{"id":3479,"date":"2014-03-05T14:43:51","date_gmt":"2014-03-05T14:43:51","guid":{"rendered":"http:\/\/www.ucf.edu\/pegasus\/?p=3479&post_type=story"},"modified":"2024-08-26T20:12:52","modified_gmt":"2024-08-26T20:12:52","slug":"behind-curtain-theatre-ucf-presents-nicholas-nickleby","status":"publish","type":"story","link":"https:\/\/www.ucf.edu\/pegasus\/behind-curtain-theatre-ucf-presents-nicholas-nickleby\/","title":{"rendered":"Behind the Curtain: Theatre UCF Presents ‘Nicholas Nickleby’"},"content":{"rendered":"

Spring 2014<\/em><\/p>\n

[lead]\u201cThe Life and Adventures of Nicholas Nickleby\u201d is a play that strikes fear into the hearts of performers. At 6 \u00bd hours in length with 150 characters and more than 10,000 lines of dialogue, the dramatic adaptation of Charles Dickens\u2019 19th-century novel is a theatrical challenge like no other. The story of a penniless youth who struggles to save his family from greed, lechery and corruption in Victorian England is so daunting a production that it has been performed professionally just seven times in the U.S. since its 1980 London premiere. Despite being the vehicle for many Laurence Olivier and Tony awards over the years, there are few theater companies willing to attempt it. But Theatre UCF and Orlando Shakespeare Theater saw opportunities in \u201cNickleby,\u201d both to create a unique educational experience for students and faculty, and to stage a rare theatrical event to put their partnership on the national stage.\u00a0[\/lead]<\/p>\n

[photo id=”4100″ alt=”Image of actors from the play ‘The Life and Adventures of Nicholas Nickleby'” width=”100%”]Photo courtesy Orlando Shakespeare Theater[\/photo]<\/p>\n

How long does it take 10 actors to build a stagecoach out of dining room furniture and oddly shaped suitcases? Just 58 seconds \u2014 if all goes according to plan.<\/p>\n

Onstage at the Orlando Shakespeare Theater (OST), five performers are sharing breakfast when one stands and calls for action with a bellow: \u201cCome on boys, let\u2019s bustle!\u201d<\/p>\n

In an instant, the group breaks rank and rushes the stools, benches and a table to the back of the set. Simultaneously, performers emerge from backstage lugging chairs, hatboxes, a steamer trunk and a door that they wrestle into a growing three-dimensional puzzle. The parts have been modified to fit together securely, because in a few seconds the actors will ride the ramshackle contraption offstage on a rotating platform.<\/p>\n

As the pieces are worked into place, eight of the actors climb cautiously on board. The play\u2019s scenic designer, three assistant stage managers and two directors \u2014 hands on their hips \u2014 move closer to inspect the construction. This is the first attempt to move it with people on board. It is the latest test in a yearlong series of challenges that Theatre UCF and OST have tackled in preparing this ambitious project. The scene onstage mirrors the production itself, corralling countless details into a precise, collaborative execution. And it\u2019s crucial that they get it right, because there are precious few rehearsals remaining before opening night. So far the team of actors, directors, costumers, set builders and other crew have overcome each challenge \u2014 from orchestrating a complex plan of attack to learning foreign dialects, creating hundreds of costumes, building an elaborate stage and surviving a grueling rehearsal schedule \u2014 but a great deal of work remains.<\/p>\n

[blockquote source=”” cite=””]<\/p>\n

\u201cIs anyone else really nervous?\u201d one of the actors asks.\u00a0\u201cKeep your hands and feet inside the coach at all times,\u201d another quips, trying to diffuse the tension.<\/p>\n

[\/blockquote]<\/p>\n

\u201cLadies and gentlemen, stand by for the revolve,\u201d announces the stage manager over the public address system. \u201cWe\u2019re doing this without music, so if anyone needs to yell \u2018Hold!\u2019 we can hear them and hit the emergency stop.\u201d<\/p>\n

Tense seconds pass before the coach begins to move \u2014 without toppling.<\/p>\n

\u201cHooray!\u201d someone shouts as applause rises.<\/p>\n

OST Artistic Director Jim Helsinger smiles. This whole thing \u2014 the 6 \u00bd-hour performance and the unprecedented financial investment \u2014 was his idea.<\/p>\n

\u201cYou look like a kid in a candy store,\u201d jokes OST Stage Manager Stacy Renee Norwood.<\/p>\n

\u201cIt\u2019s because a tremendous amount of planning went into this scene for more than a year, and now it\u2019s paying off,\u201d he explains. \u201cNow we have to figure out how to take it apart.\u201d<\/p>\n

Planning a Monumental Partnership<\/h2>\n

[photo id=”3560″ alt=”Nickleby co-directors, Christopher Niess (left) and Jim Helsinger (right)” width=”100%”]”Nickleby” co-directors, Christopher Niess (left) and Jim Helsinger (right)[\/photo]<\/p>\n

[sidebar background=”#eeeeee” position=”right”]<\/p>\n

6 \u00bd<\/span><\/p>\n

Hours in length of performance<\/p>\n

7<\/span><\/p>\n

Number of times play performed professionally in the U.S.<\/p>\n

25<\/span><\/p>\n

Years in the Theatre UCF\/Orlando Shakespeare Theater Partnership<\/p>\n

24<\/span><\/p>\n

Months Spent Planning the Production<\/p>\n

332<\/span><\/p>\n

Script pages<\/p>\n

$100K<\/span><\/p>\n

Additional funds raised to finance the performance<\/p>\n

[\/sidebar]<\/p>\n

The inspiration for the Theatre UCF\/OST production of \u201cNickleby\u201d was in Helsinger\u2019s mind since he first enjoyed the play on Broadway in 1981. \u201cIt was much more than an evening at the theater \u2014 it was an event,\u201d he remembers. And one that left an impression. \u201cIt was the longest standing ovation I\u2019ve ever given to a show.\u201d<\/p>\n

But it took more than three decades for the director and UCF visiting assistant professor to find the right opportunity to present it. And the partnership between OST and Theatre UCF \u2014 a collaboration that is celebrating its 25th anniversary this year \u2014 made it possible.<\/p>\n

\u201cThe relationship with UCF was invaluable,\u201d says Helsinger. \u201c \u2018Nickleby\u2019 required a massive cast and crew put together with professionals, faculty, graduate and undergraduate students, and interns. We couldn\u2019t have done it without them.\u201d<\/p>\n

\u201cThis mammoth production was a real marker both for a professional theater company and for an academic unit,\u201d says Theatre UCF Chair Christopher Niess, who co-directed the play with Helsinger. \u201cOf course it will be judged by the final product, but it puts you at a certain level [of notoriety], and what\u2019s important for both of our companies is the fact that we\u2019ve done it through a partnership.\u201d<\/p>\n

Including the 27 actors needed to play 150 parts, the company of designers, artists, craftspeople and crew members numbered more than 100 \u2014 plus two directors to finesse every detail and bring them all together. \u201cDirecting is like being an air traffic controller,\u201d Niess explains. \u201cYou have all of these talented people doing great work, and it\u2019s how you coordinate them all to tell a story.\u201d<\/p>\n

Planning for the show, which ran from Jan. 22 through March 9 at OST\u2019s Margeson Theater, began two years before production. To tackle the 332-page script that weaves two storylines through a hundred scenes, Helsinger and Niess each took one plot and worked closely to achieve cohesion during weekly meetings.<\/p>\n

\u201cIt\u2019s the most complex thing I\u2019ve undertaken,\u201d says Helsinger, who created a giant spreadsheet to coordinate all of the actors, characters and props through each scene.<\/p>\n

\u201cIn those early conversations, we had a meeting of minds,\u201d says Niess. \u201cWe always had our focus on telling the story.\u201d<\/p>\n

On the line for both groups were reputations and an unprecedented financial investment. To fund this venture, OST raised an additional $100,000.<\/p>\n

\u201cThe first thing I asked when I saw the announcement was, \u2018How?\u2019 \u201d says Orlando Sentinel<\/em> theater critic Matt Palm. \u201cI was excited because very few theatergoers in this country will ever have the chance to see this production.\u201d<\/p>\n

\u201cIt\u2019s a gamble to do something this big in Central Florida,\u201d Helsinger says. \u201cCan we get the community to come to a show that is not well-known \u2014 that is not \u2018West Side Story\u2019 or \u2018Les Mis\u00e9rables\u2019 or \u2018Cats\u2019?\u201d<\/p>\n

[blockquote source=”” cite=””]According to Niess, \u201cYou have to be a little crazy when you are pushing the bar to capture people\u2019s imagination.\u201d[\/blockquote]<\/p>\n

[callout background=”#000000″][slideshow slug=”work-of-art-rerhersals”][\/slideshow][\/callout]<\/p>\n

Discovering the Characters<\/h2>\n

[sidebar background=”#eeeeee” position=”right”]<\/p>\n

150<\/span><\/p>\n

Characters<\/p>\n

27<\/span><\/p>\n

Actors<\/p>\n

8<\/span><\/p>\n

UCF Actors<\/p>\n

4<\/span><\/p>\n

Dialects Learned by Actors<\/p>\n

[\/sidebar]<\/p>\n

For an actor, creating a believable character is a process of layering details until the role comes to life. Speech, mannerisms and movements are only a few of the myriad particulars they must assimilate. With 150 characters in \u201cNickleby,\u201d each cast member was tasked with three, five or even eight roles, each with their own personalities, costumes and accents, including proper British, cockney, Yorkshire and Welsh.<\/p>\n

\u201cWe all think we can do [a British accent] because we\u2019ve watched Monty Python or Ricky Gervais, but it is hard to make it seem natural,\u201d says Associate Professor Katherine Ingram, the dialect coach for \u201cNickleby.\u201d She continues, \u201cThen the actors run off stage and while they are changing costumes, they have to change their dialect.\u201d<\/p>\n

For a month before rehearsals began, Ingram helped the actors develop and fine-tune their accents. From past experience and shared advice, each actor found methods to overcome the difficulties of speaking \u2014 and thinking \u2014 in an uncommon tongue.<\/p>\n

M.F.A. graduate student Anna Carol, who plays five roles in three dialects, was careful to memorize the dialogue of each character with the correct accent. \u201cHow the sounds come out in each voice is as much about muscle memory as it is literal memory,\u201d she says. \u201cThe dialect is such a huge part of the character that it wouldn\u2019t feel right to play each without their accent.\u201d<\/p>\n

\u201cThe challenge of this piece is really in memorizing the different physicalities and vocal tones of each character,\u201d says Tara Snyder, \u201907<\/strong>, an assistant professor who plays five roles. \u201cSuccess comes from repetition and practice.\u201d<\/p>\n

Telling a Story Without Words<\/h2>\n

[sidebar background=”#eeeeee” position=”right”]<\/p>\n

250<\/span><\/p>\n

Total costumes<\/p>\n

215<\/span><\/p>\n

Hand-colored costume design renderings<\/p>\n

95<\/span><\/p>\n

Wigs<\/p>\n

45<\/span><\/p>\n

Pairs of shoes<\/p>\n

[\/sidebar]<\/p>\n

As a period piece set in Victorian England, costumes were essential in creating the \u201cNickleby\u201d world. And with the actors rotating through multiple roles \u2014 often in the same scene \u2014 each character needed a strong visual identity. The solution was a design scheme that layered identifying accessories onto basic garments.<\/p>\n

\u201cEach look had something that put its stamp on the character \u2014 like a feather boa, a blue cravat or a tattered schoolboy uniform,\u201d says Carol. \u201cThe [costume] changes provided clear meaning to the character being portrayed.\u201d<\/p>\n

To create more than 250 dresses, smocks, corsets, coats and other accessories was an undertaking too great for a single costume shop to accomplish. \u201cThe partnership [between OST and Theatre UCF] enabled us to do something that very few companies have attempted because it is such a massive job,\u201d says Dan Jones, manager of the Theatre UCF costume shop.<\/p>\n

Working from an oversized binder containing hundreds of hand-colored drawings by costume designer Jack Smith, Jones, shop supervisor Kyla Kazuschyk, \u201903<\/strong>, and their student crew began building pieces in the summer of 2013.<\/p>\n

\u201cAt the base level, theater is about telling a story,\u201d Jones says, \u201cand costumes help tell the story without words.\u201d<\/p>\n

[callout background=”#000000″][slideshow slug=”work-of-art-costuming”][\/slideshow][\/callout]<\/p>\n

Building the Perfect Playground<\/h2>\n

[sidebar background=”#eeeeee” position=”right”]<\/p>\n

24<\/span><\/p>\n

Feet in Diameter of Rotating Platform<\/p>\n

127<\/span><\/p>\n

Sheets of Plywood Used to Create Rotating Platform<\/p>\n

750<\/span><\/p>\n

Light Bulbs Used to Illuminate 23 Windows in Set Background<\/p>\n

[\/sidebar]<\/p>\n

The story of \u201cNickleby\u201d covers a great deal of ground \u2014 both figuratively and literally. There are 40 location changes and many happen in a matter of seconds. A special set had to be created to accommodate these transitions, plus the troupe of 27 actors who at times simultaneously occupy the stage.<\/p>\n

\u201cThe solution was a large, flexible set with many entrances, exits and acting levels,\u201d says scenic designer Bert Scott, an associate professor at Theatre UCF. But the execution of Scott\u2019s vision required more space and labor than OST could supply, so a portion of the construction duties were delegated to Theatre UCF. Scott contends, \u201cIt was an exciting project for the department and a great opportunity for our students to work on a professional-level production.\u201d<\/p>\n

From brainstorming sessions with Niess and Helsinger, Scott created a design that extended into the audience and incorporated a large portion of the space typically considered backstage. The set, which was the largest ever installed in the OST\u2019s 324-seat Margeson Theater, incorporated three levels with flanking staircases that led to an elevated bridge, plus a computer-controlled, rotating turntable built into the floor. Constructed at UCF, \u201cthe doughnut\u201d enabled furniture and actors to be moved offstage quickly and efficiently.<\/p>\n

\u201cThe turntable was fantastic because it allowed the actors to shift time and place rapidly,\u201d says Niess. \u201cIt worked like a dream.\u201d<\/p>\n

And just as accents and costumes assisted the actors\u2019 characterizations, so did the elaborate set. Quentin Earl Darrington, an M.F.A. graduate student, found inspiration in the options it presented.\u00a0\u201cThere were so many different levels to play on that it gave us even more freedom to develop the story,\u201d he says. \u201cIt was the perfect playground that added another dimension to the production.\u201d<\/p>\n

\n
\n \"Video<\/p>\n
\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t<\/svg>
\n\t\t\t\t\tPlay video<\/span>\n <\/div>\n<\/p><\/div>\n<\/p><\/div>\n

Creating Everything Out of Nothing<\/h2>\n

[sidebar background=”#eeeeee” position=”right”]<\/p>\n

336<\/span><\/p>\n

Hours of Rehearsal<\/p>\n

126<\/span><\/p>\n

Pots of coffee consumed<\/p>\n

[\/sidebar]<\/p>\n

After two years of planning and preparation, \u201cNickleby\u201d rehearsals began in mid-December, when the cast and crew gathered six days a week to work out the details. The number of scenes and interweaving plotlines required separate sessions to run concurrently by the directors in different spaces.<\/p>\n

\u201cIt\u2019s like hiring two chefs to run one restaurant,\u201d says Niess. \u201cIt became complex as scenes evolved separately, so we were constantly refining our navigation.\u201d<\/p>\n

In small rooms colored tape on the floor outlined set levels and elements, requiring the actors to imagine their way around obstacles. During the first sessions, the directors worked out the complex choreography needed to guide the performers through fast-moving scenes without collision.<\/p>\n

[blockquote source=”” cite=””]<\/p>\n

\u201cThe play can never die,\u201d Helsinger explains. \u201cIt has to keep going all the time, so we have to work out the traffic beforehand.\u201d<\/p>\n

[\/blockquote]<\/p>\n

The long days often ran from 1 p.m. to past 11 p.m., and many of the UCF actors were teaching and attending classes in the mornings. In addition to memorizing their lines, maintaining their health and stamina became a necessity.<\/p>\n

\u201cIt was a huge undertaking that took a toll on my body,\u201d Darrington says, \u201cbut it\u2019s also a high point on my r\u00e9sum\u00e9 and a huge advancement for my career.\u201d<\/p>\n

Two weeks before opening night, rehearsals moved onto the recently completed set, and quick costume change tactics became a main focus. Many of the actors had less than a minute to transform characters, and if the process wasn\u2019t seamless, the performance would stall.<\/p>\n

For Carol, the keys to success were organization, calm and costume assistants with quick hands. \u201cThe makeup and wig changes were more stressful than clothes [changes],\u201d she says, \u201cbut when there\u2019s a system, it\u2019s true theater magic.\u201d<\/p>\n

As opening night approached, the pressure mounted. \u201cThe things I was most excited for were the things I was most nervous about,\u201d says Olivia Grace Murphy, the only UCF undergraduate in the cast. \u201cThe play is an epic, so if it\u2019s not an amazing production you\u2019re going to feel all 6 \u00bd hours.\u201d<\/p>\n

Niess was confident, however, as his expectations had been exceeded. \u201cThere were several points where I got emotional over what was happening because it really is magical when everything comes together,\u201d he says. \u201cYou watch people have a moment and it\u2019s like, \u2018Oh my goodness. That came out of nothing.\u2019 \u201d<\/p>\n

[photo id=”3584″ alt=”Image of dress rehearsal of the play Nickleby” position=”center” width=”100%”]In the final days leading up to opening night, dress rehearsals combine all the elements, from costuming to lighting, music, props and choreography.\u00a0[\/photo]<\/p>\n

Reaching the Finish Line \u2014 Opening Night<\/h2>\n

[sidebar background=”#eeeeee” position=”right”]<\/p>\n

15<\/span><\/p>\n

Fake Muffins Thrown Onstage by Audience in Act One<\/p>\n

81<\/span><\/p>\n

Seconds of Standing Ovation on Opening Night<\/p>\n

[\/sidebar]<\/p>\n

On a Friday evening in January, all 27 actors \u2014 fully coifed, costumed and in character \u2014 roam the audience inside the Margeson Theater, welcoming patrons before the show. It might seem like this is the finish line, but for most everyone involved in the landmark endeavor, this performance is only the beginning.<\/p>\n

\u201cThere\u2019s a lot more work to be done, tweaks to be made and moments to refine,\u201d says Darrington. \u201cI don\u2019t believe the process will be done until the last show.\u201d<\/p>\n

\u201cA play develops as it goes through the run,\u201d Niess says. \u201cAs we work with it, nuances shift and change the flavor of the production.\u201d<\/p>\n

Suddenly, the lights dim above the audience and grow brighter on the stage. Music signals the actors to gather on set. Latecomers fill the remaining seats as the packed house quiets.<\/p>\n

Hours later, the cast crowds the stage to take their closing bow. Gathered tightly together, some performers wear triumphant smiles while others simply look relieved. In the darkness, the audience rises from their seats \u2014 one by one \u2014 and applause erupts.<\/p>\n

[callout background=”#eeeeee”]<\/p>\n

Nickleby\u2019s Journey to the Stage<\/strong><\/h3>\n

1838\u201339<\/strong>
\nCharles Dickens publishes \u201cThe Life and Adventures of Nicholas Nickleby\u201d in serial form in monthly installments before releasing it as a novel.<\/p>\n

1980
\n<\/strong>The novel is adapted for the stage by playwright David Edgar. The 8 \u00bd-hour production, performed by the Royal Shakespeare Company (RSC) at the Aldwych Theatre in London, wins multiple Laurence Olivier Awards, including best new play and best director.<\/p>\n

1981
\n<\/strong>RSC premieres the play in the U.S. at the Plymouth Theatre on Broadway. The production wins the 1982 Tony Award and New York Drama Critics\u2019 Circle Award for best play.<\/p>\n

1982
\n<\/strong>BBC Television films an RSC production of the play at London\u2019s Old Vic Theatre, producing four episodes.<\/p>\n

1982
\n<\/strong>Great Lakes Theater Festival performs the play and revives it in 1983.<\/p>\n

1983
\n<\/strong>Kansas City Repertory Theatre performs the play.<\/p>\n

1983
\n<\/strong>The BBC TV adaptation airs in the U.S. on Mobil Showcase Theatre and wins the Emmy Award for outstanding miniseries.<\/p>\n

1986
\n<\/strong>RSC revives the play at the Royal Shakespeare Theatre in Stratford-upon-Avon, then tours the production in England before taking it to Los Angeles and New York.<\/p>\n

2005
\n<\/strong>California Shakespeare Theater performs the play.<\/p>\n

2006
\n<\/strong>David Edgar premieres a condensed, 6 \u00bd-hour version of the play at the Chichester Festival Theatre in England.<\/p>\n

2007\u201308
\n<\/strong>RSC performs the play at the Gielgud Theatre in London.<\/p>\n

2009
\n<\/strong>The University of North Carolina at Chapel Hill PlayMakers Repertory Company performs the play on campus at the Paul Green Theatre.<\/p>\n

2010
\n<\/strong>The Lyric Stage Company of Boston performs the play.<\/p>\n

2012
\n<\/strong>Orlando Shakespeare Theater and Theatre UCF begin \u201cNickleby\u201d production planning.<\/p>\n

2014
\n<\/strong>Orlando Shakespeare Theatre and Theatre UCF performance of the play runs Jan. 22 to March 9.<\/p>\n

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