Much of what we’ve been sharing on this blog concerns our rehearsal process, but some of you may not be aware that Nick and I are actually also producing this show, apart from working on the creative aspects of the show.
What does that involve? LOTS!!
In the past three weeks, we’ve had to work on a whole bunch of different things, multitasking like mad! These involve discussions with PJLA, our performance venue, to decide on logistic issues, box office issues, how we are going to price the show, mapping out the seating plan for the tiered prices, etc, etc.
We’ve also had to liaise with corporates who are contributing to the show, either financially or in kind: Where does their branding go? What perks will they be entitled to? And so on.
Then there are the set, lighting, sound and costume aspects of the production. We’ve been in further discussion to make some tweaks to the design of the set, with our award-nominated set designer Fang Chyi. Plus settling some preliminary lighting issues with Ee Chee Wei, our multi-award-winning lighting designer.
We had a meeting, too, with yet another multi-award-winning designer, our costume whiz Dominique Devorsine, to discuss further some of the concepts she wanted to show us for the costumes. The only brief I had given to her was, “Even though the original story is set in first century Palestine, I want the costumes to be historically and geographically ambiguous to indicate that it’s a timeless story. Plus, it’s a fun show, so we want that element reflected somewhat in the costumes too.” Dominique has come up with some very interesting ideas, and we’re looking forward to see how it all fleshes out in the end. Chee Wei, of course, needs to know in advance what sort of fabric textures and colours will be used, as well as the layout and colours and textures of the set, as it will affect his lighting design.
We also had to make some important decisions in the sound department – what equipment would be needed to be rented for our venue, and how much it would cost, and who would be given the job of engineering our sound. This is such a key element in the production. No one enjoys watching a musical where poor sound kills everything!
After over a month of working with our publicity designer, Davina Chan (who’s done an amazing job, I think, based on feedback we’ve been getting), we were also able to settle the final designs for the flyers, posters, buntings and banners, and then liaise with our printer to get the publicity materials ready. After collecting the finished products, Nick and I sat down with our publicist, Grace Chin, to work out where all the materials were going to be sent to for maximum reach and impact. We also wrote up a press release and collated bios of the cast and creative team for press and media purposes, and worked again with our publicist to see how the show could be best promoted through the press, media and online avenues.
Of course, in the midst of all this, rehearsals couldn’t let up. The bulk of rehearsals in the past few weeks have been in my hands and have focused on blocking and acting (with Nick backing up on playing the music), but Judy has also had to arrange separate choreography rehearsals for some of the cast who are needing the additional tuition, as has Nick in the vocal department.
One of the biggest challenges in mounting this production has been the almost mutually exclusive schedules of the cast members. Some work nights and weekends while others work normal 9-5 days. Still others freelance and have odd hours depending on what projects are happening. Piecing together a rehearsal schedule has been a nightmare, complicated further by personal emergencies and illness that have cropped up along the way. Of course we knew from the start that scheduling was going to be a major challenge. But it still doesn’t make it any easier!
So we have very much been working with sub-groups and then trying to piece the jigsaw pieces together: The Shepherds have been working on their scenes separately. Ditto for the Wise Men. Mary, Joe and Gabe have many of their scenes together, while the angels flit in through different scenes as the storytellers gelling it all together. Rehearsals have been happening almost every day at all conceivable hours of the day, depending on performers’ availability. I don’t think I’ve ever had to work on a production with such a crazy work schedule!
Apart from the obvious problem of overcoming fragmentation, another key problem with such an arrangement is that it doesn’t help towards building ensemble, which is so needed for company pieces, and for the production as a whole. Some cast members had hardly seen each other since the start of rehearsals, and were still trying to remember each other’s names! So one of our priorities in the past couple of weeks has been to build ensemble – teamwork, trust, chemistry – within the whole company. Judy and I spent some time running exercises and playing games with the entire cast, and I’m glad to see we’re slowly but surely getting there.
Another challenge I face as director is that I have a very wide range of experience in my cast. I have singers with amazing vocals who have little musical theatre experience, and singing musical theatre is very different from singing in a concert! I also have experienced musical theatre practitioners who are proficient in their stage work. So I’ve had to go through some of the basics of theatre craft with the newbies as rehearsals have developed, whilst others have had to be patient with the newcomers and try their best to contribute to their growth. The challenge with established performers, on the other hand, is sometimes getting them out of their comfort zones. So overall, the goal for Nick, Judy and me has been to stretch our performers, both new and experienced, beyond what they think they are capable of (in acting, singing or dance), without overwhelming or discouraging them – and all in record time!
In the midst of all this, Nick has also been assembling the band, writing out music scores and working with them on band rehearsals. I have yet to meet some of the band members, but I know Nick has put together a really fine bunch of musicians who are going to add their own magic to the show! Apart from Nick on keyboards, we’ll also have Justin Depuydt (Elaine Toon) on keyboards too (two? LOL), Wei-Ming Wong and Isaac Ravi on guitars, Joe Loy (Kevin Theseira) on bass, and Ryan Lee Bhaskaran on drums. (Elaine and Kevin are backup musicians for show-days when Justin and Joe will be absent.)
All in all, Nick and I are pretty much sleep-deprived and exhausted, but glad to see things slowly take shape. The next two weeks till we open are going to be even more intense, but we’re convinced the end result is going to be one great show that bears testament to all the creative inputs of the amazingly talented group of people we’re honoured to work with, and which you’re gonna love to bits.
So what are you waiting for? Grab your tickets!
And meanwhile, I’m gonna grab some much-needed sleep. :)
Colin Kirton
[written on 15 Nov, before my wireless router got fried, preventing me from posting it earlier]
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