Rehearsal days are flying by – we’re nearing the end of Week 2 – and the work on the floor this week, blocking scenes and interrogating action through character, is intense and tiring. This is where the richness of a text becomes apparent, but it takes its toll. The tiredness only becomes apparent at day’s end when, for me at least, it isn’t possible to do much more than eat a light dinner, do a bit of reading – without a pencil in hand – and consider the luxury of an early night. I don’t have access to a television at the moment so this is probably a good thing, else I’d drift off in front of it, I suspect.

Homework for me is relegated to mornings as it’s early to bed and very early to rise with daylight in the sky from round 4am. Out of bed at 5: coffee, review notes from yesterday’s sessions, check line accuracy (I aim for DLP/dead letter perfect but substitutions happen and it’s much easier to learn correctly from the get-go than to correct); drill speech patterns from the dialect sheets; run through the music and melody lines from the quartet for accuracy of rhythm and breathing; have breakfast. I’ve always been a morning person, so this body rhythm pays off for me

The day’s well and truly in full swing by 7am and I’m feeling prepped and ready to go. This morning there’s a publicity call before we hit the floor again to stagger through then run Act 1. And so we go.