It’s a good rule if you have a very stupid audience, and a bad rule in literally every other situation
Introducing a concept and then having that concept pay off later is bad
That sure would be a silly opinion to hold if that was what Chekov’s gun actually was. Fortunately it isn’t!
“If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off. If it’s not going to be fired, it shouldn’t be hanging there.“
Requiring every detail of note in your story play a relevant role in the story, thus depleting it of all atmosphere, decoration, implication, and between-the-lines storytelling, fucking sucks
This is because Chekov’s gun is not a rule for storytelling in general, or for books, it’s advice for stage productions and the use of props in them
Chekov never talked about the “first chapter” he said the “first act”, because he was talking about the theatre, props in a production are eye catching and will distract the audience so they better fucking matter.
If you have a prop gun on the stage, someone better be doing something with it by the end of the play or you’re wasting the stagehands’ time
it’s a good piece of advice regarding not overdecorating your sets in stage shows where that adds significant costs both monetarily and in labor to the production and distracts the audience
it absolutely was never supposed to mean “every trivial detail in a book must absolutely be extremely significant five chapters later”
it’s only a stupid rule if you try to apply advice for stage production to writing novels
Well, that’s a relief.
Hands up if you’ve read Chekovs gun as “Star Trek Chekovs Phaser” for near fifteen years and won’t stop.
In 2013, Arlington-based Synetic Theater took their signature cinematic style to a new level when they flooded the stage with water for a production of The Tempest.
The physical theater company, well known for their wordless productions of Shakespeare plays, had previously created a water stage for their 2010 production of King Arthur. Known for their creative use of mixed media, Synetic Theater utilized the water to add an extra layer of magical realism to that production.
The Tempest was to be the 9th installment of Synetic’s popular Wordless Shakespeare series and Founding Artistic Director Paata Tsikurishvili was inspired to use a water stage by the way in which water is closely tied to the plot.
“The exiled Prospero is sent to an island, surrounded and inundated by water,” Tsikurshvili said. “His power and magic grows from it, and even the inciting action is created by water when Prospero uses a storm to bring his enemies to him.”
Water is a versatile theatrical element, conveying a variety of emotions and feelings. It can be at once dramatic, comical, magical, and lyrical. Additionally, the hypnotic combination of water and physical theater captivated audiences’ imaginations in a totally new way.
Once Tsikurishvili decided on the watery world his Tempest would be set in, he tapped Synetic’s Resident Stage Manager Marley Giggey and Technical Director Phil Charlwood to figure out the logistics of getting water into a pool onstage. “It was the strangest combination of terror and excitement I have ever experienced,” Giggey said of her first meeting about working on a water stage.
Technical Director Phil Charlwood had worked on King Arthur three years prior, and this time he strove to improve circumstances for the actors. The biggest challenge was keeping the water at a comfortable temperature. By using large heaters, Charlwood was able to keep the water warm during performances.
Charlwood also used his innovative design and building techniques to create one of the most compelling elements of the production, a piano fountain that served as an important piece of the set.
Filling the pools and keeping the water clean and safe fell to Giggey. “The water came from several hoses running from two sinks in the laundry room backstage and in the lobby,” she said. “The drain was a series of PVC pipes that connected together and went to a hose. We would bring out all the pipes and connect them – going out the loading dock door and leading to a floor drain in the parking garage that could accommodate all that water! Before each performance I would do a half drain and fill.
“We would drain about half of the pool and then fill it back up to show levels with hot water. On Fridays and Sundays we did a total drain of the pool and a very through scrub and clean. Then we let it dry for at least 12 hours before refilling. It was a time consuming process, but keeping the pool safe and clean was key.”
Once the water was on stage, Giggey was faced with more challenges. The stage lights made it difficult for the actors to consistently see the spike marks. This problem was solved with a grid system that allowed the actors to line themselves up with the left and downstage points.
The actors movement in the pool created a lot of splashing into the audience. Synetic offered branded ponchos to patrons in this “splash zone” and those seats became the most popular for the production.
Lighting designer Andrew Griffin enjoyed working with water and overcoming the challenge the water gave him in designing a light plot for the show.
“The light would reflect and refract because the water floor was reminiscent of a mirror,” he said. Griffin used several low-angled sidelights to exploit the angles of light that would scrape across the floor, rendering less of a reflected impact on the architecture of the space. This effect made it seem as though the water was dancing along with the characters. “Through a lot of careful planning, we created some pretty great effects,” said Griffin.
When working with water, there was also the question of mold and mildew – particularly concerning costumes. The costumes were all treated with camp spray to help waterproof them. “Cleaning the costumes was very tricky,” Giggey said. “They had to be thoroughly washed so we turned the back room of the theater into a ‘dry room’ with fans blowing from all directions and drip buckets to catch all the water. The last thing any actor wanted was to put on damp costumes or shoes when they came in the next day.”
Working with water required Synetic’s creative team to master a free-flowing element that is not easy to control consistently. Synetic was able to overcome many obstacles and use the water to their advantage with the help of various theatrical elements, all while taking the necessary steps to protect their performers.
The hours of maintenance required to keep the pool clean and functional and the additional challenges of working with water in a theatrical setting paid off. “It was a moment that was so immersive and dramatic that it was difficult to believe it was happening live in front of you,” Giggey said. “The energy in the theater as the actors were jumping, spinning, and splashing was electric!”
Overall, the creative team, crew, actors and audiences appreciated and valued this rare experience. The professionalism, ingenuity, and talent of the production crew, actors, and artistic team helped to make The Tempest Synetic’s highest grossing show to date.
[…] Hamilton and Springsteen have used what Ticketmaster calls Verified Fan to make sure only real people, not robots, get tickets. In another effort to curtail reselling, it limits how many tickets you can buy. First, you must register that you want tickets. If Ticketmaster decides you are legit, the day the tickets go on sale, you find out if and when you have a chance to buy some. The later in the day your purchasing time, the more you will have to spend (because the cheap seats will be gone) and the higher the risk you won’t get any.
For Hamilton, Verified Fan worked for me like a charm. I won the right to buy tickets in the middle of last year and landed two orchestra seats for $483.70, including fees, for a Saturday matinee this past March. The show was everything I expected and more.
Springsteen was another story entirely. I lost three consecutive lotteries as they extended the show and released more tickets. When I finally got a chance to buy some, only $700 seats were available, so I paid $1,443 for two orchestra seats. Then it turned out I couldn’t go on that day in November.
Two weeks ago, a friend forwarded me an alert that a few tickets had been released for the June 5 show. I jumped on the site. Most of the tickets were gone, but I did get two very good orchestra seats for $1,543.20. I am going to sell my November tickets to a friend for what I paid for them.
Yes, Springsteen was the experience of a lifetime, but Hamilton was the deal of the century. I am a big fan of the Encores series at City Center, and I just paid almost as much, $408, for two tickets to see A Chorus Line later this year.
I don’t begrudge Broadway producers for charging what the market bears. If they don’t, many people find the incentive to buy tickets only to resell them for a nifty profit irresistible. As someone who understands the vital role tourism plays in making the city prosperous, I can’t object to out-of-towners purchasing 6 out of 10 tickets. But I recognize that I am fortunate that I can afford Broadway. Most New Yorkers can’t.
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