Full Article on DCMetroTheaterArts.com
How does ‘Homebound’ happen? A peek behind the screens
The techies are the actors. Their homes are the set. The series is addicting.
There has been oodles of well-deserved praise for Round House Theatre’s homegrown Homebound, an original ten-installment web series exploring life under stay-at-home orders. Penned by some of the DC area’s top playwrights and performed by a top-notch nine-member cast, Homebound is a vivid, transfixing addiction. Week after week, it tells personal stories that take on major in-the-moment issues of our times through both comedy and drama—issues well beyond being isolated at home because of COVID-19.
If you’re like this theater fan—hooked on the series so far—you might well be wondering by now about this fundamental technical question: How in the world do they do it?
To find out, I went directly to three of the theater artists assembled by Round House Artistic Director Ryan Rilette and Associate Artistic Director Nicole A. Watson: Matthew M. Nielson, who does Homebound’s sound and music composition; Howard F. Burgess II, who serves as lighting advisor; and Round House resident artist Maboud Ebrahimzadeh, who plays “Maboud” and also took on responsibility for video production and cinematography. These three had not only technical know-how from live theatermaking but also skill sets in digital production to turn words on a page into a handsome viewing pleasure.
As I quickly learned, the critical set of techies on the production were the actors. Given the DMV stay-at-home orders, it was the actors who, without the aid of a crew, recorded all the video and audio themselves from their own homes. The Homebound actors not only delivered dialogue but became the streaming Zoom lens for viewers.
So how was all of this accomplished while not being in the same physical close spaces as is usual for live theater?
The timing for producing each episode of Homebound is very compressed—it is just a few days from script delivery to developing the technical aspects to shooting to final edit of what viewers see and hear. As Matt Nielson told me, “For theater, we have weeks—sometimes months—of discussion. Then, during the four to six weeks of rehearsal, we’ll get notes, all leading up to roughly a week of tech and a week of previews, during which things can change significantly. Not so with Homebound.”
Nielson needs to balance sound from actors who have recorded in different locations under different conditions; and for him, the credibility of the ambience and making the recorded dialogue clear, streamlined, and similar-sounding are critical. “One of my biggest jobs on Homebound,” he told me, “is the painstaking work of the dialogue edit—taking all of the recorded dialogue tracks and in effect ripping them from one another and the visuals—stripping them of all background noises. I make them all sound as pristine and related to each other as possible, and then add back in ambiences that help tell the story.” Nielson must work with Zoom’s latency (delay and lag) so that “dialogue is balanced to have a similar sound,” which is no simple feat. He also develops Homebound’s original music and drops in transitional music and underscoring.
Early on, I learned, there were at-a-distance video walkthroughs of the actors’ homes to see what lighting and sound existed and what might need to be added so that the production would appear effortless and natural to viewers. Harold Burgess II chatted with me about the additional equipment provided each actor to support the filming of each episode of Homebound following that virtual tour of their home “to see how it looks and its lighting.”
For Burgess, that means evaluating what the actors have available for color balance, artificial versus natural lighting, and even the time of day for the final shoot—then deciding where additional lighting is necessary. “The primary goal with this equipment was to have on hand some functional lighting, in addition to a sound recorder and other items that help to enhance the existing environmental light within each location, which was typically the performers’ homes.”
As for the equipment itself, it was to be “affordable, lightweight, and relatively simple in setup and operation. Since each episode takes place in two distinct locations, we have two tech kits that are delivered directly to the performers each week. The equipment is cleaned after or before each weekly shoot.” Typically, Burgess told me, Homebound equipment kits for the actors include additional sound and lighting instruments such as Zoom recorders to enhance the audio, various LED lighting, as well as reflectors and tripod units, with Round House staff including electricians always available to assist the actors.
Beyond his Homebound acting, Maboud Ebrahimzadeh has responsibility for video production and cinematography. That includes blocking not for the eyes of a live audience but for the lens of a cellphone camera. That means storyboarding and other pre-filming work to position the camera and other equipment. He also had editing responsibilities.
Ebrahimzadeh has a previous history with film work that gave him “an understanding of the difference between film and theater storytelling, and the details involved that are accomplished in a matter of days from script to final edited work for streaming.” That included making sure that scene changes were not jarring from one scene to another, that each episode was “tied together.” For the streaming Homebound web series, there is storyboarding, technical walk-throughs, notes taken and provided to the actors, then more walk-throughs and filming for the final editing to tie things together into the final product.
Ebrahimzadeh made clear some of the differences between a live theatrical production and a film. In theater there is a live audience within feet of the actors and the stage. The audience enters the live performance through their eyes. It is a multidimensional experience that includes the imagination. For film, the viewer enters the production through the lens of the camera. The camera lens focuses audience attention. “The camera helps to provide subtext.”
Screen time of 20 seconds or less might take hours to shoot and then develop into the final scene that viewers see and hear, Ebrahimzadeh said. As I rewatched Homebound episodes, I had a new appreciation for what it takes to create a scene in which, say, Embrahmzadeh is on the phone with the unemployment office in Episode 2 or wearing earbuds talking to his mother in Episode 4. Or in Episode 3 actor Craig Wallace playing “Craig” is chatting on his front porch and Chinna Palmer is dancing in her bedroom. I had a richer appreciation for all the technical details that went to the scenes, from Robocall voices on a phone, to bird songs and neighborhood activity, to actor Jaimie Smithson in Episode 4 in his actual basement being rather clumsy.
Ryan Rylette added: “Our first impulse was to edit Homebound internally. The experimental nature of the project, however, means that we are continually fine-tuning the process week to week, and it quickly became clear that the tight production timeline would require some external resources. Maboud connected us to Digital Cave Media, an award-winning collective of filmmakers based in Baltimore, who have provided us incredible professional support.” Digital Cave is responsible for the editing and post production of episodes.
If you haven’t already, take the opportunity to put Homebound on your calendar. You will be well rewarded. The little details make it feel so real, and multiple viewings have left me in awe of the actors and the technical team who make the web series so addicting. All associated with Homebound should be very proud.
Tuning it late? READ Michael Poandl’s episode-by-episode review, “Catching up with Round House Theatre’s ‘Homebound’ “
Round House Theatre’s Homebound premiered April 27, 2020. New episodes are posted on the Round House You Tube channel every Monday through June 29, 2020. All episodes are archived for viewing.
Homebound is part of Round House at Your House, free digital programming that is funded by new contributions from the Round House Board of Trustees.
Full Article on TheWashingtonPost.com
Round House Theatre’s sweet and funny new Web series serves up covid-19-era life in 10-minute slices
Contemporary American life can be summed up in the cry from the heart issued by Craig Wallace in the first episode of the covid-19-era Web series “Homebound.”
“Please help,” the actor says. “I’ve become a potato.”
In virtual terms, he means this concretely. He’s managed, through some bumbling misuse of his keyboard, to convert his online face into a talking spud. But it’s also true that, as Alexandra Petri’s endearing script suggests, potato conversion is a not a bad way to conceptualize our collective pandemic stasis.
That Petri’s metaphor requires no further explication is as meaningful a statement as any about our national predicament, and the funniest one in “Homebound,” a wholesome slice-of-life Web series created by Bethesda’s Round House Theatre. Intended both to give work to Washington-area playwrights and actors and to take the temperature of this odd moment, the series is a modest tonic. A 10-minute episode once a week seems absolutely the right dosage for this refreshingly lighthearted regimen.
Round House describes the project as a “chain” Web series: the bare essentials of the plot were outlined at the start by the company’s artistic director, Ryan Rilette, who guides the episodes with Associate Artistic Director Nicole A. Watson. Set in and around the District, the continuing story concentrates on the housebound travails of two characters named for the actors who play them: Wallace and Maboud Ebrahimzadeh. Each writer receives a script from the author of the prior episode, to take the plot in practically any direction they want. Several other actors — Chinna Palmer, Alina Collins Maldonado, Jamie Smithson, Yao Dogbe, Lynette Rathnam, Helen Hedman and Maya Jackson — make single episode appearances.
Petri, a Washington Post columnist and playwright with a bionic funny bone, kicked off the series on April 27. This week, Episode 4, by Liz Maestri, debuted. The entire series is archived on Round House’s website, with the final installment expected to post on June 29.
“Homebound” is a particularly inspired deployment of a theater company’s resources during the shutdown. Other groups in the region, such as Signature Theatre (“Signature Strong Live!”), Shakespeare Theatre Company (“Shakespeare Hour Live!”) and Olney Theatre Center (“Streaming Saturdays”) have gone the talk-show route with original online programming. (Disclosure: I’ve appeared on all three and moderate some of Olney’s Facebook Live panels.) But Round House has stepped up with narrative-driven content of a more interpretive nature. While the series is offered free, you wonder whether it could be the planting of a new offshoot with deeper roots. The tag of every “Homebound” episode has Rilette, a la a PBS pitch person, making a plea for viewer support.
As one might expect from a Web series emerging not from one writers’ room but from the laptops of 10 free agents, the style and tone of each installment of “Homebound” diverges pretty distinctly from the one before. That feels like a fringe benefit on this occasion: The voices and predilections of each writer permeate this short-subject entertainment. In Petri’s episode, “Connect!,” there’s a playful absurdist development of how we can easily — even accidentally — adopt an online alter ego. Then, in Karen Zacarias’s second episode, “Human Resources,” an embryonic romantic comedy begins to take shape.
Farah Lawal Harris’s Episode 3, “We Wear the Mask,” goes in a more contemplative, epistolary direction, illuminated by the serenity of Chinna Palmer’s character: She trades FaceTime messages with her uncle Craig and dances by herself at home. For Episode 4, “Together Alone,” Maestri shifts into a farcical gear, with a Zoom therapy session interrupted by a minor, um, bathroom emergency.
The gentle, sweet-and-sad countenance of Ebrahimzadeh’s Maboud — unemployed and single — is a winning match for Wallace’s upbeat, indefatigable Craig. The writers so far all understand how to draw on the actors’ personalities; like guests on a cable comedy series by Larry David or Lisa Kudrow, the supporting cast seems delighted to be playing along.
The one major character not credited is portrayed by Technology. By dint of theme, exposition, production and means of distribution, “Homebound” would not be possible without this key player. And the more the writers, designers and technicians have fun with the digitizing of our relationships in this stay-at-home period, the more engaging the series becomes.
So far, it is fair to say that “Homebound” is a pretty well-baked potato.
Homebound, a chain Web series directed by Ryan Rilette and Nicole A. Watson. Costumes, Ivania Stack; lighting, Harold F. Burgess II; original music, Matthew M. Nielson. A new episode free every Monday through June 29. roundhousetheatre.org.
The reviews of OSLO at Round House Theatre
Critics are weighing in on the production of OSLO at Round House, and it’s a hit! Follow the links below to read the full articles and see what they are saying about the show. For Tickets and more information visit the Round House Theatre.
*Washington Post, “The most successful players in this epic canvas happen to be Weaver, as Terje’s wife and Norwegian foreign ministry staffer Mona Juul, and Maboud Ebrahimzadeh, portraying Ahmed Qurei, the chief PLO negotiator…. Ebrahimzadeh locates in Ahmed the sensitive human being threatening to emerge amid the testosterone-fueled posturing and the platitudes.”
*WTOP, “the Palestinian side includes Hassan Asfour (Ahmad Kamal) and Ahmed Quire (Maboud Ebrahimzadeh), who delivers the show’s most memorable performance.”
*DCTheatreScene, “a sublime ensemble cast working at their peak of power… Maboud Ebrahimzadeh, in a masterful performance of delicacy and fire….”
*DCMetroTheatreArts, “There is a marvelous, nuanced performance by Maboud Ebrahimzadeh as PLO Finance Minister Ahmed Qurie. He gives a layered voice and strong mannerisms to his character.”
*Talkin’Broadway, “Rilette’s actors understand how to craft detailed, sometimes contradictory characterizations as they talk and come into conflict with each other. Ebrahimzadeh, achingly tender as Qurie recalls his childhood in Jerusalem before the establishment of Israel….”
For tickets and more information visit the Round House Theatre.
Some of the reviews for OIL at Olney Theatre Center! Follow the links for the full articles.
*DCTheatreScene, “Maboud Ebrahimzadeh is mesmerizing in both roles as “the stranger who knocks,” first entering as an American entrepreneur investor in the new energy, oil. Later, as a Libyan OPEC negotiator, he is tough and incisive, and, whatever political stripe you are on, you can’t dismiss the character’s voice, which may indeed prove history is on his side.”
*MDTheatreGuide, “Maboud Ebrahimzadeh captures the charming William Whitcomb as well as the newly empowered Libyan, Mr. Farouk.”
The reviews for King John at Folger Theatre! Follow the links for the full articles.
*Washington Post, “Graves and Maboud Ebrahimzadeh are among other cast members who provide sharply defined performances and reveal a masterly ease with the verse.”
*TheatreBloom, “Posner’s creativity and eye for the minute, blended with the raw talent and force of this cast, make this an unmissable experience.”
*DCTheatreScene, ” The haunted eyes of Maboud Ebrahimzadeh as Lord Salisbury reflect great pools of despair and displacement, all adding up to solid ensemble-ship.”