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« on: Dec 05, 2012, 08:00 am »
There's a lot of questions there.... What's your role for this play?
Usually I also put tons of post-its and stickers in my score - but in a script, it just doesn't feel very linear and things seem very squished together.
I use colour-coded page markers, and, if necessary, write on those in very small writing.
Plus, how do you know how long anything takes? I find it hard to resist the desire to write in timing marks throughout the script (I think I may do that anyway).
I still do timings, but at 3 or 5 minutes rather than 30 seconds. It's still accurate enough that you can estimate anything in between, and I find that any speed changes usually self-correct in this timeframe (to a point).
And the rubber chicken? I don't think I will ever work an opera that will use a rubber chicken...
I have no idea what you mean...I've never used a rubber chicken for any show!
If you don't keep a WWW, what paperwork do you do?
For a decent number of cast, I still do a WWW for plays. Other than that, just cue sheets, costume plot, and blocking pages (when they're requested)
There are an awful lot of rehearsals, and an awful lot of shows - how do you keep up your stamina?
Find something you really, really love about the script, spend more time with the cast, buy chocolates.....
Do you ever do any cuing for the cast/chorus?
Rarely- they can mainly be relied on to take their own cue. There have been some occasions where, for example, cast members had to enter from five entrances, in silence, simultaneously. This was cued, so we could get the look the director wanted.
Sometimes there's silence/dialogue onstage - how loud can one be during that?
I think that depends on the theatre, audience, director - I don't go above a stage whisper if I can help it...
There are several threads about what one needs to know going into opera from straight plays and musicals, but I am wondering if anyone has advice for doing it the other way around:
a) has anyone else found themselves in this boat?
To a certain extent - I have done much more opera than plays, I prefer opera, and I always find it a bit of a shock....
b) what are the basic essential things that a new-comer should expect when working on straight plays/musicals that are different from opera?
Things move much slower - there is quite a bit of 'what's my motivation?', 'how do you feel when you enter?', and questions the cast ask the director, and vice versa.
There a *often* less staff on plays - singers have a much better deal than actors (in general), and are looked after by more people.
*DISCLAIMER* - I am UK based, so others from across the pond may have different views.
Hope this helps,
C
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