Stage Drama is slightly different from acting on a film. The procedures involved, the confidence needed by the actors and chemistry between them needs to be much stronger than film. Hence it can be considered as a more difficult version of film making.

Below is an introduction to drama and the making of the play "The Odd Couple", by Hwa Chong Junior College, Singapore. One of the lead actresses talked to us about her experience. You can hear the interview here.

When the curtain rises and the spotlights focus upon the actors on stage, the audience gets to witness the fruit of many months of backbreaking labour. We are not only talking about the numerous rehearsals that the actors go through but the all the other nitty gritty factors that go on to bring out the true essence and flavour of the play on opening night. Without them, even the best script and actors will not be able to save the show.
 

The Steps:

Although different plays and theatre groups employ slightly different methods, the general outline is basically the same. Below, we offer you our schedule which should provide a rough idea of how plays are done :

Selecting the play

Auditions

At this juncture, the work divides, and the stage crew and the actors work separately for the most part. The primary concern for the actors is to rehearse the play and the " real work" so to speak is done by the Producer and the Stage Manager. They will spend the next few months doing the following :

Getting as many people as possible to join the Drama Wing

Splitting the members into the various groups of : backstage, lighting etc

Discussion of the stage design, music, costumes and props required with the director

Persuading friends to design the promotional posters and tickets.

Design the programme booklet. Canvass for sponsorship.

Printing of the poster, booklet and tickets

Promoting the play and selling tickets both at Hwa Chong  and at other institutions

Painting flats at the Stage Club (however we did ours right in the Chinese High Drama Centre
last year ) and searching for props

Trying to search for unavailable props elsewhere (i.e. beg, borrow, steal !)

Transporting the props/ set to the Chinese High Drama Centre and setting them up

By this time, the actors and crew get intertwined. This is usually one week before the final moment the curtain rises. The flats are brought to the auditorium for the final touch up and are set on stage. The work starts on a Monday and usually finishes by Wednesday. The actors then move in and have 2 rounds of stage and technical rehearsal just in time for opening night on Friday. This is especially crucial because it is the only time the lights and sound crew will have to familiarise themselves with the play. As for most of the actors, this will also be the first time they come face to face with the glare of the stage lights.It is during this tension wrought week that we appreciate the usefulness of the Stage Manager. The S.M. is there to take the blame for all that goes wrong and fixes it in time for the big night.

Usually, manpower is a big problem at this juncture, but it is heart-warming to note that 8 to 9 people will appear to help paint flats and you never knew that they were in the Drama Wing. Likewise, 20 people could 'pop up' in the theatre claiming " I'm in drama" and offer their assistance.(It is commonly believed that they are there to have a free dinner)

The Producer and the Stage Manager have adopted an axiom " If you can't the right people at the right time at the right place to produce the best results, then do it yourself ." They are in charge of the final look of the play and if some edible prop has been eaten by some unknowing member of the crew, they will have to cycle to Bukit Timah Plaza in the nick of time to search for a replacement. They worry about getting the accounts balanced, about getting people to part with precious $$$ to print a programme booklet or sponsor a school play. They have to ensure that lights and sound crew get proper training, makeup is nicely applied (not plastered!), wardrobe fittings go on smoothly and that the tummies of the crew and actors are filled (chicken rice and chrysanthemum tea!) But at the end of the day, when the curtains go down for the last time to the standing ovation and thunderous applause of the audience, they are left with the huge satisfaction of a job ( hopefully) well done, though few may know the amount of work they have put in. They are the unsung heroes who lurk behind the curtains in the headsets scurrying about, cueing the actors on stage.

Despite the trials and tribulations they go through, the Producer and S.M. in the HCJC ELDDFS Drama Wing have a relatively easy job as compared to their counterparts due to the experience and guidance provided from Mr Nicholas Perry, our teacher-in-charge Resident Director. He has a wealth of experience in both fields of acting and directing and is the person responsible for most of the stage design and music and almost everything else.

Well, it's no bed of roses for the actors either, we now highlight the growing pains of every Sir Laurence Olivier in the making......

Selection of the Play

This is done at the beginning of the year and even perhaps the year before. This year, Mr Perry allowed us to help in the choosing of the play.However the final cut lies with him.Mr Perry has several catalogues which give synopses of various plays arranged in various styles. The play is then selected from various criteria.
 

The Auditions

Mr Perry usually holds 2 or 3 auditions which are generally held at the beginning of the year thus it is rare that a second intake student would receive a part. The auditions are usually held at lecture hall 5 . Hopefuls gather around as Mr Perry hands out copies of the play. Everyone starts on equal footing. Mr Perry watches and hears how they perform and most importantly he looks out for the 'chemistry' between them. After the auditions, he discusses the potentials with the Drama Head. Generally, the main factor is the quality of the voice as there are no microphones in most plays ( they distort the actor's voice) Physical
requirements are much more elastic for makeup and wardrobe can do wonders to the size and age of anyone.Last year, we had to have two actors who looked similar, where were we to find twins? The wonders of makeup and hair allayed our fears.Thus a projecting voice with clarity, variation and timbre would be fantastic. The casting lists are usually out within two or three weeks.

Rehearsals

This is another aspect of drama that is highly misunderstood. Most people think that the script includes highly detailed instructions of exactly what to do. This is where the director steps in, here a little shift, there a little change, the seemingly boring line takes on a whole new dimension to it. Without these additional gestures, the play would degenerate into a somewhat motionless item. Most actors seem to lapse into inanimation when reading lines and seem to forget how to react to each other. Thus the need for the director to pull the strings and bring life and vivacity back into these characters. The director also must have enough experience and knowledge to know understand the cryptic stage directions as well as the attitude and importance each character bears in the play. Timing is also highly important in a comedy. If the punch line is not delivered in a particular instant, the effect is loss upon the audience.It is also vital to keep up the pace and the energy.Two important things to note : never show your back to the audience and try not to upstage another unless its done with a purpose. Coherence and audibility is important to the person sitting in the corner in the last row of the theatre.Last but not least, never stop acting on stage, stay in persona or else all realism would be lost.

The Real Stuff

The play usually starts at 7:30pm. The actors come in by latest 5.By 6, actors would have eaten and started makeup. Stage makeup is different from day wear makeup. Upclose it might look 'wayang' (comical) but with the glare of the spotlight upon stage, you would look perfectly normal. Bright lights have the ability to blot or blur out facial expressions.After costuming, its time for the final pep talk by Mr Perry. He usually reminds you to be loud and clear, calm and confident, coherent and last but not least, cover up all mistakes.If the audience does not know of the blooper, it was a job well done (though it would be great if there were none at all). The year before last, the gunshot did not go off in time and the actors had to ad-lib for quite a while. Those 10 seconds of eternity to the sound crew were vital. If the actors had not continued, the play would not have been so successful. Last year, with the help of a fantastic sound crew, timing for all telephone rings and explosions were to the T! After the pep talk is the customary group hug, and THE spoonful of "Pei Pa Gao". A little goes a long way for an aching throat! Then it's all systems go, the curtains rise, the adrenaline rush ....break a leg.

Conclusion

From past experience, actors are usually best on opening night. As you step out into the glare of the spotlight, you feel the world revolve around you. The adrenaline pulsating through your veins and all initial fears that dwelled in your mind disappears. The
anticipation, the camaraderie and the sheer joy when the curtain comes down makes it all worth while. And when someone comes up to you to say " That was fabulous!" The corners of your mouth crinkle and you know the hard work you put in was worth every bead of sweat.