The Outlaws of Candy Kitchen - Personal Reflection
September 2016
Igniting the Spark!
I sat at my parent’s table, reading the Mayor’s April message to our small town community and something caught my eye. A melodrama. A melodrama?! My little town is actually going to tackle a melodrama? My brain started running at a million miles an hour as I quickly took to Facebook to contact the young mother who was in charge. I had hoped that Kelli Shimek would let me volunteer or help in some way. Perhaps a props master or some type of stage manager, but when she offered to co-direct with me, I was ecstatic. What an opportunity this would be for me! I eagerly looked forward to the challenge and the things that I would learn.
Jumping in Feet First
Once I was in, it was full steam ahead. Kelli and I met two weeks later for our first meeting to discuss the play, logistics, paperwork and anything else we could think of. I remember walking away from that meeting feeling super pumped and ready to plow into the project. From my personal, scribbled notes, I wrote: “My meeting with Kelli was super productive, we got a lot of the logistics sorted out. We both have a lot of ideas and I’m really quite excited for this… We just need to get the word out so people audition…that’s our main concern right now.” Right from the get go, Kelli and I were nervous about having enough people who would audition. But we were fearless. I started up a Facebook page, posted pictures and updates. I sent e-mails and reached out to people on an individual basis, all the while, working diligently to get all of our paper work done. One of my assignments was to prepare the paper work necessary for auditions, such as audition forms, contact lists, audition sides, prop lists, furniture lists and so on. Nearly 10 hours was spent during the paperwork stage and I found that I liked that aspect a lot more than I thought I would. The organization, the research, the document layout and information, I liked it. I liked feeling prepared and ready to go.
Auditions
The first night of auditions finally came, May 11. Only 3 people came. We were devastated, but not surprised. For the next 24 hours, I was encouraging those I knew who might be interested to come audition. Lucky for us, 10 more people came on our second night and our cast was filled. Reflecting in my notes I found: “We have a cast. I’m so glad it worked out. Now, comes the real work.” And boy, I wasn’t kidding.
Baptism By Fire
The weeks leading up to our first rehearsals can only be described as “baptism by fire”. While lacking in directorial experience, I relied on my “school smarts” to think things through. Where do we hold practices? Where will we perform? Outside? How will we get a sound system out of doors? How will people see us? Slowly, we started to tackle each problem and question one by one. Throughout this whole process, we were fortunate to have a representative from the town council committee, Marilynn, who worked relentlessly with us to make this show possible. That was one thing I learned and was grateful for; you can’t do a production by yourself. I had to learn how to work together with two other women who were very different from myself. As I got to know these two women better, I found myself really respecting them and genuinely liking to be around them. Weeks later, I love bumping into them and seeing how they’re doing.
Making a Good Impression
As the three of us met on a regular basis to discuss our play, we would always talk about how important the play really was to our committee. If we ever wanted to do this type of production again, we have to make the first show good, a success. If everything goes smoothly (meaning the performing space, the sound, our show, etc.) we have a better chance of doing a show next year. This concept felt very strong to me, and still does. Theater is so important and can be beneficial for so many different reasons and it thrills me to think that I can help play a part in that expansion of the theatrical arts. One of our goals as a directing staff was to make sure our cast was having fun. If they didn’t, they won’t come back next year. Throughout the whole process, it felt similar to what I think building a school drama program might feel like and am grateful for this experience in helping to “get my feet wet.”
Challenges Along The Way
One thing that was very challenging was not having a real theater space to practice in. However, we were very lucky to secure the town’s civic center for rehearsals. The building saw to our immediate needs, but was somewhat confining and didn’t allow for a “panned-out” perspective. We took a rehearsal out on the hot parking lot to allow us as directors to see the play “far away”. One thing that I pushed for from the very beginning was to perform outside. My first suggestion was to perform on the flatbeds of two semi-trucks in the corner of our beautiful park. We went through lots of performance space options, but ultimately came back to the trailers. It worked out seamlessly. We had many people who knew a friend who could call someone and before we knew it, we had secured two flatbed trailers and two stairs to lead up to our “stage." It wasn’t Broadway, but it worked out perfectly and our cast, as well as our community, loved being outside.
Getting the “Ah-ha’s!”
A very rewarding rehearsal happened on a Thursday. Only 3 main characters came. We deliberated about cancelling it or not, but I was very glad we didn’t. That rehearsal, with only three people, was awesome! I was able to ask character questions and really help those 3 people to fine tune some areas and make our show better. From my notes, I recall: “My rehearsal was awesome tonight. We really were able to fine tune some things and make it really fun. It was exhilarating. It will come together!” At that rehearsal, I learned that as a director, I will need small cast rehearsals like that. Not only does that allow for cast bonding, but the character decisions that went on that night, were phenomenal.
As the performances got closer, I realized that (of course) people respond better to compliments than criticism. But once they know that you genuinely like them and appreciate what they’re doing, they will take your constructive criticism better.
Discovering Myself
I had fun learning about myself. I started to understand how I like to direct a show. It got difficult at times, since Kelli and I have very different directing styles, but we were able to give and take and work together. I learned that my styled is a little more laid back. I like to ask questions and offer options and choices to my actors. I realize that my directing style will grow and develop as I grow in experience and knowledge. I also realized that what might work for one actor, doesn’t necessarily work for another. For example, one of my leads did great with my questioning: “What would Bonney do right now? Why would she do that” while another lead called out “Just tell me what to do!” For that actor, I narrowed my focus by asking two specific questions. “Why don’t you try that line like ‘this’ and then like ‘this’ and we can decide which we like better.” That kind of directing really worked well for him, and allowed him to find something that felt like his character and was comfortable.
Finding the Satisfaction
After all was said and done, my sister (who I hounded to be in the show) came up to me and said “Thanks for making me do this, Beck. I had fun.” Hearing her say that was amazing. I had made a difference in my sister’s life. She walked away with a good experience and better outlook on theatre; which is exactly my mission.
But what I loved most about spearheading this project was how right it felt. The entire time, from the first inquiring e-mail to the final bow, it all felt right, that that is exactly what I should be doing. While it got busy, chaotic and stressful at times, I thoroughly enjoyed it and hope for more opportunities like this in the future.
I sat at my parent’s table, reading the Mayor’s April message to our small town community and something caught my eye. A melodrama. A melodrama?! My little town is actually going to tackle a melodrama? My brain started running at a million miles an hour as I quickly took to Facebook to contact the young mother who was in charge. I had hoped that Kelli Shimek would let me volunteer or help in some way. Perhaps a props master or some type of stage manager, but when she offered to co-direct with me, I was ecstatic. What an opportunity this would be for me! I eagerly looked forward to the challenge and the things that I would learn.
Jumping in Feet First
Once I was in, it was full steam ahead. Kelli and I met two weeks later for our first meeting to discuss the play, logistics, paperwork and anything else we could think of. I remember walking away from that meeting feeling super pumped and ready to plow into the project. From my personal, scribbled notes, I wrote: “My meeting with Kelli was super productive, we got a lot of the logistics sorted out. We both have a lot of ideas and I’m really quite excited for this… We just need to get the word out so people audition…that’s our main concern right now.” Right from the get go, Kelli and I were nervous about having enough people who would audition. But we were fearless. I started up a Facebook page, posted pictures and updates. I sent e-mails and reached out to people on an individual basis, all the while, working diligently to get all of our paper work done. One of my assignments was to prepare the paper work necessary for auditions, such as audition forms, contact lists, audition sides, prop lists, furniture lists and so on. Nearly 10 hours was spent during the paperwork stage and I found that I liked that aspect a lot more than I thought I would. The organization, the research, the document layout and information, I liked it. I liked feeling prepared and ready to go.
Auditions
The first night of auditions finally came, May 11. Only 3 people came. We were devastated, but not surprised. For the next 24 hours, I was encouraging those I knew who might be interested to come audition. Lucky for us, 10 more people came on our second night and our cast was filled. Reflecting in my notes I found: “We have a cast. I’m so glad it worked out. Now, comes the real work.” And boy, I wasn’t kidding.
Baptism By Fire
The weeks leading up to our first rehearsals can only be described as “baptism by fire”. While lacking in directorial experience, I relied on my “school smarts” to think things through. Where do we hold practices? Where will we perform? Outside? How will we get a sound system out of doors? How will people see us? Slowly, we started to tackle each problem and question one by one. Throughout this whole process, we were fortunate to have a representative from the town council committee, Marilynn, who worked relentlessly with us to make this show possible. That was one thing I learned and was grateful for; you can’t do a production by yourself. I had to learn how to work together with two other women who were very different from myself. As I got to know these two women better, I found myself really respecting them and genuinely liking to be around them. Weeks later, I love bumping into them and seeing how they’re doing.
Making a Good Impression
As the three of us met on a regular basis to discuss our play, we would always talk about how important the play really was to our committee. If we ever wanted to do this type of production again, we have to make the first show good, a success. If everything goes smoothly (meaning the performing space, the sound, our show, etc.) we have a better chance of doing a show next year. This concept felt very strong to me, and still does. Theater is so important and can be beneficial for so many different reasons and it thrills me to think that I can help play a part in that expansion of the theatrical arts. One of our goals as a directing staff was to make sure our cast was having fun. If they didn’t, they won’t come back next year. Throughout the whole process, it felt similar to what I think building a school drama program might feel like and am grateful for this experience in helping to “get my feet wet.”
Challenges Along The Way
One thing that was very challenging was not having a real theater space to practice in. However, we were very lucky to secure the town’s civic center for rehearsals. The building saw to our immediate needs, but was somewhat confining and didn’t allow for a “panned-out” perspective. We took a rehearsal out on the hot parking lot to allow us as directors to see the play “far away”. One thing that I pushed for from the very beginning was to perform outside. My first suggestion was to perform on the flatbeds of two semi-trucks in the corner of our beautiful park. We went through lots of performance space options, but ultimately came back to the trailers. It worked out seamlessly. We had many people who knew a friend who could call someone and before we knew it, we had secured two flatbed trailers and two stairs to lead up to our “stage." It wasn’t Broadway, but it worked out perfectly and our cast, as well as our community, loved being outside.
Getting the “Ah-ha’s!”
A very rewarding rehearsal happened on a Thursday. Only 3 main characters came. We deliberated about cancelling it or not, but I was very glad we didn’t. That rehearsal, with only three people, was awesome! I was able to ask character questions and really help those 3 people to fine tune some areas and make our show better. From my notes, I recall: “My rehearsal was awesome tonight. We really were able to fine tune some things and make it really fun. It was exhilarating. It will come together!” At that rehearsal, I learned that as a director, I will need small cast rehearsals like that. Not only does that allow for cast bonding, but the character decisions that went on that night, were phenomenal.
As the performances got closer, I realized that (of course) people respond better to compliments than criticism. But once they know that you genuinely like them and appreciate what they’re doing, they will take your constructive criticism better.
Discovering Myself
I had fun learning about myself. I started to understand how I like to direct a show. It got difficult at times, since Kelli and I have very different directing styles, but we were able to give and take and work together. I learned that my styled is a little more laid back. I like to ask questions and offer options and choices to my actors. I realize that my directing style will grow and develop as I grow in experience and knowledge. I also realized that what might work for one actor, doesn’t necessarily work for another. For example, one of my leads did great with my questioning: “What would Bonney do right now? Why would she do that” while another lead called out “Just tell me what to do!” For that actor, I narrowed my focus by asking two specific questions. “Why don’t you try that line like ‘this’ and then like ‘this’ and we can decide which we like better.” That kind of directing really worked well for him, and allowed him to find something that felt like his character and was comfortable.
Finding the Satisfaction
After all was said and done, my sister (who I hounded to be in the show) came up to me and said “Thanks for making me do this, Beck. I had fun.” Hearing her say that was amazing. I had made a difference in my sister’s life. She walked away with a good experience and better outlook on theatre; which is exactly my mission.
But what I loved most about spearheading this project was how right it felt. The entire time, from the first inquiring e-mail to the final bow, it all felt right, that that is exactly what I should be doing. While it got busy, chaotic and stressful at times, I thoroughly enjoyed it and hope for more opportunities like this in the future.