Monday, April 9, 2018

Tech Theater Blog #1: Use of Music/Sound in Dear Evan Hansen

When I went to see the musical Dear Evan Hansen in June, there was a song in the program that I hadn’t heard about anywhere else beforehand - a reprise of the Act I finale, “You Will Be Found”, right before the climax of the second act. When the moment came, it proved to be one of the most emotionally effective moments of the whole show, through the contrast between the two versions of the song. In its first appearance, “You Will Be Found” follows the titular protagonist’s sudden rocket to viral fame after his improvised speech at a school assembly about his (fake) friendship with the deceased Connor Murphy. Evan Hansen’s hopeful message reassures both the show’s audience and the many internet commenters we hear sporadically thanking him throughout the song is that, “If you only look around, you will be found. You are not alone.” The pre-recorded commenters all sound genuinely thankful to Evan, and the music has a soaring quality, soft and gentle at times but mainly loud and proud. The use of the chorus, which only appears in one other song in the whole show, makes it feel even more powerful, and all together it creates an image of a joyful community, celebrating their membership in it and inviting the audience to join. However, this positive portrayal of social media as a welcoming, uplifting place was not what the creators of the show were originally going for when they were first shaping “Dear Evan Hansen”. They had planned to take a more satirical approach, showing the evil side of the internet and the destructive power it can rain down on those it decides to target. 
This dark underbelly is put on full display in the “You Will Be Found Reprise”. For context, after Evan realizes how his lies have been ruining the few genuine relationships he has, he’s convinced himself that there’s only one way out of his situation. To prove to his friend Alana that his friendship with Connor was real, he shows her Connor’s suicide note that was addressed to Evan; what he doesn’t tell her is that this is actually a letter he wrote to himself as an assignment from his therapist. Unfortunately, not only does Alana believe Evan, but she almost immediately releases the letter online, despite Evan’s protests, to bring the attention of the public back to Connor. Here the reprise kicks in, but this time instead of creating a feeling of community and acceptance within the audience, it awakens feelings of dread and true fear. It’s hard to recall from memory exactly what the music was like, but I recall it being mostly the same while still somehow sounding harsher, sharper, and more dissonant, as though you’re standing in the middle of a battlefield. The commenters have all turned on the Murphy family after reading the “suicide note”, and call each one of them out for failing to get Connor the help he needs. They use crude and cruel language, holding nothing back - I specifically recall one person calling Connor’s sister Zoe a “bitch”. The lyrics are the same as the ones quoted in the previous paragraph, but with everything else combined, they take on a new meaning: There is nowhere you can hide from the ever-watching eyes of the Internet. There are other factors that play into making this moment so impactful, such as the lighting and graphics, but it’s the use of the music and other sounds that bring this moment to life in a horrifying relatable way.

Wednesday, April 4, 2018

TiP Chapter 8 Notes (Technical Theater Unit)

• If the play is set in a different culture and/or time period, do research to find references for costumes and set
• You can make a simple model of the set with figurines to represent the cast (held to make it to scale)
• Mark out the “stage floor” in the rehearsal room, as well as where any large furniture will be, with tape
• Have everyone involved come up with an idea for what the essence/message/main theme of the play; can help you figure out color pallets, which moments that tie into that theme should be highlighted with lights or sound, etc.
• Pick out moments where you can afford to get extra creative with staging without distracting from the scene
• If you’re going to have music, make sure it fits the setting and tone of the play; the music you play before the show starts and during intermission should also fit with the play to keep the audience from being pulled out if it
• Set should help express the story; functionality > flashiness
• Consider where you cha use special effects (again, to enhance the story, not distract from it)
• Make sure the light and sound operatives know the power cues before the technical rehearsal
• Have sound effects saved in order, all in one place
• Position lights before actors arrive at rehearsal to save time
• Try running through just the cues so that the light and sound operatives have time to practice and get used to it
• Consider visual and audio motifs that can be used to tie the whole play together

Monday, April 2, 2018

Rakugo Presentation Reflection

Having worked on my World Theater Traditions research project for two or three months at this point, it’s somewhat difficult to step back and look at the full picture. While I am satisfied with my final presentation, there are certainly areas where I could have improved it, had I made better use of my time up until that point. I’ve been fortunate enough to rarely suffer from stage fright in my many years of performing, but I think my nerves did get to me somewhat when recording my final presentation. Part of it was because I hadn’t fully memorized the script, so I ended up skipping over some of the more repetious lines of setup at the start. I also made the notecards late in the process of preparing for the presentation, so I wasn’t as comfortable using them as the could have been. The rest of my nervousness came from knowing that this will make up a significant portion of my IB grade for this class.
While the presentation could have gone a bit better, I am proud of what I accomplished with the project itself. Other than talking about my time physically practicing my convention, which I forgot to mention, I feel that I covered all of the required topics sufficiently, and in good time. If I were to do this project over from the beginning, I’d try to narrow the focus of my research more from the start, and make the notecards alongside the slides, so that I’d have more time to practice presenting and performing.

Friday, March 30, 2018

First Thoughts on Technical Theater

Having now been through four plays here at Cheshire Academy, and having seen eight plays on Broadway, I understand that technical theater includes multiple essential aspects of putting on a professional show. These include set design, props and costumes, lighting, sound, and stage management. The stage crew is there during the show to make sure that everything runs smoothly; props have to be in the right place, costumes have to be where people change in and out of them, and scene changes have to be fast without forgetting or breaking anything. 
All the other aspects of technical theater are mainly there to heighten the setting and atmosphere, immersing the audience as much as possible. If a character is meant to be holding a book, it might pull the audience out of the scene for a moment if the actor doesn’t have a book prop. If the play is meant to take place in a certain location and/or time period, then not having relevant costumes can be distracting as well. While plenty of shows can work with a simple set, having a set that’s beautiful and complex will leave a big impression on the audience. Still, the set should prioritize functionally over pure awe factor. Lights can highlight a specific character or object, or set a mood.

Monday, March 5, 2018

Stars in Their Multitudes: A Review of CA´s Production of “Les Miserables”

Over the past few months, I have had the pleasure of participating in Cheshire Academy’s production of “Les Miserables” (student edition), originally written by Alain Boublil and Jean-Marc Natel, translated to English by Herbert Kretzmer, and directed by Jennifer Guarino. The show opened on Friday February 23 with an evening performance that day and Saturday, as well as an afternoon showing that Sunday. Adapted from the classic novel by Victor Hugo, “Les Miserables” is a story set in early nineteenth century France that spans two decades, culminating with the 1832 June Rebellion in Paris. There are many characters with their own entangling plot lines, but the focal point is Jean Valjean, an unusually strong man who broke parol after serving nineteen years of jail time. A kind bishop opens his heart to forgiveness, and Valjean spends the rest of the play trying to be an honest and generous man while avoiding the clutches of the very dedicated and deeply religious inspector Javert.
From the corrupted innocent Fantine to her orphaned daughter Cosette to her lover Marius Pontmercy, Valjean’s simple desire to do good changes lives and saves souls. This plays into one of the major themes highlighted by this production of the play: redemption. It is the main idea that puts the protagonist and the antagonist at odds; Valjean believes in redemption and acts to earn it, where Javert does not, and when forced to face it, it overwhelms and disorients him to the point that he kills himself. Yet at the end, when the souls of the dead come onstage to welcome Valjean into heaven, both Javert and the Thénardiers (dastardly thieves/cons who lack empathy and would do anything for money) are standing on the sides of the stage, showing that there is always hope for penance and healing, no matter who you are.
Considering how large of a production Les Miserables is, a skeptic who stepped into our little Black Box theater might start questioning if it would even be possible to pull it off in such a small space. However, considering the limitations, the set ended up drastically exceeding expectations. The painted backdrop of the city at night was beautiful and set the perfect atmosphere. For when another background would be more appropriate, the triangles from last year’s production of “School of Rock” were repainted to have two plain-color sides, one a warm orange and one a cold grey, and one side that, when put together, formed a lovely garden. Then there’s the surprisingly realistic-looking bridge, looming over the action from the back at all times. These few elements, along with some tables, chairs, benches, and various other props. come together to set each scene more than sufficiently. However, the star of the set design is the three-part barricade that gets pulled out in Act II, built out of assorted furniture covered in splatters of painted blood, with multiple levels to make it feel even more real. It awed me the first time I saw it and has continued to do so ever since.
The lighting did well at setting the mood and commanding the audience’s attention, with some of the stand-out moments being the wild splashes of color that swirl around during the end of “Master of the House” and the flashing lights during the gun battles at the barricade. The costumes were equally well done. The poor wore drab colored clothes to play into the misery of their lives, while giving the prostitutes sparkly masquerade masks and colorful feather boas really made them attract the eye. The audio was well balanced, and the gunshots were realistic, though sometimes they seemed to come in either a bit late or too quiet to start.
There were a ton of strong performances in this show, but the ones that stood out the most were Mousier and Madame Thénardier, portrayed by Sam Weed and Gianna respectively. These two characters are the main source of comedy and levity in the show while also being the most truly evil out of the whole cast. These two manage to sell that perfectly. Both are entirely comfortable in their own skin, full of confidence as they move across the stage, always in character. You cringe in fear at the harshness Gianna shows to young Cosette, but then she gets perhaps the biggest laughs of the whole show in her crass solo during “Master of the House”. Sam is lovably sleazy all the way through, stealing every scene she’s in. Not only that, but the two of them have amazing chemistry, best portrayed in their hilarious interactions during “The Bargain” as they haggle for Collette-Cosette-Corvette and “The Wedding”, where they end it by cheerfully exclaiming to the audience “won’t we see you all in hell!” 

What impressed me the most about Cheshire Academy’s production of Les Miserables was the effort that was put into it. The heart of this show shines in the gorgeous visuals, in the booming music, and the breathtaking performances.  Every time I heard one of the actors seemingly on the brink of tears, which was more often than I had initially expected, I felt a pang in my heart and had a proud smile on my face. I knew from the start that this show was going to be special, but the final product still blew me away. This is an experience I will not forget.