Of Zombies and Commies

Last year in advanced drama we tried an experiment in communal theatre (playwriting and production that is created as a commune or group intead of the traditional method). The results were positive and the students loved it. So we are trying it again this year and we have settled into a group of scenes that either deal with commies or zombies. In modern zombie lore (decended from George A. Romero zombies) zombies represent capitalist glut, comsumerism, and so forth. So in contrast to that we have zombies in various social programs like public education and the department of motor vehicles. Opposed to that, we have 4 Marxists (Stalin, Lenin, Mao, and Marx) participating in capitalist endeavors like watching daytime television and gambling. The end result is a showdown between the two ideologies and we have not determined who wins out. It's a post-modern delight!

My Thoughts on Mother Courage

As I look back on "Mother Courage", I feel sad yet immensely satisfied with the final product. The whole process was extremely taxing for me as I taught the students the performing style, wrote the music, and designed the production elements. I don't think that I have ever given so much of myself to any show that I have directed. I feel that the same can be said for the students involved as well. As we all worked on this project we found new things, layers of meaning, in the text. We wanted people to walk away from the production thinking which I think was a success.
One of the most difficult trials in this process was getting the students to focus together for 3 hours (that's right, 3 hours). One of the moments that changed the course of the show was a few weeks from opening. I called the cast together and asked them, "How long are you on stage?"
I turned to an ensemble member and he/she responded "Oh, about 2 minutes."
"Wrong." I turned to another.
"Uhh, 20 minutes in scene III"
"No." I turned to another as the murmers of speculation began. I heard a few whisper, "The whole show."
Ignoring those I looked at the ensemble member. I got a nervous stare. "I don't know" She said.
At this point I've identified the whispers as my leads, those that are having the least trouble. I gaze around at my cast, huddled, eyes expectant, somewhat embarassed for having fallen into one of my trick questions again.
I took a deep breath. "You are on stage, from the start of this show to the very end." Some of the cast looked to the ground, some smiled in that wry, "I shoulda known" way, and some wrinkle their brows in consternation. "The audience will see you at all times. You have two characters: the one you play on stage, and the one you play in the wings. Both must be focused at all times." I checked to see if it was sinking in. I continued, "You must stay in the show all the way through or you will fail. This is a big, scary show and will eat you if you are not constantly vigilant."
After that I felt a wave of understanding take the cast. They pressed forward with a renewed focus and a greater resolve. Though it didn't solve all the problems (taking their cell phones helped) it put us on the right path.

Mother Courage and Her Children

We recently wrapped up Bertolt Brecht's "Mother Courage and her Children". It was an intriguing production with excellent performances by the students. Most all who came were very much impressed by the play and left thinking about the meaning. Here are a few pictures:

Welcome!

Welcome to the new Provo High Drama Blog. I will be posting comments about the productions and events in PHS Drama. I will include pictures and clips of past productions and encourage comments.