Some Specifics of Site-Specific Theatre (Part 5): LESSONS LEARNED

Some Specifics of Site-Specific Theatre (Part 5): LESSONS LEARNED

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It. Was raining. Today you were originally gonna film in Wicker Park as. Shakespeare my kiss you. Guys are. Nurses. Marisol. We. Do tonight possibly. And. It's raining, yeah. Which. Is a great segue into talking about, lessons, learned. Doing. Same specific, work um. What, you guys were talking about we. Were. Discussing, Macbeth. Walking, shadows, and. Yeah. I was in it was in a new space when we've used before in, art but cinema Park. And. Lots. Of pockets. Crazy. Lights a community. Choir. Yeah. First, time in a new space of art yes. Yes. What, we've been also, now. This year moved to another. New space right cuz, why cookie-mommy. For. Aesthetic, reasons the, director Andrew Johnson, wanted to explore. This big beautiful hill. But of course then do, we face all the things that you learn in the last face some. Of them apply some of them don't, apply thank you really yeah, it's, so a lot and then you have, things like a giant. Baseball. Diamond that is hitting, pop flies where. Your audience would be so. So. That, will be something, that we will continue to figure out yeah. My, name's yeah. You. Need to go like shield guards or something I. Think we might actually do. That I'll be forgetting. Their ground ground, grandeurs. See. The show you will be safe, yeah yeah. And give some volunteers, in baseball well it's just in case that's a door it's. Good and. You you, guys are talking about we talk about our second, project which was the Frankenstein, and we, did that in the st. Luke's United. Church which. Is a great, it's. Still a functioning Church but it's also a great arts have lots of different. Cultural. Organizations. Are using it it's, got a, million. Crazy. Different rooms. Food. Jenny was using it for a site-specific kind, of all. It's, gonna give so many different options that crowd and sugar coffee, and sugar and redeposited melon Gardens. Yeah. So so. We were talking about our birth, of Frankenstein project which. Set. In the ladies parlor which was just off the sanctuary, it's this great room that feels kind. Of Victorian, and has. A great big grand piano, and bigger, windows big table with lots of beautiful furniture. That's. What we started thank, you. This. Is hot chocolate. We. We did we, talked about whales which. Was set, in, one. Of our company members smashing Heinz's parents. House, and. The funniest like it, included, like them moving out of their house for six weeks us. We, painting, remodeling. Them like moving their artwork to the safe location. I'm. Getting kind of redo like, major um we, thought that like Pines family makeover, like after works they, were planning on doing it anyway but. I would say if, they worked we, would have been in trouble never, stirred everywhere, look a big did need a makeover after the show also, worked out well.

Wanna. Start with the, weather or two right there yeah. Tori. Yeah. This. Is this, is something. I've. Been really curious. About I mean we. Have. Issues. To bury me just, because. Of the show it Shakespeare, it's. Six. To nine cast members every year which. Is a, lot, of people to try to take on the road but. Macbeth. Walking Chavez was a huge success in me also. We're. All so hungry to like dig. Deeper, in. Learned. As we were going in of. Course of course, so. We. Are. Attempting. To figure that out we. Got, some grant money to do, to. Rework. It for an, indoor venue. But. It will require. Basically. You, reversal. Fear I mean. Thankfully. It's. Easier, going back to granting, organization saying look, we've done this you supported, this in the past this is how it went successful, yeah, it's like it I think it's a great kind of thing. To give to those. Committees, to say like this has proven success you just tell us a little bit more it. Can go, a lot further but. That. Being said you know recreating. Is one thing but, figuring. Out a way to tour. It and to not lose the, I. Guess. It's I guess, what I'm curious. About is. We. Won't be in the park where we have beautiful trees and can do all this great lighting, stuff with the leaves and you know have this human space to play how. Do we both. Not, lose, the, spirit, of that but also not, trying to recreate that and just do like a bad indoor, version of, an outdoor show yeah, yeah. Yeah so for, us it's really about, recreating, it. Or, the circumstances. Being. Girls do, you think it will be largely. Different kind, of center um. Probably. Not I don't think we'll have enough time to make it largely, different here but, I think, one. Of the big things is we'll have a lot more focus. And a lot more. Opportunity. To. Use. Design, elements, as part. Of the storytelling, whereas f doors are designed with limited. And was also. Pre. Created by nature. So. We'll be able to be a bit more specific, about how those elements tell, the. Story so. This, is like a step, you're gonna figure out the indoor version and then. Yeah. Yeah. And try to do a really good quality filming. Of it so that we can include. That in the packages. Did. You film the outdoor we. Did but it's in archival nice, outdoors, and it's you, know like. Puppetry. Archival, czar even worse than my own acting. Here. Titles, are tough yeah, especially. Site-specific, either, I find, it's. Garbage you're, like this is nothing it. Just. Doesn't do justice yeah. Yeah. Totally, ah coz, often is like specific it's kind of like a 360, yes. Totally. And so, you're, often settling, for one vantage point and which is true in most theatre but yeah. Like I'm across it's gonna be very different you're, just telling it like again, like you're someone's, behind, like, what's happening you know yeah but, it's also like the, ghosts, and the weird like. Energy. Of mean air, like, you can't capture yeah, that. There's like a thunderstorm, off, in the distance that's creeping in or the, squirrel is doing that yeah. Or. Like whatever. Weird, ghosts. Are in the. Church, at Sammy's. You. Feel, when you're in space yes. It's. Funny that we bring this up because with, the vitals I. Mean, we will never to her that burn actually knew it. It. Was very specific, and it's funny because we did we developed it that way too right I mean ooh there's puzzle for the show be with this in a completely different way I think, maybe you'd like yours perhaps.

A Bit more so because it did realized so much I think on this setup of the house I, would. Say he will never do it again which. Is cool which is ultimately sad like how do you it's, good because you're like we've created this awesome experience it was amazing in like the, 300. I don't know he had like 40. Seek tonight over the course of mine I don't know Milani was hit talking, a lot of people didn't know me and like it was a good experience for those people but. We'll. Never do it again and. It's nice to have something that's. Up. To you but it's like, you do all this work and create this beautiful, world in the story and, this. Is a first for us too because we created the. Script kind of in conjunction with the playwright mm-hmm, and things developed, is really demux you can do it mostly published. Work yeah. But. It really made a difference and, I, think it don't, it would be impossible to know. Exactly because. It's like this. Is what I experienced when we start to think which I mean I can imagine stripping. It away and doing something that would. Be portable, and would fit into yes, but it just you found. That magic, within that space that we're, so influenced, by space that we reuse. The porks we use to build certain models we use all that stuff and we love that stuff yes don't like special, for awesome, the idea of then just like shifting. The other way doing a kind of lesser version it's really hard to do totally. Special, for the audience, - yeah so anyone who saw that original version would be offended. I. Guess I mean, I guess it's hard we don't know that yeah but like yeah I, think that's the idealism. That's been running. Me, away - yeah, but you guys kind of did something genius, for titles right. We. Didn't, really will never do this again so. We made a film, of it so. In a way to capture. The, 360. Nature we. Made that's. Very cool. What. It's called a little city cam is not what it is but it was it was one long continuous, shot. Like. Basically. The. Camera acted as an audience member and went from like out front, of the house we, went all the way through, the, entire show like. An audience. In. One long, shot. The. Guy who the camera was so anyway, yeah. So in a way that. That. Lives. On in a different way where. Rather. Than touring, cleaning. A thumb out of it and oh my god because, like we filmed, it during the run because as soon as the show ended we had to put the thing back up stack, this if. You told all the all the actors and. Clones. And it was just one after like all the actors. Catherine. And, all of the. Paramedic. Assistants, and statement, they did on their day off like it was like a 12-hour day. It. Was worth it because I think it we created this really, really cool lasting, and I think if I hope do capture some of that 360, experience well it didn't. I don't think it appeals to all the senses that it does get like. So. Yeah that was our way up in a way, touring. Or preserving. And. So. How. How. Does that, continue. Did that feel more like that, like. A thing for you guys to do or has it or has it had a Jake's life as, a. Film we we. Had on up we had a film premiere for it two. Months after the show closed and we did marketed as us anyone. Who didn't get a chance to see the show because, it sold out quite. Quickly and, the end of the week and but, a lot of people I think there's a demand that wasn't backed in terms of people who could see it we, did like if you didn't if you missed the show come see the movies we had that, turned into the specific. Experience, this, place called passive moments on Carla, and Mike Gerard. Really. You had it on six different screens. Paramedics. Around it was pretty fun okay. But. It's. Something I think that we're now wanting. To do, more much so that that was an experience in itself but. You, submitted it to check. Your. Watching Tim yeah. But. I think we're thinking now like. We're. Done we're doing other projects, but now that you have it we would like to do some, more with I, don't know what that would eat to be honest we're, like you have this piece of art that we made let's. Find, a way to. Even. This formatting curiosity, is work. Is. What. What, did you learn from filming, that process. Of. Deciding. On. How. To transfer, to that. Yeah that's a good question I don't I wasn't there on the day so I can't sleep like that but I think what we what, we did to speed archivist really don't work we really the intention was to really film it like a movie that sounds stupid how do you do that but, it was like and it wasn't one long shot but. It, was really. Not to. Film in archival right, it was really, not to, like this, is what happened this was when we do it again and we didn't have to worry about this we're not going to do it again it, was a lot, of fun close-ups. And then, we had someone who was like holding this heavy thing. Like, this just, one camera one. Camera yes. Well.

Technically, What. We. Were able to get, together, at the end to make it look like it was a continuous. Yeah, but it wasn't, it. Was, many takes but, it but. It was only one angle for everything so in a way it's, a weird film like and maybe that's why so it is it's, feverish, in the way that it is it's. If there's not different time we, angles. Cutting up but. It is in the way that it's not, meant to be it's not meant to be theatrical tonight, to be point film it the close-ups, and. Yeah. All mostly you know Birdman must oh yeah a little. Bit like that. One. Shot. Is there anything after. You saw it you're like damn I wish we've done this. Not. But I can think of right now I think there's a billion things. But. I don't think so, not that I can think of right now I mean, their attention I mean it might have been cooler with different, shots and stuff but, the intention was to do it in one take so Wes like that, who. The audience never broke away from it so what stolen in a way to capture the experience to me that the audience could never break, away or escape it. Yeah. Any. Further. My. Puppets, are amazing. Yeah. I, think. Actually. The the person who created the puppets was, recently, approached. By somebody to do who's doing. In. Montreal, he's capturing, a lot of people's, like monologues, just doing the filming, people's. Theater, monologues, and. He approached Zach creature about. Do, with public. Money so. And he, sent me the video of it and it's really fascinating. To, have. This little. Test that that we didn't have to organize yes but. It's. A very different thing. I hypothesize. That it's a very different thing trying to capture. Poetry. Because it it, requires so, much imagination. That. You you're, able to achieve as an audience member and you like your brain just blurs out the rest and you start to leave in will when, the. Puppet, is. Like. The same as all the background, it doesn't have the same off so I think it will be a lot of, close-ups. On them. Yeah and. Finding ways to, go back and forth between wide. Shots where you can see the puppeteers, yeah and then funny ways that you. Sort of just see the shoulders, at the puppeteers, and sort of kind of that that. Extra, face that cuz that sorry, to drop that takes helps it does add like, I know I often find watching puppet and face, yeah you're right for film there's. Something to focusing on one subject yeah. And finding, a way to keep. The puppeteer. In it with those with those wider shots to just remind the eyes that yes. These are being, by someone by, an actor who's having their. Own experience. Through. Through. Manipulating. This puppet but. That, for the most part it's trying to capture. What the brain would be doing of honing, in on the. Puppet States and trying to figure out a way to I like. Up yeah. So, so. Tricky, yeah. Yeah, and it will probably I, imagine. In the, reworking, of it like spending a day or two. Specifically. Filming, so that we can. Some. Reach. Stage or tweak, the scenes so, that they'll be better off. She'll. Just. Letting it run them so. I think we will do it more film in that way like to doing cops do, different. Polls, well. Yeah what. One more thing I'll have and, I think helps. No. I. Think. Vitus was helpful with the film because, and. None of us need. To worry about this I don't really plan do we make the immigration, but it's, helpful when. What. Your foot the theater you're filming is Anna Peter cuz. Like I find something like Peter. Plays. On film with that kind of like in, cross or like with the background often look so. Like static. And, what's helpful is that in. A way the vinyls. Location. Was more like a film set right, it was real grooms like audience winning and open drawers and pulled out stuff is helpful, that, that, it was a three steam as a 360, room itself rather than like you.

Know You know I think that wasn't that was, actually like a film location yeah. So. Conclusion. Instead. Of touring just do a film version of. We. Were talking, about the. Challenges, of all these things that were like yeah we should do that we should take, care of like. Really, great combo, shots and, really, like. Professional. Filming, but. You. Know the thing we always run into is. We're. Building. A whole team, to, basically. Build a Peter at door, it's like yes we are building, structures, but you, need. People. Staff to support all that and then it's so hard, to find. The human resources, and the money to. Do. All of the things you should. People. To look after the audience people to help. Out with the bathroom to of a head public set up take down. Sound. Like often all the sound in our choses, is either, one, person or a course of people, making, like this either with their voices are with. So. And. I was, just saying we often. We. Always go oh that's not in the theatre hey there's have so many crews you don't need you doesn't read, there's no like. I don't, know we don't need them we don't need and we. Really need it like its unique through more subtle men. Because. It. Is all of you. Yeah. So that's that's one thing I think that we did over and over again yeah. Often you gravitate, towards site-specific because. It's it seems cheaper, or more, affordable. Yeah. Where you can create your own rules. A little bit but you have to kind of, compensate. For all the luxuries, that a theater space will provide you with in terms of their grants in their infrastructure. The. Team yeah, you, have to make your own lady I don't, naturally, whenever we're, in box office your own bathrooms. Right. Yeah, yes. Yeah. It's always a lot, more work even when you think you've figured out all the works, of the space. Feel. Like the one thing I've learned is that you can guarantee there's at least a, dozen or two dozen things that you have not thought, it that you will need to think of in a moment as they come up and, be ready to, respond. And. Also, on the flip side of that, be. Okay, with not, responding, this, is just too much we actually can't solve this, so. Yes. The bathrooms will be locked halfway, through the show and people basically back-. So, oh well. There's. A lot of my. Red, tape to go through that with the city to deal with that yeah, you just accept, it and apologize. To, audience. Members who are affected, by it and and. Embrace. That work, that is bigger than you, this. Brings up the idea of, box. Office creating, the experience around it I find. Because of what you're describing we've always had to build try and build a sense of humor to the whole box office experience. To make it like. An adventure so. People were not. Expecting. That, the. Bathrooms be pristine depending. On where we were doing it, to create people. Get on board for the the adventure that we're about to embark on to not be precious to be brave. To be bold, yeah. To make a part of the experience, yeah it's not just this show you're watching it's, like look, the whole look before you arrive when. You pee it's when more if you've got the snack during the show it's. It's after, it yeah. Yeah. And that's actually something we. Talked, about a lot, what chick's broth is. Is. Taking. Care of a full experience, I'm. Going to show all you need to worry about is like the plate that's on the stage and the venue will take care of the experience, of the audience but yeah we've. Been very conscious of. Yes. Infusing, with a vibe of do-it-yourself and. Making sure that the audience is on board of that taken, care of and. How they enter into the space what, time they'll show, up how, to set up seating arrangements, so that audiences. Feel taken care of, and. Really. Talk. To them like human beings, that you're. In it together rather, than an expectation. That an. Object, will be taken care of top to bottom as if. They reported which we, just cannot achieve. Specific. Thank. You but. What you just said I mean what you can achieve in the sake specific venue is like. Everyone. Interacting, as humans yeah and I feel like even like, we go to the theatre just maybe. Cheap. We go to the theater to see humans. And be in the same room is as living breathing people and watch, someone. On stage but we might we might going through her what we hope you go for it we never go through and. And. I think sites, I think this is one of websites the specific. Theater is really working it's, it's, because it's a whole experience is all these people going through together often getting. Easier. Perhaps, to go into a theater or like a movie sit. Enjoy, have, a drink and then go home but, again because, there's not, the frills, and the bells and whistles we do have to be like here, we are we're all in our houses together, this seems in an outhouse and you're loving it from black yeah totally, yeah it requires more investment.

The. Audience in fact and if you embrace that then it's. A much more memorable, experience, because. Because, what you're just starting with a potent movie theater or to a normal theater with, the cushy experience. Can. Be a, little. Bit too easy I think and. Often. People are talking. About the day Rapids, for last minute or on their cell phone he's trying to figure out those. Last emails from. And. Then the lights, are going down okay now I not should be here whereas if it's a bit of an adventure on the way inland, here you're, putting on your poor caching gear and. Sometimes. Yeah and and, you're. Buzzing you're buzzing with her where's the show going to happen and it creates more investment. Which i think is a blessing, it, often feels like it's more work than you have to create you know maybe you erase it and say oh this is the show this is experience your audience will - yeah, I. Think, you're sorry I think it also involved in, asks. More investment, from us -, yeah, as creators, as, performers, as producers, as, directors, are just better as like, we, have to be we. Have to go okay like, when I get here for the night like I mean I'm going with you on this - yeah. Yeah. Yeah. Because as an actor you're not just you, can't just be oh I'm, gonna focus on my own experience, as an actor what you might do it at all you're, also like okay, I have to be a host and I have to catch that fly ball and, you're coming from, the baseball I win, like you have to look after the. Yeah. I was, gonna ask what, were, some things that, you guys in, your show were like nailed. It that. Thing came speeding at me and totally, made. All the right decisions around, it and that day. We're. Never it's like things that worked. Well on your show. Uh-uh-uh-uh-uh. We. Did well with using. This what the space had to offer. We. It. Was a new script we were writing collaboratively. Collaboratively. For, the first time and it. Drew, a lot collaboratively. And. And. That's. A lot of our focus and then when we turned our attention out, I'm just so like the spaces, see what the space is giving us it just kind of put us back on track, and so we'd. Like that, it's always been in our. Kind. Of true north it helps us get back what I would like the space I get, myself a story it, has, to do and, so it just kind of put, the show back on its wheels. So. If that was big. Just, realizing. The magic that already existed around us rather than trying to generate. It out of, the. Page I guess yeah, that, was successful, for us. I think. I'd say two things once, creative and one's a bit weren't produce Oreo ones. Very specific, there don't know if this is going to be be, helpful this is this is very specific to vitals but one thing that because. We were going how do we create a site-specific show, one, one-woman. Show like how pellets. Like to cover 30 people gonna walk around a house with, only one actual actor. So. I think we were very. Good. At thinking outside the box and, finding new ways to bring, in the show to more people. So. We used a lot of all. The audience have headsets everything. Was done over headset and I think, maybe, you can argue then we didn't really share the active link but, I I would also argue that allows you to have. Some fun and another way that explore, parts of the house and. And. Still experience every monster all you met back up with half, so. I think that was a cool and. Whether it works forever my hot but I think it was a creative. Way of addressing that problem we. Did one more thing with that we kind. Of included nine. Coats. Of Anna which, did allow the audience to at least see another. Human. Even. If we didn't see them the main character nervous Augie besides. That for the personalities, of. She. Left one more like, yeah. In interaction. And, then produced saw really only, pretty. Soon. Donut. On the, food producing.

Side We. Hmm. It. Was the personal many of you really thought out of the box in terms, of. Things. You could get from people so. We needed a lot, of stuff for the show as you do for every show but. We. Didn't get a lot of money necessarily, but we got a lot of we. Bought a house for example like we I, think I might, meet Sebastian and I said this when we were we were talking earlier but, it was we. Were very creative in our thoughts about our like and in our tasks so. We need to similar to do to show so we must for a house you, me got into that but um or. We. Need you want some food in the show so we we, we. Went after that very, good at like kind of in kind asks, which actually ended up really, supporting, the show and maybe specifically, with. Finals more than that another show and. We were also good at finding. People in our circles. Who. Could give back to us likes, about like Sebastian's, in the company and we as his parents house Dana. Who played one of the Anna clones, wasn't. Was sure. Of it as no suit and that's how we got the ice cream. So, I think we were, good at. Clocking. That help, us may be closer than you think, think. Creatively yeah. I think, that was your cheese it's. Actually really easy, it's. Actually part that once I embrace I find it really fun the. How. Can you get, help this you have many resources it's most of the planning so if, you just think creatively, it. Actually ends up building a bigger community, around the show and it will again, invest, because. They see how. They talk to young people are often very happy to help it as long as it's. Shaded. So, once I clicked, my headed in the right direction both. That. Treasure hunt to figuring, out how to get more people involved was actually. And. Even, just practically like people, like to be asked for things but not for money Yeah right yeah to be able to like you could offer me a televised. Command-i or whatever yeah sure and then that spur that helps me out like, it's. Nice yeah. Big. Success I. Think. Two, things the. First was. Changing. Locations, from where we had done it here before. The. Big reason for that was. We. Kind of talked about earlier.

You're. Starting to hurt but, the. Tone of the show of, Macbeth. Was very difficult tragedy. And we were using puppets which I knew required, a lot more. Focus. From the audience so that the, distractions, that were a joy, to, witness. In previous, shows when. I was a comedy, so I'm walking through work something like that we. Knew that the, puppets. Would not be able to withstand, that, so. We shifted it to an, area. Of the park that. That. Was. Basically. Kind of a green, screen of, leaves behind it it's, location on the top of the hill and a, lot less foot traffic so, we were able to. As. Much as possible control. The space to, a greater extent than we had been able to of the year before and, so we were able to use. That space to make. Sure that the torrential play and, a body could play. And, the other thing was years. Before we tried, to do sound, I I don't like count, can sound for an outdoor space. Personal. About, them and. We tried doing like the, chorus of six. Seven actor is singing a song but, outdoors it just gets swallowed, up and feels, ridiculous. I knew. That we needed, music. For the. Puppetry work so we put, together. A choir. That was able to fill. The space better, the sound and we use sort, of giant. Oil. Drums for four, drums - just smacked against, create. A lot of sound so. Really. Embracing, the fact that that. The outdoor space that walls sound. Would not carry the same way that it would indoors. And embracing. That and going, baby. Even if it meant a, sort, of scary, producer, challenge, to create. A community quiet about it like, you were saying when you start asking people and including, more people in on a process. You. End up creating. Just, a bigger team a bigger community. That's, invested, in the show and, you. End up doing marketing. So. How. Do we, when. Starting. A new project at sex-specific. And building a new team of. Potentially. A new director, who hasn't worked site-specific or, designers, who haven't worked site-specific, how, do you. Initiate. That, new team. Into. The world of site-specific. Yeah. So it's a chance we're we, were going to talk about all team I guess and and.

Why. It's different it's. Different. So. Your. Company. Hires, both. Side directors to bring and, so what what did those conversations, been yeah, it's uh, it's. Been challenging I don't know if we totally figured this out yet. What. I would love to do at the end of this summer is talk to the director that were working with and and. Ask. Her what are the things you wish you knew. Going into it I think. Part of it is, it's. A funny balance, of trying. To articulate. The. The. Aspects. Of working outdoors, to, somebody. Thing. I find challenging is, that people will, be able to be, like yeah I understand, that volume, is heart lighting, is hard but, often. Until, they are in that moment in tech dealing. With this stuff they won't have really. Understood. What. Kind of adjustments. Will need to be made, and so part of it is embracing, that, every. New artist to bring on will have, our own journey. Was learning about sex the city states that you can you'll never necessarily. Be able to. Carry. Over all the knowledge and experience, that was suggested in the last group, of artists, into, Manila and to. Just. Allow that, the process. That an actor, who. Might, not have ever worked outdoors before, will will. Need, to go through the frustrations, of not being heard of being bitten by bugs by, all the stuff and. And. To, embrace. That and take care of those, people as they're going through that say yes this is part of the experience. How can I help I can give you some bugs right right yeah, now. You know. Bring a sentence for a stage manager will, have pollicis, on-screen on, on. Hand. We. Have been lucky in that. We've. Been able to keep a stage manager consistent. You're a year o, through. A lot of it and she. Has, been, basically. The pillar, on which this. Nobody's dead, from year to year she's been able to. Hold. So much of that. Institutional. Knowledge going. Over here the year, and. We did ask her to create. Sort. Of a production Bible. Or for, working. Out doors that have been able to be passed on to, to. Each. New set of crew. Artists. Yeah, and and I think we can probably also do a better job. Adding. To that year after year we do have a document. That that. Can be passed. This, is something we didn't think about by the stage management. It's a huge. They. The biggest, interrogated, she needs someone who has a great. Attitude and is approaching, it it's, a specific piece of art and. Is an artist and. They. Have to be ready to approach things a little differently, and to be. Tough. But be flexible and. So. We were also so that's great. How. Do you, guys approach. Bringing. New. Designs. Into the fold yeah, his, Mitchell dress like, almost like 99%. Of our shows. He. Directed vitals, so. We do have the same director who's who's. Kind. Of knows knows, what it's like to be in a site-specific. Situation. And. We. Also have and. I guess this has happened over the years it didn't happen immediately but, we have grown we, have a bit of a core team who's, used to they're not like there's only about I think five or six of us as. A core team and we've. Gotten I think, we are, first show we kind of rolled up our sleeves and, when we're, going to do a play in a hot kindergarten, class with no AC, in the middle of July and like, from, there have. Like been, like yup, rats yep. No bad yeah, like so. But. And. It works slowly developing. A. Group, of artists like associate are so you work with who know, what it's like a little bit but, in, terms of the first time I don't. Know because I. Think. In. A way it. Is helpful to just look for someone like the stage manager, like, this even very super saying, who. Have a sense of play. Stage. Managers, designers. Technical. Directors, after, American coaches, who have -. Who. Have a sense of play and artistry, who want to be able to get their hands dirty and we're not looking. To like close, through it job, so. It even comes down to like in, a way someone's, sense of like playing adventure. And. That. Is what we look for because there have, been rats, there have been. Many. Things break-ins. There have been. That's. What I'm saying and and we help me work with a couple different stage managers. We. Have worked with it and we've got we optically. Bringing people back to know what it's like but, it is important, to appeal to people's kind, of artistry, and, problem-solving. And. There's. Something we don't want to do that which is okay just okay um, no.

Sexism Fear is like a certain kind of thing. True for all, independent, producing but. Very. Particular. To specific. Is I. Look. What you said about people treating a look at job like that's a very real part of the. Arts and you, will encounter, some people who see contract, as a job to fill and I. Always think I'm any conversation. I start with an actor or designer anything it's always like trying to stop, doubt if if, they're gonna just treat it as a contract, and and the. Many other issues over that they're checking out and going off and it's. Been such, a challenge because of what you do when you're saying what have you built this poor you is it that's so important, and we. Work year-round. For, free like tip for those few months, where we're actually getting paid Hydra. Fee and we work with so much I do it I think we do it because it matters so much to us and, we, before, I wanted and we, try to appeal to that part of people. Collaborators. We, want you. To, just. Meet us there me this in that place and if, I get any sense of people just being like. Okay. Yeah. But I'm gonna check out it yeah I of this. But just like you're a very person but this is just not the correct that it's, gonna it's gonna suck my life go to this project, yes and so that's very true I think for indie producing as often there isn't a lot of money. But I think it's even more true for for. Sex the center because of all the right. Situations. Finishing. I think you're right that it does take an extra a little bit of sussing, to. To. See. How someone will respond, because I found that you can tell someone. Very straight, up but what the conditions, will begin they'll say yeah no problem, I'll, happily do it and then. The reality hits, them and and they, respond, differently yeah. So it it, you, know I find. Like. Talking, to other people and getting people's reputations, is a, big. Part of yeah. Finding. Someone how someone will respond, to all, the Commission's, that are, normally, not asked, of an artist, ability, to. Even. If they are a huge, part of a wonderful. Artists. To invest fully. Some. People are just not. For certain conditions and. That's, what we find but but doing. Doing, the extra bit of homework do, to. Try, to get out. Response. One. Downside, of the guy will see of us having kind of a core group as often we're working on shoscombe at the bunch of us are and, then we bring in a couple of artists, that we haven't worked with before either a stage manager another, actor, or designer and I would almost are given our our standards.

To Have gotten too, low like. Others, it's just a rat no provenance. I. Think. Work on like offering, the bar a little bit yeah because I do. Yeah. And. So, it's nice to have a cool people who's ready they're like work, for nothing and like clean, up Mouse. Poop from underneath the stage or whatever, but. Like truly. There's. A there's a habit has to be happy meeting you know to write Nicole, yeah, that's not what you're saying yeah no I mean working in in booming and, so I think we. Always need to clock that to something a bunch of us especially the core whatever is quite with the go guys yeah so need to keep, in mind. Another. Question is how do you deal, with the specifics. Perhaps. Of lighting. When. You're using natural light when you're using, the spaces. The big thing that I would. Say. Is try. To spend. Lots. Of time in, the space that you'll be working before, you have before you have artists before you have anybody else whoever, your sort, of main creative, director. Leader. Person, is to. Spend time in there spend time at the hours that that the. Show will be happening, so, that you can really get a sense of all the different factors that come into play at different hours and, every day of the week yes. On Mondays there's a there's a baseball, game on yeah. And then the other thing is that has been huge for us is. Looking. At you can actually like. Sunset, times are. Mathematical. So you can actually figure out what, the, reference point is. You. Know if the, sun goes down. 9:15. On August. 6th. You. Can look it up and see that the Sun would, 8:15. On September, 4 so we've what. We've started really, doing is telling, our designer. Don't. Design, for the hour that you're in right now design, for the out of that will, be, happening, at the last, show of this performance. And. That's Matt's been huge. To sort of just, get, people's and again. It's letting them experience, that so for a week before tech I'll, send out emails saying you know think. About this. Hour right now at, 9:30, is actually what the. Lighting that you will have to be working in to, design the show so just go outside experience, that and keep, that in your head as you. Working, in the spaces and. Everything, for us if we make it a priority we.

Almost Made a mistake, on with. The Frankenstein, where we were going to do it at our house in this beautiful, music room which. Is stunning but it would have cost us in more than we could afford to work in the space and. There's. So much logistical, red tape around there and we just started to go wait a second we're not going to get the same magical experience, because we won't have that immersion, that we've, been getting from working entirely. This way so we are always willing to sacrifice. The. Ideal in order of a, look, or a spacing, or Devon where time as we know that what will end up with is more. Integrated and more kind of organically. Involved, with that space I think. It's really important specific, agree, we obviously we always try, to make that an effort to work in, this basis. It's a hard idea but it's worth it yeah. Yeah. Looks, good so great guys yeah yeah. Yeah, yeah I, learned, a lot even just from this discussion. Yeah. Yeah. Yeah. To, do it. You.

2017-12-26 09:45

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