Double dipping- actors in two shows
Printed From: Community Theater Green Room
Category: Producing Theater
Forum Name: Directing
Forum Discription: For questions about handling shows, actors, crew, board members, children ...or do we repeat ourselves?
URL: http://www.communitytheater.org/forum/forum_posts.asp?TID=5150
Printed Date: 11/23/24 at 3:11pm
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Topic: Double dipping- actors in two shows
Posted By: MusicManD
Subject: Double dipping- actors in two shows
Date Posted: 8/21/11 at 11:39pm
I'm getting ready to audition our school musical this week. I'm also on the board for the local CT, and just got the email announcement of the cast for their next show, which auditioned this weekend. One of my students, one who I was considering for a significant role in my show, was on that list.
Now, I'm not sure of this student's intentions. I was in a show with her this summer, and at that time she was incredibly excited about the HS show. I know her mother is directing the CT show, which may result in either a lot of cooperation or absolutely none. The CT normally rehearses Tuesday, Thursday, Sunday, while my high school show will rehearse Monday, Tuesday, Thursday. Their show is a pretty short rehearsal- only five weeks compared to our eleven.
In short, I would be perfectly willing to give her up for one rehearsal a week if they would do the same. Heck, since it's only for five weeks, I don't think I'd mind giving up two rehearsals some weeks (especially their production week). It would require some serious planning on rehearsal schedules, but if she is the best fit for the part I have in mind, it should be doable.
Assuming that she (and her mother) is willing, has anyone ever dealt with something like this- sharing one actor between two shows? What should I be concerned about?
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Replies:
Posted By: jayzehr
Date Posted: 8/22/11 at 8:49am
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My gut reaction is why not give another student a chance to be in a show and save yourself a scheduling headache as well?
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Posted By: Majicwrench
Date Posted: 8/22/11 at 12:32pm
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If you have oodles of HS kids available, I'm all for finding someone else. If she is a good kid, wants to do both, and the show needs her desperatly, then I would deal with it just like any other conflict.
I have done two shows before at the same time, and it was very doable. For an adult. For a HS girl?? Doesn't she have a life?? Or homework?? I would certainly consider the girls other responsibilities, even if she doesn't.
Looking forward to hearing more.
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Posted By: Rorgg
Date Posted: 8/22/11 at 1:05pm
I'm for letting her try. I started doing theatre about 2 1/2 years ago, and I'm on show #23 or something right now, which a little math will tell you, I've been in a lot of things simultaneously -- on occasion, three, but that took some extraordinary scheduling, and post-facto, I decided was too much. I've slowed down a bit in the last year because I've been dipping my toe into the waters of pro productions, and those 6-day-a-week rehearsal schedules bigfoot anything else. But ... the ability to get up to speed quickly and with divided attention has been helpful.
I've also gotten good at hearing "sorry, you've just got too many conflicts," and learning to clear the way for stuff that I REALLY want. It's the price you pay.
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Posted By: MusicManD
Date Posted: 8/22/11 at 5:32pm
My musical last year had 20 kids try out and only 16 stuck through to the end. This year, I've drummed up a lot of interest (I hope) and optimistically am planning for 30 auditioners. I try really hard to fit the show to the kids I have, and I picked this show (Seussical) with her (as well as several others) in mind. Right now, two days before, I have 17 kids signed up for audition times. Experience tells me that 25% of those won't show up. :-) I haven't started really beating the bushes yet, but in short, yes, I need all hands on deck.
I did chat with her today. She told me that the CT show, "Orphan Train," is set up in vignettes and thus her part is small and contained. That, coupled with a five week rehearsal for the CT show, might be the thing that makes this doubling process work. So we'll move ahead and see what happens...
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Posted By: falstaff29
Date Posted: 8/23/11 at 2:10am
My perspective as a director: the director needs to deliver the best show possible, and, let's face it, casting can make a huge difference in putting forth the best show. I've worked around actors' scheduling difficulties plenty of times because I knew they were right for the part. Whenever I've gone with a weaker actor because of a lack of conflicts, it hasn't done anything for rehearsal efficiency. As long as she's upfront with you about her conflicts, cast her.
My perspective as an actor: I honestly prefer to not overwork myself. I like to do one show at a time, take time off in between projects, and only audition for shows I actually like. In the past, I used to not do that, but to go for any chance I got, sometimes rehearsing 2 or 3 shows simultaneously. When I did that, and when, on rarer occasions, I do that now, it's because it's worth the burden to work with a certain show or director or costar. And, to be honest, when I'm busiest, although it's grueling, I tend to do my best work because I am compelled to buckle down and play for keeps at every rehearsal. Trust that your actor has weighed the difficulty and wants to do both shows.
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Posted By: MusicManD
Date Posted: 8/23/11 at 9:09am
Sometimes I wish I could do two shows, especially in the summer when I have a lot of free time. Honestly, the reason I joined the board of our CT is so I could stay involved throughout the year, despite being so busy with the school.
Otherwise, I can only do summer shows, which is challenging with only a couple of active CT groups (ours does 8 or 9 shows a year; the other one in town does about 3-4; one about half an hour up the road does about 6) and trying to make all the scheduling work.
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Posted By: jayzehr
Date Posted: 8/23/11 at 5:45pm
Originally posted by MusicManD
Otherwise, I can only do summer shows, which is challenging with only a couple of active CT groups (ours does 8 or 9 shows a year;
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8 or 9 a year? I'd really like to hear more about how that's managed. We're only doing three a year but I'd like to do more.
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Posted By: MusicManD
Date Posted: 8/23/11 at 7:42pm
Originally posted by jayzehr
Originally posted by MusicManD
Otherwise, I can only do summer shows, which is challenging with only a couple of active CT groups (ours does 8 or 9 shows a year;
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8 or 9 a year? I'd really like to hear more about how that's managed. We're only doing three a year but I'd like to do more. |
What would you like to know? I can't tell you much about the nuts and bolts yet as I've just joined the board.
We do three to four musicals (one is a kids musical), one holiday show, and three to four straight shows. Additionally, the group does mystery dinner theatre for companies and groups around town.
The next show generally auditions a week or so before the previous one goes into tech week. There are four to six directors on any given season. When I was growing up in this CT, it was one director doing every show, which simply floors me today.
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Posted By: jayzehr
Date Posted: 8/24/11 at 3:53pm
Originally posted by MusicManD
[QUOTE=jayzehr]
What would you like to know? I can't tell you much about the nuts and bolts yet as I've just joined the board.. |
Do you have the same people working on all the shows? Or do you have separate productions teams? Is anyone paid?
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Posted By: MusicManD
Date Posted: 8/24/11 at 10:08pm
Originally posted by jayzehr
Originally posted by MusicManD
[QUOTE=jayzehr]
What would you like to know? I can't tell you much about the nuts and bolts yet as I've just joined the board.. |
Do you have the same people working on all the shows? Or do you have separate productions teams? Is anyone paid? |
The board handles a lot of the production details. For example, one board member does programs for every show, while another programs lights for most shows. At least four of the board members (one more now that I'm on) have directing experience, and serve as the directors for most of the shows.
With the possible exception of any extra techies needed for the major musical that we do offsite, nobody gets paid for anything. Back when I was growing up, there was one man who directed all the shows and handled all of the production work, and he did get a paycheck for his full-time work. Since then, however, everything is volunteer.
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Posted By: jayzehr
Date Posted: 8/25/11 at 4:48pm
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Sorry, hit the post button by mistake!
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Posted By: ctguerin
Date Posted: 8/26/11 at 9:01am
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This is a constant issue with our CT productions. I am very adamant at auditions that people list their conflicts. Then I know what to expect for people's availability. I have worked with people who do not put down all the conflicts and only bring it up later after they are cast. I have replaced people because of this. They quickly learn that it is better to give me all the data up front. I am happy to work with actors on scheduling. The only thing I insist on is that they be present for all rehearsals during tech week.
Good Luck!
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Posted By: jayzehr
Date Posted: 8/26/11 at 2:52pm
Originally posted by ctguerin
I have worked with people who do not put down all the conflicts and only bring it up later after they are cast. I have replaced people because of this. |
So, how do you deal with it when this happens very late in the process when it's very difficult to replace someone?
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Posted By: MusicManD
Date Posted: 8/26/11 at 5:09pm
Originally posted by ctguerin
This is a constant issue with our CT productions. I am very adamant at auditions that people list their conflicts. Then I know what to expect for people's availability. I have worked with people who do not put down all the conflicts and only bring it up later after they are cast. I have replaced people because of this. They quickly learn that it is better to give me all the data up front. I am happy to work with actors on scheduling. The only thing I insist on is that they be present for all rehearsals during tech week.
Good Luck! |
That lack of communication is one of my pet peeves. In this last round of auditions, I had a lot of kids who wrote that they had no conflicts and could be at every rehearsal. Of course, I know most of these kids, so I say, "aren't you in soccer? Won't those games cause conflicts?" They have a flicker of recognition and say, "oh yeah..."
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Posted By: ctguerin
Date Posted: 8/27/11 at 6:17pm
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To Jayzehr:
I have a discussion with the actor and try to reason with them, especially if it is late in the process and we are close to opening. I ask the actor to talk to the director of the other show and discuss how close we are to opening and how I need them at this show. Sometimes it works, sometimes not. I do, however, remember these issues in the future and will discuss them with other directors at our theater. I have told actors that they were not given a part because of their lack of dedication to a previous show. They might not like it, but I have fewer issues than I did a couple of years ago.
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