Week 8, Part 2 (An Ending)

And we’re done. Three performances. Three seemingly more than satisfied audiences. Seven happy actors. Three happy crew members. And me – absolutely fucking delighted.

All the preparation, experimentation and rehearsal paid off. The run of the show was great. The cast really performed and the reward was rapturous applause. Our big fear, as I’ve written above, was getting an audience. We did. Good ones. Opening night saw upwards of 80 people in the theatre – a number seemingly unheard of for a visiting company in the axis. Friday night saw that number rise to over 90 while Saturday had over 100 bums on seats. None too shabby. Not only that, but each audience was receptive and effusive in their praise. Which was most flattering. When the cast took their curtain call each night, they thoroughly deserved every clap and cheer. One misstep on my part was forgetting to give Matthew a solo bow on the Thursday night, something he truly earned. And while I say give, I mean force, as Matthew is the most humble of actors and reluctant to be singled out. But he carried the show, and he carried it well. And anyone who disagrees with that, I’ll fight them.

Next up is a tour. If you run a theatre or know someone who does, let me know through neonfringe@gmail.com. If you don’t happen to own a theatre (who does?) but want to support us, keep an eye on Facebook and the media for more information on where and when Love in the Time of Social Networking will be coming soon.

Thanks for all the support thus far. And thanks for reading.

Chris

Week 8, Part 1

So it all comes down to this – production week. We had our get-in on Tuesday. To be honest, I was nervous. The lighting designer lives in Canada so we had to work from plans and hope to get it exactly right. Luckily, we had some very talented people on hand to get stuck in. There were a few problems, mainly due to varying interpretations of handwriting, but thankfully all of them could be worked around without too much hassle. Tech done. So with limited time left on Tuesday evening, we did the best we could to have a run-through. But we ran out of time. I went home feeling more than a little uneasy.

Wednesday. The plan was to have a full dress rehearsal at 2pm. 2.30pm at the very latest. Naturally, we started at 3.40pm. Thankfully, the staff at axis were most accommodating and we were able to over-run our slot and complete the rehearsal. And it wasn’t half bad. The cast are solid, the tech is good. All we can do now is wait. We’re up tomorrow. I am confident that we have a great show to deliver. But it will be a long, nerve-wrecking wait until lights up.

Tickets available from axis (www.axis-ballymun.ie or 8832100) for Love in the Time of Social Networking, running from Thursday 10^th – Saturday 12^th February 2011 at 8pm nightly. I hope you will join us one of the nights.

Week 7, Part 2

We are nearly there. A good weekend of rehearsals helped. The transitions that caused so much trouble are looking good, we have our full set and the concept for the play seems to really work with the script. Now if only the characters knew all their lines and the order they came in. I jest. The cast have been fantastic.

Tomorrow is our get-in. Not looking forward to that. Well, I am, but it’s scary. Trying to tie all the loose ends together coherently and make sure that everything works exactly as it should is really hard. No doubt we will prevail but it ain’t half nerve-wracking preparing.

A word on tickets. If you haven’t booked yet, please do. Contact neonfringe@gmail.com or book through axis (www.axis-ballymun.ie or 8832100).

Week 7, Part 1

Transitions. Vitally important in a play such as Love in the Time of Social Networking. Well, vitally important given the manner in which we have chosen to stage it. If the transitions are poor, the whole play suffers no matter how good the scenes. People remember the bad. And the good. But mostly the bad. So we have to nail our transitions. This means practice. And more practice. And more practice. We practiced so much that the cast hate the transitions and I hate the cast. But they look good. Which is all that matters.

Being in the final week means that the panic is setting in. Not about the production per se. I have total faith in my cast and crew and am confident that the play is good. We are all still laughing regularly (intentionally, of course) and rehearsals continue to be productive and enjoyable. No, the panic concerns the one thing that every play needs – an audience. It doesn’t matter if you have the greatest play ever with the greatest actors ever. If you don’t have an audience, it will all be for nothing. The word is out there in print and online. But we  need word converted to ticket sales and that is mostly out of our hands. So if you haven’t booked yet, please do. It’ll put our minds at ease. Contact neonfringe@gmail.com or book through axis (www.axis-ballymun.ie or 01 - 8832100). 

We have built it, you need to come.

Week 6, Part 2

Theatre is strange. The rehearsal process is strange. We spent over an hour on a scene today that we have been over before and had pretty much nailed down. But something wasn’t right. So we tried it differently. And it still didn’t work. So we tried a new approach. And it worked much better. Of course, it meant re-blocking the entire scene. And changing some dialogue. But it is now a better scene. Remember back in Week 4, Part 2, I said that issues left alone would eventually sort themselves out? QED.

Overcoming this block is a perfect example of theatre as a collaborative process. The issue we eventually resolved was one that had been bugging me since the beginning. But I didn’t know how to fix it. And now that it is sorted, I can relax. But I can’t take the credit. I said we tried a new approach because the change came through collaboration between director and cast. Some will say that actors should act and directors direct. But if a director can’t solve a problem, why shouldn’t he ask for help from the very people he has to trust to deliver the scene? If it makes the play better, fuck it, why not?

Neon Fringe's Chris Interviewed on the Radio

Week 6, Part 1

Firstly, thank you for all the positive feedback on the teaser trailer. If you haven’t seen it, you can find it underneath this post on the blog. If you have seen it, watch it again. And tell your friends. And then by tickets. Seriously, buy tickets.

But back to what’s been happening… An exciting week, this week. Neon Fringe had its first proper media. I was interviewed for Centre Stage on Dublin City FM (103.2 FM). Carmel Fitzpatrick made for a delightful host as we discussed setting up a new theatre company in these troubling times. The why, how and difficulties facing new artists in Dublin were all covered in a (hopefully) enjoyable and interesting piece. I’ll be back on in two weeks to talk specifically about this play so keep an ear out for that.

Production-wise, things are really heating up. Posters and flyers were delivered on Tuesday so expect to see Love in the Time of Social Networking publicity all over town from this weekend. Production meetings are now a trans-continental and multi-platform affair, with our scenographer/designer now resident in Canada. Social networking in action, if you will. On-stage, the cast are coming along very nicely at getting off-book and tonight’s run-through was, on the whole, very good. So, we’re getting closer. And with two weeks to go, we’re in (touch-wood) pretty good shape.

Love in the Time of Social Networking Teaser Trailer

Week 5, Part 2

There are good rehearsals and bad rehearsals. This week saw the best rehearsal we’ve had yet. Scenes that were causing difficulties suddenly clicked into place. The actors are more confident as a result of good discussion and the decisions made. The difference in performance is measureable. We also had a good week for camaraderie. And when that has taken hold, the whole project begins to really come together. Fear is replaced by frankness, nerves by a willingness to try anything. When is a cast gelling most obvious? When the rehearsal breaks down because of that line or expression that has everyone cracking up and takes forever to get through. It means everyone is relaxed in each other’s company. And it is priceless. So, too, was the laughter. If theatre had outtakes, it would be a cracker.

Confession time. When you write a script, make sure you know what you have written. It seems obvious but… A few weeks ago, one of the cast expressed a concern that within the timeline of the play, there was a running theme that was anachronistic – something said at the start which did not match with what was said later. My response, naturally, was that it was a deliberate decision, something which would allow the audience to appreciate a dual chronology. This week, while rehearsing a scene, I suddenly realised that said cast member was indeed correct. The line is completely anachronistic. And, while many may not even notice it, it needs to be fixed. Humble pie for me.

Rehearsal Photos

Week 5, Part 1

Big week this week. Publicity and marketing meeting with the axis. Very productive. Some good ideas shared and, more importantly to all you folks who are going to be coming along, tickets deals finalised. As mentioned before, tickets are €15. Groups of eight or more, however, only have to pay €12. And if you bring ten people, the eleventh ticket is free (hint: try and be the eleventh person). Also, for all the couples out there, you can purchase two tickets and a bottle of wine for €32. Not bad, eh?

But that’s enough whoring. Back to the production. Where do we stand? Well, on a scale of lying down to standing tall, we’re somewhere between a kneel and a hunch. They cast aren’t off-book (not that I have been pushing them), we haven’t finalised our tech or costumes and haven’t gotten our set. Speaking of which, earlier in the week, panic was beginning to settle in. How much do we have in the budget? Can we get the set we want? How much of a compromise is too much? All discussed in a calm and rational manner, you understand. But it looks like the panic may have been unwarranted. I mean, it’s perfectly acceptable to have the actors all just stand in a row and say their lines right? It’s not like there is supposed to be car chases or anything. Although now that I think of it…

Week 4, Part 2

Tickets for the show are now on sale! Love in the Time of Social Networking runs from Thursday 10^th until Saturday 12^th February 2011 in axis: Ballymun at 8pm nightly. Tickets are €15. For more information and booking, contact neonfringe@gmail.com.

Well, that’s that out of the way (although, one suspects, not for the last time). Back to the blog… High and lows at the close of Week 4. Off-stage, things have veered from nicely on-track to precariously balanced on the edge a cliff. The good? Our poster is almost completely finished, our set is almost completely designed and our costume and make-up team are on the case. The bad? Probably best not to say. Ask me about it after the run.

On-stage, progress is almost 100% positive. I say almost, I don’t want to tempt fate. Inspiration on how to stage the ending descended from wherever such things descend. Will it work? Almost definitely. Will it be difficult to pull off? Almost certainly. But, as always, the cast are game to change it up and quick to respond to direction. Crucially, they are still laughing at the script. A good sign that we are onto a winner.

Week 4, Part 1

Things are moving a-pace both on and off stage. Poster design is progressing well. Our graphic designer is fabulous and very patient, which is good as I’m sure I am pushing him to his limits! Marketing and publicity are taking up a lot of time but thankfully we have had some great advice and the producers are all mucking in.

But back to the play… First rehearsal this week was good. Very good. The decision to perform with seven actors instead of eight has, as suspected, proved a stroke of genius. We had energy and enthusiasm and there was a genuine sense that we are all on the same page. Whether that page is the right one or not, time will tell. I’m confident that it is.

Of course, actors being actors, the slightest hole in the script was picked up on and I was put on the spot more than once. I thought that it should be me putting them on the spot? But, then, I haven’t directed in a while. Have things changed? The rehearsal did reveal some lines that need tweaking and the opening of scene eight remains contentious. Not sure how that will play out. Although, if we just forget about it, it will sort itself right?

Opening scene of the new play, originally a short film called "The Wait". Check it out to see what the play will be like.

Week 3, Part 2

Disaster strikes! The Stage Manager we were hoping to work with is unavailable. And one of the cast is out. Both bombshells occur within the same 30 minutes. Just when things seemed on track started to more smoothly, stress levels suddenly hit a new high. I was reminded of why I haven’t directed in a while. With role allocation suddenly up in the air a mere hour before the first rehearsal with every part assigned, the five weeks prep time was suddenly looking very short.

But then, an idea. God bless the producers because sometimes, just sometimes, one of the crazy suggestions might work: “Let’s not replace her, let’s do it with seven instead of eight.” This, of course, will bring its own challenges – more work for everyone else and a different vibe to some scenes - but it will work. In fact, it maybe should always have been that way. The rehearsal was great. Everyone was enthusiastic and willing to push things. It was the best the play has sounded.

From highly stressed to uber-excited, things could be looking up…

Week 3, Part 1

Had a lunch meeting with the designer – model boxes are cool. For those unfamiliar with the model box, it is a scale representation of the stage and everything on it. Everything. To-scale (1:50 if you’re interested) actors, and furniture. I was well impressed. Not so sure about the other patrons in the establishment we were in. I think everything seemed fine until we got on the floor to see the ‘stage’ at eye-level. Still, weird looks were brief and insults kept to a minimum. I’m getting my own model box next week. Can’t wait!

Rehearsal in the Axis in Ballymun. Great venue and a great space to work in. Everyone is keen to get stuck in. Which is nice. A few more role swaps and the parts are decided. I have high hopes.

Week 2, Part 2

Inspiration today. One of the characters has been changed from female to male. Adds a new dimension and sets up a later scene nicely. Said change referred to by one cast member as a ‘revelation’. I am flattered. He is still not getting that part.

Typos and grammar fixed. The actors have no excuse now. Roll on the next rehearsal…

Week 2, Part 1

Christmas is over. Suitably sated, the cast arrived for our first read-thorough. A strange situation. After auditioning, and call-backing (is that a word? I think maybe it should be) I had my ensemble but no parts assigned. So began a night of swapping and experimentation. No, not like that. God bless the cast. “You have a part but, in effect, you need to audition and audition again until I decide which one(s) you are best for.” Not an ideal beginning but necessary.

Interesting arisings from the first meeting:

1)     Scenes that are written to be very funny are not as strong as you think they are going to be.

2)     Scenes that are not, are.

3)     No matter how many times you re-write (and re-read) something, there will always be typos. And grammatical errors.

4)     Actors will read whatever words they think are on the page, not what is actually on the page.

5)     Sometimes this will result in a better line and should be taken on board.

6)     Sometimes the actor needs to try harder.

So far, so good…

Week 1

Due to ridiculously crappy weather, our first rehearsal has been cancelled! Not much to write about so. Maybe a note on the audition process: Auditioning is difficult. Not difficult to do but it is time consuming and mentally draining. I can only imagine what it is like for the actors. Still, we muddled through and, due to a surprisingly high number of good people, needed callbacks. More time, more mental exhaustion. Although, on the plus side, auditions part 2 was much better organised. Lesson learned.

And now we have a cast. Well, an ensemble. That’s right, Love in the Time of Social Networking is an ensemble piece. But not a wanky one. Just so you know. Four boys and four girls. We’re due to start next week – fingers crossed that the so-called Big Thaw arrives…

Oh yeah, things that you need to know: The play is on in the Axis Theatre in Ballymun from the 10^th to the 12^th February 2011. Yes, a play about love in the run up to Valentine’s Day. Cynical? Me? Never!