Troupe Talk Episode 7: "Songs for a New World"

In this episode, we will be interviewing multiple guests from the Berry College Theatre Company’s upcoming production, “Songs for a New World”. Our first guests will be actors Ella Hazel Rambin, Brian Thomas, and Wyatt Spivey, who are some of the main characters of the show. Next, we will talk to Grace Robershaw, the stage manager of the show. Then, we will round things up with Molly Merck and Preston Green, who make up the entirety of the ensemble cast.

What is Troupe Talk?

Troupe Talk is a podcast covering the productions of the Berry College Theatre Company. From directors, to actors, to crew members, we will be discussing what it's like being in the company.

Roger Thomas: 00:05

Welcome to Troupe Talk. I'm your host, Roger Thomas. On this episode, we'll be interviewing multiple guests from the Berry College Theatre Company's upcoming production, Songs for a New World. Our first guests will be actors Ella Hazel Rambin, Brian Thomas, and Wyatt Spivey, who are some of the main characters of the show. Next, we will talk to Grace Robershaw, the stage manager for the show.

Roger Thomas: 00:37

Then we'll round things up with Molly Merck and Preston Green, who make up the entirety of the ensemble cast. Thank you all for listening. And now onto the show. Our first guests are

Ella Hazel Rambin: 00:49

Ella Hazel Rambin.

Brian Thomas: 00:50

Brian

Brian Thomas: 00:51

Thomas.

Wyatt Spivey: 00:51

Wyatt Spivey.

Roger Thomas: 00:53

And they will be playing woman one, man one, and man two respectively. Unfortunately, we could not have Quincy Pritchard in, but she will be playing woman two. So, what is songs for a new world about? Is it surely it's more than just songs for a new world.

Ella Hazel Rambin: 01:14

Well, really, is just songs for a new world. But basically, at least the way I feel like we've kind of interpreted it is that a new world is like the world you've been brought to after making a life changing decision. So each kind of song, like we said, is a different character, a different scenario, and it kind of brings up these life situations that a lot of people can resonate with, and then those decisions that are made through those times and experiences and how that changes you and brings you to a new world.

Brian Thomas: 01:54

Yeah. So, like, within the songs, there's, like, these stories and not all of it's clear and that's intentional. Some of it can be left up to interpretation, but, like, there throughout all of it, is this, like, through line of kinda either, like, starting anew or creating some sort of change, either in your life or in the world itself. Yeah. Like, speaking for my character specifically, I think it's interesting because it's very different from the other three characters in terms of what my characters are experiencing.

Brian Thomas: 02:36

Because, like, a lot of the songs, especially the ones between woman one and man two, are very, like, people centric and love centric. While mine who man one is traditionally, doesn't have to be, but traditionally, like, made by or played by a person of color. And the purpose of that is to kinda show like like some struggles that different groups, especially like in America, have kinda struggled with both in the past and in the present. So

Wyatt Spivey: 03:16

I think there's a lot of different types of themes throughout this show. A lot of, you know, songs for a new world is about what would you do with the opportunity if you presented with a moment where you could change and do something different. But I think that there's also a lot of other topics that are kinda touched on, which is why like what Brian was just saying. Excuse me. And I think that it kind of involved a little bit of destiny.

Wyatt Spivey: 03:42

And maybe if you can change your destiny or your fate, like, that's even an option. I know that his character explores a lot of that. And I know that for my character, like, with Man two and Woman one with our songs, there's a lot of hope for redemption or a longing to right wrongs from the past. So it's not necessarily about just making a choice now. It's about looking back and thinking, what could I have done different to have the world I want?

Wyatt Spivey: 04:10

So but it's all kind of based in the present. And there is a lot of ultimatums. There's a lot of life and death, you know, freedom and incarceration and struggles. There's a lot of everything about life. There's something for everyone in the in the show.

Roger Thomas: 04:26

Okay. So this really is songs for a new world.

Ella Hazel Rambin: 04:30

Yeah.

Roger Thomas: 04:30

Now on

Roger Thomas: 04:33

that note, this entire musical is songs. There's no from my knowledge, there's no spoken dialogue within the show. And so that kind of changes things up from what the theater company is kind of used to. You know, they're used to either straight plays or like just musicals that have dialogue in between songs. So how does this play kind of, work differently from some of the other shows that you guys have done?

Wyatt Spivey: 05:12

I think it's a lot I think it's definitely a change of pace. This is the smallest cast I think we've all worked with. And, also, the fact that there's no spoken dialogue really helps emphasize the fact that the intention should be really, really presented heavily behind, the lyrics that we sing. And I know that there's really only, like, one part that they have spoken dialogue, and it's for Brian's song with steam train. And it's whenever he's introducing himself, and I'll let him talk more about that.

Wyatt Spivey: 05:41

But it is interesting that that is the only part in the entire show because it really does help you focus on, oh, hey. You know, right before act two starts and you see this spoken dialogue, you're like, oh, this is different. Not sure what Jason Robert Brown was thinking with that, but he had some something going on there. But, yeah, it's definitely a different experience to not have any spoken dialogue because the songs are so versed. It's it's interesting.

Wyatt Spivey: 06:12

It's not really like a lyrical, you know, pop song or something you hear on the radio. These songs are very much stories, like, through and through every one of them. And from beginning, middle, and end, there's a whole story being told. It's very interesting how he can put all that in maybe four or five minutes. You know?

Brian Thomas: 06:27

Yeah. I think developmentally, it's been very nice and very helpful. Both in terms of having to act without a spoken dialogue, because that's not necessarily some it doesn't not something that we feel that we get to do very often, even though with musicals that it is that's exactly what you should be doing is acting even through the singing and stuff. But with that also, we very much have to focus on our character development, which is also a challenge because there are so many different stories. That, like, we have to get probably to estimate like six, six or so.

Brian Thomas: 07:17

I was about to say six, seven. Alright.

Roger Thomas: 07:21

My fault. Good save. Good save. Or so.

Brian Thomas: 07:28

But yeah. So just like having to get all of those characters in your body and like having to develop them fully, even if you're not, like, singing in a song, even it's very important to kinda stay present. And I think that's been a challenge for sure. For the audience, I think there may be some people out there who are like, I don't this like, this sounds very strange with like, the not having like a full like two hour story. And I think to them, I would just say that it will defy your expectations.

Brian Thomas: 08:06

If you think about it in a way of like, something like Black Mirror, you know, that's like self contained stories that all have a specific theme. And, like, also, I think it can be good because if every song kinda has a different story or a different subject, and so if you if there's something you're like, I don't know about this, you know, it's not like a traditional play where you're, like, stuck in there for a specific period of time. You can just kinda take in like five or six minute segments of the show. And I think that there's a cool part of like, that's a cool part of the show as well.

Ella Hazel Rambin: 08:47

Yeah. That was really well said. I feel like I agree very much with what Blufella said. Like, there's something for everybody in especially the part about how it's been a challenge having, like, all these different characters that we're portraying and, being able to tap into that for each different song. But then at the same time, both just kind of doing, like, my own personal character work and also looking at what Jason Robert Brown had to say about, like, in his, like, writing of the musical that while, yes, each character like woman one, man one, they're playing different characters each song, it's still like there isn't still a character arc that each character has.

Ella Hazel Rambin: 09:37

So while it's still different situations, there's still kind of not a plot that they follow, but a theme. So like I woman one, I feel like she's very centered on love. So whether that be like relationships or like family, very centered around that and kind of the troubles that might come from that and the freedom that you seek through that as well. So I agree, like, it's definitely been really cool to work on character development because I feel I feel like that's more difficult to do through songs since it's like these are songs and I have to sing them like through a certain note. Because like when you're talking, you can kind of figure out the inflection almost a bit.

Ella Hazel Rambin: 10:23

But then with a song, it's like, I have to say these words and hit these notes and it's like, how am I gonna tell the story through that? Because like Wyatt said, it's very much each each song is a story and so it's like, we have to figure out why these stories are important and like how we need to tell them to the audience and how we bring them in to the story. So that's been really cool to figure out.

Roger Thomas: 10:48

Yeah. And then another thing that just kinda popped in my head was with it being music mostly, how has it been memorizing like, like, with like music over, like, being a mixture of music and lines or just lines? Do you think that it's easier or harder to like the process of memorizing and preparing for this?

Ella Hazel Rambin: 11:17

I feel like I found it easier. The only time I start to get like really worried about memorization is when it comes to group songs and like we do harmonies. And so sometimes like being able to lock in those harmonies, whether it be like you're singing words, but sometimes you'll just be seeing like these ahs and ohs and sometimes that can get really confusing because it gets repetitive and you're like, wait, which note am I singing when? And so that can get confusing. But I think overall, it being music makes it easier to memorize.

Ella Hazel Rambin: 11:51

But then at the same time, this is like the biggest chunk of music that I've ever had to memorize because, I mean, it's all music, of course. So being able to have that like all in your brain and knowing like the character differences as well, but I think it's been easier. Yeah.

Brian Thomas: 12:13

For me, I think I mean, there have been a few with a few exceptions, it's been a lot easier. My the way the way that my brain works is kinda like the the music helps a lot for with memorization things. And so, like, with that, I think it also has been a little bit detrimental because sometimes I'll just, sing words because I remember them and not necessarily because I'm feeling them, which can be a challenge as well. Overall, I think it's been a lot easier.

Wyatt Spivey: 12:46

I'm actually the complete opposite. This has been the hardest it's ever been to memorize for this show. I don't know why. I think that for me, it's a lot easier to attach a character's personality and their overall mantra of why they are, who they are, and what their goal is. Whenever you have a lot of dialogue that you could speak with a bunch of different characters so you can kinda see little motifs and little moments and glimpses into their life to get a better idea of what you're working with.

Wyatt Spivey: 13:16

But for this show, we don't have any of that. So it's very personal whenever you go to sing some of these songs, even if you've, you know, memorized them and you've already had an idea for what the character development should be for this character. It's it's strange because I still feel like there's a lot of times, like, you know because the songs are very intricate and complicated. They're definitely hard to play on instruments, and they're vocally challenging for the most part, which throughout the songs, at least especially for the ones that I sing by myself, they have moments where you kinda get lost in it. And it's easy to start almost acting as yourself throughout a song rather than a character, which is completely different than most of the time whenever you're doing musical theater because it's usually really easy to go from, you know, some slapstick like line right into a a song and dance.

Wyatt Spivey: 14:12

But this one's just so dramatic and real and, shifting. Like, it shifts so fast. And then we have a song about, like, Santa, and now he's, you know, the worst ever. And then it jumps into other stuff, you know, like, just complete one eighties constantly. So it's a little jarring.

Wyatt Spivey: 14:28

Kinda takes you out of the moment a bit, but I think it's definitely been the most difficult memorized for this show.

Roger Thomas: 14:37

A song about Santa,

Wyatt Spivey: 14:39

Sara Baia Santa.

Ella Hazel Rambin: 14:41

Like a whole Christmas break. Air for a moment. Yeah.

Roger Thomas: 14:44

For fun.

Wyatt Spivey: 14:45

Just really for two songs.

Ella Hazel Rambin: 14:46

Do what?

Wyatt Spivey: 14:47

For two songs.

Ella Hazel Rambin: 14:48

Yeah. That's what I'm saying.

Wyatt Spivey: 14:48

How are you? Yeah. Gonna be on the hill.

Roger Thomas: 14:51

So you got there's a little something to look forward to if you come to the show.

Ella Hazel Rambin: 14:55

Happy holiday.

Roger Thomas: 14:56

Yeah. If you love Christmas, come to the show. Christmas gets a shout out. And also another thing. This show is being directed by someone new.

Roger Thomas: 15:09

Right? So how has that been kind of working with a new director?

Wyatt Spivey: 15:15

Well,

Wyatt Spivey: 15:16

so they're a guest director. They're coming in from, Reinhardt University. So they don't necessarily work with Berry College Theater Company. No. But, it's definitely at least for me, it's been a new experience all around.

Wyatt Spivey: 15:27

This is my first show here with Berry College Theater Company. But I would say it's been very insightful to learn from someone from a different place. Because, you know, they don't see us every day in classes. So it's like a very professional, relationship whenever we all get together and we start working because we don't have these, like, backgrounds and connections that we normally would with other professors or directors, you know, that know about us and, like, the kind of work that we do in class versus just on stage. This one's more strictly just on stage and, you know, character development and things of that nature.

Wyatt Spivey: 16:02

So it's been a great experience.

Brian Thomas: 16:05

I think it's it's been great for, again, like our development, I guess. I try to, like, keep it in that way and, like, the benefits of it. Because I always wanna work with someone new because even though I've been here for four years, I've only worked with three directors. And so I, from the start, have been excited about Dave coming in because it has been great just, like, learning about new people and new styles because there's a ton of different directing styles. Like, this this production, the way that it's been directed is completely different than something like something like Dancing at Lunisa or even She Kills Monster in terms of the like, our process and and those sort of things.

Brian Thomas: 17:03

And I think in the real world, it's like you don't you won't ever get a say, so it's kinda just like a like a throwing at the darts what kind of experience you're gonna get. And so I think it's been great to kinda learn and, like, adapt to the different rehearsal process.

Ella Hazel Rambin: 17:18

Yeah. I agree. I think it's definitely been good for us as actors, especially like you said, who have been kind of working with the same people because, I mean, with it being like an educational theater environment, we end up working with directors that are also our professors and that we worked with them either in class before or on other shows. And so it's been good to kind of get a different experience and I feel like that helps us as actors be more well rounded and prepared, like, when we we got into the real world and knowing like, yeah, like you never know what kind of process you're gonna get. And then I think that it's also been helpful at least for me to think about what I have, like in my toolbox with what I've learned from my time here at Berry and while like having those different processes come in, knowing what you need to do in your own process and being able to implement that and I think Dave has been very receptive of that.

Ella Hazel Rambin: 18:26

He seems to we come in with questions and at one point he was like, it seems like y'all already have like, you've answered these questions for yourself. And it's like, yes. And so I think it was good to hear that he was receptive of that and our implementation of those, like, choices that we've made in the space. So being able to know what you need in your own process while also collaborating with others in their process. And I think that's been a good challenge for all of us to work through as actors.

Brian Thomas: 18:55

And also Kim and Bella have gained

Ella Hazel Rambin: 18:57

Yes. As well. Yeah. Our musical director and our choreographer are also completely new to us. So it's been like a completely new team overall, like a production team.

Ella Hazel Rambin: 19:09

And so I think I think that's been really good for all of us. Yeah.

Roger Thomas: 19:13

Like new experiences, new perspectives.

Roger Thomas: 19:17

That's always a new world. Circle it back on that. Yeah, I think, yeah, I just have one last question for you guys. Some of you guys may know, some of you may don't. How do you spell theater?

Ella Hazel Rambin: 19:34

And I'll say what I say every time. The art is with an r e at the end, but the place is e r.

Brian Thomas: 19:44

In Spanish, it's t e a t r o. I just wanted to point that out because there's no debate in Spanish. Yeah. Also, profite, you're listening to this, please pass me. I promise I'm trying my best.

Brian Thomas: 20:03

Okay. That's all.

Wyatt Spivey: 20:09

Yeah. T H E A T E R.

Ella Hazel Rambin: 20:12

E R?

Wyatt Spivey: 20:15

Yeah. Unless I'm talking about a specific building, then I'll say R E. I guess it just depends on my mood. If I'm feeling wacky.

Ella Hazel Rambin: 20:23

If you feel wacky, you'll do you'll do r e or e r?

Wyatt Spivey: 20:27

I think most of time I just say e r.

Ella Hazel Rambin: 20:30

Really? How do you spell it?

Roger Thomas: 20:32

How do I spell

Roger Thomas: 20:32

it?

Ella Hazel Rambin: 20:33

Yeah.

Roger Thomas: 20:34

So is there anything, like, any last comments that you guys have? And last things before we move on to our next guest?

Ella Hazel Rambin: 20:44

Come see the show. We're running April 8 through the 12th.

Brian Thomas: 20:49

I do wanna say one thing because this is my last show at BCTC.

Roger Thomas: 20:55

Oh, yes. We gotta send you off good.

Brian Thomas: 20:57

Yeah. So I just wanted to thank you all for for coming out to the shows for these four years, and also my extended family for supporting me and teaching me so much. And I wanna thank you, Roger, for being an amazing podcast host and and cast member when we were in the illusion.

Roger Thomas: 21:19

Yes.

Roger Thomas: 21:19

We were in the illusion. Yeah. Yeah. First my first experience with the theater company. So, yeah, that was a fun time.

Brian Thomas: 21:27

Mhmm.

Brian Thomas: 21:27

Yeah. I remember you got pulled over.

Roger Thomas: 21:30

I did. I got pulled over towards one of the practices and it made me late to practice and everyone was giving me a hard time. And so it was was not it was like a Saturday shoot, I think. And I was a commuter at the time. So I was commuting in the morning from Calhoun, driving over to the theater, and I got pulled over trying to get there fast.

Brian Thomas: 21:49

That man crashed out so funny.

Roger Thomas: 21:51

Yeah. Well, it was it was because I got pulled over even though I was below 10 above the speed limit. But yeah. I mean, I I didn't get a ticket. So in hindsight, it's like, okay.

Roger Thomas: 22:03

It's not that bad, bro.

Brian Thomas: 22:04

It's about one moment.

Ella Hazel Rambin: 22:06

It's about one Yeah.

Roger Thomas: 22:07

It's it's all it was all in the moment. It was the whole of everything about the situation.

Wyatt Spivey: 22:15

Oh, yeah. I just wanted to say thank you for, you know, having us here today. This has been a very fun experience and very insightful. You it's good to be reminded of this stuff a little bit kinda daily. Say it out loud, you know, what you're here for, why you do it, why you love it.

Wyatt Spivey: 22:27

And I'm just glad that, other people out there are interested in the stuff that we're doing. And, yeah, please come see the show.

Roger Thomas: 22:34

Alrighty. Well, thank you guys for being here.

Ella Hazel Rambin: 22:35

Thank you.

Wyatt Spivey: 22:36

Don't we take

Roger Thomas: 22:36

Our next guest is

Grace Robershaw: 22:39

Grace Robershaw.

Roger Thomas: 22:40

And she is the stage manager for Songs for a New World. Now, this this play is a little different from probably some of the other shows that you have kind of experienced prior. Can you kinda tell us a little bit because you're a stage manager. So you like, every show that is managed is managed differently depending on, you know, the show like

Grace Robershaw: 23:09

Yes.

Roger Thomas: 23:11

Whether it's just a straight play, a musical.

Roger Thomas: 23:14

This one is like straight musical. There's no lines.

Grace Robershaw: 23:17

Yes. So Songs for a New World is what's considered a song cycle.

Roger Thomas: 23:22

Song cycle.

Grace Robershaw: 23:23

So you have your musical, which is the songs and the dialogue. But this one, there's no dialogue. It's just purely music.

Roger Thomas: 23:28

Okay. Yeah. What's it kind of what kind of movement is there with, like, you know, some of the actors? What what kinda has to be accounted for differently as compared to, know, a standard musical or even just a straight player?

Grace Robershaw: 23:45

So one of the interesting things about a song cycle is most of them don't have a plot in the general sense. They have more of like an overarching theme, and this show very much follows that. Our main actors don't even have their characters don't have names. They're just man one and woman one. And so kind of the difference in that is in musicals, there's dialogue to help kinda convey what the author, the composer was getting at.

Grace Robershaw: 24:13

But in these songs, it's really up to the actors to display that emotion and tell the story.

Roger Thomas: 24:20

And how what kind of role do you play as a stage manager for that?

Grace Robershaw: 24:25

I like to describe my role as kind of like a call center almost. So I kind of run all communications between the director, the actor, lighting, sound, costume, lots of spreadsheets, lots of organization, making sure that we stay on track. And then during the actual performances, I do what is called calling a show, which is where I cue lighting and sound and set movements.

Roger Thomas: 24:53

Okay. That is a pretty good analogy, like a call center. Like a a middleman of sorts between the actors and kind of the directors and stuff. How has that been for you just for this show? Like, how's that experience been?

Grace Robershaw: 25:09

It's been really good. This is my first time stage managing, so the fact that it is it is a smaller cast, it is a smaller show was very helpful

Roger Thomas: 25:18

Yes.

Grace Robershaw: 25:18

To be able to get used to it. It's a lot of just making sure the right people are cc'd on emails and get the right information. For most of our shows, we have production meetings, which really help to make sure everybody's on the same page and we know what needs to get done and what has already gotten done.

Roger Thomas: 25:38

Yeah. I could like, with this being the first time, this is I feel like a very kind of good introduction where it's like, yep. I just have six people that I need to kinda manage and then like, you know, the crew and stuff. But, yeah, like, just being just having to act as the middleman for six people.

Grace Robershaw: 26:01

Yeah.

Roger Thomas: 26:01

It's not that yeah. I could imagine it's easier to wrangle than like some of the full scale musicals.

Grace Robershaw: 26:08

Yeah. With musicals, you could have upwards of like 30 to 40 people on a cast and that and just typing all those names into the email would be insane.

Roger Thomas: 26:19

Yeah. That alone would take, like, several minutes. So you said that this is your first time stage vanishing. What kind of prior experience do you have, you know, within theater?

Grace Robershaw: 26:34

Yeah. So I did theater all throughout high school. I did both onstage performing and a lot of backstage. Here at Berry, our last show that we did, She Kills Monsters, I was the assistant stage manager for that. And they knew that they were wanting a student to do this show.

Grace Robershaw: 26:53

And we'd hired a professional stage manager for our last show. So she kinda, like, took me under her wing and kinda showed me what I was supposed to be doing and kinda getting me ready for this show.

Roger Thomas: 27:04

So you're kind of sort of an apprentice

Grace Robershaw: 27:08

Yeah.

Roger Thomas: 27:08

Of sorts. Just kinda picking up some of the cues and methods of being a stage manager. And then now you get to be one.

Grace Robershaw: 27:17

Now I get to do it. Yeah.

Roger Thomas: 27:18

Yeah. I'm sure I'm sure that's fun for this show at least. Yes. What's let's see. So you said that you were doing calls like for queues and stuff.

Roger Thomas: 27:32

Can you kinda go into that a little bit like

Grace Robershaw: 27:36

Yeah. So before we start doing full runs with actors in tech, I get a fresh script that has nothing in it. And I sit down with the lighting and sound designer and our head of set, if there were any set movements. There's not in this show. But you kind of sit down with them and do what is called paper tech.

Grace Robershaw: 27:57

That's where you get all of the cues in your script. And essentially what that is, is during the show I'll have a headset on that connects to our soundboard op or lightboard op, our conductor for the show, and backstage. And I go through the show and when it's time for a light change or a sound cue or the set to move, I would go in and I would say something like, light cue one standing by, and that lets them know that we're getting ready for that. And then I say, like you go, they press a button and the lights change. So really it's just, so they don't have to have everything memorized for when lights change and stuff like that.

Grace Robershaw: 28:38

Because for longer shows, it can be upwards of like 300 queues for a show. So it's just a way to make sure everybody stays on time and is getting everything changed when it needs to.

Roger Thomas: 28:50

So it's kinda like being a conductor of sorts like

Grace Robershaw: 28:54

Yeah.

Roger Thomas: 28:56

Like lights, sound, all this and that. Yeah. That sounds pretty that sound is it, would you say that it's like just like with only having six cast members, would you say that that's also easier for this show? Or is it more difficult with it being, you know, all music?

Grace Robershaw: 29:15

For this show, it's definitely easier because we'll have a a live band and a conductor. Oh. There aren't really any sound cues. The only time I have to cue them is at the beginning of the show and then the beginning of act two. For this show, it's definitely a lot easier because I only have to worry about light cues.

Grace Robershaw: 29:33

I have around 50 cues in total for this show where whereas like I said, a musical could have upwards of two, three hundred Yeah. Cues on

Roger Thomas: 29:43

No. That definitely sounds like this overall just kinda seems like a perfect introduction as a stage manager.

Grace Robershaw: 29:52

Yes.

Roger Thomas: 29:53

Do you plan on after this, do you plan on kind of also taking on more stage managerial roles after this?

Preston Green: 30:02

I think it really depends. It's something that I definitely enjoy doing, but it does take up a lot of time.

Roger Thomas: 30:09

Oh, yeah. Of course.

Grace Robershaw: 30:10

I also do enjoy on stage performing. So we're in the process of picking our shows for next season. And I think depending on what those shows is will depend on maybe I want to audition for this show versus maybe not. And I'll throw my hat in for stage manager again.

Roger Thomas: 30:28

So you kinda your approach from here on will probably be back and forth between on and off stage.

Grace Robershaw: 30:36

That's the hope. Yeah.

Roger Thomas: 30:37

Yeah. I mean, that's respectable. Like like, I was whenever I was in theater, I would just do acting. I never got to fully immerse myself with the backstage stuff. So it's great to kind of get perspectives of what goes on backstage.

Grace Robershaw: 30:55

It definitely gives you a greater appreciation for everyone that you're working with.

Roger Thomas: 30:59

Yeah. Because, I mean, a lot of hard work goes into, like, not just the act acting, but then, like, all of the setup, all of the just making sure everything happens on time. Yeah. That's like the biggest thing right there. But yeah.

Roger Thomas: 31:17

Is there I guess, is there any sort of memorable moments that you've kinda had trying to stage manage and get things set up for this show?

Grace Robershaw: 31:28

I think our biggest thing was, like, there's been a lot of, like, moments where because I've been here from auditions too, like, throughout the entire process. So it's been really cool. There's been moments along the way where I was, like, where, like, our first rehearsal with our conductor, was like, oh my goodness. Like, wow. And then we had our first, like, first time with the entire orchestra.

Grace Robershaw: 31:54

I was like, oh, like, we have a show. And I like, it's a it's a common thing in theater. Like, you get close to the show and the director's like, guys, we don't have a show. You gotta, like, get it together. Yeah.

Grace Robershaw: 32:06

And there really hasn't been a point like that in this show. Really? Like, from from the very get go, like, actors came in to our first rehearsal having already learned a lot of their music, knowing what they were, like, going into. And so for me, it's just been a lot of moments of, like, that like, this is so cool and these people are so supportive. Like, like anytime I'm having a bad day or I'm like, I don't know what I'm doing.

Grace Robershaw: 32:30

They're like, no, you got it. Breathe.

Roger Thomas: 32:33

Sounds like the whole like the whole lead up to it was relatively smooth sailing.

Grace Robershaw: 32:38

Yes.

Roger Thomas: 32:38

Because I know a lot of shows, every almost every show that I was in and then from what I've heard from other people that I've interviewed. Yeah. Like, there's a lot of times where things happen that kind of can throw off the production towards the final showing.

Grace Robershaw: 32:59

I mean, we've definitely had some, like, I would say delays with some things, but there hasn't been a real moment where I was, like, really worried

Roger Thomas: 33:07

Yes.

Grace Robershaw: 33:07

About the show.

Roger Thomas: 33:09

Well, that's wonderful. Yeah. Like, this is this sounds like a good stage manager.

Grace Robershaw: 33:14

I'm actually a little worried about stage managing in the future because I'm like Yeah. Guys, the show is so

Roger Thomas: 33:19

It's too good.

Grace Robershaw: 33:20

It's too

Roger Thomas: 33:20

good. Can't like this is the peak. But yeah. Is there anything else that you would like to kinda say about?

Grace Robershaw: 33:32

The only thing I can really say is like, I hope when people come and see this show that they really take away the work that the actors have put in. Because of the like uniqueness of this show, a lot of conveying the message of the story like comes down to the actors. And they really are a great great group of people. Like I could not have asked for a better group to for my first stage managing experience.

Roger Thomas: 33:56

Yeah. I mean, sounds like you had a great experience. So I have one last question. I'm asked this

Roger Thomas: 34:03

for

Roger Thomas: 34:03

every podcast interviewee. How do you spell theater?

Grace Robershaw: 34:12

Oh,

Grace Robershaw: 34:13

man, you're gonna put me on the spot like that. Are you asking like the n, the e r, or the r e? Is that what you're asking?

Roger Thomas: 34:19

I'm just asking how you spell it.

Grace Robershaw: 34:23

T h e a t e r? Dude, I'm not good at spelling at all.

Roger Thomas: 34:35

T h e a t e r?

Grace Robershaw: 34:36

Sure. It's probably not right.

Roger Thomas: 34:39

Okay.

Grace Robershaw: 34:42

So it's like, was not expecting that question.

Roger Thomas: 34:45

Yeah. No. No. You're good. Yeah.

Roger Thomas: 34:47

And that's just something I ask you ever. I have to ask everybody. Like everybody has different answers and different rationales for their answers. So, yeah, it's always interesting to just kinda ask them. But, yeah, is there any final words before we move on to the next guest?

Grace Robershaw: 35:03

I think that's it for me. Just come see the show.

Roger Thomas: 35:05

Of course. Well, it was good talking to you.

Grace Robershaw: 35:08

Thank you. It was good talking to you.

Roger Thomas: 35:11

Our next guests are

Molly Merck: 35:12

Molly Merck.

Preston Green: 35:14

And Preston Green.

Roger Thomas: 35:15

And they

Roger Thomas: 35:16

are going to be playing the ensemble characters for this show. Now we know already that this is going to be kind of a smaller cast show. And so to reflect that, we have quite a small ensemble considering that you two are the ensemble. Right?

Roger Thomas: 35:37

How's that kind of been? Because usually, like, with any other show, the ensemble far, far outnumber any of the name characters, but it's kind of the inverse here.

Preston Green: 35:50

I'll kinda talk about that. I think this show's a little bit different considering that this show's not supposed to have an on someone in the first place. Mhmm. So finding that weird area of, like first, we started out as swings, so we kind of kinda learned both the roles for each gender. I was the male swing, so I had to learn both of their parts.

Preston Green: 36:11

And Molly had to learn both the girl parts. And then we decided to kind of incorporate us more, so they decided to put us on the stage, and that's how we kinda became the ensemble. Okay. I think the ensemble is kind of, in many ways, us, but also some of those, like, lead people that are in the show as well. Because throughout the show, we do have some of them kind of, like, becoming background characters at certain moments.

Preston Green: 36:34

So they kinda join us as the ensemble and then have their moments to shine as well.

Roger Thomas: 36:38

Okay.

Molly Merck: 36:40

Essentially, we're all playing the ensemble unless one of the characters has a solo. We are all kind of playing the environment, if you will, rather than like a specific person.

Roger Thomas: 36:54

Okay. And so y'all and instead of like just being regular background characters, y'all kind of integrated y'all self into the show. Mhmm. And some of those are, like, through some of the songs in the show, like, flying home, as we had talked about earlier. Kind of go into that a little bit.

Roger Thomas: 37:19

Like, what's what's it like kind of working with that kind of music, especially with just an all music show?

Preston Green: 37:29

It's definitely been fun, especially with, like, flying home specifically.

Roger Thomas: 37:32

Yes.

Preston Green: 37:34

It kind of, like, was a moment for us to kind of kind of, like, have a moment. Because throughout the show, obviously, it revolves on these very powerful solos and duets and ensemble numbers where it really highlights the people that are man one, man two, woman one, woman two. But at the beginning of flying home, it actually starts out with a nice little moment between me and Molly. So it's a nice moment to kind of, like, see the ensemble come out and kind of have a little moment to shine, and then come back to join the rest of the cast.

Molly Merck: 38:08

Mhmm. In Flying Home specifically, we're kind of spotlighted representing what the song is singing about. So Brian playing Man one is kind of singing about someone who died and is being resurrected. And we are kind of dancing that picture out physically.

Roger Thomas: 38:31

Okay. So while the main characters are singing, you guys are kind of like, for some of the songs at least kind of in the background performing the songs like

Preston Green: 38:42

Yes.

Roger Thomas: 38:42

Okay. And how much I guess, how much theater experience do you guys have?

Molly Merck: 38:49

I've been doing theater since eighth grade, just, like, in middle school, high school, and now college.

Preston Green: 38:57

This is my third year doing theater. So still a little new to it, but I'm excited.

Roger Thomas: 39:03

And so how is this because this is a different show. This is for one, there's no, like, spoken dialogue. It's all music. So how has this kind of this type of show been for you guys? Like, how's it kind of been experience wise?

Preston Green: 39:25

I think I've learned a lot to this show, specifically about how the songs can also move forward the plot in many ways. Because usually in theater, sometimes the songs are just there to kind of highlight the certain moment that's right there in that moment. But it's important to realize that while you are doing that, you have to be able to understand the songs and be able to paraphrase them in ways that you understand them and convey that to the audience. So that's been something that I've been really working on, trying to, like, really find the message behind each song and kinda understand where it's coming from. And that's been very helpful with some of the professors over at the theater department.

Molly Merck: 40:05

I think it's really cool having a show with all music because I think it helps keep the momentum up throughout the whole show. I prefer musicals anyway, but I found doing straight plays, sometimes the dialogue will slow down or it'll lose its natural pace, whereas music keeps you going.

Roger Thomas: 40:22

Yeah. And then one thing without having dialogue is, like like you said earlier, the music in musicals tends to just kinda be the more impactful moments within a show. So then you'd have the dialogue to kinda explain the events around it, the buildup to it, stuff like that. So kind of having just music, you kinda have to put more work and more emphasis in everything that you do with that music. Love you right on that.

Preston Green: 40:56

Yeah. Especially with some of these songs inside the show itself. I feel like they have very, like, very happy instrumental moments, but you have to understand that the words that you are saying don't come from that same place. Like, they can sound very pretty and melodic, but the the theme that you were trying to present through that song might be something a little bit more harsh.

Preston Green: 41:15

So finding that nice, like, dichotomy between the two is definitely a harder thing to to, like, come out with in the very beginning.

Molly Merck: 41:23

Right. And without the dialogue, the explanation is kind of hard. So there was a lot of interpretation that we had to discuss at the beginning so that we all were on the same page about what story we were telling without actually saying the words during the show.

Roger Thomas: 41:37

Mhmm. Yeah. I could imagine the the songs themself, them all being more like, each factor within a song plays a bigger role now than it usually would with a regular musical because you're having to carry the work of dialogue. So things like background music, they need to I guess, the relationship between music and lyrics and what movements are happening on stage, everything kinda has more emphasis for storytelling whenever you're only doing music and no dialogue.

Roger Thomas: 42:21

Because you can't just it's definitely show more than tell now because you can't just tell the audience. Are you guys kinda like, do you guys think that's this is, like, drastically different from a normal musical, or is this still like, just kind of viewing it as a musical with no dialogue, or is it something, like, drastically different?

Molly Merck: 42:51

I think it's different in the sense that you can watch this show be put on in a lot of different ways based on how you're telling the story. Because normally with a musical with dialogue, you have a story that you're telling. You are saying the words that you're meaning to say. So the interpretation is a little bit less broad. But here, we are creating the story based on the lyrics that were given.

Roger Thomas: 43:19

Mhmm. Yeah. I guess that does that does make sense because, with dialogue, you kinda get a decent idea of what things are supposed to look like and stuff like that. But with it just being music, it's more interpretive for each kind of director, each kind of company, and how they kind of go about performing it. So I could definitely see that being a huge factor for this type of show.

Roger Thomas: 43:52

But, yeah, I guess, I think. So yeah. I just have one more question for you guys. It's a question that we have for all of our guests on the show. How do you spell theater?

Preston Green: 44:11

T h e a t r e.

Molly Merck: 44:14

That's the only right way.

Roger Thomas: 44:17

Okay.

Preston Green: 44:18

I think it depends on what you're talking about. It depends on what type of theater. I think that also plays into it.

Molly Merck: 44:25

Anything involving, like, a theater for performing, I say is r e. The only time I switch it is, like, movie theater Would be e r.

Roger Thomas: 44:36

Okay. Yeah. No. It's that's it always gets different.

Roger Thomas: 44:44

Different answers. So I always like to we always like to see what kind of backgrounds we have here, what kind of different perspectives we have. Mhmm. But, yeah, is there anything else that you guys like to say before we sign off?

Molly Merck: 44:59

Come see the show.

Preston Green: 45:01

Mhmm. It's gonna be good.

Roger Thomas: 45:05

I think so too.

Roger Thomas: 45:07

But, yeah, thank you guys for being here.

Molly Merck: 45:09

Thank you.

Grace Robershaw: 45:10

And thank you for having us.

Roger Thomas: 45:12

Thank you for listening to this episode of Troupe Talk. This will be my last episode as host of the show. But fret not, New episodes will be underway for the fall twenty twenty six theater season and onwards, and we hope that you will continue listening with us. For more information on Berry College Theatre Company's production, follow at b c t c underscore theater on Instagram. That's at b c t c underscore theater on Instagram.

Roger Thomas: 45:40

This is Roger Thomas signing off.