Backstage Documentary

So... What's The Point?

As we sit on the cusp of the finale, mere hours away from the final performance of The Caucasian Chalk Circle, I find myself focused on one question – why? Why did we do this?  What was the point of it?  There must be a reason beyond pure masochism that propelled us to work so hard, but what is it?  What’s the endgame here?

 

Is it the applause?  

Do the math – we started rehearsing on September 10^th from approximately 7 to 10 every Sunday through Thursday night, minus the election night reprieve.  If we add another 15 hours to that total to account for weekends and overtime, we’d rehearsed an estimated grand-total of 156 hours (we’ll round up to the probably more accurate number of 160) before opening on November 13th.  This number does not include time spent on technical aspects or promotional duties or pouring over the script or sleepless nights in the theatre by a certain vigorous director.  So, in the end, were these 160+ hours spent for the simple reward of 30 seconds of applause for 7 nights?  Did we work that hard for the payoff of 210 seconds of staccato hand claps by appreciative (albeit obligated) audience members?  That doesn’t seem to add up…

 

So what is it?  Is it the “glory”?  Those few moments of pride when our mother is telling us how wonderful we were even though in the backs of our mind’s we know she’d say the same thing even if we’d just walked on stage, vomited on ourselves, and walked off?  There’s no praise outrageous enough to equate to 160 hours…

 

The fact is (as cliché as it sounds) the art is its own reward.  Everyone has their own personal reasons for doing it.  Some of us are looking for a new experience while some of us have always done theatre as a necessary aspect of our lives.  Some of us are looking to start anew while some of us are looking to graduate.  Some of us want to find out what we’re good at while some of us know this is the only thing we’re good at.  Some of us, for better or worse, just have to, dammit.

 

Trying to find reasons is futile and diminishing; it doesn’t matter.  We’ve seen the outcome - we’ve garnered large audiences and gotten very kind compliments.  But it isn’t about that.  It’s about the process, the voyage, the path we’ve taken to reach this destination.  The top of the mountain is special to the climber only because of the journey to reach it.

 

This has been special.

 

This cast isn’t perfect.  Not a one of us is.  We’ve all got our shortcomings, our insecurities.  We’ve all suffered our share of struggles.  But we’ve been there for each other and we’ve come together in a way that defies logic.  The camaraderie and genuine affection that has grown among the cast is truly touching.  In fact, I’m not sure the word “cast” does us justice.  This is a team.  A very talented team.  Despite the fact I didn’t really know a single one of them on September 9^th, I feel a connection to them now that is worth so much more than 160 hours of my time.

 

Every good team needs a coach and I can’t say enough about Laura Cuetara, our director.  If the show is a success (and it is), it is her success.  This is her show.  Brecht may have written it, but Laura has gone Grusha Vashnadze with it, made it her own, and nurtured that camaraderie that has meant so much to us.  With the help of a tireless assistant director and a talented crew of technicians, Laura has led this show with a method all her own.  And for that we thank her.

 

So why did we do it?  Because of all this and more.  Because of the experience.  Because we love it.  Because we get a rush when we see our friends sitting in the front row with smiles on their faces, even if they are just laughing at our makeup.  Because we had 160 hours to kill.  Because we’ll never – ever! – get Barefoot Girl out of our heads.  Because it is just plain fun.  Because this is a little different than friendship.  Because our paths all diverge from here, but we share a common starting point.  Because sleep deprivation is cool.  Because a tangible, definite outcome is beyond the point. 

 

Because the memories are priceless.

 

The show closes tonight and I’m trying to officiate this wrestling match between joy and melancholy within me.  It’s been a journey that I’m blessed to have taken, and 160 hours was well worth it.  I could not be more appreciative of everyone involved in The Caucasian Chalk Circle.  And I could not be prouder of them.

 

To you all, a round of applause…

- Luke Sorge

 

We didn't start the fire...

As we wind down to the final days of this production, I find myself standing in awe of all that has been accomplished during this production. It seems to me that this production has allowed everyone to step beyond what we've known in the past and the obstacles we've face before, conquer them and face new ones. 

Opening weekend was quite a success. Our publicity efforts seem to have paid off, because our audience turn out has been quite significant, and a huge improvement for our department. We have averaged about 140 per night so far. Even our show last night, our first wednesday show, we had the biggest turn out yet with 157.  I don't believe you can measure the success of your show by the number of people in the audience, but that is just an extra affirmation of our hard work.

When I first started doing theatre, I was told by a woman I greatly respect, "it's about the work." A mantra I still live with today. This show has been the absolute essence of that motto. When we were reviewed by the KCACTF external reviewer last saturday night, one thing that she complimented us on was our sense of ensemble. The wonderful thing is that, that ensemble extends beyond the acting ensemble but into the sound crew, projection crew, wardrobe staff, stage mangers, and light board operator. It extends into our sense of a being a whole, and with Laura Cuetara's collaboration with every single person working on this show, as our director. 

When the project first started there was a lot of concern that maybe we were dreaming too big. I heard over and over, well we should plan big and if we need to scale back we can. There are things from our first visions that didn't make it, but there are more that did. This, is a huge success. There are more film students involved in this show than ever before. Our ability to integrate film into this production, and our collaboration with the film side of our department, this is truly a success. The accomplishment of the PR team, and the amount of publicity and promotion we were able to do and follow through with, this is a huge accomplishment. Overall, the upsets and detours have been minor compared to landslides of the past. Having so many first timers, and freshmen, and also our veterans and seniors, come together in the cast and work and build off of each other- this is a success. 

There is room for improvement, there always is, but when I look at how far we've come, I am overwhelmed by the magnitude of what we have accomplished. Since opening night, I've been living with this wonderful thought that we are truly connected to all of those amazing professionals of our past who have presented and told stories through theatre, those who are still working in theatre, and passing it on to those who will do it in the future. When you work in a field like this, you are a part of something so much larger. Billy Joel says, "We didn't start the fire, It was always burning, Since the world's been turning." It's not something we began, but it's something we're apart of, and therefore we are connected and we take part of it. Theatre is addicting. When you live the process, it's infectious. 

I can only hope that with three more days, that we can enjoy this time. That we can revel in our now solid show. That we can be cup's on the edge of the table, take risks, have fun, and keep working hard. We can't lose sight of our goals, and always strive to earn every show, but we can be proud of what we've done so far, and continue to build on that. 

I want to say thank you to all those who have supported us in this production. To the faculty and department staff, to the families of each production member, and to everyone who has seen our show so far. Please continue to come,  bring your friends, and share this experience with us. Only three nights left. 

-Felicia Marti

Assistant Director

Opening Night

The show dubbed CcC opens this evening. The ever changing and growing cast and crew sits biting off their nails after swallowing the fear of forgotten lines and 10 second costume changes. We sit doing make-up and considering our fresh line changes and new blocking. This show is complicated...this show is a lot of work...this show is ours...we are the masters of our destinies...break a leg! We are all having a happy opening day, scrubbing chalk circles off campus building walls until we are all bare knuckled and ready to fight. And as I brace myself for impact, contorting my figure into shapes that may better help me understand character and space, I remind myself of the point of the story. That you are what you do. That if you love, you ARE love. That if you mother, you ARE a mother. That, my friends, is the point of our show. With all of the elements finally in place, with all the stations filled and people in position, I encourage all those involved to exhale and treat themselves well. This is one of those shows where champagne may be in order. This is one of those shows that makes you sleep like a baby, because your exhaustion and journey has been very real. Who knew that so many UCD theatre students could sing? Who knew that we all have maternal instincts? Who knew that playing with Nate Thompson's (our technical director) daughter would be such a riot? Who knew we would do this show? Who knew we, WE, would produce it so well? This process has been hard, it has been trying, but through all the mental breakdowns and the physical fatigue, we have emerged with smiles and shiney moments. And proud, of one another. So please excuse the sentimentality, but this is probably the best show that I could have asked for as my final UCD mainstage production. Swallowing the bitter pill of graduation, I am thankful that I could be part of such an all inclusive production, with all of my peers working toward a common goal, an amazing show dubbed CcC...please enjoy.

-Tayla Ealom

The beginning of the end.

Today is the beginning of a large shift in the production; the beginning of the end. The day when the focus becomes completing the production by adding light cues, sound cues, and visual imagery. In just a few days time we'll add all the costumes, make-up, and we will have all the props. We call this process "tech", because it's adding all the technical elements. Some even call this time in the show "hell week", but I don't like thinking of it that way.

When I first started theatre in high school, I would try to explain the process of tech to my parents, and they would always just nod and try to sympathize. It's one of those things you can never truly understand until you go through it. For the freshmen and first timer's, it's like a right of passage. In this case, it's been about 9 and 1/2 weeks since auditions, 8 weeks since our first read through, and about 6 weeks since we started a full time rehearsal schedule. By this time in the process many people are already exhausted. This past week also marked the beginning of wide spread sickness within the cast. After working on it for so long, you might even say we're in dire need of taking it to the next level- and here we are!

By the end of the weekend, the show will be completely transformed. That exhaustion that you feel coming into the weekend, somehow transforms itself into an anxious yet excited energy, anticipatory if you will. Finally the people who have been designing for this moment exactly, get to take their own work to the next level, by putting it to life on stage. We're literally opening this circle that has been our closest family for the past 6 weeks and inviting our extended relatives (in a way), to come live with us. What will come of it? Probably a few misunderstandings, possible delirium, some very serious focus, a lot of laughter, and in the end- one amazing production.

Please make sure to join us next weekend.

Nov. 13-15 (Thurs - Sat)

Nov. 19-22 (Wed- Sat) 

7:30- The Eugena Rawls Courtyard Theatre

The King Center- Auraria Campus 

Tickets: 5$ for UCD students, $12 general admission

Feel free to learn more about the production in the previous post. Included is a brief biography of our playwright Bertolt Brecht, information on Epic Theatre, and the source materials for this The Caucasian Chalk Circle. 

Wish us luck this weekend! Thank you all!!

Felicia Marti,

Assistant Director

BERTOLT BRECHT and THE CAUCASIAN CHALK CIRCLE

Bertolt Brecht was born February 10, 1898 in Augsberg, Bavaria. He began writing early in his life, concentrating on poetry, and was first published in 1914. During World War I, Brecht attended Munich University, where he first stepped into the world of the theatre. In 1918, he wrote his first full-length play, Baal, whose title character, some have argued, was an early template for Brecht’s later creation, Judge Azdak, from the Caucasian Chalk Circle. Brecht moved, in 1924, to Berlin, where he established himself as a major playwright. It was in Berlin that he met Kurt Weill, and the two of them achieved great fame on collaborations such as The Threepenny Opera and The Rise and Fall of the City of Mahagonny. By this time, Brecht’s concepts of the Epic Theatre were in full display.

It was in the late 1920’s that Brecht began a life-long commitment to Marxism. This did not put him in good graces with the emerging Nazi Party, and when Hitler took power in 1933, Bertolt Brecht wisely fled the country. He first took exile in neighboring Denmark, hoping that Hitler’s rule would be short-lived. However, with the growing Nazi threat, Brecht had no choice to move further away, first to Sweden, and then to the U.S. (by way of Russia). He resided in Santa Monica, California, in the shadow of Hollywood, and even attempted to break into the movie industry while there. Movie studios had no idea how to work with the playwright, and, not surprisingly, Brecht made little inroads. Of Hollywood, Brecht commented, “The intellectual isolation here is enormous.” His outspoken views of Socialism made him few friends, as well. In 1947, the House Unamerican Activities Committee subpoenaed Brecht to answer charges of his allegiance to Communism. On October 30, 1947, Brecht spoke before the committee. The next day, he departed the U.S. for Europe. Interestingly, it was during Brecht’s years of exile that he created what are considered by many his greatest plays: The Life of Galileo (1938-9); Mother Courage and Her Children (1939); The Good Woman of Szechwan (1938-40); and The Caucasian Chalk Circle (1944-5).

After a year in Switzerland, Brecht was invited to return to Berlin by communists in East Germany. By 1949, he had made East Germany his home, where he was given his own theatre, and his own theatre company, the Berliner Ensemble. He wrote few plays in his final years, instead directing and working with the younger, up-and-coming talent. He passed away of a heart attack on August 14, 1956 at the age of 58. Brecht left behind dozens of plays, books of poetry, and an enduring legacy of his unique vision for the theatre.

THE EPIC THEATRE
Brecht is credited as beginning the movement known as ‘Epic Theatre’, although he preferred the term ‘Dialectical Theatre’, as that description suggested the elements of argument and discussion, crucial to Brecht’s vision. He felt that theatre was a place to present ideas, and that ideas superseded other purposes of the theatre: entertainment, storytelling, emotional manipulation, and even the semblance of reality. He felt it was necessary for audiences to constantly be aware that they were in a theatre, and he was a strong advocate for verfremdungseffekt, or “the alienation effect”, which was the opposite of the more traditional “suspension of disbelief”. To this end, he would incorporate devices designed to distance the audience from the performance: choruses; placards announcing the title and plot of upcoming scenes; music & songs; simple, bare, non-realistic sets. Actors frequently played multiple roles, and regularly broke the fourth wall illusion, speaking directly to the audience. By not allowing his audience to become too emotionally invested in the characters or plot, he could keep the social themes at the forefront.

SOURCE MATERIAL FOR

THE CAUCASIAN CHALK CIRCLE
THE BIBLE

I KINGS 3 – “KING SOLOMON’S WISDOM IN JUDGMENT”

After praying for and receiving wisdom to rule from God, King Solomon is presented a trial for judgment. Two prostitutes come before him, each claiming to be the mother of a baby boy. Both women had given birth, but one of the children had passed away. Now both say the deceased child belongs to the other. To find the true mother, Solomon takes a sword and orders that the living child be cut in two, with one-half going to each mother. One of the mothers agrees to this ruling; the other gives up her claim, so that the child shall remain alive. From this, Solomon knows the woman who would not allow the boy to die is the real mother.


THE CHALK CIRCLE

A CHINESE ZAJU VERSE PLAY BY LI QIANFU (LI XINGDAO)

The zaju verse play is a classical form of Chinese theatre, consisting of four acts and a prologue. The Chalk Circle, written during the Yuan dynasty (1259-1368), concerns a young woman, Hai-tang, who, after being sold into a house of prostitution, is rescued by Ma Chun-shing, a wealthy tax-collector. He takes her as his second wife, and she soon gives him his only child, a son. Ah-Siu, the first wife, is jealous. So, she accuses Hai-tang of adultery, kills Ma by poison, blames Hai-tang of the murder, and then claims the child as her own, so that she may inherit Ma’s wealth. Before Hai-tang is about to be hanged, an Emperor decides on a test: he draws a chalk circle on the ground, and puts the child and the two women within it. The women are ordered to take hold of the child and pull, to determine the mother. When Hai-tang refuses to hurt the child in this way, the Emperor knows she is the true mother.
(NOTE: This play was translated into German by Klabund in 1924, a contemporary and acquaintance of Brecht’s. In Klabund’s version, the Emperor and Hai-tang marry at the end of the play.)


DER AUGSBURGER KREIDEKREIS (“THE AUGSBURG CHALK CIRCLE”)

BY BERTOLT BRECHT
This short story, written by Brecht in 1940, is quite similar yet quite different from the Caucasian Chalk Circle, written a half-decade later.

The story takes place in Augsburg during the Thirty Years War (the same setting as his play, Mother Courage and Her Children). A Swiss Protestant named Zingli owns a tannery and leather business. Friends advise the man to flee the town as Catholic soldiers are soon to invade. But, when the troops finally march in, Zingli and his family have not yet left. Zingli hides, but is found and murdered. His wife, Frau Zingli, has spent so much time packing her fine clothing and jewelry that she is forced to escape, abandoning her child at their home. A servant girl of the house, Anna, discovers the child, and, after the soldiers have moved on, she attempts to return the child to its mother. She visits Frau Zingli’s uncle’s home, where she is told that the mother is no longer there, and that they will do nothing for the child. Before leaving, Anna notices someone silently watching her from behind the window; she is convinced Frau Zingli is within, and has repudiated her own son. The bond between Anna and the boy grows, and finally, she takes him with her to her brother’s home in the village of Grossaitingen. A peasant, her brother has married a woman with a farm and servants. The wife is suspicious of the woman and child who’ve suddenly shown up on her doorstep, so Anna claims the child as her own. She further lies by saying she is married to a man working a mill in a distant village, and that this husband is expecting Anna and son to join him in a few weeks. This lie appeases the peasant’s wife for awhile, but as time passes, her suspicions return. Finally, the peasant brother concocts a plan to marry off his sister to a dying man in a neighboring village. His death is imminent, and so a death certificate will surely allow Anna to continue living on as a widow at her brother’s farm. The wedding takes place and Anna returns with her brother to his farm. Time passes, without the death certificate appearing. Finally, the brother travels back to find that the man has recovered from his grave illness. This news troubles Anna. The man, Otterer by name, soon meets secretly with Anna. Anna does not like the man, and returns to her brother’s home. Some time later, Otterer shows up at the farm, intending to “fetch” her back to his home. She refuses to accompany him. He is about to leave when the brother and his wife come home. The wife is naturally curious about him, but Otterer becomes withdrawn in the presence of the peasant, who, of course, knows the truth of the situation. The wife offers him lodging for the night, but Otterer leaves. That night, Anna grows quite ill. The sickness lasts for weeks, during which Otterer returns and carts her and the child away. She is too weak to protest. Eventually, her health and strength return. At that point, she attempts to escape with the child, but it fails and she willingly returns to Otterer’s place, where she and the child live for several years. One day, after returning from the village, she finds her son missing, that “a grandly dressed lady had driven up in a coach and taken [him] away”. Anna immediately sets off for Augsburg. She tells the authorities that her child has been stolen. A trial is set. The “most exceptional” judge is named Ignaz Dollinger, whose rulings are known for being unusual. After hearing testimonies by both sides (in which both Frau Zingli and Anna lie to the court), he decides to settle the matter with the chalk circle test. After only one test, in which Frau Zingli “tore the child out of the chalk circle”, Dollinger recognizes Anna as the true mother.

(NOTE: In the Biblical verses and the Chinese Chalk Circle play, it is the natural mother who ends up back with her child. In Brecht’s twist of the old tale, he awards the other woman custody of the child, suggesting to us that the blood bond is not necessarily the most maternal- a very modern notion.)

November 4th - Election Day

Most of us are holding off our rehearsals for today’s election, so that we can all follow the results tonight; which really, is very fitting for the cast of a Brecht show, seeing as he was such a political writer. So not only do I get to be part of a monumental event on a very local scale, but also on a national scale. What an amazing feeling!

It’s been a long journey, and a hard one, but more worthwhile than almost any show I’ve been in yet. I’m so proud to say that this is probably the best show that UCD has done in my time here, and am even more proud that I get to be a part of it before I graduate in May.

 

Despite our one brief break today though, we will be at it again, and with even more vigor tomorrow. Our journey is almost at an end, and we open next week! The excitement is building and the pressure is on! This is going to be an amazing show and I can’t wait to see you all there! Trust me, we will NOT disappoint.

- Amber Moffett

Publicity Photo Shoot

Here are a few photos for taken for press releases, etc. 

I think they came out well if I do say so myself. 

Pictured: Luke Sorge, Presley Conkle, Tayla Ealom

Costumes by Janetta Turner

Photographed by Felicia Marti

Turning to George Bernard Shaw for some advice...

George Bernard Shaw said, “Progress is impossible without change, and those who cannot change their minds cannot change anything.”

The past week has been constant progress, constant change, for this production. Sunday began with finishing sketching in the staging for Act II, and preparing for our designer run through. Monday, the designer run through- and a huge opportunity for discovery. Tuesday, Wednesday, Thursday: adjusting, cutting, changing, shaping, detailing. This process, especially this week, has not been easy. In fact, I see the strain in everyone. But, although it's stressful, it's also been possible. And it's what's best for the production- which everyone seems to recognize and respect. 

I like the above quote by Shaw because the process of creating a theatrical production is all about rehearsal. Literally re-hearing the story every night. It's my understanding that when you're doing this the right way, the story continues to unfold and unravel. The discoveries don't end. It's exciting to see this happen. It's exciting for me to be able to sit there and watch one rehearsal, only to see it again the next day after it's been worked- and it's transformed. I never even realize completely why the first one wasn't as good until afterward when it's been detailed, it's clear, and specific. It becomes straight-forward, and clear, and it holds your attention the entire time. 

There is still so much work to be done. We have added 3 hours of rehearsal on saturday, and are trying to tack on an extra hour to our rehearsals this week. We have costume meetings, design meetings, paper tech for lights, visual and audio meetings. We have so much to do for PR: sending out emails, bookmarks, postcards, hanging banners, and pushing it into the community. There is a lot of pressure to really sell out this show, and as it gets closer it feels more and more daunting. In fact, we hit a bit of a dead end today, which was rather frustrating. The PR team was hoping to be able to do a majority of the grunt work today, and the rest of this weekend, but it looks like it too will have to happen next week. All of this work is outside of our normal rehearsal hours. During rehearsals we have the 2nd half of the revolution sequence to choreograph, and plenty more scenes to work and detail. We have to run, and run, and run the show- especially because of it's size and complexity. It's the only way ahead. Throw in a publicity photoshoot, and election day on top of it all- it's surely going to be one crazy week! 

It's very easy at this point in a production to become overwhelmed by the amount of work. Logically, you think of the amount of bodies you have, work, and time, and try to shove it into some equation to see the road head. In life, and theatre especially, you find that it is unwise to try to put it into a formula. Things get done how they're meant to, and only one thing at a time. I again go to Shaw who says, “The possibilities are numerous once we decide to act and not react.” And that is exactly what we'll do. We choose not to let ourselves react to the amount of work we have to do, but to instead just act and get it done. In less than 2 weeks we will have a completed production on our hands, created with all these obstacles, and accomplished successfully. Accomplished because we have dedicated individuals involved, who are tireless and care about the work. I remember this and am inspired whenever I get tired. It's more than worth it in the end. It's life altering. 

Let's not get crazy here though, I'll leave with a gentle reminder to all involved from  our playwright, Bertolt Brecht, himself, "Everyone needs help from everyone." And isn't that the truth?

So.... What's It About?

It’s something I’ve gotten a lot lately. What’s it about? Um… Well…

I think it says something about the nature of drama that people are concerned primarily with the story being told. That’s the first question – “what’s it about?” – followed usually by “well, how much is it?” Theater is first and foremost about telling a story, a fact that has been made undeniable through this rehearsal process. Every stitch on the costumes, every nail in the set, and every facial expression on the actors is done in service to the story. This is why I’ve been getting that question a lot – “what’s it about?” The problem is I’m having a hard time answering it…

What is The Caucasian Chalk Circle about? Judging by the title, it’s about white people, right? No. Well, yes, there are some white people, but that’s not what the title is referring to. Nor does the chalk circle have anything to do with sidewalks, blackboards, or gymnastics. Sure, the title makes sense after the story, but retroactive understanding doesn’t help me answer the question.

What is The Caucasian Chalk Circle about? Judging by the promotional materials it is some sort of musical adaptation of The Ring, right? No. As much as I would love to spend some quality, tell-me-all-about-the-outback-and-those-romantic-Nicole Kidman-rumors time with Naomi Watts, this play has nothing to do with that underrated horror movie. But the promotional materials aren’t supposed to be overtly informative; they’re supposed to be striking and interest-forming. And they are. Two teaser trailers were also created (scroll down if you haven’t seen them), but they come about as close to story clarity as John McCain does to spry and hip.

What is The Caucasian Chalk Circle about? Depends on what you mean by “about.” The play is about loyalty, royalty, war, and peace. It’s about love, loss, life, and sacrifice. It’s about justice, about class, about that giant valley of grey between the mountains of good and evil. Even a plot synopsis doesn’t do the story justice – a girl finds a baby during wartime, she goes a bunch places with it, there’s an inept judge (with a hunky sidekick), a lot of singing, and some tug-of-war... No, that doesn’t work. The Caucasian Chalk Circle is one girl’s struggle to find what’s right amid a war-torn haystack of wrong…. That’s just stupid.

There’s almost too much going on in the play to answer the question.

What is The Caucasian Chalk Circle about? That depends on your perception. Judging by the script, I thought it was going to be 99% comedy. But it’s not. It’s serious, dramatic, epic… and occasionally hilarious. A quick YouTube search yields a number of different interpretations and styles (including one with a Cochran-esque take on the lawyers in the final scene). There’s music, but it isn’t a musical. There’s love, but it isn’t a romance. There’s a judge, but it isn’t a daytime television show with ITT-Tech commercials played during commercials.

What is The Caucasian Chalk Circle about? It’s hard to say. It’s about a lot of things. And you’ll just have to take my word for it. There’s so much more that goes into storytelling than just the word “about.” A story is only as strong as how it is told, and that is what we in the cast and crew have been conscious of during this whole process. The Caucasian Chalk Circle is pure theatrical storytelling. It is truly an experience, and I hope to see you there.

And until then quit asking me what its about.

-Luke Sorge

3 weeks out, and here's where we're at.

Yesterday marked 3 weeks out from Opening Night! Things are going incredibly well. This past week we spent our rehearsals focusing on staging, as well as a little bit of music. We are close to having the entire show blocked and ready for the designer run-through, which will be on Monday night.

Publicity seems to be on the right track. In all my four years here at UCD, I haven't seen students and staff alike so excited and dedicated to selling this show. The display case was finished today, and the publicity team did an excellent job completing it by hooking up a TV inside that plays a loop of our trailers. Also, the cast took over poster distribution for the Denver metro area, and will be reporting back this weekend how it went. We have posters, tons of bookmarks, and we'll even be mailing out postcards here in the next week or two. We managed to even cut a deal with our box-office to great buy one, get one, deals for turning in specially marked bookmarks. T-shirts for the production are being made, as a special donation, and all the cast and crew will be receiving them. 

In terms of the technical elements, we're also moving right along. Stephanie, our props designer has located all the props and is in the process of assembling and collecting them all. The set is coming along beautifully, and the bridge is almost finished being constructed. From the sounds of it the costumes are also going well. Janetta, our costume designer, is working away and it looks like she will be getting some extra help in the shop coming in soon. I saw our little Michael, played by professor Nate Thompson's daughter, Lydia, in her fitting yesterday; it looked like they were having fun! In terms of audio and visual projection design, today was a huge breakthrough for us! We had a long meeting in which we story-boarded the show and talked concept and content for each part. Some wonderful ideas emerged. We are using inspiration auditorily from Eyes Wide Shut. We've also identified 5 major video sequences that will be in production this week. 

The cast is doing remarkable work. It seems that this week was a bit of a turning point. The actors are becoming more comfortable and confident with the story, their characters, and this world that we've created. Even their once apprehensive approach to the music has become stronger and less inhibited. They've been spending a few hours a week rehearsing music with Dixie and Carol, and have learned all the group songs. Now, it's just a matter of fine tuning and practice. There is a camaraderie and energy that is unique with this ensemble, and it has been wonderful watching them learn and grow in their own work. All of the elements from the first 3 weeks are starting to add up. It has truly created a language and world that we're playing in; and, the actors are responding and working in it just beautifully. I am anxious to see their progress once we start running the show with the staging.

One challenge right now is just remembering that this show is extremely complicated. With what feels like 15 artists collaborating on it, it's important to try to hone in on the one same vision. This next week is going to be full of gathering the content and ideas we've come up with, followed by cutting anything that is going to serve the vision of the play. This is a  task that is not going to be easy, but in the end it will contribute to a well done production. I'm thrilled to be moving into the last 3 weeks before we open, for this is when the most exciting and challenging work begins. Theatre is anything but easy, and with this show specifically it's a bit of a mantra for us that this is hard, and we shouldn't forget that as we forge ahead.

I must say that this has been one of the best productions I have worked on thus far. What sets it apart from others, is at its core the cast, crew, director, and designers are inspired by the work and by each other. There is an investment from those involved that is rare and hard to come by as a collective. Even when you're working with people who are truly dedicated to their craft, you don't always find artists that are invested in the same vision. There are more artists, and student artists especially, working on this production than ever before. There are also more freshman in the ensemble than we have had in a production in a long time. I read an essay by producer Rocco Landesman in which he said, "You have to be ready to throw your heart and soul in it, and be prepared to give your all to the people you will be collaborating with. You have to believe that the show you're doing has the potential for greatness." This seems to be exactly what has happened with UCD's production  of The Caucasian Chalk Circle. From the beginning those involved believed it had potential, and so far it seems to be rising to that aspiration. 

-Felicia Marti

assistant director

Cheesecake of Theatre

For lack of a better introduction to a blog post, I will quote the brilliant director of Caucasian Chalk Circle:

"You will never create something that you can't execute well." – Laura Cuetara

Throughout the beginning of the rehearsal process there were a lot of uncertainties as is pertinent with any complex production such as Caucasian Chalk Circle. However, with a playwright like Brecht - the structure, language, characterization, staging and the various events are made up of layers upon layers of possibilities. This play is like a multi-layered cheesecake with a handful of new flavors not yet tasted by man. Many will avoid indulging such a delicious treat because of its complexity and seeming mysterious nature, yet the small and daring theatre department grabbed its' forks, loosened their belts and dove right in.

A professor of mine says:

"Art is the process of taking away." - Nathan Thompson

Laura manages to invert, reinvent and flip upside-down that process by taking away, putting back, copying and pasting, and taking away again. Through this process we, as one unit, are able to really rip the piece apart and see what's inside with Laura's direction. The cheesecake may look delicious on the outside, but wait till you see what's in store when you peel that away. A whole new way to look at theatre is opened up – I've started to see the true meaning of live theatre. Live theatre that's ever evolving. No matter what stage of the process the production is in - be it rehearsal, performance or even aftermath. That realization would not have been possible if it weren't for the combination of brilliant playwright, great direction, and most importantly – amazing people with human effort.

I have true faith in the success of the fall production of Caucasian Chalk Circle no matter what happens and hope to see you there. Enjoy the cheesecake as much as we will!



~ George Kotelnikov

Trailers for Chalk Circle

A huge thank you goes out to Ryan Bell for creating these trailers for us! 

Rehearsal Photos 10/13/08

Hey All! 

Tons of exciting things have been going on this week. The music is starting to come together, and the production teams are getting ready to come in and start adding the other layers to the show. Here are a few pictures from recent rehearsals. Photos by Matt Meienberg. 

Amber Moffett 

Luke Sorge

Stephanie Block (props designer), and Allan Trumpler (Scenic and Lighting Designer)

Carol Bloom and Dixie Lingler- Music directors 

Stephen Adams and Alexa Perez 

Lydia Thompson and Tayla Ealom 

Production Process Presentations.

Production Process is a core class at UCD, in which students work on the productions over the course of the semester. This semester the class is working a little differently from past semesters because the students are being asked to create the content for the projects they've been assigned. Here is what is being presented so far: 

Visual Images/Projections: 

-Using still images (pictures from Georgia- these were provided by group member Zach Jobe) 

-Using graphic art 

-High contrast images (as to show up stronger on the projection surfaces) 

-Abstract video 

-Drawing inspiration from Across the Universe and other movies, of filming projections on the actors faces. 

See an example at 3:45 minutes into this video:

-Using still image cut outs with moving video behind. 

-Using rehearsal footage, and other footage of our actors.

-Projecting live feeds

Audio Imaging/Sound:

-Creating a sound bed, full of environmental sounds.

-Using text from the play that can be pre-recorded to play at important moments, distorting these to create intended effect

-Using internal sounds of the actors: heavy breathing, heartbeats, etc. 

-Using the idea that sound is acting as a character 

-Experimenting with the audio installation and speaker placement. 

Costumes:

-The costume team is being headed by our costume designer and instructor, Janetta Turner. 

-The costumes are going to be transformable to meet the needs of multiple characters

-The make up will act like costumes- and have to work in layers that will be added throughout the play 

Publicity:

-Guerilla advertising on campus, day of show ideas. 

-Posters, Bookmarks, Postcards, and even yard signs are being created right now! 

-This blog, as means for involvement and connection to our audience. 

-Working on audience development and reaching out to the departments who would connect to the material. 

More updates from props and scene design to follow. The stage is almost completely built, and it seems as thought the backdrops and detailing is what will be following. Hopefully more pictures will follow. 

Until next time! 

Pictures!

Here is a look into our rehearsal process so far! The photos were taken by Matt Meienberg, Lauren Meyer, and George Kotelnikov. 

Hayley Moritz, Rob Shearer, George Kotelnikov, Mai-Quyen Tran, and Luke Sorge 

Sinjin Jones, Mai-Quyen Tran, and Seth Dean 

Sinjin Jones and Seth Dean

Nick Klissiaris and Grant Langdon 

Jeanie Grazis

Stephen Adams, and Seth Dean

Rob Shearer, Hayley Moritz, and Stephen Adams,

Laura Cuetara

Hayley Moritz 

Stephen Adams and Tayla Ealom

Amber Moffett, and Tayla Ealom

Presley Conkle

Rob Shearer

Welcome!

This is the blogspot for the University of Colorado Denver College of Arts and Media Department of Theatre, Film, and Video Production's, production of The Caucasian Chalk Circle by Bertolt Brecht! 

The blog will be updated weekly, giving an inside look into our process. Some entries will contain pictures from our rehearsals, as well as personal thoughts from different members of the cast and crew! 

We hope you'll enjoy this blog, and that you'll come see our production! 

Thursday-Saturday

Nov. 13, 14, 15

Wednesday-Saturday

Nov. 19, 20, 21, 22

7:30pm 

King Center Rawls Courtyard Theatre

Tickets: $12 General admission, 

$5 UCD Denver students 

Sponsored by: Theatre, Film, and Video Production Department 

Directed by: Laura Cuetara 

Cast Includes: Alexa Perez, Amber Moffett, George Kotelnikov, Grant Langdon, Hayley Moritz, Jeanie Grazis, Luke Sorge, Mai-Quyen Tran, Nick Klissiaris, Presley Conkle, Seth Dean, Sinjin Jones, Stephen Adams, Rob Shearer, Tayla Ealom