Technology and Rehearsals

Danger, danger Will Robinson...

Technology, in the form of laptops, blackberries, and iphones have taken over the minds of rehearsing singers everywhere. Gone are the days when singers and coaches would sit in a theatre and FOCUS on what was going on onstage.  Nowadays, everyone is sitting in the theatre commenting on FB, or texting a friend who's at a restaurant in Albany, or checking email from another singer who's "bored" in another rehearsal in Tel Aviv.

It is ruining not only the training process, but absolutely ruining a young singer's chance of watching and learning from colleagues strengths and weaknesses.

Now it's not everyone who is doing this, but it's seems as if it's ALMOST everyone.  Certainly a few are still watching and learning, and I've noticed they are also the ones who seem to know their music the best!

Crazy times call for crazy solutions.

I'll be implementing a "non laptop/cellphone in rehearsal" policy starting in the fall of 2009 at McGill.  I think it'll be the only way to take back the rehearsal process and get everyone to focus on the task at hand: CREATING.  

Creation is a tricky thing, very touch and go - particularly when a production moves into a theatre.  Lots of things change and everyone, no matter how big or small the role, needs to be focused on ONLY the show.

If any young ones are reading this, take the following seriously: I learned more WATCHING and LISTENING to others (right, wrong, and otherwise) than actually doing it myself.  I'll never forget observing rehearsals at DMMO while Nova Thomas and Lauren Flanigan sang through act three of Boheme, or watching Dimitri H's first Germont at L.O.C. and him dealing with Ms. Anderson's demands, or listening to the sitz of Partenope with David Daniels, Lisa Saffer, David Walker, and others with the incredible Harry Bickett in the pit at Glimmerglass, or seeing the final floor run of The Mother of Us All at Glimmerglass and finally GETTING THE PIECE, as directed by Chris Alden.

Rehearsals are times to focus and learn and think and BE.  Save the fabulous new status update for afterwards.  It'll keep!

Being Prepared: a pseudo-lecture

It's difficult nowadays to prepare for a first coaching. 

I guess I'm being facetious by writing that.

Let's explore the modern day singer's approach:   

You get your xeroxed score/aria/scene given to you instead of setting out to Patelson's to find the piano vocal among the stacks.  You dutifully highlight your text and write - by hand - the Nico Castel IPA underneath (not to mention his word for word), instead of looking up the words in your Italian/French/Czech dictionary - struggling to understand the 18th century language changed by time.

Now you are ready to prepare: you turn on your computer and google "Boheme Act Three" (or some such work) to get the Wikipedia article with the background on the particular masterpiece you're getting ready to tackle.  Then the real preparation begins: it's called YOUTUBE.

After viewing the dozen or so videos of this famous music, YOU ARE READY.  You've sung along, made fun of the artists' vibrato, posted some comment good or bad, and thought lots about how you'd sing it.

Oops, maybe not.  There's more to it than that.  It's ALOT more interesting and fun than that.  I'd recommend pouring over the text to find its meaning first.  Then I'd hie thee to a piano and slowly get to know your vocal part -- no singing needed.  Try speaking the text in rhythm first. Then plunk out the notes - humming along.  Once the intervals and/or tune seems clear, add in your voice - on your favorite vowel.  Once that becomes easy, take a big breath and slowly add the text to the vocal line. REPEAT REPEAT REPEAT.

After much time spent communing with a great composer, you're probably getting ready for your first coaching.  You've just spent time inside the mind of an artist, how incredible is that?!

Alright, I admit it -- I use Wikipedia every now and then.  Also Youtube -- it's such a vast treasure trove of art that just wasn't accessible to my generation on up.  However, none of these new tools can substitute for solitary practice - particularly Nico's ingenious IPA bibles. It's not enough to know what Nico tells you is correct, or to take an alternate high note because So and So did.  You have to understand what the piece is about from the inside.  That takes time and thought.

Unfortunately, I think too many young singers are spending their time reading blogs, posting on FB, following The Met on Twitter, and checking their email incessantly.  I also think that just when it might seem like the time to spend alone in a practice room, it is easier to go see the latest Harry Potter movie or head off to the bars to laugh with newly made friends.  The learning process gets short shrift and that's really too bad.

Enjoy the learning process -- it's not work, it's a rare pleasure that we artists have!

Days Off

Days off in the summer are always the most busy days, particularly when you're at a summer program that goes all day and all night for six days straight.  The Day Off is the day to get the laundry done, pay bills, clean up the cabin, run to the grocery store, get the car washed and cleaned out and - most importantly - practice for the coming week ahead as there is NO time to practice otherwise!

For my wife and I, the Day Off means FAMILY DAY as well.  We've tried to make the Brevard day off a big day with our boys - going hiking, or a movie, or seeing some tourist site like the Biltmore.  

Today we're all up early and deciding what to do - I need to practice, we have no clean clothes or milk in the cabin, and our boys want to do "something fun".

We'll see how the Day Off ends -- tonight Keith Lockhart, Mary Phillips, and Michael Hendrick perform Mahler's Das Lied von der Erde -- something that would be nice to see on a Day Off, but somehow I bet I'm in a car driving back from Bat Cave, North Carolina with two exhausted boys in the back seat and a wife who just wants to get back in time for a good night's sleep before teaching 12 lessons on Monday!

Hope your days this summer are as fun-filled as ours!

I promise to post more regularly!

PJH

Camelot Final Dress

Just home from tonight's Final Dress Rehearsal for Camelot at Ash Lawn Opera (in the Paramount Theatre in downtown Charlottesville.)

It's an interesting moment for a director - when to choose to enjoy the show and when to continue noting the show (i.e. light cues, props notes, etc.).

I've spent the last few years not enjoying my final dresses as much as I'd like to.  As a conductor, you try to move into that final dress in performance mode -- getting into the moment, enjoying the sweep of the evening, preparing for the rush of opening night.  As a director, it seems like the last chance at making an impact on the show -- or for lack of a better word, controlling the show.

Control is hard - particularly in the last rehearsal in a theatre.  

After tonight's dress rehearsal, which went VERY well thank you mum, it seemed as if I had lost a chance at enjoying the performances being given by my very gifted cast. Made me sorry to be leaving the city after the opening...

So Friday night we open and I will try to sit back and enjoy the show!  Favorite parts of the show so far, in no particular order: Katy's portrayal of Jenny when she meets Lance for the first time, Chris' first scene with Peter (Lance and Arthur meeting for the first time), Peter's monologue that ends the first act -- riveting, Corey's Mordred (come see the show for his 7 Deadly Virtues number), and our South African Pellinore as played by Christian.  I must say that it's been QUITE a pleasure to work on this show with everyone.

Oh - and thank the lords above that Erin is calling the show; AMAZING psm!!

Tomorrow is a day off and I'm heading to Monticello to commune with Jefferson.

Dialogue of the Camelots

So tonight we finished staging Camelot, a book scene between Mordred and Arthur. Done!  Well, sort of... we've got two full run thrus between now and Friday night (the 1st night of tech) and it is readily apparent that we need to run lines, run lines, run lines, run lines.

Don't get me wrong -- the cast is TERRIFIC, but these Camelot book scenes have a lot going on in them.  Giving clarity to Arthur's dream of civil law and civility, focusing the delicate balance of love between Arthur, Gwen, and Lance while moving plot along is the big challenge.

One of the delights of tonight's rehearsal was seeing Corey Trahan rehearse as Mordred.  He's wickedly funny, as is our Pellinore, Christian Bester.

I'm really looking forward to running the show tomorrow and seeing how it all fits, blends and moves forward.

On another note, Brevard rehearsals for Hoffmann (one of my least favorite shows!) have started with Dorothy Danner directing and Mo. Larkin conducting.  I hear the cast sounds exciting, and I look forward to seeing them in THEIR tech week in a less than ten days.  We did end up casting the scenes programs this past Monday night - after hearing 43 arias that day - and I hope the singers are excited: 20 duets in the first program and I think it's 17 or 18 scenes in the second program, including scenes by Torke, Britten, Kern, of course Mozart, and WAGNER; more on that later!

Fun fun fun

Camelot onto 2nd week...

This past week has simply flown by! 

Working with a very talented cast I've managed to get over 50% of the musical numbers staged. During the next two days, the goal is to finish the rest of act one.  The Arthur arrived into town today and is exceptional - as are all of the principals. That makes life much easier...

Tonight I worked dialogue with some of the cast and had a really interesting time talking about the piece.  In order to shorten the musical (it's rather long), I had made some pretty significant cuts.  However upon hearing the lines spoken by the players tonight, I decided to open up a number of those cuts.  It'll really help the show, and certainly makes me feel good as I love so much of the dialogue - being a fan of the Arthur legends since I was a young boy.

It's getting late, so I'll cut to the chase: I think that musicals AND operas should be treated much more as living entities that need to be reborn each time they are presented. We're currently in a present, operatically speaking, where directors and production designers re-think the operas, but where the music directors strive for note perfect renditions based on critical editions.  It presents problems when one is trying to create a whole piece in a genre that is based on sung text.

Just a thought on this late night out in the country in Virginia...

Leaving on a Jet Plane

Thursday I get on a plane and fly to Charlottesville, VA to start rehearsals for Camelot, which I'm directing at the Paramount Theatre for Ash Lawn Festival.  It's their VERY first production inside a theatre (and not outside in the backyard of James Monroe's estate), so the pressure to have a fantastic production is intense - sets, costumes, props, sound, everything...

The first day on the job I'm expected to show up at a Guild cocktail party - directly from the airport. Then the first week of rehearsals will focus on staging any and all scenes withOUT Arthur (who is coming in a week later).  Staging a show out of order has its challenges - most of all continuity of exits/entrances - but also it presents a focus challenge for both the director and the cast.  We'll see how it goes.

Looking ahead, it'll be an interesting few weeks. Rehearsals running from 9:30am to 4pm at a local high school, and then moving to a different rehearsal venue for evening rehearsals 6:30 to 9:30pm.  I'm hoping to get in a ton of work preparing for design meetings for another show I'm directing in January of 2010 during the two and a half hour break, but usually that means I'll go out for dinner and chat away and not get anything done.

Charlottesville, for those who don't know the town, is a TERRIFIC city.  The mecca for DMB, it was voted "Best City in USA To Live" about 5 years ago.  It has an amazing downtown pedestrian zone (the Paramount Theatre is right on the mall there), with tons of great restaurants and coffee shops.  I like the city alot.  It's about a 1 and 1/2 hour drive to DC and sits below Monticello.  If you get a chance to visit, you should.

I'm hoping the cast is prepared on their dialogue - I've cut pages and pages, but it's still WAY too long I think.  I'm hoping to tweak scenes in the evening rehearsals once I hear how everyone does.  That's most of my worry - that and figuring how to make the "Jousts" number interesting.

Must pack for my three weeks in Charlottesville AND then my five weeks at Brevard.  More on Brevard later!

Patrick