Pippin opens on Friday.
If you’ve been wondering why the blog has been so quiet — here’s your answer. I’ve been directing a production of this musical at our Friendly Neighborhood Theater, the Town & Gown Players.
Here’s the part — were I a normal human being — where I would gush about the show. Partly from genuine excitement and pride; partly in a cynical, manipulative attempt to convince you to come see the show.
But as this blog provides ample evidence, I am not a normal human being. I have a complicated relationship with positivity. Most evident in creative projects where I am invested. I have a, shall we say, extreme reluctance to speak without restraint, to truly commit to the excitement. How about a list of your neuroses related to this, I hear you all shouting with animation and curiosity at your computer screens. Okay!
1. Pure superstition. If I say that the show is good, amazing, colossal, etc. etc. I’m calling down the attention of the gods. I live in Athens and hubris-smiting is most definitely on the menu. A musical is a super-complicated, involved creative endeavor with thousands of moving parts. Everything has to gel – the music, the movement, the acting, the vocals. Layered on top of that is the spiritual mumbo-jumbo of any community – you want every person’s chi to align just so. I do not need Hermes to start
feeling capricious or mercurial[HAR HAR HAR] and throw a wrench up in my show, just for giggle-shits.
2. Cynical Directing Style. I’m not quite sure where I picked this up — but I truly believe that if I tell an actor that what they are doing is good, they will immediately get worse. As an actor myself, fear is the best motivator. If you believe that you are doing a good job, you will stop working to get better – you will relax, get comfortable. It’s a short trip to Craptown. Every rehearsal, every performance you should be striving to exceed your previous attempt. Add to that the weird parental aspect of being a director — actor-children work much harder when they are unsure of Daddy’s approval. It’s cynical, but it works. Most of us performers have some sort of approval-need or bone-deep insecurity, as a director you might as well plug in to that and use it to get them to do sharper pirouettes. I’ve actually made a point to get better about this one, giving GRUDGING positive notes. Baby steps!
3. First Impressions. The beginning of a play is a holy moment. The moment when the lights go down — it’s pure, unbridled potential. Anything could happen — a whole new world is being born right in front of you. I treasure that moment, and I hate to pollute it. Especially with generic ‘Rah-Rah Show’s SO AWESOME’ posturing. So, if I started rambling on about how great the show is, or how much I like X scene, or Y song — then I’ve put things in your head. Expectations, judgement, etc. The less said the better. Come to the temple with your eyes unclouded.
So, what can I say about the show – through the net of my psychosis?
The set looks amazing. My designers really outdid themselves – I can comfortably say that it is unlike anything we’ve put on that stage in the past 10 years, easy.
The light design is also excellent. My bacon was Epic Level saved by the last minute addition of our Light Designer.
The choreography is excellent, thanks to my crack Choreography Squadron.
The band is crisp, and the musical director’s re-scoring of several key moments is inspired.
The cast? Solid. I know that sounds like faint praise — but I’ll double-down. This cast is Solid Snake.
I won’t say anything more, due to neuroses listed above. But when the curtain opens Friday night, that’s where you want to be. I want you to see what the cast has accomplished, has earned through months of hard work. I believe you are going to see something exceptional.
If you are anywhere within a 50 mile radius of Athens, GA – you should make a point of attending.
Click on the image up top to buy tickets. You can pick your seat and everything, through the magic of the internet.