Intuition and Change

As you probably have guessed from other posts, I work very hard to be as prepared as possible for rehearsals.  In this phase of the game that means having blocking arranged and set for single actors and groups of actors:  "move here", "cross there", "hold til the end, then go".  I have a reason for everything that they are being asked to do--whether the actor asks me or not initially, eventually it will come up: "Why am I doing this?".  I also give general backstory information:"You're all family of sorts"  or  "You are used to him doing this--he does it all the time"  I ask them to think about and make decisions about the relationships they have with the people on stage...that affects how they move and why.  Finally, when the basic blocking is done and mostly cleaned up we can go back to the best question I've ever used: "What problem are you trying to solve here?"  That makes things immediate, specific and personal...which makes it authentic and exciting!  We are not there yet.

What's interesting to me--and a curiosity--is how much of the work of delivering this information to individual actors is intuition based.  Not necessarily the "traffic pattern" blocking where large groups just   need to move to get on or off stage, but the more specific, smaller movements that are so closely tied to the character's story that the actor is telling.  For example, tonight I worked with an actor that I  don't know very well.  I don't know yet how this actor prepares or processes, so part of my delivery has to be adjusted while I'm in the process of delivering it.  I had a large amount of information about how the character moves to share with this actor, and had to make some guesses about how to start.  I don't want to overload the actor.  I do want to start working on some very specific things.  I have to "feel" the actor out, moment by moment.  It's a balancing act, and each actor responds differently to everything I do.  That back and forth is my most favorite part of this work...the dialogue, the push and pull, the feeling of discovery and opening up when an actor finds something new...all very good stuff, both tonight and in general!  

I find myself using actors' bodies as a starting point., alot.   Asking them to notice a particular stance, posture or position they habitually hold or find themselves in and then asking them to alter it subtly or dramatically, and then checking in to see how if feels for their character.  I think actors are surprised by how much their bodies can help them figure things out! It definitely unlocks them a bit.  

Also at tonight's rehearsal, we had a cast member drop out...and not an insignificant role.  We quickly re-cast and moved 2 actors to new roles, but....the show I first imagined is gone before I even had a chance to play with it.  I'm not sure how to feel about that.  Both actors that are in new roles are good and bring great things to their new roles...it's just not my original vision or choice or whatever the word is...I think I'm still in a state of shock.  This on top of EVERYTHING ELSE that happens at every rehearsal!!

I also discovered that my younger actors don't function well past 8:30 at night.  Poor Gavroche was ready to fall over!  

I'll leave you with a piece of wisdom from Kerstin:

"Because I found it hard, I felt honored."

To the Barricades!

Day 12, "haphazardly mounted on a run-away beast"

Post rehearsal, Monday, 1/20.  We are finishing up our 2nd? 3rd? week of rehearsal--the days fly by in a blur of preparation, meetings and rehearsals.  I have a sense of being haphazardly mounted on a galloping, straining run-away beast!  On the one hand, I have my e-mail open 24/7 for news and updates from my stage managers, designers and crew-heads...We were so closely in contact before rehearsals started that I feel out-of-touch!  I worry that I've missed a critical clarification point or note about specific blocking that is going to require a special prop, or a quick change, or a different placement of a set piece.  My list of things to do tomorrow includes combing through my most recent blocking plans and comparing them with the latest props list for any updates or changes.  I owe it to my hard-working crew chiefs and designers to be absolutely sure and certain of what I am asking them to find, make and build!  Also, it feels like a nagging, loose thread if I am not absolutely certain of who has what prop and how each prop is going to be used.

And on the other hand, my cast is...amazing.  I am astonished at both their collective and individual story-telling abilities.  I give them the most basic blocking-simple patterns, suggestions about how to move, the background story--and they make it come alive.  They do homework, practice their music and come prepared to every rehearsal.  They think. They pretend.  They imagine.  Even with books in hand, they are straining to invest themselves and tell the story...and so, so quickly!  We have had 10? 12? rehearsals.  We are almost through with basic blocking for Act 1, and I hope to be through Act 2 by mid-February.  Again, I have this sense of a beast, barely in check, straining at the leash, wanting to be let loose.  It's exhilarating! The energy, the raw power of this group is something special...and I am working hard to get us to a point that we can start shaping it and using it to drive the story.

I'm reminded of something that I wrote earlier in this process:  "I just want to get out of the way and let the story rip."  I think, I hope...I think that that is happening.  I think I am successfully walking the fine line between being prepared and creating a dialogue with my actors...not either/or, but both...being prepared enough to  be able have a dialogue--even with a group of actors.  I hope so....I have to guess that I am, because I there's no way to get that kind of feed-back in rehearsal.  Most of my actors SEEM satisfied when they leave.  Most seem to have their questions answered, and seem engaged and energized when they are in rehearsal.  I'll have to take that as feedback and stop worrying about it.  It almost seems like it's directing itself!

I am constantly juggling two things:  the tasks of a director and the endless questioning of my own inner critic.  Sometimes I confuse the two... I often hear myself say "Is that right?" in reference to blocking or actor movement or focus or counts of music...I have people to help me get it "right".  I need to focus on "Is it true?" The bottom line is that it's my "truth" that shapes the story, and that is what I have to focus on as I harness the power of this amazing BEAST!

To the Barricades!

And we're off!

So, here we are!  After a Holiday hiatus, Rehearsals are up and running; we've had two glorious days of full cast music rehearsals and are continuing in that vein for another week or so.  Our cast is incredibly responsive to Martin's direction.  AS always, Martin's direct and demanding style can make people a little nervous ...especially if cast members aren't 100% on the notes.  It is a note learning rehearsal as well, but Martin goes pretty fast, and cast members are definitely more comfortable if they have some familiarity with the music when they come in.  Martin is also very responsive to questions and requests for notes or harmonies, as is Carol, our accompanist.  At any rate, several seasoned Lyric members have let me know that they are looking forward to the challenge--if with a little nervousness!

At last night's rehearsal scheduling meeting, we laid out 2 weeks of rehearsal--mostly consisting of blocking.  You may have heard me say previously that blocking is...contra-indicated by my brain set-up?  Well, that's not entirely true, but to a certain extent planning for the physical movement of all those people makes me anxious.  I tend to approach it as a "back and forth" task--I give a little bit of movement, ask a lot of questions, hear what the actor thinks, then together, we adjust.  I'm approaching this task a little bit differently this time--basically just laying the basic groundwork out for people and telling them where to go on stage.  We will have to fill in the details of why?  and  what problem are you solving?  later.  We'll see how THAT goes!

One of the tasks that I was really looking forward to is the table talk sessions with actors.  It gives me a chance to share historical information, background information from the novel, thoughts about character, and most importantly for principals--how do they like to work?  I don't really know some of the actors playing principal roles (our JVJ, for one!) and it's very important to me to create a connection and a sense of trust with my actors.  I want them to know that I consider this work a collaboration, a sharing of ideas and a dialogue.  If I can't make space for what they can bring to the process, then I --and our story--is missing something.  I did meet with several people this week--including the whole group of actors involved with the docks/Lovely Ladies--and I started to get a glimpse of who these people are!  Yippee!!

I've found a very interesting question to ask while blocking with actors:  "What problem are you solving right now?"  Asking and answering that question at the start of blocking rehearsals focuses us on the action, the verbs and the doing.  You have to be engaged when you answer the question because --a boon for ALL actors:  It gives you something to DO all the time!  It is also a lot easier to understand than actions, objectives, etc.  I'm excited about using it as a tool to open dialogue and conversation about what's happening in the scenes.

Soon it will be my turn!

To the Barricades!
Kelly