(Image via Instagram / @20centfiction)
Staff Writer: Brian Galindo
Email: bgalindo@umassd.edu
There is nothing quite like theatre, and in theatre, there is no position quite like the director. From audition to performance, you have the job of facilitating every piece of the production.
This was the position I was poised with for 20 Cent Fiction’s production of Ride the Cyclone, and I wouldn’t trade it for the world.
Since high school, I have been interested in the show. A friend of mine introduced me to its wacky characters, unusual plot, and unique charm. If you’re reading this, Molly, thank you.
In April each year, 20 Cent Fiction proposes and approves what shows will be produced for the next academic year. In 2023, after a successful year with the club, I decided to propose Ride the Cyclone for the next spring’s musical. Despite competing with another show, Ride the Cyclone would win the vote and be approved, with me as director.
I began working on what I would need as soon as it was approved. I began gathering members of a production team. Notably, within a week of the show being approved, my stage manager, Courtney, and assistant director, Jess, agreed to participate.
In the fall of 2023, I began searching for the last few members of my team. Mars would come along as music director, and Kayla would briefly take the role of assistant stage manager before Jay took over.
As time grew closer for auditions, I printed over 100 posters to spread across campus to gain interest from the student body and local community. Attached to the posters was an email to reach out with questions.
Before auditions even started, we had totaled just under a dozen emails.
The audition turnout was amazing. Sixteen people for a show requiring only seven, maybe eight. Still, we found roles for everyone we could. Not everyone wanted to stay, so we wished them the best and began rehearsals.
Our first rehearsals were great. We really started to understand how each actor wanted to play the character, which would help us develop effective notes as the show went on. Then, we transitioned to online spoken-line-only rehearsals for winter break.
We jumped into running scenes once we returned for the spring semester.
Wednesdays were specifically for music, and each week, we focused on one song, its music, and its choreography. With input from the cast, we perfected the form of these.
Mondays and Fridays were traditional rehearsals, though they weren’t very traditional with a show like Ride the Cyclone.
We barreled through each week with speed and intensity, and how much work this cast put in cannot be understated. At every rehearsal, they weren’t just reading their lines; they were stepping into their characters and making them their own.
To say there weren’t occasional bumps in the road would be a lie.
Early into our production, a cast member got COVID, and due to worries about it spreading, we began a masking rule during rehearsals. Because of spread issues earlier in the year, we took the virus seriously, which paid off, as there were no more cases during the production.
A few actors originally cast in some roles had to drop the show for personal reasons. We did manage to work around this, but to say we weren’t sad to see them go would be a lie.
Despite any issues, we persevered, and I could not be more proud of how the show has turned out. If you are reading this and you’ve seen the show, I’m sure you’d agree. And if you haven’t, hopefully, you’ve enjoyed the ride.
If you’re reading this after the year 2024 and wondering why it’s in the school newspaper instead of a blog, I have this to say in response: Not only is this a true report of an on-campus event, it is also a love letter to the arts on this campus. If I could do it all again, I’d be right here at UMass Dartmouth as part of 20 Cent Fiction.
Thank you.