Author: Charleston Stage

I get to play three characters in this year’s A Christmas Carol, A Ghost Story of Christmas by Julian Wiles. Playing multiple characters is always fun and challenging and the important thing to do is keep them different. Costumes, wigs and makeup can help do this but the most important way to make them different is in your body language and voice. This is an important part of character development. For example:

The minister is an old man who moves and speaks slowly. Let’s give him a rounded back, a shuffled walk and a deliberate but shaky higher pitch voice.

Mr. Wiggins is Scrooge’s servant and his movements are quick and anxious. He physically bends to Scrooge’s level when in his presence. His voice is normal but shows a certain nervousness.

The Ghost of Christmas Present is a larger than life, confident and strong character. He is physically upright and energetic. His voice booms with purpose.

As you can see I am dealing with three characters that are vastly different from one another.  By concentrating on the physical differences I can develop characters which communicate in completely different ways. Now add the costumes, wigs and makeup and hopefully the audience won’t know that the same actor is performing these three separate roles.

Arranging Christmas Carol was an exciting new experience for me, since I’ve never done the same production twice with the same company.  Although, it is some of the same “arrangements” of music that I prepared last year, instead of using tracks (recorded accompaniment that I put together for last year’s show), Julian insisted that we use live musicians.

It is a blessing for a music director to be given the budget and means to hire live musicians and be supported by an Artistic Director who encourages their use.

Mr. Wiles and I decided, together, that the “sound” of the piece should lean towards strolling musicians…therefore, I had to choose instrumentation that would enable musicians to move (literally) onstage and still get a full sound.  I chose violin/fiddle and various reeds.  Most “reed” players can double.  This means that they play mulitple instruments for one production, since they have that capability.

I have hired a fabulous reed player – Jason Bellack – who played FOUR instruments for our Hairspray pit, and Andrae Raffield as our fiddler.  I’m excited to see what life they can bring to the production.  I, myself will play guitar and piano.  Every rehearsal is kind of a juggling game for me, since I’m hopping from piano to guitar, trying to listen to the singers and take notes, and being responsible for all the sound effects in the show (and once you see the show, you’ll see there’s a lot).  The sound effects and recorded music is all chosen, edited, and mixed by me; input into a computer program, and played throughout rehearsal.  I have to adjust volume levels as we go, take notes on changes, and make those changes outside of rehearsal.  I’ll be glad to get the show up and running so that I can just be a guitar and piano player.  Of course, I’ll always be listening for adjustments, but what Music Director can turn their ear off?

In order to arrange the live music, I had to refer to my piano versions of the music I wrote/arranged last year and pull it apart so that certain harmonies and melodic lines were sure to be played by one of the 2-4 instruments making music.  This process was not as hard as I thought.  The opening and the closing were the biggest challenges.  We also have actors – many of our VERY talented youngsters in Troupe and Theatreschool – playing percussion.  I think audiences will really enjoy this production with the return of live musicians!

Doing shows like A Christmas Carol are always great fun because not only do you get to portray characters that many know and love, but you are also bringing holiday tradition to many families who go to see live theatre this time of year. With that being said, it is a pleasure to be doing this particular show and role.

Fred is a true gentlemen who always has the best intentions. With Fred I always want his crisp amiability to be evident and to also make his positive attitude about Christmas infectious not only to the other characters onstage but to the audience members as well. Fred is kind, polite, and generous but above all he is caring. The thing that Fred wants the most starts with his broken relationship with his Uncle Ebenezer. Fred longs to have the close relationship with Scrooge that his mother had with him because  he cares deeply about family and the bond that he feels family should have, especially around the holidays. He not only wishes that he himself would have this relationship but he also wants to bring the two people he cares about most together to make this desire complete: his wife Caroline and his Uncle Ebenezer. Despite his uncle’s continuous rejection he believes in him and hopes that perhaps one day a transformation may be made. For me it is important to be very aware of these facts and feelings with every performance to make this charming Dickens character realistic and true to form. It’s not about acting onstage, it’s about living onstage.

A Christmas Carol has been a real joy to work on. Anyone who comes to see the production will not be disappointed with the never ending magic that Christmas can offer.

Charleston Stage Ensemble Member Gabriel Wright, a Man of Many Faces

Gabriel Wright joined Charleston Stage this fall as a regular member of the Acting Ensemble playing Luther in Hairspray.  In A Christmas Carol, A Ghost Story of Christmas, Gabriel plays not only Jacob Marley but also Pirate Billy Bones, Hatmaker Phineas Fezziwig, hard of hearing Mr. Cruickshank and the Butcher who provides Scrooge with the famous turkey “as big as Tiny Tim.”   “It’s all great fun,” says Wright, a recent graduate of the College of Charleston, “though I have some lightning fast costume changes.  In Julian’s adaptation, Marley not only comes to warn Scrooge that he better change but then appears as other characters to guide him along the way.  Having one actor play all these roles helps allow the shadow of Marley to be cast through the entire story.  I really enjoy roles like this because it allows me to grow as an actor.  Truthfully, you can never stop growing. You’re in the constant process of learning in theatre, whether it be from fellow actors, directors, audience members, crew or individuals who share an enthusiasm for the theatre.  It’s always great to keep yourself open to learn, especially when doing an exciting production as this.”

Gabriel Wright will also be appearing in Charleston Stage’s production of Blue in January.

From Cabaret to Clowns to Scrooge, Brian J. Porter One of Charleston’s Most Versatile Actors Takes on Scrooge

Brian J. Porter is fast becoming one of Charleston’s most noted actors, and we’re happy to have him take on the role of Ebenezer Scrooge this year.  Brian was seen as the Emcee in Cabaret last spring and most recently as one of the clowns, playing dozens of parts in Alfred Hitchcock’s The 39 Steps.  “I enjoy playing a wide variety of roles,” says Porter, “and I’ve certainly had a workout this last year.  In A Christmas Carol I’m down to one part but what a part it is.  In many ways this is one of the most challenging because most people come to this show with a pre-conceived notion of who Scrooge is.  My job is to make him not just a one-note miser, but one who is real and has many emotions.  Unlike most people, I’ve never actually seen a production of A Christmas Carol, so I didn’t really come to the role with a lot of pre-conceptions.  I’ve had great fun in finding what makes this old codger tick.  Hopefully audiences will enjoy and rediscover this great character with me.”

Before coming to Charleston, Brian performed as a professional actor in Memphis and in Atlanta as well as on a resort island in Michigan.  Brian was an apprentice at Playhouse in the Square in Memphis and has served as Executive Director for two non-profit theatres.  Brian is currently the Technical Director for Charleston Stage.

If it’s Christmas or almost Christmas then Charleston Stage must have a show or TWO ready for the holiday season. This is a really exciting year for me because I am directing The Best Christmas Pageant Ever and acting in A Christmas Carol. I have directed both of these shows multiple times and am always amazed at how different each production can be.

In Carol, I play Mrs. Tabor (Scrooges’ maid) and the Ghost of Christmas Past. After watching from the audience for so many years it is a great change to be right in the middle of the action. I am really enjoying working with so many actors who I have directed in the past. Half my cast of 39 Steps (Brian Porter and Beth Curley) are on stage with me and are using yet another accent. Marley is played by Gabe Wright who I met when I cast him in our season opener Hairspray. Watching him transform from the always energized dancer to Ol’ dead Marley has been just one of the surprises in store for me.  There are 20 young actors who I have taught in our TheatreSchool classes, some for many years, including my daughter Prentice who plays Belle. And just to prove, yet again ,that theatre is a very small world, Chris Edwards, who appears as my fellow servant and Ghost of Christmas Present, and I met performing in Christmas Carol in Tampa Fl. in 1991. To keep me on my toes our director and playwright, Julian Wiles, has re-written a lot of my dialogue so I have lots of new things to add. I think he may have done that to keep me busy so I didn’t try to help him direct. It worked, most of the time…

Come celebrate the season with us and see the beautiful Dock Street Theatre decked out for the holidays.

More than 30 young actors take the stage in key roles in A Christmas Carol, A Ghost Story of Christmas and The Best Christmas Pageant Ever.  “All of the young performers in these two productions come from Charleston Stage’s Education Programs,” says Marybeth Clark, Associate Artistic Director of Charleston Stage and Director of Education.  “Most have had several years of classes in acting, singing and dancing and all audition and were accepted into one of Charleston Stage’s Performance Troupes.”  These troupes (Theatricals for grades 4-5 and KidStage for grades 6-8) meet in weekly workshops to further develop their acting talents.  Each August members of these performance troupes are asked to audition for Charleston Stage’s MainStage and family productions.  Two of this year’s performers are indicative of the dedication, hard work and talent of all 45 members of these Troupes.  Josh McCoy who is playing Tiny Tim in A Christmas Carol has been in the Theatricals Performance Troupe for two years and played Ignorance in last year’s production.  “Acting is really magical,” says Josh.  “Getting to be on stage, knowing you are going to bring a smile or joy to someone because of what you do is why I love acting.”  Josh is 11-years-old and is home schooled.

Nine year old Alexandra Key plays the part of Gladys Herdman in The Best Christmas Pageant Ever and is already a seasoned pro having performed in two SummerStage musicals.  “I love playing Gladys and being a part of a great cast in a funny play,” says Alexandra.  “Performing at Dock Street Theatre feels magical.”  Alexandra has been taking classes with Charleston Stage for 3 years and has been a member of the Theatricals Performance Troupe for one year.  Alexandra is a 4th grader at Ashley Hall.

Though this is Charleston Stage’s 18th Christmas Carol, A Ghost Story of Christmas, we always treat this show as if it’s one we’ve never done before.  This year there are new scenic pieces, scores of new costumes, we’ll have strolling musicians on stage and there are even some new lines here and there.  Of course we don’t change everything (we always keep Scrooge and Tiny Tim) but each year we look for new elements to discover and explore.  This year, only one cast member is reprising a role they’ve done before and most of the cast are completely new to A Christmas Carol.  Our Scrooge, Brian Porter had never even seen another production of  A Christmas Carol.  This has made rehearsals this year especially delightful as actors rediscovered in a new light all of these beloved characters.  Walking in the shoes of these characters for the first time they’ve found new takes on these familiar faces.

And what characters these are!  Dickens’s A Christmas Carol has lasted all these years (his other five Christmas books are largely forgotten) because his characters are all too human.  He recognized their humanity and all their failings but also their potential for change.  He shows us that if an “odious, stingy old sinner” like Ebenezer Scrooge can learn to embrace his fellow man with generosity, perhaps there’s hope for the rest of us!  The belief that a new day can dawn for each us, that even in the depths of desperation and despair there is always a glimmer of hope, is a theme that runs through many of Dickens’s books and none more so than in A Christmas Carol, A Ghost Story of Christmas.

And so a new production of A Christmas Carol, A Ghost Story of Christmas dawns this year,  a production made even more special by its return to the beautifully restored Dock Street Theatre.  Now you will once more be close to the action—so close that I have no doubt you will bask in the warm glow of this timeless story.  Merry Christmas!

by Artistic Director Julian Wiles

As a kid, I remember watching Alfred’s Hitchcock’s The Birds on TV and being terrified of birds for the next week or so.  It takes an imaginative (and somewhat off-kilter) sensibility to turn something as innocent as birds into the horsemen of the apocalypse.  For in general, a Hitchcock film meant you were entering into a twisted world – whether it was Psycho, or Spellbound, or his spy films like Notorious or The 39 Steps.  In almost all of these films, an innocent somehow gets caught in some nefarious plot leading to amazing chases . . . ranging from the top of Mount Rushmore to, in the case of The 39 Steps, the tops of moving rail cars and the lochs and moors of Scotland.  In Hitchcock’s world, characters were sent dashing, often just ahead of danger, wherever his imaginative mind directed them.

The same sort of imaginative minds created the original stage production of The 39 Steps at the West Yorkshire Playhouse in England in 2005—beginning with the improbable idea of putting all of Hitchcock’s film onstage AND doing it with just four actors!  But that simple, wild and crazy idea created one of the most imaginative comedies in years—one that was a hit in London, then in New York (where it became Broadway’s longest running comedy) and then in theatres all over the world.  Audiences everywhere have delighted in the antics of the Monty Python/silent movie-like comic routines of the four tireless actors who bring this breakneck comedy to life with each performance.

Imagination is the heart and soul of theatre, and at Charleston Stage we have a team of over 100 actors, scenic artists, costumers and technicians working year round to give this great city the most imaginative productions ever.  That creativity is fueled by your ticket purchases and especially by your generous support.  We are heartened that, since we have returned to the Dock Street, ticket sales have grown and continue to grow with each production.  But your support, especially in our upcoming Annual Campaign, is critical to keeping the fires of creativity and imagination burning.

Thanks so much for your support of the imaginative work of Charleston Stage.  I know you will enjoy the creativity and off-the-wall hilarity of Alfred Hitchcock’s The 39 Steps.

 

 

 

An art aims, above all, at producing something beautiful which affects not our feelings but the organ of pure contemplation, our imagination. – Eduard Hanslick

Part of our mission statement at Charleston Stage is to share [our] talents with young people, teachers, and schools in the community; and inspire participants to celebrate their own creativity.  Imagination is such an important part of our childhood and our adulthood.  This may be the first theatrical experience for many children.  In a modern American culture where kids can easily be inundated with the special effects of movies, television, and internet media, we as theatre artists seek to push them to use their own imagination, which is a beautiful thing!  There is something magical about seeing a human actor transform into a dog or a cat, and cause an audience member to forget that they are actors.  There is something magical about believing that dogs and cats really do break into song and dance to express their feelings!  There is something magical about 450 people sitting together, being told the same story and laughing along.

You’ll notice that the actor controlling the puppet of Bunnicula is clearly visible.  It is my hope that audiences will use their imagination to accept the artistic medium of puppetry.  This magic allows us to believe that Peter Pan can fly across the stage without strings, and that Dorothy is truly carried by a tornado to Munchkinland.  Theatre is about magic, creativity, and escape from the realities of test scores, budgets, and the gravity that keeps us on the ground.

There are so many themes in this piece that range from the dynamics of friendship to the judgment and perception of other creatures before actually knowing them.  Is Bunnicula really a vegetable-juice-sucking-bunny-vampire?  Where did that music come from?!  WHY DID THE LIGHTS JUST GO OUT?!  

Don’t worry, its just theatre magic…

I encourage you to watch, laugh, listen, and take a journey with Harold and Chester into the mysterious tale of Bunnicula!!  Bunnicula runs October 15th at 7:30pm and 16th at 3:00pm at the Historic Dock Street Theatre.  Get your tickets today!