In the rolling hills of Scotland

We have 3 performances left.  Friday and Saturday, April 19th and 20th at 8pm and Sunday April 21 at 3pm.  For Tickets click HERE. 

It's that time in a director's process when letting go of the show is the only thing left to do.  Allowing the show to fly on it's own... That is the hardest part of the journey.  Yes,  there are those niggly problems and former rehearsal issues I now see the obvious resolution for.  But, it is not the time to make changes. Yes, there are actors who have still not applied all the given directorial notes.  But, that is one of the challenges of educational and amateur theatre.  Yes, I still pass on my views and comments to the Stage Manager.  But, he is the one who needs to pass them on to the actors.

I must admit to still watching certain scenes from the catwalk.  The best view in my opinion.  Like I told my cast, I kind of have a 'Zeus' / original CLASH OF THE TITANS moment, watching the humans move about the tragedy of sorrow in life below me.  I can see a complete and beautiful view of this tiny moment in the grand scheme of their existence.  I almost wish I had been able to direct from this angle.

Final rehearsals were challenging.  Stressful.  Tiring.  Even frustrating.  

New aspects of external atmosphere       (set changes, sound, lights) were added daily, so it was an ongoing adjustment period.  Some adjustments were easier than others.  But, one clear thing was that the cast was incredibly bonded... amazing to watch this closeness and how it manifested onstage.   One moved, another moved.  Balanced.  Even.  Focused.  If an actor was missing, the ensemble worked so well, that the missing actor wasn't actually 'missed.'   We could 'see' the missing actor in their eyes and their focus.  Amazing for a student cast.   It is clear that the Laban and Viewpoints worked.  I am thrilled that this cast pulled together and worked as a single unit.

Sure... There are some individual issues that are not quite what I envisioned:  Actors not applying all my notes... supporting actors taking far too many dramatic pauses... making it all harder than it needs to be... But, if I have learned one thing about directing educational performances --- choose your battles.  Some are worth demanding and fighting.  Some will alter the integrity of the cast and overall performance, so it is sometimes better to accept what you have and run with that.  Overall, the show is about 95% to my concept.  All the same, I am ecstatic with the result.  I couldn't have asked for a better and more dedicated cast.   

Now, the show is up and open to the public.  Out there for all to see.  Onstage emotions are raw; they are honest;  and patrons are appreciating that.  Theatre colleagues and other knowledgeable theatre professionals have been truly complementary in their feedback.       Even the few critical comments we have received from them have been truly helpful and more than valid.  And, all of what they have said critically, was expected.  We knew our limitations.  Technically AND 'techniquely'.  It is never easy to balance a cast with varied levels of ability -- beginning through professional level actors.  Oh, the challenges ... and beauty of educational theatre.  I love it!

Yes, we have also had one individual make some not so nice comments about the show, the set, the costumes, the actors, the direction, oh... everything.  Well, for my 'student' cast that must also be a learning experience, as well.  Everyone has an opinion about other people's creation of art... particularly if they are unable to create such art, themselves.  If they are insecure in their own abilities and artistic creations, then they tend to be overly critical of others.  

A few days before the show went up, I was asked if I wanted to write a director's note.  I thought... what else do I have to say?  I tried to write about my personal connection.  I tried to discuss my approach to the show. I tried to write about the actors.  I couldn't process the words.  I have said so many words, cried so many tears in the last several weeks, that I literally couldn't put a cohesive sentence together.  What do I have to say that the show doesn't already?  It speaks for itself.   And, it needs no excuse.   Whether you love it, whether you hate it, whether it makes you cry, whether it disturbs you, whether it uplifts you... Or, whether it does all those things to you, as it does to me... That is the point.  It invoked a feeling, an opinion, an emotion and that is what art is about.  

We are Clark State's Production of WOMEN OF LOCKERBIE and we are proud and humbled by our very own piece of art.  Please come see it.   

Some Facebook Posts and comments on the Women of Lockerbie...

Amy Meadows Berry  -- 

Congrats to Troy M Berry, Lisa Howard-Welch, and all the cast and crew for a wonderfully moving performance of The Women of Lockerbie! 

Jacinda Kate Bridger  -- 

I went to see Women of Lockerbie last night in Springfield at the Clark State Performing Arts Theater.
It was....incredible. I cried through the whole thing, left a little mentally exhausted, but it was amazing. Felt like someone else knew exactly how I grieved when I lost my Aunt Mary. The show was spectacular, the actors were wonderful. Kudos to you all!

Vanessa O'Kelley -- 

I saw Lockerbie last night. Your cast did an awesome job with really tough material, and the set looked great! Congrats!

Jeff Purvis -- 

Last night I had the opportunity to see "Women of Lockerbie" at Clark State. First of all, tremendous kudos to Lisa Howard-Welch and her cast for putting on such an amazing performance. Second, the show itself is incredible. It's such raw emotion, anger, fear, grief, and loss that it has the audience reeling the entire time. I would love to see this show again and would actually love the opportunity to perform it. If anyone has not seen this show, and may find themselves with free time next weekend, please catch this show at Clark State. You will not be disappointed.  It would be a great shame to not see this show. The acting was fabulous and the direction was wonderful. It was easily one of the best shows that I've seen in a long time. It's not often that you find a show that is so powerful that it leaves you feeling emotionally raw at the end, but in a good way.

Choices...

 "Our Lives are made of choices that determine our fate each with a consequence we cannot see... Choices.  Such Little Choices..."
 

When I walked into this project, I knew very well what I was getting into.  Was I ready for it?  No.  Nope.  Absolutely not.  Oh, I had done the research... I had done the analysis... I knew the script.  What I didn't know, was 'me' in the middle of this project. But, I put on the 'I can do this' face and jumped right in.  I was in the eye of this great storm, attacking  my own choices head on. 

It has been extremely difficult to work through this journey.  But, I have been blessed with a cast and team who have been fearless and jumped off every cliff edge I have put in front of them.  They have committed.  They have trusted.  They have supported each other, as well as Geoff, TJ, Haley and I with a bond and trust I have never experienced within the realms of a local, educational show.  A show with a variety of experience and ability and techniques.  We have the professional level actors such as Patti King, Angie Timpone  and Troy Berry -- Trained, highly experienced and full of the ability to mentor.  We have the drama student in training in Leah Schulz -- Bright and energetic, willing to try anything.  We have the usually backstage technician  / wanting to be onstage guy in Jon Owings -- So dedicated and into every part of this production.  We have the retired school psychologist, now theatre student in Paula Arter.  And, the 'try anything and give her all' science grad student in Michelle Graham -- A young lady with few shows behind her, but much enthusiasm.  Always a challenge to mix experience and cast levels.  But, with this group, it worked.  

We have deconstructed the show and worked it.  And, worked it again.  We have evaluated and experienced and explored until we could do no more.  Now, we have brought all those pieces back to the table and taken each one, turning it around in every possible configuration to find the correct spot to put it all back together and get the great big picture.   As we move into the final clean-up rehearsals... and, watch the set assemble and become one small corner of the hills of the Scottish lowlands... we see sparks of the final product come to life. 

Two more rehearsals and then tech.  And, then we will truly meet the Women of Lockerbie.

The Journey has begun...

Rehearsals, Rehearsals, Rehearsals...

I have been so busy actually working on the show in 'real time', that I have neglected the blog somewhat.  The cast is settling in to character and the text beautifully... so much so, that this longer educational schedule time frame is probably not necessary.  All the same, I am trying to fill the schedule with plenty of character, dialect, technique and table work to allow the actors the best possible opportunity to give a great, enriched performance.

The actors are making so many discoveries right now.  Everyday is filled with a text, a facebook message or a comment at rehearsal about what they 'now see', an exploration that resulted in a new series of choices they can make, or an interesting tidbit about their character or the show.  

Because of the nature of this show (and my personal connection to the history this show is based on),  it is becoming clear that my blog posts will likely be erratic, at best, and probably more personal in content... so for more immediate updates, check out and 'LIKE' the Women of Lockerbie facebook page .  Photos, research, and comments will appear there. 

Many people have asked me recently if directing this show has affected me.  Well... I won't pretend this has been an easy rehearsal period for me, as I delve back into my own past and explore my own past choices which have brought me to this place in my life today.  It hasn't.  In fact, it has been harder than I anticipated.  Honestly, I have been torn in the emotions I have had.  Sure, it would have been kinda sad if my pregnancy situation was different and I had indeed boarded that flight late that afternoon in 1988.  My life would have been over, my daughter's would never have begun, my family's lives would have been changed forever.  And, then all the things I have done over the years, the projects I worked on or created, the people I have met ... none of it would ever have happened.   Some people might not have known others,  W. Shakespeare & Co would never have been created, and my return to theatre --- Streetcar, Much Ado, Midsummer... and this show --- would never have happened.  Well, things would have been very different.


I have never been afraid of dying.  In fact, I traveled back and forth to the UK so many times every year, that a highjacking, a plane crash, an 'act of God' was a possibility... well, I always felt that if it happened, I would deal with and embrace the outcome as necessary.  I didn't believe in worrying or focusing on the constant threat of the unknown.  Death was another journey and adventure to explore.  And, I do love an adventure.  I believed that you just live the life you have and make the most of it.  When it is time that it is over, just hope that it has been genuine, good and lived with integrity. 

 So, yes... It has affected me.  I find myself near to tears during some of the scenes, as my cast breathes life into this show.  I physically hurt as I watch films with scenes depicting a plane breaking up in mid air.  My tears and pain are not because I might have made a different choice, but because of so many who did lose their lives and the tragic and horrific way in which they did.  I know, it is a very 'method' approach, but for me... I see no other way to 'attack' this show. 

Yes, so many 'new age' theatre people and students talk of 'this' new technique and 'that' innovative, fad style of acting, all while criticizing the 'old school' and fundamental methods and explorations.  Oh, do not get me wrong --- we have to acquaint ourselves with all the great (and not so great) performance ideas out there.  Elements of some might work for you, while aspects of another will not.  But, as I was taught in drama school, it is better to explore many different techniques and use, discard or combine those which work for you.  Or even as one great actress and teacher told me -- 'Technique? Oh please.  Absolutely not, Lisa.  Do not restrict your creativity to another's view of how to play a role.'    Use and adapt to find what works for you.  But, that is a completely different blog post.  

Now, our journey continues, as we move into the deconstruction of the show and explore the flesh and blood of the story.  It will be challenging, but it will also be worthwhile when we arrive at the other side.  

Onward...

Here we go... Casting is Complete

Casting is complete.  We saw a number of talented and wonderful people, for very few roles.  As you may guess, the decision was difficult.  Many thanks to all who came out to audition and share their talents. 

The casting for most roles was extremely clear from the start, but there were a couple that sent us back and forth for quite a while.  All the same, here we go...

Madeline Livingston - Patti King
Bill Livingston -  Troy Berry
Olive -   Angela Timpone
Woman 1 -  Paula Arter
Woman 2 - Michelle Graham
Hattie - Leah Schultz
George Jones - Jon Owings


The Ensemble will be assembled in March.  If you were not cast and would still like to be considered for Ensemble, then please contact Lisa at Lisalhw@att.net ASAP.  

To accept or decline your role, you MUST e-mail Lisa at lisalhw@att.net by 9pm Saturday, February 2nd. 

The initial TABLE READ will be Wednesday, February 6th at 6:30pm in room 235 (2nd floor of the PAC / Turner building -- take elevator from the Turner lobby up to 2nd floor.)  No conflicts were given for that date, so FULL CAST SHOULD ATTEND.

The full rehearsal schedule will be available at the first rehearsal, along with your rehearsal packet.   Please bring the following with you to the Table Read:

• Any final CONFLICTS or adjustments to those already given.
• A typed BIO for inclusion in the program.

Be sure and watch this blog for more research and show information as the rehearsal process progresses!  You can also check out my Pinterest Lockerbie Board, which has a selection of relevant photos, videos and documentaries on the tragedy.  

It's About that time... AUDITIONS

Auditions are now just a few short weeks away and it is time to think about what I will be looking for and what the audition process will be like. The initial directorial meetings have been undertaken and the team assembled.   All is moving along well, as we proceed into casting this powerful show.  

Yes, this is a show that is performed a lot.  Yes, the playwright has put a few limitations on concept and style.  And, Yes, a lot of this is very restraining for those attempting to tell this story in a new way.  We are challenged by all these factors, but we will be looking at the script with fresh eyes and in a way that will allow us to explore this story in a new way.


I had planned to get this post out there sooner, but a decision (Thanks Jacinda and Geoff) to squeeze in another show before auditions kind of backfired on me. When I auditioned for the Dayton Theatre Guild's production of Henrik Ibsen's GHOSTS, I really didn't think I would be cast.  I just thought, 'Hey, I would love to work at the Guild in the future and I'll go and read and get to know some people there, so I get past the 'first time auditioning at the Guild thing' I always here about.'  Then when the script was placed in my hand after call backs, my shocked brain figured.... 'It's a quick 4 to 5 week rehearsal period and won't eat my life', 'I'll be in production for 3 weeks prior to auditions for Lockerbie and have plenty of time to take care of administrative stuff', and ' Hey it's Realism and that's what I do...'  What I wasn't prepared for was the fact that I'd forgotten Ibsen was somewhat of a zombie and he would eat my brain (as he and Chekov did when I was in college) and that now at 50, I don't digest text and character as quickly as I did when I was younger.  Or, the emotional rollercoaster this character would take me on.


So, before we get into the experience of LOCKERBIE, why not drop in and see GHOSTS at the Dayton Theatre Guild.   Tickets can be secured here.The cast has been amazing to work with.

Now, enough about that and onto the task at hand...

I have had a number of people asking questions about what I am looking for in the actors I will cast in this production of WOMEN OF LOCKERBIE.  Well, let me try to answer that by discussing the characters within the show.

 
THE ROLES

• MADELINE LIVINGSTON - 35 to 50's --- A suburban housewife from New Jersey. Her 20-year old son Adam was killed 7 years ago in the Pan Am 103 crash over Lockerbie, Scotland.  The actress chosen for Madeline will fall into that age range.  She will need to express both subtle and explosive, raw emotion.  She is American so does not require a Scottish accent.  She and her husband Bill have been living the same, but parallel  lives since the tragedy.  In other words, they can't seem to find a common ground, they are at a breaking point.  Whatever happens on their visit to Lockerbie will either end them or bring them together.

• BILL LIVINGSTON - 35 to 50's --- Her husband, father of Adam.  The actor chosen for Bill will have a strong vocal ability and will fall into the age range listed, but be balanced with the woman chosen for Madeline.  He is American. He is suffering just as Madeline is and while she is searching for some aspect of her son, he is desperately searching for the wife he once knew.  The two of them are travelling on different planes of the same life and are finding incongruities all along the way.  He is heartbroken over his son's death, but he is doubly affected as he has also lost his wife.

• OLIVE ALLISON - 35+ --- Woman from Lockerbie. Leader of the laundry project. The actress chosen for Olive will be required to have a strong, clear Scottish dialect.  She, too, has a strong connection to the tragedy, having lost her daughter and husband to falling debris.  She is reconciling her feelings of dislike for Americans and their policies, which she feels provoked the attack and her understanding of Madeline's pain.  She has yet to resolve her feelings on the loss. 

• WOMAN 1 & 2 - 20+ --- Women from Lockerbie. The Women chosen for these roles will also have Scottish accents and need to carry the show as they, along with the Ensemble, are the title characters.  They will be strong vocally and handle much of the symbolic aspects of the show.  It is likely I will choose actresses who can sing for these roles, as I would like to use live versions of Scottish folk songs, sung by these women during portions of the show. 

• HATTIE - 18+ --- A cleaning woman. From Lockerbie.  Though written for an older woman, I am open to casting a younger woman, providing she has the timing, technique and feisty attitude needed to play the role.  She is the only one clever enough to be able to facilitate the release of the clothing to the women.  She requires a Scottish accent and is typical of the British 'char woman' seen in so many British shows and films.  

•  GEORGE JONES - 20+ ---  The American government representative in charge of the warehouse storing the remains from the Pan Am 103 crash.  This role is a pivitol one, requiring an American accent.  He is seen as unfeeling, just wanting to get the assignment over, but we must be able to see the gentle side of him, which is eventually turned.  

•  ENSEMBLE - 5 Women,  all ages --- These are the women of Lockerbie, as well as representations of the daughters, sisters, mothers of those killed in the tragedy.  The women chosen for this group will be an integral part of the performance, yet appearing only in a few scenes toward the end of the play.  There are no lines and actresses chosen for the ensemble will not be required to attend rehearsal until March. 

 THE AUDITION BASICS

• DATE -- Tuesday, January 29 and Wednesday, January 30  7pm
• WHERE -- Turner Studio Theatre at Clark State Performing Arts Center, Springfield
• WHAT TO BRING -- Resume (or list of experience), Headshot, 1 minute Contemporary or classic monologue,  List of all potential conflicts from January 29 to April 21.  
• SINGERS -- If you sing, and would like to be considered for Woman 1 & 2 (the roles who are likely to sing during aspects of the show), please bring a prepared accapella song to sing during your 1st audition.  

WHAT TO EXPECT
Auditions will be held in the black box space that we will be performing in, the Turner Studio Theatre.  You will need to park in the parking lot on S. Limestone Street, just across from the Turner entrance.

On Tuesday -- There will be a sign in table in the lobby, where you will pick up an Audition Form and an information sheet.  Actors will be sent into the theatre in small groups, in the order paperwork is turned in.  Once there, you can expect to perform your prepared monologue and do a little reading from the script.  I will be listening to vocal quality and dialect potential, as well as observing physical movement.  Once each group is finished, you will either be released, released and called back for the next night's official callbacks or asked to stay and read a bit more.  If you are called back, you will be given a script selection to take home and read over for the next night.

On Wednesday -- This audition session will primarily be taken up with Call Backs; however, if new auditionees attend, we will see them first.  In the call back session, you will be asked to read the selection you were assigned, as well as additional readings.  Some improvisation may be asked of you, as well as some vocal exercises to determine Scottish dialect potential.

CASTING
This is always subject to adjustment, but we are hoping to cast the show that evening, posting the list on the facebook audition event page and on this blog by Friday, February 1.  Many things will be taken into account for casting --- Actor chemistry, vocal quality, technique, rehearsal conflicts.  Those cast will be asked to accept or decline roles no later than Saturday, February 2, via e-mail.


THE TEAM
Now that the team has been assembled, I can officially announce it.  More information about these individuals will be available once the cast has been confirmed.

Lisa Howard-Welch, DIRECTOR
Haley Justice, ASSISTANT DIRECTOR
Geoffrey Moss, STAGE MANAGER
Dan Hunt, LIGHTING DESIGN
Debbie Henderson, COSTUME DESIGN
Geoffrey Moss, SET & SOUND DESIGN

 

As always, if you have any questions or require an alternative audition time, please e-mail me at lisalhw@att.net.  I am also happy to take resumes and photos via e-mail, as well! 

24 years on... A new Journey begins...

It was a cold Wednesday in London.  21 December, 1988.  A group of theatre and study abroad students were getting ready to fly home from an exciting term abroad.  Their bags packed with gifts for family, british snacks they had come to like, play scripts and programs acquired attending the best of the RSC and West End seasons and many, many pieces of clothing...  You know how Americans tend to over pack when going to study abroad... well, I always did anyway.  You never knew what the occasion would call for -- cocktail, casual, jeans. For me, the early weeks of that December were spent awaiting my doctor's authorization to fly --- I lived in the UK and wanted to go home to spend the holidays with my family and friends.  I was nearly 8 months pregnant, with complications and, because of this, I had two flights booked.  One on the 19th.  And, one on the 21st.  Both on Pan Am.  We had those pesky 7 day minimum stay requirements for the cheaper flights and my doctor was undecided about which of the two flights he would sign the 'safe to travel' note for.  Both were close to my 36 week travel deadline, but one would definitely put me into that 'no fly' zone.  I wanted the later flight.  I had really wanted to 'do tea' at Liberty on my birthday and spend the day with Andy and friends.   In the end, it was decided I had to travel on the earlier flight, so that I would be home in the UK in time for my next consultant appointment... It was a frigid Wednesday in Ohio.  21 December, 1988.   I had arrived in the US just a little more than a day before.  I was engrossed in conversation with one of my best friends, having a long awaited lunch gossip session and then the news blared across televisions around the world... A plane traveling from London Heathrow to New York JFK had exploded in the skies above the little southern Scottish town of Lockerbie, Scotland.   From that day, this has haunted and affected me...  as it did so many others.  I have never had a day since, that I haven't thought about the tragedy; what could have happened; the victims; that little town in Scotland; those American theatre students, so young, so talented, so excited about being in London, and more excited about going home for the holidays to share their incredible study abroad experience with their families... just waiting for their lives to begin...  So, 24 years later, when I was asked to direct WOMEN OF LOCKERBIE for Clark State Theatre Arts Program, I was excited.  I had never really been forced to look deeper into how I really felt about everything surrounding 21 December, and being the super detail oriented, immersive director I am, I knew this was one show I HAD to do.  And, do right.  And, so... while auditions are still a comfortable 4 months away, it is time to explore the many facets of history surrounding the tragedy, as well as begin the journey to understanding that my cast and I will undertake during the process of the show.  Over the next few months, I will be posting many things:  my thoughts about the show, ideas for concept and vision, what I am looking for in my actors, as well as historical information such as photos and videos.   With that said, it is time to begin this new journey.  And, we will do that with the basic audition information.   In the meantime, if you have any questions regarding the show or auditions, feel free to contact me via e-mail.  You can also find me on facebook or twitter.   Clark State Theatre Arts Program  Presents Women of Lockerbie  by Deborah Brevoort Directed by Lisa Howard-Welch AUDITIONS January 29, 2013 7pm Callbacks - January 30, 2013 7pm WHAT TO BRING - Actors should prepare a one minute dramatic monologue from any period play. - Headshot and resume recommended. - List of schedule conflicts from February 5 through April 21, 2013. PERFORMANCES Performance dates - April 12 to 21, 2013 Clark State Performing Arts Center Turner Studio Theatre ABOUT THE PLAY From Dramatists Play Service, Inc. "A mother from New Jersey roams the hills of Lockerbie Scotland, looking for her son’s remains which were lost in the crash of Pan Am 103. She meets the Women of Lockerbie, who are fighting the US Government to obtain the clothing of the victims found in the plane’s wreckage. The women, determined to convert an act of hatred into an act of love, want to wash the clothes of the dead and return them to the victim’s families. The Women of Lockerbie is loosely inspired by a true story, although the characters and situations in the play are purely fictional. Written in the structure of a Greek tragedy, it is a poetic drama about the triumph of love over hate." AVAILABLE ROLES Casting will not be restricted to ages listed MADELINE LIVINGSTON - 35 to 50's A suburban housewife from New Jersey. Her 20-year old son Adam was killed 7 years ago in the Pan Am 103 crash over Lockerbie, Scotland. BILL LIVINGSTON - 35 to 50's Her husband, father of Adam. OLIVE ALLISON - 35+ Woman from Lockerbie. Leader of the laundry project. WOMAN 1 & 2 - 20+ Women from Lockerbie. HATTIE - 18+ A cleaning woman. From Lockerbie. GEORGE JONES - 20+  The American government representative in charge of the warehouse storing the remains from the Pan Am 103 crash. For more information about the production or Clark State Theatre Arts Program please call 937/328.3880

Dark Elegy