Author: Kate Foy

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Watching from the wings: Dress 1

Watching from the wings is one of those special perspectives only granted to the inner circle of a production. I’ve often thought audiences would be fascinated by what goes on ‘out there.’ You could sell tickets maybe! As an actor, I’ve been lurking a bit in the wings, soaking up the energy on stage and trying to absorb the events in the narrative to assist the scenes in which I appear; this is part of my prep. It is the production as a whole which occupies everyone’s mind right now … individual performances by actors, crew and musicians are geared toward the ensemble, and we draw energy and inspiration from one another. This is a thrilling time as we work towards the entrance of the audience.

And tonight? A great feeling at night’s end. Our energy is up, and the ensemble is clicking. To bed … adrenaline rush gone … tired but elated. The lines continue to run in the head … but the page has gone, replaced by faces, colours, movement. We have a play!

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Entering the stage world

IMG_0148Today begins the final part of the journey as we enter technical and dress rehearsal time. We’ll work through two days of technical rehearsals where lighting, sound and media are integrated into the live action and become part of the story-telling, and of the mise-en-scene of the production. Tech rehearsals can be a trying time for all involved; cues need to be finalised, scene changes and quick costume changes smoothed, and calling by the stage-manager (in the corner) timed to perfection. The actors generally do not wear costume or makeup, although shoes are required for safety reasons. In this production, a musical, the principals and some of the chorus are radio-miked and the voice/orchestra balance is EQ’d by the sound engineer. Continue reading “Entering the stage world”

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Tiny, wee movies and moving postcards

From today, the fabulous Flickr photo application allows pro users ($US24.95 a year) to upload up to 90 secs of individual videos to their site. Formerly users could submit still shots only.

I’ve been shooting and collecting images in a ‘theatres’ set on my Flickr page for a few years now. This morning I added a couple of little videos which will find their way into the collection. They were taken between 2005 and 2006 in London and show the interior of Shakespeare’s Globe Theatre (above) and a walk along the South Bank in the evening: from the National Theatre to the Globe. The last is 30 seconds or so of the Love’s Labour’s Lost pre-show warm-up by the musicians at the Globe.

Be warned … no Spielberg efforts here, but shot with my trusty point and shoot Minolta and Nokia N95 still cameras. Editing done on iMovie.

Now I’m thinking this could be the start of a whole new kind of movie-making: 30 second tales, ‘moving postcards’ and so on for your iPod, iPhone etc.

Love Flickr!

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On musicals as social barometers and a publicity call

Bertolt Brecht „The victory of the reason can only win the sensiblesImage via Wikipedia

I did a radio interview this morning, part of the groundswell of publicity for Cabaret as we count down to the season’s opening next week. It was quite a relaxed 10 minutes or so in the late morning and on the national broadcaster ABC, but pitched to a more local, regional audience. These would be people with the time or inclination to listen to radio. Probably those not at work, but I wouldn’t begin to imagine the demographic! Hopefully they were also interested in theatre.

Anyhow, it was about musicals … how thrilling the experience is, how many I’d been in, and my favourite (Godspell for Queensland Theatre Company many moons ago). I was asked what would be different, and without really meaning to, I launched into my take on the power of musicals not only to entertain and to get the emotional juices flowing, but also to stir up the mud over various social issues. I hope I wasn’t lecturing!

Because of course, Showboat, generally considered the first modern musical stopped Broadway in its tracks in 1927 when it dealt with miscegenation. Many more in the same vein have followed, like South Pacific (racism) and Chicago (crime and the corruption of the legal system). Perhaps not as politically and socially conscious as others, there have been been musicals about the dark as well as the light side of the human condition: A Chorus Line and the agony for an artist of an anonymous line backing the star … Rent and AIDS … and yes, you can deal with these matters head-on vigorously and joyously … that’s the licence and the power of music theatre. Bertolt Brecht, the genius 20th century man of the theatre knew how to do it; spass (fun) first and then go for the jugular.

Cabaret has always (but especially in this production) focussed on responsibility … personal and societal. It’s set in Berlin over several months in 1930; the tide is turning and the Nazis are on the flood. The big question for the audience in this production is ‘What would you do?’ It’s a big question with no easy answer; I’ve had to step into the shoes of a character who is faced with a moral dilemma. Go with the flow, be swept along with the inevitable and survive, or risk being destroyed. It’s an old and a hard reminder: The only thing that allows evil to flourish is for good people to do nothing. And oh, the cost whichever you choose! Life really … it’s a Cabaret.

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Photo shoot, make-up and corsets!


photo credit: fluzwup

A night off from rehearsals but valuable nonetheless; the cast were called for the program photo shoot. It was a chance for us to see one another for the first time in costume, and to realise how powerful a role the element of body adornment plays in visual story-telling. Body-masking is the term I use to describe how external adjustments like costume, hairstyle, makeup, shoes and other physical adjustments … a change in one’s own alignment, tempo-rhythms etc., assist in transformative characterisation. Some of the men in the cast had had 30s haircuts and most were in suits … instant effect. It was also an opportunity for me to have a first run at the makeup I’ll create for Fraulein Schneider.

As I got into the costume and wig tonight, it occurred to me that given the shape of the dress (an original) I was going to need (ahem!) undergarments that complemented the silhouette. Hmm, a corset with suspenders to hold up stockings?!? They still sell these things apparently; most of the Kit Kat Klub dancers (mostly female) were wearing them. As I (gratefully) pulled on my jeans at the end of the session, I pondered on the role clothing had played in women’s suppression and liberation.

The shoot took place on stage, on set. As we walked on to our holy ground, it was reassuring to feel the sense of the scale and position of walls, doors, furniture i.e., what has been represented up to now by coloured gaffer tape on the rehearsal room floor. As we head towards technical production runs this weekend, the challenge will be to integrate the acting work with this new material world, itself a powerful signifier of the story. The creation never stops!