Alexis Collins

Journal 3

Directing

Unfortunately, I missed Wednesday, (unfortunate circumstance not only because of the

family issues that are continuing to leave our family in a very dark place, but also because I lost

the opportunity to watch my cohorts performances.) Monday (was cancelled) and Friday was a

pretty logistical day, despite our directing project that day. In other words, a lot of what I learned

came from the reading. The reading helped me not only as a prospective director, but also as a

performerI now have a new perspective for what it means to be on the other side of the audition

table, which makes the process far less opaque. For instance, I need to be able to allow myself to

be directed at an auditionnot letting my personal ambitions get too far. At the same time, I was

encouraged that my attempts to keep from boring the people on the other side of the table by

reading sides in the same cadence as other actors at a cattle-call, is actually a solid move on my

part. While I appreciate the pointers for how to behave as a director myself, I feel of greater value

is the new perspective I have on what directors like to see, and how taxing the experience can be.

I was also surprised to see that physicality was so low on the list. In my experience with

mainly community theatres, (I hope this is truly by no lack of merit of my own,) casting seemed

to align very close to the physicality of movie versions (if available.) For instance, a recent

production of The Hound of the Baskervilles cast someone who looked a lot like Benedict

Cumberbatch. However, the books claims are making me think twice before blaming my lack of

getting cast on physicality (even if it boosts my ego.)

1. I was once in a production of The Jungle Book Jr. years ago. It was a camp, so it was

designed for education purposes. We had nine performers for a play designed for some

thirty students. It was actually a lot of funwe all had so many quick changes, and we

learned a lot about what theatre can demand from its actors. That dynamism, from trying

to keep everything cohesive, and with stakes raised so high as everything hinged on smooth

transitions, I felt the audience intrigued as well (for a kids show that is.) If it were a main

stage, not consistent of elementary age children, it would have been disappointing Im sure:

but for our show, it worked.

2. I attended a performance of Arsenic and Old Lace a few years back. In this specific

production, the actor who played Mortimor was not only exceptionally funny, but

succeeded in playing the role without becoming obnoxious (which often comes with the

territory of a pretentious theatre critic.) He was exceedingly charming in real life (we later

worked on a show together,) as well as intelligent, and I feel that his personality contributed

to his portrayal of the character. At the same time, he had an excellent cast backing him

upfor instance, Dr. Einstein appeared extremely sweet, and I felt bad for his relationship

with Mortimers insane older brother. The quality of the cast as a whole seemed to amplify

the personal qualities he projected into the character, making him far more empathetic.

3. Yvonne is supposed to fill the audience with passionpassion for an age past. I think we

all have dreams of heroes (fictional or historical) who we wish were present today amidst

harsh circumstances. At the same time, this form of demagoguery is built on illusion. In

her case, the hero is Jean dArc, who she believes will usher in a time for women to be

recognized for their merits (namely their better understanding of justice, and strength, etc.)
 I need someone who can channel passion within themself, without causing annoyance (like

someone who whines about the world just because she can.)

The visitor is a bit of a cynic, or a realist. She alludes to the possibility of her being the

ghost of Jean (which is how I will present this show.) She is also wildly mysterious. I hope

that if any quality is mirrored in my actor, it would be mystery. This could be in a quiet,

reflective nature, or any ability/love of deep thought. That, I suspect, will free the character

from seeming pretentious and condescending. I also would like someone unassumingto

provide a realistic, almost disappointing contrast to the grand idea Yvonne has made Jean

to be.

4. Yvonne needs to be passionate for the most part. But there are moments of fear and anger.

I dont want her passion to be too robust, verging on hyperbolic, but deep and genuine. I

think her character could, be played comedically, withdrawing from the internal merits of

the character. I do not want this. I want for people to share in her misled passions,

recognizing similar areas within themselves. I want them to walk away changed.

The stranger needs to be solemn, but with strength. She needs to exude wisdom. She also

has passion, but it has been tamed by a life of betrayal and injustice.

5. As far as vocal demands, basic enunciation and projection will be sufficient. We are

performing in the Studio theatre, which as a fairly close quartered classroom environment,

does not require the same demands as, say, McCaw Hall. But I cant have someone who is

too afraid to stand in front of crowdsthe actor should be able to hold her own at a class

presentation level of speaking.

6. I am looking only for specific physical qualities in the stranger. I want her to be meek, and

small. Thats it. It is in hopes of providing a solid juxtaposition for the creature Motion is
limited, so I do not need to be concerned about agility, or dance competence, etc. It is a

largely verbal piece that will require incorporation of movement in order to keep the

audience focused and interested.