Interim post-mortem of Uncut Untitled Paper House part 1
Somewhere halfway through our run (including our Ipoh and Penang shows), I decided to record my thoughts on how the show's going. So I'm adding to this entry during the play, during Ky-Gan and Mark's plays. Probably to the irritation of everyone around me, with my PDA screen blazing brightly.
Making Mistakes
I've realised that Joe has willingly let us make our own mistakes. Of course, some of those things he pointed out but we ignored. For example, perhaps I wasn't stringent enough with handling the dancing- I sometimes forgot to ask auditionees if they could dance, and I did leave the choreography till quite late. Ky-Gan's direction, staging and use of set could've done with some experienced guidance. Mark's could've been shortened, the script could've been tightened.
All stuff that he's mentioned before. The obvious next measure for the next time we work with him (separately or together) would be if we've learned the lessons from this.
Script Clarity
I think my weakest point lay in my script. The purpose was not clear- the message undefined. Perhaps it was also the conflict of keeping the roles of director and writer separate. Or perhaps in putting too much energy into maintaining that separation.
Writing it was a huge challenge for me. I am so thankful that this first time's over and done with. The pressure of doing it 'right' and excellent the first time sucks. I've learned that I need to set aside a decent and uninterrupted chunk of time to write. And I should've spent more time on Untitled, though it couldn't become what it is now without the input and work from my actors.
I've heard this a few times already, but I still have problems accepting it. There are ppl who think my script's better than Ky-Gan's. Self-belief issues with my writing, how charming. It has its merits, I suppose - I just don't see how it stands up to any comparison. Anyway practice makes perfect.
Here's to the next one.
Audience Reaction
We've gotten a wide variety of audience, which is usual I suppose. From quiet laughers to laugh-at-everything characters. Most importantly, we've been getting decent crowds - hitting over 100 every night! Amazing shit.
Interestingly, most ppl are enjoying the show every night. It's usually the theatre ppl have problems with it, so there you go. It's also interesting to see how a vocal audience can really buoy up the actors' performance, from a director's point of view. That's something that I sometimes have difficulty with - isolating a performance from the audience's reaction, to give decent notes to my cast.
My personal 'mark of accomplishment' is when people say that they totally identify with the play, and that it's what they're also going through (or some variant of that). That is my main source of pride and pleasure.
That's it for today.
The next entry will be about money, the magic of good marketing & publicity, handling reviews and my thoughts on the other 2 plays.
Making Mistakes
I've realised that Joe has willingly let us make our own mistakes. Of course, some of those things he pointed out but we ignored. For example, perhaps I wasn't stringent enough with handling the dancing- I sometimes forgot to ask auditionees if they could dance, and I did leave the choreography till quite late. Ky-Gan's direction, staging and use of set could've done with some experienced guidance. Mark's could've been shortened, the script could've been tightened.
All stuff that he's mentioned before. The obvious next measure for the next time we work with him (separately or together) would be if we've learned the lessons from this.
Script Clarity
I think my weakest point lay in my script. The purpose was not clear- the message undefined. Perhaps it was also the conflict of keeping the roles of director and writer separate. Or perhaps in putting too much energy into maintaining that separation.
Writing it was a huge challenge for me. I am so thankful that this first time's over and done with. The pressure of doing it 'right' and excellent the first time sucks. I've learned that I need to set aside a decent and uninterrupted chunk of time to write. And I should've spent more time on Untitled, though it couldn't become what it is now without the input and work from my actors.
I've heard this a few times already, but I still have problems accepting it. There are ppl who think my script's better than Ky-Gan's. Self-belief issues with my writing, how charming. It has its merits, I suppose - I just don't see how it stands up to any comparison. Anyway practice makes perfect.
Here's to the next one.
Audience Reaction
We've gotten a wide variety of audience, which is usual I suppose. From quiet laughers to laugh-at-everything characters. Most importantly, we've been getting decent crowds - hitting over 100 every night! Amazing shit.
Interestingly, most ppl are enjoying the show every night. It's usually the theatre ppl have problems with it, so there you go. It's also interesting to see how a vocal audience can really buoy up the actors' performance, from a director's point of view. That's something that I sometimes have difficulty with - isolating a performance from the audience's reaction, to give decent notes to my cast.
My personal 'mark of accomplishment' is when people say that they totally identify with the play, and that it's what they're also going through (or some variant of that). That is my main source of pride and pleasure.
That's it for today.
The next entry will be about money, the magic of good marketing & publicity, handling reviews and my thoughts on the other 2 plays.
posted by Jo at 2:42 pm
1 Comments:
The good thing about doing things for the first time, especially in your line of work, is that ppl will have nothing to compare it with. Therefore there will be no pressure for you to emulate your previous work, and come up with something better, or as good as it. At the same time, I'm sure that there's always that fear of not writing a piece that is good enough to get people to come back the second time around.
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