Originally published on Sunday, April 24, 2011 in The Charlebois Post as:
Blog: Processed Theatre's Fringe Journey, Part II

Week 2: Our Rehearsal Process and EDGES: A Song Cycle
by Nichole Carlone

We are Processed Theatre. Last September we produced a very successful “Reefer Madness: The Musical” at Mainline Theatre, and are now preparing for the debut of our second show, blindly hoping that we can continue to produce the quality and popularity of “Reefer Madness: The Musical.” 

Rehearsing is a tricky bitch. 

You have some directors who demand performances from day one. You have directors who recognize that this is a time for growth, play, discovery and that it's a process. A huge part of our mandate is "process over the product,” because a strong process yields a strong product. This core value was present in our decision postpone our show EDGES: A Song Cycle to the 2011 Montreal Fringe, rather than try to pump something out last minute with a new cast member. 

Now we have the lovely Dane Stewart in the cast, and Jade is off to Europe this summer to make an exciting movie, which I am assured is not pornography. Matt Lacas, who was already in the show, is taking over Jade's part and Dane is taking over for Matt. We had 5-6 boys come in to sing, and each one presented solutions and dilemmas. I take my casting seriously. It is, after all, 90% of my job. I have to examine every angle, and talent has little to do with it. Of course you have to be good, but your looks, experience, training and reputation play a huge role in casting. In this instance, we needed someone who could learn music and harmonies fast and well, and had a good, friendly vibe that fit with the look of the show. We didn't see anyone who could simply take over for Jade, so we moved a bunch of music around, and voila: a whole new/same old show!

Our first step in the process is to learn the music. I have a rule that you must learn the music as written before you get to play with it. It's the technique. I try to encourage the cast to learn breath by breath, and if you don't know what that means, you should come take one of our workshops. Then we discuss the person singing the song. In this case, EDGES is a song cycle, so each song is an opportunity to create a whole world and character. We discuss why this song and these words. What just happened that made you have to sing this song right now? Then we start to play. (I have stolen many a wonderful acting exercise from many a wonderful teacher and director that I've had the opportunity to work with.) Once we have a clear idea of the story that's being told, we begin setting down blocking and choreography that supports the story. Is 100% of what we do organic and derived from "the process"? No. Sometimes, I flat out choreograph something because it's cool or sexy or goofy. It does happen that I have to feed a line reading to someone. And there are times when actors are tired from their joe jobs and they fake their way through a rehearsal. It happens. That's life. 

Rehearsals are a tricky bitch. 

The important thing to remember is that rehearsals (or RE-HEARS-ALL) are for rehearsing. That means explore, go crazy, be physical, risk collision, discover, make choices then make the opposite choices. And above all don’t be lazy. Dress to move, bring water, know your stuff, offer ideas and choices and be open to everything. The end of the rehearsal period is the time to set your choices, and blocking and whatnot, so take advantage of the time given to play.

Also at Processed Theatre, we have started rehearsals for The 25th Annual Putnam County Spelling Bee, which will play at Mainline Theatre this September. We are also involved in the purchasing of a building in Verdun with the hopes of turning it into the Verdun Organization for the Development of Arts and Culture Center (VODAC), which could be our permanent home. If you like the cut of our jib, and have 5$ to spare, please consider helping us out. This building would also provide a new performance, creation, and rehearsal space for the entire visual/theatre/dance/film/etc arts community. It also has a bar...

As you may have heard, our little show is moving to the 2011 Montreal FRINGE baby!

Our amazing and talented Processed Theatre family member (and EDGES cast member) Jade Hassouné was offered an incredible film opportunity, and cannot do EDGES in April. 

After that conversation, I just sat there for a few minutes. Blank. And then the crazy ideas started. 

• "I could do Jade's part. I can't sing and do not look like a very handsome Lebanese man, but I could do it."
• Or "Pins (Christopher our General Manager) could do it. So what if he's a bass and Jade's a tenor? He can do the whole show in falsetto!"
• Or just the straight up: "Yeah, we can totally find a boy who can sing and dance and harmonize perfectly who wants to do a show for no money and has to give me two weeks of his life."

Oy! What to do. So I did what most people do when they are stuck: I went on the Facebook. And there, the clouds parted and I saw the wonderful status from the 2011 Montreal Fringe Fan Page: 

"OFF FRINGE Deadline is this Friday! La date limite pour s'inscrire au OFF FRINGE est ce vendredi!" 

And everything just fell into place. Earlier in the week, Shayne (our Musical Director) was telling me about a company that dropped out of his OFF Fringe venue. The cast was really receptive to the idea. And it gave us the gift of TIME. Time to make the show better and tighter. This actually might be even better, if that's possible. 

We are super stoked for Jade, and for our first Fringe adventure!

Sometimes we are so focused on moving forward that we forget to reflect, and learn from the events that have just happened in our lives. I had a brilliant teacher in theatre school who would have us "check in" once a week. We sat in class and took turns talking about what had happened in the last week in terms of learning and growth. We could discuss personal matters or talk about an injury that was holding us back. Really whatever. Now I rarely tune-in to what's happening and what needs to be addressed so I can stay healthy mentally and physically. 

So I'm checking in. 

This week a lot of great work was done in the rehearsal room and the music is almost there. I am learning, in my directing, a lot about acting. Having to teach certain exercises or techniques is helping me fully understand them too. I am still green, and yet not. I've been in theatre for a while, but mostly as a performer. This is only the third show I've directed and I am trying to absorb the process as much as possible.

The challenge with EDGES is that I can't rely on choreography or big impressive musical numbers. It's 12 songs. No text. Little "dancing". Just 12 honest, clever, meaningful stories sung by anywhere from one to four people. It's always a challenge to make a four minute song that isn't part of a larger story interesting.

We are using "verbing" or actions a lot. Imaging exercises too. And imagination. LOTS of imagination. I am proud to say that my cast trusts me. They are wildly throwing themselves into all the crazy, silly things I ask them to do. It's rare that someone can fully  let go and actually try what you ask of them. 

Also, I only hire insane people so that helps...

Next week we set all the blocking and begin running the show. I'm looking forward to seeing the pieces come together.

Sidenote: We were in the space, and we figured our how to make the space and set work together. YAHOOOOO!!

We are starting our final descent into EDGES madness. Tonight we almost finished the music. We are 90% done with music and starting to get on our feet. I am really excited to have seen the growth in everyone from day one until today. In three weeks we open. Some days I feel like we are really running out of time, and some days I feel like I have all the time in the world. Right now, I am focused on consistancy. It's one of an actor's hardest challenges, and the solution is really simple: know what you're doing. 

Develop a process, don't be lazy and do it! 

If you actually know what you're doing onstage, you can repeat it. I mean every moment. Every single second you have to have an incredible focus on the steps you take from point A to point B. You know when people say that you have to be in the moment? Well, that's what they mean. You have to map out your journey because that's the only way you're going to be able to get to the same place evey show.

A good friend of mine, also a director, had asked (at some point or another) one of their actors to do something, to which they responded that wasn't their "process." When asked what their process was, the actor couldn't respond. This happens all the time. If you are an actor in a show right now, sit and think about your process and the steps you take to acheive you goal throughout the course of your narrative. Do you actually know every step? Do not be satified with: "well I kinda do this, then I don't know, and then I die at the end". It's boring and vague, and that's what your performance will be. 

If you don't care, why should we?

I am trying to teach my cast some new tricks to help them have a plan. A map. A guide. Whatever you want to call it, just a way of being consistent. A way of working that can be used and applied to everything. Tools. Actors need tools. How do you get them? Well, you read about them, and take workshops and classes. You make some of your own tools as well. I just can't stress enough the difference between a clear and distinct path and winging it.

Also, this didn't start off as a blatant plug for our acting workshop, but if you are revved up right now, you should probably come check it out. I make no guarantees, but I'm pretty sure I can offer you at least one tool to add to your box...

If you saw Reefer Madness: The Musical, I was one of those guys dancing around in the background. Most of the time I was nearly naked so it's understandable if you don't recognize me by my charming face. Now I'm that guy who creepily lingers around the Processed Theatre team during events and shows, reminding them to be promoting the show and looking attractive. 

As a General Manager, people don't really know what I do, even if I've just told them. My job at Processed Theatre is mainly the planning, development, and marketing of the business so the Artistic Director can focus on quality products. 

Translation: I do businessy stuff so Niki can do choreography and stuff. 

For a young contemporary Montreal musical theatre company, "businessy stuff" equals things like marketing campaigns, social media, regular media, raising money, building relationships, and planning events. Hopefully you've noticed some fancy new improvements happening around Processed Theatre. There's lots more to come!

This theatre company is going to be the shit. Thank you for welcoming me to Processed Theatre. And thank you all for welcoming me into your community.

How do you like our new improvements (website, videos, newsletter, etc)?

If you haven't seen "What is EDGES? - Episode 2 (QDF 2011 Spring Calendar Launch)", check it out below!

We also have the FULL version of "Be My Friend (The Facebook Song)" on our YouTube channel if you missed our performance at the QDF 2011 Spring Calendar Launch.

Last night was the first time people have seen my work since Reefer Madness: The Musical. And it was good. People liked it. Relief! I have to admit that I feel like I have a lot to live up to since Reefer. Last night the Rialto was packed and we got to open the show, which made the rest of the evening pretty darn stress-free and enjoyable! 

I have to say that my favorite moment of the night was the closing number, "What's Toronto Got?" from Schwartz's the Musical when Stephanie (who is a brilliant wonderful performer) kinda blanked on her lyrics, but instead of the room turning 20 shades of cold hard bitch, everyone cheered and woo'd and encouraged her. That's the kind of theatre community I want to be part of.

Your candle loses nothing by lighting someone else's. 

And the QDF 2011 Spring Calendar Launch is a prime example of how our community can come together to share in each others creations. I know I have a reputation for not liking most of the theatre that I see, and for the most part it's true, but I LOVE when we encourage each other and help one another grow. 

It was also nice to hear a lot of musicals! I am a personal huge fan of The Drowsy Chaperone (it's Canadian AND Contemporary people!) and am glad to see it being done by the Hudson Music Club. All in all it was a pretty sweet night and I can't wait to get EDGES on it's feet and in front of an audience!

What was your favorite moment of the QDF 2011 Spring Calendar Launch? How'd you think the EDGES troupe did?

More Press on the QDF 2011 Spring Calendar Launch
Facebook Page: QDF 2011 Spring Calendar Launch
Charlebois Post: QDF Spring Launch
Charlebois Post: Video: First Coverage of QDF Spring Launch
The Gazette: Stage & Page - Pat Donnelly: Quebec Drama Federation Spring Calendar Launch at Rialto a Hit

We have a General Manager. 

HALLELUJAH!!! 

I have known all along that I couldn’t do this all on my own, but I just never seemed to find the right person for the job. Well, about two years ago, Christopher Pineda, new to the Montreal musical theatre community (having arrived all the way from California), walked into my life. Well, into the Starbucks I was at, and he had enthusiasm, passion and drive. He understood art AND business. 

He was cast and performed in Reefer Madness: The Musical, and recently took over a lot the nitty gritty. Or “crap”. There’s a lot of crap. Little everyday stuff that won’t put you out of business if it doesn’t get done, but can make a real impact on your future if you invest the time to do it. Like our shiny new website (which you can explore when this rambling is done!). Helping put together auditions, casting, upcoming workshops, videos, and a lot more in the works. 

So I welcome Christopher to the family. And since he’ll also be blogging, you’ll get to hear about all the other stuff that goes on besides fun rehearsals and watching actors grow. Things like awesome accounting and magnificent marketing and bodacious business. 

I’m gonna go choreograph something now!

Also, he is pretty sexy…

We had our first read for Edges the other night. I was nervous, excited, proud of the cast and crew we snagged and really really proud of the incredible material we get to work with. I think this is going to be a really special show, completely different from Reefer Madness. It's a little tricky when people ask what the show is "about" because you show up, we sing you 12 songs and then everyone goes home. It's a visceral experience where, hopefully, more than one song resonates with you. 

If I had to, had to, had to give you an "about", I would say it's about: "Who I am" vs "Who I want to be."

This resonates with me. Anyone that knows me personally knows that I have a no BS policy in my life. I try to be as real and honest as possible, even when it gets me in trouble. I do not small talk, I do not fake laugh (or anything thing else for that matter), I will not say anything behind your back I wouldn't say to your face. This works 90% of the time. It's not easy being completely true to yourself and honest, when most other people aren't. People feel the need to fit into these little molds that society has created, and Edges is about challenging that. About daring to break out of that to be yourself. Caterpillar to Butterfly style.  

So this week-end was the General Auditions for our next season, and I thought I would offer some general feedback. As an actor I learn a lot from watching other people audition, so here are some take-it-or-leave-it thoughts. Please keep in mind that these are MY opinions and preferences, not necessarily everyone's. That if you think I'm referring to you, I probably am, along with 90% of the people who came out. And that everything I say has an opposite and true meaning.

1. Song Selection (Can be applied to monologues)

• If you are auditioning for a company in general, check out their mandate. If it’s to do Canadian work, audition with a Canadian piece. If it’s contemporary musicals, don’t sing something from 1930.
• If you sing something from the show you are saying: “this is how I will play the character”. If that’s different from the director’s view, you may be limiting yourself. Try finding something from the same composer. (By the same token, if it’s exactly what the director wants, you jump to the top of the list! No risk, no reward)

2. Accompaniment vs. Acapella

• If you are lucky enough to have an accompanist, do not bring in something from SONDHEIM or JASON ROBERT BROWN. It’s really hard. Like really, really brilliantly hard. As an option, find a really good piano player; have them practice for a week and record it, then ask the auditors (in advance) if you can just play your accompaniment CD in the audition.
• If you’re singing acapella, try to pitch yourself before you start. Find out what your starting note is and if there’s a piano, plunk it for yourself, get the iphone piano app, borrow a pitch pipe. Whatever! It will ensure that you do not start in the wrong key and flub that high note you’d normally ace.

3. Paperwork

• Everyone likes their resumes and headshots in their own way, so I think, unless specified, it’s better to just hand it in loose. If you want to staple/paper clip it, make it recto-verso, so they can just flip it over.
• Sheet Music should be in a binder or book with time signatures, keys and other important clues on how to play your piece highlighted. If you have cuts, make them as clear as possible. 

4. Auditioning

• It’s not a rehearsal, not quite a performance; it’s a chance to show your skill, technique and talent. So do that. Don’t sing something because the song is funny. Sing something that shows that YOU are funny. Don’t sing lyrics about belting, if you can’t belt. Show yourself.
• Your personality is just as important as your talent. (I have cast in the past because I thought someone would be more fun/nice/open to work with than another). Smile, dress appropriately, be on time, don’t apologize, if you’re gonna shake my hand then do it with conviction, be confident. If you are too nervous for any of the above, learn how to fake it.

5. Afterwards

• Say thanks, good luck, whatever and leave the room. (Some people like to email afterwards, keep it short). Go and get yourself a treat. Auditioning sucks.
• If you don’t get the part, 90% of the time it’s because they already have 2 blondes in the show, you’re too tall/short, they like your voice but not your eye color, you remind them of another actress they hate. 10% it’s because you can’t hit the notes they need, your acting skill/technique isn’t quite there, or you can’t kick as high as the other girls. 

MOST OF THE TIME IT HAS NOTHING TO DO WITH YOUR TALENT!

Auditioning sucks. It’s a skill, practice. Audition for your mom, friend, co-workers, whatever. Remember that the auditors are there because they want you to be good. They want you to be perfect for the part, they are cheering you on! (On the inside… Let’s keep it professional.) Go to every audition that you can, and you will start getting work. (A teacher once told me that for every 10 auditions you get 1 call back and for every 10 call backs, 1 job. That’s 1 in 100.)

I have auditioned as an actor for people who fell asleep on me, or walked over to a corner and started having a conversation with others. I’ve walked into rooms and before I even read they say “Thank-You”. These people are assholes, and you do not want to work them anyway. Do not let bad audition experiences put you off. Practice, practice, practice!