Overtures - NBC's Dean McFlicker

Dean McFlicker leads the Overtures
students in a camera performance exercise.

Yesterday, the Overtures students had the pleasure of getting to work with Dean McFlicker. Dean comes to Signature Theatre's Overtures Musical Theatre Institute from California where he is Vice President and Creative Director of NBC Entertainment Marketing. An award winning producer, director, and choreographer of countless productions, Dean has worked on and created campaigns for some of the most successful shows on television, including The Voice, America's Got Talent, ER, Law and Order, Smash, Heroes, The Apprentice, The West Wing, The Biggest Loser, and The Sound of Music. 

Dean McFlicker works with Allison
and Christina.

Having such a talented and valued member of the Hollywood executive scene join us here in Arlington was a delight for all involved. Throughout the day, Dean helped explain and explore the world of film and television, how it differs from the world of theatre, and how to best adapt one's skills to new platforms. This was one of the initial takeaways from Dean's time spent with us. 

Performers must be able to adapt and translate their skills to new mediums and avenues, particularly in this day and age where options are so varied and plentiful. The lines of entertainment are blurring and performers need to be ready to take the stage in whatever form it appears, whether it is a television show, movie, short film, web series, play, musical, one act, music video, awards show, television special, live event, etc.

After an in depth primer on the do's and don'ts of auditions in the world of film and television, Dean flipped a complete 180 and taught a brief dance routine to the students. After learning the steps the students were then taught how to play out for multiple cameras in a space. As they kicked, shimmied, and moved around to the music, Dean called out and changed their areas of focus quickly to different cameras, always keeping them on their toes. Keeping in time, focus and rhythm with several cameras around you is incredibly difficult, but if you can conquer that as a performer you can do anything.

Dean's time spent with the Overtures students was fantastic and we were so lucky to have him. Be sure to check Dean out on his Twitter and Instagram.

• Twitter: https://twitter.com/DeanMcFlicker
• Instagram: http://instagram.com/deanmcflicker

Half of the Overtures students strike their first pose in Dean's dance sequence.

We hope to see you at the Overtures Student Showcase, this Saturday, the 28th at 11 AM in the MAX Theatre. The event is free and unticketed. The doors open at 10:30 AM.

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Overtures - The Actor Auditions

Mitchell Hebert helps students adjust the pacing
and rhythm of their monologues. 

The Overtures students were back in action with acting professor Mitchell Hebert this past week to further explore the monologues they have been working and adjusting. In one of the most recent sessions, Mitchell helped the students visualize and find better and easier ways to get into and out of their monologues. (Physically, mentally, and emotionally.) This was quite difficult for some students, especially for those whose monologue topics were less than "light and fluffy". 

Mitchell Hebert gives students
the lowdown on auditions.

Visualization is meant to ground an actor in the world of their monologue. Exploring it as an exercise is meant to provide a good, solid base from which the actor can do good work and be truthful. As Mitchell walked the students through exercises, they explored their own imagined spaces where they felt real. They were to visualize a location where they could see, smell, head, taste, and touch all that they needed in regard to the world of their monologue. As Mitch stated, visualizing your environment provides you with "a basket to place yourself in during auditions".

As human beings, we cannot help but constantly think of "things" throughout the day. The same can be said when it comes to performing a monologue. A performer cannot walk into an audition completely empty and free of thoughts and opinions. This is fine. No one can think of nothing. Instead of attempting to think of completely nothing during an audition, performers need to acknowledge the thoughts and impulses they have and perform "little dances inside of themselves" as they go on to perform. What this boils down to is an acknowledgement of thoughts and feelings and a welcome acceptance of them as they course throughout ones self. The feelings should This honesty and awareness lead to much better performances and people overall in the grand dramatic scheme of things.

The Overtures class looks on as Mitchell Hebert offers suggestions to students in regards to monologue preparation. 

 We are fast approaching the final days of Overtures here at Signature and would love for you to see the talented students of ours in action. Please join us on June 28th at 11 AM in the MAX Theatre for a free student showcase of all of the talent Overtures has to offer. This collection of brilliant solos, duets and group songs by the talented Overtures class will no doubt leave you in awe. We hope to see you there.

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Overtures - Acting Out

Lawrence listens as Eitan describes
how an acting exercise made him feel.

By Matt Strote, Education Intern

With the first day of Overtures under our belts, it was time to really dive into the work with our second day of the program. I can only describe our second day as a whirlwind of activity. The Overtures students ran through nearly every type of class and workshop one might imagine in a musical theatre intensive in just one day. (It was a busy and varied day to say the least.) 

Starting off the day, bright and early, with a few intense hours of dance instruction with the talented Karma Camp, the students danced, shimmied and jumped their way around the room. Not even an hour later the students split up into their teams. With the rest of their team in tow, the students participated in group voice lessons with Tracy Lynn Olivera and their first acting intensive with Mitchell Hebert.  

Michell Hebert gives direction
to an Overtures student during
the first acting class.

Mitchell has long been a DC area performer and director. He was the 2014 Helen Hayes Award recipient for Outstanding Director of a Resident Production, as well as Outstanding Ensemble of a Resident Production for his work on Round House Theatre's Glengarry Glen Ross. Mitchell also received the 2012 Helen Hayes Award for Outstanding Lead Actor in After the Fall at Theatre J. Overtures is lucky enough to have Mitchell join us on several occasions throughout these two weeks.

The first session with Mitchell featured a slew of insightful experiences, exercises and helpful advice. What started out as a simple session on the nature of auditions, eventually turned into a discussion on actors being "actors", and how to best prepare and adjust oneself for an audition. (How to get in the proper mindset and physical state before you enter that big scary audition room.) I don't want to give away any secrets that might have been discussed in the room, but let's just say that there are more than a few secrets when it comes to relaxing and being audition ready. The students are very excited to have Mitch back soon to work monologues and additional actor readiness techniques.

Wrapping up an already busy day were individual musical coaching sessions with Signature provided accompanists as well as sessions on The Business of Show Business with Associate Artistic Director, Matt Gardiner. As we keep going through this exciting two week period with you via this blog we hope to excite you and interest you in joining us on the June 28th, when the Overtures students will take the stage in the Max Theatre at 11 am. The students will perform in a free final showcase, highlighting and showing off all of the work they have done over the past two weeks and that you have heard about here on the blog!

Mitchell and others watches as students present one minute introductions of themselves to the class.

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The Reviews for Hero Worship Are In.

With Hero Worship going into its final day of performances this coming Monday the 17^th, we thought it couldn’t hurt to talk ourselves up some. What follows is a snippet of some of the feedback we have received.

Hero Worship (2014). Photo by Dennis Deloria

“What a terrific evening of theatre!  Joe Calarco has given these talented students a provocative and timely script that forces both us to consider many aspects of what it means to be a soldier, including the sacrifices soldiers make, the impact on their families and the opportunities they have. The serious subject matter is sprinkled with humor that was especially appreciated by us Washington “insiders.” - Bob H.

Hero Worship (2014). Photo by Dennis Deloria

 “This is an emotionally charged play that I personally believe should be presented to a wide audience - amazing story!” – Barbara B.

““Hero Worship” is an extremely informative and at the same time moving theater experience….The student performers are something to behold!  Who would believe that high school student could perform at this professional level with such short preparation time.  Not to be missed.” – Steve K. 

Hero Worship (2014). Photo by Dennis Deloria

Hero Worship performs  March 17th at 8:00 PM. Tickets are free, but reservations are required. To reserve seat, call 703-820-9771.

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Inside Stage One

Inside Stage One

Listen to the 2013 Stage One students, as they give you the inside scoop on the program's first week.

For more about Stage One, check out the official site. Congrats to this year's students! 

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Getting Personal

For the next two weeks, Alexandra, one of our many talented Overtures students, is taking over our blog. Check back for daily updates and come to the Overtures showcase Saturday at 11 AM in Signature's MAX Theatre!

Overtures students work on blocking for "King of New York," one of the group numbers they'll perform at the showcase.

In the past week and two days, our Overtures company has worked so incredibly well together. We have made great strides as an ensemble, making beautiful music and putting together tricky choreography. But at the end of the day we all go home with our individual homework and challenges to overcome. Whether running lyrics until all hours of the night so we won’t flub a word the next day or daring to stretch our emotional range in order to perform a more truthful monologue, we all recognize the work that must be done is, ultimately, personal.

Overtures has been like a buffet table; we are given multitudes of approaches to the work, ways to find vocal placement, ways to act a monologue, ways to connect to text and lyrics. Then we must pick and choose which approaches fit best. My swimmer’s shoulders do not drop into proper posture as easily as others, a fellow company member may have old knee injuries and alignment difficulties, and still another might simply psych themselves out every time a pirouette shows up in choreography. But we all still need to land that double, so we practice in our down time and when we return home at night after our eleven-hour days. We push past our own fears and inhibitions in order to be better the following morning.

During this evening’s staging rehearsal I was reminded just how personal and individually meaningful the work is and must be. Though we all sang the same words - “I pull myself together, I’m focused on the prize” - they clearly meant something different to every one of us. Our prize could be Broadway, maybe a Resident Artist contract with a company here in DC, or perhaps just graduating high school and heading off to a stellar collegiate theater program. We gave meaning to those words with a knowing smile, a flicker of hope in our eyes, similar enough but still personal.

Performing requires ruthless bravery: the willingness to take risks, to push ourselves beyond boxes of “type”, to test our presumed limits is integral to our training and development as actors. While we can be technically proficient, there are skills beyond the physical that we will not learn from manuals or how-to videos. Instead, we exhaustively search our souls in order to better bare them under the bright lights of the stage. And thankfully, at least for another four days, we are surrounded by an encouraging and truly caring group of fellow artists all going through the same process of discovery and personal perseverance.

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Inspiration

For the next two weeks, Alexandra, one of our many talented Overtures students, is taking over our blog. Check back for daily updates and come to the Overtures showcase Saturday at 11 AM!

The cast of Company

Sunday, June 23
Inspiration can come in all shapes and sizes, in all forms, and at anytime. It can come in a boot camp-style workout early on a Sunday morning. It can come belting through high notes you never thought possible. It can arrive when a phone rings, a door chimes, with company. Or Company.

Bright and early this morning, we returned to the ARK to begin Week 2 in earnest. And boy, did we ever! Our second master class of the program focused on body, voice, and mental fortitude. A grueling workout roused us from our post day-off blur. A group vocal coaching had us singing like aliens, sheep, mice, and squirrels, all to explore vocal placement. And team sessions once again found each individual realizing new vocal and dramatic possibilities. Stop me, if I’m sounding like a broken record!

As I sat watching and listening to fellow company members approaching this new style of coaching, I was amazed by the overwhelming discoveries taking place. I suppose I should not have been surprised by the transformations today since we have already grown so much individually in the past week. Yet the light bulb moments of clarity are constantly and consistently exciting. For example, that moment when someone’s eyes grow wide in anticipation of a challenging note only to find that it comes out crisply and effortlessly. The affirmation that the note sounded great or the story was clear comes when the audience of company members calls, “YES, gurl!” By dinner there was a smile on everyone’s face. Today was a great way to start the week.

And the day wasn’t over after class. This evening we were treated to an absolutely stellar performance of Company in the Max Theatre. Perhaps it was the realization that we were learning from these incredible performers and seeing those lessons applied, that we had a backstage pass to what it takes to put up a show like Company, or maybe it was simply our relishing in the art, but our back row in the second tier was the first to their feet for a standing ovation. There is something special about live theater that pulls at heartstrings, that sparks insightful questions about the magic of how it is done, that truly motivates each of us to continue working toward our purpose and goals of performing professionally. With our own juries and showcase just another five days away, seeing it all done so right may just have been the inspiration we all needed to start off another unbelievable week.

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Breakthrough

For the next two weeks, Alexandra, one of our talented Overtures students, is taking over our blog. Check back for daily updates!

Wednesday, June 19

The dictionary defines “breakthrough” as an act of breaking through an obstacle, a sudden advance, or a person’s first notable success. As Day Four of Overtures came to a close, I could no longer count  the number of breakthrough moments our company had already had.

So much of what we do as actors, musicians and dancers is done behind the scenes in table work and rehearsal that it is easy for the audience to forget the effort that goes into a final performance. But with two weeks devoted entirely to working through our own individual preparation processes, as well as learning from others’ practice, our company is seeing so many of those vulnerable moments of frustration, so many of the incredibly satisfying moments of discovery - those breakthroughs.

It can often feel that as actors we are constantly throwing ourselves to the wolves in auditions and cattle calls. We can spend months scrambling for work. We can be proud to put something up on its feet and then be devastated by that one really horrible review. So when we do have the opportunity to revisit how we prepare, the chance to repair our creative routines, the freedom to explore once again, we may find ourselves somehow both reluctant and anxious  for the sting of honest feedback. We were warned on Sunday that we might need to invest in Kleenex after all. Acting is work. Acting is emotional.

But we wouldn’t be here if we didn’t truly love it. All of it (the joys and the tears). Over the next two days, as we wrap up Week One of Overtures 2013 with midterms (a word that, I’ll admit, brings back many an unnerving memory from my college days!) we are bound to have many more breakthroughs. Sure, those moments may follow near breakdowns, however, those critics offering brutal honesty and insight are also our closest friends (our fellow company members) and our greatest advisers (our reassuring instructors). We could not be among more encouraging people as we work through dance phrases, practice monologues on lunch breaks, or check in with each other after particularly frustrating classes or one-on-one sessions. Just like one of our final showcase songs says, “I could almost go to pieces, but I’m not quite there yet.”

Instructors Tracy Lynn Olivera and Matthew Gardiner give Sarah Anne feedback on her performance.



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We've Got Rhythm, We've Got Music

For the next two weeks, Alexandra, one of our talented Overtures students, is taking over our blog. Check back for daily updates!

Tuesday, June 18

Anyone passing by The ARK today was treated to quite the cacophony. There were, of course, the familiar sounds of songs being rehearsed, the shuffle-ball-changes of tap sequences, the occasional groan of frustration or sore muscles, the “Who are you talking to?” and “Where’s your focus?” of our first acting sessions with Andrew Long. But it was the sounds outside of dedicated class time that might have pleasantly surprised a few passersby.

After only three days together, the 2013 Overtures Company feels like a true ensemble. When we make discoveries and breakthroughs in group work there is applause and even resounding calls of “Werk girl!”. When we lose our balance in relevé or our flaps don’t sound quite right, our fellow company members are there to buddy up and go over the step one…okay, three more times.

So perhaps it was not all too strange that during much of today’s “down-time” we were found playing old-school theater games or jamming. Put 17 musical theater artists together in a circle and we will make music; improvising drum beats with hands, binders, water bottles and feet, riffing and rapping “Twinkle, Twinkle Little Star”. On a dreary day packed with demanding (and exhausting) classes and sessions, our scheduled breaks were much-appreciated moments of collective clarity.

As we ended our busy Tuesday by running through our first two company showcase songs, there was a palpable joy bouncing around the rehearsal room. Though it’s certainly easy to smile with lyrics like “My personal puss on a wooden nickel,” a dozen and a half artists finding a rhythm and groove will more than brighten any rainy day. There is some truly beautiful theater-making happening at Overtures, and we still have another ten days together!

Don't miss the Overtures Showcase! Saturday, June 29 at 11 AM in the MAX Theatre. Admission is free and seating is on a first come, first serve basis.

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