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Behind the Scenes of WCC’s Annual Play Productions

"I regard the theatre as the greatest of all art forms, the most immediate way in which a human being can share with another the sense of what it is to be a human being." - Oscar Wilde

Art is an essential tool to connect humans with one another. Returning after the two-year halt of COVID-19, with the same determination to reach out to the world, are the Women’s Christian College's annual theatre productions. Last year, WCC provided us with a moving rendition of “Fiddler on the Roof” directed by acclaimed actor and director Mr. Regin Rose. The play’s sweeping success built great hopes for what this year’s production had in store for us.

These productions are part of what can be considered WCC’s pride and joy, and have been a tradition of the college for several years. Students participate in this long-standing tradition every year with the kind of enthusiasm that is hard to find even among professionals. Each year, an impactful story is told by a team, sharing the essence of being human through an art form as sacred as theatre.

The spectacle we see on stage is brewed over months and the production process that provides us with the marvel of a theatrical production is nothing short of magic. Let’s look at the behind-the-scenes activities of these exciting productions.

From July every year, the college buzzes with excitement for a month and more, waiting to see what the cast and crew is going to come up with for that year’s production. Meanwhile committee lists are drawn up for the crew, involving both faculty and student coordinators and members. These productions provide students a glimpse into what a real theatre production looks like.

This year's production was managed by fourteen student coordinators – along with the Director and faculty coordinators. The student coordinators are shortlisted keeping in mind their leadership and organisational skills which are integral to leading a team. The coordinators work as Assistant Directors, Stage Managers, Production Coordinators, Dramaturgists, Coordinators of Lights and Sounds, Music, Makeup and Costume, Sets and Props, Public Relations, Photography and Hospitality committees.

Much like all of WCC’s plays, this year’s play “The Threepenny Opera” by Bertolt Brecht was chosen for its intelligent writing and political relevance. This satirical play showcases the disparity of the rich and poor by addressing issues of capitalism, homelessness and heavier issues such as rape, with wit and equal amounts of sensitivity. “I came to theatre through politics. I have been part of student movements, and protests since I was in school, so I can’t let go of politics,” says the director. “No literature is ever free of politics and to me, it is essential that a play represents the oppressed and the marginalised, evoking some empathy and social concern in the audience.”

Democracy, compassion, and trusting the process, are the three essential pillars of direction, Mr. Rose believes. Letting the artists have the space to voice their opinions helps develop respect for one another. This respect for the artists is lost when the script and the director’s vision take precedence. Mr. Rose believes that the team should have first priority. This requires treating every member with compassion, and learning to trust that raw beginnings will develop into a wonderful end product.

It comes as no surprise that such a massive team is bound to have friction, but true professionalism comes through when a team can work despite the rifts. This is where Mr. Rose’s three pillars come into play. The team exhibits a great deal of respect for one another and their opinions, and learns to thoroughly enjoy the process despite setbacks and difficulties.

The burden of balancing both academic and production work is also a feat that this team pulls off, and this is not easy. Faculty members who coordinate various committees or work in them, have to balance their classes, paper correction and other college work, while making sure the committees they oversee work smoothly. Thus they face harder challenges, yet remain in the background as unsung heroes. This year’s production was coordinated by Ms. Jeevlin Abraham and Ms. Josephine Mercy of the Department of English, who worked tirelessly, providing the students a lot of encouragement and support from beginning to end.

As the production work begins, the selected cast members are exposed to various workshops and improv games, and films pertaining to the issues the play addresses. They engage in understanding the background of the play, and analysing the character they play, which not only helps in fine-tuning each student’s skill but also helps them understand the social relevance of the play. Unless the artist herself empathises with her art, it cannot reach the audience effectively.

During the creation of each scene, the cast is given the freedom to create and block the scene their own way, after which the director gives his inputs to refine each scene to perfection. Mr. Rose’s cast and crew are given a judgement-free space to explore their creativity in order to come up with fresh new ideas. “Actors are creative artists, and a play cannot have only one person’s vision. It is an amalgamation of creative ideas,” says the director.

The team also develops a relationship with one another that at the end of the production fosters an unbreakable bond. Last year’s production saw the same kind of unity among the cast and crew who had almost become a family. Leaving the stage felt to them like leaving a part of themselves behind.

Each crew member has a vital role in stitching the seams of the play together. The dramaturgists edit the play to make it suitable for a college audience while the assistant directors help in directing each scene and overseeing committee work. They are also incharge of liaising between cast and crew. The stage managers are always on their toes making sure the stage preparation, sets and props, and positioning are correct, while the production coordinators coordinate with the cast and crew, making sure the day’s events are as scheduled. The Hospitality committee works tirelessly to provide meals and snacks to the production team during the entire period of preparation and performance.

The committee coordinators lead the work of their respective committees. The Sets and Props committee begins its work at the very nascent stage, procuring all the props that are required for each scene. Under the tutelage of professionals, the committee creates the sets. Despite glitches like the collapse of a stage wing onto a prop last year, the team’s professionalism helped recreate the prop in time for the show, which is worthy of much praise.

Lights and Sounds play an integral role in the production, because, without the right light and sound settings, the ambience of the play is not complete. Their work also begins at the nascent stages. This committee checks the condition of available lights and sounds, and meticulously organises tech support by servicing, buying and hiring equipment required for that year’s production. The committee works to understand the play so that they are aware of which lights would look best when projected and what kind of amplification would work best for the cast, choir, orchestra and so on. The committee also sources music for karaoke, and coordinates with the music team for live music and sound effects. Above all, the coordinators are incharge of operating the light and sound consoles along with the Director’s technical team. This year’s play required extensive use of lapel mics because of the emphasis on dialogue delivery, as well as numerous LED stage lights.

The Music and Dance team works with the cast throughout, to teach even amateur actors these arts, with a great deal of patience and skill. The dance sequences of the play are choreographed by students of Western Dance Club who create bright cheerful dances fitting for the scenes.

The Makeup and Costume committee begins its work towards the end of the preparatory phase. The committee works on understanding the play, its background and the style that was popular during the time the play is set, in order to determine the costume and makeup that each character must don. The various clothing articles required for each character are decided by the costume team, after which the articles are sourced, partly from staff and students in college and the actors themselves, and partly bought or stitched. They are then customised for each actor, tried and finalised. The Makeup committee meanwhile runs a trial on each actor to understand her face structure and decides what kind of hairstyle and makeup are required. Once a sketch is made, suitable products are bought and tried on the actors, to make sure there are no allergic reactions. The makeup and hairstyle is then fine-tuned in accordance with the lighting on stage.

As the play nears its performance, the Student Senate begins its publicity work. The senators extend enthusiastic involvement by working in hospitality, seating and discipline as well. Until a few years ago, these productions involved finding sponsors, and the Student Senate worked tirelessly to bring in sponsors for the shows. The team has now shifted from scouting for sponsors to publicising the Play with the help of social media, more specifically, through Instagram posts, stories and reels. They also coordinate with faculty of the publicity committee to help publicise this event in the media, other colleges and schools, and theatre lovers of Chennai. Mr. Rose’s Academy also promotes the event to bring in audiences from across Chennai.

After months of this welcome humdrum, the curtains rise for all to behold the annual production of WCC, and the air fills with music, dance, sadness, horror, love and laughter in the college auditorium. While the actors perform with a mix of anxiety and excitement, the crew stands behind the wings and backstage, waiting to help with costume, makeup and set change, and praying that their hard work is well received by the audience.

“It was an exhilarating experience. There were a few hiccups during the play. For instance, my mic stopped working thrice, despite which we got through smoothly. During the final show last year, we were all extremely emotional, crying that this would be our last Mazel Tov,” reminisced an actor who was part of Fiddler On the Roof. “As we walked off the ramp on the last day, we knew that we were leaving our Anatevka (the setting) emotionally, forever,” she said.

The annual production at Women's Christian College is not just a showcasing of theatrical prowess; it's a symphony of passion, innovation, and unity that resonates through every scene, note and brushstroke. The journey from auditions to character workshops is a transformational one, pushing the cast beyond their comfort zone. The applause that awaits them is a testament not only to their craft but to the remarkable growth they've experienced.

Yet, it's not just the mechanics of the production that deserves applause; it's the harmony with which these diverse teams collaborate. The amalgamation of skill sets, perspectives, and backgrounds may spark differences, but it's the shared commitment to excellence that binds them all together. The ability to overcome challenges and thrive in such a high-stakes environment is a reflection of the maturity and professionalism that defines WCC and its theatre tribe.

As a result, this year’s play also came with a lot of promise – a wonderful story tackling issues that could not be discussed in the form of a colourful musical, solely for our eyes to feast on. As the final rehearsals wrapped up and the finishing touches were applied, the anticipation built up, not just within the college's walls but in the hearts of Chennai's theatre enthusiasts too. The stage came alive with "The Threepenny Opera," a play chosen not just for its intelligent prose but for its resonating social commentary. It was a story that dared to reveal the unspoken, challenge the status quo, and engage minds in introspection.

With each passing year, the annual play production at WCC not only revives a cherished tradition but also sets the stage for an exciting future. It is a microcosm of the college's ethos, where education transcends textbooks, creativity flourishes, and unity in diversity manifests itself in unbreakable bonds. So, as the curtains rose this year, and the symphony began, it was more than just a play; it was a masterpiece woven with threads of dreams and brought to life by the labour of countless passionate and devoted individuals who strove to give it their best.