theater acting

The funniest thing to me is that moment in a show when a character has just died in some tragic way, and it’s just like the saddest thing ever and everyone is bawling

Then you go backstage and they’re just sitting there scrolling through their phone because now they have nothing to do for the rest of Act 2

theatre things that remind me of the hogwarts houses

gryffindor: auditioning for the first time, being alone on stage, long choreography rehearsals, the adrenaline of opening night, designing the set on the grid, hauling furniture onto the set, cue to cues, writing a play, improv comedy, waiting at the stage door after a show.


hufflepuff: getting flowers and gifts backstage, taking the final curtain call, highlighting lines, bringing snacks to rehearsal, read-throughs, pulling costumes from stock, set dressing, paint swatches, warm lighting design, perfectly blended sound, directing, waking into a theater you’ve never been in before.

ravenclaw: character analysis, memorizing lines, learning tight harmonies, having the show become second nature, stage makeup, set construction, costume fittings, mic checks, organized prop tables, writing cues, stage managing, experimental theatre, saving old playbills and ticket stubs.


slytherin: callbacks, practicing after rehearsal, selling program ads, an understudy/swing going on for the first time, fight calls, strike, production meetings, late night paint calls, cool-toned lighting design, spiking the stage, fly rails, producing, watching a bootleg, playbill giveaways.

How to help your stage manager
  • respond to their text/emails just so they know you saw them
  • DO NOT REPLY ALL stage managers tend to send group emails and when you reply all the whole group gets it when really just the stage manager needed to see your question/response
  • answer calls, its just as awkward for us to call you as it is for you to answer but it is incredibly important if we call you instead of text you
  • save our number in your phone!!
  • don’t wait until the last minute to tell us stuff
  • we don’t bite, directors do, its always a better choice to talk to us before you are forced to talk to them
  • chances are we haven’t eaten, especially during tech week, bring us food you will make us very happy
  • listen t our ASMs and Techs, chances are we told them to tell you something and its just easier if you listen
  • please be quiet
  • please be on time
  • we are the only ones that should have our headset on “talk” at all times so don’t get mad at our breathing
  • any fights you get into, drama you cause is just more work for us please get along
  • some SMs are nice, some are shy, some are strict, some are crazy, some are messy and look disorganized, we are all pretty great, learn your SM’s attitude early and learn how to work with them, disagreeing with us, or disliking us for petty reasons is just not productive 
  • chances are we haven’t slept, tread lightly during tech week and be forgiving of outbursts 
youtube

Shakespeare in the Streets: the documentary

Casting

Hey you guys, so as some of you know: I am a musical theater major. And Hamilton is casting in Miami. Now, I live in NC and would do anything for my chance to even audition, so if I started a gofundme, would y'all help? Please, I already am a “starving artist” but this would mean the world to someone like me

Everyone on Tumblr Before: Fantastic Beasts is probably going to suck. Rowling’s running out of ideas.

Everyone on Tumblr Now: THIS MOVIE’S BEAUTIFUL! FREE THE BEASTS! NEWT IS A PRECIOUS BABY THAT MUST BE PROTECTED!

Dealing with "dead" actors onstage

Me (the director): Okay, and you’re dead. Lay upstage parallel to the audience. Don’t move.
You’re dead.
Seriously, don’t move.

Actor: K
Actor: *lays down*
Actor: *moves hand*
Actor: *scratches nose*
Actor: *rolls over*
Actor: *gets up and runs off stage*

Me: Oh my god.
Do you not understand death.

*Submitted by  legolasismyspiritanimal

I love the story structure of March of the Falsettos. I love the profound change that Marvin experiences in March of the Falsettos. I love the opportunity for epiphany (“Marvin Hits Trina”). I love how the moment is staged and is allowed to hang in the air. I love that it lets Marvin realize just what he’s done. I love the moment of reflection before everything starts happening again. I love “I Never Wanted to Love You”. I love Marvin finally seeing that he hurt the people he loved. I love Marvin realizing that his selfishness and his need to cling to his masculinity is what has broken his tight knit family. And I love “Father to Son”. I love Marvin telling his son, the future of the world, that he doesn’t have to be like him. I love that he tells his son he can be different, softer, slower, more gentle. I love that Marvin could realize all that, and can start changing so that two years later in Falsettoland the audience can see how he’s been working on his flaw. I love that it’s clear that Marvin is still working on his flaw. I love that the change feels natural. I love that Marvin is a more whole person, and I love seeing how far he’s come by the end of the show and I jUST LOVE MARVIN SO MUCH.

Theatre Gothic

- You dream of the stage. The spotlight shines on you, the audience holds their breath for you to speak. Your lines, someone mouths to you. You do not know who, you did not see them, you did not hear them. You cannot remember your lines. You look down, a cold sweat forming on your brow. You notice that you are in your underwear. The audience stares. You are not dreaming.

- Backstage, you wait. Standing alone in the darkness of the wing, a black shape shifts past you. You have no proof of them other than the breeze felt by their passing and the shadow you thought you caught in the corner of your eye. Another shape moves past, behind you. Another, in front. Perhaps they aren’t passing you, perhaps they’re coming closer, together. The techies. They move.

- You wait in center stage for the light to come on. It is only dark. It has been dark for as long as you can remember. A low buzzing can be heard, and the stage lights begin to glow, softly, growing brighter, quickly. They are so bright now. You cannot see the audience. You look down, you cannot see your hands. It is so bright. You can no longer feel your body, you are no longer a physical form. 

- You shower after the show, trying to wash off the stage makeup. The water runs flesh color at first, then black. There is so much makeup. Glitter falls from your hair. Why is there glitter? You think. I will never be clean, you whisper into the dark recesses beyond the drain. Eyelashes are falling now, in clumps, whether they are fake or real you do not know. Everything falls, everything is washed away. You become faceless, and yet streaks of waterproof mascara remain. 

- You are only called by your character name, you can not remember the last time you were called by your real name. You can not remember your real name. You are changing.

- Red leather, yellow leather, they chant. The step closer to you, circling you. There is no escape. They chant softly at first, growing louder, walking faster. They break into a jazz run, they are screaming now. You try to chant as well, you try to keep up. You are sweating, yelling. Red leather, yellow leather. Red leather yellow leather. They are coming towards you, waiting for you to fail, to fall. Red yellow, leather pleather, you finally slip. They close in. You have lost.

Male & Female (traditionally) Musical Theatre Duets

As Long As You’re Mine (Wicked)

Sue Me (Guys And Dolls)

It Takes Two (Into The Woods)

There Once Was A Man (The Pajama Game)

Tonight (West Side Story)

Country House (Follies)

Tango: Maureen (Rent)

I’m The Bravest Individual (Sweet Charity)

All I Ask Of You (Phantom)

For The First Time (Tarzan)

You’re The Top (Anything Goes)

Unworthy Of Your Love (Assassins)

Rosie (Bye Bye Birdie)

Do You Love Me (Fiddler On The Roof)

Anything You Can Do (Annie Get Your Gun)

Take It Like A Man (Legally Blonde)

Waltz For Eva And Che (Evita)

What Do The Simple Folk Do (Camelot)

Love And The Weather (White Christmas)

Come Up To My Place (On The Town)

I’ll Never Fall In Love Again (Promises Promises)

I Don’t Need Anything But You (Annie)

A Little Priest (Sweeney Todd)

You’ll Never Get Away From Me (Gypsy)

Barcelona (Company)

Something Good (Sound Of Music)

Sixteen Going On Seventeen (Sound Of Music)

You’ll Never Get Away From Me (Gypsy)

Suddenly Seymour (Little Shop of Horrors)