The Studio Theatre has opened their production of The Aliens by Annie Baker. The production was directed by Lila Neugebauer and stars Scot McKenzie as KJ, Brian Miskell as Evan and Peter O'Connor as Jasper. The production will be running from now until December 23 in the space's Milton Theatre with tickets ranging in price from $39.00 to $58.00. The play takes place in a back alley behind a coffeehouse in Vermont. Two professional slackers, KJ and Jasper, spend their days there just hanging out while a new kid who just started working at the coffeehouse, Evan, tries to get them to leave. In the end, KJ and Jasper take Evan under their collective wing and makes for an unlikely friendship between the three men. It is a show about music and art; It even draws it's title from the poet Charles Bukowski, whom the two slackers quote throughout. These are some of the photos I took as pre-press for the production. Enjoy!
In other news, A Change Gon' Come is being remounted for Harriet Tubman's Centennial kick-off performance at the Unity Church of Gaithersburg on February 8, 2013. I will, of course, be reprising my role as the Overseer. More details to follow! Can't wait to be with my family again!
Now that I have settled in a little bit, I have begun to explore the performing arts scene in the surrounding area (and a little bit in Delaware, too!). I sent my headshots and resume in for consideration for Legally Blonde The Musical (go ahead... laugh it up... I did) with a dinner theatre last night and have a few other ones that I want to submit to once I tweak my resume a little bit. I attached my generic one here, also. I would love feedback on it if you all have any!
I have also begun to make my list of local companies to market myself to. There looks like a pretty broad market that I can apply my marketing to, and I hope that I am well received. I probably will not be able to do anything until after the New Year, unfortunately, but hey... what a way to start the New Year if I get a couple clients!
There is a theatre in the Western suburbs of Philadelphia that I have an interview with tomorrow, and I am feeling very optimistic and hopeful about it. The People's Light and Theatre Company is located in Malvern, PA and produces an extensive season of classics, new works, and children's pieces with a pretty hefty budget for a regional theatre. The job title is Marketing and Design Manager. Something that is right up my alley, I just have to keep my fingers crossed and hope the interview goes well. It would also be a great start to my New Year! You all can cross your fingers, too, I will not mind.
I will keep you all posted, just keep checking back. I promise things will get more interesting soon!
By now I am sure some of you have heard that I have re-located to the suburbs of Philadelphia. That is correct, I have arrived in the City of Brotherly Love with the intentions of broadening my market and hopefully busting into the NYC scene a little more. It has been one hell of a stressful move, but I am very excited for future opportunities in this new chapter of my career and life in general.
That being said, I have DEFINITELY failed my New Years Resolution to write two posts per month! I have not even had internet until yesterday, and writing on this thing is next to impossible on my iPhone. I will try to keep everything up to speed for the next month as we enter into the New Year, but I make no guarantees.
This are kind of old news at this point, but I wanted to post up some finalized headshots from that marathon of portraits I did a while back (two months ago–Eeeeek!). So without further ado, here they are...
So, it is often a problem with circuses where there is a lot of music involved and choreography tends to look sloppy, and that is perfectly okay by me because the performers are not dancers. What is kind of irritating about Cirque du Soleil's Totem is the lack of continuity in the cultures they were trying to reflect. There were many beautiful American Indian tribal dances and creative recreations of Aboriginal rituals, but they would be paired with African drums, or a random girl in the background doing a fan dance. As a circus, the audience is looking every which way to see everything that is going on anyways, the sensory overload was not necessary. I will say, that when I tuned out some of the ambiance and music elements of the show, that it was truly amazing to watch. Really the performers were not so flexible that it was disgusting, they were doing things that a trained gymnast could do with ease, but in non-traditional apparatus, with costumes, while telling a story and to choreography and timing (well, kind of). All in all, I would love to see another performance, but now I have a different outlook on it, and know what to look for so that I, personally, can enjoy it without picking it apart.
Sometimes I hate that about myself.
But anyways, I have to get back to editing those headshots from a while back, but check back in a few days so I can maybe have some before-and-after shots. And probably a shout out for The Tantallon Community Players' production of The Color Purple. From what I have heard, it is an amazing show and I am getting excited to see it.
...was a success! So excited to share these new, unedited photos with you all. Cannot wait to get to editing. Might consider doing another one of these in the near future... We'll see.
Thanks to Aaron West, Eliza Kelley, and Shai Mallory for being my patient subjects, and to Shemika Berry (The Masquerade Belle) for doing make-up, and to all the wonderful people at Studio 400 for allowing us to invade the space a little bit! Things went great and I hope you all enjoyed yourselves as much as I did.
Spread the word!!! I have one timeslot left for September 22 at Studio 400 for headshots! The session will be from 12 to 12:45 that day. For $175, you'll receive a 45 minute session, a high-res cd with your 5 best images, including retouching and 2 looks. You may also opt to have your make-up done for an additional fee (e-mail for details). If you or someone you know NEEDS to get new headshots, make sure you book your session now! I'm hoping it will go soon!
Can't make the session on September 22? Contact me and we may be able to work something out for a different day.
In other news, I missed last months second post, so I will be doing three this month! Been busy with work and trying to get things organized for this madness, but more things will be coming soon!
As my acting buddies know, it is about to be a new season for theatre companies, and that means season auditions are just around the corner. Be proactive and get your new headshots now so you can be prepared!
Spread the word!!!
I will be doing a string of headshot sessions on September 22 at Studio 400 in Lorton, VA. 6 hours of non-stop headshot madness! For $175, you'll receive a 45 minute session, a high-res cd with your 5 best images, including retouching and 2 looks. You may also opt to have your make-up done for an additional fee (e-mail for details). Sessions will be booked from 12 noon to 6 pm, and I expect a high volume of interest so make sure you book your session now!
Can't make the session on september 22? Contact me and we may be able to work something out for a different day.
I recently had the pleasure of working with The Studio Theatre once again. They have mounted a production of Bloody Bloody Andrew Jackson that is sure to entertain you and make you laugh, and I was fortunate enough to be chosen to photograph their production for press purposes!
Heath Calvert as Andrew Jackson
Although I did not get to exclusively enjoy the production as I was focused on photographing the performance, I will say that what I did pick up was very entertaining AND educational. I remember bits and pieces about Andrew Jackson's political legacy from history classes in school, but none of it ever really stuck with me and pushed me to actually form an opinion on his ideas. This production certainly makes that happen. From his betrayal and exile of the American Indians, to his self-centered way of thinking during his Presidency, it is very clear to see that this contemporary musical serves to educate audience members on some of America's darker historical undertakings. All of that aside, here are some of the photos from the show! Enjoy!
Rachel Zampelli as Rachel Jackson (L) and Heath Calvert as Andrew Jackson (R)
Ryan Sellers as Blackhawk (L) and Heath Calvert as Andrew Jackson (R) with ensemble members
Rachel Zampelli as Rachel Jackson (L) and Heath Calvert as Andrew Jackson (R)
From left to right: Heath Calvert as Andrew Jackson, Davis Hasty as Martin Van Buren, Pomme Koch as John Calhoun, Ben Horen as James Monroe, Matt Dewberry as Henry Clay, and Alex Mills as John Quincy Adams
Rachel Zampelli as Rachel Jackson (L) and Heath Calvert as Andrew Jackson (R)
Ahhhh... what a refreshing vacation! Although I was on vacation, I have still been working diligently on some different things for sb.imagery. Below are a few of the finished photos from the shoot with The Dance Institute of Washington, followed by some other news. Oh, and a link of what not to do when you get to photograph Olympians...
In other news, I will be doing another shoot with Studio Theatre this tuesday. I will be covering the dress rehearsal of Bloody, Bloody Andrew Jackson and I am very excited to have the opportunity to work with them again! I am also very excited to learn a little bit more about the production since I have heard good things from friends of mine. Of course, the photos will be posted here as soon as i can get them up without spoiling the production.
I will also be making a lot of updates to my website, www.scottybeland.com, in the next weeks so please pardon the dust if things are different or are not functioning correctly. It is a necessary evil with the recent growth of business!
In other news... never do this when you're photographing olympians... these photos are a disgrace.
A couple of weeks ago, I had the pleasure of seeing Memphisat The Kennedy Center thanks to a very good friend (thanks Chris!) who I interned there with last Spring. Fortunately, he found employment there after the internship term ended, so he still reaps the benefits of free tickets from time to time. Lucky for me, I got one of those tickets!
Now I have been curious about this show for quite some time, but never really had the means, or the strong desire to put out the effort and money to go see it, so I am glad I got to see it for free. That being said, it was not my favorite musical of all time (that crown does still go to West Side Story), nor was it my least favorite. It does not fall somewhere in the middle either, it is closer to the top of the list. The performers were vocally phenomenal and the choreography was difficult and interesting enough to make the show much more exciting. However, the actual music and the book left a bit to be desired. The performers cannot be criticized for something like that so those reviews will come as a separate thought.
In the grand scheme of new musicals that have been written in recent years, an edgier, almost more mainstream sound has come about. This is a sound that a lot of people have begun to attach to, and Memphis tries it's best to match that sound, but unfortunately falls short. The music was written by David Bryan, one of the Grammy Award-winning founding members of Bon Jovi. Once you read his bio and realize this, the way the music sounds completely makes sense. Although this gives the show the edgier sound that a lot of new musicals have, it does not really pair well with the rhythm and blues inspired song line-up. Not to mention, some of the songs bring forth a lot of musical theatre cliches which can certainly leave a bad taste in your mouth if you are not expecting that. I will admit, part of the issue I am having is the fact that I really just did not want to hear a line-up of songs that sounded like showtunes. Give me the cast recording on a day where all I want to do is listen to Guys and Dollsor Little Women and my opinion might be different. Bryan did share credit for lyrics with Joe DiPietro, who also wrote the book for the show. The song "She's My Sister" was the straw that broke the camels back in this production and really left me going "Oh no, did they really?" In musical theatre, there are often times where, what could be dialogue, is exchanged in song and it gives said dialogue a kitschy, rhyme-y, cutesy vibe. "Marry The Man Today" from Guys and Dolls is one example that comes to mind. That is exactly what happened in this song, but it just did not work because too much was happening at one time. Bryan was trying to give it a rock edge, DiPietro was trying keep the drama building, the lyrics were choppy and accentuated to try to add to both of the above... it was not good. A simple solution would have been to just leave this part of the story as dialogue. It would have been so much better! Music aside, the book was structured too similarly to Hairspray, based on the whole race issue and how the characters worked together to resolve the issue. Since the story is actually written about a real person, Dewey Phillips, the book could have revolved more around "Huey", the show's male protagonist. Making it autobiographical in how Dewey lived his life to try to resolve this issue and all the struggles that he faced would have made the play's structure more original.
Aside from the actual play itself, the performances given by the actors on the stage are what truly made the show worth seeing. Bryan Fenkart gave a thoroughly entertaining and unique portrayal to his character, Huey. He had this amazing soulful voice with a charming Tennessee twang and still paired it with a dim-witted character both in and out of song. It is extremely evident that he gave every mannerism, word, thought and action a lot of planning and thought to make his character seamless and multi-faceted while still keeping Huey seemingly one-dimensional to the audience. Fenkart played opposite Felicia Boswell, who plays the vivacious and soulful club singer, Felicia, that wants nothing more than to get out of Memphis and sing. She was vocally outstanding, easily the best singer in the cast. I do wish that she had been a stronger actor, especially in some of the more dramatic scenes in the play, but she did an adequate job portraying Felicia's struggle. Rhett George played Delray, Felicia's over-protective older brother who would do anything in his power to keep Huey away from her... at first. George did a great job with portraying that over-protective older brother who does not give a damn about making it known that nobody is good enough for his little sister without being over-powering and yelling all the time. A lot of actors mistake volume for intensity and this was not something he struggled with. Clearly a trained vocalist, his voice could have used a little more soul to smooth over the great baritone quality. The ensemble was truly one of the best parts of the show. It was very easy for them to carry off the bigger dance numbers while keeping their energy up and maintaining a strong vocal quality. There was one minor flub at the end of one of the songs somewhere in the second act, something where the chord just did not work out, but I am not sure if that was the ensemble of the orchestra. Aside from that, they get an A+.
All around, the show was not bad. I did see it early in their run at The Kennedy Center, so I am sure it has gotten better since then, and it really is worth it just to hear the voices and watch the choreography. The show runs for one more week with ticket prices ranging from $45 to $115 with plenty of availability. You can buy your tickets on-line and pick them up at the box office, or call 800-444-1324. Enjoy the show!
... Paint your dream and follow it. —Steven Thompson
I am very blessed to have shot with some of the most prominent, professional theatres in the DC area. Theatre photography is my niche (naturally) and I thoroughly enjoy running with it and creating art through another artists' form of expression. It is almost like appropriation: They create the art and I take what they have made and call it my own. Gee, thinking about it that way makes my job sound easy!
It is no wonder I have branched out into other types of performance to photograph. Dance in this case...
The Dance Institute of Washington will be celebrating their 25th Anniversary this year, and I was selected to create some images for their marketing efforts. Yesterday's shoot was with a couple of young dancers who are enrolled in the pre-professional program at DIW. We were fortunate to get some great raw photos of them (see above!). I am really looking forward to editing these and sharing them with you all (clearly the doors in the background need to GO)!
Congratulations to the cast of Tantallon Community Players' production of Guys and Dolls. I went with a couple of friends from ...Spelling Bee and I honestly feel that the company has really pulled in some strong leads. I think that with a bit of discipline and a season of shows with smaller casts that TCP could really have a flourishing production company once more. Valerie Holt delivered each of Sarah Brown's songs with professionalism and grace and was truly deserving of the role. TCP is a company that I am very familiar with, and as a veteran performer there, Holt has come a long way and will be successful in future endeavors. Perhaps the actor most comfortable in his role was Zadoc-Lee Kekuewa as Sky Masterson. He continuously seemed at ease while on stage, never once getting tense or nervous throughout the performance and gave Sky Masterson a different kind of edge that evened out his most charming moments in the show. Another enjoyable performance was given by Leslie Kekuewa as Adelaide. To me, it seemed as though she channelled Betty Boop, which was a good choice in terms of vocally keeping up with the numbers "Adelaide's Lament" and "Bushel and a Peck". Rich Amada did exceptionally well in playing Nathan Detroit. Sinatra certainly left a mark on the role when he portrayed it in the movie which came out in 1955, but Amada had a very smooth, baritone voice that latched onto the music very well. He was also successful in giving the character a slew of one-liners throughout the show.
The show runs for two more weekends at the Harmony Hall Regional Center in Fort Washington, MD, closing on June 10. Friday and Saturday shows are at 8 pm, Sunday matinees at 2 pm. For tickets you can visit TCP's ticketleap page by clicking here.
For A Change Gon' Come!And this time the DC Black Theatre Festival gave us the primetime theatre (300+ seats) and timeslots (Friday at 7 and Saturday at 8) to remount this fabulous fictional telling of Harriet Tubman's legacy. Thanks to a few award nominations from last years performance (Costume Design, Audience's Choice, and Best Play for Young Audiences), the cast has really great expectations for future opportunities with this show! And hopefully we win something!
Last week I sent out some marketing supplies and samples to the professional theatres and performance venues in the DC Metropolitan area, and I am happy to report that I have already heard back from a few clients. I am most excited about receiving an e-mail from the Creative Director at the Wolf Trap Foundation for the Performing Arts in Virginia! I happen to really enjoy their programming and the space is a complete dream to photograph.
In other news, I was offered a slot to work on the set of a netflix series called "House of Cards", but due to unfortunate circumstances, and some minor injuries therein, I could not attend the filming today :-( I hope they will give me another chance to work on this project, but we will see how things go.
And after seeing last night's performance at The Kennedy Center, I can honestly say that I do not mind joining them. Ballet Preljocaj's original choreography of the timeless tale of "Snow White" was honestly one of the most entrancing dance performances an audience could experience.
A little background about the company itself:
Angelin Preljocaj founded his company in 1984 and has created 46 choreographed works. The artistic director of the company also creates original works for other repertory companies and has had his pieces restaged throughout the world. The company now has 26 dancers from all over the world with a plethora of different backgrounds and professional experiences, providing their outreach and education efforts with a well-rounded teaching staff for lectures, public rehearsals, workshops and other events. Angelin has studied with the likes of Karin Waehner, Merce Cunningham and Viola Farber, allowing him a powerful set of tools from the contemporary dance toolkit and a lifetime of connections and knowledge. dance toolkit and a lifetime of connections and knowledge. A winner of several awards, Snow White was no exception, winning the Globe de Cristal in 2009.
In an interview from March 2008, Preljocaj was asked "Why Snow White?" His answer: "I was very keen to tell a story. Just before Snow White, I created some very abstract pieces with Empty moves and Eldorado (Sonntags Abschied) and, as often happens, I wanted to do something completely different, white something very concrete and offer something magical and enchanted. No doubt it was to avoid getting into a rut. And also because, like everyone else, I love stories."
And with that, he certainly did tell the story in the most enchanting way imaginable. Contemporary dance has become a huge success for dance fanatics in recent years. Especially with the public thrust of contemporary dancers and choreographers on television shows such as "So You Think You Can Dance" and the increasing number of contemporary dance companies popping up everywhere. But what makes Preljocaj's company stand-out is his adventurous use of space and the fundamentals of a functioning ballet company. This company has a very solid corps de ballet that can very easily move as one body, seemingly perfect synchronization. The recognizable functions of a ballet company make the pieces enjoyable for older, more classical audiences, while the solo numbers and contemporary technique sell the performance to younger audiences. This concept in combination with beautiful costumes by Jean Paul Gaultier, music by Gustav Mahler, innovative set design from Thierry Leproust and expertly crafted sound design are truly what made this piece a success.
Lately, I have been paying a lot of attention to the sound design of the productions I have seen. Snow White used Mahler’s symphonies because they are very romantic in style. Seeing that Snow White is actually a character from the canon of Grimm Fairytales, the romanticism in the two entities was a risk worth taking, especially when Mahler’s symphonies were paired with other industrial sound effects. This really added a dimension to the performance that allowed the audience to feel better connected with the characters and the things that were going on with the set during changes and blackouts. There is nothing I hate more than a long, silent blackout and this definitely aids in avoiding that. There are actually plenty of things I hate more, but that is definitely top ten.
Now onto the amazing performance I have been raging about! Although the company was not as perfectly synchronized at the Mariinsky Ballet’s corps, the company as a whole does work as a single body and really does a good job of keeping up with the timing throughout the intricate movements during the entire piece. The 26 dancers are brought together with very rhythmic, percussive movements at very specific times to maintain accuracy, spacing and timing which, from my seat in the box (Thanks Ryan :-) ), were truly impressive and encompassing. There was a number in the beginning of the piece where the entire ensemble and a couple remaining unknown principles are seen where this finally sucked the audience in to the story. The beginning did seem to drag a little bit, although finely interpreted by Nuriya Nagimova as Snow White’s mother who carried the daunting task of dancing through the fatal birth of her child. Virginie Caussin did a fabulous job portraying Snow White and did a fantastic job at telling the audience her story. One of Preljocaj’s goals for this piece was to tell her real story, rather than the myth of Snow White, and her ability to really be an actress while dancing made this come through crystal clear. She had all the technique of a trained ballerina, but the passion and the discipline to play the character. There were two specific times where Caussin really shined towards the end of the piece. The Queen had just forced her to eat the poison apple and she had to do all of her dancing with an apple in her mouth. Through being dragged across the ground on her hands and knees, to being spun around at the forceful hand of the disguised Queen, she still managed to act with a great amount of despair while dancing with excellent technique. The other moment is after the Prince discovered her dead in her glass coffin. This piece was beautiful in that it really showed the marriage of athleticism and art that dance is known for. Seeing as Snow White was dead, Caussin had to give the illusion that she was dead while still dancing and helping her partner carry out his lifts and choreography. She did an excellent job of keeping her body limp while maintaining the strength in her limbs and core to make the choreography work for the story. Meanwhile, Sergio Diaz who danced the Prince exhibited an excellent blend of strength and flexibility while being sensitive enough to support Snow White’s dead body. He could lift her as though she was weightless and still managed to let the audience feel the depth of his loss. On a completely different level of fierceness, Patrizia Telleschi as the Queen was a force to be reckoned with. In a field of dance where most of the dancers are barefoot, or at least in flat footwear, she was twirling and kicking with a pair of heels on and a long, flowing half skirt with just as much grace as the other dancers. Of the women in the company, she easily had the most athletically-inclined choreography and a much quicker pace to do it to, but did not even flinch at the challenge. She also exuded a strong sexiness that aided in showing the Queen’s vanity. Although her dances with the mirror were definitely very visually appealing and interesting, that award will have to go to another group of dancers in the company. The award goes to… The Seven Dwarves! They were introduced coming through holes in the upstage wall, at least 12-feet off the ground, but the audience was quickly surprised when they realized that a long part of the number would be danced from this plane. They were lowered and raised by harnesses in different patterns and performed all kinds of acrobatics while hanging from a rope probably no thicker than a jump rope. A person can just imagine the amount of time and trust were invested to choreograph this show-stopping number. It is a sight-to-be-seen!
Unfortunately, the production has already closed it’s run at The Kennedy Center, but at least the upcoming movies Snow White and the Hunstman and Mirror, Mirror could potentially quench your thirst! But just so you can see how FIERCE the Queen is… I found this video of Snow White’s death. Snow White is danced by Nagisa Shirai in this video.
In other show business news, I can officially report that I had to turn down the offer I received from Compass Rose Studio Theatre. I really wish I could have taken the role, but it was just a case of bad timing. I hope to make it to one of the performances this summer, though! The show runs from April 27 to June 3 with performances on Thursday, Friday and Saturday evening and Saturday and Sunday matinees!
Also, A Change Gon' Come will be remounted at this year's DC Black Theatre Festival this summer. My commitment to this round is tentative at this time, but I will certainly keep everyone posted. I also learned from browsing the festival's website that the show was nominated for 3 awards including Best Costume Design, Best Overall Play for Young Audiences and Audience Choice!
On the photography front, you should also be on the lookout for some deals for headshots and portrait sessions this summer! I have some great ideas brewing!
I love it when I can go see a production and learn a lot about the tribulation of humankind through the devices that the actors and production staff use to make those trials evident; especially when the trials could be avoided.
Anton Chekov's The Cherry Orchardis a brilliant story that examines a transitional time in the Russian class system where the Aristocratic class was struggling to maintain it's status after the abolition of serfdom caused a rise in the middle class. Although Chekov's portrayal of the main character, Lyubov Ranyevskaya, seems like a condemnation of this useless class of people, there is still a trace of compassion for what she was feeling as the plot unravels. The story follows an Aristocratic woman who returns to her estate with her family after years of being away, just before the estate and it's popular, albeit useless cherry orchard. In the end, a former serf of the estate, Yermolai Lopakhin who rises into the middle class, purchases the cherry orchard at the auction. How's that for symbolism?
This particular production was put on by a bunch of NYU alumni and current students who had previously done the show within the Tisch School of the Arts. The original production, directed by Michael Silverstone, was more experimental than this production, directed by Kelly Colburn. Although it was evident that the actors had already built and become comfortable within their characters before this particular production, it should be mentioned that definite changes and evolutions within their characters were made under the new direction. Also, the scene changes between acts were impeccably directed and interesting in that there was no blackout or curtain. One thing I have learned is that scene changes can be just as much a part of the show as anything that is scripted and happens on a stage flooded with lights. The scenic design by Walter Ryon should also be commended. Given such a small, blackbox space, each set piece needed to be functional and practical and that was very well accomplished. Four wooden boxes were constructed with fold-out sides that were laid out in a pattern to create an interior floor space. When it came time for Ranyevskaya and her family to vacate the estate, each box could be folded back up with the props and set decorations INSIDE the boxes for easy storage. Very clever and well-executed!
Lyubov Ranyevskaya was played by Julia Sherman who seemed to have a good grasp on the eccentric and unpredictable personality of her character. She played the role rather frantically, seeming to be in tears one moment, then happy in another, and then angry in yet another. She is easily the most popular character in the play for obvious reasons and should have solid relationships with all of the other characters as she is the reason they are all linked. Quite a hefty load for a young actress to bear, but she soldiered through it and made an impressive effort. Certainly the most interesting casting choice was that of Yermolai Lopakhin, a mercahnt who grew up as a serf on this estate and eventually became a very wealthy businessman, easily the wealthiest character in the play. Lopakhin was played by Alyssa Block. Yes, that's correct, cross-gendered casting and it was brilliant. Having grown up in the lowest rung of the class ladder, Lopakhin thoroughly enjoys living the high life which his ancestors knew nothing of, so it makes perfect sense for Lopakhin to be jovial and flamboyant at times. Casting a woman in this role really accentuated these characteristics, not to mention Block truly rose to the occasion and played a solid character with very confident actions. Kelsey Torstveit also stood out as Dunyasha, a housemaid who begs for attention by trying to dress like a lady and flirting with the manservants of the household. In all honesty, she was by far the funniest character in the show. Speaking of Dunyasha, that brings me to her romantic interest in Yasha. Yasha was is a manservant on the estate and is truly just an unlikeable character. He is not supposed to be liked and it is really hard for a lot of actors to realize that, but it is evident that Trevor Buteau fully realized it. Yasha is rude, inconsiderate and selfish, and a full representation of the new Russian generation who basically hated the old ways of Mother Russia. Buteau did a great job portraying all of these characteristics. Another actor I would like to mention that I was not sure about at first was Lauren LaRocca. She played Anya, Lyubov's 17-year-old daughter. My first impression during the production was that she was just a frivolous child who was frankly a bit arrogant in some of her actions throughout the play. However, upon reflecting about the piece later on, I realize that Anya was the strongest character in the show. The actions she played were deliberate displays of will power to try to save her family, especially her mother. To be 17 and to go to France to try to basically save her mother from the awful situation she was in is quite a feat; one that I think would easily harden a 17-year-old girl. Jason Silverman, Daniel Patrick Smith, Diana Egizi, Chris Dieman, William Vaughn, Annalie Gernert and Jon Fusco rounded out the cast.
I would like to thank the cast and production staff for allowing me to see the show not only once, but twice! It was a truly great production and you all should be proud of the work you are doing. I would also like to thank my good friend, and director of this production, Kelly Colburn for allowing me to take some photos of the production. There will be a photo call following this blog post probably within a week, but don't quote me on that.
So tomorrow marks opening night in a new venue for A Change Gon' Come! I forget which news station it was, but we did have a cameraman come in to record one of our numbers and talk to our production staff tonight, so hopefully the show will get some publicity out of it! If anyone sees us and happens to have the spot recorded, please let me know, we would love to see it! But anyways, I am very excited to be doing this show a couple more times for a new audience. However, I am even MORE excited to shave on Saturday directly following the performance. You have no idea much I have been longing for this day and it is finally just around the corner! LOOKS LIKE A CHANGE GON' COME!
Callback news! I did indeed get a callback for one of those shows I was telling you all about last week. It will be for Oliver! with Compass Rose Studio Theatre in Annapolis, MD. It was supposed to be tonight, but they had to shorten the preliminary callbacks so they told me not to come until the final callback later on. I cannot jump the gun on some of the information I have received but I hope everything works out the way it sounds like it will!
What a treat! I had the pleasure of seeing the national tour production of La Cage Aux Follesat The Kennedy Center and I must say it was one of the most entertaining shows I have ever seen! There were a couple of parts that seemed a little unpolished (heads turning different directions at different times, some messy footwork, etc.), but it was a matinee performance so we'll chalk it up to not being fully awake... not to mention I am probably one of the only people who noticed because I am so used to looking for things like that. We performers and directors can't help it, it is what we do. The cast starred George Hamilton as Georges and Christopher Sieber as Albin and was rounded out by a very adept cast of dancers and singers! Mr. Hamilton is still chugging along in his later years and it was a pleasure to see him do it. One girl, Allison Blair McDowell (Anne) certainly caught my attention also. A very cute girl, totally the wide-eyed ingenue type, who was making her professional debut with this show just seemed so genuinely excited to be a part of this production. It was very endearing to watch. I also LOVED all of the little old ladies in the audience that day! It was totally the Politician's Wives Club outing of the week and I have never seen so much animal print or smelled so much hairspray in my life!
I also have some audition news (so you all can start crossing your fingers for me now, okay thanks!). Tomorrow I have an audition for Oliver! at the Compass Rose Studio Theatre in Annapolis. I have auditioned for this company before, so hopefully someone will remember me and maybe I will get in this time! The other audition is for a new adaptation of Red Riding Hood with Olney Theatre Company. I would be VERY excited to work with OTC, especially on this show because I think it is more along the direction I would like to take my career, but i would certainly be happy with booking either!
Also have some photography related news. Those of you who have kept up with my blogs know that I started this blog to bridge the gap between my passion for acting and my eye in photography, and that I have had some success with doing a bit of theatre photography in the DC area (thanks Studio Theatre and Arena Stage!). I am devising a collection of dance photographs to begin tackling the dance scene in the DC area also. I think dance is one of the most beautiful and expressive art forms and that dancers are the perfect blend of athleticism and art. I have dabbled in dance photography before, and it has always been secondary when shooting live theatre performances, particularly in musicals. I think this could be a really great thing for me to do! I am hoping to cast some dancers for a few shoots over the next few months to really get a start on this portfolio and I hope that I will be able to post some of the photos here soon! Also, if any of you know of any nice studio spaces with lots of natural light that I could rent, or some really strong, trained dancers with good technique, please let me know. Here's an oldie!
I know, I know... two posts a month and I have already failed! Maybe I will do three this month. Anyways... I'm back from Tampa and the show was an AMAZING success! I have never been more proud to be part of a production, especially after Wednesday's performance. Our director continuously tells us to do the work and to make new discoveries and it was so awesome to see every actor in the cast, even the young ones, do just that. I got to take the Overseer to a deeper, darker place... which was terrifying, but it was so neat to be so in character that I did not even feel like it was me making the decisions to do what I was doing. Doing the work used to mean learning the lines and the blocking, but now it is apparent that that is the easy part. Learning how to BE your character is the real work. Anywho, all this talk about the show is making me miss Florida and the beautiful weather. And of course the beach...
I also have news that the show may be booking a gig in Michigan sometime soon (through the rumor mill) so that would be exciting to keep booking things! As for local performances, there are two! One on Friday, February 17th at 8 pm and one on Saturday, February 18th at 2 pm at the F. Scott Fitzgerald Theatre in Rockville, MD. It will be a lot of fun to do the show again in the place where I originally performed this role and to see how much different it truly is. For more information you can go to this link:
Otherwise, I will be traveling to NYC in a few weekends to check out my dear friend's directorial debut (outside of NYU) with her production of Chekov's The Cherry Orchard. So be on the lookout for a post about that, and more information about tickets and such!
Yep... it is about that time again. A Change Gon' Come is happening again, and this time we are traveling to Tampa, Florida to perform for Sodexo, Inc.'s corporate big-wigs. We will also have two performances at the F. Scott Fitzgerald Theatre in Rockville, Maryland on February 17 and 18. The cast will be considerably smaller this time, but all of the main characters are being reprised by those of us who did the show this time last year. I, for one, am thrilled that this show will be seen by people from across the country and Canada this time! It is a move in the right direction for the show to turn into something bigger (fingers crossed).
One of my New Year's Resolution (HAHAHA) was to write more blog entries this year, so I am going to do my best to at least post two musings a month. Even if they are short little updates like this one. Unfortunately, I do not have a lot of other news right now because I have been working a lot, but I will keep you all posted on things upcoming with A Change Gon' Come and otherwise. 'Til next time!
