Well, gang, we have lots of catching up to do, covering several rehearsals, and not a copious amount of time, what with Hell Week! upon us (euphemistically called Tech Week, hell yeah!), meaning six consecutive nights of rehearsals.
Only fitting that the first photo of set as it’s emerging in full bloom should show one of its creators, Dave Morabito (Oberon/Theseus), as Daniel Carlino (Puck) cools his high heels.
But first, I’m happy to report a close-encounter sighting of Chris Jamison (nee Bottom) this past Friday, Nov. 28, at Yorktown Stage. Along with Pia Haas, we together enjoyed watching “Christmas Carol,” starring Armonk Players stalwart Jeff Schlotman as (who else) Ebenezer himself. The stagewise Jeff was Scroogelicious for sure.
He and a sizable, talented cast performed in front of a gorgeous, highly versatile set (courtesy Kevin Kearins), accompanied by a terrific-sounding orchestra under the baton of Stephen Ferri. The production, which completes its run Nov. 30, is directed by August Abatecola (but everyone knows him as “Augie”).
Fairies and Lovers mix it up in one of the big production numbers, like they do in Vegas. Whole lotta Shakespeare going on.
Chris is in good spirits, telling us she is getting around better than expected (though some of you reading this know that from seeing her at Mark Pierce’s farewellfest a week ago, when she unceremoniously “got the boot,” or at least did her car).
Meanwhile, back at Whippoorwill Hall, at this writing, the set set up by Messrs. Morabito and Berro and Valbiro and whomever else is lending a hand should be quite a sight for sore eyes come Sunday, Nov. 30, 2014, when all Hell (Week) breaks loose.
WTF? These must be props left over from a past Armonk Players production. But leave it to director Chris DiTota to probably figure out some way to punch up a scene using these babies. Doncha just glove it?!
As one of the Mechanicals, your humble blogger was relieved to hear director Christine DiTota say at the Sunday, Nov. 23 rehearsal that we’re “going in the right direction.”
It also was the first time we got a gander at the first phase of the set, and had to start getting use to making our entrances and exits in the right apertures of said set.
Choreography was being worked out for one of the production numbers, with dancers instructed that they had 16 counts to figure out what they were doing with their partners. At 28 counts, they were told to “scream and run.”
Director Chris DiTota (left) and choreographer Christine Gavin cast their expert eyes on how the cast is progressing on stage at this stage of rehearsals.
At the Monday, Nov. 24 run-through, Director Chris stood in for Oberon in Dave Morabito’s absence and, of course, knew every word of dialogue. That’s just crazy, but also cool to watch. And inspiring.
At Wednesday, Nov. 26 rehearsal, it was the first time we ran the whole show — Acts I + II — in sequence. Chris said she would not stop us and would herself be off book. She pretty much kept to that, and we were clocked all tolled at under two hours.
Hell Week, here we come!
I was reminded at tonight’s rehearsal of something that seemingly has nothing to do with what we’re doing. And yet it does.
Choreographer Christine Gavin takes the cast through its paces. Like Gene Kelly sang, “Gotta dance!”
Dave Morabito (center), who doubles as the show’s talented set builder, is King of the Fairies Oberon, as his crew (from left) Nancy Jane Blake, Julia Ryan, Leah Wendt, Tom Ammirato, Heidi Giarlo pays him homage.
Tony Val as Bottom laps up the attention from Leah Wendt as Queen Titania as a flurry of Fairies flutter and fawn. (Pay full attention to that man in front of the curtain, because we’ll miss Mr. Mark Pierce!)
It harks back to when I was lucky enough to cover the video part of Hollywood, and was invited to Lucasfilm’s Skywalker Ranch outside San Francisco. They gave me an eye- and ear-opening demo of how movies come alive in post-production. It started with some raw film footage of a scene in the first Star Wars (actually Episode IV in the chronology). You can hear the camera motor whirring and George Lucas directing. Nothing special as an entertainment experience; like the proverbial “watching sausage being made.” But bit by bit, in the screening theater, my hosts added one layer after another to that same scene — editing, music, sound effects, and visual effects — until the legendary Star Wars movie magic was all up there in its full glory.
As cranky Egeus, Nancy Jane Blake’s costume looks like she channels flinty Clint Eastwood as The Man With No Name from his Spaghetti Western days.
Watching the scenes tonight in Chris DiTota‘s (our George Lucas!) re-imagining of this Shakespeare comedy, I was excited by the dynamic elements she’s added that are not normally associated with this timeless masterwork. Then I realized we’re watching the equivalent of that Star Wars “raw footage,” before we have a set or lighting or props or costumes or full-scale sound accompaniment, or all the other “layers” that add up to the off-Broadway production values audiences expect of anything mounted by the Armonk Players.
Without giving too much away, it’s not a stretch to dub this interpretation “Shakin’ Up Shakespeare” (which this blog has been renamed effective right now). There are broad enough hints of what’s in store in the billing, with Christine Gavin credited with Musical Staging and Michelle DeAngelis with Music Arrangements.
Ms. Gavin was busy tonight choreographing the Lovers and Fairies. Others diverged to breakout sessions to run lines and sharpen characterizations, stage business and delivery. I got a lot of great line help from Pia Haas, who also worked with Anthony Barresi (Demetrius) and Jennifer Kawa (Helena), who also worked on her monologue with Mark Pierce, who also tutored Anthony Valbiro aka Tony Val (Bottom). Sort of a rehearsal roundelay.
I sat out most of the rehearsal after the first hour, using the time to go over my lines, take photos and make notes for this very blog. Anthony Vilbaro had to scoot early, so I also was a “stand-in,” as we say in the trade, for his Bottom (that didn’t exactly come out as intended….), during a scene with Titania (Leah Wendt) and Puck (Daniel Carlino) and Fairies (Tom Ammirato, Nancy Jane Blake, Julia Ryan). I was snuggled and pampered in a comfy, shell-shaped divan, so I’ll volunteer for that duty again anytime.
From my perch in the audience, it was quite an entertaining night to watch the great progress being made by everyone, and a gymnastic calorie burner of a night for the quartet aforementioned in the first paragraph. The detailed physical comedy staged by director Chris DiTota is coming together very effectively.
I would normally about this point post a photo of some of the highly unusual physical action on stage I witnessed, but I had to sign an oath of secrecy in blood (it’s cool, only stage blood), and promise not to show any photos here that would divulge the big reveal, so you’ll have to come see our show to find out what Bardman (no relation to Birdman) himself probably would find quite appropriate and amusing.
I tried something new tonight physically by adopting a limp. Chris is reserving judgment on whether that bit of business sticks or stinks, but it got a chuckle from her and from others in the cast. Special thanks to Tom Ammirato (Thisby) for his encouragement, saying that he found the limp amusing. Chris! Chris! Hint! Hint!