After two wonderful days Midsummer has completed their tech rehearsals.
Both days we got out at 6:00pm-4 hours early!!
All of the designers were amazingly on top of their game, Griffin kept the whole thing running, and I was a director.
I special thank you to the entire production team and cast who make the tech the smoothest I could ask for.
Even though we got out early everyone is still wiped. We completed a cue to cue on Saturday and 2 full runs today.
Monday, Tuesday, and Wednesday we have full dress/previews-there are a few audience members who cannot make the run of the show and will be joining us. On Tuesday my good friend Krystal Phelps will be taking photos.
Currently Richard (the artistic director) and Alexis are working hard with me in order to spruce up the lobby of the smaller theatre. Since the bigger secret opened its important to me that the black box get a face lift as well, we wouldn't want our public to look at us as the ugly child.
If you haven't been to our midsummer website I highly recommended you do it-
Tim Cox did an amazing job!
We look forward to seeing you on Thursday!
Katherine
Sunday, November 29, 2009
Wednesday, November 25, 2009
Interview with Hannah
Spotlight on Katherine M. Carter, Director of The Secret Theatre's Upcoming A Midsummer Night's Dream
Author: Hannah Marie Ellison — Published: Nov 23, 2009
The Queens Players, who work out of the Secret Theatre in Long Island City, are back with yet another classical work for the stage. This time it's William Shakespeare’s much loved comedy/fantasy A Midsummer Night's Dream, which opens on December 3rd.
From the press release: Follow four young lovers into a colorful and mysterious forest where fairies Titania and Oberon rule, where a band of “rude mechanicals”, led by the hilarious Bottom, rehearse a play and where love is put to the test by the mischievous Puck. In the end, will the lovers end up with their correct mate? Will the mechanicals make it to their performance before the Duke? Is Titania doomed to love an ass?
You may be thinking to yourself, "Another production of Midsummer"? I certainly thought that at first. But something about director Katherine M. Carter's production is drawing me in.
Perhaps it's Carter herself, her enthusiasm and passion for her work.
A graduate of Marymount Manhattan College, where she earned a BFA in Acting and a BA in Directing, her enthusiasm and passion for the work have kept Carter extremely busy. She has directed and assistant directed productions with both the Hangar Theatre and the American Globe Theatre and has even served as a directing intern on the Tony award winning Billy Elliott: The Musical.
Actor Timothy J. Cox, who plays Peter Quince in the upcoming production of Midsummer, has said, "Katherine is just one of those bright, shining talents. I look at her and I know that she's going to work forever."
Although very busy bringing Midsummer to life, Ms. Carter was gracious enough to take a few minutes to answer some questions for Blogcritics.
Could you please give us a bit of background about yourself? How did you get involved in the theatre? Have you always wanted to direct?
I'm a Midwestern girl, born and raised in Michigan. I am the oldest of three siblings with two younger brothers. I started in theater in the 6th grade when my crush wanted to do theater and I wanted to hang out with him. From then onwards, I acted in everything. From 9th to 12th grade, I performed in over 60 productions. My senior year of high school, I directed my first production, a stage version of Clue.
After that I was aware that directing was a path I could take. During college I earned my BFA in Acting and a BA in Directing, and I would say that junior year was when the transformation took full effect. Between junior and senior year, I was a member of the Hangar Lab Company, saw that directing was really where I wanted to be and from then on it was a done deal.
The short answer to that question is: No, I didn't always want to direct, but sometimes you have to be honest enough to say "I'm a good actress and singer, but I am a much better storyteller from the outside." On top of that I have too many control issues to be an actor (laughs).
How did you become aware of The Secret Theatre and why did you want to become involved as a director with the company?
A lovely actress, Elspeth Turner, was in their production of Macbeth last spring. We were working on a production of The Odd Couple together at the time and she invited me to see her work. After Macbeth, I met Richard Mazda, the Artistic Director of The Queens Players, and we exchanged information.
I wanted to direct at this particular theater because there was so much potential with the space and the actors, I wanted to tap into it and see what I could do. As directors we are always looking for places where our skills could be of use, and since I had just come off of directing Twelfth Night, I knew my Shakespeare experience would fit right in with the company. Richard and I talked, he invited me to direct Midsummer, and that was that.
With so many productions of Shakespeare, especially A Midsummer Nights' Dream, going up every year, what made you want to direct this show, in the winter of all times?
Ah, the age old "why Midsummer" question. Very good. To tackle the Midsummer in winter question for me is simple – why should I let a shows' title dictate when it gets performed? Would you only do The Winter's Tale in winter? Or Summer and Smoke in the Summer? The seasons are ever changing and what is lovely about theater is that you enter a world away from the outside and are transported somewhere new. It's not what's happening outside that matters, but the story that is being told inside which counts.
For the show itself, I have always loved Midsummer. This production is a personal thank you to past theatre teachers who made me read the play over and over and perform in it. So many of us storytellers take this show on every year, but for me, it is about finding something new and interesting with a tried and true text. It is also a director "must do," as I say. Almost every director has done their version of Midsummer at least once, if not more, and this is my first go at it.
What is it about this play that speaks to you? What do you hope an audience will take away from your approach to the production?
The story speaks to me as a director. I love the variations of emotions, the levels of being in love, and the pure, almost farce-like comedy. As a director, when you see a good story, you want to tell it in your own voice. Midsummer has always been that way for me. I want the audience to laugh out loud and have a jolly good evening of theater.
For each audience member who sits in that theatre, the experience will be different: some will laugh at the mechanicals, some will feel for Helena, and others will dislike Puck for meddling. It's all subjective. For me, it's about communicating the story. If the audience leaves understanding the story, hopefully on a new level, and has fun, then I'm happy.
I was delighted to read that you have worked with a Shakespeare giant, John Basil at the American Globe Theatre in Manhattan. How did you become involved with the company? Have your collaborations with him and the Globe helped shape you as a director? If so, how?
John Basil has had a huge impact on me as an artist. He is a wonderful mentor and friend. Both he and his lovely and talented wife Liz are friends and supporters of my work.
John took over the fourth year of the BFA acting program my senior year of college. We got to know each other in class, and about a month in, I asked him if I could work on his next show at the American Globe. Well, that happened to be Henry V and I was one of the two associate directors working on it. John was a great teacher both in class and in rehearsals.
After Henry V, there was a director opening in the Globe's 10-Minute Play Competition. John offered me a spot and the piece was well received. To say the least, John and I spent a lot of time in the same rehearsal room. My directing style is under the direct influence of John. He gave me a great set of tools to attack any text, and a renewed love of Shakespeare. I look forward to working with AGT on many more productions.
What's next for you?
More directing. I have a few things in the works. Coming up at the end of January, I will be directing a reading of a new play, The Rose Gardener by Sarah Ashley Bischoff at The Tank. I've been keeping the spring open for some new plays and musicals. This fall and winter have been a complete blur, since September I have worked on almost ten shows, so the spring is more of a blank canvas at this time. You can always check out my website my website for the latest and greatest.
A Midsummer Night's Dream opens on December 3rd and runs until January 3rd. For information on the production, please visit The Secret Theatre's website (www.secrettheatre.com).
Author: Hannah Marie Ellison — Published: Nov 23, 2009
The Queens Players, who work out of the Secret Theatre in Long Island City, are back with yet another classical work for the stage. This time it's William Shakespeare’s much loved comedy/fantasy A Midsummer Night's Dream, which opens on December 3rd.
From the press release: Follow four young lovers into a colorful and mysterious forest where fairies Titania and Oberon rule, where a band of “rude mechanicals”, led by the hilarious Bottom, rehearse a play and where love is put to the test by the mischievous Puck. In the end, will the lovers end up with their correct mate? Will the mechanicals make it to their performance before the Duke? Is Titania doomed to love an ass?
You may be thinking to yourself, "Another production of Midsummer"? I certainly thought that at first. But something about director Katherine M. Carter's production is drawing me in.
Perhaps it's Carter herself, her enthusiasm and passion for her work.
A graduate of Marymount Manhattan College, where she earned a BFA in Acting and a BA in Directing, her enthusiasm and passion for the work have kept Carter extremely busy. She has directed and assistant directed productions with both the Hangar Theatre and the American Globe Theatre and has even served as a directing intern on the Tony award winning Billy Elliott: The Musical.
Actor Timothy J. Cox, who plays Peter Quince in the upcoming production of Midsummer, has said, "Katherine is just one of those bright, shining talents. I look at her and I know that she's going to work forever."
Although very busy bringing Midsummer to life, Ms. Carter was gracious enough to take a few minutes to answer some questions for Blogcritics.
Could you please give us a bit of background about yourself? How did you get involved in the theatre? Have you always wanted to direct?
I'm a Midwestern girl, born and raised in Michigan. I am the oldest of three siblings with two younger brothers. I started in theater in the 6th grade when my crush wanted to do theater and I wanted to hang out with him. From then onwards, I acted in everything. From 9th to 12th grade, I performed in over 60 productions. My senior year of high school, I directed my first production, a stage version of Clue.
After that I was aware that directing was a path I could take. During college I earned my BFA in Acting and a BA in Directing, and I would say that junior year was when the transformation took full effect. Between junior and senior year, I was a member of the Hangar Lab Company, saw that directing was really where I wanted to be and from then on it was a done deal.
The short answer to that question is: No, I didn't always want to direct, but sometimes you have to be honest enough to say "I'm a good actress and singer, but I am a much better storyteller from the outside." On top of that I have too many control issues to be an actor (laughs).
How did you become aware of The Secret Theatre and why did you want to become involved as a director with the company?
A lovely actress, Elspeth Turner, was in their production of Macbeth last spring. We were working on a production of The Odd Couple together at the time and she invited me to see her work. After Macbeth, I met Richard Mazda, the Artistic Director of The Queens Players, and we exchanged information.
I wanted to direct at this particular theater because there was so much potential with the space and the actors, I wanted to tap into it and see what I could do. As directors we are always looking for places where our skills could be of use, and since I had just come off of directing Twelfth Night, I knew my Shakespeare experience would fit right in with the company. Richard and I talked, he invited me to direct Midsummer, and that was that.
With so many productions of Shakespeare, especially A Midsummer Nights' Dream, going up every year, what made you want to direct this show, in the winter of all times?
Ah, the age old "why Midsummer" question. Very good. To tackle the Midsummer in winter question for me is simple – why should I let a shows' title dictate when it gets performed? Would you only do The Winter's Tale in winter? Or Summer and Smoke in the Summer? The seasons are ever changing and what is lovely about theater is that you enter a world away from the outside and are transported somewhere new. It's not what's happening outside that matters, but the story that is being told inside which counts.
For the show itself, I have always loved Midsummer. This production is a personal thank you to past theatre teachers who made me read the play over and over and perform in it. So many of us storytellers take this show on every year, but for me, it is about finding something new and interesting with a tried and true text. It is also a director "must do," as I say. Almost every director has done their version of Midsummer at least once, if not more, and this is my first go at it.
What is it about this play that speaks to you? What do you hope an audience will take away from your approach to the production?
The story speaks to me as a director. I love the variations of emotions, the levels of being in love, and the pure, almost farce-like comedy. As a director, when you see a good story, you want to tell it in your own voice. Midsummer has always been that way for me. I want the audience to laugh out loud and have a jolly good evening of theater.
For each audience member who sits in that theatre, the experience will be different: some will laugh at the mechanicals, some will feel for Helena, and others will dislike Puck for meddling. It's all subjective. For me, it's about communicating the story. If the audience leaves understanding the story, hopefully on a new level, and has fun, then I'm happy.
I was delighted to read that you have worked with a Shakespeare giant, John Basil at the American Globe Theatre in Manhattan. How did you become involved with the company? Have your collaborations with him and the Globe helped shape you as a director? If so, how?
John Basil has had a huge impact on me as an artist. He is a wonderful mentor and friend. Both he and his lovely and talented wife Liz are friends and supporters of my work.
John took over the fourth year of the BFA acting program my senior year of college. We got to know each other in class, and about a month in, I asked him if I could work on his next show at the American Globe. Well, that happened to be Henry V and I was one of the two associate directors working on it. John was a great teacher both in class and in rehearsals.
After Henry V, there was a director opening in the Globe's 10-Minute Play Competition. John offered me a spot and the piece was well received. To say the least, John and I spent a lot of time in the same rehearsal room. My directing style is under the direct influence of John. He gave me a great set of tools to attack any text, and a renewed love of Shakespeare. I look forward to working with AGT on many more productions.
What's next for you?
More directing. I have a few things in the works. Coming up at the end of January, I will be directing a reading of a new play, The Rose Gardener by Sarah Ashley Bischoff at The Tank. I've been keeping the spring open for some new plays and musicals. This fall and winter have been a complete blur, since September I have worked on almost ten shows, so the spring is more of a blank canvas at this time. You can always check out my website my website for the latest and greatest.
A Midsummer Night's Dream opens on December 3rd and runs until January 3rd. For information on the production, please visit The Secret Theatre's website (www.secrettheatre.com).
Blog Critics Interview
I had I lovely interview with Hannah from Blog Critics.
The article was posted on Monday, and I will be posting the entire interview here shortly.
For some reason the link isn't working on this computer.
Midsummer has gone well the past two night. The theatre is painted, lights have been focused, and we are ready to build the cues today.
The article was posted on Monday, and I will be posting the entire interview here shortly.
For some reason the link isn't working on this computer.
Midsummer has gone well the past two night. The theatre is painted, lights have been focused, and we are ready to build the cues today.
Sunday, November 22, 2009
The Misunderstanding
Well-Another show closes while the other goes into Tech
Today The Misunderstanding closed. THe show had a successful run, money wise, but there was a lot of negative energy surrounding the production. I don't say this to be mean, it is an observation. There seem to be a lot of communication issues from Day One that spread from the rehearsal room. That being said, I met some wonderful people at The Flea as well as some special collaborators.
Midsummer Tech starts tomorrow night. Rich (the General Manager of the Queens Players) will be meeting with myself and Lisa (my lighting designer) in the theater to show us how the system works. Lisa will watch the run through tonight, and join me at the theater on Tuesday to start building cues. The light plot is going to be fairly simple, but effective. Midsummer as a whole is focused on the story with everything else as the spices that make it delicious. I have confidence in Lisa's design for this show and am looking forward to showing her what we have been up too.
Also on Monday is the painting party! That theatre has to get white somehow!
Thursday our sound designer, Jill Walker, gets into town. Friday is dedicated to Jill and I working in the space while some actors help out cleaning, hanging fabric, and adjusting costumes. I cannot stress enough how wonderful working with this cast has been. They are extremely giving.
If you haven't bought your tickets yet check out www.MidsummerInWinter.Weebly.com for details on online ordering.
Today The Misunderstanding closed. THe show had a successful run, money wise, but there was a lot of negative energy surrounding the production. I don't say this to be mean, it is an observation. There seem to be a lot of communication issues from Day One that spread from the rehearsal room. That being said, I met some wonderful people at The Flea as well as some special collaborators.
Midsummer Tech starts tomorrow night. Rich (the General Manager of the Queens Players) will be meeting with myself and Lisa (my lighting designer) in the theater to show us how the system works. Lisa will watch the run through tonight, and join me at the theater on Tuesday to start building cues. The light plot is going to be fairly simple, but effective. Midsummer as a whole is focused on the story with everything else as the spices that make it delicious. I have confidence in Lisa's design for this show and am looking forward to showing her what we have been up too.
Also on Monday is the painting party! That theatre has to get white somehow!
Thursday our sound designer, Jill Walker, gets into town. Friday is dedicated to Jill and I working in the space while some actors help out cleaning, hanging fabric, and adjusting costumes. I cannot stress enough how wonderful working with this cast has been. They are extremely giving.
If you haven't bought your tickets yet check out www.MidsummerInWinter.Weebly.com for details on online ordering.
Thursday, November 19, 2009
Looking Forward
Tuesday and Wednesday went by in a flash. Both rehearsals were very productive, and on Wednesday we even had cupcakes. In this photo we have Bottom encountering the fairies for the first time.
I am proud of the progress we have been making in rehearsals but there is always a concern about tech. While our tech isn't as intricate as others there are still going to be many new elements introduced into the playing environment. All of my designers have unique ideas, and I am looking forward to putting it all in the mix to see what comes out.
Monday post rehearsal we will be having a big painting party (got to make the space white somehow!). It's going to be fun to help transform the space into our world of Midsummer. I always find that casts can really come together when doing physical labor for a common goal. True story!
Also in the works is The Rose Gardener reading set at The Tank for end of January along with Production Managing DirectorFest 2009 in Mid-December.
This weekend marks the end of The Misunderstanding at The Flea. The best thing I will take away with me will be the people I have met at The Flea, great bunch. Their show The Great Recession is playing now- I suggest you go!
Finally- I am almost done with my interview with Hannah for BlogCritics. I will post it here when it goes out.
Check out the Midsummer Website designed by Tim Cox:
Tuesday, November 17, 2009
My Beautiful Cast!
My beautiful cast of Midsummer Night's Dream!
Check out the show website at: www.MidsummerinWinter.weebly.com
And more production photos at my website www.KatherineMCarter.com
First Full Cast Rehearsal
Tonight was our first time together as a cast! As the director I couldn't me more pleased to see everyone. When rehearsing Midsummer you find yourself in the room with the four main groups (The Lovers, The Clowns, The Fairies, and The Mortals) but rarely all together. It was important for everyone to see the work their cast mates had been up to these past two and a half weeks.
Starting around 8:30pm we began our work through the play, stopping and starting, relocking, tweaking, etc. We got through all of Act One and half of Act Two. Ideally this would have been a full run but I knew it wasn’t going to be that simple and prepared myself to continue the work tonight and Wednesday.
Overall I am very pleased with the work I saw last night. We have polishing to do, but we are in a good place to take the crazy that is tech week and Thanksgiving.
Tonight I am working with The Lovers and The Fairies (plus Bottom), Wednesday The Clowns. By the end of Wednesday night we should have, at least, a complete run-able show.
Thursday I will be posting rehearsal and production photos.
Starting around 8:30pm we began our work through the play, stopping and starting, relocking, tweaking, etc. We got through all of Act One and half of Act Two. Ideally this would have been a full run but I knew it wasn’t going to be that simple and prepared myself to continue the work tonight and Wednesday.
Overall I am very pleased with the work I saw last night. We have polishing to do, but we are in a good place to take the crazy that is tech week and Thanksgiving.
Tonight I am working with The Lovers and The Fairies (plus Bottom), Wednesday The Clowns. By the end of Wednesday night we should have, at least, a complete run-able show.
Thursday I will be posting rehearsal and production photos.
Tuesday, November 3, 2009
Our High Tech Lives
8% of Twitter Users Twitter during Theater and Live Performances
Shame on you Twitter Users During Theater!
This harkens back to a time when Twitter was just getting big and a casting director tweeted during auditions about their bad or good auditions-Bad form!
People-Tweet Before, Tweet After, Hell Tweet During Intermission-DO NOT TWEET DURING A SHOW! OR text for that matter...
Oh and turn off your cell phones.
Rant done.
Shame on you Twitter Users During Theater!
This harkens back to a time when Twitter was just getting big and a casting director tweeted during auditions about their bad or good auditions-Bad form!
People-Tweet Before, Tweet After, Hell Tweet During Intermission-DO NOT TWEET DURING A SHOW! OR text for that matter...
Oh and turn off your cell phones.
Rant done.
Monday, November 2, 2009
The Neil Simon Plays Closed Sunday November 1st
After only 25 previews and 9 performances The Neil Simon Plays closed last Sunday.
Currently playing was Brighton Beach Memoirs, Broadway Bound was set to play in rep with Brighton starting in December. The two autobiopgraphical plays Neil wrote based on his life were together renamed The Neil Simon Plays. Brighton Beach got wonderful reviews from the Times and it looked like things were going well for the classic american playwright-and then it happened, a closing notice.
Why is this important? (shame on you for asking)
The premature closing of The Neil Simon Plays has two lessons to teach:
1. Marketing is everything (I will explain in a bit)
2. If Neil Simon cant sell tickets-its not a good sign for theater.
Lets start by looking at marketing. On my way to work each day I pass by the Neederlander. And each day I saw the Billboards for The Neil Simon Plays. I also work in theater and am aware that The Neil Simon Plays is indeed happening on Broadway and I just assumed people bought tickets becuase it is Neil Simon.
But what if you didnt know it was happening? I would wager that a vast majority of the american public had no idea these shows were being performed. Since I am a stickler for good marketing here are some of the things I noticed in the lack of marketing and what I would have done.
1. Renaming both shows The Neil Simon Plays-doing this created confusion for the public. I had many questions if this was a new Neil Simon play. I understand that they were trying to make an event out of the two plays but they didn't do a good enough job of making it a MUST SEE event. Rather than rename the two why not call them what they are-Brighton Beach Memoirs and Broadway Bound in a rare must see event-or something like that. Make the titles prominent so that people see them and go "Oh! I remember Broadway Bound" Its nostalgic.
2. Getting the word out about the performances. I saw no adds or billboards or commercials or anything really. The only reason I knew it was happening was because I walked by the theater.
3. Broadway Bound was scheduled to open later into the run of Brighton Beach. What they should have done was opened both at the same time in Rep to promote the event of the two together.
All of that was to say that marketing is important to every show-hence why Midsummer's Marketing is so important to me. In order to get the word out we are having fundraisers, facebook events, twittering, advanced ticket sales, and a great cast telling all of their friends.
What do you think was the problem with the Neil Simon Plays?
Currently playing was Brighton Beach Memoirs, Broadway Bound was set to play in rep with Brighton starting in December. The two autobiopgraphical plays Neil wrote based on his life were together renamed The Neil Simon Plays. Brighton Beach got wonderful reviews from the Times and it looked like things were going well for the classic american playwright-and then it happened, a closing notice.
Why is this important? (shame on you for asking)
The premature closing of The Neil Simon Plays has two lessons to teach:
1. Marketing is everything (I will explain in a bit)
2. If Neil Simon cant sell tickets-its not a good sign for theater.
Lets start by looking at marketing. On my way to work each day I pass by the Neederlander. And each day I saw the Billboards for The Neil Simon Plays. I also work in theater and am aware that The Neil Simon Plays is indeed happening on Broadway and I just assumed people bought tickets becuase it is Neil Simon.
But what if you didnt know it was happening? I would wager that a vast majority of the american public had no idea these shows were being performed. Since I am a stickler for good marketing here are some of the things I noticed in the lack of marketing and what I would have done.
1. Renaming both shows The Neil Simon Plays-doing this created confusion for the public. I had many questions if this was a new Neil Simon play. I understand that they were trying to make an event out of the two plays but they didn't do a good enough job of making it a MUST SEE event. Rather than rename the two why not call them what they are-Brighton Beach Memoirs and Broadway Bound in a rare must see event-or something like that. Make the titles prominent so that people see them and go "Oh! I remember Broadway Bound" Its nostalgic.
2. Getting the word out about the performances. I saw no adds or billboards or commercials or anything really. The only reason I knew it was happening was because I walked by the theater.
3. Broadway Bound was scheduled to open later into the run of Brighton Beach. What they should have done was opened both at the same time in Rep to promote the event of the two together.
All of that was to say that marketing is important to every show-hence why Midsummer's Marketing is so important to me. In order to get the word out we are having fundraisers, facebook events, twittering, advanced ticket sales, and a great cast telling all of their friends.
What do you think was the problem with the Neil Simon Plays?
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