Directing Hamlet

If it’s a collaboration … why can’t I do it my way?

The answer to this age old question—and I’m sorry but everyone asks this (even if silently to themselves) at some point in the process—is in the question itself: because it’s a collaboration.  Not all choices are good.  Not all choices are right.  And that’s why theatre improved once a director came on board.  The director may have a vision and through collaboration that vision may change but she (we’ll play with pronouns here) may not.  She/he/it/they may be totally onboard to see what the actor brings.  Some will work.  Some won’t.  The play itself has a vision of itself and you and the director (and/or your other collaborators) may see eye to eye or may not.  If your vision of the play and how your character fits into that vision are at odds with the director’s.  If it’s early on: don’t take the role.  You are here to tell a story.  You are not here to educate the director.  Unless you are truly willing to bend your will to help the director see his/her/their vision, then you are only creating chaos and an unpleasant work environment.  Don’t get me wrong, some director’s have true vision and some have their heads up their asses.  I’ve worked with both.  I’ve been accused of being both.  In the same production (I’m versatile like that). 

But good theatre is truly a collaboration of artists.  All coming together to tell a story, to have an impact.  We all have constraints: time, talent, budget, being the holy trio.  We need to patience with each other in the process.  We need to trust and we need to keep reign on the fatal flaw that chips away on each leg of that trinity: ego.  Our own.  Never mind about Heathcliff over there.  Let Heathcliff deal with Heathcliff’s ego.  We have enough to deal with battling our own. 

So, you heard about a play, you’ve ALWAYS wanted to do, and you have a GREAT idea on how to do a role, the whole play/a musical; how to direct it, or to dress it, light it … that’s fantastic.  Before committing to the project find out what the group who’s slated the project have in mind.  See if your visions fit or get excited about their vision.  But don’t fight the vision.  Trust the people involved to do their part.  And you do your part.  If in the process you come up with a brilliant idea: talk to the director PRIVATELY.  I can’t say this enough … PRIVATELY.  Do NOT tell them what to do.  Ask if their open to listen.  If they aren’t (and gawd knows what other hundred things they’re also dealing with: they honestly may not be) accept it and move on.  Do not end run them.  There will be a time where they will be open to hear.  You may likely have to schedule it outside of rehearsal hours.  If there is NEVER a time then that says more about them than about you.  If they are open to listen talk to them about your new approach that you/they may want to try.  Then LISTEN.  You may have hit a nerve.  You may be at odds.  You may have planted a seed that needs a few days/hours to take root  If they love the idea, it’s easy to go forward.  If they don’t: then let it go.  I’m not quoting the Disney song here; I’m saying quite the opposite “let your need to be right: go”.  You aren’t necessarily wrong but this may not be the production for your unique interpretation.  And you may be totally out in left field but that’s OK.  Because that’s just thinking outside the box.  I’m not going to say there are no bad ideas because there are.  I’ve sat and watched a few in my time, I’ve made as well and I hope I’ve learned from the experience.  As a playwright I find it compellingly hard to give up my vision sometimes (probably most of the time—especially if I’m talking about my own plays) but if the shared experience of telling the story is to be a good one, check your ego at the door and work well with others. 

I’m gonna try to post one of these every day because … hell, I’ve got the time.  COVID and life’s circumstances have given me a lot of downtime (no need to go into details here) and I’ve always wanted to work with new and would-be actors and so … what the hell.  If you know me, you may think I have a clue as to what I’m talking about or you may wanna run.  I’m here either way.  I am willing and interested in working with anybody via ZOOM on monologues or scenes or what have you, at no fees.  Because I have the time (until I don’t) and what the hell.  I’m a bit irreverent.  Some would say a joy to work with/some might say difficult.  No one walks away without an opinion.  If you’re interested in working on something 1 on 1, let me know.  You can contact me on Messenger (Michael Perlmutter) or email me @ Theatre1on1@gmail.com.

Hi.  I’m gonna post one of these every day because … hell, I’ve got the time.  COVID and life’s circumstances have given me a lot of downtime (no need to go into details here) and I’ve always wanted to work with new and would-be actors and so … what the hell.  If you know me, you may think I have a clue as to what I’m talking about or you may wanna run.  I’m here either way.  I am willing and interested in working with anybody via ZOOM on monologues or scenes or what have you, at no fees.  Because I have the time (until I don’t) and what the hell.  I’m a bit irreverent.  Some would say a joy to work with/some might say difficult.  No one walks away without an opinion.  If you’re interested in working on something 1 on 1, let me know.  You can contact me on Messenger (Michael Perlmutter) or email me @ Theatre1on1@gmail.com.

But for now.

Let’s look at MONOLOGUES. 

We are all acting from the day we start to form a conscience.  The baby cries the parent tends to the baby: voila.  I cry: I get what I need (it might take some time but eventually … ) and from that moment on, successful or not we learn how to “act” in order to get what we want or what we need (or not).  In other words, regardless of the results OUR job is to aim to achieve our goals.  Sometimes this defies logic.  Often, most often it is several layers deep.  A play (as is life) is a chess board and our job as actors is to figure out the game.  Is it chess or is it checkers?  Or is it one of dozens of variant games also designed to be played on the same board?  The one thing that is NOT genuinely played on this board is SOLITAIRE.  Soliloquys or monologues  don’t really exist.    But what? No, but yeah …. I know they exist, I’ve been working on ‘em.  I’ve heard about them for years.  The words exist: yes.  I’m not going to play the game of what is the dictionary definition (you can google that yourself … and while you’re at it, go ahead and look up speech and soliloquy as well).   What I’m trying to say is the bastardized definition of reciting lines to no one there doesn’t exist.  No one of any worth has ever written a speech, a monologue or a soliloquy to fill space.   Even when you, the character, are alone onstage.  These are all forms of dialogues … every last one of ‘em.  The character is engaging SOMEONE.  For a purpose.  They want something from this someone.  It may be a look, it may be a smile or a knife in the gut (A ZOO STORY).   It may be to ask forgiveness (many of Peter Schaeffer’s works) or to make friends with the audience itself (see most of Shakespeare’s epilogues or prologues).  It may even be to hash your own thoughts out loud to yourself to hear what they sound like (careful with this one … these moments are few and far between [consider Samuel Beckett’s KRAPP’S LAST TAPE]).  The issue is to stay in action: why are you saying this, to who, and what do you want to gain from the interchange.  Keeping in mind (and watching for) that at any point you may gain what you’re after and/or the other “someone” may respond—may interrupt their own silence with a remark AT ANY POINT … you know, like in real life.  To quote my own play DIRECTING HAMLET(—and yeah, I will do this from time to time):

“You see, Brian, there are no “speeches” in the theatre.  There are only dialogues.  Sometimes one of the parties doesn’t say anything but the opportunity to interrupt is always there.”

In other words, context is everything.

Let’s look at one of the famous speeches from Shakespeare (I know, I will not always use Shakespeare but where monologues are concerned he is the grand daddy, in’t he?  Please understand, this is ONE interpretation, there are many … the speech is often taken out of context:

“Tomorrow, and tomorrow, and tomorrow,
Creeps in this petty pace from day to day
To the last syllable of recorded time,
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life’s but a walking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more. It is a tale
Told by an idiot, full of sound and fury,
Signifying nothing.”

To begin with this is NOT a soliloquy.  MacBETH is NOT alone onstage.  MacBETH is devising plans on how to hold fort in his own castle, knowing armies are on their way to attack.  There is a wailing offstage that is breaking his concentration, he asks (some might say demands) what can be done to shut them up and then he is told that his wife is dead—the wailing he hears is a several centuries old ritual mourning played out by her Gentle women in attendance.  All that he (MacBETH) has done to this point has been for her (Lady MacBETH) and she is now gone … AND, an important point of fact, his war council is in attendance with him … he is NOT alone onstage.  MacBETH ACT 5 sc 5:

Yes, I took it out of its poetic formatting (this is how I read Shakespeare—for another day); The questions are who is he saying what to?  What is MacBeth expecting in response?  In truth he IS interrupted, if you read on further … a messenger enters and MacBETH explodes on him immediately:

From this point on in the play MacBETH is inconsolable and determined: a man out for blood—a man with nothing left to lose.  He even threatens the life of the messenger itself who brought him the news, not of his wife’s death but that the trees and bushes are moving, advancing on the castle.

In contrast: immediately prior to this speech MacBeth is approachable.  Case in point: SEYTON answers Macbeth calling him not just my lord but my “good” lord.  Upon Seyton’s return (one line later) he tells the king that his wife is dead without any moment of reservation as to how the good king may react.  In further examination throughout the play we are reminded that MacBeth is a decent man, a good man, a soldier’s soldier, a good leader.  It is in his attempts to please his wife’s ambitions that things go from bad to worse.  He is tortured with hesitation (Duncan) and guilt (Banquo).  His final murder (MacDUFF’s family) leaves him paranoid but his wife’s approval sustains him.  Once she is gone … he changes: inside this speech.  We watch a man go from focused to annoyed to dumbstruck/numb to attempt to be poignant to furious to enraged in a matter of a few lines.  All the more evident because there are others with him. 

Alrightee then.  Enough for today.  Let’s see what we tackle tomorrow.

If you know anything about me, I’m unconventional. So, here it is: we’re putting together a workshop production of my play RANDOM ACTS, to give it sea legs or watch it drown. THe play will run from August 9 through August 25, 2013 at the Santa Paula Theatre Center, directed by Tony Stetson and produced by Leslie Nichols and Michael Perlmutter (the playwright). Rehearsals will be held through July following readings and auditions being held in May and June. The cast breakdown is as follows:

THEODORE ‘Teddy’ STAVOS –
(42), blue collar in appearance; non-de-script: could pass for thirty to sixty on any given day.

JUNE CESSARIO –
(Late twenties to mid thirties). A young psychologist. Married, no children.

STAFF – NANCY PARKINS – Staff secretary. (undetermined age)
Dr. 1 / EDWARD HAMMERSTONE (50s – open to discretion)(gender is also open to the right actor)
Dr. 2 / SAMUEL BRIGHTON (40s – open to discretion)
Dr. 3 / MAVIS BEAUCHAMP (40s – open to discretion)
working in the same medical group with June.

JASON CESSARIO –
June’s husband, a career social worker, (mid thirties).

THERESA STAVOS-MILLER –
Teddy’s sister, (38)

We are willing to reconsider age ranges to some extent in favor of talent and chemistry (as well as gender regarding the role of Dr.1)

In response to script requests I have also uploaded the entire first act for your perusal. RANDOM ACTS ACT ONE

If you have any further questions please feel free to contact me thru reply on this website http://www.directinghamlet.com

Well, one production down and countless future performances to go. So far DIRECTING HAMLET has been a critical and artistic success.  We are currently putting together a few minutes on video to give a taste, a tease to what was and will be again.  Keep appraised of future productions here on this site as they will be coming.  Right now it’s just a matter of marketing and backers.  Thank you all for your support so far and keep watching or get involved on making this happen.  For further info or questions on what you can do to help take this play the next step of the way contact Michael Perlmutter (the author) at lmjdj@msn.com or leave a comment on the Author’s page.

OK, this is a stupid question.  But as “how” is part of the big formula (Who-What-Where-When-Why-How) I guess we have to include it.

Let me take this spin on the subject:  How are we going to use this website to this production’s advantage?  Well, first off I plan to add thoughts and posts and hopefully some decent links from here to let you (dear reader) in on the rehearsal process.  As we continue on into advertisements and reviews I’ll post those too. 

Maybe it’s a big mistake, maybe not, we’ll find out together.   Pre-rehearsal meetings start soon so I’ll keep get back to you then.

Why do any of us do what we do?  Are we called to a greater purpose?  Or merely distracting ourselves?  Do we actually have something to say or do we just need to be noticed? 

The central theme of DIRECTING HAMLET explores just these notions.  Are we pushing ourselves to our potential or simply avoiding the inevitable?

You mean “who is Hamlet?”  or “who plays Hamlet?”

Well, actually Hamlet is one of the most complex and intriguing characters written by William Shakespeare and will be played by the character of BRIAN in our production.  Or actually in any production of DIRECTING HAMLET the character of Hamlet will be played by the character Brian.

As for Brian, he will played by CURTIS CLINE

The Director, LEE, will be played by equal aplomb by JOE BOLES

And the direction of the play will be provided by the author himself, MICHAEL PERLMUTTER (it gets complicated I know)

Other whos include LESLIE NICHOLS as producer and SUZI SKUTLEY unseen in the role of stage manager (and by that I mean the actual Stage Manager for the production is Suzi).  Running Tech (lights and sound) will be JOSH PERLMUTTER.  And that’s what we have so far.

As we have more “who”s I will update this page accordingly.

The premiere production will be held at the Backstage of THE SANTA PAULA THEATER CENTER

for tickets call 805-525-4645  or go to www.santapaulatheatercenter.org for more information