Last Sunday marked the closing of the second show of the season, Once a Ponzi Time. The acting company assists with what we in the theatre business call 'strike'. This is the process that involves completely taking down one set including the lights, the sound equipment, the props, cleaning the dressing rooms, etc. There's a lot to do. In the Peninsula Players world, another show is also put together immediately after strike ends. The show ended around 6 in the evening and we began tearing it down at 6:15. Most of the stage was cleared by 9pm and it was time for a pizza break. At that point in the evening, the actors are released from strike duty and the crew stays up until 4 something in the morning to get the next set up. Then, instead of having a complete day off, the actors get the morning and afternoon to themselves, then return to the theatre at 7pm for a spacing rehearsal, aka day 1 of tech. Now, in most houses in Chicago, tech is a 3-7 day process plus about a week or so of previews. Here, we have about a day and a half to tech the show before an audience comes and that first time an audience comes is considered our opening. Wednesday was our opening, but it really felt like we opened on Saturday.
Throughout the tech process, many things change including costumes and light cues and some staging to accommodate the overall picture. Sometimes designers and directors just don't know how something will look until it is physically before them. One of my costumes changed three times before finally settling on the one I am wearing in the show. Another thing that changes pretty often for me is hair. In this show, all actors portray a character in 1890's France and one in 1980's America. For wig designers, it is just easier to have all actors wear wigs for such a radical change in order for their designs to be exactly what they want. At the beginning of tech, I had a blonde wig for the 1890's look and then used my own hair in French braids for the 80's look. After one chunk of time on stage, the designer came back to me and said, how would you feel about using your own hair for the entire show. Now, think about this: the 1890's characters are replicas of the people found in Georges Seurat's painting and the point is to be as close to the painting image as possible. This is my character: Celeste.
Seated Celeste |
Isn't she lovely gazing down at her pretty flowers with her parasol sitting next to her? My costume looks exactly like the painting. And now, so does my hair.
Post-show bang shot |
When actors learn how to improvise, the first thing they are taught is 'Yes, and...'. You always say yes to what comes to you on stage and add the word 'and' to keep the momentum moving forward. I feel like actors do this in their real life as well. When the designer approached me about cutting my hair, I said 'yes, and... if I hate it, the hair will grow back by the time I get back to Chicago in September'. This scenario also demonstrates how actors, myself included, will go to any lengths for a role. Think about how many actors add or lose weight for a role, learn boxing to actually do their fight sequences, learn a special skill like playing the violin or dye their hair according to the requirements for the role. Now, I would not have been fired if I hadn't cut my bangs. It was completely my decision, but it also represented an opportunity for a change. And really, in the grand scheme of things, it is hair and nothing more. It will grow back. Complete disclosure, I love the bangs!
We 'opened' Wednesday which means double duty started for me on Thursday. I perform Sunday in the Park with George 6 days a week at night and rehearse Ken Ludwig's The Game's Afoot during the day. This next show takes place during the 1930's in America. I play a young starlet actress and am learning a mid-Atlantic accent for the role. We have about two and a half weeks to rehearse this show and then it goes up with the same strike/tech formula I just went through.
And now, it is time to enjoy the rest of my Day Off! Until next time.