Where do I begin …
So much has happened since the time, earlier this week, when I wrote about leaving the safety and comfort of our rehearsal room. It’s involved the scary but necessary transitioning of an organism – the living, breathing, moving play – into a new space. In fact, it’s an evolution of sorts. And it’s involved not just the artefact of the rehearsed action of the play, but the evolution of all of of us involved in the making of this thing which is in the throes of becoming ‘a production.’ Continue reading “Week 6: Tech, dress, and finger tingles”
This post is a reflection on my own sense of the ‘job’ as actor this week. The clarity of purpose behind our weekly and daily schedules keeps us all focussed and humming forward together – kudos to our director Andrea Moor and Stage Manager Peter Sutherland.
For those of us inside Rehearsal Room One, the days seem fuelled by performance adrenaline; it’s probably why I’m so tired by 6pm and the close of play. We work from 10 most mornings, although costume fittings or publicity calls (both of which I’ve had this week) can occupy the 9am slot. We’re working quickly and are, as far as text is concerned, off book but still taking prompts, pruning out line substitutions, and fixing drops. We continue refining action too: timing the handling of props; entrances and exits, the scene and costume changes. The little things really do matter. As we do, there’s a growing sense of the ‘arc’ of the play, and of the rhythm of scenes as they flow in and out of one another. Out front Andrea’s focus is total; she provokes, questions, and continues to interrogate the work with us. Assistant Director Catarina Hebbard keeps us honest with text and on track with blocking. Continue reading “Week 3: the play’s the thing!”