A Video Look at "Ragtime" at Near West Theatre

I am so proud to be a part of this amazing production of "Ragtime" at Near West Theatre.  I am playing Coalhouse Walker, Jr. and we open May 4th, 2012 and run for three weeks!  Don't miss it! Here is a video I produced looking at our production.

A Video Look at "Ragtime" at Near West Theatre

New Video: The Music Man at FPAC!

Here's the promo video I just finished for the Fairmount Performing Arts Conservatory production of "The Music Man"!

New STAGES Episode! #24

In this episode, the cast of the Fallmusical "Titanic" meets the amazing 25-piece orchestra for the first time. Led by Class of 2012 Senior Ryan Garrett, the Orchestra soars through its first run-thru of the group numbers. Then get a look at "First Takes", the Junior Class of 2013 showcase of new songs from the National Alliance for Music Theatre (N.A.M.T.).

Check out My Latest Episode of "STAGES"! Year 3!

Season 3 begins by letting viewers sit in on student auditions for the Fall musical "Titanic" with insight from a couple experienced students. Director Scott Plate uses some auditions as valuable teaching moments for young performers. Then Scott takes us on a tour of the brand new conservatory building, but not before he and Program Director Vicky Bussert look at some of the funny inconveniences the music theatre department endured in their temporary home waiting for construction to be complete.

"Oliver!" at Near West Theatre

The latest promo I produced for the Near West Theatre Production of "Oliver!"

JBP's Geoff Contributing to Mobile Beat Online Magazine

Geoff Short of Jerry Bruno Productions is proud to be a new contributing blogger for Mobile Beat Magazine online. Mobile Beat is a leading DJ industry publication and Geoff will be writing various articles about relating to the DJ business periodically. Here is a Geoff's latest Mobile Beat Blog entry:

All the (DJ's) World is a Stage: Why DJs could learn Lighting Lessons from the Theatre

Like many DJs, I have a varied entertainment background. Being a well-rounded performer can only help a DJ be a more effective entertainer. In addition to being a DJ, I'm a singer and currently the Band Leader of a 10-piece wedding band, but I have also spent a lifetime performing in live musical theatre productions and have directed them as well. So it's not surprising that I often look at the profession - and, indeed, the art - of DJing through the lens of other performing art forms, especially theatre which naturally has a lot in common with DJing - rehearsal, public speaking, interaction with a live audience and technical elements including live sound reinforcement and of course, creative lighting.

Typical DJ gigs don't involve curtain calls, but a look at some of the basic ways lighting is used in live theatre productions might get us closer to a standing ovation at the end of the night.

I was just reading a thread on one of the seemingly infinite online DJ forums. This particular discussion caught my attention because it posed a question I've thought a lot about lately. Whether or not modern DJs actually need tons of state-of-the-art gear many of us seem obsessed with to be truly great entertainers. I am still fairly new to the mobile DJ scene so it feels like I still have an objective point of view about the DJ profession. I've been amazed at how much focus there has been in the mobile DJ community on gear that doesn't actually make any music - specifically lighting.

I have a theory. We dig toys.

Just kidding. I mean, we do, but I think there really is something a bit more noble at play here than just keeping up with the Joneses or the simple (but costly) over-accumulation of shiny things that blink and strobe.

Modern mobile DJs are recognizing that "extra-audio" equipment like lighting is an important - dare I suggest, vital ingredient in the recipe for engineering events that thrill special event guests and have new clients clamoring for similar bells and whistles. Great examples of this can be found in the art of live theatre.

I've trod the boards of community and professional theatre since I was a kid so the importance of lighting to any production is practically part of my DNA. The most effective DJs are, in fact, artists and performers very similar to actors. The wedding receptions, Bar Mitzvahs, School Dances and other special events that DJs host are actually all mini musical productions. DJs are recognizing what theatre artists have always known. The impact of artfully executed lighting designs can make or break a production.

Examine a few of the ways* lighting helps tell the stories of theatrical stage plays and musicals:

• Mood - Lights are the most effective way to set the mood or tone for a play or for any given scene. For instance, natural light can give a sense of normalcy, while the use of gels in dark greens or purples can give a scene an unsettling, otherwordly feel.


• Special Effects - Lighting can be used to execute a variety of stage directions and special effects. These can range from weather (lightning, snow, rain, clouds) to fire to the illusion of explosions or gunfire.


• Focus - The absence of light can also be a useful tool. By darkening certain portions of the stage, the remaining illuminated areas become focal points, thus directing the attention of the audience.

It's not a leap of faith to envision mobile DJs enjoying the same benefits in their own "theatres" like reception halls and ballrooms. A DJ's "scenes" are the songs he or she plays, balancing the romantic feel of a ballad with the thrill of the latest uptempo chart topper. The formal elements of the events we are charged with producing are also like scenes in a play. Shouldn't there be a different mood created for the bridal first dance than the garter toss? A pin spot or artfully placed par can can certainly put focus on the wedding cake or the head table. As far asspecial effects go, throw a couple Chauvet Intimidators onto a dance floor and a DJ's "production" is heading for a standing ovation and rave reviews.

The fact of the matter is that we are being called upon to create events that go beyond audio-centric experiences. Today's special event clients want more for their money so we must have the tools to give it to them. And it doesn't have to take multi-million dollar Broadway budgets. With a little creativity and an even smaller budget, I've managed to create some really cool effects using my Chauvet 4-Bar/4-Play combination system controlled with an Obey 10 controller along with a Mini 4-Bar light rig.

Speaking of Chauvet, that company's mission is built around the theory of "V.I.P" - Value, Innovation and Performance. I think successful contemporary DJs (and theatre artists) should focus on the same things. Creating value for clients and audiences, and being innovative in producing events culminating in well-rehearsed and flawlessly executed performances.

Of course more toys can't replace inherent talent and the ability to guide an event smoothly through it's timeline and entertain guests. Without raw talent, audiences could very well be watching a killer light show with a bomb of a performance. Nothing can replace talent and experience.

But kick-ass lighting can sure make it look better.
So take your bows.

*from Why Lighting Is Important to the Theatre by Tucker Cummings, E-How Contributor

Video Promo for "Big, The Musical" at FPAC!

My latest video promo! This one for Fairmount Performing Arts Conservatory's production of "Big, The Musical"!

Video Promo by Geoff Short (www.geoffreyshort.com)

Fairmount Center for the Arts presents
"Big the Musical"
at Fairmount Performing Arts Conservatory
August 11-21, 2011

Book by John Weidman
Music by David Shire
Lyrics by Richard Maltby,Jr.

Based on the motion picture 'Big,' written by Gary Ross and Anne Spielberg
Produced by Twentieth Century Fox

Director - Carol Pribble (CP)
Music Director - John Krol
Choreographer - Bebe Weinberg Katz
Set Design - Ron Newell
Light Design - Ben Gantose
Sound Design - Carlton Guc
Costume Design - Craig Tucker
Stage Manager - Sarah Lynne Nicholas
Technical Director - Keith Newman

to be presented August 11 - 21, 2011
at Mayfield Village Civic Center, 6622 Wilson Mills Road, Mayfield Village

TICKETS
can be purchased online at www.fairmountcenter.com
or by calling 440-338-3171.

NEW STAGES EPISODE!!!

STAGES: Stories from the BW Music Theater Program - Pt. 11: "Breaking the Fourth Wall: Performing Off-Campus". In this episode, go on the road with BW music theater students as they perform at venues outside of Baldwin-Wallace, including a benefit for a local community theater and a play Directed by Asst. Professor & Dept.Chair Scott Plate.

New Video! City of Angels on Call-Back!

You can tell I'm in the middle of directing a show because I haven't been able to blog lately. But I did want to share the latest Call-Back episode featuring City of Angels, the musical I'm currently in rehearsals for.


This has been a phenomenal cast and crew to work with. Just the nicest, most professional group in a long time. And I love the people at Brecksville Theater on the Square. Also a sweet bunch of folks who know what they're doing, know how to engage volunteers and know how to work together to put shows on the stage. Other theaters could really learn from the BTOTS model.

With a month to go until opening, this is when things really get interesting...we move from our rehearsal space into the actual theater next week and to have an entire month on stage is a luxury not commonly afforded. It has been my experience sometimes, however, that that move can also bring challenges.

All of us performers can be divas at times. After weeks of rehearsing in a certain space with a certain understanding of the specifics of the set and props, etc., it can be challenging to have to suddenly make a few adjustments around the reality of what the actual space and set are like. I'm a big believer in giving the cast as much information and ammunition about what the actual performance environment will be like from the very first read-thru. We use rehearsal props and set pieces, tape the floor with the specifications of the stage, rehearse scene changes. But it is inevitable that things always will be slightly different when the actual set is built. This is why it's so great to have a full month to adjust to the space and the set and also why it's so important to have a mature, professional and flexible cast.

Making adjustments to reality is not a problem for the aforementioned mature, professional and FLEXIBLE actor. Big problem for the diva. I've been in situations where the complaints and whining from cast members started almost immediately after stepping on the actual performance stage. I've seen the actors with the panicked look in their eye swearing none of their blocking will work because there are 4 steps instead of 3 or whatever. I've said it to casts before and I will again- don't bring me problems, bring me solutions. If you let yourself enjoy the challenge of it, finding those solutions is the fun part of producing a show. I choose to work with the people I do because they are brilliant, creative performers and yes - problem solvers. Yes, the director is the leader of the project and needs to approve changes or ideas, but we also need great problem solvers around us. Great ideas don't come from just one person and if an idea will make things smoother or better - no matter where it comes from - give it to me! I love it when someone says "I was thinking about it and I wondered if it would work better to have me come in from stage left instead of stage right because now that the actual chair is sitting there it's in the way" as opposed to "I don't know how I'm ever going to make my entrance here with this chair in the way".

Think about that in your own work environment. Isn't it true with just about any job?

Conflicted About Conflicts?

If you've seen my City of Angels audition preview video, you know the auditions are coming up fast. Since my focus has been on directing over the last couple of years, I've been thinking about one of those thorny little theater issues that always comes up when casting a community (read "unpaid volunteer") theater production - cast conflicts.

One of the biggest challenges whenever I direct a show is organizing the rehearsal schedule. Readers of this blog already know some of my view points about the actual lengths of rehearsal schedules. Obviously another big component of rehearsals is who can actually show up to which rehearsals. Which is why it's so important to fill in that space on the audition form asking for conflicts as thoroughly and accurately as possible. But is it realistic for directors to always expect there to be nothing written in that space? It may not be realistic, but it is real.

I think it's rare but there are directors who won't cast anyone with any conflicts - not even the very best performers who may have an interest in being in their show. Being on the other side of the audition table, I would agree that this probably makes life a lot easier in terms of organizing rehearsals. In the ideal world, cast members would push everything else in their lives aside and commit to being at 100% of rehearsals. But I also think in today's hectic world where our volunteer actors are also parents, workers, students and volunteers in other organizations, casting only "non-conflicted" performers could be cutting off our nose to spite our face.

The very best performers - many of whom may be perfect for a given role - may want to do your show but have a few scheduling conflicts. To not cast them because of that is short-sighted. After all, we have an obligation to the ticket-buying public to produce the very best productions we can. If we can put the best talent on that stage, the audience will never know which rehearsals an actor showed up to and which they didn't. Of course, if we can cast a show with great performers who don't have conflicts (which I'm convinced doesn't really exist) that is the ultimate way to go and you don't have to worry about passing over some other fantastic performer with kind of a crazy schedule. But we all know these "great" community theater performers are not a dime a dozen and may require some flexibility.

Of course, this can go too far. If there is a diva who might be great in a given role, but thinks the schedule, cast and crew should bend around his or her personal schedule, run away as fast as possible. This person will only cause headaches, tension, resentment and other problems throughout the entire process. Every member of cast and crew needs to have the same commitment to the process in order for the project to succeed . I would much rather cast an actor who may not be quite as technically outstanding, but who has the heart, commitment and good attitude to help make the show a success, over a diva with an attitude problem. But surely, having a conflict or two does not mean one is not committed to the project and a couple legitimate work, family or other previous commitments shouldn't automatically exclude an actor.

But is it fair for one actor to have a few conflicts when other cast members might not have any? I don't think it's realistic to think that every member of the cast would have the same conflicts, responsibilities and schedules. As long as the conflicts don't interfere with the other cast members' work or the rehearsal overall, it shouldn't be a problem. But this is also why it's so important to have this information ahead of time. So the director can plan accordingly and respect the cast's time and make the best use of it with whomever is supposed to be there. Open communication and honesty with the rest of the cast can also go a long way in resolving conflict challenges. When the cast feels respected, it is amazing how far they will go to reinforce the team spirit and work together. I recently had a situation where the actor I had cast as a lead in one of my shows found out shortly after being cast that he would be called out of town for a few days for work late in the rehearsal process. Rather than re-casting the role, I decided to communicate that to the cast at our very first read-through, telling them we would have this challenge. They were prepared for it - they picked up the slack, the actor was well-prepared and when he returned he picked up as if he hadn't missed a day.

But of course as any organizer knows the best laid plans can always get screwed up. Someone is always going to call in sick, be late or even drop the show. Be prepared, be patient and be flexible. This is supposed to be fun, remember?