Inside CINDERELLA AT THE THEATRE OF POTATOES Part 3: Color for Our Cinderella

Inside CINDERELLA AT THE THEATRE OF POTATOES Part 3: Color for Our Cinderella

In this 4-part feature, PerformInk continues its INSIDE series and takes you behind the scenes of The Hypocrites production of CINDERELLA AT THE THEATRE OF POTATOES through blog posts written by the people behind the scenes.

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Inside CINDERELLA AT THE THEATRE OF POTATOES Part 2: Adapting at The Hypocrites

Inside CINDERELLA AT THE THEATRE OF POTATOES Part 2: Adapting at The Hypocrites

Photo: Adapter and Music Director Andra Velis Simon In this 4-part feature, PerformInk continues its INSIDE series and takes you behind the scenes of The Hypocrites production of CINDERELLA AT THE THEATRE OF POTATOES through blog posts written by the people behind the scenes.  Part 2 By Andra Velis Simon, adapter...

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Inside CINDERELLA AT THE THEATRE OF POTATOES Part 1: Introducing Pauline

Inside CINDERELLA AT THE THEATRE OF POTATOES Part 1: Introducing Pauline

More people should know the name Pauline Viardot-García, the composer and librettist of the opera Cendrillon and hundreds of other compositions.

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Inside IN THE HEIGHTS: Porchlight Responds to Casting

Inside IN THE HEIGHTS: Porchlight Responds to Casting

“Our job was to assemble a company for a work that has unique casting responsibilities. We fell short.”

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Inside WASTWATER Part 4: Dramaturgy

Inside WASTWATER Part 4: Dramaturgy

In this 4-part feature, PerformInk continues its INSIDE series and takes you behind the scenes of Steep’s production of WASTWATER, directed by Robin Witt.

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Inside WASTWATER Part 3: Sound

Inside WASTWATER Part 3: Sound

My favorite thing about designing sound is that it exists for an audience in a primal, subliminal way. They can’t see or touch it, but it’s intertwined with all of our perceptions of reality and being.

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Inside WASTWATER Part 2: Dialect

Inside WASTWATER Part 2: Dialect

The principal mistake that many productions make when using dialects is that dialect becomes an add-on, a superficial layering on character rather than the mode by which a character expresses themself. Just as our respective geographic origins affect the way that we interact with other people, a theatrical character’s cultural, regional, and class background greatly reflect how an individual articulates the value system comprised of those elements. In other words, our dialect in many ways articulates us whether we love that or reject it. So, in exploring dialect work for WASTWATER—set around Heathrow airport—my goal is to mine the dialect of the region for as many tools as possible to help our team unlock that us within the ensemble of characters of this piece.

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INSIDE WASTWATER Part 1: Why This Play? Why Now?

INSIDE WASTWATER Part 1: Why This Play? Why Now?

In this 4-part feature, PerformInk continues it’s INSIDE series and takes you behind the scenes of Steep’s production of WASTWATER, directed by Robin Witt.

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INSIDE LITTLE SHOP Part 4: Opening the Shop

INSIDE LITTLE SHOP Part 4: Opening the Shop

Going into our first preview, I think we were all a little nervous about putting the show in front of an audience for the first time, especially with so many tech elements involved. And the first preview being completely sold out—mostly to a huge group of high school students, no less—added even more pressure. However, the audience was enthralled and delighted, and the responsive crowd brought the show to life in a whole new way. After curtain call, as the house lights came up, I overheard the teenagers in front of me chattering about how it was one of the weirdest and funniest things they had ever seen. And that audience was just the beginning of a hugely successful preview week. One patron on Goldstar said “This was a great show! The singers were exceptional and the music was rousing.”

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INSIDE LITTLE SHOP Part 3: Adventures in Tech

INSIDE LITTLE SHOP Part 3: Adventures in Tech

In our final days in the rehearsal space, we had a sitzprobe and a designer run which were both exciting and crowded. Between the cast, the band, and the creative/production team, there are more than 35 people involved in bringing this show to life.

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