I have all the time in the world and this is going to be one long ass blog... And I may get a little teary eyed. So, bear with me.

Jeez. I don't even know where to begin.

First of all, I want to thank everyone involved in this show. I decided to do this internship because - well, mainly because I didn't want to take another goddamn class - I've been doing the college thing for four years now and I started to get a little burnt out. I had a not-so-good experience during my last project as a director (the show itself was a success... but... well, long story) and I really started to question WHY I'm spending thousands and thousands of dollars to obtain a piece of paper. What is the point? Is it really worth it? And more importantly, is this really what it's like? And ultimately, do I want to do this for the rest of my life?

I really needed to know.

After working with Scott Miller as a lighting technician and seeing a year or two of his work - I knew that if I wanted to intern anywhere for credit... I wanted to intern with him. I wanted to see the secrets of rehearsal. Because up until now, I had come in at "hell week" and seen the almost-finished product. I wanted to know how he did it. How does he put these brilliant shows together? How does he get the best out of every single person in the cast? There had to be something... something that I didn't know about... something that has not been present in any other production I have ever been apart of.

And I still don't know what that something is.

But, (and here's an ego boost for ya, Scott) The man is a musical GENIUS. Really, he is. Go read his books. I did and I barely have the time to read anything. I couldn't put them down. And if you can't afford to buy them, find them in the library - they're out there. Or better yet, go to http://www.newlinetheatre.com/ and read his analysis and chapters on the shows. Read his director notes in the program. He really knows his shit. He has mastered the rules of musical theatre... so, he has EVERY right to break them.

There are many theatrical people in St. Louis who come see New Line shows and don't really understand or don't like the way they are staged. I think it's because they are either used to the traditional staging and want to keep it that way or maybe just don't grasp the concept of reaching out and actually engaging the audience. Maybe, it's not important to them. Maybe they frown upon how Scott breaks these rules and gets away with it.

But, nonetheless, that's why you come see a New Line show. Many people are drawn to the unorthodox nature. Times are changing. We live in a world where entertainment is only a button-click away. This era is... I'm sorry, but it's true... lazy. People can just sit at home and get movies by going to channel 999. I mean, even Blockbuster is having a hard time and having to change their system to fit this utter laziness. I think it's almost repulsive that people don't even have to get in their cars and drive to see a movie - or better yet, drive to a freakin' Blockbuster and rent one! Jesus! What's this world coming to?!? And theatre - who goes to the theater anymore? Theatre people. We are quite the breed and we are the only ones who are really keeping it alive. But, you know what? I think that the biggest and best challenge is to get the people, who normally sit at home on their recliner, off their asses and into the theater. Better yet, get them into a theater and make them REALLY THINK. As Scott said in a previous blog (I don't care how wrong or retarded it is to quote someone else's blog... I'm doing it anyway),

"If it is to survive, theatre has to jump down off that stage and engage its audience! Theatre has to stop separating actors from audiences! Theatre has to stop giving audiences sitcom plays and emotionally dishonest (or worse, emotionally empty) musicals! Theatre must be, once again, about something!"

SEE? He's on to something! I'm telling you!!!

And there are musicals out there that have changed the theatrical world. These musicals accomplished that biggest and best challenge of bringing a new generation to the theatre.

You can see these musicals at New Line. They do musicals for people who hate musicals.

But, the people who like musicals love them too... So, everybody wins!!!

I must sound like I am high as a kite... but, I'm not. In fact, I'm writing this (once again) at 3am at a silent police department, while my partner is quietly snoring... maybe I should type more quietly. Ha ha.

BUT anyway -

I have learned SO much through this experience. And the whole directing a musical thing (which, I've had like... one class of musical theatre through my fourteen years of dance, one voice class, and no classes relating to musical theatre during college) so, I've enjoyed musicals for a very long time, but learning how to direct one is something new to me. The structure and the lyrics and the rhyming and ... wow. It's fucking awesome. I love it. Plays are cool, but musicals... the fact that one can tell a story through lyrics fucking rocks. And more so, if one is talented enough to get a story out through ROCK musicals... that's even cooler. PLUS, you get the song and dance and the whole "showy" theatrical essence. PLUS, a really awesome band and for rock musicals - a really talented and hot guitarist. :0)

And it's not only the whole musical theatre thing that I've embarked upon. I've also learned that in the professional theatre world, there ARE people who will give you 150%. They will trust you and be completley and utterly afraid at first, but they will go and work their ass off until they get it right. They have PASSION for this. They are not doing this for a grade or to up their funds (because lord knows, they don't get nearly as much as they deserve). They do this because they love it. They want to be there. And frankly, if you don't have that kind of passion - then you need to go work elsewhere. Maybe Charter Communications is hiring telephone operators to assist the people in their recliners...

I learned that it can be difficult to work with some people. That you will have people who just spontaneously combust and you never hear from again. People who you thought were trustworthy. You learn who you can trust. Who gets it, who doesn't. And it isn't so much a political thing (Fuck politics), but a chemistry thing. You learn who fits in with the New Line family and who just... doesn't.

I've learned that everything is built during rehearsals. Playing is important. Some of our funniest moments in the show came from something that just happened in rehearsal. It's important to let the actors just explore and find themselves... and it might take just one thing like a sock or a flashlight. (Korinko, I'm gonna try to fix my other flashlight and give that one back to my dad cuz I really think you should have your maglight...)

I've learned that it's okay to make the audience turn their heads to watch a scene. It's also okay if they don't get to see everything because there is so much to see.

I learned that repeated gags sometimes get a laugh and sometimes don't. It all depends on the audience.

And I also learned ... kind of already knew... that the audience can be a flop. Or sound like a flop, but then later surprise you and give you a standing ovation.

I learned that doing a show with huge flourescent lights suck. But, the audience will understand and not be angry with you - if you put on the same show and really kick ass.

And that the best form of excercise is performing "Snuff That Girl" and "Run, Freedom, Run" back to back for a month.

I learned that learning the music is a long and tiresome process when there are a lot of harmony parts, but the ending product will give the audience chills. (I will DEFINATELY miss, "We see a river flowing for freedom. We see a river just in view. You see a river flowing for freedom. You see a river straight and true."

I've learned a lot from this show. This was an experience that you can't find in any textbook. I will miss it. It really is sad when I think of how I won't ever see Urinetown on stage, with this group ever again.

Most definately worth the "A" I was given.

You all did fantastic. You're truly admirable and inspirational to this 22 year old trying to find out where she belongs in all this mess. I will miss the show, but I know I will see you all again... somewhere down the line.

And thank you, Scott Miller, for unintentionally being one of the best teachers I have ever had.

Don't miss Sex, Drugs, and Rock and Roll... which stars many of the cast members from Urinetown.

And I'm sure I'll be involved in some way, shape or form... Maybe Scott will even break down and decide to aquire a stage manager for the new space - not to "call" the show, but to run lights, make prop lists, do techie stuff, and ... you know... take line notes for the actors.

Then I'd have a reason to sneak into rehearsal and see everybody!

Thank you! And good night!!!


MK said...

Well done, lady. And I'm not just saying that 'cause you might give me the maglight... ;o)

I hope he thinks a Stage Manager is a good idea too. Let me know if there's anything I can do to help.

See ya soon!


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