Tuesday, February 12, 2013

Actor Julie Baird ~ Legally Blonde's Elle Woods ~ Shares Her Journey


Well, here I am in Fayetteville prepping for our fundraising cabaret tonight and getting ready to kick off the last week of Legally Blonde! I have had such an amazing time at Cape Fear Regional Theatre, and the thought of departing from this awesome experience is something I have been pushing out of my consciousness to avoid what we have been calling "Showpression" (aka post-show depression).  The twist and turns of events that has led me to this job opportunity has been beyond crazy! When I got the call, I could barely believe my ears. I was a week away from graduating college, and I was offered to play one of my favorite roles, in one of my favorite musicals at a theatre across the country. I understand this is not how most post-college actors begin their career. I am most certain most job opportunities for young actors come from months and months of auditioning and attending cattle calls. However, by a very small glimpse of fate, here I am! And I haven't stopped smiling since!

One of my favorite parts about what I do is the opportunity to travel, see cities, and meet people that I would never get normally experience had I chose a more steady career path. It's no secret it can be difficult find work as an actor, so it's very common to make home wherever you can find work. Regardless of where I am or what show is being put up, stepping into a theatre or a rehearsal room brings an overwhelming sense of comfort and inspiration. Here, we all collaborate as a family, one single unit, that has come together for one task; to entertain, teach, or enlighten an audience, to open minds and inspire them to feel. I cannot think of a more fulfilling lifestyle. 

Legally Blonde is a show I hold very close to my heart. The original novel and movie teaches the importance of friendship, self worth, having faith in others, and most importantly having faith in yourself. The musical holds true to the same morals, however I feel the addition of music, dance, and live actors enhances the overall effectiveness. Elle Woods is an extraordinarily intelligent blonde with a huge heart and sense of compassion. In the beginning of the show, she is living a sheltered life of luxury at UCLA that becomes shattered after the unexpected break up with Warner Huntington the III. Here we see that she has flaws, one of them being the ability to attach her self worth to the approval of men. Harvard law is a rude awakening for her and through the unexpected friendships of Paulette, Emmett and the other law students, she discovers law school is NOT about looking smart and winning love, but actually about helping the underdog, justice for all, and eventually saving a innocent friend’s life. By the end of the show, she is still the blonde and kind Elle Woods, with and entirely new perspective. Elle Woods is an iconic hero to our generation, and the opportunity to portray a character so strong six times a week for two and a half hours each night inspires me as well!

In Legally Blonde, Elle closes some chapters in her life and opens new ones, while never forgetting about her true friends, family, and where she came from. I couldn’t have chosen a better time in my life to be a part of this show. I didn’t walk in my own college graduation, but standing on that stage and graduating from Harvard every night is incredibly symbolic to own life. Leaving the comfort of school, facing the challenges of the real world and beginning a career as an artist is an incredibly terrifying and exhilarating chapter to open, but if I think with my heart, have faith in others, and more importantly, have faith in myself, I think things will turn out just fine. :) 
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Legally Blonde, The Musical runs through February 17th

Thursday, October 11, 2012

By Music Director Andrew Wheeler

There's always a post-show lull the first few days after closing. While its sad to say goodbye to the new friends and colleagues with whom you've spent countless hours, worked seemingly endless late nights and shared abundant laughter, there are always the myriad memories that will continue to bring a smile to my face.

One of my favorites is the sounding board that our illustrious tech team made available especially for JCS. While it was freed from its vestigial frame by James (our Technical Director) and his crew, it couldn't have happened without Tom. Working with Tom Quaintance was a delight thanks to the great partnership we shared. One of Tom's best qualities is that he is a "yes" man. When the idea of a sounding board came up and I nearly jumped out of my skin, Tom said, "Let's do it. I've always wanted one."

James taking apart the piano
I'm getting ahead of myself, though. A sounding board is the part of a piano that holds the strings and helps their sound resonate. Inside the piano, the hammers strike the strings as each key is pressed. Take the sounding board out, though, and you can get your hands, or anything else you want, directly on the strings and even the board itself. The range of sounds you can create is only limited by your imagination, and discovering new ways to manipulate it is great fun. In fact, this is the first time I've gotten to work with one myself in a show. I was eager to dive in.

So, when Tom gave the word, James and his team began to take apart the piano piece by piece, and then add back a few that would come in handy. Then they carried it up to the pit. All 100lbs (at least!) of it. Love those guys! Then I started to play around.

Tom and I decided on a structure for "The Crucifixion" and came up with a few great tools. I ended up using just two: a hammer and a metal putty knife. Running the metal putty knife along the strings produces a hair-raising noise worthy of a horror movie. The hammer and sounding board were the perfect solution for a morose sound need we had been pondering since the beginning.

We have a sounding board
What sounds more like hammering than using a hammer? Even better, striking the sounding board causes every string to vibrate at once leaving behind a ghostly, dissonant echo. It was the perfect way to end "Superstar" and to strike the mood for the end of the show. To protect the sound board from the dents and damage from the head of the hammer I gaff taped a piece of 2x4 to the top. Over the production that one split into a few pieces and had to be replaced. The replacement barely made it through the run, having split in two by closing. Together with the hammer, we produced those bone-chilling hammer sounds night after night that propelled the show to its final scene.

The sounding board was the icing on the cake at the end of the show. With such a fantastic cast, pit, crew and artistic staff, I knew JCS would be a smash hit. I can't wait to return in January and see some familiar faces. Now let's just see if I can figure out how to get my new toy into the next one or perhaps find something else for James to take apart!



Around the World in 80 Days plays October 25 – November 11

Friday, March 16, 2012

Friday, March 9, 2012

A Stranger Here Myself


by David F. Chapman (Director, The Spitfire Grill)


The Spitfire Grill tells the story of a young woman, Percy Talbott, who comes to the tiny town of Gilead, Wisconsin, after five years in prison. Percy doesn’t know a soul in Gilead, nor does she have a job or a place to stay.  She chooses Gilead, as she explains to the local sheriff, because of a picture of its autumn colors she tore from a travel book (never mind that she arrives in the dead of winter). Sheriff Joe sets her up at the Spitfire Grill, where Hannah Ferguson has been serving breakfast, lunch, and dinner to practically the whole town for decades.  Percy sets down her suitcase, puts on an apron, and gets to work.

Ok, so I didn’t come to Fayetteville from prison (despite what some might believe about crowded, dirty New York) and, thanks to Cape Fear Regional Theatre, I showed up with a job and a place to stay.  But in those first few days, I felt I’d come to understand Percy a little better than I had before.  Like Percy, I found myself working alongside people who had been plugging along for years – day by day, building something lasting, even though each production (like each order of scrambled eggs and bacon) is only temporary.  Like Percy, I was joining a community in transition – seasoned vets teaming up with newcomers to meet new challenges and build on past successes.  Like Percy, I was totally dependent on the folks I met to show me everything I needed to know, from where to buy groceries to how to best stage scenes in CFRT’s glorious 327-seat auditorium. (I even share with Percy a debt to the town Sheriff, although in my case it’s Fayetteville’s generous Shereff Family, in whose guest house I am staying.)

In just a short time here, I’ve learned what it means to work at a theatre that is also a home and a family to so many artists and staff.  During one rehearsal, our Hannah Ferguson – the inimitable Libby Seymour – pointed at a photo on a wall of CFRT memories and said, “That’s me at 8 years old, in my first show here.”  Others in our cast were also well-represented on those walls.  But our show also features artists making their CFRT debuts, and a few more who are somewhere in between “old regular” and “first-timer”.  It is so rare to find a theatre that nurtures an actor over the course of her entire life – from a little girl in a cat costume to the flinty town matriarch – and still has room for us newbies. But that’s clearly what CFRT does best, and helps explain why it’s still going strong after 50 years. 

As a freelance director, I’m used to adjusting to a new theatre and new collaborators every time I start a project. But this time, I feel less like a creative nomad and more like a guest in someone’s (or many people’s) home.  In rehearsal, we share stories and baked goods in equal measure, and on stage, that sense of hospitality, warmth, and hope is palpable.  By working together towards a common goal we all believe it, we each contribute to making this the home we would want to live in.  It’s a fitting parallel for Percy’s journey throughout our musical, and a feeling I believe will radiate from the stage to reach the audience. 
 
I hope to see you at the Grill!

-David

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The Spitfire Grill plays March 16 - April 1
Click here for tickets and more information

Monday, February 27, 2012

In The "We Couldn't Do It Without You" Category...

Ken Griggs shot and edited this video to help prepare the 2,000 Cumberland County students who will see the show at our two student matinees. The Classic Theatre Series provides free tickets to all 11th graders for these performances as a part of our continuing effort to make the arts accessible for our community. We also provide study guides and have gone into schools with our Artists in the Classroom program.