Lady Day at Emerson’s Bar and Grill: Poster Evolution

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This was my favorite painted version of the poster for the Orlando Shakespeare Center. Lady Day stood in a strong spotlight that broke her into an abstraction of lights and darks. Pinks and blues work together like bold puzzle pieces. The bottle on the table stands as erect and proud as the singer herself.

For the final poster however I needed to move in closer to the singer. Tymisha Harris was likely to be cast in the roll but that had not been established yet. I danced a line between making the singer look like Lady Day and Tymisha. I did like the chance to rework the microphone adding it metallic sheen.

Performances continue through March 5, 2023. I will be sketching a performance next week and I can’t wait.

Noises Off

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I got in to sketch a performance of Noises Off at the Orlando Shakes (812 E Rollins St, Orlando, FL). Pam requested tickets a the back of the theater house right so that the glow of my iPad wouldn’t be noticed by anyone in the audience. We had a guest from France so this was her chance to see what Orlando culture was all about. I was a little concerned when someone sat right behind me. As it turned out that was the actor who plays the director in the show. Withing minutes of the show opening he was shouting at the top of his lungs to stop the action on stage. In this regard we were actually in the best seats in the house.

To say the show is fast paced an hilarious is an understatement. The stakes are high because this is a final dress rehearsal and none of the actors are 100 percent sure of their parts. The polite yet condescending conversations between the cast and the director hit the mark. The show at all time was a run away train of hilarity. Nothing went to plan and if something could go wrong it did go wrong. That my friends is theater in a nut shell.

The second act was set back stage. The entire set is on coasters and the stage hands rotated all the elements as the audience was in the lobby getting drinks. They kept the inner working of the set swap somewhat secret before the second act but they kept the curtain up so everyone could see the magic for the final act.

While I was working on the poster for the show, Someone mentioned that there was no plan to have a curtain. I painted a red curtain on the poster regardless and sure enough there was a red curtain in the show. Life imitates art imitating art.

Noises Off ran through September 25, 2022. So if you missed the show, you missed an amazing hilarious night of theater.

 

Poster Evolution: Noises Off

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Noises Off by Michael Frayn will run at the Orlando Shakespeare Center from September 7-25, 2022.

One of the funniest plays ever written, this hysterical play-within-a-play is filled with screwball antics, prat-falls and sight gags. A professional theater director must prevent his half-baked actors and an overworked crew from sabotaging his production with their off-stage shenanigans – and on-stage bedlam! This side-splitting comedy proves the adage – The show must go on!

I watched a movie,  based on the play to get a feeling for the show before I started work on the poster. Every scene is incredibly fast moving with doors slamming off stage and on stage. I became intrigued by a scene in which a beautiful woman looses hr contacts and the actors all struggle to find in on stage. It is a very meta moment in which life and art combine in a hilarious moment.

My first pass at the poster was of the curtain falling on that scene as the actors struggle to find the contact lens. Granted the Shakes will likely not have a curtain in the Margeson Theater, but it offered me an opportunity to show the chaos of the scene as just a thin slice. It leaves much to the imagination. The notes were pretty straight forward and make sense, “More legs, less curtain.” That in itself could be a guiding principle of any theater production.

I always do two sketches of each poster to make sure I am exploring different options. I had heard that there might be a spinning stage that shows back stage as well an the forward facing stage set. I wanted to explore a back stage scene that faces out towards the audience. One of the actors has a drinking problem and to keep the production moving forward, the cast has to hide his bottle. There is an upper balcony on the set with multiple doors, so back stage these would have to be a staircase to get the actors up to those imagined and never seen rooms. The problem with this poster is that the show had not been cast yet.

The final poster was a simple revise of my first concept. I had to get rid of a few actors legs but the idea certainly holds up with everything bigger, larger and better. I am excited to see the show. Several of the actors I have seen in other productions and they are absolutely hilarious. Tickets range from $26.25 to $36.76

Beauty and the Beast: Poster Evolution

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Beauty and the Beast opened at the Orlando Shakes on June 23, 2022. This show isn’t based on the Disney version of the fairy tale but on the original book. In this tale the relationship between the sisters becomes as important as the relationship between the Beast and Beauty.

Written by local play write and actor Brandon Roberts, this show is an interactive joy for the kids in the audience as well as for the kids at heart. The play runs through July 24, 2022.

The first poster design I did for the show was build around showing the rose that is symbolic of the curse of the beast. However this rose is only hinted at in this theater production and I am told it is more of a Disney thematic invention. That idea had to be scrapped.

A second pass at the poster involved showing a mysterious castle in an enchanted forest. In the play, children are invited onto the stage an given fairy wings. As promoted fairies they have control over the inner workings of the castle. Unfortunately the audience members seldom know how to work their magic. It creates charming and delightful moments.

So the second poster idea had a fairy flying through the forest with plenty of pixie dust illuminating the scene. I knew it was a long shot, and it didn’t fly. I liked the blue lighting and yellow illuminated title, but bottom line, I had to figure out how to show Beauty and the Beast in a way that was unique to this production. I watched last year’s production  to get a feel of what I should do for the poster and I can say, you are guaranteed to laugh when you go to this show. The author of the play is one of Rolando’s funniest actors and this production highlights that strength splendidly.

After seeing these two posters I was given photos of past productions and therefor I had an idea of what beauty and the beast looked like in the production. That   mad my job a whole lot easier. I had specifically avoided sketching the beast since his appearance could vary widely. There was a request for some more swirly title treatment, so I had fun getting lost in researching fairy tale style typefaces.

My castle research turned to interiors and the concept developed of showing the beast as a dark silhouette against a light background column of light and beauty would appear a a bright color against the castles darkness. I used the actors from the previous production but they were not re- cast. So I had a last minute request to replace the beauty I had painted with the new actresses. I also did horizontal compositions of each of the posters since most social media use is rather horizontal. This involved giving the art department the ability to isolate sections of each poster and to allow them to create horizontal versions.

Henry IV Part 2 at the Shakes

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Pam and I went to a dress rehearsal for Henry IV Part 2. This is part of Orlando Shakes’ Fire and Reign series, a seven Shakespeare production journey through history over three seasons covering the Rise of Henry V and the Wars of the Roses, from Richard II – Richard III.

“Uneasy lies the head that wears a crown.” William Shakespeare’s story of burnt bridges and growing pains stripped is down to a lively, raw, rambunctious performance, like nothing you’ve experienced before. Orlando Shakes’ actors will tackle Henry IV, Part 2 with less than 40 hours of rehearsal, no designers, and no director – just like the acting companies of Shakespeare’s time!

Actors blocked out the scenes themselves and selected their own costumes. Ned Averill Snell as the Gower wore a Rolling Stones T Shirt along with his medieval costuming. Philip Nolen as Falstaf chose to wear a bright red Santa suit. Brandon Roberts as Bardolph wore light blue sneakers.

Prior to the official start of the run Benjamin Bonenfant as Prince Hal and Lauren Culver ran through some lines. They jostled and joked and surprised each other as they hastily rehearsed the scene. Laughter in the scene mixed mixed with the laughter of their surprising each other as they performed. There is a real joy in this sort of anything goes attitude that made for a very fun production.

Masks are optional at the Shakes. Thankfully all staff seated in the audience wore masks as did we, but actors who are tested regularly performed without masks. When Henry IV stood hacking up a lung for minutes at a time center stage, the performance seemed too convincing during a pandemic. Overall it was a delightful and fun performance. This play is less about war and more about the father son relationship as the young prince moves away from deadbeat, carousing friends, like Falstaf who steer him wrong.

A Christmas Carol: Poster Evolution

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Each poster I illustrated for the Orlando Shakes this season went through an evolution from initial concept sketches to final tweaks and refinements.

My initial concepts simply used sketches I had done at past performances. There is a big difference between a loose spontaneous sketch done in a dark theater and a final illustration, but it was a way to start getting ideas out.


I then went on to an illustration of the ghost of Christmas past in front of the raging fireplace. My thought was that we could all use some semblance of joy after more than 20 months of living with a pandemic.

Ultimately however I settled on Scrooge’s conversion on Christmas day as he holds up Tiny Tim. That visually expressed the joy I wanted without the visage of ghosts. It also helped to put a large chorus in the scene. There were other refinements to the poster involving refining chorus members, but I will not get into that minutia.

A Christmas Carol runs through December 24, 2021. The show features your favorite carols and awe-inspiring special effects, this delightful rendition tells the iconic tale of one man’s chance to change for the better. Gather together to witness the holiday magic and create a tradition for the whole family.

Intimate Apparel

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The Orlando Shakes will present Intimate Apparel by two-time Pulitzer Prize winner Lynn Nottage from October 27 to November 20, 2021.

Set during the turn of the twentieth century, the drama, deftly weaves together a story that explores the complexities of identity, vulnerability, and human resilience. Sewing exquisite lingerie gives Esther, an African American seamstress, an intimate look at the love lives of her diverse clientele, but leaves her yearning for a romance of her own. When a letter arrives from a stranger, she embarks on a journey to build the life she’s longed for.

In my first sketch for the show poster, I identified with the seamstress as a creator. She had a family heirloom which was an intricate quilt. In the Disney animated short John Henry a quilt was used to introduce the characters and begin to tell the story so my thoughts wandered in that direction. I fell in love with painting her at her turn of the century sewing machine.

The cursive type I chose was a bit hard to read from a distance and though the seamstress was intimately involved in her craft the image was somber.

My second sketch was more on the mark being an intimate portrait of the creator fitting her clientele. This image had the added benefit of having some sex appeal. These two woman would talk during the fittings and the friendship became one they both relied on.

The cursive type remained the same so I turned my attention to refining that on the next pass. I tried variations with a needle and bobbin. The type became more delicate and also more bold so it could be read from a distance. I also needed to make the author’s name bigger which would require a few adjustments. I was getting close. Though everyone seemed happy with the staging of the scene, I felt the need to tinker. There had to be a way of posing the tow characters to expose the fact that they were close but also a bit separate. They could be friends, but not close friends. The client could not invite her seamstress out to the theater for instance.

I decided to turn the client from the audience a bit to show the laces on the back of the corset. This made more sense with the position of the character to the mirror but it detracted from an intimacy with the viewer. I went back to the frontal view for the final image and worked on reposing the seamstress’s reflection in the mirror. Pam and her niece posed to help me figure out what the  pose would look like reversed in a mirror.

Jean-Édouard Vuillard is a french artist that I love. He lived from 1868 to 1940. His painting inspired what I tried to do in painting the parlor interior. He used subtle greyed colors with bright notes of color in the lights.

Anyway, I identified with the creative journey of this seamstress as she embraced hopes of a future only to find those hopes were hung on an illusion.   Despite this she could return to her creative endeavors which offered meaning when love was elusive.

Director: Shonn McCloud
Scenic and Lighting Designer: Stephen Jones
Costume Designer: Dana Rebecca Woods
Sound Designer: Britt Sandusky
Intimacy Coordinator: KJ Gilmer
Dialect Coach: Vivian Majkowski
AEA Stage Manager: George Hamrah
Production Assistant: Nahaira Morales

The cast includes, Lilian Oben as Esther, Trenell Mooring as Mrs. Dickson, Laurel Hatfield as Mrs. Van Buren, Adam T. Biner as Mr. Marks, Martine Fleurisma as Mayme, and Chris Lindsay as George.

The Shakes requires all patrons to bring a vaccination card or proof of a recent negative COVID-19 test for admission. Masks are required for all audience members. All Shakes actors and staff are fully vaccinated. The theater provides a special section in the upper mezzanine for patrons who wish to be distanced from other parties due to COVID-19. When purchasing, seats for this section is indicated in bright red. I vastly appreciate their consideration, and it is there in the Phantom’s upper section that I sit to sketch.

Every Brilliant Thing

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Every Brilliant Thing by Duncan MacMillan with Jonny Donahoe runs at the Orlando Shakes (812 E Rollins St, Orlando, FL 32803) runs through October 16, 2021. Suzanne O’Donnell did a magnificent job ass the narrator in this one person play.

The Shakes is coming back with full safety precautions in mind. All cast and crew at the Shakes are fully vaccinated. The theater also insists that the audience bring a vaccination card and photo ID to the performance.

I have had my vaccination card in my wallet for the last six months and this is the first time anyone has asked to see it. I was excited and proud to finally show my vaccination status. Those vaccine cards however are printed with cheap diapering inks. The police officer outside the theater had a hard time making out the faint marks that remained on the card. Ultimately I was waived in and I got to see my theater posters full size for the first time.

Pam and I elected to sit in the socially distanced section of the theater. In every row black lace marked several seats in alternating spots where people should not sit. This would allow for at least 4 feet of social distancing between groups. Everyone was wearing masks. I felt safe and secure to relax and enjoy the show as I sketched. Members of the audience were given numbered cards with list items on them. During he show Suzanne would shout out a number and an audience member would shout out what was written on their card. Pam pointed out that one guy kept removing his mask when he had to shout out his item, which kind of defeated the point of having a mask. One drawback is that the audience wasn’t always on top of their callback game but the actress handed these glitches with grace and humor.

Every brilliant thing has to do with a list the narrator began compiling as a child which was expanded later in life. She started the list because her mother was depressed and felt no desire to live. The list was for her mother to remind her of every brilliant thing that makes life worth living. Number 1 was of course ice cream. Later in life the items became more subtle like lending a book to a friend and actually having them read it. This was a perfect play for these pandemic times. We have all been isolated in some way and the joys in life must be found even through the isolation. Happiness was mixed with a pinch of sadness.

Suzanne exuded joy and passion for life, and in the end as she relaxed on her lounge listening to music I left feeling she would be fine, even though life is bitter sweet.

Three cheers to the Shakes for bringing back theater safely and responsibly. They are a bright light in these dark times.

 

Hazmat Hamlet

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Beginning October 1, 2021 Orlando Shakes will require patrons to present either proof of vaccination or a recent negative COVID-19 test to be allowed entry into the theater.

This follows in the tradition of Broadway in NYC and the Dr. Phillips Center of the Performing Arts which have the same policy in place.

Managing Director Douglas Love-Ramos said in a release the measure will help keep guests safe and the venue from having to shut down. “We strongly believe that this is the right thing to do at this time,” he said.

Patrons over the age of 12 looking to attend the theater must mask up during the entire performance, regardless of vaccination status. Patrons who’ve left their vaccination card at home will be allowed to present a photo or digital copy of the document.

Negative results for PCR medical tests must be within 72 hours of the show, while negative rapid antigen test results will be acceptable as long as they were done at least 48 hours before showtime. Self-administered home COVID test results will not be accepted.

“We long for the day that we won’t need to worry about COVID and its restrictions,” Love-Ramos said. “But until then, we must do our part to help contain the spread of COVID and its variants, to keep our guests, staff, volunteers and artists as safe as possible.”

Ticket holders who purchased directly through Orlando Shakes and cannot meet the demands of these new policies will be entitled to a refund.

Crealde Zoomscapes

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My Sunday morning Crealde School of Art Urban Sketching Class begins again on April 11, 2021.As of April 1, 2021 I will have had my second COVID-19 vaccine shot, so I will be more at ease. I will still follow all safety protocols like wearing a mask, maintaining my distance and washing my hands and wiping surfaces down religiously.

This sketch is from the class to demonstrate using thumbnail drawings to move an audience through a space. All classes have been held outdoors unless the weather keeps us inside. The primary point of the class is to get the students used to carrying a sketchbook everywhere they go and to fill it with simple daily direct observations.

I tend to seek out gatherings of people to include in my sketches and that has been put on hold for well over a year now. As the state opens to a new normal I am slowly venturing out with my sketchbook. In a week I will be sketching the Shakes performance of A Mid-Summer Night’s Dream at the Lake Eola Bandshell. When I first moved to Orlando I remember seeing a Shakespeare production at the bandshell. I am thankful that the Shakes if finding a way to keep theater alive through the pandemic.

The spring Crealde Urban Sketching Class was canceled since there was not enough interest among artists in sketching the world as it exists during the pandemic.