Notes from the Director of Autumn Garden, Susan Coromel discussing the process and development of a workshop production...

A workshop production is an excellent way for actor’s to concentrate on
the process of acting by working on a complete text. The foundation of
the work covered in the acting curriculum strengthens skills necessary for actors, such as concentration, imagination, and physicalization and script analysis. Traditionally in an advanced acting class, students solidify these skills by using a series of scenes from various areas of dramatic literature. When student actors work on scenes, they are usually focused on a character’s most extreme moments. In this workshop production students have the opportunity to work on the full character. This experience in a classroom setting adds more depth to the acting process.


In foundation classes students learn to free their instincts, with the goal to be fully present, available and immediately responsive, spontaneous and passionate. The students in this project have taken the first level of Meisner actor training, a training developed by Sanford Meisner with a specific step by step series of exercises to reinforce the foundation of acting. That foundation is “the realty of doing.”

Once actors begin to work in this more authentic way the next step is to add text, the play itself. The first encounter with text is very general, actors are given a script with simple relationships and they work from the scene without considering the whole play. Isolating the text in this way
helps to simply the techniques of working on text. The text is a
blueprint for the performance, students learn how to read a play as an
actor, to look for the clues that will define and create character.
They learn to read the script in a deeper and more specific way and become sensitized to the characters in the play, how they respond to each other
and how the characters relate to the world around them. They learn what
the pivotal circumstances are that the characters find themselves in and how the characters react to these circumstances, which defines the specific point of view of each character.


Working on a text in a workshop performance also requires that everything needed to bring the play to life, set pieces, costumes and props has to be found by the acting company. In this production the actor’s have chosen their costumes and most have found props that will only represent the world of the play, in some cases they are from the period the play is set, 1949.

Autumn Garden Rehearsals Underway

Rehearsals for Autumn Garden.
Visit our website at www.wutheatre.com for details.

Antigone Light Hang.

Some photos from light hang. Thirty instruments, hundreds of feet of cable. One day of fun (and a little work too)...

Girls in Men's Suits

Week Two of the 'Antigone' rehearsal/production process concluded with additional challenges of working in found spaces and its effects on lights, electricity and sound. Here's what costume designer Bobby Brewer-Wallin has to say about his challenges of costuming an entire female cast in male suits, shoes and hats:

"Now that I have the full cast’s measurements, I am able to begin scouting out and purchasing men’s suits, shirts, and shoes. We placed an order for one dozen grey wool fedoras for the chorus. One of the challenges of an all female cast in male dress is finding leather sole shoes to fit – our largest size is a men’s size 8. I guess I will be frequenting the children’s aisle.

This weekend I spent four hours shopping for men’s suits, shirts and shoes."

Having to work with the conventions of an all female cast poses other considerations for Brewer-Wallin:

"I continue to struggle with who Tiresias is as cast. My goal for the coming week is to see rehearsal and to make some design choices for this character.

We also need to continue our conversation about hair – I have strong feelings about short hair for Creon and Haemon."

Bobby's goal for the upcoming week: "I will be scheduling some fittings this week as more items are purchased and costumes constructed for Antigone, Ismene, and Eurydice."

Next week: What to do with the space? How set designer senior theatre major, Aaron Smith, is working to utilize and conquer the limitations of the Transfer Station and create the traditional elements of a greek performance space.

Welcome back bloggers! The summer moved smoothly and swiftly with the
second phase of the Playhouse remodel underway, we have been up for
the challenge of producing ANTIGONE in an alternative space. The
challenges are great, but worth every moment. Antigone will be
directed by Jonathan Cole with the following designers: Bobby Brewer-
Wallin - costume design, Rachel Kinsman Steck - lighting design,
senior - Aaron Smith - set designer. The above pictures are from
our "show and tell" where the Jonathan and the designers shared their
thoughts and work accomplished over the summer. We are looking forward
to getting the shops up and running. The location of our "show and
tell" is also special as it was our first event in the new costume
shop at the Playhouse. Enjoy!

Final weeks before opening...

Cast and crew of Woyzeck are hard at work and will go into technical rehearsal this evening! This weeks blog will give you an update on the cotume design/construction and lighting process, with words from costume designer Bobby Brewer-Wallin as well as light designer Rachel Kinsman Steck.
From Bobby:

This week in the costume shop the major players were Betsy, Amanda, Sara,
Bryn, Morgan and Rebecca - hey that's everyone. Yes, each person kicked it
in gear, carefully hand-sewing multiple snaps on military uniforms and
securing the steel cables to the Showman's crinoline cage.

Betsy should receive special recognition as corset constructress. She
painstakingly cut out multiple layers of think canvas for several corsets
and carefully aligned the pieces to create just the right fit. And the
each corset required multiple grommets - which on thick canvas requires
strong hands and a steady whack of the hammer. Believe it or not we do use
a variety of tools in the costume shop: hammers, exacto knives, awls,
utility punches.

In addition Betsy was a huge help in creating the text embellished fabric
that will make up the men's base costume and the women's petticoats. Here
a hot iron and an artistic eye made for a good blend. We are unsure if the
sheen of the transfers is the look we are after. And after washing the
first garment to test - it does loose some of the sheen, but it also
cracks some too - which may add to the distressed look. We will make it
work.

A special thanks to Rachel for breaking into her busy schedule to print
over 30 pages of transfer paper - all with Büchner's ilegible script!

And one more special kudos to Amanda who is willing to tacking any
project. She is carefully mastering her first pattern and beautifully
executing Margaret's blouse. She likes it so much she may be making some
for herself in some fun summer print. Given Amanda's sewing skills - all
of the soft props are coming her way too - she has created a special
likeness of Woyzeck for Christian to play with!

From Rachel:

Details! Details! Details! This week is all about the details! Chris Harris, set designer, has been working closely with the scene shop to incorporate materials recycled from previous set designs. The set has been created with 90% recycled materials!
At the same time, the lights have been hung and focused. I will begin to attend rehearsals and incorporate design concepts into the rehearsals. We are excited to try some special effects with lighting, haze, and water. We shall see how it turns out!
This weeks special thanks go out to Bob Alsman, Anthony Harvey, Tess Falcone, and Josh Rice for going the extra mile!

Thank you to our designers and crews working around the clock to perfect the world of Woyzeck, and to the acting company/directors for continuing to explore. Woyzeck, I'm sure, will prove to be a thought-provoking and visually stunning piece of theatre!

Woyzeck returns...

After what we hope was a restful Spring Break for the cast and crew of Woyzeck, we returned on Sunday evening to begin a week of what director Jonathan Cole described primarily as "layering." With the cast off book and the show roughly blocked, this week allowed the Woyzeck team to spend time working in exciting and innovative elements to the roughly sketched show.

With a cast of 12 that is onstage virtually the entire production, a lot of focus has been placed on determining which characters are doing what and when it occurs... Very exciting and challenging work for all involved... Special thanks this week to a dedicated shop crew and designer Christopher L. Harris for spending Spring Break pouring concrete and continuing work on the ever-expanding set, and to Assistant Director Britt Lauer for her hard work.

Costume elements are being added into the rehearsal process as they are developed, thanks to designer Bobby Brewer-Wallin and his diligent costume crew, and light hang and focus will occur this weekend. Lighting instruments will be hung and focused in the space to prepare for a technical rehearsal next weekend.


Be sure to keep checking back for rehearsal shots, this process is not to be missed!

Woyzeck runs April 17-May 2 with a preview on Thursday, April 16 at 7:30pm. Call 503.370.6221 or visit wutheatre.com for more information and tickets!

The Rehearsal Process, Part One

Welcome "Woyzeck"

Willamette University Theatre began rehearsals for it's upcoming production of Georg Büchner's last work, Woyzeck on the evening of March 9.

Franz Woyzeck is an impoverished soldier in a small town. Bullied by his captain and subjected to bizarre medical experimentation by an army doctor, Woyzeck’s nerves are already strained when he begins to suspect that his common-law wife, Marie, is having an affair with a drum major. Through a series of vignettes, the play charts Woyzeck’s increasing distrust and anger until, overcome with jealousy and despair, he is driven to destroy the only thing he has ever loved.

As is customary for our blog, we send a weekly questionnaire to designers, director, and other members of the production team to hear first hand about the progress of the show. For the week of March 16-20, director Jonathan Cole, department co-chair and theatre history/directing professor, had many positive things to say about the process thus far, stating:

1. What were your goals for the week?
We attempted to get the entire show on its feet in rough form, and to begin to flesh out transitions. And we did it! I'm so very proud of my actors and production team... the actors particularly have been kicking ass and taking names in terms of work ethic, responsibility and professionalism.

2. What challenges did you face?

We've had a little trouble moving from a totally open structure (text) to a linear one (telling the story). We're now on the same page, but it was a little difficult getting there.

3. Did anything turn out differently than your original plan? Any good

surprises?

Yes! Some of the vignettes/image work that we had talked about really didn't seem like it was going to fit once I saw the play on its feet. I'm delighted to say I was totally wrong: we added some of them back in, and they're AMAZING.

4. Was there a student that contributed largely to this week’s

progress?

Sooo many: Britt Lauer, Sarah Lydecker, Geoff Suthers. . . and Bob Alsman has really stepped in in terms of leading the cast.
5. Were there any new materials/techniques that you were excited to

incorporate this week?

Not so much.

6. Did you have an “ah-ha!” moment this week?

Just #3 above.

7. What can students do next week to help with progress?

Have a great break and come back ready to hit it hard!

8. What did you accomplish this week?

We got the show staged (in rough form), and we're able to run off book. By the END OF THE SECOND WEEK. My actors are mighty and fierce!!!

9. What are you looking forward to for next week’s work?

The break will hopefully give things time to steep and deepen for the actors. We start stylistic work and coaching the first week back from break, so that will be the next big task - and I'm VERY excited!

Be sure to check back next week for rehearsal shots and more progress updates on the Willamette University Theatre production of Woyzeck.

The show runs April 17-May 2, check www.wutheatre.com for showtimes and ticket prices!

Congratulations to "Beauty Queen of Leenane!"

On Saturday, March 7 Willamette University Theatre's production of Beauty Queen of Leenane closed, following a successful three-week run. Congratulations to the company for a thought-provoking and excellently executed piece of theatre! As with each Willamette University Theatre production, strike for Beauty Queen... was held the following day, with all company members pitching in to sort props, dismantle the set, and prepare the Kresge theater for it's upcoming production of Woyzeck, written by Georg Buchner and directed by department co-chair and Directing/Theatre History professor Jonathan Cole.
Following are a few pictures from Beauty Queen... strike, thank you to Technical Director Rachel Kinsman Steck for the submissions!

Be sure to check back next week for updates and progress shots of the upcoming production of Woyzeck, which will run April 17-May 2, with a preview on April 16!
Well deserved congratulations once again to Beauty Queen of Leenane, and we so look forward to sharing the process of Woyzeck with you in the coming weeks!

Final Stretch!

Having finished tech weekend, we at Willamette University Theatre are forging ahead to Opening Night of Beauty Queen of Leenane! Starting Monday, February 16 until opening on Friday, the cast and crew will run the show each night to iron out any issues with the production. The shop crew and several hard-working volunteers are laboring overtime to complete the set: the kitchen and living room of an Irish farmhouse. Set, costume, lighting, sound and props are all falling into place, and it has been such an exciting process to witness first hand. At this point in the production, everyone is working their hardest to ensure a smooth opening night. Tech rehearsals this weekend allowed designers, board operators, and run crew to set light and sound cues and organize the show technically. Stage Manager Tess Falcone will call all of the cues for every performance, and tech is an important time to write, set, and get familiar with how all of the elements interact in a live performance. Good luck to Tess and all of the crew of Beauty Queen..., your work is so appreciated!


Speaking of opening night, tickets are available for the opening performance and gala celebration on Friday, February 20th at 7:30 pm. WU Theatre traditionally hosts a reception following the opening night performance where audience members can have a chance to enjoy refreshments and meet the cast, crew, and all of us here at the theatre department.

There will be a final dress rehearsal, or "preview" performance on Thursday, Febrary 19th at 7:30pm. Tickets are half price, and you'll get to see the process of live theatre in action!

Remember, Beauty Queen of Leenane runs February 20th-March 7th: Thursdays-Saturdays at 7:30pm and Sundays at 2:00pm. Please see our website www.wutheatre.com for details on ticket prices and dates.
See you at the show!

Moving Toward Tech...

Hello again! The Willamette University Theatre production of Martin McDonagh's Beauty Queen of Leenane is coming along quickly... We go into tech next weekend! What does this mean? Technical rehearsals are used to incorporate light and sound cues into the show itself. The lighting designer, technical director, light staff, light board operator, sound board operator, Stage Manager and various other technical roles come together with the cast to put all the pieces of the production together. For Beauty Queen of Leenane, the large overhead beams incorporated into the set provide a new challenge for hanging lights and speakers, which will happen this weekend! Technical Director and Lighting Designer Rachel Kinsman Steck provided an update on this process, saying:

Not only did the scene shop get the floor down in record time, they also put the last wall in place at 5:00 this evening. Steve's [Shop Supervisor] expertise at making curved doorways was important! By the way, Steve also made all of the curved doors and frame for the remodel! His craftmanship will live on! We hope to hang the large beams by Friday evening so that hang and focus can happen saturday. Speaking of the lighting crew, they were in cutting pipes to create special hanging positions. We won't give away all of the trade secrets but we hope our experiment will work and make this production special. Thanks, as always, for all those who go the extra mile...
Cheers,
Rachel

We so look forward to seeing the results! Stay tuned for photos...

While the shop crew and various hard working volunteers poured the concrete for the flagstone floor, (special thanks to all that came in and lent a hand) the cast moved up to the acting lab for rehearsals. It looks like Set Designer Christopher L. Harris came in to discuss the floor plan with the cast and crew as well!


Good luck to all involved with the quickly approaching Beauty Queen of Leenane! Check back next week for additional updates, and be sure to catch the show!

Runs: February 19-March 7. Visit wutheatre.com or call (503)370-6221 for information and tickets.

McDonagh's "Beauty Queen of Leenane"

Welcome back! Following what we hope was a relaxing a productive winter break, Willamette University Theatre is hard at work on its third production of the season: Martin McDonagh's Beauty Queen of Leenane.

This dark, offbeat comedy takes place in a small house on a big hill in County Galway, Ireland where the Folan women live out an uneasy truce. Forty year old Maureen and her elderly but iron-willed mother Mag spend their days in endless rounds of petty insults and physical threats as each maneuvers for control of their isolated existence. But when an old family friend reappears and offers Maureen a chance at love and a new life, this once-benign terrain grows treacherous and the two women, bound by blood but driven by desperation, will do anything to survive.

The Tony Award-winning Beauty Queen of Leenane contains the brash humor, rich language and inventive storytelling for which Martin McDonagh has been widely praised and which mark him as one Britain's most promising young writers.

WU Theatre's production of Beauty Queen of Leenane provides significant challenges for the company in acting and technical areas. Senior theatre/psychology major Tara McLauchlan will take on the formidable role of Mag, an elderly and "iron-willed" woman. In addition, the rest of the cast (including junior theatre major Britt Lauer as Maureen, senior theatre major Cory Goble as Pato, and freshman theatre major Josh Rice as Ray) will be speaking in an Irish dialect. Beauty Queen of Leenane will surely provide stellar performances, directed by WU Theatre co-chair and acting professor Susan Coromel.

Technically, this production will be employing new techniques and talent. Senior theatre major Anya Ballinger will undertake the role of costume designer, with help from faculty member and resident designer Bobby Brewer-Wallin as a mentor. When asked about her experience thus far, Anya described the nerves and excitement that she experienced with her first company "show-and-tell," where she was given the opportunity to explain her research, her intended process, and show us excellent renderings of costumes. We look forward to seeing Anya's work, which will be quite the collage created from found pieces.

Set design by professor and resident scene designer Christopher L. Harris evokes a weather-beaten interior of the Folan farm. While the play is set in the late 1980's, everything in the Folan household has certainly seen better days. The use of wooden beams and an imitation flagstone concrete floor will lay a foundation for the oppressive and lonely world of the play. Technical director Rachel Kinsman Steck submitted photos of students and faculty pouring the concrete that will become the flagstone floor of the household. Because concrete takes significant time to cure, this process will provide and exciting and interesting experience to all involved.

Check back soon for more production progress reports for Beauty Queen of Leenane, which runs Thursdays-Saturdays February 19-March 7 at 7:30pm, with 2:00pm Sunday matinees.

Note:
Please be aware that Beauty Queen of Leenane contains adult language and situations and is not suitable for children.