We do want to hit the ground running. Yes, we will all be going off here and there for summer respite off in the remote exotic thither lands (US and UK). So, I respectfully submit this highly flexable rehearsal schedule in hopes that we may hopefully coincide in common locales in ratios commensurate with the working needs of given moments in the play.
Access this schedule and print it out in the printable version. Do check back again from time to time as it will surely change. Compare the scenes carefully with your involvement in them to determine whether you are expected at a given rehearsal or not. If you cannot be there let me know.
Here's the schedule: http://calendar.yahoo.com/ariel97us
Sunday, June 24, 2007
Casting Notes
In February of 2007, the Production Committee of the Tokyo International Players, ably led by longtime director, actor, and stalwart (twice President!) TIP group member Malcolm Duff, submitted The Elephant Man, Plaza Suite, and A Funny Thing Happened on the Way to the Forum as the foremost considerations for board review. Directors had stepped forward with these and others (of which these were chosen for presenting a strong, balanced season). Rights were sought and granted. Theatre venues were secured, with negotiation, and the process of the new season was underway!
First, I had to cast the play. We put out casting calls on message boards, through the Tokyo International Players' website, local newspapers, various blogs, and general word-of-mouth in the acting community. I was fortunate to get lots of responses so I quickly set up auditions and a reading of the play over a very full weekend. Tireless TIP Treasurer Karen Sieg gave wonderful support in helping with the auditioning venue and serving as the board's representative.
My initial thought was to try for an all-British production. There are so many talented UK actors around us and most would instantly "get" the references and Victorian sensibility. Another thought was to go with a variety of international physical types for maximum talent and visual variety. A third concept was the unknown magical "something" that would present itself on the fly. Finally, I ended up with a combination, hopefully casting the show with actors that I thought would give the best to their respective roles, as well as providing a pleasant working relationship for all. It was a tough decision because so very many good actors came out, many of whom I could envision in the various roles. Ultimately, this varied ethnic and physical-type cast will, I think, give a great hazy shading to the line between what is "normal" and what is not. ("No, you guys, I did not just call you 'funny-looking'!")
Another consideration: like many of you, I seek to avoid "drama queens", those who thrive on incessant strife and high tension, when I am directing. No matter how talented they are, if they make the whole experience miserable (and, believe me, it only takes one potent skunk to put a pall on the picnic!), something will suffer in the productions as well. Fortunately, this wasn't such a problem in this casting process.
I love the process as well as the result (almost more), as do many of you, so . . .
yay! I found my cast of talented, hard-working, and amiable E-Players!
Joseph Merrick- the ubiquitous Bob Werley
Dr. Frederick Treves- popular and versatile Noel Adams
Mrs. Madge Kendal- actor-teacher-director beauty and opinion maker Rachel Walzer
Dr. F. C. Carr-Gomm- the everpresent and supermobile Tim Knowles
Ian Platt plays the two-faceted tour de force of Ross and the Bishop
The Pin Sisters (and assorted royalty)- the intelligent and true blue-blooded Nicole Dickson, Rohini Deblaise, and Sarajean Rossitto
Rudolph McCollum- talented and handsome Rudy steps down from the silver screen (first two Pirates of the Caribbean films) to trod the boards as the Belgian Pin Manager, London bobbie, and Snork, friend of Merrick.
Rounding out the ensemble is Ron Scott, fondly recalled as the scene stealing inebriate in TIP's recent production of The Pirates of Penzance. This energetic character actor plays the fiscal scamp Lord John, as well as the Belgian policeman, and Will, the well-sacked orderly.
What a cast! What a show! What fun! So, now to untangle the schedules of this writhing mass of busy bees and let all have rehearsal time to work their respective and cooperative magics!
First, I had to cast the play. We put out casting calls on message boards, through the Tokyo International Players' website, local newspapers, various blogs, and general word-of-mouth in the acting community. I was fortunate to get lots of responses so I quickly set up auditions and a reading of the play over a very full weekend. Tireless TIP Treasurer Karen Sieg gave wonderful support in helping with the auditioning venue and serving as the board's representative.
My initial thought was to try for an all-British production. There are so many talented UK actors around us and most would instantly "get" the references and Victorian sensibility. Another thought was to go with a variety of international physical types for maximum talent and visual variety. A third concept was the unknown magical "something" that would present itself on the fly. Finally, I ended up with a combination, hopefully casting the show with actors that I thought would give the best to their respective roles, as well as providing a pleasant working relationship for all. It was a tough decision because so very many good actors came out, many of whom I could envision in the various roles. Ultimately, this varied ethnic and physical-type cast will, I think, give a great hazy shading to the line between what is "normal" and what is not. ("No, you guys, I did not just call you 'funny-looking'!")
Another consideration: like many of you, I seek to avoid "drama queens", those who thrive on incessant strife and high tension, when I am directing. No matter how talented they are, if they make the whole experience miserable (and, believe me, it only takes one potent skunk to put a pall on the picnic!), something will suffer in the productions as well. Fortunately, this wasn't such a problem in this casting process.
I love the process as well as the result (almost more), as do many of you, so . . .
yay! I found my cast of talented, hard-working, and amiable E-Players!
Joseph Merrick- the ubiquitous Bob Werley
Dr. Frederick Treves- popular and versatile Noel Adams
Mrs. Madge Kendal- actor-teacher-director beauty and opinion maker Rachel Walzer
Dr. F. C. Carr-Gomm- the everpresent and supermobile Tim Knowles
Ian Platt plays the two-faceted tour de force of Ross and the Bishop
The Pin Sisters (and assorted royalty)- the intelligent and true blue-blooded Nicole Dickson, Rohini Deblaise, and Sarajean Rossitto
Rudolph McCollum- talented and handsome Rudy steps down from the silver screen (first two Pirates of the Caribbean films) to trod the boards as the Belgian Pin Manager, London bobbie, and Snork, friend of Merrick.
Rounding out the ensemble is Ron Scott, fondly recalled as the scene stealing inebriate in TIP's recent production of The Pirates of Penzance. This energetic character actor plays the fiscal scamp Lord John, as well as the Belgian policeman, and Will, the well-sacked orderly.
What a cast! What a show! What fun! So, now to untangle the schedules of this writhing mass of busy bees and let all have rehearsal time to work their respective and cooperative magics!
Why This Play?
The Elephant Man is one of ten or so plays, the most well known, written about the life of Joseph Carey Merrick (1862-1889). It parallels the popular book by noted eclectic sociologist Ashley Montagu, The Elephant Man: A Study in Human Dignity (Lafayette, Louisiana: Acadian Publishing House, 1971), which, in turn, had been based on the noted Victorian surgeon Frederick Treves' memoir entitled The Elephant Man and Other Reminiscences (London 1923). The play reads somewhat like a film script; it is a finely drawn series of complete vignettes. Nonetheless, the story unfolds of a cruel world challenged and redeemed by the unconditional love and inexplicable forgiveness of one man dealt the harshest of fates: that of a romantic soul trapped in a frighteningly distorted body. The play is sad, yes, but contains copious moments of humor, insight, human drama, and inspiration. Ultimately, the memory of Joseph Merrick is honored and celebrated a century later.
This elegant play has needed to be performed in English in Tokyo for some time. With talented performers, a supportive board of the well-regarded and longstanding (begun the year Joseph Merrick died!) Tokyo International Players, and a fresh collective energy to present the best of American Broadway for the 2007-2008 season, that time is now!
And so, The Elephant Man will be the first show for the Tokyo International Players upcoming season, opening on October 12 and playing for five performances (7:30 pm Oct. 12, 13, 14, with 2:00 pm matinees on Oct. 13 and 14.) We anticipate strong community support and a positive reception with this truly entertaining, educational, and inspirational offering. Spread the word: the "Elephant Man" is coming!
This elegant play has needed to be performed in English in Tokyo for some time. With talented performers, a supportive board of the well-regarded and longstanding (begun the year Joseph Merrick died!) Tokyo International Players, and a fresh collective energy to present the best of American Broadway for the 2007-2008 season, that time is now!
And so, The Elephant Man will be the first show for the Tokyo International Players upcoming season, opening on October 12 and playing for five performances (7:30 pm Oct. 12, 13, 14, with 2:00 pm matinees on Oct. 13 and 14.) We anticipate strong community support and a positive reception with this truly entertaining, educational, and inspirational offering. Spread the word: the "Elephant Man" is coming!
The Director- Who Am I?
I'm Hamilton Armstrong, an actor, director, and teacher from New Orleans, Louisiana. For the last twenty years (from August 1987), I have lived and worked in Japan. I teach Acting, Social Justice, Public Speaking, and a variety of ongoing literature, women's studies, popular culture, and diaspora studies seminars at Aoyama Gakuin University in Shibuya and Sagamihara. With a Master's degree (MFA) in Acting and Directing and a PhD in Theatre Theory, Criticism, and History, it is fair to say that I have really immersed myself in learning all I could about "the communal art".
In the early 80s, I was dancing with a contact improv dance company, teaching at a cooking school, managing a restaurant, running my own catering company on the side, and getting cast in musical after musical: Grease, South Pacific, Godspell among others. Even young and energetic, I got fried on all that physicality quickly and began to exercise my acting chops by taking on, first, comic and then, soon, a string of dramatic roles. In fact it was the deaf mute role (I signed the whole show) in Elizabeth Swados' The Runaways that got me into the Resident Acting Company that supported my Master's work. From there it was my interest (and an offshoot of my work with deaf and blind young adults) to attempt roles that had a kind of physical challenge for the performer, especially those depicting a disability. In 1985, I was very lucky to be cast in the eponymous role in the (then) new Bernard Pomerance play The Elephant Man, a retelling of the life of Joseph Merrick, a man born during the Victorian period with the extremely rare (less than 200 cases in recorded history) genetic mutation called Multiple Neurofibromatosis or "Proteus Syndrome". Flexable, slim, and decidedly not hideously deformed, it was a good learning role for this young actor. A huge challenge and one not supported by the relatively little dramatic work I had done. Happily, it provided me the best reviews of my career, thanks to a wonderful director, a stellar supporting cast, and a handsomely conceived production in one of the great classic community theaters in the United States, Le Petit Theatre du Vieux Carre, located in the heart of the New Orleans French Quarter. I was so fortunate and, naturally, forever enamored of this beautiful gem of a play.
In the early 80s, I was dancing with a contact improv dance company, teaching at a cooking school, managing a restaurant, running my own catering company on the side, and getting cast in musical after musical: Grease, South Pacific, Godspell among others. Even young and energetic, I got fried on all that physicality quickly and began to exercise my acting chops by taking on, first, comic and then, soon, a string of dramatic roles. In fact it was the deaf mute role (I signed the whole show) in Elizabeth Swados' The Runaways that got me into the Resident Acting Company that supported my Master's work. From there it was my interest (and an offshoot of my work with deaf and blind young adults) to attempt roles that had a kind of physical challenge for the performer, especially those depicting a disability. In 1985, I was very lucky to be cast in the eponymous role in the (then) new Bernard Pomerance play The Elephant Man, a retelling of the life of Joseph Merrick, a man born during the Victorian period with the extremely rare (less than 200 cases in recorded history) genetic mutation called Multiple Neurofibromatosis or "Proteus Syndrome". Flexable, slim, and decidedly not hideously deformed, it was a good learning role for this young actor. A huge challenge and one not supported by the relatively little dramatic work I had done. Happily, it provided me the best reviews of my career, thanks to a wonderful director, a stellar supporting cast, and a handsomely conceived production in one of the great classic community theaters in the United States, Le Petit Theatre du Vieux Carre, located in the heart of the New Orleans French Quarter. I was so fortunate and, naturally, forever enamored of this beautiful gem of a play.
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