"Michael Hunter rounds out the cast, skillfully filling in for a number of supporting roles."
Inga Aksamit, examiner.com
Date of Run: April 17-May 4, 2014
ROLE: The ensemble roles
Production Photos by Al Christenson
My spring show of 2014 was the popular and often-produced musical classic Little Shop of Horrors done by Narrow Way Stage Company. The director was Chris Ginesi, the music director was Justin Pyne and the choreographer was Alise Girard. This was Narrow Way's second musical. This was the first fully staged production that I did in the city of Sonoma, and it marked my return to Narrow Way Stage after nearly two years.
The cast consisted of Matlock Zumsteg, Nora Summers, Harry Duke, Dallas Munger, Butch Engle, Laura Levin, Alexis Long and Regielyn Padua.
Auditions for this show were in February, after I finished Victor/Victoria. Before that I had accepted a place in another show as an ensemble member, without auditioning; It was handed to me. When I found out that Narrow Way was doing this show I wanted to do it partly because it had been nearly three years since I last did a show with that company and also the chance to work with Chris Ginesi. The auditions were by invite only. Chris invited people who he knew who would be good in this show and he welcomed anyone else those invited could come up with. When auditions came, Regie, Laura and Nora were the only women there and the men were me Dallas, Harry and three others. Matlock sent his audition by emailing a video. Alexis later told me she got in because there weren't any other women who auditioned.
This was one of my better auditions. They were overseen by Chris and Nick Christenson, the artistic director for Narrow Way. I sang the song "Grow for Me" and did scenes with Dallas and Nora. Of the scene I did with Nora, Chris and Nick said I did it perfectly the first time. My last thing before leaving was "Feed Me" and it was with that song that I really shone. Chris was impressed, even amazed with my take on it and commended me. For a little more than a week I waited for the cast list to be announced, certain that I was going to get the role of Seymour or the voice of the plant. Then one night when I was in line at Target, I got a call. Chris offered me the ensemble parts, but I had come from a tap class and my legs were tired and my mind was scrambled from all I learned, so I didn't really care about the call at that moment, so I asked him to email me. After thinking about it for a couple days I took the ensemble parts and dropped out of the other show, much to the chagrin of the other director. I sometimes look back and wonder whether I did the right thing.
When we began rehearsals, we were sorely lacking in essential components for the show including a stage manager, music director, puppeteer, and stagehand. Over time we slowly filled each spot. The music director, Justin Pyne, was found first. He had done this show a few times before, so he knew the music and the show very well. Nick Christenson and Trevor Sakai-Jolivette became our stage manager and assistant stage manager, respectively, a couple weeks into rehearsals. Our hardest thing to find was the puppeteer. According to Chris we had one at the beginning who was excited to do it and then he dropped out, though we never found out why. We went on with rehearsals for a while and just over a week before we opened Clint Campbell agreed to do it. Never being onstage when the plant is alive, I never saw Clint work the puppet, but when I saw the show on film (more on that later) I saw how good he was, at least toward the end. Then during tech week, we found another stagehand and dresser in Samantha Lane.
Rehearsals began in March. Before that I had a month off between shows, which was kind of boring. For this show I was not called to rehearsal all that often. Maybe twice a week at most in the beginning and mostly for vocal work. In the show I was all the ensemble parts except one. In a professional production of this show, in the scene for "The Meek Shall Inherit" the person playing the dentist (Dallas) would play three agents through a series of quick changes. But as we were only an amateur production without the costume skills to accomplish that, they divided the roles. To make things easier on me I was given the first and third agents, Bernstein and Skip Snip, and Dallas played the second, Mrs. Luce. In that scene I got two solo verses in the song, which were the same music, but different lyrics.
Though the show would perform in Sonoma, we usually rehearsed in a space in Santa Rosa, much to my relief so I could save on gas. The only time when rehearsals were in Sonoma was on weekends, which I was usually not called to, not that I could anyway due to my job. As we approached tech, I was called more often. When tech week came, which was actually two weeks rather than the usual one, the rehearsals were all at the Sonoma Community Center. The stage there was very small for a theatre, so that made it a bit tricky at times to move around.
I opted to carpool with Nick and Alexis to Sonoma, most of the time, when we got to that point. It was always looked forward to it because I would go to their house and see their puppy. Then we'd talk about theatre in the area and what shows were coming up and so on. Often when we'd get to Sonoma, I would walk a couple blocks down to the Basque Bakery on the square for some of the delicious bread sold there.
Most of my things were staged in Santa Rosa, but when we got to Sonoma, Chris finally staged my hardest part: "The Meek Shall Inherit" where I played two agents. They were supposed to be played like they were confident, in charge and like they owned the world. That was hard for me because I admit I'm anything but that and I'm not all that much of a physical actor. I've always had a hard time knowing what to do while on stage because I never really learned how to be physical on stage in an acting class while at school. I think it's something you have to be born with. Chris wanted all my characters to be different in some way. I did my part by playing with my voice whether making it nasally or deepening it or whatever. I did my best with these, but it was hard at first during "The Meek Shall Inherit" because the band played so quietly that I couldn't hear my cue to come in and that screwed me up. Eventually, I decided "The hell with it. I'm gonna go and they can just catch up with me." At the end of the run, Dallas and Matlock told me they were impressed with my progress in those roles and that they felt I seemed more comfortable in them by the final weekend. Chris would later say to me at the cast party that his favorite part of the show and the whole experience was watching me and my growth during all of it.
I definitely had moments in the show. For example, in the beginning when Seymour first brings in Audrey II and shows it to Mushnik, I played the customer who enters and is fascinated by the plant. This scene was comic because of the timing. As Mushnik is shooting down Seymour's idea that the plant would attract business my character enters. Every single time I entered, I got laughs. Then toward the end of the first act in the dentist office I played a patient who walks out in pain. Sometimes people laughed at the noises I made. I also got some laughs during "Meek Shall Inherit" for even small things, like the raising of one eyebrow. I could see Nick laughing up in the booth whenever I did my thing in that scene. One night though during the run I had a dream where it was that scene and I came out one second too slow causing a brief pause in between the lines.
One of the most interesting things about the show was what happened one night after. Some of us in the cast went to a couple bars for drinks. At the second bar, this very drunk older woman started talking to Nora and then she asked about the men. When Nora told her I was single she said I was cute, but too young when she found out I was 25. But I think she was definitely into me.
The show was not without problems. It seemed every other show something went wrong from lighting cues to be too early to the curtain closing when it shouldn't have to props not being on set when they were needed. I myself was hurt twice during the first run through, first after my quick change when I hit the steel structure of the set, hard, (I was sore there for weeks after) and then again when Dallas grabbed during his song and accidentally got my throat. I was always very careful to make sure that everything I needed for "The Meek Shall Inherit" was in its place and I set my props and costumes before every show as soon as I arrived at the theatre. One time I forgot one of my contracts when I was Patrick Martin. I was supposed to slam it on the table in front of Seymour, but I didn't have it, so I slammed the table just to slam the table. After that Alexis, who entered with me, always asked me if I had it.
On average we had between 30-70 people per show, not as many as we were expecting, sadly. The last audience, I think, was the best. They just seemed to be the most into it. This was the first time in over a year where I had to help strike the set. In all it took just under two hours. I helped load the van and unload the van at the warehouse where the set and props came from.
Thanks to Matlock, we managed to get a DVD of the final performance. Matlock had people come in with cameras and they filmed a wide shot and a close up shot. With editing, Matlock managed to use both. The video was of great quality and sound. Honestly, I wish more of my shows would be preserved on film, especially like this one. It allowed me to have a look at things I never got to see. I could not help but laugh at some of my moments on stage.
My spring show of 2014 was the popular and often-produced musical classic Little Shop of Horrors done by Narrow Way Stage Company. The director was Chris Ginesi, the music director was Justin Pyne and the choreographer was Alise Girard. This was Narrow Way's second musical. This was the first fully staged production that I did in the city of Sonoma, and it marked my return to Narrow Way Stage after nearly two years.
The cast consisted of Matlock Zumsteg, Nora Summers, Harry Duke, Dallas Munger, Butch Engle, Laura Levin, Alexis Long and Regielyn Padua.
Auditions for this show were in February, after I finished Victor/Victoria. Before that I had accepted a place in another show as an ensemble member, without auditioning; It was handed to me. When I found out that Narrow Way was doing this show I wanted to do it partly because it had been nearly three years since I last did a show with that company and also the chance to work with Chris Ginesi. The auditions were by invite only. Chris invited people who he knew who would be good in this show and he welcomed anyone else those invited could come up with. When auditions came, Regie, Laura and Nora were the only women there and the men were me Dallas, Harry and three others. Matlock sent his audition by emailing a video. Alexis later told me she got in because there weren't any other women who auditioned.
This was one of my better auditions. They were overseen by Chris and Nick Christenson, the artistic director for Narrow Way. I sang the song "Grow for Me" and did scenes with Dallas and Nora. Of the scene I did with Nora, Chris and Nick said I did it perfectly the first time. My last thing before leaving was "Feed Me" and it was with that song that I really shone. Chris was impressed, even amazed with my take on it and commended me. For a little more than a week I waited for the cast list to be announced, certain that I was going to get the role of Seymour or the voice of the plant. Then one night when I was in line at Target, I got a call. Chris offered me the ensemble parts, but I had come from a tap class and my legs were tired and my mind was scrambled from all I learned, so I didn't really care about the call at that moment, so I asked him to email me. After thinking about it for a couple days I took the ensemble parts and dropped out of the other show, much to the chagrin of the other director. I sometimes look back and wonder whether I did the right thing.
When we began rehearsals, we were sorely lacking in essential components for the show including a stage manager, music director, puppeteer, and stagehand. Over time we slowly filled each spot. The music director, Justin Pyne, was found first. He had done this show a few times before, so he knew the music and the show very well. Nick Christenson and Trevor Sakai-Jolivette became our stage manager and assistant stage manager, respectively, a couple weeks into rehearsals. Our hardest thing to find was the puppeteer. According to Chris we had one at the beginning who was excited to do it and then he dropped out, though we never found out why. We went on with rehearsals for a while and just over a week before we opened Clint Campbell agreed to do it. Never being onstage when the plant is alive, I never saw Clint work the puppet, but when I saw the show on film (more on that later) I saw how good he was, at least toward the end. Then during tech week, we found another stagehand and dresser in Samantha Lane.
Rehearsals began in March. Before that I had a month off between shows, which was kind of boring. For this show I was not called to rehearsal all that often. Maybe twice a week at most in the beginning and mostly for vocal work. In the show I was all the ensemble parts except one. In a professional production of this show, in the scene for "The Meek Shall Inherit" the person playing the dentist (Dallas) would play three agents through a series of quick changes. But as we were only an amateur production without the costume skills to accomplish that, they divided the roles. To make things easier on me I was given the first and third agents, Bernstein and Skip Snip, and Dallas played the second, Mrs. Luce. In that scene I got two solo verses in the song, which were the same music, but different lyrics.
Though the show would perform in Sonoma, we usually rehearsed in a space in Santa Rosa, much to my relief so I could save on gas. The only time when rehearsals were in Sonoma was on weekends, which I was usually not called to, not that I could anyway due to my job. As we approached tech, I was called more often. When tech week came, which was actually two weeks rather than the usual one, the rehearsals were all at the Sonoma Community Center. The stage there was very small for a theatre, so that made it a bit tricky at times to move around.
I opted to carpool with Nick and Alexis to Sonoma, most of the time, when we got to that point. It was always looked forward to it because I would go to their house and see their puppy. Then we'd talk about theatre in the area and what shows were coming up and so on. Often when we'd get to Sonoma, I would walk a couple blocks down to the Basque Bakery on the square for some of the delicious bread sold there.
Most of my things were staged in Santa Rosa, but when we got to Sonoma, Chris finally staged my hardest part: "The Meek Shall Inherit" where I played two agents. They were supposed to be played like they were confident, in charge and like they owned the world. That was hard for me because I admit I'm anything but that and I'm not all that much of a physical actor. I've always had a hard time knowing what to do while on stage because I never really learned how to be physical on stage in an acting class while at school. I think it's something you have to be born with. Chris wanted all my characters to be different in some way. I did my part by playing with my voice whether making it nasally or deepening it or whatever. I did my best with these, but it was hard at first during "The Meek Shall Inherit" because the band played so quietly that I couldn't hear my cue to come in and that screwed me up. Eventually, I decided "The hell with it. I'm gonna go and they can just catch up with me." At the end of the run, Dallas and Matlock told me they were impressed with my progress in those roles and that they felt I seemed more comfortable in them by the final weekend. Chris would later say to me at the cast party that his favorite part of the show and the whole experience was watching me and my growth during all of it.
 |
| As Skip Snip in "The Meek Shall Inherit" |
In this show I had seven costume changes. Every time I got offstage, I had to make a change, whether it was just changing my pants to a full change. I had plenty of time for each one, except the first. I had to go from a bum to a customer in less than two minutes. Originally the hair and makeup designer wanted me to have my hair messy as the bum and then comb it down for the customer, but I barely made it out for my cue. I opted to always have my hair parted down and when I was a bum, I wore a hat. As soon as I got offstage after "Skid Row" I would go to behind the set, rip everything off while Regie held my pants for me. My customer shirt was on underneath and my shoes had to change also. I also preset my wallet with fake money in the pants.
 |
| As a wino, with Dallas |
I definitely had moments in the show. For example, in the beginning when Seymour first brings in Audrey II and shows it to Mushnik, I played the customer who enters and is fascinated by the plant. This scene was comic because of the timing. As Mushnik is shooting down Seymour's idea that the plant would attract business my character enters. Every single time I entered, I got laughs. Then toward the end of the first act in the dentist office I played a patient who walks out in pain. Sometimes people laughed at the noises I made. I also got some laughs during "Meek Shall Inherit" for even small things, like the raising of one eyebrow. I could see Nick laughing up in the booth whenever I did my thing in that scene. One night though during the run I had a dream where it was that scene and I came out one second too slow causing a brief pause in between the lines.
One of the most interesting things about the show was what happened one night after. Some of us in the cast went to a couple bars for drinks. At the second bar, this very drunk older woman started talking to Nora and then she asked about the men. When Nora told her I was single she said I was cute, but too young when she found out I was 25. But I think she was definitely into me.
The show was not without problems. It seemed every other show something went wrong from lighting cues to be too early to the curtain closing when it shouldn't have to props not being on set when they were needed. I myself was hurt twice during the first run through, first after my quick change when I hit the steel structure of the set, hard, (I was sore there for weeks after) and then again when Dallas grabbed during his song and accidentally got my throat. I was always very careful to make sure that everything I needed for "The Meek Shall Inherit" was in its place and I set my props and costumes before every show as soon as I arrived at the theatre. One time I forgot one of my contracts when I was Patrick Martin. I was supposed to slam it on the table in front of Seymour, but I didn't have it, so I slammed the table just to slam the table. After that Alexis, who entered with me, always asked me if I had it.
On average we had between 30-70 people per show, not as many as we were expecting, sadly. The last audience, I think, was the best. They just seemed to be the most into it. This was the first time in over a year where I had to help strike the set. In all it took just under two hours. I helped load the van and unload the van at the warehouse where the set and props came from.
Thanks to Matlock, we managed to get a DVD of the final performance. Matlock had people come in with cameras and they filmed a wide shot and a close up shot. With editing, Matlock managed to use both. The video was of great quality and sound. Honestly, I wish more of my shows would be preserved on film, especially like this one. It allowed me to have a look at things I never got to see. I could not help but laugh at some of my moments on stage.
