Tag Archives: Lauren Gunderson

Miss Bennet Reprise

As many of you know, I directed Lauren Gunderson and Margot Melcon’s Miss Bennet: Christmas at Pemberley last year at Main Street Theater.  It was an unequivocal success, despite tepid enthusiasm from the new Houston Chronicle reviewer. We sold out the run and the extension. Such was the response, and the disappointment from some people who were turned away, that we are remounting it for the holiday season again this year. It opens on Friday after Thanksgiving.

I’m delighted to announce that all but one of our original cast is returning, including Chaney Moore, Brock Hatton, Laura Kaldis, Heidi Hinkel, Blake Weir, Skyler Sinclair, and Lyndsay Ehrhardt. Alas, Spencer Plachy, who played Darcy last year has been cast as Scar in the national tour of Lion King. But we are very fortunate to have Alan Brincks taking his place. The cast is rounded out by two new interns from Sam Houston State University, Lyndsay Craven and Tyler Mahler.

We have the same fabulous design team and the look and feel of the show will be as lovely as it was last year.

To learn more, and hopefully secure your tickets in advance, go to the Main Street Theater’s web link:

Miss Bennet: Christmas at Pemberley
Look forward to seeing you all there.
Claire Hart-Palumbo

Theater 2018

This past twelve months has been very exciting, theater-wise. Last fall I directed the Lauren Gunderson and Margot Melcon play Miss Bennet: Christmas at Pemberley. It was a great success with Main Street Theater audiences, selling out the original run and the extension.

I directed several readings, including a play by Arthur Smiley, The Lady Demands Satisfaction, for Wordsmyth and Christopher Hampton’s translation of Florian Zeller’s The Father for Luciole International Theatre. Clara Ploux is pursuing the rights for a full production in the 2018-2019 season.

For eight months I worked intermittently with Gwen Flager and Queensbury Theatre on her award winning play Girls Who Sing in the Choir, which became Shakin’ the Blue Flamingo. We began with a public reading where Gwen and I worked with a professional cast of my choosing to give voice to the characters. The feedback she received from me, the cast, and the audience was valuable in her rewrite process. Then in February of this year, we rehearsed for a week to put the play on its feet and did a ‘staged reading’ of the play with scripts in hand. We began to discover the rhythm and movement of the play. Our public reading was sold out, with people being turned away. That experience helped Gwen to hone the shape of the play and rewrite the ending. In June we went into full rehearsal and opened in July to several sold out houses. While the overall attendance did not warrant an extension, it was generally considered a great success by everyone who participated.

My involvement with Wordsmyth led me to volunteer to usher and help support the Texas Playwright’s Festival of readings by Wordsmyth at Stages. Three plays get a public reading, a brief chance for rewrites and a second reading over the course of a weekend.

Later this year, I go into rehearsal at MST for the remounting of Miss Bennet: Christmas at Pemberley. The majority of my original cast have again signed on for that lovely holiday play. We get to play together once again!

Until then, I’m open to suggestions.

Claire HP

Miss Bennet Opens at MST

Well, the show is open and I’m feeling withdrawal pains.

We had four virtually sold-out previews and an extra rehearsal to adjust the timing and secure the laughs in the final show. Then on Saturday, November 11, 2017 we opened to a lively sell-out audience. People on the waiting list got in because a few regular subscribers were unable to use their tickets.

Energy was high and responses were quick. That almost telekinetic connection between audience and performers was especially evident.  There were obvious Jane Austen fans in the crowd who chortled at every inside joke. At one especially sweet moment, there was an audible sigh from a group in the audience. That response and energy only fed the sharpness of the performances.

Three reviewers have now seen the show. Two reviews have been published and we expect one from the Houston Chronicle shortly.

The Houston Press gave a generally favorable, if slightly tepid review. The main objection being that like Jane Austen’s books and most romantic comedies the ending is a bit predictable. The girl gets the boy. Spoiler alert! That’s what we want.

http://www.houstonpress.com/arts/review-miss-bennet-christmas-at-pemberley-at-main-street-theater-9956888

On the other hand, Doni Wilson of Houstonia magazine loved the show.

https://www.houstoniamag.com/articles/2017/11/13/main-street-theater-jane-austen-pride-prejudice-christmas-at-pemberley-review

We will let the ticket-buying public decide. I’m keeping my fingers crossed that this could become a perennial favorite for Main Street Theater audiences.

The show runs through mid-December, so contact MST for tickets online at mainstreettheater.com.  Or call the box office at 713-524-6706.

 

Miss Bennet, Week 4-First Preview

This last week has been leading up to our first preview of Miss Bennet: Christmas at Pemberley and the introduction of audience to the recipe. It is that ingredient, like yeast, that will make our work ‘rise’, and elevate the rehearsal process to live theatre.

The set is receiving its final touch ups, we are still waiting for one chair that is currently starring in a production at another theater. Props are being adjusted and finalized. Decisions must be made about the exact amount of cranberry juice for color in the ginger ale punch bowl and how much light to throw on the Christmas tree without upstaging the actors. Do we use the incidental music to transition us from one scene to another, and does it end when the lights come up or fade as the actors enter? As the director, I am consulted and involved in all these decisions and processes.

But my primary focus is on the actors and their journey to bring these characters to life. The cast is as widely different in acting and work styles as the characters are different.  One actor is very free and able to commit to even extreme and presentational-performance styles. Another found the core of the character early on but is still trying to find the exact vocal balance. Still another actor must understand the psychological ramifications of every single gesture and inflection to the point of being crazy-making. Some seek me out for private conversations to rationalize a piece of blocking I’ve given. Others seem almost jealous to receive this information second-hand, so I have to reprise the conversation all over again. My detailed notes after each rehearsal are generally taken with eager and good humor, while occasionally there seems resistance to changing anything without extensive discussion. Once in a while, I have to remind a cast member that I’m the one sitting in the audience and seeing the stage picture, and I’m the one whose responsibility it is to fulfill the vision of the play, not just his or her character.

While highly professional, this is a very young cast. I find their willingness to be creative and collaborative exciting. But their equal eagerness to challenge every decision and offer their own insights as to what the play should be, sometimes takes valuable time out of the rehearsal process. A more mature actor would consider it impertinence. But then, I would not have the benefit of the occasional insight that leads to a solution. It is a balancing act.

Sunday marked our first preview. It was an almost full house, which is an advantage because it frees people to laugh. The first audience is so important to the process. It is during previews that we discover whether the humor is working. Do we need to take an extra beat before the next line so as not to ‘kill’ the laugh? Are there lines we forgot might be funny and so the laughter takes us by surprise? Even more gratifying is to discover you have actual Jane Austen fans in the audience who get the inside jokes from Pride and Prejudice. Lauren Gunderson and Margot Melcon have skillfully inserted such references without drawing attention to them.

During the preview, I sat with Artistic Director, Becky Udden, and Carrie Cavins, my lighting designer.

It was exciting to see the eager and attentive faces of our somewhat older audience members. The first preview invariably includes long-time patrons and senior citizens. Any concerns I had about volume of the actors were allayed quickly. Pacing seemed very good, but a few scenes seemed a trifle slow to me. A sign that the actors are still tentative about what they are doing. While pleased with the audience response, I saw all the little things that needed to be fixed.

Carrie, like me, saw only the places where the light was uneven, or an actor was standing just out of light. She can only do so much if the actor cannot feel the light on his/her face and seek it out.

Becky on the other hand, seemed delighted with the show and recognized that any small imperfections can be fixed this week in rehearsal and previews.

Audience response and the buzz in the lobby were very good.  I had a few interesting conversations with patrons.  Later, Shannon Emerick forwarded our first email response from an a longtime Rice University staffer in the audience, who wrote, “It was an absolute delight. Terrific way to begin the holiday season. Helen”

We’re off to a terrific start. The rest is in the details. Next rehearsal on Tuesday. Then three more previews before opening night.

Miss Bennet Rehearsals – Week 3

Over the weekend, we had our ’10 of 12′ rehearsal.  It was exhausting, but productive, and we survived it–as we always do.

Actor’s Equity union rules allow us to have one rehearsal during Tech Week, where we work actors and crew ten out of twelve consecutive hours.  This is usually done in two five-hour work sessions with a two-hour dinner break. Ours fell on Sunday.

Tech rehearsals are a long and tedious, but necessary process where the director, stage manager and designers try to work together to pull a show out of the proverbial hat.  We ask the actors to move through the show from one cue line to another, stopping to build a sequence of light and music transitions.  We track the props through their appearances on stage and off. We make critical decisions on costume pieces and quick changes. The actual furniture is added to the set, final details are completed or painted on the set, and adjustments are made in blocking to accommodate all these elements.

I take second chair to my fabulous stage manager, Lauren Evans. The actors are temporarily relegated to animated mannequins that must walk the same pattern and say the same phrase over and over until all the computerized elements are in sync and as they need to be for the final product. There is a lot of sitting or standing around, while being completely upstaged by the technical elements. It can be very boring and certainly taxing to patience and good humor. The cast and crew of Miss Bennet managed to weather the process with minimal storms and tempests, in good part thanks to Lauren. The product is starting to become visible.

Sunday we made it through Act 1 and part of Act 2.  Monday, we finished teching the show and were able to actually rehearse some scenes with full technical support. This week, we add the costumes and put all  the elements together with the wonderful characterizations that the cast has been developing.  The final push will be to meld all these moving parts and impose a story arc that brings the audience into the world and on the adventure.

The audience is, of course, the final element; the ‘chemical’ reaction that adds the magic, which turns a play into a piece of theatre–and hopefully a work of art.

 

Check out the Houston Press interview with me about Miss Bennet: Christmas at Pemberley, at –

http://www.houstonpress.com/arts/preview-miss-bennett-christmas-at-pemberley-at-main-street-theater-9885242

 

Miss Bennet Rehearsals – Week 2

Rehearsals are moving along with the Main Street Theater production of Miss Bennet: Christmas at Pemberley (Lauren Gunderson and Margot Melcon).  In the first week, we have managed to block the entire show and are working through each act to find the relationships and the overall arc of the character development.  Actors are off book for one act and learning their lines for the second. The ladies are beginning to work in corsets and a pregnancy pad, and the men in their boots. Having accomplished so much, the pictures I snapped on a break may seem deceptively relaxed, but they’ve earned every ten-minute break believe me.

Tuesday, October 24th, 2017, we added two new faces to our number. SHSU students Adonis and Sara are interning with us for this show and will be costumed as servants to facilitate changes.  So, we went back and blocked the transition intermezzos between scenes, where we need to move furniture, establish a change of time or retrieve props before the next scene.

That same day, we were surprised to see that parts of the set had been delivered and were being installed.  Once the palladium windows and built-in bookcases are in place, it will start to look really impressive. Still working on our ‘do-fer’ furniture for the moment. If you are not familiar with this highly technical theater term, it means ‘it will do for now’.

Thursday, we have a stumble through for the designers to make notes for set changes, lighting and music cues, and to track props. Unfortunately, one of my very busy actors has a conflict and will be out, so my stage manager will undoubtedly walk the blocking and read in the lines. This makes giving acting notes difficult.  But the next night, two actors are missing and we are relegated to the rehearsal room in the annex, so I should not complain.

Out of this chaos, it will all come together beautifully. As the Geoffrey Rush character says in Shakespeare in Love, “It’s the magic of the theater.”