There is a tricky monologue at the end that pivots from tragicomedy to tragedy to comedy on a dime, and not everyone can pull it off. The important thing is that he can command the stage for the whole show he makes or breaks the evening. He has to be able to sing, but only enough to just carry a tune at the end. This is a tour-de-force role for a comic actor. The actors are also playing actors playing characters, so there is a layering of delivery that’s fun, but challenging. There is a kind of honesty in this very ‘fake’ acting, but it takes a while to find it. Stock Gestures, which are normally to be frowned upon in modern Theatre, are actually just right here, because they make the stereotypes very specific. These characters are big, comedic, and play for laughs. This kind of acting is the sort of arch performance style that plays the scene, but is really focused at selling the characterization to the audience. ![]() Normally you’re looking for the sort of honesty between characters that projects to an audience, but doesn’t particularly acknowledge them. This can actually be a tough thing for a trained actor. The characters in the show-within-the-show should ideally be able to act presentationally, as in the period. So if you did it at a High School, you’d have to beef up that chorus of servants and be very creative about where you put those extra actors. It does have an Into The Woods style casting problem, in that it’s a show with a large ensemble cast and virtually no chorus. ![]() The show is basically light, fairly clean with only a small number of potentially offensive moments (some of which could be ‘tweaked’ in a very conservative venue), and audiences love it. With the exception of Tottendale, who is supposed to be old, and perhaps Drowsy and Man In Chair, everyone else makes sense with younger performers. In many ways, this is a perfect show for young performers. Thank You, Ashley! Drowsy Chaperone Actor PacketĤ) Watch some Marx Brothers comedies (always good to have an excuse to do that) and/or listen to some of Tommy Krasker’s restorations of some actual Broadway comedies from the 20s and 30s. You’ll want to play Man in Chair.ģ) Our Dramaturg, Ashley Leamon put together some incredible notes for the cast, which I am including for you to use. They were incredibly nice people I’m really looking forward to their further projects.ġ) Listen to the Original Broadway Cast RecordingĢ) Read the script. We were very fortunate to have Bob Martin and Lisa Lambert join us for a talkback, which was really informative. If there are lousy ideas, I claim them as my own. If there are good ideas in this essay, they are most assuredly the result of collaborating with these incredible people. Have Fun! Feels like we could go on forever this way.I’m assembling this rough guide having just finished a terrific run of this show at Villanova University, which was directed by Father Peter Donohue, PhD OSA, choreographed by Kevin Dietzler, with important assistance and insight by Dr. This is a SAFE Community and rudeness WILL NOT be tolerated. Message the mods and action will be taken. If anyone here looks down on your, speaks down on your, treats you poorly or rudely then that's on them. If you have personal thoughts, post them! A poll idea? Post it! A Review? Post it! You get the point. If you have a question, post it (tag it correctly, but post it). It's not a place for you to be afraid of who you are. This is a place of community and lighthearted discussion about our favorite musicals, songs, actors and soundtracks. When you make a post, please make sure you add the correct flair so that the page is tidy and organized - it makes it easier for everyone to navigate.ģ. Don't flaunt your knowledge over others or point out their lack of in a rude way. There are some people here who are new to it all, some people here who know musicals all too well. We all love musicals, either watching, listening, performing, discussing, or all four. ![]() Everyone on this page is here for a similar reason. Additionally, we hold a Listening Club thread to talk in depth about one particular musical and what we like/don't like/would change about it. Join us here to celebrate musical theater, the shows and composers we love, the actors and actresses who draw us into their worlds, and the technical gurus who transport us from where we are to where the authors want us to be.Įach week, we hold a "What Are You Listening To This Week" thread to chat about what's been cycling on our listening devices.
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