Decisions

A week ago, we held the first meeting of the cast of Follies. A cast of 47 and counting, it was a large gathering. Younger and older, men and women, alto belters and lyric sopranos, tenors and baritones, dancers and movers, actors all met to review the rehearsal schedule and upcoming plans, listen to concepts, get measured for costumes, have pictures taken for makeup and hair design, and really just get to meet each other. Actors looked at each other curiously, especially those that will play younger or older counterparts. They peered into each others faces, in sideway glances, looking for the person they were or would become. It was fascinating.

There was a focused energy with this cast. As each person introduced them self – and introductions took the better part of an hour – there was a sense of delight in being cast and also a sense of humility. There was an expectation that each of them was part of a team of really talented people who were ready to tackle this story. There was talk of past experience in theater, association The Arlington Players, love of Sondheim, love of Follies, and a bit of reminiscing and remembering how long some have known each other. The cast has some who are doing their first show since high school and others who have acted professionally in DC theater. The story of self was shared with humor and seriousness. The cast has a good, smooth feel to it.

How did these people come together and what of the others who auditioned but were not cast? Well, close to 90 people went through the audition process and a select group of these people was asked to callbacks. Callbacks for Sally, Phyllis, Ben and Buddy took place for three hours on a Friday evening, and there was six hours of callbacks on a Saturday for the other older and younger Weissman girls and the other men’s parts. Dancing, singing, and acting were in full view. The results were delightfully impressive. Looking at the skills of the actors auditioning, I could honestly say that we had the skills to put up this production. I’m pretty happy when I can say that.

I’ve always been of the opinion that auditions are for the artistic staff to meet and assess the actor. My opinion of callbacks is a bit different. While it is for the artistic staff to further assess and decide on casting, callbacks are the time that the actor has a chance to assess the artistic staff. Is the production organized? Is time well spent and managed? Are the direction and artistic choices that are revealed something that I can work with as an actor? The actor’s judgment for callbacks is a key element in the final casting. If I offer a part to an actor, that person is on the spot making a decision to commit several months of their life to being a part of a production. It’s important that as a part of the artistic team that the actor feel confident in their commitment. I propose and s/he accepts – or not – depending on the experience at the auditions and callbacks.

So the artistic staff must be on their mettle for the actors. As a choreographer, I tend to create an audition combination that is not in the production but rather a mix of steps and skills that I need to check to see if the actor can do the dance planned. At callbacks, I unveil – and this is marketing the show, seeking to gain the confidence of the dancers, and plain auditioning – a piece of choreography created for the production. In the case of the Follies, I lifted a piece of rather challenging choreography that I made for the dance break for Phyllis’ folly, The Story of Lucy and Jessie. For me, it was great to see the choreography take shape and see the skill of those auditioning. For those dancing, they got a taste of what is to come and can a make a decision about joining the cast, if chosen.

Years ago, when I was auditioning regularly, I remember being aghast at a director’s behavior when I declined a part for which I auditioned. The audition process was disorganized and rather confusing, and after I auditioned, I had a bad feeling about it. I was invited to callbacks and I went, keeping an open mind and hoping that my initial reaction was wrong (and like most actors choosing to audition, I REALLY wanted to be in this show). The artistic staff left me wary. The callback was a bit disorganized. The music director did seem to understand the show’s music. The choreographer seemed intimidated by any one that may have had more skill or training. The director was sphinx-like and kept reading people in combinations but gave no insight on what was being wanted in a scene. As I left the callback, I remember deciding that this production was not a good fit for me. When I declined the part offered, the director became aggressive and though not quite belligerent, that’s the best word I have to describe the behavior when I declined the offer. It struck me at that moment that being cast was ultimately was my decision as an actor.

So I really think that the actor has the final say about being cast. That said, the casting decisions for Follies were very, very difficult, because of the talent and skill of the actors who auditioned. Directors love having choices that way, but they can despise them too, because decisions on casting are not simple and clear-cut. There can be so much gray in a choice, and the nuance of an actor’s skill with another actor’s skill becomes the basis of the decision against the director’s vision for the story. This, no matter how you approach it, comes to a decision that is a leap of faith in the actor and one of the imagination. Musicals, by the very nature of collaboration among the director, choreographer and music director, demand that these people come to the decision together. It’s not easy.

So, hard decisions were made. A cast was chosen. Some of those I cast I have never worked with. Others I have cast more recently, while still others I worked with more than a decade or more ago. But isn’t that what happens with nearly every production – familiar, old, and new combine to create something fresh?

Now comes the part of reworking the rehearsal schedule to accommodate conflicts and share that with the cast, and then – back the tech table. Final set decisions need to be pounded out with Jared. Choreography and staging needs to be re-worked and polished based on those decisions. Costume construction continues and grows in Kevin’s euphemistic ‘sweat shop.’ Avery and Bette start crafting the face and hair in detail of the Weissman girls. Kate works up the prop list and set dressing plans for discussion. I need to review with Linda and Sam the staging and their planned scene work. The choreographer will workshop The Right Girl with Buddy, and the Bolero d’Amour with Vincent, Vanessa, Young Vincent and Vanessa over the next couple months. Time is a-moving.

Seasons greetings! Have a great holiday season and New Year.

For additional information about the production itself, go to The Arlington Players website: www.thearlingtonplayers.org.

If you have questions for the director, feel free to respond to the blog or email him at folliesdirector@gmail.com. Responses to the blog may be posted publicly; email correspondence will be private.