So another weekend has gone by, and it's been quite a busy one! And now, for no real reason whatsoever, allow me to trace the trajectory of
Follow The Light since Colin, the director, and I
met a few months after my return from Perth. I met up with him in October 2006 with a proposal: to stage this Christmas musical with a non-religious, non-preachy slant. Colin was interested, and I still remember him telling me that the earliest he could do it would be in 2008. And I recall myself reacting thus:
"2008?! That's more than a year and a half away!" Cut to: 2010, and we're still here, my friends. We're still here.
As you guys and girls (all two of you who read this blog) probably know, over the years, we've been working on the script and the music, with me doing major rewriting, chucking out old songs, writing entire new ones, altering existing numbers entirely. I've come to realise that I brought back with me a whole lot of idealism, but naivete about the politics of things. Not just politics to do with government, but politics concerning the way things work, the people you have to connect with, the corporations you have to approach. And of course, politics - related to government -
does come into play as well, especially when you're dealing with a "Christian" subject in a country with Islam as its official religion. But more on this later.
Last year, we put a deadline on the staging of this project. We decided it would happen in December 2009. We'd been hunting around for a while, and - despite theatre companies who told us we were best working with a church, and churches telling us it didn't fit their mission because it wasn't an evangelistic piece - we finally found a producer who came on board in the first quarter of 2009. She left in around September 2009 when we realised we still needed funding, and partly because, due to some personal issues on her part, things had regrettably slipped through the cracks. So she left us, on amicable terms.
So in came a second producer in September, who had links to a major production company. By this point we'd secured the majority of our production team, and had auditioned the cast - it was pretty much settled, who was going to play which part. But reality kicked in, and we decided it was going to be too much of a rush, this late in the year, to put on the show in 2009. So to 2010 it was shelved. And in the meantime, said second producer had been offered a full-time position with this major production company, and subsequently this company was now interested in perhaps producing
FTL under their banner, potentially relieving us of the responsibility of funding a budget that ran into six figures. What a boone! What a motivational boost!
Cut to: February 2010, when the company changed its mind due to developments on the socio-religio-political front and decided the timing wasn't good to tackle a "religious" project at this point. That's just one of the reasons they proffered; I'm sure there were others. I totally understand their position; it totally made sense from a business perspective, so I bear no ill-feelings about the whole thing. Heck, if anything I'm very appreciative that they were even
interested in this project! I mean, who am I, this small fry, newbie-unknown, in a big pond? I just hope to have the opportunity to work with them in future. But yeah. Anyway.
So second producer, who by this stage had decided to remain with big company, had to step down. But not before agreeing to help us look for a new producer. So there were further discussions, meetings, etc with various people - and before we knew it, March had gone by, and April, and May, and whoo-boy, time's running out, isn't it?? In the meantime, some of the cast members we auditioned in 2009 had to pull out for reasons sundry. We understand, life happens, things change and developments take place, so it's all good. But it meant we had to embark on the whole process of auditioning people all over again. And for more than
half of the entire cast.
Oy.
May and June I was tied up with projects with the Perth gang. July Colin went on a much-needed break. And over the past couple of weeks, we've been reauditioning people. And it's already August 2010. Jeebus. Time really does fly, doesn't it? And as recently as a couple of weeks ago, we had new cast members deciding to join us, but then sadly they withdrew for reasons we can only speculate (albeit to what end?). Word on the grapevine is that the whole issue of us tackling a "Christian" subject could pose a problem to potential Muslim cast members due to the "sensitivities of the day". Thus some came, and some left - just in case they get looked down on, or worse, persecuted, for taking part in a production comprising thematic material that is contrary to one's personal beliefs. Only in Malaysia, my friends. Well.
Preeminent in Malaysia, my friends. But to a degree, we understand. Everything's politicised these days. So we let it go, no hard feelings.
Thus the process has re-recommenced: this weekend has been tied up with more auditions with more interesting, talented and potential-laden people. Auditions are thrilling and/or tedious things. Having to test people's vocal ranges, gauge their skill and experience, listen to them sing, and having to bring them through the acting component. More often than not from the get-go you can tell whether they're suitable, but dammit, we can't be all Simon Cowell-like and tell them to leave one minute into the audition, can we? (Oh, I'm sure we could, but we're much too nice for that. Except for one guy who we turned away at the front door. It's a long story. We're still feeling bad about it. But moving on.)
The audition process averages 45 minutes per person. And this is what Colin and I have gone through this weekend, and it's tiring because we thought we'd be over this stage by now. Yet, the silver lining is this: right now, as I type this, I think we can cautiously say we just might have our cast. Again. And again.
So where does this leave us, what what's the point of all this? I'm not sure. I'm just trying to get my thoughts straight about this most strange, frustrating, and yet exciting process. Around the middle of the year, probably about the time I was doing the Children's Theatre stuff, my motivation and excitement for
FTL had dwindled to about nothing. I'd felt ready to listen to the naysayers who'd told me, "Just let it go, Nick. Move on", and let it go and move on. But you know what? Sorry, naysayers. Right now there's a bit of fire being relit, and I'm thinking, we've come this far... let's go for it. Sure, at this stage the production "team" still basically consists of Colin and me. Sure, we don't have the money and sponsorship entirely in place yet. Sure, we haven't got the "dream" cast that we wanted, the
"wish list" of performers that every production company comes up with but only the most successful / experienced / influential / connected / financially capable / lucky can get. But we
have got a talented group of people, about a third of whom have been steadfastly supporting the project since last year despite the setbacks; and we've got damn good material, if I do say so myself (in spite of the abovementioned naysayers, suck it, all of you!), and... well... I suppose we have faith. To a greater or lesser degree. I'm feeling like this whole uphill battle has have to be for a reason, and a damn good one. I dunno why, call me an optimist (which is rare of me, isn't it?!) but I've got the feeling we're going to discover that reason real soon.
Many times I wonder how we managed to pull of that 2005 production of
FTL. Yes, it was only a university-level show, but the components still apply: looking for the cast and crew, getting a production team, dealing with logistics and planning and budgets (which we had virtually zilch of), and rehearsing, bumping in, dealing with lights and sound in a theatre not equipped for a musical, dealing with dramas and divas and all that jazzz. Five years later you'd think it'll be easier. But no, as standard and expectations increase, so do the challenges. Hence, a bigger, better show means bigger challenges. And that's what we've got. But I dare say
FTL 2005 was a success in spite of the odds. And I can only hold on to the conviction that
FTL 2010 will reap even sweeter gains.
I leave you with this interesting blog post from 2005. I'm copying and pasting virtually the entire damn thing, even though you could easily click on
this link to see it in its original form, arf, arf:
I've been heck-busy organising auditions, schedules, scripts, demos, etc for Follow the Light, and all in all, it has been a crazy task. Thank God I've got Judi, my dear friend Cat and my other housemate Carol helping me out and constantly giving me harsh painful slaps across the face each time I whinge about how this is all too much, I can't do this, I can't do this and they go "Shut up, asshole, you're going to suck it up and just f**king do it!" And with a stinging hot cheek flushed from the strike, I'd whimper, no, it's all toooo muuucchh and they'd throw me to the floor, grab my wrists and pin me down, pummelling me and shrieking, "Do it, BITCH! DO IT! DO IT!"
Okay, no, it's not like that. The name-calling, yea, but the hitting? Nah. Not without leather involved.
Anyway. We're quite on track, according to this Project Plan that we've come up with. Y'know life's scary when you've suddenly got to do things like devise project plans. Me. Nick. The king of disorganisation. But we are on track. I've got 14 out of my 15 cast members [...] I'm still hunting about for one last dude who can sing/act... so if anyone out there from Perth stumbles across this, give me a shout.
It's become a bigger project than I'd expected it to, too. I mean, think about it: 15 cast members. 13 musicians. A production team of 12. That's 40 people. Not big if you're a truly professional and (dare I say it) altogether experienced theatre producer, but.... *laughs blissfully with a tinge of apprehension*. Gosh, it's ironic -- the story has a young couple named Mary and Joe realising they are about to embark on something big; and I'm in no way comparing this project to the hugeness and significance of their experience (giving birth to the Son of God? Not in my line of work, no, sorry)... but... gosh, it's all quite whelming. Y'know. Like, over-whelming and under-whelming. In this case, it's a nice balance. It's whelming. I'm incredibly proud of what we have, and what we are, and what we might achieve, and it's all terribly exciting, but scary like hell.
It's dated 18 September 2005. We staged
FTL that year from 22 November 2005. So all things considered, who knows? Maybe this time around, we're not doing too badly after all?