Hey you! Ya, you! Have you ever dreamed of playing the circuit? Making it big on stage? Think you got what it takes to be a star of Vaudeville? Well then you’re in luck – forget those critics, Vaudeville ain’t dead! We’re breathing new life into it this June with Bygone Theatre’s…
Alumnae Theatre Mainstage
June 22-24, 2016
We are currently accepting proposals for acts and are looking for the following;
- Dancers (tap, ragtime), solo or group
- Comedians (think more sketches than stand-up)
- Unique acts
Acts should be 3-8 minutes long and family friendly (keep it PG). We are looking for period appropriate, which for Vaudeville means 1890s-1930s, so keep that in mind when it comes to material, style and music – don’t worry about costumes, we’ll take care of those. Please note, only scripts and songs written before 1935 will be accepted.
At the moment we are looking for people with specific acts in mind; they don’t need to be completely polished, but we want to know what your source material is and your general concept. There may be an open casting call at a later date for those who want to be involved, but that will depend on this round of submissions.
How to apply:
- Email director Emily Dix at email@example.com with the following;
- A copy of your source material (ie. a link to or pdf of the script, sheet music etc.)
- A description of your proposed act that highlights, a. the number of performers, b. any specific materials required (props, set, costumes etc.), c. the approximate length, and, d. a breakdown of what the performance will include (if it’s something like a dance that need explanation, for sketches the script will suffice).
- Any support materials you may have (video footage of a previous performance, or a self-tape is ideal)
What Else You Need To Know:
- This is likely to remain a non-union production, but at this stage Equity members are welcome to apply, as we are still working on funding
- This will be a profit-share production
- All performers will receive a high-quality, professionally filmed copy of their performance
- Rehearsals will be in June 2016, with a load-in/dress on June 21, and evening performances June 22-24; matinees TBD
Deadline for this first round of submissions is Friday February 12, 2016, at 5:00pm.
Spread the word and spread the love – Vaudeville is back!
Every costumer knows that it is their job to create an outfit that showcases the actor’s character onstage. While every designer has their own method, it is doubtless that all put in hours of research trying to find just the right colours and styles. But the actor too can make small changes to the clothes they are given and in doing so drastically alter the meaning of the pieces, especially when it comes to hats.
I am currently taking a millinery class at Stratford Off The Wall. You can see some of my how-to tutorials on making hats here. Today in class while we were creating our patterns an interesting point was made; depending on the angle someone chooses to tilt and wear their hat, a variety of personalities can be conveyed, all with the same costume piece. Take for example, a man’s fedora;
In the first image, Cary Grant looks sexy and sophisticated. Maybe a business man, or even a gangster. He wears his hat tilted and low down on the brow.
Bob Hope wears his hat a bit further back on his head and at a less severe angle. This gives a more laid-back vibe, almost tired or lazy and somewhat comical.
Finally, Ray Bolger wears his at the back of his head, giving him a clownish appearance that works well with his goofy, snarky farm-hand character.
A similar effect can occur with mens’ bowlers;
The first image shows a man wearing a bowler the “correct” way, sitting right atop his head. This is a serious, sophisticated and very vintage look.
In his Boardwalk Empire outfit, Steve Buscemi looks every bit the classy gangster, thanks in part to the casual backwards tilt of his hat.
Once again, a hat worn on the back of one’s head immediately creates a clownish look, as does an ill-fitting hat, as seen in this Laurel & Hardy shot.
Women’s hats can do the same thing;
For a serious, mysterious look, Joan Crawford wears a severe looking hat, tilted low on her brow with a minimal side tilt.
Lucille Ball looks sultry and sophisticated in a hat with a fashionably jaunty tilt.
The smiling woman also wears a hat tilted far to the side, but hers is further back on the brow, giving a playful, energetic vibe.
Finally, Judy Garland is the picture of youth and innocence in this cap that sits at the back of her head, wrapped around her ears.
When costuming it is always important to remember not just what your actors will be wearing, but how they will wear it. Subtle changes in attitude can be reflected through minimal costume changes; a man could start the play with his fedora tilted low, looking professional and suave. After a frantic day, he may push it further back on his head, while wiping his brow. During a madcap comical scene later on, the hat could end up right on the back of his head and even slightly squished (likely combined with a loosened tie or un-tucked shirt). That’s just a random example, but you get the idea.
So if you feel your costume is lacking a little “something”, give your actor a hat and let them play with it. It may just top things off perfectly.
Want to make your own vintage hat? Check out our A.D. Emily Dix’s tutorial on how to make a custom hat pattern from scratch!