Picture Time!

I just realized that I STILL have not put a picture up for this semester... So here's a photo from our first day of class in August. :)

BACK ROW: Killer, All-the-Way, Iceman, Angela, Wifey, Thrill, Newbie

FRONT ROW: D-Train, O.D., Two-Shots-Up

And here's a picture from our last day of classes in London (after class at Wagamama, with our lovely voice professor, Charmian).


LEFT SIDE: Wifey, Two-Shots-Up, Thrill, Charmian, Iceman, D-Train

RIGHT SIDE: All-the-Way, Killer, Newbie, O.D., Angela

Saturday, October 2

Antigone Now


At this point, we're all just exhausted. We're working through the entire show about three times a day, and it's emotionally exhausting.

It's also really hard on our bodies and our voices. We're well-trained (thank GOD!), so we're being as careful as we can be, but this takes its toll anyway. We sit on metal chairs motionless. We stand motionless. We kneel. And I scream half of my lines. It's intense.

I've been hydrating more than usual (I usually hit 10 cups of water a day) and eating honey. I've been resting my voice whenever possible. I've been lying down whenever I get a chance. But it's tough.

Director said today that we need to be more consistent in our emotional connections during the play. I think that right now, we just really need a day off (which, fortunately, we get tomorrow.)


~A~

Friday, October 1

It's October? Seriously? How did that happen?


Class

I read a scene with All-the-Way that I used for a competition when I was in undergrad. Head-of-Program seemed to like it (and thought that it was a particularly good fit for me), so he said to keep it around as a possibility. I have to tell you, I felt AWESOME about that.

All-the-Way & O.D. did a scene that was quite funny, but Head-of-Program thought it was too prop-heavy to bring to Showcase. He also said that he thinks someone has suggested this scene every year, and they always have to rule it out in the end.

Thrill & Iceman did a scene that required too much background information.

Two-Shots-Up & Wifey did a scene (perhaps the only non-comedic scene that anyone has brought in thus far). It was a good scene, but Head-of-Program didn't think it was evenly split between the two characters.

Killer & All-the-Way did a scene that Head-of-Program liked, but he thought it wasn't right for All-the-Way. He said to hold onto it, and maybe try it again in the future with Wifey.

Dude, this is complicated.

We've been having conversations about headshot photography as a class, but it's complicated. We have different ideas about what headshots should be (and how much they should cost). And we all have different schedules. I don't know how this is going to work out. I'm praying that we have a good solution for everyone.


Antigone Now

My notes include:

- The 1st prologue was weak

- After Creon's intro, move with motivation, not just because we're obediently following our blocking ;)

- By "naturalistic", our director seems to mean "struggle to come up with the words you're about to say"

- During the prayer, get more charged as it goes

- The final run (of three) was the best run we've done so far

- We shouldn't be working to make a word into something that it already is (or, as the director put it, "making butter buttery")

- Change the word "mama" to "mother". Change the word "daddy" to "father".

- After the prayer, get determined on the lift
(we all come together to lift Two-Shots-Up in a crazy cool way)

Thursday, September 30

Antigone Now

Voice Professor has attended some of our rehearsals as our vocal coach. Here are some of the notes I've gotten from her:

- On the line "We're through with wailing": grabbing in the throat. Remember expansion in heightened emotion and when increasing volume.

- Be cautious of glottal attacks on initial vowels. It sounds find, but it's stressful on the voice.

- Use final "z" sounds. Especially in lines like, "Crossing rivers and oceans, cities and ruins, mountains and plains...", and "He makes cities where there was swamp and wheat fields where there was forest. He builds factories where there was jungle and mighty freeways where the prairies stretched."

Wednesday, September 29

Antigone Now

We started rehearsal early, in a brand new space.

Because this is a touring show, we have to get used to performing it in all sorts of different spaces. And today, we tried one out.

In mid-October, we will be performing on the second floor of a museum, in what is sometimes used as a gallery. It's a huge, echoing chamber of a room. They will be putting in a platform for us to use as a stage. But we have a much shallower space to work in than we're used to. So we had to change some of our blocking. And I kept wandering off the edge of the stage (which is not yet clearly marked). Whoops!

My notes included:

- Don't fall off the stage!!!

- When doing "Desire" speech, align self with DSR corner of the square

- Back up when doing Creon speech chair rotation.

- x US of Newbie on "Poor Babies" line.


That sort of thing.


We're going to have to do this (to some extent) in EVERY new space before performing. It's going to be insane.

Tuesday, September 28

Antigone Now

Here are my notes from today's run (from Voice Professor):

- Don't give up on your text when someone is cutting you off. Your line is still important. Don't drop volume. Don't anticipate being cut off.

- On the word "lost", don't glottal stop. Make sure to plode the "t".

- My "Aphrodite" monologue was "exemplary".

- In general, using voice very well.



We talked briefly about things that we should expect while touring the show. We are expected to always carry an ID. Some of the schools are doing background checks on us. Luckily, I think we're all pretty safe.

Mad Dog Theatre: Shameless Plug

Hello readers,

If you are in/near/visiting New York City, then you should totally check out Mad Dog theatre company. It was founded by friends (and former schoolmates) of mine, and they're having their first production in November. So happy for them!

~A~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

www.maddogbarks.com


FOR IMMEDIATE RELEASE Contact: Jennifer Logue
September 28, 2010 917-330-4533
maddogtheatre@gmail.com


NYC’s newest ensemble, MAD DOG THEATRE COMPANY, gets their feet wet with Levey’s All the Way From China World Premiere!

The brand new theatre ensemble, Mad Dog Theatre Company, which is devoted to creating new work, will present the WORLD PREMIERE of Barry Levey’s All the Way From China on November 10-21, 2010 (8pm and 2pm). Performances will be held at The Gene Frankel Theatre located at 24 Bond Street in NOHO (Bond and Lafayette). The production is an Equity Approved Showcase.

The cast includes Kevin O’Callaghan*, Heather Kelley*, and Ghafir Akbar. The stage manager is Sarah Gleissner*. Joel Waage directs (*denotes AEA Member).

Synopsis
One year after his girlfriend was killed on campus, Yale dropout Jack holes up in Austin with a temp job, a guitar and an underachieving rich girl who toys with smack. The anniversary of the unsolved murder brings Jack a stream of fresh torments: renewed media attention, additional police interviews, and, weirdest of all, a Yalie named Ralph who arrives at Jack’s door with urgent information. All the Way From China explores how we hoard or share our grief, and asks how close must we be to a tragedy to be entitled to mourn it. Is grief a process of communal healing or competition for personal attention—and how far will we go to feel included?

Tickets are $16.00 and can be purchased at www.maddogbarks.com or directly from Brown Paper Tickets online or call 1-800-838-3006.

About the playwright
Barry Levey's most recent play, Hoaxocaust!, premiered last year at 59E59 in a showcase for Prospect Theater Company, and has been optioned for commercial production in 2011. Other plays include Downeaster Alexa (Ars Nova, 2009); Yale Law School (Heideman Award Finalist, 2010; Ars Nova, 2009); Citizens of Rome (O'Neill finalist, 2006); and Critical Darling (The New Group, 2005). His work has been developed at Williamstown Theatre Festival, Arena Stage, Rattlestick Playwrights Theater and the Baldwin New Play Festival at the University of California, San Diego, where Barry received his MFA. Barry is a New Group Artist, Ars Nova Playgroup alumnus, and member of the Dramatists Guild.

About Mad Dog Theatre Company

Mission Statement
Mad Dog is a group of artists who tell stories. We believe the best way to do this is to make the stories our own. Stories that are funny, ferocious, unlikely, sexy, rough, inconvenient, loud, unsightly, and - ultimately - provoke questions. We are committed to producing new work, and strive for passionate collaboration from inception through performance. We welcome the possibility of creating a monster. If we do, we’ll smile, shake its many hands and offer it some enchilada lasagna.

Who We Are
Mad Dog was founded in 2010 by seven theatre artists and artisans (yes, artisans) who met at the Florida State University/Asolo Conservatory between 2006-2009. Our founding members include experienced (and aspiring) actors, directors, playwrights, theatre administrators, teaching artists and bartenders. We work as an ensemble and encourage each other to wear a number of hats so that we – like our audience – are always evolving. Fifty percent of our founding members were elected to Prom Court.

www.maddogbarks.com
Contact Jennifer Logue (PR rep) @ 917-330-4533 or maddogtheatre@gmail.com