Introducing the newest members of The Tempest Ladies ensemble: Stacey Bone, Mallory Hammond and Stephanie Strohm!
Stacey Bone is a graduate of NYU's Tisch School of the Arts where she studied at the Stella Adler Studio of Acting. Some recent credits include an exciting turn on the Biography Channel as Debi Mazar in Celebrity Ghost Stories, a musician singing Shakespeare’s words to Joan Baez’ music in As You Like It (Harold Clurman Lab Theatre), Whitney in Surprise (Turtle Shell Productions), a plethora of crazy characters in Under Milk Wood (Rebellious Subjects Theatre), and Sophie/Celia in Everett Beekin (Stella Adler Studio). She also spent a summer apprenticing at the Williamstown Theatre Festival where she performed and worked on workshop and main stage productions; including being an "ensemble" member in Alex Timbers' production of Beyond Therapy.
Mallory Hammond could not be more excited and honored to join the Tempest Ladies. Born and raised in sweet home Alabama, Mallory moved to New York excited to pursue acting. She attended Auburn University where she earned her BFA in Acting. Since graduation she has toured the southeast as a Spanish mother in Zorro, and the midwest and northeast as a little boy mouse in Stuart Little the Musical. When Mallory is not performing she is writing, watching 30 Rock, or most importantly cheering for Auburn football. WAR EAGLE!
Stephanie Strohm is a Connecticut Yankee and red velvet cake aficionado who traveled further north to study history and theater at Middlebury College. Since then, she has performed in more than 25 states, mostly as a frog. NYC credits include Crave (C) with PTP at Atlantic Stages, Pink! (Abby) at the Abingdon, Platonov (Sasha) at Columbia University, and Suzy for President! (Dawn) at the American Theater of Actors. Regionally, she has played Juliet, Maria, Titania, Luciana, Lady Macduff, and the Princess of France. Her first novel, Pilgrims Don’t Wear Pink, is being published this spring (HMH Graphia.) She is proud to be a founding member of MaineStage Shakespeare, and very excited to be a swing for the Tempest Ladies.
Saturday, November 26, 2011
Monday, November 21, 2011
I Do Not Know One of My Sex
The following was taken from Jana's personal blog:
________
On Sunday I had the distinct privilege of sitting in on The Tempest Ladies’ swing auditions. It was a victorious audition experience. Not only did we find our swings, but we were overwhelmed by how many talented actors showed up to play. Everyone aced – no one bombed. That says a few things: This city is filled with LOTS of great actors. This city doesn’t have enough acting jobs for these great actors. And these great actors all want to be a part of our all-female Shakespeare work specifically.
That last bit – the bit that all of these women wanted to be a part of the work we do was both overwhelming and encouraging. It also revealed something to me that I’d never considered before. To prepare for the audition, we asked that each woman bring in two contrasting monologues – one comedic and one of a male character. Wondering if anyone would be able to rise to the male character challenge, we were, again, pleasantly surprised as Hamlet, Cassius and Prince Hal came confidently into the room. In fact, I would go so far to argue that the male monologues were stronger than any contrasting female monologue we saw that day. And I had to ask myself – why are the male monologues better?
The Writing is Stronger? Is it because Shakespeare’s males experience higher stake situations and, therefore, require stronger, and, perhaps, better written pieces of text?
There is Male Confidence? Is it because playing a male automatically allows for a certain confidence that doesn’t come naturally when playing a fair sexed woman?
It allows Freedom? Is it because playing someone opposite to your own sex allows for a certain freedom that you could never experience without making a 180 in sexuality?
If it has to do with freedom, I have to take this a step further and wonder what that says about where our society is today. Yes, for women, we’ve made strides and experience things that even women of twenty years ago wouldn’t have experienced. And yet, there is still an unspoken amount of inequality, isn’t there? Maybe it’s subconscious, but it’s there. Why else would playing a man make us so liberal in our stage choices? So vocally stable and sound? So empowered and grounded? So strong and confident? Because as a male character in the room, these actors suddenly found the authority of a man. The authority that says, “This is my right. I’m entitled to this acting gig. I’m a good actor. I can tell a good story.” Does playing a man assert a certain right? And what does it say that we, as the casting directors, saw more power in the male monologues? Does that mean we have been conditioned to abide by the male right and to accept the male character as more confident, stronger and right for the choosing?
I don’t know that I have the answers to these questions. I certainly wouldn’t be so bold to claim any of this as fact, but there’s something about these questions still lingering with me a week after the audition that speaks volumes to what our culture has been taught and what we still follow based on learned behavior. I don’t know that it is good or bad. I think it is, however, uneven, off-kilter and skewed.
________
That said, we underwent a very difficult decision-making process immediately following the auditions. We took time going through each headshot and discussing each actress. Everyone had brought something worthwhile to the table and it became harder and harder to narrow down the pile of people. Finally, we arrived at a final three. We had initially aimed at casting two swings - in case one ensemble member and one swing couldn't make it, we would have another swing to fill in. However, with three actresses left in front of us and six tracks to cover, we thought: why not cast three swings? Each swing can cover two tracks. So that's what we did - we added three swings to the ensemble! Without further ado, we welcome Stacey Bone, Mallory Hammond and Stephanie Strohm to The Tempest Ladies!
________
On Sunday I had the distinct privilege of sitting in on The Tempest Ladies’ swing auditions. It was a victorious audition experience. Not only did we find our swings, but we were overwhelmed by how many talented actors showed up to play. Everyone aced – no one bombed. That says a few things: This city is filled with LOTS of great actors. This city doesn’t have enough acting jobs for these great actors. And these great actors all want to be a part of our all-female Shakespeare work specifically.
That last bit – the bit that all of these women wanted to be a part of the work we do was both overwhelming and encouraging. It also revealed something to me that I’d never considered before. To prepare for the audition, we asked that each woman bring in two contrasting monologues – one comedic and one of a male character. Wondering if anyone would be able to rise to the male character challenge, we were, again, pleasantly surprised as Hamlet, Cassius and Prince Hal came confidently into the room. In fact, I would go so far to argue that the male monologues were stronger than any contrasting female monologue we saw that day. And I had to ask myself – why are the male monologues better?
The Writing is Stronger? Is it because Shakespeare’s males experience higher stake situations and, therefore, require stronger, and, perhaps, better written pieces of text?
There is Male Confidence? Is it because playing a male automatically allows for a certain confidence that doesn’t come naturally when playing a fair sexed woman?
It allows Freedom? Is it because playing someone opposite to your own sex allows for a certain freedom that you could never experience without making a 180 in sexuality?
If it has to do with freedom, I have to take this a step further and wonder what that says about where our society is today. Yes, for women, we’ve made strides and experience things that even women of twenty years ago wouldn’t have experienced. And yet, there is still an unspoken amount of inequality, isn’t there? Maybe it’s subconscious, but it’s there. Why else would playing a man make us so liberal in our stage choices? So vocally stable and sound? So empowered and grounded? So strong and confident? Because as a male character in the room, these actors suddenly found the authority of a man. The authority that says, “This is my right. I’m entitled to this acting gig. I’m a good actor. I can tell a good story.” Does playing a man assert a certain right? And what does it say that we, as the casting directors, saw more power in the male monologues? Does that mean we have been conditioned to abide by the male right and to accept the male character as more confident, stronger and right for the choosing?
I don’t know that I have the answers to these questions. I certainly wouldn’t be so bold to claim any of this as fact, but there’s something about these questions still lingering with me a week after the audition that speaks volumes to what our culture has been taught and what we still follow based on learned behavior. I don’t know that it is good or bad. I think it is, however, uneven, off-kilter and skewed.
________
That said, we underwent a very difficult decision-making process immediately following the auditions. We took time going through each headshot and discussing each actress. Everyone had brought something worthwhile to the table and it became harder and harder to narrow down the pile of people. Finally, we arrived at a final three. We had initially aimed at casting two swings - in case one ensemble member and one swing couldn't make it, we would have another swing to fill in. However, with three actresses left in front of us and six tracks to cover, we thought: why not cast three swings? Each swing can cover two tracks. So that's what we did - we added three swings to the ensemble! Without further ado, we welcome Stacey Bone, Mallory Hammond and Stephanie Strohm to The Tempest Ladies!
Saturday, September 24, 2011
Signing with Gardner Arts Network
As many of you already know, on September 15th 2011, The Tempest Ladies signed with our very first booking agency, Gardner Arts Network! What you may not know, however, is the story behind how this new partnership came about.
Jana, (who is back from gallivanting across the UK; we’re happy to have her back,) had contacted Jeannette Gardner back in January 2011 while we were all furiously promoting our showcase of ‘The Tempest’ for the APAP conference. The running joke amongst us Ladies is that Jeannette was very nearly the only person that actually answered her phone during that time. After countless calls to different presenters, endless answering machines, Jeannette picked up the phone and informed us that she was unable to attend our showcase but to keep her in the loop for our upcoming performances.
We did. We invited Jeannette to our spring performance at the Players Theatre and luckily she was in town and available to come. On a side note I’d like to add that those two shows at the Players Theatre were our most solid and gratifying performances yet. After two and a half years of working on ‘The Tempest,’ everything seemed to miraculously fall into place that night. The two new ensemble members of course brought a new light and energy to our group and performance, but as a whole, we all reached a point where we were able to simply relax into our production. We were able to play with the text, our props, each other, the audience and ultimately ourselves more than we ever had before. I can safely speak for all the Ladies in saying that it was a tremendous night of shows and our audiences also added an enormous amount to their success.
Jeannette was in our 7pm audience and after the show she told us she had thoroughly enjoyed it and would be in touch with us the following week. We were elated by this and I’m sure it was that prospect which boosted our energy enough to be able to get through a second run of this exhausting show with little to no break in between.
We followed up with Jeannette and after a short e-mail exchange we had our first meeting with her in mid June. To say the meeting was long would be an understatement. We left her office two and a half hours later than when we had arrived with a handful of instructions and a renewed sense of possibility. She told us to design a flyer and poster for our group, film a promotional trailer of our show and draft a study guide for the educational component that we’re currently developing.
Stella’s mom had done a painting of us in our harpy position once before and we all loved it. Therefore, we had the idea of asking her to paint another picture of all of us in different hats and different physical movements to use as our flyer. She agreed, felt honored and produced a painting which is electric, colorful, accurate and imaginative. The final product came out far superior to anything we could have even imagined. We are so thankful for and proud of her beautiful work. (http://cargocollective.com/shirleyverrette)
The study guide was entirely our responsibility. We divided the sections up into a summary of the show, a list of major characters, a series of different exercises and thought provoking questions, information on the period the play was written in, information on Shakespeare, information on The Tempest Ladies, and a series of different workshops. Although we were all involved in the creation of the study guide Julia Giolzetti deserves particular recognition for her work and contribution to it. And Laura Borgwardt takes all of the credit for the different workshop ideas and games. As individuals we all have our strengths but as a group we make up quite a unique force.
The video- you already know about. If you don’t know about it, read the previous blog!
We met with Jeannette periodically throughout the summer to touch base on the progress of our materials and to also look over our professional agreement. There were questions we had about the contract which Jeannette patiently answered. We felt we needed time to look over the contract more thoroughly and she likewise didn’t want to jump into anything before she saw our finished promotional video. We completed the teaser and the trailer by the middle of August and presented it to Jeannette. She had one minor criticism about the sound in one section but generally and genuinely loved it. The last and final thing therefore, was the printed materials for her to take along with her to her first conference.
She required 2 laminated posters, 100 flyers and 10 DVDs of our trailer. We had already designed our flyer and poster and so did research on an affordable yet high quality company and had those printed. As for the DVDs we thought it would be special to print a custom image on the face of the DVD itself. We settled on the image of our eyes which we also had used as our postcard image for our June 2nd announcement. The eyes on the DVD look great and surprisingly eerie. You can’t quite tell which way is right side up and which way is upside down. Spooky. We also took it a step further and had a stamp made of our Tempest Ladies Logo. On the DVD sleeve we stamped our logo on the front. The package as a whole unit is very innovative and utterly DIY. Merely because it’s a stamp and had to press each one individually, each cover is slightly different. To give you an example, on one of them I pressed the stamp so hard on the paper that our lady came out with a very distinctive handlebar moustache.
At the completion of all of the printing production, we met with Jeannette one more time. She approved the posters, the flyers and the DVDs. She went over a few details regarding the Performing Arts Exchange which is the first conference she is representing us at (It’s actually occurring this weekend in Baton Rouge, Louisiana and we are crossing our fingers that it’s a success.) She also told us that after sending out an e-mail blast about us, a theater upstate responded within ten minutes stating they were interested and wanted more information. That was definitely an exciting addition to an already exhilarating day! At the end of our chitchat and answering all final questions, The Tempest Ladies signed our name to be represented by Gardner Arts Network.
It is easy and simple to say that we are all very excited and positive about this next chapter of The Tempest Ladies. We could not have come this far without the support of others and the determination of ourselves.
With much love,
The Tempest Ladies
Jana, (who is back from gallivanting across the UK; we’re happy to have her back,) had contacted Jeannette Gardner back in January 2011 while we were all furiously promoting our showcase of ‘The Tempest’ for the APAP conference. The running joke amongst us Ladies is that Jeannette was very nearly the only person that actually answered her phone during that time. After countless calls to different presenters, endless answering machines, Jeannette picked up the phone and informed us that she was unable to attend our showcase but to keep her in the loop for our upcoming performances.
We did. We invited Jeannette to our spring performance at the Players Theatre and luckily she was in town and available to come. On a side note I’d like to add that those two shows at the Players Theatre were our most solid and gratifying performances yet. After two and a half years of working on ‘The Tempest,’ everything seemed to miraculously fall into place that night. The two new ensemble members of course brought a new light and energy to our group and performance, but as a whole, we all reached a point where we were able to simply relax into our production. We were able to play with the text, our props, each other, the audience and ultimately ourselves more than we ever had before. I can safely speak for all the Ladies in saying that it was a tremendous night of shows and our audiences also added an enormous amount to their success.
Jeannette was in our 7pm audience and after the show she told us she had thoroughly enjoyed it and would be in touch with us the following week. We were elated by this and I’m sure it was that prospect which boosted our energy enough to be able to get through a second run of this exhausting show with little to no break in between.
We followed up with Jeannette and after a short e-mail exchange we had our first meeting with her in mid June. To say the meeting was long would be an understatement. We left her office two and a half hours later than when we had arrived with a handful of instructions and a renewed sense of possibility. She told us to design a flyer and poster for our group, film a promotional trailer of our show and draft a study guide for the educational component that we’re currently developing.
Stella’s mom had done a painting of us in our harpy position once before and we all loved it. Therefore, we had the idea of asking her to paint another picture of all of us in different hats and different physical movements to use as our flyer. She agreed, felt honored and produced a painting which is electric, colorful, accurate and imaginative. The final product came out far superior to anything we could have even imagined. We are so thankful for and proud of her beautiful work. (http://cargocollective.com/shirleyverrette)
The study guide was entirely our responsibility. We divided the sections up into a summary of the show, a list of major characters, a series of different exercises and thought provoking questions, information on the period the play was written in, information on Shakespeare, information on The Tempest Ladies, and a series of different workshops. Although we were all involved in the creation of the study guide Julia Giolzetti deserves particular recognition for her work and contribution to it. And Laura Borgwardt takes all of the credit for the different workshop ideas and games. As individuals we all have our strengths but as a group we make up quite a unique force.
The video- you already know about. If you don’t know about it, read the previous blog!
We met with Jeannette periodically throughout the summer to touch base on the progress of our materials and to also look over our professional agreement. There were questions we had about the contract which Jeannette patiently answered. We felt we needed time to look over the contract more thoroughly and she likewise didn’t want to jump into anything before she saw our finished promotional video. We completed the teaser and the trailer by the middle of August and presented it to Jeannette. She had one minor criticism about the sound in one section but generally and genuinely loved it. The last and final thing therefore, was the printed materials for her to take along with her to her first conference.
She required 2 laminated posters, 100 flyers and 10 DVDs of our trailer. We had already designed our flyer and poster and so did research on an affordable yet high quality company and had those printed. As for the DVDs we thought it would be special to print a custom image on the face of the DVD itself. We settled on the image of our eyes which we also had used as our postcard image for our June 2nd announcement. The eyes on the DVD look great and surprisingly eerie. You can’t quite tell which way is right side up and which way is upside down. Spooky. We also took it a step further and had a stamp made of our Tempest Ladies Logo. On the DVD sleeve we stamped our logo on the front. The package as a whole unit is very innovative and utterly DIY. Merely because it’s a stamp and had to press each one individually, each cover is slightly different. To give you an example, on one of them I pressed the stamp so hard on the paper that our lady came out with a very distinctive handlebar moustache.
At the completion of all of the printing production, we met with Jeannette one more time. She approved the posters, the flyers and the DVDs. She went over a few details regarding the Performing Arts Exchange which is the first conference she is representing us at (It’s actually occurring this weekend in Baton Rouge, Louisiana and we are crossing our fingers that it’s a success.) She also told us that after sending out an e-mail blast about us, a theater upstate responded within ten minutes stating they were interested and wanted more information. That was definitely an exciting addition to an already exhilarating day! At the end of our chitchat and answering all final questions, The Tempest Ladies signed our name to be represented by Gardner Arts Network.
It is easy and simple to say that we are all very excited and positive about this next chapter of The Tempest Ladies. We could not have come this far without the support of others and the determination of ourselves.
With much love,
The Tempest Ladies
Friday, September 16, 2011
Wednesday, August 17, 2011
The Filming of our Promotional Teaser and Trailer
Things have been stirring lately that haven't been documented as our diligent and devoted blogger, Jana Stambaugh, has been off gallivanting through the UK. I think it's OK to admit that we're all a little jealous of her for it but she is also sorely missed. That said, our newly produced and soon to be released Promotional Trailer for 'The Tempest' deserves some blog attention so I'm stepping up to the plate.
Following our June 2nd performance at the Players Theatre we have been meeting with a potential booking agent which is very exciting. In our first meeting, along with a series of other suggestions, she recommended that we film a promotional trailer of our show as soon as we could get our hands on a camera. The obvious reason being for those who haven't seen our show to get an accurate sense of who we are, what we do and what is unique about our version of this sacred text. We attempted to film our June 2nd performances and even with two cameras and two shows we failed to capture what we had set out to. Luckily, a close friend and the creative director of R/GA, Can Misirlioglu, saw our show, witnessed the epic fail with the footage and offered to film our promotional trailer at the R/GA studios for us. R/GA is a well known advertising agency and to be able to shoot there is an enormous honor. We had no choice but to say, "Yes."
Then the reality of creating a film and all the steps involved in producing a film sunk in. The date of the shoot needed to be confirmed; the space needed to be rented out; the time frame needed to be solidified. All six actresses, the director of photography and the editor needed to know the schedule far in advance so as to clear each of their chaotic schedules. Then came the realization that we didn't have an editor, that one of those actually needed to be found in order for the footage to be assembled in some coherent fashion. Cem Misirlioglu, who composed and performed all of the music for The Tempest Teaser, suggested a friend of his from Parsons, Tomas Pichardo. Within one e-mail exchange and one glance at his website http://tomatico.net/ it was very clear that he was perfect for the job.
The next step was to create the storyboard to give to the creative director and the editor. We had an eight hour time limit in the space and it was inconceivable to film the entire show. For the purposes of this film specifically we needed to focus on capturing the elements that a) tell the story but b) more importantly, set our show apart. We needed to portray the qualities that would "sell" us to those in the market to "buy" Shakespeare. The process was surprisingly challenging. We went through the entire show, moment by moment, and discovered that there are quite a number of moments that are rare and special to our show. (That was an exciting discovery!) But we also didn't want to give away all the secrets at once. Therefore, we began with the main characters and plot points then quickly transitioned into examining the common thread between our physical phrases. We realized a significant portion of our movement has a whirlwind, circular, swirling quality to it and thus the storyboard was constructed using this imagery and pattern. The music was inspired from these themes as well.
Storyboard done, all we could do was wait for the day. On July 31st, we arrived thirty minutes earlier than 10:00 to get coffee (with a fly drowned in it,) and put our costumes and man-faces on. After the stage set-up came the lighting and mic set-up; all seamlessly done by Can, Tomas and Cem who were all there for the entire duration of the shoot. After that came the sound check. A few sound level trials later we were finally ready to begin. We began with the storm. We filmed it once through without stopping and it was shaky. We were off center in the frame, some of us hit our heads on metal things that weren't generally on the stage with us, the thunder sound completely drowned out the text and as it had been a month and a half since any of us acted through the storm- we were out of breath immediately. Four takes later, one immediately after the other, I personally was beat and my voice was coarse. BUT! It was exhilarating! Everyone working on the project was so focused and committed that we were able to film everything we had set out to film in exactly the amount of time we were allotted. Can informed us at the end of the day that others rarely succeed in finishing everything on time.
Next came the technical stuff. We converted all of the files onto the desktop, saved them onto external hard drives and began the editing process. Tomas and I sat together on this first day and walked through the storyboards for both the teaser and the trailer. We had decided at the beginning to create a teaser version from the footage to release prior to the full length trailer. We wanted to build up every one's anticipation and hunger for the full deal. The teaser took only a day to complete with only a few slight adjustments to the first draft. It looks fantastic and is currently streaming at: http://vimeo.com/27402258. The trailer took an additional five days to complete. Our wonderful, patient and talented editor Tomas worked harder than I could have ever dreamed, lost lots of sleep and created something to be truly proud of. The trailer is also finished and will be out live tomorrow evening, 8/18/2011!
Meanwhile, we were constantly sending footage and e-mails back and forth to our composer who was working during the entire editing process. Cem came up with a few samples and themes with the material he had to work with and then once he had the final versions, was able to record the official tracks. The music is hauntingly mesmerizing. He managed to create music that is simultaneously harmonious with the action but also eerily contradictory to it. The final product heightened the videos to a truly remarkable level.
Last but not least, the final edits and final tracks for both the teaser and the trailer were sent back to Can for color-correction. We choose a treatment that kept all the colors but made them more vibrant and yet have more contrast. The end product is sensational and exactly what we had envisioned.
Most recently, the booking agent has seen the teaser and the trailer and is thoroughly impressed. Our intention and goal now is to use this work to enable us to book shows both nationally and internationally. Our next international goal is to bring 'The Tempest' to Istanbul, Turkey for the 2012 IKSV theater festival. We are working very hard on this and will keep you posted as it develops!
On a parting note, We felt this was a journey and a process that should be shared with all of you. The Tempest Ladies couldn't be more fortunate to have such a talented group of friends nor can they be more fortunate to have such wonderful supporters and followers as you all. We are blessed and eternally indebted to all of you.
So much love,
The Tempest Ladies
Following our June 2nd performance at the Players Theatre we have been meeting with a potential booking agent which is very exciting. In our first meeting, along with a series of other suggestions, she recommended that we film a promotional trailer of our show as soon as we could get our hands on a camera. The obvious reason being for those who haven't seen our show to get an accurate sense of who we are, what we do and what is unique about our version of this sacred text. We attempted to film our June 2nd performances and even with two cameras and two shows we failed to capture what we had set out to. Luckily, a close friend and the creative director of R/GA, Can Misirlioglu, saw our show, witnessed the epic fail with the footage and offered to film our promotional trailer at the R/GA studios for us. R/GA is a well known advertising agency and to be able to shoot there is an enormous honor. We had no choice but to say, "Yes."
Then the reality of creating a film and all the steps involved in producing a film sunk in. The date of the shoot needed to be confirmed; the space needed to be rented out; the time frame needed to be solidified. All six actresses, the director of photography and the editor needed to know the schedule far in advance so as to clear each of their chaotic schedules. Then came the realization that we didn't have an editor, that one of those actually needed to be found in order for the footage to be assembled in some coherent fashion. Cem Misirlioglu, who composed and performed all of the music for The Tempest Teaser, suggested a friend of his from Parsons, Tomas Pichardo. Within one e-mail exchange and one glance at his website http://tomatico.net/ it was very clear that he was perfect for the job.
The next step was to create the storyboard to give to the creative director and the editor. We had an eight hour time limit in the space and it was inconceivable to film the entire show. For the purposes of this film specifically we needed to focus on capturing the elements that a) tell the story but b) more importantly, set our show apart. We needed to portray the qualities that would "sell" us to those in the market to "buy" Shakespeare. The process was surprisingly challenging. We went through the entire show, moment by moment, and discovered that there are quite a number of moments that are rare and special to our show. (That was an exciting discovery!) But we also didn't want to give away all the secrets at once. Therefore, we began with the main characters and plot points then quickly transitioned into examining the common thread between our physical phrases. We realized a significant portion of our movement has a whirlwind, circular, swirling quality to it and thus the storyboard was constructed using this imagery and pattern. The music was inspired from these themes as well.
Storyboard done, all we could do was wait for the day. On July 31st, we arrived thirty minutes earlier than 10:00 to get coffee (with a fly drowned in it,) and put our costumes and man-faces on. After the stage set-up came the lighting and mic set-up; all seamlessly done by Can, Tomas and Cem who were all there for the entire duration of the shoot. After that came the sound check. A few sound level trials later we were finally ready to begin. We began with the storm. We filmed it once through without stopping and it was shaky. We were off center in the frame, some of us hit our heads on metal things that weren't generally on the stage with us, the thunder sound completely drowned out the text and as it had been a month and a half since any of us acted through the storm- we were out of breath immediately. Four takes later, one immediately after the other, I personally was beat and my voice was coarse. BUT! It was exhilarating! Everyone working on the project was so focused and committed that we were able to film everything we had set out to film in exactly the amount of time we were allotted. Can informed us at the end of the day that others rarely succeed in finishing everything on time.
Next came the technical stuff. We converted all of the files onto the desktop, saved them onto external hard drives and began the editing process. Tomas and I sat together on this first day and walked through the storyboards for both the teaser and the trailer. We had decided at the beginning to create a teaser version from the footage to release prior to the full length trailer. We wanted to build up every one's anticipation and hunger for the full deal. The teaser took only a day to complete with only a few slight adjustments to the first draft. It looks fantastic and is currently streaming at: http://vimeo.com/27402258. The trailer took an additional five days to complete. Our wonderful, patient and talented editor Tomas worked harder than I could have ever dreamed, lost lots of sleep and created something to be truly proud of. The trailer is also finished and will be out live tomorrow evening, 8/18/2011!
Meanwhile, we were constantly sending footage and e-mails back and forth to our composer who was working during the entire editing process. Cem came up with a few samples and themes with the material he had to work with and then once he had the final versions, was able to record the official tracks. The music is hauntingly mesmerizing. He managed to create music that is simultaneously harmonious with the action but also eerily contradictory to it. The final product heightened the videos to a truly remarkable level.
Last but not least, the final edits and final tracks for both the teaser and the trailer were sent back to Can for color-correction. We choose a treatment that kept all the colors but made them more vibrant and yet have more contrast. The end product is sensational and exactly what we had envisioned.
Most recently, the booking agent has seen the teaser and the trailer and is thoroughly impressed. Our intention and goal now is to use this work to enable us to book shows both nationally and internationally. Our next international goal is to bring 'The Tempest' to Istanbul, Turkey for the 2012 IKSV theater festival. We are working very hard on this and will keep you posted as it develops!
On a parting note, We felt this was a journey and a process that should be shared with all of you. The Tempest Ladies couldn't be more fortunate to have such a talented group of friends nor can they be more fortunate to have such wonderful supporters and followers as you all. We are blessed and eternally indebted to all of you.
So much love,
The Tempest Ladies
Sunday, May 8, 2011
Whose hat is it anyway?
Hey all,
We had a wonderfully productive rehearsal today in which we examined Prospero's final soliloquy and came up with a wonderful new movement piece to complement it. We are all so excited to show it to you. It's really powerful and fuels Act V with the energy it needs to see us through to the epilogue. One thing is for certain: This epilogue will be earned.
We are also looking at playing with the switches in Act V. If you've seen the show or have been following the blog, you know that we switch roles throughout the play so that by the end of it, we've each played many, if not all, of the parts. We're looking at re-examining the switches in V and using it as an opportunity to have a blast with all of the character opportunities. We're looking at the ideas of:
When does it serve the character to switch?
When does it serve the text to switch?
Who hasn't played this character yet?
How do we include the audience from the get-go in the "switching game?"
How do we keep the increase in switches clear so that the characters don't get lost in the actors?
How do we keep the storyline clear so that the arc of the play is realized and fulfilled?
These are a few questions we will keep in mind as we delve deeper into the text and figure out how we can keep the energy alive and bubbling. We'll also be looking at how we can reveal the switches in character so that the audience doesn't always see when they happen. We'll be crafting it so that everyone is present on the stage and the switches are happening, but not always in plain view. This keeps the audience on their toes and always guessing. We want them to take delight in the stage magic of it all.
Stay tuned for more details!
Tomorrow is the first Monday rehearsal we've added to the schedule. We'll be working a mark to mark with full props for the first time. This included drums and the beloved "boinger" instrument. Not to mention hats, a robe and sheet metal - we mean, thunder.
Love,
TTL
We had a wonderfully productive rehearsal today in which we examined Prospero's final soliloquy and came up with a wonderful new movement piece to complement it. We are all so excited to show it to you. It's really powerful and fuels Act V with the energy it needs to see us through to the epilogue. One thing is for certain: This epilogue will be earned.
We are also looking at playing with the switches in Act V. If you've seen the show or have been following the blog, you know that we switch roles throughout the play so that by the end of it, we've each played many, if not all, of the parts. We're looking at re-examining the switches in V and using it as an opportunity to have a blast with all of the character opportunities. We're looking at the ideas of:
When does it serve the character to switch?
When does it serve the text to switch?
Who hasn't played this character yet?
How do we include the audience from the get-go in the "switching game?"
How do we keep the increase in switches clear so that the characters don't get lost in the actors?
How do we keep the storyline clear so that the arc of the play is realized and fulfilled?
These are a few questions we will keep in mind as we delve deeper into the text and figure out how we can keep the energy alive and bubbling. We'll also be looking at how we can reveal the switches in character so that the audience doesn't always see when they happen. We'll be crafting it so that everyone is present on the stage and the switches are happening, but not always in plain view. This keeps the audience on their toes and always guessing. We want them to take delight in the stage magic of it all.
Stay tuned for more details!
Tomorrow is the first Monday rehearsal we've added to the schedule. We'll be working a mark to mark with full props for the first time. This included drums and the beloved "boinger" instrument. Not to mention hats, a robe and sheet metal - we mean, thunder.
Love,
TTL
Thursday, May 5, 2011
June 2nd - and the Countdown Begins!
Okay, so we may have gotten a little distracted since our last posting that promised to bring you more blog posts. Can you blame us? We only work three day jobs, make our beds, make some coffee, make our lunch, go to work, eat our lunch, get another coffee, call our moms, go to an audition or a rehearsal or a show or a movie or a friend's second 21st birthday party and then try to sleep. Are we complaining? Never.
The Sonnet Slam was a blast. While it was cold and a little bit gray, we still loved hearing Shakespeare being read aloud from the Naumberg Bandshell on April 22nd. It was such a neat way to commemorate the Bard right before his birthday and it allowed each of us to show off our enthusiasm for his work. We read Sonnets 121-127 and it was worth the wait to do so. There were some awesome guys rapping the sonnets. There were little redheaded boys who had memorized their sonnets and brought a charlie brown-esque quality to the event. There were sonnets for lovers, sonnets for pining crushes and sonnets simply admiring beauty. And isn't true beauty enough?
Up next we have our show - The Tempest - on June 2nd at Off-Broadway Players Theater. Shows are at 7pm and 9pm and we are looking to fill up houses of 50 people for each show! It's going to be a great night followed by a reception afterward. We can't wait. For ticket reservations, visit Brown Paper Tickets.
We're thrilled to be debuting our newest Tempest Ladies, Julia Giolzetti and Laura Jernigan, on June 2nd. They have been doing incredible work on the show. We're also thrilled to be bringing a new original movement piece to Act V, which will be a physical venture you won't want to miss.
All in all, things seem to be on the up and up as we move toward the show and invite as many people as possible with excitement and delight. We're realizing more and more who we want our target audience to be and how to go about getting in touch with them. We're launching all kinds of campaigns from mass mailings and email blasts to personal calls and postcards. We're also continually grateful for people like you who loyally follow us on the web wherever we go and support us with your words, thoughts and good energy. Thanks for continuing with us on this ever-expanding journey.
With Love,
TTLs
The Sonnet Slam was a blast. While it was cold and a little bit gray, we still loved hearing Shakespeare being read aloud from the Naumberg Bandshell on April 22nd. It was such a neat way to commemorate the Bard right before his birthday and it allowed each of us to show off our enthusiasm for his work. We read Sonnets 121-127 and it was worth the wait to do so. There were some awesome guys rapping the sonnets. There were little redheaded boys who had memorized their sonnets and brought a charlie brown-esque quality to the event. There were sonnets for lovers, sonnets for pining crushes and sonnets simply admiring beauty. And isn't true beauty enough?
Up next we have our show - The Tempest - on June 2nd at Off-Broadway Players Theater. Shows are at 7pm and 9pm and we are looking to fill up houses of 50 people for each show! It's going to be a great night followed by a reception afterward. We can't wait. For ticket reservations, visit Brown Paper Tickets.
We're thrilled to be debuting our newest Tempest Ladies, Julia Giolzetti and Laura Jernigan, on June 2nd. They have been doing incredible work on the show. We're also thrilled to be bringing a new original movement piece to Act V, which will be a physical venture you won't want to miss.
All in all, things seem to be on the up and up as we move toward the show and invite as many people as possible with excitement and delight. We're realizing more and more who we want our target audience to be and how to go about getting in touch with them. We're launching all kinds of campaigns from mass mailings and email blasts to personal calls and postcards. We're also continually grateful for people like you who loyally follow us on the web wherever we go and support us with your words, thoughts and good energy. Thanks for continuing with us on this ever-expanding journey.
With Love,
TTLs
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