DIRECTING THE WEDDING SINGER, 2018
I was recently tasked with directing The Wedding Singer (a 1980’s pop musical) for local long standing company Queanbeyan Players.
As the director, I was responsible for selecting the other production team members (including the appointment of a co director due to my university commitments, I enlisted choreography, costuming, properties, backstage, stage management, lighting and sound) as well as adhering to proper recruitment standards for Queanbeyan Players when selecting them.
I was able to use my connections in the industry to staff our team with experts in their field, to come on board at a voluntary level. I managed the rights of the work in accordance to the regulations of Hal Leonard Australia (who own the rights to the material) and ensured the integrity of the script/libretto, whilst still maintaining my own creative license.
I ran auditions for over 100 applicants and worked with team members to select a cast of thirty three. Once cast, I wrote the rehearsal schedule for the cast, breaking downing the two act musical into manageable sections. I then managed each of these rehearsals, keeping them to time, directing the work that was being produced.
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An example of my ingenuity and comprehension of theatre management was displayed through my marketing strategy for the production. I managed the marketing side by utilising my connections to enlist a series of sponsors including; an appointment with Transit Bar and Karaoke Love to host a weekly 80’s music competition, local press, and a social media strategy and roll out.
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The show had many technical aspects that were considered high risk for the theatre (a 6 metre water drop onto an actress, hitting the stage floor while the company danced over it, for example). Each of these issues were analysed, discussed and solved between myself and the technical members of the Q theatre and our set design team.
In the example of the water drop I assisted the set designers with the design of the device so that we would only need to work with half a litre of liquid, as per the recommendation of the venue building manager. I arranged for working prototypes to be checked throughout the process and for the actress to be heavily involved so she understood her role in the success of the technical side of the effect.
I facilitated conversations between the committee of the theatre company, the venue manager, the building manager, the actors involved and ran specific technical rehearsals until this aspect was to the appropriate standard for all involved.
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One of my key achievements in this space was in developing a mentoring program for the company, enlisting a variety of first timers to be mentored under the roles of Assistant Stage Manager, Assistant Props Manager, Assistant Costumer- as well as our lighting designer who was mentored by myself and another lighting expert in the field.
My discipline specific skills in the field of musical theatre are of a high level and I relish the opportunity to pass on learning opportunities and growth for other members of my community. Each of these young community members were heavily entrusted and supported, with me as their direct managing director. I ensured they were each inducted, instructed and inspired to collaborate effectively on their aspect of our production. This served a number of important functions. The Wedding Singer ran well under budget due to our ability to enlist and up skill new people, who were working in a voluntary capacity. It allowed for a resourcefulness to occur meaning our production quality was very high- and we had extra money from the budget for the special effects. It created a sense of community within the company and acted as a breath of fresh air for the committee.
Our design process was as clearly thought out and strategised as our dramatic process. This allowed for the heart of our production to be shared by all participants and was a direct result of my initiative and my in depth theatrical comprehension.
I was the artistic and creative director but I was also tasked with technical issues, sound and lighting concepts, set and construction, the mentoring of our young members and dealing with a ten strong committee who were used to doing less risky shows.
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Critics reviewed the show in a highly positive fashion (click for the full articles).
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