community theatre? Meercat, you ask a VERY difficult question here which I believe has no clear answer. The reality is that every one of these circumstances will be different, and for people to say a definitive yes or no as to whether taking on multiple projects is okay is very short-sighted. Ideally, everyone would only do one show at a time and therefore be able to give 100% of their concentration and effort to that production. My experience in the professional world proved beyond a doubt that this is not always the case however. Unless a show is rehearsing 8 hours a day and paying all involved by the hour (and sometimes even that is not enough) experience tells me that people will still at least consider working on multiple projects.

In some cases, this is actually acceptable. As long as a) the time commitments for each project do not overlap; b) all parties are informed as to the total commitment of the individual; and most importantly c) the individual is performing to the standards expected by the director of each project. I have seen people who have achieved far more working on two projects than others have achieved working on only one. This is an individual thing and is dependant upon whether or not a person has the drive and energy to give enough to each project. I myself succeeded at this quite well for a time - and then time took its toll (meaning I got older) and I simply could not muster the energy to do such a thing any longer. Luckily I realised very quickly that I could not continue at that pace any more.

The other factor that influences whether taking on more than one show at a time in community theatre is okay is the situation for a given show. Circumstances such as: the talent pool being stretched thin, sickness occuring, someone pulling out un-expectedly and countless others all need to be considered when thinking about an answer to your question. Humans are, by nature, malleable creatures. We adapt well to change (whether we like it or not) and will therefore find a way to make any given situation work.

In short Meercat, I beleive my answer to you here is that it depends on the individual and the circumstances. A bit of a non-committal response, but the only one that I feel is actually fair and valid.

Okay, now my 2 cents on what has bee written about your particular situation since the initial posting... (I know that this is not what you wanted an opinion on - feel free to stop reading - but I'm going to give one any way) Your situation here sounds quite interesting. You are putting on a show in an area that is flooded with projects (RTC have recently completed a season of Grease, MPAC are rehearsing Wizard of Oz and Singing in the Rain, MMD are rehearsing Paris, MLT are rehearsing Sinbad and KTW - the company in question - are rehearsing Robin the Hood). The talent pool in the south-west has to be severely stretched at the moment! That is a tremendous number of large scale musical shows all happening simultaneously! I'm exhausted just thinking about it. I can guarantee that there is any number of people - be they cast, crew or production team - that are working on at least 2, if not 3 projects as I write this. I'm also positive that some of these people are doing extremely well at their various projects while others are not.

My biggest concern for your project is a Director who feels that it is okay to go on a 5 week trip once they have auditioned a show, and a Stage Manager who feels that they have the right to out-rank both the Musical Director and the Theatre Manager! Something is not right at KTW. I had heard horrific rumours in the past from a young man I worked with about his directorial experiences there. I thought him to be exaggerating, but if what I have read here is true, then perhaps he was not!

"I think he (the Director) left strict instructions on what was required - and the stage manager to oversee the progress."

My understanding (and experience) is that for any given show the person in charge is the Director. In the absence of the Director, the Musical Director will take on the artistic control. Can someone please explain to me when it is appropriate for the Stage Manager to take on any form of artistic control. (And to be frank, I don't think it matters how much experience the Stage Manager may have as an Artistic Director - they may in fact be Stephen Spielberg - if they are the Stage Manager for the show it is NOT their job!) Incidentally - this is the horror story that the young man metnioned earlier told me - a Stage Manager who undermined him every step of the way and actually became a large contributing factor to a stress related illness the young man contracted. I have to wonder if this is the same Stage Manager...

But the even BIGGER issue here is the Director who seems to think it is acceptable to take an absence of five weeks at the beginning of a 12 week total rehearsal period!

"Her brief (the MD) was to teach the songs to the cast whilst the director was away."

"He (the Director) left her the 5 weeks to get the songs down - so we could then begin the play rehearsals. When he returned he found - chaos."

I believe this is far worse than someone working on two or more projects at one time. This Director has clearly not devoted enough time or energy to the project and has no right to criticise anyone else's work, good or bad when they return. He has the right to make the most of what he got and hope like hell he can develop some kind of rapport with his cast. This Director should hang his head in shame.

In your circumstance Meercat - I feel badly for you. BUT, I feel that your concerns about who the party in the wrong is are mis-directed. The Director and Stage Manager are far more culpable for the situation you and your fellow cast members found yourselves in. By all accounts, this MD came in at the last minute, completed her brief as it was given to her (and I draw this conclusion from the posting by your Theatre Manager as the most un-biassed account) and was willing to continue engaging with the project; however, was undermined by a Stage Manager who was completely out of place in saying anything. And then to add insult to injury, when the Director returned from whatever activity it was that was more important than seeing out his commitment to a show, he had the gall to question the work put in by the MD. I do not know the quality of the work put in by the MD and I do not know the quality of performance level achieved by the cast while working with this MD, BUT I do know that in my opinion this MD was wronged.

That being said, I wish you all the best of luck with this show - I will be VERY interested to see how it turns out! Sometimes the best theatre is birthed from adversity! Time will tell as they say.

Break a leg, Kyle Grant.

DazzaBWed, 7 Nov 2007, 04:32 pm

Is this MD work that you would do though...

Nev, I have read many things posted by yourself where you express concerns about the lack of paid work and the questionable expectancy of some clubs to ask people to donate their time free of charge. KTW is a small club who work very hard to keep their club open. A show such as Robin the Hood will be a large money maker by their standards, but no-one will get paid for any time they give to the production. You say: "The irony here is that myself and others are struggling to get MD work in this town..." but would you have been willing to donate your time free of charge like the MD in question did to help out a club in need? I think not if other posts of yours are anything to go by. I hope I'm wrong though... You've also made a pretty bold claim in this posting that this MD needs to be named and shamed. You said: "if this person was indeed doing the kind of job listed above, I would seriously consider a name and shame program, as this is completely lacking in integrity- either to themselves or the cast, or the job itself. I personally cannot possibly understand someone not wanting anything they're involved with to be good. This person should not be getting involved in any project. We all do stuff we'd rather not, I like to think the difference is that we in this industry will still do it well..." What proof do you have, other than one possibly disgruntled cast member's opinion, that the job being done was sub-par. I'm not saying that it wasn't - I'm not involved in this production, so I don't know. What I do know is that the theatrical community in Perth is both extremely bitchy and prone to severe exaggeration... Have you never been the subject of an ill-favoured comment that wasn't quite true? (If so, you are beyond lucky my friend!) I bear my own scars from working at KTW. Differences of opinion and what I felt was a complete lack of trust and respect for my artistic vision and the methods I employ to achieve that vision plagued me while working as a director for that company. I find it highly possible that a lot of what is written here about the MD in question is exaggerated or coloured by a feeling of personal insult. I don't know what the truth is, but I'm not making an opinion about anyone involved in this production - cast member, crew member or the MD in question - because I wasn't there and I DON'T KNOW THE FACTS. Perhaps you should think about that before you give opinions PLEASE NOTE: Despite my own experiences, I would encourage anyone and everyone to go and work at KTW - you will get opportunities to do things there that just don't come up at other theatres. KTW have a beautiful intimate venue and a hard-working, dedicated, TALENTED group of people willing and wanting to be invovled in as much theatre as they possibly can! My experiences working as a cast member at KTW are the source of some of my fondest memories. I will always hold "Lily's Eyes" close to my heart!

NaWed, 7 Nov 2007, 04:57 pm

Kyle said: "In the absence

Kyle said: "In the absence of the Director, the Musical Director will take on the artistic control. Can someone please explain to me when it is appropriate for the Stage Manager to take on any form of artistic control. (And to be frank, I don't think it matters how much experience the Stage Manager may have as an Artistic Director - they may in fact be Stephen Spielberg - if they are the Stage Manager for the show it is NOT their job!" I would like to object to this. I work professionally as an SM and have come across several situations in which I must wrestle control from the AD. This is not because I'm power hungry, or because I want to, but because as SM my responsibilities are larger than the AD's. In my experience, directors see the artistic merits of something, but often overlook practical or safety concerns. (Here I'm referring to professional directors, and not amateur ones. Amateur ones may have a different outlook to pros, and I've only worked with pros). I have had to, on many occasions, explain to a director why something needs to be done differently. As SM, it is my responsibility to point these things out, and as a good SM, I would never consider NOT putting in my 2 cents. I am willing and expect to be outvoted. However, my opinions are only ever kept to practical or safety issues, and NOT to the issue of blocking, characters or interpretation. I will influence design if I think it is impractical or unsafe. You quite clearly underestimate the ability for an SM to have as much input as others; if an actor can suggest a different approach to a character, why can't a techie suggest approaches for design or staging? Furthermore, I have worked on shows which have had large casts, and sometimes it is necessary for the cast to split into two groups; one rehearsing lines with the SM, and another rehearsing more deeply with the director. In this case, and in other similar ones, it is necessary for the SM to be the eyes and ears of the director. Quite often the SM will be aware of cast issues more than the director, having the ability to hear offhand conversations when the director is not in earshot. I'm not saying SMs spy on the cast - just that they have a unique position in which they are able to understand cast dynamics, and can be an important source of information to the director as to how the cast is working together. And vice versa. I agree that the SM should not have had the task of artistic direction in this case: that is not the fault of the SM, but the director, who obviously thought they could pass on their responsibility to someone else and consider it ok. To be honest - some directors can and do treat their SMs as their own personal servants, and don't realise that they have another, more integral role to undertake. And SMs feel responsible to assist as much as possible to see the show come to fruition, and would therefore feel under pressure to ensure the show's success in their absence. Sticky Apple Legs www.freewebs.com/stickyapplelegs Puppets in Melbourne www.thepromptcopy.com/pip My puppets www.collectzing.com/collection/137/

RandomBoiThu, 8 Nov 2007, 10:52 am

Many Apologies

Na,

My most humble apologies - you are entirely correct here. In the case of practicability and OS+H the SM does need to and does have the right to put more than 2 cents in. And of course once the show enters technical rehearsals the SM takes on a much greater position or responsibilty, eventually taking control of the show once the final dress has finished (although this varies in many theatres...)

My comment was influenced very much by the story I alluded to about the young man who was working with this company as Director for a show and experienced a Stage Manager who changed blocking and made other artistic decisions because she felt that what he had done was not right and that her way was better. I have seen this myself in other instances as well (although having not directed have never experienced it personally), and have seen the devestating effect it has on the production team, the cast AND the show. It is this kind of artistic control I feel the Stage Manager does not have the right to exercise.

Once again, apologies for any offence I may have caused.

Kyle

NaThu, 8 Nov 2007, 11:43 am

No worries - it's easy to

No worries - it's easy to forget sometimes how much the SM can influence a show. I recently worked on a show where my friend asked another friend of theirs to direct. I have to say that I did interfere artistically, and felt it more than necessary - and also my right to do so. This was an absolutely extreme case: my experience in theatre was 10 times greater than the director's (she had not worked in theatre before), and on several occasions infuriated the actors by her comments and lack of helpful instructions. (The actors were self-producing the show, and had also written the script) I felt it my duty, in order to get the show on the right track, to interfere. Again, this is an extreme case, and I would not do this every time. I'd just like to point out that because of bad dynamics, lack of experience, or whatever, that sometimes someone other than the AD needs to take control, in order to see the show progress. As for the example of changing blocking, etc., I agree. I never believe my way is better; only that sometimes I have a greater or different insight to the dynamics and the way the actors work, and can suggest changes. Sticky Apple Legs www.freewebs.com/stickyapplelegs Puppets in Melbourne www.thepromptcopy.com/pip My puppets www.collectzing.com/collection/137/

Walter PlingeFri, 9 Nov 2007, 01:09 pm

Well

What an interesting chat this turned out to be! RandomBoi - I understand your comments - but I feel they may be influenced by your "friends" experience. I have done many shows - with KTW and with other theatres in the area and have never found myself in the situation you described! And as far as the director or stage manager taking some of the blame - MEH. What I do know is that the MD can bring out the excuses as much as she likes - she did not do HER job. Even if the director was clueless and was not there - she should have been capable of teaching the cast at least one song?!?!?! I did not mean this to be a slinging match - Im sorry it came to that, bbut I stand by my opinion that the MD did not do what she was asked - not even close.

Walter PlingeFri, 9 Nov 2007, 01:20 pm

AND Furthermore - I dont

AND Furthermore - I dont see what the issue with leaving a cast the first 5 weeks to learn and drill all musical numbers BEFORE they start blocking and running the play element of the show? If the MD has done there job and the cast is comfortable with all song and dance numbers - this gives the director a chance to work through the play and block with the confidence that the cast is not preoccupied with learning dances and songs at the same time?

LogosFri, 9 Nov 2007, 01:46 pm

Actually I think that

Actually I think that learning the music is the first thing that should happen. Particularly with a community theatre show. Is that all there is? Well if that's all there is my friend, then let's keep dancing. www.tonymoore.id.au

RandomBoiFri, 9 Nov 2007, 03:01 pm

MeercatJ, I am beginning to

MeercatJ,

I am beginning to understand that you feel quite strongly about the situation you have been put in for this show. I imagine that I would feel somewhat similar - after all, at the end of the day, it is you that will have to present this show to an audience and therefore you who will have to deal with the audience's reaction to the show.

I would like to clarify a small point: My "friend", as you put it, is actually just someone I worked with on a production of Annie up at Roleystone Theatre a couple of years ago. I had almost forgotten him until I read this forum topic and saw that the theatre company in question was KTW. The issue that has come up since you posted your initial topic is very similar to the one he described to me - that is why I mentioned him. To be honest, I thought him to be exaggerating his experience when he first told me - he seemed to be quite dramatic and somewhat childish. I am only now giving any weight to his tale because a completely different person is describing the same set of circumstance several years later.

I applaud you though for standing by your comments. Too many people will back down when they are questioned. I'm not involved in your show, so I don't know exactly what has happened or what is happening now - I can only read what I see on this site (until I see the show anyway!) and make opinions from the information presented. I also stand by my opinion - however good or bad this musical director was, I believe she (and you and the rest of your cast for that matter) have been wronged by the director and - to a point - the stage manager.

I put this to you: Your initial query was regarding whether it is okay for someone to work on two projects at once right? You feel that it is not fair because then that person is not giving their full attention to either project. Well, is this not what your director did in the first place? I know he did not work on another theatrical project, but he did divide his attention, time and focus. Do you think all of these issues would have occurred if this director had been totally committed to your show and therefore been present at the first five weeks of rehearsal to oversee what the musical director was doing? I believe all of your issues would not have existed if this director had given his full committment to the project. Be angry at you musical director if you want - by all accounts you feel you have more than enough reason to - but don't protect this director. I agree with earlier posts saying that a director can dis-appear once the season has begun (this is often a good thing) but to dis-appear for the initial five weeks of the rehearsal period... Perhaps he should have said no and let another director give the time and energy that this show deserved to receive.

Kyle

Walter PlingeFri, 16 Nov 2007, 02:33 pm

Foundations of sand...

Dear MeerkatJ My wife and I would like to wish you all the best for your show. It sounds like the cast have bonded together quite well and that is very important in community theatre. I hear the south-west has a lot of talent in that region so I am sure it will be a great show. I wonder though, if all you say is actually the case. Have there been any postings from the person in question? Have they had a chance to defend themselves and these 'aspersions' you so publicly (and, it would appear 'gleefully') cast? You might be interested to know - and I speak from a having a long history of working in theatre for many years in many cities, both here and overseas - of the actual truth behind the facade of this pantomime you so cleverly fictionalised - and not the distorted view that you presented of this person. I have been informed that despite your public statements to the contrary, the cast were indeed presented with edited backing tracks from the outset - as well as being given printed lyrics, and were also taught melody lines and harmonies. I am also advised that the MD in question was completely restricted to the time allowed and no longer. Therefore, it would appear that they did not 'leave' as you suggest. Additionally, I was told that all cast members knew which songs they were to participate in and as a whole, were indeed more than satisfactorily rehearsed for at least 80% of the musical items. No doubt, there is potentially always going to be an aspect of being 'spread too thin' in community theatre in any region, but in this case, I was told the circumstances in which you describe the work done by this MD are actually nowhere near the truth that you have published - as is your right to do, of course, but it is sad that you have clearly fabricated so much of the truth with your colourful brush of misdirection, blame and what appears to be a personal attack. My wife and I have enjoyed community theatre here and abroad for a great many years in a great many different environments, and we feel very sorry when we see notices like this where you feel it was necessary - and clearly you felt the right course of action for you to take - to publicly denigrate the voluntary and personal time commitment of a fellow Thespian in community theatre. Perhaps a personality clash has occurred here to some degree?Next time you may like to consider the far-reaching and sad results of your potentially damaging actions before you 'cloak' your personal criticisms in a poorly disgused question of theatrical ethics. J W and E M Bosch Dianella

Erin CFri, 16 Nov 2007, 04:28 pm

I've felt Your pain

i auditioned for a community show late 2006 which was running in 2007, and in came 2007 and i had my school senior production on. one night i had to choose whether i was going to do the school or community one...but my teacher saying i HAD to do the school one sort of limited my choice. because i was always rehearsing for the community one i didn't learn my lines for school untill the week before! your head can do crazy things at times like that...and yes either production could be neglected.

Walter PlingeFri, 16 Nov 2007, 04:51 pm

Fair Enough :)

It would seem you have spoken to the MD in question or friends of hers- and she is more than entiltled to defend herself. Nothing I have written has been fabricated, it is purely how I saw the events unfolding as a member of the cast. I suppose only those involved will ever really know and understand :)

Walter PlingeFri, 16 Nov 2007, 06:45 pm

my perception

I have viewed the comments made by various people on this site. It appears that the last posting by the Bosch's has, without precedent attacked "Meercat". As a cast member I am aware of the varied opinions; however I feel that the only people who have an accurate perception of the events that occurred are those involved. I am apprehensive to speak on behalf of others, so I will leave it to them to decide whether or not they choose to comment, however I feel that I must speak on behalf of "Meercat". These are the facts. *The first rehearsal we were put on stage and told "you know this song" and told to dance around even when we stated when we didn't know the song. I chose at this stage to believe in the professionalism and the authority of the MD and presumed that it was purely a cast bonding/removal of barriers and boundaries that she was attempting to encourage, however this did not convince many cast members of the capabilities of the MD or reassure the cast that they were in proficient hands *following this rehearsal the MD was spoken to and it was requested that she give us sheet music and lyrics. *The next rehearsal we were given typed up lyrics that were incorrect and not remotely congruent with the music. *Harmonies were never configured. *Sheet music was never given. *We were expected to engage in choreography without having a single singing rehearsal and the Musical Director did initially assume the role of choreographer without gauging the capabilities of the cast. I think its unfair and narrow-minded to, in effect call someone a liar (which you have quite verbosely done) based on second-hand knowledge. That is my sole basis for a response in a forum which appears to contain a lot of judgmental opinions by those not directly involved. (While I realize that this is a forum for opinion I abhor the idea that people invested in such an expressive and creative sport could have such a closed-minded point of view.) I feel that those making assumptions have no right to do so without directly observing the process.

DazzaBMon, 19 Nov 2007, 01:59 pm

Accusations

Wow, this thread has become something of a catfight... At this stage I think it's worth everyone stepping back and taking a moment to realise: a) The situation has occurred. No-one can change this - all people can do is look forward and do the best they can with whatever project they may be working on. b) People interpret situations in different ways. I don't think calling anyone a liar is fair. I'm sure everyone agrees this was a bad situation - let's not make it worse by getting into name-calling. c) I think that Meercat's initial question was a fair one and that many people have given their opinions on this. These opinions have been varied and clearly show us all that there is no easy answer to the question. d) I agree that those of us not involved with the production probably don't have the right to form close-minded, judgemental opinions (as 'A player' put it) on what happened, BUT - Meercat chose to post this issue on a public forum and you then need to accept that people will form opinions and post them publicly. I personally am looking forward to seeing Robin the Hood. I know many of the cast members and I think it will be a funny show! Break a leg to all involved. Darren

Neville TalbotMon, 19 Nov 2007, 04:54 pm

Nope

Hi Dazza, Sorry I have appeared to ignore your posting. Truth be told I have just been on a tour with my music group throughout the south of WA, and haven't even seen the internet for weeks. In short- No I would not be likely to help out this club for free. Several reasons in this case- 1. No money! As as my full time job is as a musician and as this is already not the best paid work in the world, I try not to work for free too often. (I did that 10-15 years ago when I was establishing my career) If I do, I very carefully pick the free work I do do. (e.g. Will it develop me as a director/conductor/performer? Is it musically challenging or fulfilling to perform? Do I really LIKE this show and will I find it incredibly fun? etc.) 2. This club is a long way from me. Lots of travel. 3. I don't have any personal connection to this club. I might (and have) help friends or colleagues if needed, but I don't know these people at KTW at all. 4. I can't say I know the show, or have any personal desire to get to know it at this stage (musically). 5. Due to all of the above, I would likely not be 'all there' and do my best work, and I consider it incredibly important to bring your best work, especially in a position of such responsibility. So in this specific case, very likely not. That doesn't mean I never would. My pretty bold claim was that "IF the person involved was doing the above, THEN they should be named and shamed." I still stand by this point. I did not claim to know the truth of the matter, but stated my opinion that if it were indeed true, I think the person lacked integrity and this is not acceptable. There appears to be some question as to the veracity of all claims, and this has come since my posting. My point was simply that I considered the described actions to lack the integrity required of an MD. The truth or otherwise is the subject of somebody else's conscience. and yes- I have been the subject of ill-favoured and untrue comments. Also ill-favoured and true comments! I take it all on, as I consider it part and parcel of the gig. Maybe it's the 'reward' for getting paid to do something I love! :-) overall, this has become quite an interesting little thread. Good luck to all involved, and I leave this forum with a question for the MD, SM and Director- Is any of this actually true?! The whole difficulty of the web is that truth becomes incredibly relative- What I think happened is actually as 'true' as what someone else thought happened. Maybe we need to have a forum about the nature of truth... or maybe that's just a little heavy for the moment. cheers Nev It's the simple things stupid...

DazzaBMon, 19 Nov 2007, 05:22 pm

Well said

Hey Nev, I didn't really mind whether you responded or not, but thanks for putting a few words down. Firstly, my apologies! I mis-interpretted what you said - I didn't quite catch the IF and THEN nature. Although, I'm still not a fan of name and shame tactics - why should someone suffer for what is perceived as error by another person? I think there's always far more to an incident than any observer will ever be able to understand - but that's me! Secondly - I do respect your decision not to work for free - you've clearly done the hard yards needed to get to where you are. I just thought you initial comment re: the irony of the situation was made not knowing the full situation. At the end of the day, we're all entitled to our own opinions and I certainly wasn't in the best of moods when I wrote my reply to you, so apologies if it came accross as a bit snippy. And of course, the bitter absence of truth on the internet... All we can do here is post truthfully ourselves and therefore keep our own integrity intact - at least that's how I see it ;) But I agree, a forum on that topic would probably consume all of our lives! Keep it real Darren

Clien T.Tue, 27 Nov 2007, 12:08 pm

*Come On Bowlers*

While browsing through the many bulletins and threads i had a quick read through this one. Man, I thought...this story sounds familiar. The more I read, the more I felt like I knew Meercat's story. Then when it started to get really meaty and the name of the involved company and play was revealed...well low and behold - it was my production. So naturally, I read on. And although it seems that the argument has been addressed repeatedly and that the initial thread subject has been well and truly side-tracked, i feel the need to put in my 2 cents, as a person who, besides Meercat, can give an informed opinion on the work of the MD. Having participated in very minimal theatre productions, i must admit that the help we received, to me, seemed normal. However, this is the opinion of someone who's last production was quite a few years ago...in grade 7 in fact, where we sang along to a backing tape with vocals included. (and for the record, we thought we rocked!) The exact directions and advice we received have already been outlined, so I do not need to repeat this information, more reassure any sceptical readers that this information is correct! But, the purpose of my comment was not to point the finger, or evaluate the work of our MD. The sole reasoning for my comment is to, as they say "have a hommies back", which is important, as has been expressed previously, in this thread by two very passionate members of our community who, (hypocritically, as she is a very VALUABLE member of the theatre community) decided to attack Meercat for her contribution to this thread, which clearly, has been pushed well off track. The production will be opening in a matter of days and it seems that the situation has resolved and I look forward to being a member of a great, lively cast. And, I quote... "Are you ready Bowlers?" "Let's sock it to em!" Clien T.

DefenderQTue, 27 Nov 2007, 05:00 pm

Woo Hoo !

Greetings & Salutations Dazza !! Yes, "The Show Must Go On!" The Proof is in the Tastin of the Puddin - Come All Ye People and Spend a Mere Farthing on Songs,Jokes and Merriment....... and see the hard work these people have put into this production at KTW. Hope to See You All There ! DQ

Walter PlingeSun, 2 Dec 2007, 09:15 pm

robin the hood opening night

Reading of the problems that this show had in the lead up to opening night it was with some trepidation that I took my seat with friends on the opening night. Well was I pleasantly surprised! The show was hilarious and within a short while I was wiping away tears of laughter as were my friends (which included a 16 year old male who had come along to keep his Mum company.) The cast quickly drew the audience into the whole 'audience participation' scenario and although initially hesitant I was soon booing and cheering like a 'pro'. I thought all the roles were perfectly cast and did a great job portraying their characters. The singing: girls I thought you were all great and vocally spot on, although I was aware that a couple of you were battling the dreaded 'lergy'. I loved fever and colours of the wind. Boys/Men you are not necessarily trained vocalists but you entertained me and my friends and that was all I could ask. Overall I thought everyone did a really great job and I came away from the showing having had a great fun night. My friend commented that it was the most she had laughed in ages!! It was also really nice to see some new talent on the stage rather than seeing the same old faces in the lead roles-great casting! I think we will be seeing a lot more of some of you. Sorry, don't want to single anyone out-its a team thing I know. Good luck to you all.

Walter PlingeFri, 7 Dec 2007, 04:44 pm

Robin The Hood

As yet ANOTHER cast member of Robin The Hood, i would like to start by saying that we are into our 2nd week of a 3 week run and despite the incompetance(my opinion only) of our short lived M.D, we can be proud of the work we've produced.I would just like to add my support to everything Meerkat,Player and ClienT have said in regards to this particular M.D. And i would like to specifically say to Mr and Mrs JW and EM BOSCH that it would be unlikely that all four of us happend to have a personality clash with the person you so loyally defended, without having been present for any of it. The entire cast ends every vocal warm up(yet another cast members idea) with a MEERKAT chant, which goes well with the MEERKAT calender(2 more cast members input)so if it was a personality clash, it was with at least 16 of the cast of 20. Anyone with half a brain would know this is unlikely,bottom line is obvious and i know 16 people who will choose not to be put through that torture again.As for the Directer,stage manager and KTW in general, it has been a pleasure working with them. Our show isn't the greatest, but we are finally having fun, so come along and have a laugh. Wow, that was long winded, are we at the after party yet? MEERKAT! MEERKAT! MEERKAT!

crgwllmsSat, 8 Dec 2007, 02:27 pm

Multiple roles

As always, there are exceptions to every rule. While all of the arguments here make sense, they are generalisations and may not necessarily apply to every case. Case in point: for the first 4 years or so of my professional career I was employed in what could be described as a repertory theatre...in a typical year we rehearsed two shows up front, then started touring them and in the meantime found time to rehearse and add a third show to the programme and then a fourth. At any stage we could be called upon to perform any of the rehearsed plays...often two different plays on the same day...and mid year we took a break to learn a fifth play which played its season before we returned to the four we had in repertoire. Now, I realise that the big thing in our favour compared to the argument most of you are presenting here is that we had a unified schedule, so none of the rehearsals or performances clashed; and also there was a core cast who spent most of their time together, making the rehearsal process far simpler and efficient. But it illustrates that it's perfectly possible to concentrate on several things at once and do them well. All the roles I played were major if not lead, and all were very physical. If the characters were quite varied it was much easier to keep track of everything than if there were two similar characters in different plays, but there was never any real confusion as to what performance I should be giving when. Many different scripts, costume changes, songs, choreography, set changes...it was simply what you had to learn to do the job. I guess the mindset was a little like a film actor needs when filming their takes out of sequence...you needed to know what was meant to be happening there and then for whichever character you were playing, and you could simply switch on to the moment as required. As a result of this experience, I have since often found myself working on several projects at once...most usually rehearsing one play during the day and then performing another at night. To survive professionally, I have had to be able to do this to stay in work. Luckily, it's usually no different to any amateur performer who is also concentrating on their day job. All the arguments presented here about retaining your focus, sustaining your energy, keeping your appointments and giving each task your full committed effort are valid. What you bite off is relative to what you can chew. So long as you understand this, it's not impossible. Cheers, Craig ~<8>-/====\---------

TaureanSun, 9 Dec 2007, 09:16 am

Are we There yet?

This has certainly been a lengthy, and in some places, heated thread.

But, at the end of the day, the show obviously HAS gone on and, in the opinion of this humble minion of the system, seems to have gained the kind of publicity that can only be borne of controversy. I am sure that this thread alone will be responsible for a few more bums on seats.(But Hey!... That's got to be a good thing!)

Thankyou to all that have contributed to this thread and I must say that I am pleased to see that these forums are doing exactly what was intended of them. Providing a safe-haven where questions can be asked and answered by those that know and those that want to know from either side of the Pro/Am theatre world.

Congratulations to ALL the cast and crew of "Robin The Hood", I'm sure your season will be the success you wish it to be.

"Joke 'em if they can't take a stuff!" (Robin Williams)

WandiTue, 11 Dec 2007, 09:54 am

Aint I smarter than a Meerkat

Come along I say and see the Meerkats rock, roll and tell bad jokes well. I am one of the Senior Meerkats in this instance (that is an elder of the Robin the Hood cast) This thread has been most entertaining on so many levels. My mind is picturing a few meerkats going head to head with claws sharpening. My mind also pictured some healthy discussion which is also great for the mind, body and spirit. I think the most important lesson for all is that life goes on and there are far more important things in life than what happens before the curtain opens. For me there is an old motor racing adage of when the green flag drops the bullshit stops. I think that is what the cast have done in this instance. THE SHOW MUST GO ON and every person that pays their hard earned to see the show deserves the best that we can give them. I don't think I have ever been a production where there is not some drama behind the scenes (hence plays like PLAY ON existing) So thank you one and all for some controversy. I do think it has put a few bums on seats and well may we rock in the final four shows. Ladies, Gentlemen and those not sitting on a cushion KTW brings to you the sometimes controversial, but always entertaining ROBIN THE HOOD Have a great xmas one and all and most importantly a fantastic 2008. May you all get all that you deserve. (For those who know the production it is the wicked one BAD KING JOHN)

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