Closing the Social Distance

An image of Sophie sitting by her computer

by Charisse Baxter, dramaturg

An image of a drawing of two victorian women

For Oscar Wilde’s Victorians, ‘social distancing’ was a very different idea from the one we’re dealing with today. It wasn’t physical – theaters and other entertainment venues were packed, people lived on top of each other in tenements, boarding houses, and even servants’ quarters – but it was (as with us) very much a feature of how they saw the world. Their view was that, while the social classes might rely on one another, they should only interact as little as possible, and should never mingle. There was an entire subset of people known as “social climbers”: merchants and businessmen with lots of money, gentry and lesser aristocracy without so much money but with looks and charisma, and innovators and scholars without titles who knew they needed influence in order to make progress. The so-called “upper class” looked down on everybody, most maintained their status in the upper-, middle-, or lower class, and a few tried to bridge the gaps. Today, well... wear a mask, wash your hands, and keep your (actual) distance – no matter how much money or expertise someone you meet might have! [caption id="attachment_7552" align="alignright" width="234"]

Lord Goring checking in[/caption] Also today, as in the 1890’s, the show does – and will – go on. Theatre has always been a showcase of creativity and adaptation, and the pandemic swerve includes live-streaming productions where actors have largely rehearsed in isolation. Some groups have, like sports teams, created a ‘bubble’ for the cast and crew to live and work in; most have stretched Zoom to its fullest capacity. (What a time to be a tech communications company, eh?) Others have branched out and explored what could be done with CGI and gaming platforms. Here at BYU, we have put some very talented designers and programmers to work using Zoom, YouTube, and Discord and built a show while all involved have stayed safely at home. [caption id="attachment_7549" align="alignleft" width="165"]

Lady Markby gets the tea[/caption] [caption id="attachment_7550" align="alignleft" width="165"]

Her setup is quite distinguished.[/caption] Actors have created work and performance spaces in their family homes, apartments, and dorm rooms; they’ve gotten creative with lighting and levels and costuming while learning how to do stage makeup from specially-designed online tutorials. They’ve figured out how to mix film acting with stage sensibilities, and how to be funny, moving, and present in a scene while actually talking to a pinned-up picture, a stuffed animal, or kitchen utensil. They’ve handled their own set design as well, setting up green (and blue) screens and coming to play through a back-lit window. What you’ll see in the online performance is definitely bigger on the inside – and we’re thrilled to have you join in as audiences adapt to new ways of attending the theatre, and bridging the social distance, along with us. [caption id="attachment_7551" align="aligncenter" width="505"]

The Vicomte De Nanjac minds the gap[/caption]

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An Ideal Husband

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by Janine Sobeck, dramaturg Tech week is one of the most exciting moments in any show. It's the time when we get to leave our rehearsal room, move onto stage, and add all of the production elements. To help the actors adapt to all the changes we usually make a gradual transition. Pre-tech: While still in the rehearsal room, actors are given certain rehearsal props and costumes to help them in the creation of their characters. In the case of Princess Academy, all the girls were given rehearsal skirts and all the characters were given rehearsal books and and other items (such as the miri flower). We also added all of the instruments used in the show. Tech day 1: The first day of tech included adding the set and sound. One of the biggest changes for our actors is the ramps on our stage. They finally had the opportunity to climb the mountain! Tech day 2: It's time to add the props! In order to support Director Megan Sanborn Jones' vision of the show, prop designer Scott Jackson made all of the props out of paper, letters, and books. Tech days 3-4: This is what we call an "All Tech." The final elements of the show (lights, costumes, and make-up) are added into the mix. Day 3 is spent working through all the cues in act 1 and day 4 is spent working through act 2. Tech days 5-7: The time has come to run the show! These are our dress rehearsals, where the goal is to do the show exactly as if it was a real performance. This means starting at our normal curtain time and trying to never stop. The director, playwright, dramaturgs, and designers sit in the audience making notes about what is working and what still needs to change. At the end of the nights, the actors and designers are given feedback and we rehearse any moments that need some extra attention. Tech day 8: Which is today! Tonight is the time when we finally get to add the final element of the show: the audience! Our final day of tech is known as the "preview performance." Friends, families, and students are invited to see the show before we officially open. While we always reserve the right to stop the show if necessary (it is, after all, still a rehearsal), we hope that everything will go smoothly!

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Last week, A Midsummer Night’s Dream opened in the Nelke Theatre and it was a great success! Eric and I were pleased to be a part of the opening night and celebrate not only the opening night of the production, but also the 40th anniversary of the Brigham Young University Young Company. In order to set the tone of the evening, patrons were encouraged to check out the lobby display that Eric and I had created for the show. We chose to do a puppet making station, aptly named “The Mechanicals Puppet Making Station” where guests and participants could make their own puppet out of a sock or paper bag. Other craft supplies were provided for the participants—allowing them to use their imagination and create a unique puppet that they could take home. Creating such a lobby display, we hoped to provide patrons, and especially children, with an opportunity to use their imagination and create something special, as well as connect with the style of the production before seeing the show. The role of puppetry is crucial to this adaptation of Shakespeare’s Midsummer Night’s Dream—and we wanted to capture this and incorporate it whatever lobby display we chose. The actor’s hard work and rehearsal, as well as that of the production team, paid off—they did a marvelous job in telling the story of these loopy lovers and the adventures that take place in the magical forest. The puppetry skills and acting chops of the actors, the enchanting costumes, simple set design, and energy from the whole cast was thoroughly enjoyed by the very diverse and supportive audience. It was a packed house: if not sold out, very close. And this definitely contributed to the energetic feeling that pervaded the evening. Perhaps it was the presence of so many alumni from the Young Company that had come to support the production and celebrate the 40th anniversary of the formation of Young Company. Among the guests at the premier were Harold Oaks, founder of the BYU Young Company. Following the play, a presentation was made outlining and honoring the history and legacy of Young Company. Young Company has done an outstanding job for the last 40 years in providing quality theatre (adaptations and original works alike) for children that may not be exposed to the performing arts. A wonderful reception followed the presentation and was well enjoyed by cast and crew alike. A Midsummer Night’s Dream closes at BYU this Saturday, the 14th. Make sure to get your tickets soon and catch this unique production while you can! It will then go on tour throughout Northern Utah, presenting its whimsical and humorous message to elementary school children. Following are some images from the Opening Night Gala!

Closing the Social Distance

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