Act One Take One

         I always reflect about the first run-through of a show because it is such an interesting time in the process of creating the show. We have finished the basic scene work, and we are about to begin a difficult process of tweaking and editing every scene to the best possible way of sharing that moment. We got to the initial run-through of Act 1 much quicker than we have for any other show I have been in. Though that creates the risk of creating moments hastily and not slowly building scenes to their full potential, I do not feel that this was the case. In fact, this was probably the most successful first run-through I have been a part of, and the fact that we are already to the staging of Act 2 will give us time to work each scene until we create the most beautiful retelling of The Ugly Duckling.

Now that I know how to do the dance moves in the opening number of the show, A Poultry Tale,  I began thinking about my character in the scene. Everybody is sharing with the audience and letting them know that their life is perfect in their “patch behind the farmhouse”. There are several moments in the song that demonstrate otherwise, such as the cat discussing her plan to eat the ducklings and the entire ensemble doing chores at the beginning of the show. I am still working towards mastery of the dances in the show, but I decided that I would focus on trying to actively pursue an objective as I did the choreography that was crafted for the song. I thought it was interesting that adding what seemed like it would be an extra burden (acting the song well) made doing the staging easier. I felt that it was easier to move with a purpose driven by my character, instead of moving because Elizabeth asked us to move. It also made me feel more confident with the choreography to be focusing on getting a point across, instead of making sure every move was precise.

Overall, I thought that there was very strong listening during the run-through. As Kivan said at the end of the rehearsal, the duckling ensemble is amazing, especially when it comes to listening. They are always playing off each other and it is evident in their performance. They impressed me a lot today because they all did the same thing together, but they all seemed to have an objective behind their action. Each individual duckling seemed to be driven to bully Ugly, but they also took ideas off of each other to improve their performance. I watched them stage “Look at Him” and they have already made significant improvements from a few days ago. One of the most amazing things about the run-through was that nobody seemed to have decided exactly how they were going to say their line before the run-through. Typically, most people fall into a routine and say their line the same way they always do, instead of listening really hard and responding to their partner in the most honest way. This is one of the biggest challenges I am facing as an actor, and I will continue to work on always being honest. This is also one of the biggest challenges for many shows, and I think that the risk of losing honesty becomes greater as we get farther into the show. Everybody was saying their line in a way that made sense because of what their partner did. I am going to do my best to maintain honesty all the way to the last curtain call, and I am sure the rest of the cast will too.

 I felt that there was some fascinating character development that was demonstrated and some places where the acting needed to be worked. We just staged the show and we were still trying to remember the blocking and timing of the things we did in the show. I think that character development will be demonstrated more in upcoming rehearsals when we have more time to talk about acting and I think that it will be very beneficial when we have a chance to go through everything and look at the specifics of the acting. Making sure that we dig to the roots of our characters is a challenge that we will face throughout the process of creating this story. I also felt that there were some moments where very clear choices were made and you could really see what was driving the character to make certain decisions. When Asher sings “Different”, he has very clear moments when his thoughts are directed at himself and when they are directed towards the ducklings.

I know that we are going to embrace the challenges that this show brings us and continue to make many discoveries as we stage Act 2.

Ben Siegel

(Jay Bird)

Our Ugly Ducklings

               When I tell people that I’m in a musical called Honk, most wonder if it’s some concept musical about cars. “Nope. Not even close. I’m pretty sure cars are not the only thing that honk,” I tell them. I take my time and explain that it’s an adaptation of the notorious Ugly Duckling. Everyone knows the story of The Ugly Duckling. We’ve all read or heard about how the ugly duckling isn’t actually a duck at all, but a swan. The ugly duckling shows us how beautiful our differences are. Before entering the show, this is all I saw. It’s truly a heartwarming story. But after exploring the show with my fellow ensemble, I’ve been able to see the story in a way that I never had before.

               Ugly is just different. Along Ugly’s journey, he meets those who accept his differences, and those who don’t. We not only see this in The Ugly Duckling, but in the real world as well. Many are rejected by the popular and accepted by the few. People like having someone to look down on. I know I do. It gives us security. So the moral of the story is very clear to those who are rejected by society: differences are what make us who we are and differences are what make us beautiful. But what about people who aren’t really that different? Now you must understand that I am definitely not normal, but I’m not really discriminated against in any way. I, Josh Gartin, am a tall, white, teenage male. So what am I supposed to get from the story?

               In The Ugly Duckling, Ugly’s mom, the frog, and the family of swans are the only people who like Ugly at first. It takes everyone else some time to realize that Ugly’s not so bad. I don’t think it’s a coincidence that the frog and the swans are some of the most outwardly different characters in the story. I also don’t think that Ugly is the only focus of the story. Honk is a hard script because most of us who are in the show are given such stereotypical characters -- the “ordinary” people. The only problem is that nobody is actually “ordinary.” So we have to develop our characters in our own way to make them un-ordinary.

   People who are considered ordinary are really just hiding their differences. Throughout the story, we see good and bad examples of how to treat people who are different. Because everyone is truly different, we are given a choice on how to treat the 10% of obviously different people as well as the other 90%.

   In The Ugly Duckling, we are shown two things. Our differences are what make us beautiful and we’re shown how to treat those around us because everyone is different and beautiful.

  I’ve been in many Story Theater Company shows. I know when a show is going to be good. This show will be spectacular!

Josh Gartin

(Barnacles)

My first Story Theater Experience

Honk Jr. is my first show with Story Theater Company and I have to say, I am absolutely in love with STC and acting. What I love most about Honk is that already I’ve gained so much from it. With Honk, it’s not a very well known musical, which means we can come up with our own ideas. It’s not as easy to watch youtube videos or rely on previous knowledge. We are able to communicate and come up with ideas of our own, which will put a more unique and personal addition to the story.

So far in rehearsals, I can already see a lot of the development in our characters. The choreography that we have for one of the songs Poultry Tale is so set on the story, I can already imagine the characters clearly and feel all their vibes. It’s amazing how much choreography and story we can have in just one song.

We have Elizabeth to thank for our choreography success. The first time I heard Kivan say her name, everyone started jumping for joy. I didn’t know exactly why because I never had met her, but once I did I knew. Elizabeth, like all the leaders in Honk, are so amazing. They make theater fun and are so caring. Yet when things need to be done they get it done, and teach us well.

Story Theater Company’s environment is amazing. It feels like home. This is my first show, but I have already made so many new friends. Everybody at STC is so welcoming, and it’s easy to get along with everyone because the community is so set on learning about theater. Nobody judges you when you sing and everybody is open to new ideas.

Along with our warm ups, we have been doing several exercises that teaches us about theater elements. So far we have learned about Tempo and shape. With Tempo we are able to put in more emotion into our character. Whether it is slowly walking towards our beloved or running away from danger, it’s how we make those movements that allows us to play into the emotions. With Shape, we have to think not how to move with our shape, but how our shape would move. These exercises tie in with the acting which teaches us how to fully develop into our character. How our character moves, feels, thinks, and learning how to show that to our audience will make Honk Jr. an even better production.

I truly believe that Honk will be an amazing show. I can’t wait to continue discovering our character’s roles and learn more about theater history and theater in general. I am excited and proud to be a part of this great production, and I can’t wait to grow more as an actor.

Anika Slowing

(Ensemble)

"My Seventh Show"

We always start rehearsal with warm ups and stretches. It’s a chance for all of us to get focused and get ready for what we are going to do that day. During warm ups, we also learn helpful skills that will help us with staging, like tempo and our shapes. Learning shape and tempo during warm ups helps us discover how our characters would move. Warm ups give us a chance to forget the rest of our problems from outside and just focus on rehearsal. What happens during warm ups sets the stage for the rest of the rehearsal. After we’re done, we start on the agenda for the rehearsal.

This is my seventh show with STC, and I’ve loved each one of them. Every show I’ve been in has been a learning opportunity. I’ve learned all the basics of staging; downstage, upstage, plains, and levels. All the information that I’ve learned carries from one show to the next. Story Theater Company has always focused on learning about acting as well as putting on the show. This show is no different. During this staging process we will be learning about musical theatre; it's history and terms. So far we’ve learned about the three different types of musicals. There’s jukebox, book, and concept musicals. Honk is a book musical, which is the most story-centric. I’m really excited to be able to learn more about it as we embark on our own musical theatre journey throughout Honk.    

Kendra Caufield

(Ensemble)

Initial Exploring

This is my eighth show at Story Theater Company, and I have never had the same experience twice. That is one of the most beautiful things about every show at Story Theater Company. We discover the show together. Everybody is story-centric and everything we do is story-centric. We take the time to discover the best way to tell the story and explore several options. I have been in productions where the director decides how the show is going to look at tells you what to do in order to make it look that way, but Kivan has a loose concept for the show and allows us to the discover the show together. A show is much more engaging for an audience if it is relatable to real circumstances, and you can’t tell that kids are just on stage “performing”.  In most children’s theaters, they create stereotypical and corny shows, but I think that the level of discovery that we have at Story Theater Company overcomes that obstacle that every children's theater faces.

We began to explore at the very first rehearsal, the read-through. In a typical read-through the cast sits down together and reads their lines. Unfortunately, this form of a read-through makes people think about how to say their line well, instead of how their character reacts to others and contributes to the story. There is also the constant temptation to get bored and stop leaning in whenever it isn’t “your scene”. To avoid things like this that are harmful to exploring the show, our initial read-through involved more discoveries since we used a different format. We used the rehearsal space as a playing space. We would go into the playing space when our character was on stage. You said your lines, but you also moved and could see connections with other characters. This was a much more fascinating method since it was easier to visualize everybody’s ideas coming into the show. Everybody inhabited their characters in fascinating ways, and I know that this cast will be capable of finding the most interesting way to combine their characters and ideas into a new and amazing telling of Honk!.

You could also see relationships between characters through the way they interacted with each other in the playing space and the amount of space they put between themself. For example, Penny and Ugly stood much closer to each other at the end than they did at the beginning since their relationship began to blossom throughout the show. I also thought it was very interesting that there was already so much energy and commitment coming from characters. This read-through really demonstrated to me how much of a difference having a lot of energy can have on your performance. People like Parker McIntosh and Zander Reed blew me away during the first-rehearsal, and I realized as I reflected on the day that they were also the people who were constantly focusing a ton of energy towards the story.

On Saturday, we had our first choreography rehearsal. When I heard that Elizabeth was coming back to do our choreography I was so excited and so was everybody else. Elizabeth has spectacular ideas for the choreography, and I was very impressed by the fact that everybody always was doing something and there was always a reason behind it. However, this choreography has led to a lot of challenges for me. I have minimal dance experience and struggle to get into a place where the dancing is natural. I tend to hold a lot of tension in my body, so I worked a lot to find that “natural place”. I will continue to work hard at learning, mastering, and enjoying the dances in this show.

I am thrilled to continue to explore this production open-mindedly.

Ben Siegel

(Jay Bird)

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Wrapping Up Our 10th Season!

Welcome to STC's production of Honk!, a modern, musical adaptation of Hans Christian Andersen's The Ugly Duckling.

In the last month, we've started production meetings, made it through auditions, and put together a cast of more than thirty students, all ready to commit their time and honesty to bringing you another stellar production.

Our tenth season has been amazing  - we've staged our first company adaptation, expanded our workshop programming, and opened our third teen show in our new black box theatre. With every show the kids exceed our expectations and blow us away with their boundless imaginations. All we can do is to continue to challenge them.  Honk! will be the perfect show to test their creativity. Here are a few of the elements we think will be challenging :

1) It's not a Disney musical and therefore is not ground into their cultural consciousness. For most of the students, they had never heard this score before the audition instructions were published.

2) The musical is done often by community theatres and middle schools and often their final product looks the same. It is easy to read this play and skate along it's surface but we will be pushing the students to dig in, do their dramaturgical research, question the cliches, and discover the play anew for themselves. We want a production that is the expression of our specific ensemble and that resonates with our specific audience.

3) For musicals especially, it is easy to get lost in the idea of spectacle and become blinded by the spotlights, flashy choreography, and intricate set pieces. We will spend a lot of time studying book musicals this production. A book musical is a fully integrated show. This means that every element (choreography, staging, costumes, singing) is only important insofar as it helps advance our story. Nothing can be done for show. Everything must reveal something about the characters, their relationships, or their circumstances. This has already proven a wonderful challenge to the production team, and we are excited to see the kids grapple with and overcome this obstacle as well.

4) Honesty. Our core acting curriculum at STC is based on the idea of listening to your circumstances and responding in an organic way. What is the best way to achieve this honesty when you are breaking into song? Or into dance?

All of these challenges will keep us on our toes and push us to excellence. Honk! is sure to wrap up our tenth season in a wonderful way

This last year has been special in many ways, but the best part of STC's tenth season has been you!

You have been more involved. You have read our blogs. You followed us on Facebook and Instagram. You've brought your friends to our shows and talked us up. Thank you!!!

We believe that an informed audience is an invested audience and so it is our goal to continue this conversation; to tear back the curtain and let you into our process. As we move into rehearsals for  Honk! we will be posting pictures, videos, and  blog posts for this show. Check in on Facebook or Instagram and spread the word!


Kivan Kirk
Artistic & Education Director

March 3rd

Hi! How are you? My name is Maria, and I’ve been stage manager for all three Story Theater teen shows so far. If you don’t know what I do or what it’s like to go through the process of putting together a show from my point of view, you’re in luck!

The basic duties of a stage manager are to run production meetings, record the actors’ blocking, and make sure rehearsals and the production schedule run on time. Most importantly though, stage managers are the link between the production teams and the director and actors. The name “stage manager” is a pretty good description in and of itself, because most of the job is literally managing the stage - helping the director figure out where he/she wants the actors to do and then where the different set pieces and props should be placed. After that, there needs to be communication with the props and set department either during or outside of production meetings so they know what the director wants.

Although all of that still proves true for the teen shows, it’s a little bit different. In most shows, the actors have no clue what is going on in production meetings. They don’t know what the set is going to look like until tech week, and the same goes for what props they will be using or what costumes they will wear. Likewise, the production teams also don’t know what the show looks like until tech week. But with the teen shows at Story Theater Company, the actors form the production teams; they are part of the process of building the set, finding props, and putting costumes together. We also have a dramaturgy department, which researches the background of the show and specific details of it so that the actors can have a deeper understanding of where the show came from, helping them to become more invested in it themselves. As stage manager, I get to witness this every year. I get to watch everyone’s excitement when they discover something new about the script or finish a big set piece or find that really elusive prop or costume piece. During tech week, I, along with the rest of the cast and team, get to see the whole production come together. And that’s only half of why I love my role.

This play is set up very interestingly. It is comprised of eight vignettes along with a prologue, interlogue, and epilogue, and each scene only has two main characters. This means that the actors are only interacting with one other person on a regular basis, therefore the communal aspect of theatre was absent. In order to rectify that, we brought everyone together in transitions. Between vignettes, the actors create a community that gives the audience a snapshot of the everyday life of the people in Almost.

But what about during rehearsal? As stage manager, I attend every rehearsal, and in that time I witness all the blocking and tactic changes as well as all the discoveries that the actors go through with Kivan. This year was especially interesting though, because Kivan began with having the actors split their scenes into sections based on the ideas and actions. Then, the actors would just improvise their scenes in order to learn the emotions and become comfortable with being honest and vulnerable. Only after they mastered that would they start to use their scripts, combining the honesty with the correct words. In the end, they would hopefully feel like the only words they want to use are those from the script.

I also send out a lot of emails, but that is almost irrelevant. To me, the most important part of what I do is making sure everything runs smoothly and that everyone has everything they need to do well. I love being able to work with such creative, expressive people, and the most rewarding part is getting to watch all of our hard work pay off during performances.

Maria Werner Anderson

Stage Manager