r/Theatre

Edited video showing a BTS of a show stop during a youth performance of Hadestown: Teen Edition

I want to direct Twelfth Night, i have most everything i need, the script, people to help me do it, and ive found a relatively cheap venue to do it at.

The only problem is im struggling with the legality of how to sell tickets (im in Texas for reference) most sources are saying i need a permit of some sort (though some are saying i dont and thats a lit confusing) but i cant figure out what sort of permit or licence i need to sell tickets for a stage play or how to get it.

If anyone has done this or knows what to do and could help me out a little bit that would be greatly appreciated.

I'm an amateur who's only ever worked with this director, so I don't really know how others work. But she's...intense about blocking. If we don't place ourselves on stage the way she wants us to, she makes someone on stage film us to "see how weird we look". I've seen her laugh with actors on the side about actors on stage "it looks like she's shitting". She uses words like "It looks like you were raping the....*whatever object you were using*. Sometimes, instead of telling us we did something wrong, she asks us "why were you sitting there?", forcing you to sit awkwardly and not know what to answer. She loves making impressions of movement/interpretation she didn't like, sometimes with mean comments "she looked just like that, except her boobs weren't moving like that because she doesn't have them". She does like other actresses's boobs, saying things like "Your tits look really good in this costume. You have beautiful tits. Can I throw a piece of pop corn between them?". She also(presuambly in a friendly way) calls another actress she's close to "little whore".

If someone calls her out, she says "I'm trying to joke around to make a lighter, less stressful atmosphere. You don't want to see what a SERIOUS rehearsal looks like for professional actors". Even when she's not offensive, she's just generally bitchy like "please someone show her where she should position herself, she doesn't know 3 weeks before the premiere"(it wasn't a case of me forgetting, it was a case of us changing our venue, and I needed time to adjust). I also got shit for not knowing another character's blocking.

She loves micromanaging-not performances, but "your ribbon came slightly undone", "you looked awkward during applause". I used to say ''eh, just don't take anything personally and just do what you're here for-act". But she makes me so tense that I'll get criticised for something that all my character's emotion is gone. You also can't NOT choose to get feedback. It's "10:30, after show, everyone in the room for feedback". If you don't go, she'll criticize/bully you in absence. Of course, when she feels like there's nothing to correct she praises-which actually kind of makes this feel worse/your fault.

I know it sounds crazy when I type it out, but so many people love her, call her the best possible mentor they could have, an absolute wizard of a director, that I feel crazy for being upset. Also...some people have told me this is what acting IS, that a lot of directors-of amateur and professional productions-are abusive since they know passionate people who want to act NEED a director and will swallow just about anything.

Should I just quit? I'm not very sure there are other amateur opportuinities around. It probably means quitting acting altogether-which she might know, hence her behavior. Or should I just develop a thicker skin?

So, currently in the UK depending on the show depends on the size of the programme (dimensions), the amount in it (pages) and also the cost of it and whatever extra is in there (behind the scenes rehearsal photos, show photos, letters from directors, etc.). Now, I have never been to Broadway and never seen a Playbill in person or flicked through one to see what is inside but from my understanding it is a free cast list programme style thing you can get. I also understand for some shows there are souvenir programmes.

Usually for touring shows near me as well, there are theatre specific programmes with what shows are going to that theatre soon which is fun but so annoying when essentially all I want is the info about the show (cast list, interviews if any, pictures of production).

Essentially my question is, not only for the West End but for touring shows as well should there be Playbills or essentially the same thing by another name in the UK? I think there should be for free and then alongside there are still souvenir programmes but depends on the contents of each one. People please make sense of what I am trying to say, sorry I can't write very well.

Has anyone here done a production of TL5Y with a drum kit/percussion book in their pit? JRB has put it into the past 2 revivals and the movie, and I love it (especially in the brand new cast recording, give it a listen if you haven’t already). Has anyone done this in a regional production? Does anyone have a drum book for the show that they could share?

So I do a lot of local community theatre and I love doing it. I did puffs last nov and had the most amazing time and lived the people I did the show with. One of my cast mates told me that he is directing Firebringer later in the season and I was super excited to audition for it.

But then when I was doing a different show, someone told me about this theatre doing puffs and I was excited about that too, thinking I could do both.

The problem comes in that both are during the same time. Puffs auditions are the 15th and they start practices right away and the show is early Aug. Firebringer auditions are the 29-30th and most likely will start practices right away as well. This show is mid Sept. So I don’t think I could do both.

I’m conflicted because I love puffs and it’s my favorite play. And I’m hoping they would cast me in a new role but I would be up for any role. Also the practices are almost the perfect days. But I also am super excited about Firebringer. The main problem with Firebringer is that I’m an alto and most of the characters are set for sopranos and Mezzos and I’m not the best dancer.

So if you were me what would you do?

I need to bring food to a pre-show potluck but want to bring foods/meals that won’t make the cast phlegm-y for the show. Please offer suggestions on what I could bring. Thanks!

I'm doing the set for a show with my community theatre this summer, and I want to try using wagons in this show. I usually avoid wagons because they can make scene changes very long, having to lock all of the wheels or wagon brakes every time, and they pose a safety risk if not locked. Are there any ways I can make the wagons so that we wouldn't have to lock and unlock them every single time? Keep in mind that I need them to support the weight of 1-2 people, so they need to stay fixed in place when not moving. I don't have a huge budget, so I'd prefer something that doesn't break the bank as well. We don't have a typical stage floor; it's more of the material of a gym floor, so we can't screw into the floor either.

I don't think these are unreasonable asks. I've seen plenty of shows pull this off, but I've never been able to in practice before, and no matter how much research I do, I can't seem to figure it out.

Any help would be appreciated.

I am a teenager and there are rumors of Les Mis being the seasons opener this year for my community theater. Considering they're just rumors I'm trying not to get too excited, but you know, it's Les Mis. I want to have something prepared in case it's true.

I have never been in a musical before, I have auditioned for commercials a few times and I was in Shakespeare's a midsummer night's dream for a co-op I attend. I'm going to attend this shakespeare/theater class thing again after this semester and they will do another play and I get some acting tips there. My dad and sister are both theater kids, so I get a lot of tips from them and they've told me I do a very good job with "I Dreamed a Dream" and "Fantine's Arrest" and all the emotion involved. I'm also in the process of trying to find a vocal coach to help my singing voice improve where needed.

Fantine is my dream role. I would LOVE to be her, I've done research and a lot of thinking about her chatacter and backstory, I feel like I have a pretty good general and emotional understanding. I would love to be anyone with a line or two in this musical, honestly. But I also understand that there will be a lot of competition and my chances are low, especially since I have basically no experience with musicals.

I plan on singing a 1 minute snippet of "I'd Give My Life For You" from Miss Saigon. If the rumor is true, auditions would probably be in July. If you have any knowledge whatsoever to give me a fighting chance at standing out/any prep tips please please please let me know!! I have no idea how I'd pull this off and help would be greatly appreciated, and even if it's false, it would be nice to have in my back pocket! Thank you so much!!

Hello,

Due to mental health reasons and wanting to gain more experience, I decided to attend a community college while getting more training and doing community theater. I want to transfer to a school with a strong BA program, but I'm not sure where to start looking. All I've ever wanted is to pursue musical theater professionally, but I'm anxious that I won't be able to get into a school with good connections. Any and all recommendations are much appreciated

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1. I hated the way feedback was given. Not only the cast in the room, but other actors not in that particular show who LOVED nodding approvingly every time the director criticised anything.

Also, (and I presume a lot of people won't agree with me cere), given we are an amateur company who only does show once....frankly I hate the concept of having to sit through an hour of criticism to begin with. Say what needs to be said IN REHEARSAL. Knowing I'll get "scolded" for mistskes really made me tense and perfectionistic.

2. About feedback in actual rehearsals. My acting was basically ignored from day 1. The director just didn't say anything positive OR negative about it, and just corrected my blocking. Others got much more detailed feedback and/or got openly praised if nothing was wring. I always had the feelings there's something she doesn't love about my acting, but can't quite put her finger on. Then show night, apparently I sucked-in a way I felt I could have worked on had I known about it earlier. The director says I didn't have that problem earlier.....but is that really true? Was she just not paying attention to me? If it's true, am I right to think that more detailed positive feedback on my rehearsal performance would have helped(that is, "I really like that you do those specific things, please don't change them", rather than "it was ok"?). Is it my fault and if so, how do I even avoid this in future productions? Do I not touch anything after last rehearsal? If I get "for the first time" feedback in last rehearsal, do I just ignore it(given the director won't be able to actually see that I don t overcorect, etc.)?

I'm very dissapointed in myself. I worked really, really hard on this character(but apparently very misguidedly so). Any insight?

Hi there - I'm starting from scratch. I am a 6th-12th theatre teacher in a public school but we do not have a theatre, a stadium, etc; only a cafeteria or gym for performances. I have the opportunity to get a grant for up to/around $5k. I need suggestions on what a good lighting system would be (that would be portable/not permanently attached) as well as speakers (possibly microphones but I know great quality ones would be a lot more.) The most actors I would have would be 10-15. I also love the idea of wireless headsets for crew.

1. Lighting suggestions (portable, multiple colors, run by a board or app)

2. On stage sound suggestions (microphones + aux options for sound effets)

3. Backstage wireless headsets

I’m currently getting my associates in Education from CC, I want to go into theatre education in college for a bachelors or masters, in like, studying to be a theatre teacher. Any college recommendations from anyone in the field? I definitely can’t afford NYU, even tho that’s usually people’s first thought. I don’t care much about merit as I care about quality of education, and I live on the East Coast, around DC. Thanks!

Hi! Me and someone I've been doing theatre with for years, have been nominated by our theatre to direct a one act play for a big one act play festival. Both of us are teenagers, and we are unsure about which show or script to pick. It needs to be between 16-45 mins (preferably shorter to middle range) and I think we'd like comedy? But honestly open to suggestions. It would be absolutely incredible if it was royalty free, however if not something on the cheaper side would also be needed. We love all of Robert Scott's one act plays however they're all quite expensive rights. I don't know, I'd just love some reccomendations.

Hi, I’m traveling to London in May and wanted to ask for a recommendation for a West End show. I’m interested in musicals - what would you suggest?

Thanks in advance!

Help! I am an actor with an upcoming role in which smoking is required, and I don't want to ruin my lungs!

I was watching Sabrina Carpenter's weekend 2 Coachella set and noticed that she and her dancers were "smoking" some 'cigarettes'. They look a bit longer than normal cigarettes, but still look realistic and release smoke. After using them, Sabrina and her dancers were also able to tuck these 'cigarettes' away into a pocket in the car and their outfits, respectively.

I know herbal cigarettes exist, but I'd still rather not inhale any smoke during filming. I'm wondering if the 'cigarettes' in Sabrina's set are a new kind of prop I'm not yet aware of. There are some pics + videos of them using the 'cigarettes' in the set. Thanks in advance! 

I performed a monologue from this one-act at state drama and ITF as well as cut the show for a drama piece in speech and debate two years ago. It follows a series of monologues from a senior girl who has i believe locked herself in the bathroom at a party. The opening line is, "I cannot wait to get out of here. This town, these people, this school...". She has a boyfriend named Mickey who "wears these dumb combat boots" and then towards the end of it she talks about her mother attempting suicide, "My mother has changed... a lot. She is so critical now". I cannot for the life of me remember what this show was titled, nor can I find it online. Does anyone happen to know this show? ​

I’m bringing a solo show in and I am very interested in favorite theatres and alternative venues for this project.

Hey All,

Several years ago, I was cast in an equity production of an original play. It was my first production in the city I had relocated to. I ended up being recommended by someeone to read for this show.

From Day One, I felt like the new kid on the block only I was never welcomed into the herd. I was so proud of myself for showing up for the audition, receiving the call to say I had been cast, feeling like I had really done something good. But Imposter Syndrome creeped her ugly ass into my mind and just destroyed my confidence in myself.

I know there is more talent and ability inside me than what Imposter Syndrome wants me to believe, but my god this bitch is cunning. She has hung around for over a decade and I am so f**king sick of her taking up space in my head.

Has anyone ever been cast in a production and felt like everyone else in the cast deserved to be there except you?

If you’ve ever gone to see a show, paid a fortune for the ticket, all excited to see the 🌟 star 🌟 and that dreaded piece of paper falls out of your playbill. The one that tells you that tonight’s performance, the role of 🌟star🌟will be played by “unknown actor” … and your heart sinks!

Well this post is for you…

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✨✨✨✨✨✨✨✨✨✨✨✨

Here are 30 reasons why you should be very excited instead.

Are you ready?

1. Did you see Rebecca Luker's understudy in The Sound of Music?

Then you saw Laura Benanti!

2. Did you see a Sheila understudy in the original run of Hair?

Then you saw Diane Keaton!

3. Did you see a Dainty June understudy in the second national tour of Gypsy?

Then you saw Bernadette Peters!

4. Did you see a Radames understudy during the run of Aida?

Then you probably saw Will Chase or Cheyenne Jackson!

5. Did you see Judy Kaye's understudy in On The 20th Century?

Then you saw Christine Ebersole!

6. Did you see an understudy for either of the two leading ladies in Jekyll and Hyde?

Then you probably saw Emily Skinner, Kate Shindle, or Kelli O'Hara!

7. Did you see a Sandy or Rizzo understudy in the 1994 Grease revival?

Then you saw Sutton Foster!

8. Did you see Laura Bell Bundy's understudy in Ruthless?

Then you saw Natalie Portman or Britney Spears!

9. Did you see Sheryl Lee Ralph's understudy in Dreamgirls?

Then you saw Phylicia Rashad!

10. Did you see Carol Haney's understudy in Pajama Game?

Then you saw Shirley MacLaine!

11. Did you see an understudy for Chuck Cranston in Footloose?

Then you saw the Broadway debut of Matthew Morrison!

12. Did you see Gavin Creel's understudy in Hair?

Then you saw the Broadway debut of Jay Armstrong Johnson!

13. Did you see Laurence Olivier's understudy in Dance of Death at the Royal National?

Then you saw Anthony Hopkins!

14. Did you see Eartha Kitt's understudy in Shinbone Alley?

Then you saw Chita Rivera!

15. Did you see Anthony Rapp or Adam Pascal's understudy in Rent?

Then you saw Norbert Leo Butz!

16. Did you see Mary Martin's understudy in South Pacific?

Then you saw Cloris Leachman!

17. Did you see Faith Prince's understudy in Guys and Dolls?

Then you saw Victoria Clark!

18. Did you see an understudy during the original run of Drood?

Then you probably saw Judy Kuhn or Donna Murphy!

19. Did you see Jill Clayburgh's understudy in Pippin?

Then you saw Ann Reinking!

20. Did you see a Cassie understudy during the original run of A Chorus Line?

Then you probably saw Bebe Neuwirth or Karen Ziemba!

21. Did you see a Peggy Sawyer understudy in 42nd Street in London?

Then you saw Catherine Zeta-Jones!

22. Did you see a Chava understudy in the last Fiddler on the Roof revival?

Then you saw Lea Michele!

23. Did you see Christopher J. Hanke's understudy in In My Life?

Then you saw Jonathan Groff!

24. Did you see a Danny Zuko understudy during the original run of Grease?

Then you probably saw Richard Gere!

25. Did you see Ethel Merman's understudy in Anything Goes?

Then you saw Vivian Vance!

26. Did you see a Jigger understudy in the Carousel revival?

Then you saw the Broadway debut of Taye Diggs! Or you saw Brian D'Arcy James!

27. Did you see Matthew Hydzik's alternate in the West Side Story revival?

Then you saw Jeremy Jordan!

28. Did you see Jessie Mueller's understudy in On A Clear Day?

Then you saw Alysha Umphress!

29. Did you see Malcolm Gets' understudy in Amour?

Then you saw Christian Borle!

30. Did you see Uta Hagen's alternate in Who's Afraid of Virginia Woolf?

Then you saw Elaine Stritch!

And for every talented understudy on this list, there are hundreds of others who are someone in the world's absolute favorite actor.

Each time you see a show, it's a once-in-a-lifetime experience that will never happen exactly the same way again. Seeing an understudy - someone who is likely thrilled to be getting a huge opportunity, someone who you're likely going to be hearing more from in the future - is an amazing part of that.

A gigantic BRAVO for all of the understudies.

-Written by a MTmom in 2015