Director
Loretta Knaggs
Director
Jonathan Lewis
Get Involved
We are always looking for new people to join our company, wether you've acted for many years or haven't acted at all everyone is welcome to audition to be in shows. For those who can't learn lines or don't want to be on the stage there is other opportunities like; directing, backstage crew and front of house. Please fill in the form at the bottom of this page to register your interest in the Easingwold Players
Acting
As an actor you will be the face of the Easingwold Players and can get yourself involved in a variety of different plays and pieces of drama. Here's what long-standing actress Bromwyn Jennison had to say about the Easingwold Players
'The Easingwold Players usually put on two major productions per year, one in the Spring and another in Autumn. We try to vary the size and type of production - it might be a small cast of four or six - or it could be a musical with a huge cast. We welcome different ages and levels of experience both on and off stage and are always keen to hear from new prospective directors. I have been with the Players since 1992 and have made lots of lovely friends and worked with some very talented people along the way'
Directing
As the Easingwold Players only do two shows a year directing roles are limited. However, we are always open to directors who would like to put on a play of their choice. You can direct by yourself or with another director and of course will be supported by everyone in the company. Here's what David Goodwin had to say about directing.
'Directing!
I love it! Directing can be just as exciting as acting. In fact more so and the glorious thing about directing is you have no lines to learn!
The key to directing a play is to be always one step ahead of the cast. If the cast ask a question, hopefully it is something you’ve already thought about. A director should know the play better than the cast, be aware at the outset where the piece is going and always to be in control.
The mistake I used to make was to put one’s own character onto the cast and insist that is how the play should be performed. Now, in time I realise that the secret is to take what an actor gives you, use it and (hopefully) improve it and bring each actor in together using the same system.
A play is put together using a series of building blocks, the amount of building block layers is entirely up to you. The first layer is a basic blocking, and the second a good movement of the whole piece. From then on the layers are smaller and come in multiples, always with body and character forming the main parts. Once the cast know the piece then the layers come thick and fast, until the final one is in place for the first performance.
At every rehearsal an actor will ask “What shall I do with my hands?”
The answer: “Forget them and they will take care of themselves!” And
“Which side is stage left” The answer:
“From the stage, not from the audience”.
The stage for an actor is a place of magic, a place where the real person is removed and the character takes over. Consequently the five minutes before you walk on is vital. Keep quiet, bring your mind into the play, prepare your body, and finally go!
The American actor Jack Lemmon used to say, either just before the curtain went up, or just before the camera started rolling: “Magic time!” Agreed!'
Backstage
Working backstage is a bit more of an unseen role within the Easingwold Players but is still a vital one. Here's what founding member John Roberts had to say about working backstage.
'All actors and directors need the skills and support of the backstage folk, often unseen and often seemingly unacknowledged by the audience. Theatre is TEAM work. There are many ways in which folk can make vital contributions to a show. The perception that only skilled folk can work behind the scenes is a well- known misconception. Yes, some skills are needed but all levels of expertise are required.
The areas of backstage are many usually led by one or two knowledgeable persons. Each of these ‘team leaders’ will always need additional help from willing volunteers. Experienced folk are great but people with no experience can soon acquire the required level of expertise and knowledge.
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The areas of backstage work which work to fulfil the wishes of the director and cast are;
Front of House -who manage and look after the members of the audience –
Technical team – who look after the sound, lighting and special effects which a show may require
Wardrobe team – who overlook the costumes for a show and assist with quick changes during a performance and sorting costume issues and repairs
Set construction team – this involves assisting with the design of and building of the set(s); decorating and dressing the set(s)
Props team – this involves gathering, making, looking after and coordinating stage props
Backstage management team– these folks, under the Stage Manager, manage and oversee the running of each performance and coordinates all the various aspects of a production, ensuring set changes with any scene changes, props and actors are smooth
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The pros and cons of being backstage: the cons are few and mainly come as a production nears the run and all the various aspects of a show come together. The pros are many; I enjoy the fact that backstage doesn’t necessarily need to be at all rehearsals. One can work on projects as and when; during each performance, yes, there are nerves ensuring all your aspects are working as planned but there are not the worries that the actors face. When in the control room, folk have scripts to follow but have the best seat in the house. An analogy could be that backstage folk are like the outfield of a cricket team ready to support the star bowler and ensuring everything around is covered.
Backstage is a good place to be'.