Gypsy 2.0
We have a swing for the lead... this is a momentous occasion for the company I'm working with. God knows how someone was able to convince the powers that be that the lead, who sings all thease angry songs 8 shows a week. Needs to be subbed out once and a while. And we only have 2 weeks left in the run. This is how far behind the ball and cheap the company is. me, I'm a stagehand....We're coal boys in the manor house. We have to be seriously injured or die before they realize they're pushing the human envelop.
It was odd. After 6 and half weeks it was amazing how preprogramed I was to the regular leads blocking. And, it was interesting how everyone stepped up their performance. And the new actor was so much more in the moment than the regular one. ( I'm not saying that one was better then the other...that's not my call.) It's just a refreshing thing for her and the rest of the cast. On the down side the dancer of the show has left and the replacement guy is really stiff. He's a good singer. But, I've lost every reason to want to work the spot in act 1. Scott was so Gene Kelly like. So fluid. And it was fun to support his work with the spot. I'm going to miss him. He was the best male dancer I've seen on the ACT stage since " Singing In The Rain " in 2002
(If you want to learn how to run a spot light. I suggest to watch Gene Kelly's, " An American In Paris " The movie has a dream sequence in the last half of it, that's a one man dance / spotlight extravaganza. The operator for that production makes the spot move like a character in it's own right. It's the closest thing to art with one bright light. - I Try to invoke the feeling of that dance sequence every time I run a spot for musicals.)
It's odd how the butterfly effect of a couple of cast changes can affect the mood of the cast, as a whole. It's easy to forget after the blocking is set in stone. How people feed of each other. Even in something as cut and dry as a stage musical. Where everything is times to song, dance and stage moves. I wish I could remember this in my daily life. Around people ( women ) I'd like to meet. Pretend I'm the swing. reinvent the moment and say something different. Watch for the change in re-action. Play with the moment. Say something, just not pass by and smile.
Switch it up and see what happens.....
We have a swing for the lead... this is a momentous occasion for the company I'm working with. God knows how someone was able to convince the powers that be that the lead, who sings all thease angry songs 8 shows a week. Needs to be subbed out once and a while. And we only have 2 weeks left in the run. This is how far behind the ball and cheap the company is. me, I'm a stagehand....We're coal boys in the manor house. We have to be seriously injured or die before they realize they're pushing the human envelop.
It was odd. After 6 and half weeks it was amazing how preprogramed I was to the regular leads blocking. And, it was interesting how everyone stepped up their performance. And the new actor was so much more in the moment than the regular one. ( I'm not saying that one was better then the other...that's not my call.) It's just a refreshing thing for her and the rest of the cast. On the down side the dancer of the show has left and the replacement guy is really stiff. He's a good singer. But, I've lost every reason to want to work the spot in act 1. Scott was so Gene Kelly like. So fluid. And it was fun to support his work with the spot. I'm going to miss him. He was the best male dancer I've seen on the ACT stage since " Singing In The Rain " in 2002
(If you want to learn how to run a spot light. I suggest to watch Gene Kelly's, " An American In Paris " The movie has a dream sequence in the last half of it, that's a one man dance / spotlight extravaganza. The operator for that production makes the spot move like a character in it's own right. It's the closest thing to art with one bright light. - I Try to invoke the feeling of that dance sequence every time I run a spot for musicals.)
It's odd how the butterfly effect of a couple of cast changes can affect the mood of the cast, as a whole. It's easy to forget after the blocking is set in stone. How people feed of each other. Even in something as cut and dry as a stage musical. Where everything is times to song, dance and stage moves. I wish I could remember this in my daily life. Around people ( women ) I'd like to meet. Pretend I'm the swing. reinvent the moment and say something different. Watch for the change in re-action. Play with the moment. Say something, just not pass by and smile.
Switch it up and see what happens.....