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Monday, September 06, 2010

How To Take It From The Page To The Stage


By Rene Gutteridge

You’ve read the plays, gotten the inside scoop from the authors, and taken notes on the tips and techniques from the editors. But now it’s time to hear from a subscriber! Let me tell you about our recent production of Drama Ministry script #60866, HOPE, FAITH, JOY, LOVE.

 

For our 2002 Advent/Christmas services, we wanted something more poignant to use in conjunction with the Advent Wreath lighting in the Worship service. HOPE, FAITH, JOY, LOVE was the perfect fit. There are a few laugh lines but, for the most part, this series of monologues has just the right dramatic tone.

 

ON CASTING

It is often a matter of serious thought and prayer to connect the right people with the characters they should be playing. Sometimes it’s easy. We have a lady in our church who was just the right age and personality to play Elizabeth.  What is even better, her husband, who says he’ll do anything except speak in front of the church, was perfect for the role of Zechariah (who does not speak). Of course, he mugged appropriately for the congregation during Elizabeth’s adorable monologue. (Casting tidbit #1: our praise band trumpet player played the role of the angel Gabriel…get it?) But sometimes casting decisions are not so obvious. When it came to filling the roles of Anna and Simeon, we had the perfect Simeon, but could not think of anyone old enough (that we could approach) to play the elderly Anna. Casting in this age range can be awkward. The solution?  We asked a teenager to play the role.  It’s easy to “age” a young girl. Just draw some wrinkles on her face, dress her in biblical attire, have her hunch over, walk slowly, use a cane, and speak in an “old lady “ voice.

 

ON STAGE DIRECTIONS

Stage directions are simply suggestions. When we blocked the scenes for HOPE, FAITH, JOY, LOVE, several of the actors expressed concerns about carrying the lit candles that the stage directions indicated.  When I told them we were going to do things a little differently, some had a difficult time understanding that it is okay to make changes in the stage directions, as long as the end result is the same. So at the precise moment the Advent candle was to be lit, the actor picked up a short candle lighter (like the acolytes use), which he then lit from another previously lit candle, then lit the specified Advent candle.

 

ON DIALOGUE

Sometimes dialogue doesn’t fit a particular situation, and may have to be modified as well. For example, Elizabeth refers to the pink candle, comparing it to the blush she felt when she found out she was having a child. However, we did not have a pink candle in our Advent Wreath (they were all blue, except for the Christ Candle). We simply ended the line with “today I light the candle of joy,” deleting the reference to “pink” and “blushing.” Our congregation loved this script. It had the perfect tone and message, and was well cast. When those elements are right, my life as a director is good. The credit goes to God, and a little to Drama Ministry, too. I have learned to depend on Drama Ministry for scripts that “fit”, as well as for useful tips and techniques that help get the play from the page to the stage.

 

This production of “HOPE, FAITH, JOY, LOVE” by Rene Gutteridge was presented during the 2002 Advent/Christmas season at Sixes United Methodist Church in Canton, Georgia. The cast members were:  Art Kurz, Todd Cantrell, Millie McCue, Mac McCue, Carmel Hearn, Bob Tiedeman, and Rochelle Tiedeman. The series was directed by Carmel Garvin Hearn.

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