Horseshoes and Hand grenades…in Pleasantville

“Almost only counts in horseshoes and hand grenades.”

To whoever might consider producing the featured shows in this series:

As I look back at my past directorial efforts, it is my goal for others to learn from both my masterstrokes and missteps. Based on my original analysis of Almost, Maine  from 2015, our local production was a prime example of both. 

“All I ask is: Please….let me direct it first!” 

Win: November 23, 2012: A local professional company had already mounted the show before I had written my original analysis. I am still however, the first (and shockingly the last) area community theatre director to have mounted the show since November 2016. I worked with some of my most beloved local actors and collaborated on many touching, true performances from dedicated local amateurs (in the true sense of the word). 

What I learned: The show is tighter with 4 actors. I used 9. However, having 4 actors create 19 characters and learn the lines while maintaining jobs and family responsibilities may be too daunting. Suggestion: Use either 4 or 19 actors. The latter makes for a great high school production (perhaps using the approved rewrites). Upbeat music may also help bind transitions and create stronger dramatic movement from scene to scene. 

“The settings should be simple with implied locations on a versatile fixed common playing area.” 

Fail: I attempted a design with skewed dimensions and a cartoonish feel. The set pieces, many double-sided and folding for an intended “magical” reveal, ended up being too heavy to be gracefully moved around the stage. This slowed the action in a show that already has very soft transitions from scenes with slow-burn endings rather than strong buttons. The finishes and colors were very creative, but not indicative of my original design concept (fairy tale meets rural Maine). 

What I learned: Use fewer, simpler, lighter set pieces capable of being moved by very few people. Stay away from overt technology.  

“The lighting or a transparency must allow for an Aurora Borealis effect (HIGHLY IMPORTANT).”

Fail: With my great gratitude, the theatre purchased an $8000 projector. That cost was folded into the theatre’s physical plant budget and has continued to be useful for several shows four years  after “Maine” closed. I got my beautiful moving GIF of a Aurora Borealis with some glorious projections to indicate locations, but in hindsight, most were pulling the focus from the acting. The learning curves for hanging, throw distance, shadows, angles, cooperation and color integrity with lights, digital design, and an unskilled and multi-tasking operator were great distractions from the heart of the play: the actor’s performances.

What I learned: Stay away from overt technology. Get people on your team who are highly skilled with technology and let them do their jobs. 

Costumes (not mentioned in the original analysis): I wanted some fantasy elements to work with my “fairy tale meets rural Maine” idea. This would mean clothing that seemed “rural Maine-ish” but with more vests and brocade. 

What I learned:  Most “pulled from the actor’s closet” costume items were sufficient. There is no reason to add freshly whipped cream to already delicious canned pudding.

In summation, trust your material. As you become more “brilliant” and “artistic,” learn to stick with “less is more.” Trust your material. Ask yourself, “Does this tell the story?” more often than you ask “Does this enhance the audience experience?” or “Is this MY vision?”