IT'S FINISHED!

The run of "Inherit the Wind" is finished. I saw it performed 4 times, and Joe was absolutely correct when he told me that every performance would be different.

Just in case I ever had the notion that I could be a Mrs. Krebs, or Mrs. Blair, the final performance brought me back to reality. Cold, hard and fast.

There is a monologue performed by Henry Drummond about the ability of a child to learn the multiplication tables, an idea being a greater monument than a cathedral...it's a beautiful speech, and key to all that follows. The cue to deliver that speech didn't come. He stalled, he delivered the previous line again, paced. I was having heart palpitations, hot flashes and hyperventilating all at once.

I wondered if I was mistaken. I suspect Henry's momentary panic was interpreted by most of the audience as his frustration with the way the trial was proceeding. I witnessed the entire thing, but I now can't remember how he was able to deliver the "child's mind" speech, but deliver it he did. They all went on from there. I believe I held my breath for five minutes. Actors sometimes call that "going up", as in, "into thin air", perhaps.

All along, I intended to mention those that I thought were standout performances, but I loved each and every character. I couldn't possibly name just a few. Casting is an interesting process, and very crucial. "Inherit the Wind" is a good example of an ensemble cast. Every role is significant to the total, and each actor cast in the play brought their own special flavor. I loved them all!!

Joe finding his next part will happen as a natural course of events, but I've given him a few days off for good behavior. I want to thank him for giving us access and letting us all in on his adventure.

Thanks, Joe, for all of it.

BUTTS NEEDED!

I've attended three performances and each has been unique, entertaining, enlightening, and encouraging.  The commitment witnessed by all involved is refreshing.

Joe mentioned early in our discussions that each performance is different. I believed him when he said it, but now I've experienced it. It's like a basketball game. Everybody has their position (role), they all do their jobs, but when somebody gets hot it makes everybody raise their game.

Smaller local theater groups struggle for funding, identity, recognition and butts in the seats.  When one considers the vast array of entertainment options, it's not surprising, but it remains disappointing.

By definition this blog is winding down.  The stated original intent was to take you from preparation through performance.  There are three performances remaining: 8:00 pm Friday and Saturday, and 2:00 pm Sunday. So...I encourage you to take a couple of hours, go to 160 Fountain NE, and put your butt in a seat. It'll be two hours well-spent.

STILL FOUR PERFORMANCES

Heritage Theatre Group's production of the classic, "Inherit the Wind", is at it's mid-point. Opening week is completed, and four additional performances will take place Thursday, Friday, and Saturday at 8:00 pm with the final performance on Sunday at 2:00 pm. Choice seats (at bare bones prices) are available for every performance. I encourage you to take advantage of the work they have put forth. I believe you will thoroughly enjoy it.

Here are some links you might like to view:

Pre-opening article: http://www.mlive.com/entertainment/grand-rapids/index.ssf/2010/07/inherit_the_wind_at_spectrum_t.html

Review:  http://www.mlive.com/entertainment/grand-rapids/index.ssf/2010/07/review_clever_lines_and_humoro.html

YouTube highlights:http://www.youtube.com/watch?v=DnlV5FYMH68

OPENING NIGHT

Opening night is history.

Director, Christopher Weaver's instincts to add humor were spot on. The audience loved  it. Opening night is usually filled with families, good friends and fellow actors, which automatically offers a friendly and supportive audience. Due to the work done for some recent reunions and subsequent re-connecting on Facebook many former high school classmates of Joe LaChappelle were also in attendance creating an extremely friendly atmosphere.

Joe, playing the part of Henry Drummond, couldn't have done any wrong in our eyes...even if he had, but he didn't. In the lobby I heard one patron saying that the guy playing Drummond was born to play that part. Indeed, Joe had called it a "bucket list" role for him right from the start. But of course, Joe couldn't and didn't do it alone. The entire cast (which follows) did a wonderful job. Christopher finessed parts that would barely be noticed into several delightfully quirky, funny moments. The exchanges between Drummond and all others in the courtroom scenes were appropriately intense. I'll discuss some of what I consider to be bright spots in a future post.

The Cast:

Joseph Scott Anthony:  E K Hornbeck
Jerry Borths:  George Sillers
James Booth Burr, Jr:  Matthew Harrison Brady
Toby Weiner Dolinka:  Mrs. Sarah Brady
Frances Gentile:  Mrs. McClain
Shiloh Gilbert:  Melinda Loomis
William Handy:  Rev Jeremiah Brown
Mary Howing:  Mrs. Blair
Andrew Howing:  Timmy Blair
Peter Huschilt:  Mr. Bannister and Elijah
Silas Kachman:  London Rueters News Man, Photographer, Harry Esterbrook, Bollinger, Hot Dog Vendor
Michael Kohlenberger:  Bertram Cates
Joe LaChappelle:  Henry Drummond
Jim Lax:  Jessie H Dunlap
Candy Novenski:  Mrs. Loomis
Clara Osbeck:  Rachel Brown
Todd Osbeck:  Mayor
Michael Phelp:  Tom Davenport
Joey Riedy:  Hurdy Gurdy Man and Reporter
Bob Rose:  George Meeker
Kitty Slasinski:  Mrs. Krebs
Sam Vandersluis:  Howard Blair
Gary Walker:  Judge Merle
Jurors: Ray Gautreau, Russ VanAllen, Dan Brooks, Keenan Foley, Mark Moran, Mike Rose, Alan Petkus, Bud Thompson, Bradford Winkler, Esq., George Noyes, Ron Vetter, Jeff Thomas, Ed Phelps, David Atkinson

Community theater is well-represented in the Grand Rapids area, but Heritage Theatre Group is just one of several groups.  While operating on a shoestring budget, they have managed to provide wonderful opportunities for our local actors, directors, stage managers and production staff. At the same time they provide entertainment opportunities, reasonably priced and very well done.

There are seven performances left, and I encourage you to attend one of them. You will not be disappointed.

Just to entice you, here's a YouTube clip: http://www.youtube.com/watch?v=DnlV5FYMH68

And here is a link to a review in the Grand Rapids Press: http://www.mlive.com/entertainment/grand-rapids/index.ssf/2010/07/review_clever_lines_and_humoro.html

THE COUNTDOWN BEGINS...

What a difference a couple of weeks makes. Yeesh! The last time I visited the rehearsal for "Inherit the Wind", they were hammering out blocking details and working, re-working the scene with Brady on the witness stand. Mrs. Krebs was filling in as the Greek Chorus, and they were "off book", but calling for lines pretty frequently. While the dialog between Drummond and Brady is riveting, the "acting" that makes it come to life has moved forward exponentially.

Not an actor, never want to be an actor, can't imagine being an actor. The work they do is amazing. "Amazing" is a much too frequently used word to describe things that, well...AREN'T. This is.

I sensed some frustration tonight. I would be frustrated, too. Calling for lines with a week to go must be genuinely frightening, or at least, unnerving.

After a grueling 3 hours, director, Christopher Weaver had 20 minutes worth of notes made during the run-through. Virtually every actor, plus the Greek Chorus, had a mention, but he likened it to the sculpting of the Michael Angelo. You start with a hammer and chisel, and end up with a tiny brush and fine detailing tools. Well, he's equipped with the detailing tools, and the cast is adjusting. I am, however, curious how they remember the detailed instructions that he gives. They obviously, make the necessary notes in their books, but they are "off book", so I don't know how they can remember the changes/corrections.

To the cast who check this blog:  You are all STUPENDOUS! WONDERFUL! AWESOME!

It's easy to think of Terri Foley, the stage manager, as the ultimate mother figure. But, don't be fooled. She is one extremely organized, very thorough person. She, too, has a keen eye for detail.

I teared up during one of Rachael's big moments. The young woman playing her is Clara Osbeck. Michael Kohlenberger as Bertram Cates is believable as the charged teacher, Rachael's love interest, and a man questioning his faith. Joseph Anthony as E.K. Hornbeck is so very good, he has the tenor of the character perfect. Perhaps Christopher would call it something else, remember--I know nothing about acting, but I know what I love. Joe mentioned early on that he had been hoping to have a shot at the Reverend Brown. Well, Bill Handy is the Reverend Jeremiah Brown, and is wonderful in that role. His big scene, when he's preaching to the townspeople, is pretty perfect, too. Jim Burr as Matthew Harrison Brady is fresh off a knee replacement, but he is spellbinding in the scene when he breaks. Joe is, well.....Joe IS Henry Drummond.

I've thought alot about the fact that, while the Scope's Monkey Trial was the starting point, the playwrights, Jerome Lawrence and Robert E. Lee, made it very clear that it is a piece of fiction, not journalism, or history either for that matter. People have spent countless hours ripping the play apart for it's inaccuracies, but it was never intended to be an accurate depiction of the Scope's trial.

Taken for what it's worth, the play stands very nicely on it's own. It may seem, to some, to be making light of, and even, ridiculing the Christian faith. I think, rather, that it shows how even the well-intended can fall into a "head" knowledge without "heart" action, and that legalism is not ever an appropriate response.

Opening night is Thursday, July 29.

To all of Joe's friends: You will not be disappointed.

TICKETS ARE AVAILABLE!!!

The ticket line for Heritage Theater Group is 616-234-3956. It is open from 1-5:00 pm Monday through Friday.

For "Inherit the Wind" the front row will be row "E" as the stage for this play comes a bit forward. Middle seats will be #s 106-107.

You may purchase over the phone with a credit card.

See you there!!

2 HRS 12 MINUTES TO GET 21 MINUTES

Oh my! Such hard work! Who knew?!?

My granddaughter, Ally, and I attended rehearsal again last night. Only four actors were in attendance: Jim Burr (Matthew Harrison Brady), Gary Walker, (the judge), Kitty Slasinski (Mrs. Krebs), and Joe. They worked and reworked, and yes...RE-reworked the courtroom scene that has Brady on the witness stand.

This particular part of the play has Henry Drummond showing in varying degrees amusement, frustration, anger, and more. Joe is working hard to follow Christopher's direction and by CW's direction, Joe's own instincts.

Christopher throws directions, like "Try it, if it's not right, we'll throw it out!"

"If you don't know what to do, do less!"

"So much pacing is weakening your examination of Brady!"

"Wait to lay down the book."

"Big gesture toward Cates right there."
"Wait to pick up the rock."

And to Brady:

"Don't fold your arms quite so soon."

"No big breath there, it stops the momentum."

Whew!

To my eye huge progress is made. They go over small sections repeatedly. Trying first one thing then another. Before calling it a night, Christopher calls for one last run through. They start where Drummond calls Brady to the stand and end when the judge excuses him. On this night they have spent 2 hours and 12 minutes working on 21 minutes of play.

It must be both exhausting and stimulating. I find it riveting.

Note: Next rehearsal will be the designer's run-through, which means, beginning to end, without stopping, so the sound, lights, costume and set designers can see the flow and the requirements.

A RUN-THROUGH

My granddaughter, Ally, and I attended the rehearsal for "Inherit the Wind" on Wednesday evening, 6/22/10. It was held in one of the rehearsal rooms at Spectrum Theater, part of Grand Rapids Community College.

I had a chance to meet and chat very briefly with some of the cast members. Kitty Slasinski, is playing Mrs. Krebs; Francis Gentile, playing Mrs. McClain. I had met Mary McGuire-Howing earlier. She is playing the part of Mrs. Blair. Mary's son is also cast in the play, and is playing the part of Timmy. Different women with different lives and different reasons for being in theater, and completely enjoyable to watch. The young woman, Clara Osbeck, who plays the part of Rachel Brown, is doing an extraordinary job.

Rehearsals are scheduled so that everybody doesn't have to be there every night, all night, but tonight everyone is scheduled. Things were a little late getting started as the costume woman, Valerie, was there to measure everyone.

The plan was to do a run-through from beginning to end. We left at the end of act 2, but Ally has become a fan. She'll be at opening night. Even an eleven-year-old can appreciate hard work.

The director, Christopher Weaver, was coaching the delivery of lines, and helping them to understand what they, and their audience, should be feeling. He's continuing to tweak the blocking. Joe has said that blocking is ongoing, that it can be changed even after a play has opened. It's challenging, because they are rehearsing in a small room without props.

None of that, however, prevents this group of actors from working hard to get it right. Stage manager, Terri Foley, read the parts of Bert Cates, and the judge, but she works so hard at it, that things move along smoothly even with missing actors. Jim Burr, playing the part of Brady, is still in recovery mode after knee-replacement surgery, but makes the most of a tough situation. He's getting around with a walker on stage, and icing the knee when seated.

For all our Godwin friends--put it on your calendar. Plan on attending! Don't miss it! You'll love watching Joe. He's more than believable as Henry Drummond. It's very clear that he's been working, but more than that, even with the stops and starts we were hanging on his every word.


At right: young man in foreground is Sam Vandersluis, playing Howard Blair, gentleman in center is Jim Burr. Jim is playing Matthew Harrison Brady and is recovering from knee-replacement surgery.









In this photo L to R: Toby Weiner Dolinka, playing the role of Sarah Brady; Bob Rose, playing the part of bailiff, George Meeker; Terri Foley, stage manager; William Handy, playing the Reverand Jeremiah Brown.











Kitty Slasinski, who plays the part of Mrs. Krebs has brought popcorn to share with the members of the cast.

REHEARSAL WITH CAST MEMBERS

The definition of digest is: to obtain information, ideas, or principles from; assimilate mentally; to arrange methodically in the mind; think over,to arrange in convenient or methodical order; to condense, abridge, or summarize.

I spent the evening of June 2 observing the cast of “Inherit The Wind” at their second rehearsal. I’m still digesting it.

As I observed the group of people coming together to rehearse I was taken with what a diverse group they were—young, middle-aged, older, a couple, a student, an entrepreneur, a pastor and his wife (the movie star, the professor and Mary Ann, here on Gilligans Isle).

The room became electric. As the size of the group grew the buzz grew, too. Each person arriving brought their own special something to the group. It was evident as each person arrived they were leaving behind whatever the day had held for them, stresses, exhaustion, busyness. Coming together, there was a comraderie evident among the group. This is local theater. These folks are doing this because it gives them joy, it fulfills a need for them, and it shows. Each actor works to get it right.

On this evening they are working on courtroom dialog. Joe, as Henry Drummond, is grilling Brady. The townspeople are assembled as spectators in the courtroom, and are referred to as the “Greek Chorus.” Director, Christopher Weaver, works with them to help get the level, volume, and rise and fall of their reactions to match, and enhance, the action on the witness stand. Each one makes notes in the margins of “the book” marking what and where their reactions are needed. Christopher directs them like a choir, encouraging, tempering, shushing. He’s excited and clearly communicates his vision.

Joe says that the director is in charge until the performances begin, then the stage manager takes over. In fact, he told about one play where the director went to Chicago on opening night (yikes!). Tonight the part of the judge is being read by stage manager, Terri Foley. She is a woman of many talents, organized, and anticipating the needs of the group. This cast will be in good hands when the performances begin. Terri is also responsible for communicating pertinent information to all of the cast members. I think she must LOVE having email to do this!

I have no way to measure, or compare, but this seems like a successful evening to me. They are not required to be “off book” until July. Seems like Joe is about where he should be for that to be doable. Because at the moment, dialog is sometimes being paraphrased, the cues are hard to catch occassionally, and blocking work is being put off until there is a designer to build the set, but in all, this cast seems well on their way.

Our differences are what make us interesting to one another. The vocation we choose combined with our avocation(s), our relationships, our faith (or lack of), and our history meld each of us into the unique person we become. Even superficially, one can see that this is a cast of interesting, unique and fun people, all doing something they love.

REHEARSING

Joe is currently playing a hobbled actor with a tailbone/rollerblade incident, and a roofing nail into the foot accident. But, the memorization work continues. Act I is pretty much nailed down, and he's working on some of the longer pieces from Act II, which includes the scenes where he goes after Matthew Harrison Brady pretty intensely.

I was curious why he would be jumping around and not just pushing forward learning the lines as they come. Joe says that some passages are less comfortable to articulate than others. They are different in tonality, inflection, and emotion. They require more work to make them feel totally original and totally his. When they're finally right, he can comfortably move on, but not before. When they're done right, he can hear and feel it in their delivery, and then repetition is the key to any measure of confidence.

Joe mentioned something that I wouldn't have considered relative to the learning of lines. He pointed out that we all have a vocabulary which is uniquely ours. We're comfortable with it. We speak it fluently. When you start using unfamiliar words, or combining them in unfamiliar ways, it can feel awkward. That's acting and that is what he does.

Note: 5000 may be the number of words a typical person uses. When it comes to vocabulary, it is important to distinguish between the words someone understands, and the words they actually use. An average adult with English as a first language understands between 50,000 and 250,000 words. Some people with very large vocabularies, such as Winston Churchill, have been estimated to understand up to 400,000 words. Most people actually use about 10% of the words they understand. So a person who understands 50,000 words probably uses about 5,000. Shakespeare used about 29,000 words in his plays & sonnets, so we might estimate that he had a vocabulary of 290,000 words. There are at least 475,000 words in the English language, with some estimates as high as 1,000,000. And there are thousands added every year (Twitter, anyone?). So, there’s a lot to learn. (from Wikipedia)

Joe discussed becoming tongue-tied. It is an actor's bane, and can cause the rhythm and momentum of the moment to be lost. (Think Perry Mason in the midst of one of the cross examination zingers. Stopping to repeat a line wouldn't have been acceptable, and that is why live TV all but died.) Jim Burr is the actor who will be playing the part of Brady. I wondered if the two of them might be rehearsing together outside of the scheduled rehearsals. It turns out that Jim will be taking a little time off to have one of his factory-installed parts replaced. Here's hoping the new knee is better than the original!

Perhaps during recovery and rehab there will be some Brady/Drummond sessions. Joe has promised to stay off the rollerblades until after the performances, which sounds like a wise decision.

There might still be jurors needed. They are nonspeaking roles and will not likely be required to rehearse until the week before the performances, but would be required to be available for all performances. This could be your golden opportunity!

I will be attending a rehearsal tonight, and that will be the subject of my next post.

ADDITIONAL AUDITIONS

On Monday evening, May 8, Christopher Weaver, the director of "Inherit the Wind", held auditions for the part of Howard. Howard is the student called to testify about whether the teachings of Mr. Cates have changed him in any way.

Joe is there to read with them. There are two brothers, Nick, 15, and Andrew, 13. Joe makes light conversation with them, and determines that only the younger boy, Andrew, is planning on reading for the part. Joe asks Nick why he isn't reading for the part. Nick's reply is that he's really more of a music kind of guy.

Christopher has arrived. He and I are introduced and we chat briefly.

He turns his attention to the boys and their mother. She has been cast in the play also. She briefly explains that Andrew has been rehearsing and wants to audition for the part of Howard. She then leaves the room. Terri Foley, the stage manager, places a chair to represent the juror's box. While Terri is handling practical matters, Christopher sits down with Andrew and Nick and asks their ages and questions Nick about his interests. After a few minutes, he explains to Andrew that, he looks younger than his vision of the role of Howard. He asks Nick if he has an interest in reading for the part of Howard. He does. Nick takes the "stand."

He in understandably nervous, tentative, and very soft spoken. Christopher checks, again, that this is something he wants to do. It's time for an acting lesson. CW introduces Grandma Gladys. He explains that she is half blind and half deaf. He further explains that we have to exaggerate our movements, so she can see them, and say our lines and project our voice so Grandma Gladys can hear us. Why doesn't she sit closer rather than all the way to the rear? Because she needs to be near the restroom.

Everyone laughs and Christopher has succeeded in relieving the tension Nick is feeling. Before offering Nick the part of Howard, he directs his attention to Andrew. He, again, explains that while he is very likely able to play the part of Howard, he simply looks too young. He adds that there is a smaller part, Timmy, that he thinks he looks perfect for and explains that actors hear "no" often for reasons that have nothing to do with acting, but they simply don't look the part. He asks if he's interested. Andrew accepts the role of Timmy.

I, though, have a question. The play seems contradictory about Howard. The scene notes about Scene 1, Act One say that Howard is a 13 year old boy. In early dialog Bert Cates has with Rachel, he says that he read chapter 17 of Darwin's "Origin of Species" to his sophomore science class. It's possible that school subjects may have been taught at different grade levels, but later when Henry Drummond is questioning Howard, he, jokingly, asks him if he thinks what Cates presented to them in class might have affected his pitching arm. Again, this seems more appropriately asked of a high school sophomore than a thirteen year old.

So, the mother of the boys can be excused for encouraging her 13-year-old to audition, and Christopher Weaver for looking for someone older. On this night it's settled. Nick will play Howard and Andrew seems happy to play Timmy. Everyone has a good laugh at the realization that a mom and her two sons will all be in the play together.

Fast forward to the first scheduled read-through. Nick does not attend. We would have to assume he has changed his mind, or perhaps has a conflict with the performance dates. They audition, again, for the role of Howard.

Read-throughs are exactly that: the "book" is used for the lines, and sometimes very basic blocking is discussed. Some cast members attempt it without the book. Joe determines to work harder and acknowledges his only concern should be his lines. The first read-through has been accomplished, and they are none the worse for wear.

Here's an interesting tidbit relative to the memory work. The night of the auditions with Nick and Andrew, Joe asked Weaver on which side of Howard would he be, and where would the judge be. The stage manager commented that he was over-thinking it for the purposes of this audition.

What I've witnessed is the memorization of lines is impacted by his physical movement, and his positioning on stage and among the other actors. This makes perfect sense to me as Joe appears to be a kinesthetic learner. His positioning and placement is setting up cues for him for his lines. He adds a light air to the auditions and the boys laugh at his jokes. All good.

Our next post will be catching up with Joe's progress, As soon as the dates and times are available they'll be posted on the blog, but also start thinking about possibly attending as a group. Perhaps it will need to be several groups, but at least make a little mental note to be there.

BECOMING HENRY DRUMMOND

I have problems enough figuring out who I am. Some days I feel more me than others, but my "me" is changing, evolving. Joe is working on becoming Henry Drummond, and he is evolving, too--both, Joe, and Joe as Henry Drummond.


There are courses, entire schools, and mountains of information available on character building. This particular post will be a description of how Joe works it out, but please, we welcome comments from other actors about what works for you.


The very subject of learning styles is controversial, but as a mother I'm a believer. Nothing I see as I watch Joe could make me believe otherwise. He paces, he sits gesturing, he's up, he's down, repeating lines the entire time. There is another process going on beneath the obvious one of learning lines. He is becoming Henry Drummond.


Actors become the part they're playing. It's pretty obvious that a minor walk-on role wouldn't require much in the way of character building, but with Henry Drummond it will take a good bit of work. Joe uses several techniques, one of which is the question method. How do you feel? Where were you just before this? What just happened to you? What do you think is going to happen next? What do you want to happen? Did you sleep well? Are you hungry? Is it hot or cold? Do you have a strong feeling at this moment? How old am I? Am I a person of color? Is there anxiety, anger, jealousy? The number of questions one can ask is infinite. Some will always be more helpful than others.


Henry Drummond is past middle-age, caucasian, is from Chicago, prides himself on representing the underdog, and has a "large and in-charge" reputation. The play, itself, will provide some of this information. We know from the script that it's late morning and it's hotter than blazes. Also from the script, Drummond has a history with Brady. Drummond is in Brady's element and out of his own. From the research I've done I know that Henry Drummond is based loosely on Clarence Darrow. I've watched the 1960 film version of "Inherit the Wind" a couple of times, and I would say that the play and the movie make Henry Drummond a bit softer around the edges than Clarence Darrow.


Joe has read the play umpteen times, articles from the analysis of the play, opinions of the authors, the history of Clarence Darrow and information about the Scopes trial, which is available online. This is all being done as he begins to work on the lines, all of it helping him sort out the character.


A friend and mentor, Fred Sebulske, told Joe at whatever point you are in character development, there is always more to bring. You might find it from going deeper into your own memories, or finding a place deeper into the moment of the character. The key here is that he does whatever it takes.


There'll be more on character building, but I sat in on the audition for the part of Howard, the student who is called to testify. I'll tell you about that next time.


Oh, one more thing. I'll save it for later, but the director, Christopher Weaver told me what his comments to, and about, Joe were on the day of the "callback" auditions.

THE MEMORY WORK - PART 2

I stopped by to see how Joe was doing with his memorization work. I don't know what I expected to see--maybe Joe with his "book" pacing between his telephone poles--wild eyed with his hair on end. NOT! What I found was Joe with his book, Henry Drummond's lines neatly highlighted, diligently working.

I've been curious about how he approaches it both physically and mentally. Being of a certain age, and knowing Joe is the same age, I wonder how is he going to learn these lines. I can't remember what I went to the kitchen to get, or whether I've already rinsed the conditioner out of my hair!

Having read through the entire play several times, he has started from the beginning taking a section at a time, not progressing to the next until this one is nailed down, and starting from the beginning with every mistake. It's a form of discipline which I understand. Section is not a real definite size, either, but he divides it up into easily digestible pieces.

He's been notified by the stage manager, Terri Foley, that the first read-through is in a couple of weeks. It looks to me like he might be a third of the way through. He has work to do.

Joe mentioned once that early on in his acting career, he learned that the delivery of lines comes from the entire body, not just the mouth, or head, or brain. I see what he means. As he goes over lines, gesturing, moving, looking at the potential juror (me), glancing away (at the imaginary courtroom), I realize that this is a dichotomy. Acting, and specifically the learning of lines, is both exhausting and energizing. Joe is already like the Energizer bunny, so I am hoping for a balance here.

I also wondered about whether he concerns himself with how the lines are delivered, or is he just learning the words at this point. What I witness is that it's an all-inclusive package. He experiments, repeating the lines with slightly different intonation and inflections, working out the cadence and timbre. (Yikes! I'm exhausted watching.) All this time he's moving deeper into the role of Henry Drummond and the character of the man.

We'll keep track of his progress, but next we'll investigate how he "finds" the character.

THE MEMORY WORK

As I read over Joe's notes to me, I'm struck by how strongly I react to the idea of forgetting one's lines. He calls it going "up." I'd not be "up" at all. More likely down--in a puddle--on the floor.

It's a gradual process, but in community theater the whole timeline is compressed, sort of in fast forward. Many of the actors have jobs, and the whole memorization process seems, as I've already said, daunting. The number of performances is limited, but the amount of work that goes into a production is the same.

So, how does it all work? By the time they're in rehearsal the actors have a pretty good handle on their lines. They're still working out blocking, and someone is nearby with the "book." (Remember, this is the insider's reference for the script.) If an actor goes "up", they simply call "line", and it's fed to them. Because every actor learns their lines differently, and they're all trying not to lose the moment, the bookholder may feed lines differently to each actor. (Boy, you've got to love the bookholder, right?)

The director notifies the cast when they will be expected to be "off book." Initially some line feeding is still permitted. Then, again, the director dictates that line calls will be eliminated. At this point my imagination has run amok. My palms are sweating. In this situation I think I would be hyperventilating.

They're actors. They're up to the task. They are, literally, relying on each other. It's important, now, that the lines are delivered in the appropriate timing and rhythm. When someone goes "up", if everyone is in the moment the line can sometimes be fed with a question, or sometimes a line can simply be skipped with an ad lib by another actor. Acting is, really, reacting.

The cast is a team. They all have a common goal, and their responsibility every performance, is to do whatever it takes to deliver the best performance possible each and every time. Every performance will be different. They're live. No "take two", no voice overs, or ADR. What you see is what you get. The Golden Rule in acting is: don't leave anyone hanging out to dry."

Early in Joe's acting career he is playing the Kralahome in "The King and I." It's his second play. Anna and The King are on stage. The Krahahome's job is to enter, deliver a greeting, and announce that the British are here. One night Joe scoots out and delivers the greeting. Brain fart. He actually thinks he's done.

The wonderfully talented Carol Black is playing the part of Anna. She leans around The King and says, "What's the commotion? Who's here?" Now, Joe experiences a brain bomb. He blurts, "The British! The British are here!" And on they went.

THE WORK BEGINS

To say that the process of memorizing a whole play seems daunting is...well...an understatement. I have, personally, never liked memorization, but maybe that's because I remember having to memorize things like "the Gettysburg Address," "the Preamble of the Constitution," and "The Raven." Not that these aren't worthy of my time and memory, but I don't remember them as fun.

Joe says there are some techniques to aid in memory work, but the cold hard truth is that you have to do the work. Reading. Over and over and over again...out loud. Then still, more reading. Some actors make audio recordings. Some might do their own lines, and speak them back with the recording. Others record everyones' lines except their own. they leave a spot, or pause, for their lines and say them using the other actor's cues.

Still others use that period just before sound sleep comes to rehearse their lines. Using a recording of a rehearsal and reciting one's own lines as you're drifting off to sleep is another effective tool. In my personal experience, that time in which the body and mind are preparing for sleep is a time when the creative part of our brains is very active. It makes sense that it would be a good time for working on memorizing lines.

For most actors the time between notification that they have been cast in a role and the first read-through, is spent reading with a fair amount of memory work. Some actors, however, either because their learning style is connected to movement, or because their physical activity on stage gives them clues, choose to wait until rehearsals begin.

There are many clues to the dialog when blocking begins. Blocking is when the director instructs an actor to move as he's speaking, or to move to a certain spot before delivering his next line. These things are written in the margins, in pencil, in the "book." The "book" is what you and I would know as the script.

Next, more about...I forgot...oh yes, memory work. We'll discover the specific ways in which Joe goes about learning his lines.

THE REVEAL

There is the rare occasion where, without auditioning, an actor might receive a phone call asking him to play a specific part in a specific play. However, when auditioning, a lag of a few days often exists between the day of callbacks and notification of the casting of the roles. If an actor has not been cast, that information might be sent by mail. The letter is polite, but it's message is the same..."no." It might be softened a bit by a ticket for opening night. They might never hear at all. This just seems rude to me, and I hope it doesn't happen often.

On the Sunday of callbacks for "Inherit the Wind" the director, Christopher Weaver, makes the announcement that he has what he wants. I imagine the room is electric with a mix of anticipation, hope, and desire.

Now, the wait begins. Only on this Sunday in April, for Joe, it does not. Weaver asks Joe how his memorization is. Joe tells him it's really good, but tells him to ask around to be sure. Weaver, with several actors and actresses still remaining, tells Joe he hopes his memorization skills ARE good as the part of Henry Drummond is his. He might have stopped there, but didn't. With a fair amount of fanfare, he not only tells Joe he has the part, but why. My heart is pounding just recounting this part of the days events.

Joe won't repeat the things that were said, but you can bet your bippy that conversation with director Weaver is on my "to do" list. Joe says this role is a "bucket list" role for him. The notification, and the comments made by Weaver about why, felt like he'd received an award. Indeed, he had.

Now, the work begins.

THE CALLBACK

Having been tipped off regarding the Drummond role, Joe spends Saturday evening going over the lines. Sunday morning during callbacks, Joe reads some of both the Brady and Drummond roles. They read different parts and in different combinations looking for that perfect chemistry, aligning the characters in the play, the dialog, the delivery of the dialog, and the actors in their respective roles.

As I hear Joe recount these events, my mind is whirling with the realization that there must be LOTS of rejection in this business. According to Joe, actors live in the world of "no." So, this is why acting could not possibly work for me. Living in the world of "no" is not a place I could live.

Christopher Weaver is the director and tells those assembled that he has what he wants. What does that mean? Usually, there is a period of "no news is good news" waiting. Generally, each director, each play, each theater group is handled the same, or nearly so, but only in very broad terms. Sometimes the wait is just that, waiting. Sometimes, the "no news is good news" becomes "no news is no go."

The wait begins.

THE AUDITION

So, it turns out that notices for local auditions are listed in the Sunday edition of the Grand Rapids Press, as well as on the individual theater group's websites, MLive, and postings at the area colleges. The audition process is similar among the local theater groups, but varies according to length of season and budget constraints.

Early on in his acting career audition dates sometimes escaped him. Not so much anymore! He has a highly developed system to keep track. It involves a pencil and paper. WHAT A CONCEPT!!!! At this point there is some research about the plays and the roles for which he might audition. Since he is my age, I know he won't be auditioning for the lead in "Grease" any time soon.

Heritage Theater Group had "Inherit the wind" in their season line-up. With several "nice and meaty" men's roles this audition went to the top of the list. Auditions, generally, span the better part of two days with callbacks on day three. Day one was Friday. Joe read for the part of the preacher and thought he had done well. The part was given to a wonderful actor and singer, who happens also to be a local minister, William 'Bill" Handy. Joe was asked to return on Sunday. On Saturday evening the stage manager, Terri Foley, called to be sure he was returning to the auditions on Sunday. He asked her if there was any particular part he could concentrate on.

She said, "I can give you a hint."

Joe said, "Hints are good. What's the hint?"

"Henry Drummond," she said. Since this is a "G" rated blog, I won't repeat what he said upon hearing her hint, but let's just say he thought he might need to change his underwear.

Tomorrow: THE CALLBACK.

AN INTRODUCTION

I have known Joe since the 4th grade at South Godwin. My husband played Rocket Football with him. Throughout the rest of our school lives our paths continued to criss cross. This many years later our Godwin Class of '64 has reconnected on Facebook.

I knew of his involvement with theater as we'd seen an article or 2, or 3 in the Grand Rapids Press. But, I'm fascinated by the fact that, relatively late in life, he found his true passion in theater. He was a military guy. And, a butcher. Where does the puzzle piece "theater" fit into this picture?

Follow our blog as I document the process. The project is Joe's alone. Any editorial comments are mine alone.

"THE PLAY"

The title of the play is taken from the book of Proverbs 11:29, "He that troubleth his own house shall inherit the wind."

The Evolution vs. Creationism argument is at the center of the Jerome Lawrence-Robert E. Lee Broadway play Inherit the Wind. Lawrence and Lee's inspiration was the 1925 "Monkey Trial," in which Tennessee schoolteacher John Scopes was arrested for teaching Darwin's theory of evolution in violation of state law. Scopes deliberately courted arrest to challenge what he and his supporters saw as an unjust law, and the trial became a national cause when The Baltimore Sun, represented by the famed (and atheistic) journalist H. L. Mencken, hired attorney Clarence Darrow to defend Scopes. The prosecuting attorney was crusading politician William Jennings Bryan, once a serious contender for the Presidency, now a relic of a past era. While Bryan won the case as expected, he and his fundamentalist backers were held up to public ridicule by the cagey Darrow. In both the play and film versions of Inherit the Wind, the names and places are changed, but the basic chronology was retained, along with most of the original court transcripts. John Scopes becomes Bertram Cates (Dick York); Clarence Darrow is Henry Drummond (Spencer Tracy); William Jennings Bryan is Matthew Harrison Brady (Fredric March); and H. L. Mencken is E. K. Hornbeck (Gene Kelly). Dayton, Tennessee is transformed into Hillsboro -- or, as the relentlessly cynical Hornbeck characterizes it, "Heavenly Hillsboro." ~ Hal Erickson, All Movie Guide

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