Live
Review Forgiveness
By Tom Allen
Forgiveness ”An analogy of
what to do in a first play."
Before I
start with pointing out the problems facing a inexperienced writer/
director of
a play, let me point out, “Forgiveness” is a well written and most of
all
performed play with a great message. It had everything that makes a
great play:
drama, humor, a smart plot, a important premise, and very talented
performers
and writer. The problems I will point out are not to make anyone a
scapegoat in
any way. This is written with the intent of instruction to help anyone
trying to
put on a play for the first time. A play is a monumental undertaking
and
should
not be taken lightly. There is a lot of reading material on scripting,
lighting, and more.
Now to the problems
and how to rectify them.
First and foremost is a script, no matter how well written, is just a
story
outline without very defined blocking. Blocking is very important for
the
actors but even more important for your technical crew. Example where a
performer enters, positions if scene opens with performers in place, or
where
the performers move in a scene. Also what props the performance
space
will
contain IE beds chairs tables background. The former is important for
the
lighting of the scene, general wash, and special lights. A lighting
tech cannot
read the mind of the director, so if there are problems the director
must be
able to state clearly in both written, and spoken.
For a sound
tech especially for a musical play the script must have all the songs
in
the
script, not only stating who the primary singer is, but, if there are
backup
singers on or off stage. I cannot emphasize strongly enough the need
for proper
mic control of performers. You must speak as loud or as softly as you
sing. Only
so much can be done to control a mic that somebody speaks softly say
80db and
then sings at 100db. The mic is going to distort. Placement of a mic is
very
important. Lapel mics are ok, but only if they're clear of
obstructions. If
placed
over the ear, and this can be done with a little prep and clear
surgical tape,
and will keep the voice from volume drops when the performer turns
their head
side to side or muffled vocals because the mic is to close to the
underside of
the neck, or rubbing noise because it is covered by cloth, very
distracting in
a performance. Even better with the advancement of mics the “Countryman
E6” is
perfect and anyplace that rents wireless setups will most likely have
them as
well, for a bit more cost but trust me it is worth the cost not to have
a mic
placed . The E6 is made to go around the ear and is very very small and
sounds
like a large studio mic. If you are buying a wireless package most
manufacturers
have this option in one form or another.
Now
most of these problems can be cured with
several tech rehearsals and a dress rehearsal. Light and sound techs
can work
what seems
like the magic that most people never see or notice only if we are
properly
informed, the directors job, and prepared, the techs job, with a
minimal amount
of gear. We must have these things because without them we cannot
produce
something
out of thin air. We cannot read minds, anymore than a performer can
work
without a script at rehearsals.
In
closing do not forget a stage manager is
so important. A stage manager makes sure
everyone is in place, ready for their next cue. If something is skipped
they
are the only person with an eye on the script
constantly
to call cues and inform
someone if they're
lost. And a stage manager must have someone corralling actors for them
checking
wardrobe, and turning on belt packs and replacing mics. Somebody
working on
scene changes including moving furniture and props to and from their
places. He
should never get up from his stage manager position or out of
communication
from front of house.
Do your
research, and by all means contact the techs at the hall you want to
perform in.
If they
are in anyway professional they will share
their knowledge and experience. Techs do this for a living yes, but,
first and
foremost we do it cause we love it.
If you have
any questions or a response to this essay please contact us at
Dallasmusic.com
I personally would like to hear from you, and I am sure so would
Dallasmusic.com your e-mail will be forwarded to me and I may follow-up
with a
Q&A article. And Knowing Dallasmusic the way I do they would turn
cart
wheels to get more work out of me.
Tom Allen
dallasmusic.com