AFD’s President, Iain Bason, is both a talented actor (last seen in “The Mai” and soon to be seen in “Good People”), and a tireless administrator for the theater.
He writes a column for our newsletter, The Prologue (see the latest issue); here it is, since it’s informative and fun.
A few nights ago, we had our first board of directors meeting for the season. We hadn’t met in July or August, and the agenda was a little long. Nonetheless, everyone was happy to be there. We tackled our business efficiently, and had some good laughs along the way. I hate to leave my family to go to the meetings, but then at the end of the evening I’m sad to leave my AFD family.
We on the board are all excited about our upcoming season. Most of us will be working directly with several of the productions. Some will be working with all of them. And some will be working behind the scenes, just keeping the bills paid, and the building habitable. So although we’re excited, we also know we have our work cut out for us. This place keeps us busy!
So busy, in fact, that it’s difficult to take on another commitment. I have learned to say “no” to requests sometimes. Just the other day I turned down an opportunity. But it seems as though I’m far more likely to say “yes,” if I can possibly fit it into my schedule. (Having a schedule conflict for a performance kind of precludes auditioning for a show.)
Why do I do that, even when I don’t have time? Partly, it’s because I know that it will be a rewarding experience. I can’t say that I’ve never regretted taking on a new theatre job. Sometimes I wind up stretched too thin, and that isn’t fun. But even when the stress of trying to fit everything in makes me regret it, I have always enjoyed the actual work I’m doing, whether it’s onstage or behind the scenes, and I have usually learned something in the process.
Another reason for saying “yes” is that I have been on the other side. I know how hard it can be to find someone to take on a task that needs doing. You run through the list of people that you know; then you get recommendations for people that they know. Eventually you reach the end of the circle of acquaintances.
It could very well be that there are AFD members who would be interested in, for example, stage managing a production. But the production manager doesn’t know those members. They are outside of the circle of acquaintances, and perhaps feeling left out.
I hope that any members who do wish to be more involved will not feel shy. Email, or call me. Just show up on a set construction night (Tuesday and Wednesday evenings, Saturday mornings), or for the House Bee.
We also have a new membership database that will make it easier for production managers to find out about the interests that members have listed on their membership forms. So expect to be getting more calls this season!
And when you do get a call, just say “yes.”
Iain Bason, President
Thanks to the wonderful Friend Volunteers who showed up this morning to help clean up our great space for the upcoming season. It was pretty dirty, but now it’s not!
We worked around the wonderful people who were spending their Saturday morning building the set for “Avenue Q” — great stuff all around.
And you won’t want to miss it! What a charismatic cast and what a FUNNY show.
Man, this is a good play. A good play with a lot to say about Boston. A good play, a good cast, Boston. Do come see it.
Margaret: Dayle Ballentine
Stevie: Matthew Arnold
Dottie: Cheryl Carter-Miller
Jean: Jennifer Bubriski
Mike: Iain Bason
Kate: Shalaye Camillo
Congratulations to the cast and a big “thank-you” to EVERYONE who auditioned. Casting decisions were not easy to make due to the talents of those who came out to read!
Music and Lyrics by Maury Yeston and Book by Arthur Kopit
Auditions: Thursday, November 13, 2014 7:00 – 10:00
Saturday, November 15, 2014 1:00 – 5:00
Sunday, November, 16, 2014 1:00 – 2:00 Little Guido/Children
2:30 – 5:00 Callbacks
Performance dates: April 10,11,12,17,18,19,24,25,26, 2015
We will take auditionees in groups. Please call Evelyn Corsini Alcorn at 617-484-3308 for appointment
Director/Choreographer: Jennifer Condon Music Director: Mario Cruz
Production Manager: Ellen Kazin Stage Manager: Stu Kazin
This extraordinary musical tells the story of film director, Guido Contini, and his attempts to devise a plot for his next film as he is being pursued by sexy, beautiful women each clamoring to be loved by him and him alone. He finally decides to use the substance of his life, told through flashbacks, to create a musical version of the Casanova story. Through these flashbacks involving relationships with the women in his life – his mother, the Nuns that schooled him, his mistress, and a prostitute among others – we watch him drift towards a nervous breakdown (what we would call a mid-life crisis today) from which he is held back by the support of his wife, Luisa. What makes this piece outstanding is the richness with which it has been imagined and the way all the pieces fit together. This masterpiece owes its life to the worlds of opera, concert, and musical theatre; it defies categorization.
Auditionees will be asked to prepare a section of two contrasting songs in the style of the show or author/composer. Please bring sheet music in the key you are singing – not a capella, please! Callbacks will consist of reading scenes from the script, singing selections from the score, and movement/dance. Please let us know right away if you cannot make callbacks.
The women in this show are on stage much of the time and act as a Greek chorus. It’s a fantastic ensemble with some amazing choral singing.
Guido Contini – sexy, passionate film director, in love with his wife and all the women in his past (High baritone)
Guido at an early age – young looking boy between ages of 9 and 12; innocent & full of wonder (Ab below middle C to F, two above middle C)
Luisa Contini – Guido’s wife, a strong, forceful woman, standing by her man (Contralto with strong mid-range: low E to Cb above middle C)
Carla – Guido’s mistress, sexy, naïve, & believes Guido will leave his wife for her (Mezzo soprano: E, two above middle C (+ requires vocal gliss up & down from high C)
Claudia – less naïve, very classy movie star who has outgrown Guido (Alto: E, two above middle C)
Guido’s Mother – Part angel, part nun who represents the “good” Guido (Soprano – Ab, two above middle C)
Liliane LaFleur – Shrewd, smart producer & former show girl still caught up in the Guido myth (Alto – low G to B above middle C)
Lina Darling – LaFluer’s mysterious accomplice (No solo singing)
Stephanie – Sexy critic, disturbing, and a nuisance (Alto – up to B above middle C)
Our Lady of the Spa (Alto – E, two above middle C)
Mama Maddelena – Head chambermaid, earthy and funny (Mezzo Soprano – low G to A, two above middle C)
Sarraghina – Sexy, voluptuous prostitute (Contralto – strong low G to G above middle C)
The Italians – Diana, Maria, Francesca, Annabella, Giulietta, Renata, A Venetian gondolier (All Vocal Ranges needed)
The Germans – Olga Von Sturm, Heidi Von Sturm, Ilsa Von Hesse, Gretchen Von Krupf (All Vocal Ranges needed)
Why do we love AFD? At the annual opening meeting last night, we got to see three new songs from a new play by Daniel Rabone (!) performed by great actors/singers/pianists.
And the Desilets let us know that 26 years ago at this meeting, they’d announced their engagement; and their 25th anniversary is today.
And when we picked one winner of the raffle from Town Day, Wilda Ward convinced us on the spot to pick more more more, and we did!
AND, we made $115 selling old costumes at Town Day.
And… just join us. It’s fun and the people are the best.