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Daniel Lander Loyal user Gloucestershire, England 292 Posts |
Hi
I am to be the magic-consultant for a local production of Chekhov's "The Cherry Orchard," which, yes, does have some magic in it; notably a full-deck vanish, and the production of two people, in turn, from behind a rug. Any pointers and suggestions towards a great production would be appreciated. It's a little early for a set-design and I don't want to rely on simply holding the rug up next to a masking/entrance flat. (Illusions are not my forte). Thank you all. |
entity Inner circle Canada 5060 Posts |
I was Consultant for Canada's Stratford Festival and one of their procutions was The Cherry Orchard. We used a Bryce's Screen for the production. There is a thread about Bryce's Screen somewhere here on the Forum.
- entity
email: tomebaxter@icloud.com
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Daniel Lander Loyal user Gloucestershire, England 292 Posts |
First of all a very belated thanks for the response and PMs I received.
I am bumping this topic back to the top because we are now into the full swing of rehearsals, (production meeting tomorrow). I have done quite a bit of preparation re. the 2 appearances, (using screens and other "cabinet" devices; secret hiding-places including black-art; and secret entrances), but all my options seem to be dwindling away what with the "practicalities" of the production. I can understand a reluctance to use the more unspontaneous, "proppy" looking screens or boxes, and had settled on going down the secret-entrance road. The first girl would slide through a slit in a curtained-archway behind the cover of a rug, and the second girl was to make her way through a secret hatchway cut in the set side-wall, again behind the cover of the rug. However, I've been told that even this is "too much;" cutting a hatchway in a flat and masking the edges with a table, together with actually expecting the actress to crawl for 2 or 3 feet in a long dress, being too much to ask (!) So what options, if any, are left? The director's 2 suggestions were to have the second girl just come through another actual doorway, or cutting the second production altogether. All advice gratefully received. |
Frank Simpson Special user SW Montana 883 Posts |
Well, it sounds to me like the director want to do a cheesy effect with between little and no effort. If he is not concerned with the illusion seeming actually magical, then his ideas should work just fine. To bring someone in through an actual doorway can certainly work, as long as the misdirection is strong enough. But it will require a lot of specific rehearsal, devoted only to the working of the illusion. No working on lines, motivation, etc. etc., only concentrating on the physical workings and timing of the illusion. Repeated over and over and over and over. Once all parties involved are working perfectly together like a well-oiled machine, then it can be integrated into the scene. If the director elects to not rehearse in this fashion, I PROMISE you a watered-down effect at best.
If an actress has to crawl for a few feet in a dress, that will probably make the illusion stronger. It works to discount method in the audience's mind, as "women don't crawl in dresses". They are much less likely to suspect that method of sneaking on. You will likely hear the argument that it is too hard for her to crawl in a dress. And to that I would answer, "yes, it is very hard". No one would be able to do it the first time. It must be worked on. To find out how best to move, while managing the extra fabric of a dress. How to do it silently and quickly. It's very much like doing a quick-change. I did a production where the leading actor had to do a complete costume change in only 15 seconds. At first we dispaired of ever getting it at all. By opening night we were just making it, and literally having to give him a shove onto the stage to make his entrance. By closing night we had time to spare. Repetition makes what seemed impossible seem perfectly natural. Great effects require inconvenience. And hard work. If the director does not want to put forth any extra effort for the effects, then they are better off cut. (And I say this as a theatrical director with 17 years' directing experience.) |
kregg Inner circle 1950 Posts |
You can have all the ideas in the world, but you need to get with the director and the set designer before deciding on what tricks to do.
POOF!
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Daniel Lander Loyal user Gloucestershire, England 292 Posts |
I know what tricks are required; they're in the script.
The trouble is, the director tells me to think of solutions and when I proffer my thinking the solutions are too hard or too much work/effort. Unfortunately, he's a layman and thinks either I can somehow get the people on stage with real magic, or that holding a rug up in front of an open doorway and the person justs steps through, is in some way satisfactory. |
cardone Special user 860 Posts |
I was a consultant on this show for Carnegie Mellon University about 10 years ago. I remember we changed the tricks. They ended up doing egg on fan and a color-changing silk. The actress worked on the tricks for about 3 weeks, every day. It ended up looking really great. Good luck and let us know how it turns out.
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kregg Inner circle 1950 Posts |
It's theater, the magic isn't real.... the actors are shills.
If the director is satisfied with holding a rug in front of a doorway, so too will the audience. If the character states, "The card you're holding is the six of hearts." It will always be the six hearts, as far as the audience knows and teaching a force will be time poorly spent. After all, the actor will not break the fourth wall and show the audience the actual card, will they?
POOF!
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Daniel Lander Loyal user Gloucestershire, England 292 Posts |
Kregg, I realise that the magic need only be real for the world of the play, but an artistic decision had seemed to be made to make these "real" moments of magic for the audience of "The Cherry Orchard" as well.
And of course the example of the card trick you cite holds true; credit me with some intelligence. |
George Ledo Magic Café Columnist SF Bay Area 3042 Posts |
Quote:
On 2006-03-07 06:41, Daniel Lander wrote: Oh, dear... here we go... is it too much to expect the cast to memorize their lines? This is always tough, working with a director who seems to be more concerned with the details and mechanics of the show than with the effect on the audience. It's even worse when they work with a consultant but expect him to just do what he's told. In my own experience, professional directors don't behave this way, but the ones who direct or used to direct community or high-school productions often do. I don't know if it's a lack of trust or just not wanting to give up control, but it's a hard nut to crack. What I've done, and what a lot of us do, is to talk with the director solely in terms of the story, the characters, and the blocking. Don't even bring up the mechanics. If he or she does, sidestep it (misdirection ) and go back to the story and the characters: get into that part of the director's head and stay there. Once he or she commits to the actual bit -- the stage business -- then the method becomes irrelevant. As far as having an actress crawl three or five or ten feet in a long dress, that's not an issue. This is theater. There are simple ways of solving that problem, and any competent costume designer can make it happen. Keep us posted!
That's our departed buddy Burt, aka The Great Burtini, doing his famous Cups and Mice routine
www.georgefledo.net Latest column: "Sorry about the photos in my posts here" |
Daniel Lander Loyal user Gloucestershire, England 292 Posts |
Thank you for your advice and support.
I stated my case at the last production meeting and we're going for the secret entrance method. The director made it plain he did want these effects to be as impressive as possible and magical for all. Set-design and wardrobe are happy as well, so things are looking good. |
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