THE SOUND OF MUSIC IS UNDERWAY The Players are delighted after six days of auditions to have a full cast for our spring show, The Sound of Music.
More than 170 auditioners competed for roles in this beloved
musical. Early rehearsals began mid-January for the adults and have
just commenced with the Von Trapp children. The roles of the
six children have been double cast, each to perform four times during
the run of the show. (To see the cast and crew, go to concordplayers.org
and click on "Season" in the left-hand column, and then on the Sound of
Music logo.) Rogers and Hammerstein's music fills the air, costume
measurements have been taken, a gorgeous scenery design has been
revealed, and tickets are now available. For your show tickets
go to our website concordplayers.org and in the left-hand column click on "tickets".
WHAT YOU CAN DO TO HELP Members
and friends of The Concord Players have been very generous through
the years to loan furniture and other items, so that we can have pieces
that are appropriate to the period for numerous
productions. As Concord Players' props mistress, Charlotte
Kelley hopes you can help us locate furniture we can use
in our Spring production of The Sound of Music.
We would like to borrow A Louis XVI or French Provincial sofa, side
chairs and possibly a side table for the Von Trapp villa. We are
hoping to find pieces with painted wood and gilded trim to
reflect an elegant life style in the late 1930s, just prior to
the annexation of Austria. Please be assured that we take special
care of loaned furniture while at the theater. Please contact
Charlotte if you can help us or if you have any questions. Call
978-973-3325 or email grauntie777@gmail.com
REMINDERS Summer Shakespeare: Open-call auditions for The Tempest
(condensed) February 9, 1 p.m., and February 10, 7 p.m., at 51 Walden
in Concord. Callbacks if needed on Saturday, February 16, at 1:00 p.m.
Sides will be provided. Bring a headshot and resume. Rehearsals from
mid-April to mid-July. Performance dates: July 14, 15, 21 and 22, at 4
p.m. Annual Meeting. Be sure to attend the Annual Meeting of
The Concord Players, on March 17, 2013, at 7 p.m. New Board members are
to be voted on, including replacements for President Jay Newlon and
Treasurer Chuck Holleman.
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DON'T MISS IT! The Musical Comedy Murders of 1940
is coming, February 8 to 23! By the time you get the March
Newsletter, it will have come and gone. Allen Bantly's wonderful
set design has several moving parts and one never knows who is
going to pop out of one or where it's going to lead. As the play unfolds
it is discovered that the mansion is riddled with secret passages
controlled by secret switches. The walls are lined with
bookcases. Anne Bantly and Charlotte Kelley found nearly 600 books
that she prepared with light-weight interiors to be placed on the
shelves. The construction of the set required a total of six entrances,
half of which slide, revolve or swing secretly away. Also a hidden
panel. The set had to be built deep into the back of the stage
area. To allow all the audience to view the walls as they quietly
open and close, The Players will have to block off 40 seats that lack
adequate line of sight to spot some of the secrets. The play is a real
whodunit, mixed with very memorable, funny characters, and just what we
need in the dead of winter. Tickets are available on line with a
credit card at concordplayers.org or call the ticket line to pay with cash or check: 978.369.2990.
JAY NEWLON AS FIGHT CHOREOGRAPHER In guiding the fight choreography for The Musical Comedy Murders of 1940,
Jay Newlon drew on his dance and martial arts background. To create a
realistic effect, he applied his knowledge of body mechanics used in a
fight situation to incorporate line of sight elements on a stage. In a
real fight, efficient means of executing a move are used. In a
theatrical application, larger and more dramatic actions are sometimes
called for. Whether it's disarming a character who holds a gun or taking
an opponent down, the objective of the scene is always primary in
creating the movement, along with taking into consideration the actor's
physical capabilities and whether there should be a serious or comedic
tone to the action. But safety is always most important in designing
stage combat. Movements are repeated so as to incorporate muscle memory,
and all props are blunted to ensure no accidents occur. The goal is to
convince the audience that something actually happened. We hope that the
result will be a success in this upcoming comedy!
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