FRED @ Fringe Update #9
From the Director…
Whether a character is in a play for all three acts, a fleeting moment, or occasionally hovers in the background, they are there for a reason.
A generous writer will often allow their script to give its director and actors room for movement; an interpretation that means no two productions will be alike. Yet the characters’ respective traits and motivations will all serve the narrative in a manner that, no matter who is producing the material, the story is brought to life with a consistent verisimilitude.
Phillip Hunting directs the cast of the self-devised Boxed In for La Más Collective, who include Michael and Phillip executive producer Michael R. Lister and actor Bethany Griffiths (extreme left). Wayne Stellini was his assistant director for the production.
As writer, director, and producer of Michael and Phillip Are Getting Married in the Morning, I have gone through an incredible learning experience about staying true to my original conception and allowing actors to explore and play their characters. If anything, I am far less precious about actor interpretations than I thought I would be.
This does not mean that my vision isn’t clear. What it does mean, however, is that in allowing an actor the freedom to delve into their character affords me insights into this fictional world that I had not considered. It is also quite inspiring from a writer’s point of view.
This sort of character development is, I think, best observed with actors who have the least stage time compared to their colleagues. For one, they have less raw material to play with. Secondly, they have more places to venture—and how far they go is completely up to them.
In two months time, Michael and Phillip Are Getting Married in the Morning’s run will be over. It may or may not ever tread the boards again. With the performance dates creeping up on us, I take a moment each week to think about how far the team has come. I may have conceived these characters around nine months ago (the irony is not lost on me), but the cast have had less time with them. And yet, they have put in an incredible amount of effort that they perhaps know their respective characters better than I do. Well, that was the goal all along, the purpose of so much emphasis on character development workshops early on in the process.
What is particularly pleasing to see is the dedication from the entire cast to fine-tune their characters. Let me go into some further detail…
The structure of Michael and Phillip Are Getting Married in the Morning dictates an anarchic undertone. That is, we’ve created a circus and Michael and Phillip are ringmasters without control of their beautiful freaks. To emphasise this, characters are introduced gradually and each had their own agenda. Regardless of how innocent or manipulative they are or appear to be, conflicting motivations add to the tension that threatens the impending nuptials.
So how does an actor convey as many details as possible when they enter half-way through the play or perhaps in the final act? This is where all the time devoted to character development takes effect. But it can only be achieved through the professionalism of the actor.
There is a common saying that there are no small roles, only small actors. As clichéd as the saying is, it is unequivocally true. As I discussed last week, characters such as Simon (Hayden Gridley) could easily be dismissed as two-dimensional eye candy. As long as he looks the part, nothing else matters, right? Of course not. To pursue the role of Simon like that would be an insult to all involved, especially the audience.
Jeffrey Bryant Jones and David McNamara rehearse an intense moment as father and son, while comic relief Anna Reardon and Hayden Gridley watch on as Tally and Simon.
Similarly, the role of Father Rob serves his purpose narratively—the boys need someone to marry them, after all! I specifically asked assistant director/producer Phillip Hunting to take on the role. A gifted actor with an analytical mindset, Father Rob allows me the opportunity to see Phillip perform. Admittedly, It is my selfish way of keeping him on stage despite his creative trajectory leading him behind the scenes. With Michael and Phillip Are Getting Married in the Morning we both win—and so does the audience.
What is wonderful about having Phillip as part of the team is that there’s a creative who can wear multiple hats at once. When writing the play, I read through some scenes with Phillip and I took his feedback on board, taking on some suggestions and declining to use others. And then there’s his role as producer. It is his first time wearing this particular cap, but he’s wearing it well. With the support and guidance of Fulya Kantarmaci and myself, Phillip is putting in an astonishing amount of effort.
In a single rehearsal session, he will be alongside Fulya as they discuss paperwork, the budget, and fundraising one moment, and will then be observing a scene run-through to give me or the actors feedback the next. Shortly thereafter, he’ll jump in the performance space to rehearse his scenes. For Phillip, it is not simply about reciting lines—anyone can do that—but it’s about Father Rob’s body language, mannerisms, and the way he delivers his words. Sure, on paper his motivation might simply be to perform a marriage ceremony, but Phillip is creating a character with a backstory, all of which are explicit in both performance and aesthetic. It is a wonderful thing to see unfold as a director and an even greater thing to experience as a trusted colleague.
And yes, the character of Phillip is named after him. Both Phillips are pop culture nerds, but the similarities mostly end there.
Our trusty producer/assistant director/actor Phillip Hunting isn’t the only person juggling multiple roles. A number of the Michael and Phillip Are Getting Married in the Morning cast are in a number of shows this year. (Keep updated with what these incredible artists are up to by liking and following our Facebook page.)
Jeffrey Bryant Jones as Graeme returns the chaos into a heartbreaking reality, but Anna Reardon and Hayden Gridley’s observations as Tally and Simon provide moments of laughter.
Another member of our team I would like to acknowledge this week is Jeffrey Bryant Jones. Cast in the role of Graeme, Jeff’s enthusiasm for the concept of the show and his acknowledgement of the importance behind its key message have never waned.
Not only this, but Jeff’s dedication to his contribution to the show is a reflection of a strong work ethic. As with Phillip, the role of Graeme is (on paper, at least) minimal compared to his colleagues. But the gravity of Graeme’s entrance into the narrative takes Michael and Phillip Are Getting Married in the Morning to a whole new level.
The impact of Graeme on the unfolding chaos is not lost on Jeff. It amazes me how much time and thought he has put into creating this complex character. From forming a backstory and playing with costume options, it would be easy to think that Jeff lives and breathes this production. But no. One of the things I enjoy doing at the beginning of every rehearsal is hearing what Jeff has been up to in the past week. The feedback usually revolves around auditioning, rehearsal, or filming either a commercial, a short film, another play, or a combination of all the above! It is both a phenomenal and inspiring thing to watch unfold.
It is professionals such as Jeff that makes you want to work harder, because he is respecting your show by putting in the hard yards. Actors with so-called ‘bigger’ roles have put in far less effort. So, yes, it’s true what they say: there are no are no small roles, only small actors.
When you see Michael and Phillip Are Getting Married in the Morning, you will know what I mean.
To find out more, follow us on Facebook, Instagram, and Twitter. And of course, feel free to explore FREDtheALIENproductions.com for the latest on Michael and Phillip Are Getting Married in the Morning.
Wayne Stellini is an executive member of the FRED the ALIEN Productions team. He has written and directed episodes of UNI-Bums, and produced FRED’s stage debut, The Writer, in 2016.
FRED @ Fringe Update #8
From the Director…
The process of producing Michael and Phillip Are Getting Married in the Morning is filled with long days, late nights, self-doubt, ego boosting, and one quaint living room…
Tuesday, 14 March 2017
I’m in a quaint living room, chatting to producer/assistant director Phillip Hunting about the day we have ahead of us.
David McNamara and Ryan Stewart in an outtake from their photo shoot. Ryan’s cheeky grin was a factor in his casting. Putting it simply, it was Phillip’s smile.
We’ve seen a number of impressive actors audition for the roles of Phillip and Simon, and have narrowed it down to four and two respectively. I have an idea of who I want to cast in the roles, but these young men are so talented and enthusiastic about joining FRED the ALIEN in producing our original comedy of errors, that you are looking at the finest of details to find Mr. Right.
The first actor arrives. He was unable to attend the first round auditions, so I invite him to audition before the others turn up. If he’s not quite right, it will be easier to say goodbye without the others there. Of course, he commands a strong stage presence. It’s impossible to take your eyes off him and the original monologue he presents (one he has written) demonstrates that he is talented beyond performing.
I ask him to stay and it isn’t long until David McNamara joins us. He has already been cast as Michael; the role may have been written for him, but his mandatory audition for the part sealed his fate. Ben Campbell, cast as Blaine, is also in attendance. This is his first group audition and a great opportunity for him to learn more about the process.
It isn’t long until three other actors arrive: two more Phillips and one Simon. We begin with the general introductions and note about safety—a Legend of Zelda sword hanging on the wall grabs their collective attention and playful curiosity.
We run through scenes involving Phillip. David stands in for multiple roles and the auditionees are incredible sports about it, particularly since some of the scene run-throughs involve all of them playing Phillip at the same time! Each take it in turn to read a line. What they don’t know it that I’m looking for the actor who not only has a strong rapport with David and Ben, but who never breaks character.
There is no doubt that the men in the room are talented; their CVs, showreels, and of course, first-round auditions have already told me this. Just as soon as one actor leaves our second potential Simon arrives. And the process goes on. Bethany Griffiths, cast as the Bride, has turned up at this stage.
I keep asking one of the actors—a potential Phillip—if he can stay longer while we wish the other applicants well and give them the ‘we’ll call you’ spiel they’ve no doubt heard countless times before. This particular actor has been here for four or five hours of non-stop auditioning. He gets along with everyone, is incredibly generous, and never breaks character. I ask others to leave the room and we do an improvisation exercise, talk more about Phillip and the play in general.
I’ve been creating the final casting in my mind as the day has been going on until only Phillip Hunting, David McNamara, Bethany Griffiths, Ben Campbell, and I are left in the room. As far as I’m concerned, I’ve found my other leading man. I’ve found my Phillip.
But, of course, there was one other actor who I needed to see, one who was in my top three all the way through. Ryan Stewart knocks at the door and he greets us with a broad smile. We run through scenes and improvisation exercises. Once again, I invite everyone to step outside as Ryan and I partake in a final improvisation exercise, though my trusty assistant director Phillip stays.
The exercise is this: I interrogate Ryan (as Phillip) about the whereabouts of Michael. The reason being is that their marriage has been voided by the government and it’s my job to find Michael so that we can remove him from the country. I give my best performance, aware that I’m in the room with two trained and talented actors, but it’s Ryan who this exercise is for. And he doesn’t disappoint. I ask him to explain the motivation behind his performance and he absolutely captures the essence of Phillip.
Ryan Stewart on the train to rehearsal with his feet resting on a suitcase of costume options. Fellow commuters have no idea that such a talented actor sits in their carriage.
We discuss the logistics of the next several months and Ryan tells me of another play he is working on. This isn’t a problem for FRED the ALIEN Productions, but we also place a huge emphasis on the physical, emotional, and mental health of anyone who works with us. Ryan explains his schedule and I ask him if doing two productions at once will burn him out. He tells me no. I don’t particularly believe him and tell him as much. He reassures me and smiles. I turn to assistant director and producer Phillip and tell him to look at Ryan’s smile, asking how many crimes Ryan has gotten away with by simply flashing that smile. Ryan is amused by the question and shrugs knowingly.
But the smile does not seem to belong to Ryan anymore. It belongs to a good-natured, slightly naïve man named Phillip, who is blissfully in love with a guy named Michael.
But I go to and fro with the casting of Phillip. It has to be perfect. I will literally lose sleep over the decision and will have to psych myself up to phone the runner-up. I’ll have to tell him that, despite a stellar audition that went for hours, he hasn’t won the role he worked incredibly hard for.
The decision to cast Ryan, however, is reinforced with every discussion, workshop, and rehearsal I have with him. His work ethic is a director’s dream and it is an incredible feeling to know that you are working with someone so talented before more theatregoers know his name. Until then, however, there is something nice about knowing that the young gentleman on the evening train, resting his feet on a suitcase of costume options and a bound script, is a remarkably gifted actor who is on the verge of much bigger things.
Monday, April 10 2017
I’m in a quaint living room, vacuuming.
Producer Phillip Hunting is also tidying up. We want to make a good impression. We need to find our Simon.
I went through my list last month. My top choice isn’t available for our scheduled rehearsal period. My second choice can’t commit due to financial reasons. My third choice has found another project to commit to. And my fourth choice would always be an hour late to rehearsal every week… and that’s if the traffic is good!
So, here we go again! We have to find our Simon. We see a number of gifted young actors with varying degrees of experience, but all of which respond well to the character and the concept of the show.
Simon was always going to be difficult to cast. It is easy to dismiss the character as nothing more than two-dimensional eye candy. But he’s more than that and these actors understand this. Admittedly, the second advertisement we have listed—solely for Simon—is more explicit in what we are looking for:
Not all applicants come to the audition, and not all have the courtesy to let us know that they can’t make it, but late in the afternoon, assistant director/producer answers the door and is greeted enthusiastically by a prospective Simon. He is aesthetic perfection and has the sort of friendly, outgoing, and charming personality that I imagine Simon would have. It’s difficult not to fall in love with the positive energy this actor is projecting.
When he leaves, Phillip and I agree that the actor has the part. Every other actor we saw during the day came a close second. We could have easily gone with any of them; this specific audition has been that good.
But there is still another applicant. He had let us know that he was unable to attend today, but his CV and look are impeccable. I offer him an evening audition in two days time, but don’t hear from him.
Wednesday, 12 April 2017
I’m sitting in a café.
The FRED the ALIEN team are wrapping up our meeting. It is customary for members to be at auditions, but it is getting late. I have received messages throughout the day and into the evening from our last potential Simon. He’s keen to audition, he’s on his way…
More than a pretty face, Hayden Gridley’s commitment to the role of Simon was demonstrated before he even walked into his audition. In fact, he was so captivating that one of his scenes was extended to give the actor more stage time.
While he is either stuck in traffic or getting lost in a part of Melbourne he has hardly ever visited, the team gets impatient and one by one leave. Phillip and Bethany stand to leave when Hayden Gridley calls me. He’s nearby and I give him directions, telling him that I’ll meet him outside the building.
I tell the team that I hope for this guy’s sake that his audition is good, considering how much effort he’s put just to arrive at our venue. Ben tells me that he will remain to help with the audition, but Phillip and Bethany will only stay to meet with the applicant.
And then we get into it. Hayden asks the sort of questions that other applicants don’t, particularly revolving around the psychological dynamics between the characters of Simon and Tally. I break all the rules of how FRED conduct auditions and tell him that he’s made it to the top two and I will let him know my decision after Easter. I also inform him how the casting of Phillip had given me a sleepless night and that now the casting of Simon was going to give me another one.
But when Hayden leaves, Ben and I discuss his audition briefly. I don’t want to commit to one actor over the other, but I am confident I know which actor I will go with.
On the way home, I report back to the team. At 9.13pm, I tell them that ‘Hayden’s audition went for around 90 minutes… You can perhaps guess how it went!’ The team are curious about him and I surmise, ‘He was flawless.’
So much so that when I offer Hayden the role, I ask him if he doesn’t mind if I extend one of Simon’s scenes. His audition was that good, that he has inspired me to give Simon more stage time. That scene, it would turn out, would be Hayden’s favourite.
But, of course, it seems that Hayden was destined to be a part of Michael and Phillip Are Getting Married in the Morning. When researching actors who I thought would be most suitable to play the lead of Phillip, my top choice is revealed in a document I have on my computer from 7 February 2017—Hayden Gridley.
Friday, 14 July 2017
I’m sitting in a quaint living room.
Producer Fulya Kantarmaci is sitting beside me, fine-tuning our fundraising campaign. Producer/assistant director Phillip Hunting is looking through paperwork and asking me questions that is taking my attention away from listening to Kylie tunes.
I’ve just shown Fulya Kylie’s Dancing Queen video. We’re trying to guess the height of her back-up dancers. Sounds silly, but it’s a reference to a line in Michael and Phillip Are Getting Married in the Morning, one that is made at Michael’s expense. We chuckle and get back to business.
It’s not long until Phillip is on the phone, organising a future rehearsal venue.
A ‘quick proofread’ of the Indigogo fundraising campaign takes over two hours… but it looks beautiful. We cheer when it goes live. We cheer when it is shared to our Facebook. We cheer when it is shared to our Twitter.
We’re also delusional at this stage!
So much has happened in this quaint living room, but so much more happens outside of it too. To find out more, follow us on Facebook, Instagram, and Twitter. And of course, feel free to explore FREDtheALIENproductions.com for the latest on Michael and Phillip Are Getting Married in the Morning.
Wayne Stellini is an executive member of the FRED the ALIEN Productions team. He has written and directed episodes of UNI-Bums, and produced FRED’s stage debut, The Writer, in 2016.
FRED @ Fringe Update #7
From the Director…
Anna Reardon as Tally rehearsing in full costume with David McNamara as Michael.
It seems fitting that today—World Fringe Day—be one of reflection.
We are at the half-way mark of pre-show preparation for Michael and Phillip Are Getting Married in the Morning. Our cast are developing an uncanny connection to their respective characters, they are feeling more confident with their lines, and we are starting to finalise costumes! It is an exciting time when such physical aspects of a show are first introduced because they help both actor and director learn more about each character and their place in the world.
When first creating the character of Tally in October 2016, the only indication of what her costume should be was ‘wearing sunglasses and the most retro-atrocious outfit conceivable.’ My idea of what that meant exactly changed with every rewrite and read-through, but Anna Reardon, cast as the unsinkable Tally Wolfeschlegelsteinhausenbergerdorff, took to task to create her character’s look.
Needless to say, Tally was the most fun character to write because she is one without limits or restrictions. There was never a time when I would stop and ask myself, ‘Can I write that?’, ‘Can she do that?’, or ‘Can I go there?’
It is perhaps a reflection on the sort of actor Anna Reardon is. Like Tally, she is fearless. I had the pleasure of working with Anna last year, when FRED the ALIEN Productions ventured into the world of theatre for the first time with The Writer. With Fulya Kantaramaci by my side, the black comedy was an interesting introduction to producing for both of us. It also meant that we were able to take a step back and observe the ensemble cast tap into a string of complex characters and dark scenarios.
What struck me was the manner in which Anna was able to show a range of emotions and skills, playing multiple characters including a spoilt lovelorn princess and the queen of the British Celtic Iceni tribe, Boudicca. The material and limited pre-show period demanded a gruelling rehearsal schedule.
Anna Reardon and David McNamara had first worked with FRED the ALIEN Productions on ‘The Writer’ in 2016. Here, David helps Anna go over her lines before a rehearsal.
Throughout, the cast of nine never failed to impress as writers/directors Michael Davidson and Phillip Hunting coordinated a vision that saw imagination, reality, lunacy, and more brought form the page to the stage. The manner in which cast and crew worked together to bring The Writer to Melbourne Fringe 2016 was inspiring.
What was also inspired was the casting of seven-year-old character Sam. The emotional core and moral compass of the show all linked back to this child, caught in a tug-of-war between his father (Michael R. Lister) and estranged mother (Kerri Gee). The casting of Sam was essential. I had expressed concern to the directors that if the actor who played Sam was not believable, the entire narrative would be lost. It was a burden undertaken by David McNamara. Having watched a recording of his audition, my concerns were immediately put to rest. I turned to Phillip and said, ‘Hire him.’ Although casting decisions are not up to the producers, FRED the ALIEN encourages thoughts, suggestions, and feedback from everyone working on a particular project.
This sort of collaborative culture finds itself in Michael and Phillip Are Getting Married in the Morning. Trusting the actors’ instincts as well as discussing and negotiating what each character would say and do (and, more importantly, why) has proven beneficial to the process. Approaching David to play the lead role of Michael and seeing his stellar audition for the par reiterated what an extraordinary talent he is.
It is overwhelming to think about the incredible new talent this show has introduced me to!
So, on this World Fringe Day, I’m taking a moment to reflect on what (in only two productions!) the Melbourne Fringe Festival has given me as a creative person. It also foreshadows what, if we do our job properly, we can do for our audience.
Keep checking in with what we’re up to and how we are going. Follow us on Facebook, Instagram, and Twitter. And of course, feel free to explore FREDtheALIENprodcuctions.com for the latest on Michael and Phillip Are Getting Married in the Morning. You can also revisit (or learn about) our Melbourne Fringe debut, The Writer.
Wayne Stellini is an executive member of the FRED the ALIEN Productions team. He has written and directed episodes of UNI-Bums, and produced FRED’s stage debut, The Writer, in 2016.
FRED @ Fringe Update #6
From the Director…
Marriage equality is at the forefront of civil rights discourse in the Western world. There are nations that have engaged in bitter debates, others have decided that it is the right thing to do, and one (Ireland) left the decision to their population with stunning, reaffirming results.
Michael (David McNamara) and Phillip (Ryan Stewart) enjoy the civil right to marry in a legally recognised service in FRED the ALIEN Production’s ‘MICHAEL AND PHILLIP ARE GETTING MARRIED IN THE MORNING’. But the play had to be set in an imagined time because same-sex couples are forbidden by Australian law to wed.
This past week, as the Michael and Phillip Are Getting Married in the Morning team continue to create an humorous and heartfelt show, Germany voted for marriage equality. Also, senior member of the conservative Liberal/National Party Coalition Government Christopher Pyne was secretly recorded declaring that marriage equality was closer than most people think in Australia. This was a surprise, considering that his leader and the nation’s Prime Minister Malcolm Turnbull has had to put his personal feelings aside to appease the ultra conservative fraction of his party and deny a conscious vote in the Australian parliament; a move that would see marriage equality become law.
As a part of a team who openly support marriage equality and are using our creative talents to endorse it on the stage, these two events have resonated with me in an unexpected way.
Let me explain this a little more. FRED the ALIEN has not invested time, money, effort, and sleepless nights into producing Michael and Phillip Are Getting Married in the Morning simply because the script was available and we had nothing better to do. On the contrary, the very idea that a story of two people about to get married has to be set in an imagined (future) time in itself speaks volumes.
As both writer and director, the characters of Michael and Phillip are very much real to me—and this was emphasised when actors David McNamara and Ryan Stewart participated in a photo shoot dressed in their characters’ wedding clothes. It was the first time I felt as though I was handing these characters over. They no longer belonged solely to me. And such the extraordinary talents David and Ryan are, they are teaching me more about Michael and Phillip than I thought possible.
This might sound strange to some, but those who have created fictional characters and shared them with the world will understand: when events such as those of the past week occur, I think of Michael and Phillip and it saddens me. Here we have two lonely people who found one another, who overcame personal struggles and tragedies—as every human being does—only to be denied the right to marry one another.
They deserve better. And it is through imagination and the magic of theatre, they will get it. But I promise you, it won’t be an easy trip to the altar.
I hope that you will continue to engage with FRED the ALIEN Productions’s journey to Melbourne Fringe by following us on Facebook, Instagram, and Twitter. And of course, keep checking in at FREDtheALIENprodcuctions.com for the latest on Michael and Phillip Are Getting Married in the Morning.
Wayne Stellini is an executive member of the FRED the ALIEN Productions team. He has written and directed episodes of UNI-Bums, and produced FRED’s stage debut, The Writer, in 2016.
FRED @ Fringe Update #5
From the Director…
The joy of being a writer is that your imagination allows you to create a play without limits. The characters, their collective and individual narratives, and everything else that makes a story accessible to its audience is at your disposal.
Actors Ryan Stewart and Anna Reardon having some fun between scene rehearsals. Thankfully, the hostility their characters feel for one another is left on the stage! (Image courtesy Ryan Stewart. Used with permission.)
The joy of being a director is that your imagination allows you to interpret a play in a personal and creative manner so that the writer’s story and message are conveyed in a way that engages the audience.
The joy of being a producer is that you make things happen. Producers are the backbone of every show—producers produce, after all! There’s no such thing as “can’t”. The most impossible of requests not only become a possibility, but very much real.
Strangely (or, not so strangely) enough, merging all three roles is not always so joyful. As a writer/director/producer, the script is created and developed with the foresight that the play will be produced in a relatively short period from the script’s completion. So how then, does this impact the writing? Putting it simply, a playwright who will be directing AND producing their work knows that the script needs to be logistically and financially responsible, because it will be their job to make it materialise. There is a risk of self-censoring/restricting what goes on the page long before fingers hit the keys.
This juggling act of these roles has been a welcome challenge, like being thrown in the deep end in the hopes that you will learn to swim, only much safer. It helps to have a producing partner (Fulya Kantarmaci) and assistant director (Phillip Hunting) to support your every move. Needless to say, this support and sense of safety comes from a team of talented artists who are developing their crafts, as well as learning from and teaching one another at the same time. When producing a show such as Michael and Phillip Are Getting Married in the Morning, confidence in your colleagues is paramount. Working on building trust in the early stages of the process is proving beneficial, and yet this will continue to develop as rehearsal time becomes more pedantic.
It is rewarding to see the team’s developing bond on stage as well as in-between scene workshops and rehearsals. As we get closer to full run-throughs, my juggling of roles and the team’s trust in one another will work together harmoniously—it has to.
Keep track with how we’re going! Follow us on Facebook, Instagram, and Twitter for the latest developments in the production of Michael and Phillip Are Getting Married in the Morning.
Wayne Stellini is an executive member of the FRED the ALIEN Productions team. He has written and directed episodes of UNI-Bums, and produced FRED’s stage debut, The Writer, in 2016.
FRED @ Fringe Update #4
Anna Reardon and Ryan Stewart rehearsing a scene in which the tension between their characters, Tally and Phillip, is made perfectly clear.
From the Director…
I have a confession to make.
I gave myself a pat on the back after the last Michael and Phillip Are Getting Married in the Morning rehearsal.
It’s arrogant, I know. But I’m not ashamed to take the credit: I’ve cast the perfect actors for their respective roles. Yes, there was consultation with my assistant director Phillip Hunting, as well as other FRED the ALIEN team members—there had to be. The competition for certain roles, particularly those of Phillip, Tally, and Simon was intense, with an incredible assortment of Melbourne’s upcoming young talent putting themselves forward to be a part of our show. There were sleepless nights (not an exaggeration), but casting decisions were ultimately made… and they had to be made by me.
This is why I don’t mind giving myself that pat.
Let me explain why this sense of self-congratulating feeling is justified. We ran through the first two acts of the play last week; the first time running through some of these scenes for most of the actors. I sat in awe as the cast worked their way through lines and some complicated stage direction.
David McNamara and Hayden Gridley rehearsing a humorous exchange between Michael and Simon.
This may not sound like anything extraordinary—and, in itself, it probably isn’t—but I’ve been fortunate enough to work with a diverse range of actors in the past, and not all collaborations are as cohesive as this one is. What makes the cast of Michael and Phillip Are Getting Married in the Morning so incredible is that they are fearless. This attitude is a director’s dream: actors who have invested time and effort into understanding their characters, and how they fit in the story, as well as the broader world we are creating. Because of this, an open dialogue has developed naturally, and the cast are happy to try, challenge, and experiment with a scene.
During the audition process, I told actors that by showtime, they would know their respective characters better than I do. Despite my faith and confidence in them and their abilities, they’re already getting pretty close to achieving this—and we still have three months to go!
So, excuse me, while I once again give myself a pat on the back, because come showtime, you’ll understand how extraordinary this cast of eight is.
In the meantime, remember to follow us on Facebook, Instagram, and Twitter for the latest developments in the production of Michael and Phillip Are Getting Married in the Morning.
Wayne Stellini is an executive member of the FRED the ALIEN Productions team. He has written and directed episodes of UNI-Bums, and produced FRED’s stage debut, The Writer, in 2016.
ICYMI: Tony Award Winners 2017
The coveted Tony Award! (Image: playbill.com)
The Tony Awards celebrated the best achievements of Broadway theatrical productions on Sunday night.
In case you missed it, here is FRED the ALIEN’s summary of this year’s Tony Award winners. Congratulations to all, and thank you for keeping the magic of theatre alive!
The FRED the ALIEN team can only dream of having one on our mantle!
For the latest in pop culture news and views, listen to Friday Nights @ FRED’s with Kendall, Michael, and Phillip every Friday evening. In the meantime, have your binge on SoundCloud and remember to rate and review us on iTunes. 👽
Images: facebook.com/thetonyawards
FRED @ Fringe Update #3
Ryan Stewart and Bethany Griffiths, exploring the nuances of their characters in an improvisation exercise.
From the Director…
It was at this time last year that FRED the ALIEN Productions announced our first foray into theatre with The Writer. One year on, and we’re well and truly onto the next adventure, where we’ve taken a step from the black box theatre styling of The Writer to challenge ourselves further with a more detailed set design and a bigger performance space.
The cast of Michael and Phillip Are Getting Married in the Morning began getting a feel for the dimensions of their future stage this week; we mapped it out with tape at our FRED the ALIEN rehearsal venue.
The team focused on interacting with one another in a more intimate manner than ever before. They were also able to move around the marked-out space that represented Michael and Phillip’s respective apartments.
Jeffrey Bryant Jones and David McNamara run through an intense scene as father and son reunite.
Our set designer, Melbourne artist Chloe Rich, is already brainstorming ideas on how to turn a bare stage into two distinctive homes without making it a logistical (or financial!) nightmare. But, for now, cast members are relying on imagination to maneuver around a bare space until some impressive backdrops materialise and we give them some props to play with.
As Chloe and her team start creating elements for a visual space, the cast continue to become one with their characters, understanding their nuances, speech, and aesthetic. What an extraordinary process!
Remember to follow us on Facebook, Instagram, and Twitter for the latest developments in the production of Michael and Phillip Are Getting Married in the Morning.
Wayne Stellini is an executive member of the FRED the ALIEN Productions team. He has written and directed episodes of UNI-Bums, and produced FRED’s stage debut, The Writer, in 2016.
FRED @ Fringe Update #2
Actor Anna Reardon, who appeared in FRED the ALIEN’s production of ‘The Writer’ (2016), leads her fellow cast members in a movement exercise.
From the Director…
The road to Melbourne Fringe is marked with a number of mini-milestones, and last week the team reached another one!
The cast of Michael and Phillip Are Getting Married in the Morning have been engaging in a number of workshops involving character development, improvisation, and trust and movement exercises. It’s an important part of the process, as our play involves a number of intimate sequences and physical gags.
To help the actors build upon their respective characters’ backstories and interpersonal histories, the team have been writing up their own character profiles and performing scenarios between themselves that do not appear in the play.
An improvisation exercise in which a tense Michael (David McNamara) and clueless Simon (Hayden Gridley) discuss everything from kebabs to sexual health (don’t ask).
And now, following four weeks of such exercises and character development, we’ll begin rehearsing tomorrow evening! Things will only get more intense from here, as the cast will spend the next fifteen weeks hugging and kissing, slapping and wrestling, laughing and shouting… and that’s just with me!
Based on the hard work that’s already been put into the production, it’s exciting to think about what the next few months will be like as we take this unique world from page to stage.
FRED the ALIEN Productions is excited to see the progress of Michael and Phillip Are Getting Married in the Morning and I can’t wait to share more of our journey with you!
Wayne Stellini is an executive member of the FRED the ALIEN Productions team. He has written and directed episodes of UNI-Bums, and produced FRED’s stage debut, The Writer, in 2016.
FRED @ Fringe Update #1
The production’s first promotional image depicts David McNamara and Ryan Stewart as Michael and Phillip.
From the Director…
In a flurry of excitement, the FRED the ALIEN Productions team was happy to reveal the title of our latest stage show a fortnight ago. Coinciding with International Day Against Homophobia, Transphobia, and Biphobia, Michael and Phillip Are Getting Married in the Morning was announced via social media on 17 May!
We had been teasing our FRED fans for quite some time, with loyal Friday Nights @ FRED’s listeners already being let in on the show’s title weeks in advance – pays to subscribe! We were also thrilled to reveal an image of our leading men: David McNamara and Ryan Stewart as Michael and Phillip.
Here, Phillip smiles as he literally sweeps Michael off his feet outside the church. It’s a message of love, acceptance, and equality that FRED the ALIEN is proud to endorse… and one that is being told with heart and one helluva wicked sense of humour!
So, what brings us back to the stage? The team was having such a wonderful experience with FRED’s previous show, The Writer, that we knew we had found a medium that we could thrive in. Producing The Writer was such an incredible learning opportunity for everyone involved that we knew we had to return to Melbourne Fringe and Gasworks Arts Park.
Bethany Griffiths, David McNamara, and Ryan Stewart in a movement exercise, a part of the cast’s preparation for an intense rehearsal period.
Luckily, while producing and marketing The Writer, an idea for a new show came to me weeks before opening night. I pitched it to the team and they loved the concept behind Michael and Phillip. When The Writer wrapped-up, I spent the summer of 2016-17 developing a script. I was chuffed when the team fell in love with it.
And now that we’ve announced our new play to the world, it’s finally hitting home – we have an audience waiting for us!
Head to our Facebook page and keep checking to learn more about our latest production. We are thrilled to have you join us as FRED the ALIEN returns to Melbourne Fringe with the original comedy, Michael and Phillip Are Getting Married in the Morning!
Wayne Stellini is an executive member of FRED the ALIEN Productions’s team. He has written and directed episodes of UNI-Bums and produced FRED’s stage debut, The Writer, in 2016.
FRED the ALIEN Productions 