Today, Monday, is Day 2 of our super tech weekend. I am taking a quick dinner break after working on cues with Andy, Tom and Cheri. We started about 9AM, and it's about 4:45PM. Everything is moving along very smoothly--it's just a monstrous show. Lots of atmospheric light cues, moving parts, projection changes, set movements that crews are still learning. We started yesterday about 9AM, with cast arriving for mic set up at 11AM. One of our cast members tweeted about 5PM: You know it's tech when it's 5PM and Fantine is still alive." HA! So, it 's been a very loooong weekend. I think that I've logged about 48 hours since Friday!
One of the things we've been talking about is how tech might change with our new production facility. Having the barricade in the space for the last 5 weeks has been an invaluable assistance to getting our cast more ready than they have ever been for a tech. The next evolution will be to get the crews to that space and get them practicing. The possibilities are really amazing. We were able to fly Mark, work on set pieces and have props weeks ahead of schedule. Imagine how that could affect designers and techs if they knew they could practice/run with crews/actors ahead of our scheduled time at the Flynn?? If I were to do this again, I would build in time for crews to practice and run with the show in the rehearsal space for at least a week before move-in.
The show looks absolutely gorgeous! The projections and stage pictures are beautiful by themselves, but when we add the cast in--it just pops in the most amazing way. It really is breath-taking....and we haven't even seen the costumes, yet! It's a beautiful design concept all the way around: props, lights, sets, costumes...very excited to see it all together. That should happen Wednesday and Thursday.
I'm still giving notes to actors and I plan to until Wednesday evening. There are moments that are still not quite right, and I want them to be. I'll warn them ahead of time! Notes a'coming!
Alright. Off I go--back to the theatre!
It's 5PM. Actors and crew arriving as I write...I can see them through the window! Kountry Kart Deli is having a great night!
To the Barricades!
Monday, March 31, 2014
Wednesday, March 26, 2014
Gotta get my ducks in a row!
Here we are! Tech weekend approaches. We had our final rehearsal in the reheasal hall tonight. I cancelled rehearsal Friday because everything is so solid. A day of rest will be a thing of beauty for all of us--not to mention keeping the plague at bay.
The truck is coming tomorrow night, and will be unloaded at the Flynn on Friday morning. The set, props and set dec crews will re-assemble the set in the performance space for most of Friday and possibly into Saturday morning--although Cheri is pretty confident that they will be done on Friday afternoon. Lights will be focusing on Thursday and Friday nights, and starting to build cues for tech on Friday and Saturday nights. Tom, our projection TD, will be bringing the projector up to it's home on Thursday night and "fooling around" on Thursday and Friday, into Saturday and Sunday. AT some point on Friday night, Tom and Andy will be ready to start working lights and projections together. My job will be to refresh my memory of all the timing for cues that I wanted when we first talked about this way back in January! I will be spending a lot of time at the Flynn! My view of the show has been--necessarily--tightly focused on the actors. Now, I need to widen my view and help my team add the technical elements in the way that we had originally conceived. It's a grueling shift and I'll need to be much more procedural than I am when working with cast. I already know that there are going to be blocking changes in the sewers for both Ian and Bob. You may remember from previous posts--that kind of thinking takes its toll on me much faster than intuitive, playing, exploring and "what if?" kinds of thinking.
I gotta get my ducks in a row!
To the Barricades!
KAK
The truck is coming tomorrow night, and will be unloaded at the Flynn on Friday morning. The set, props and set dec crews will re-assemble the set in the performance space for most of Friday and possibly into Saturday morning--although Cheri is pretty confident that they will be done on Friday afternoon. Lights will be focusing on Thursday and Friday nights, and starting to build cues for tech on Friday and Saturday nights. Tom, our projection TD, will be bringing the projector up to it's home on Thursday night and "fooling around" on Thursday and Friday, into Saturday and Sunday. AT some point on Friday night, Tom and Andy will be ready to start working lights and projections together. My job will be to refresh my memory of all the timing for cues that I wanted when we first talked about this way back in January! I will be spending a lot of time at the Flynn! My view of the show has been--necessarily--tightly focused on the actors. Now, I need to widen my view and help my team add the technical elements in the way that we had originally conceived. It's a grueling shift and I'll need to be much more procedural than I am when working with cast. I already know that there are going to be blocking changes in the sewers for both Ian and Bob. You may remember from previous posts--that kind of thinking takes its toll on me much faster than intuitive, playing, exploring and "what if?" kinds of thinking.
I gotta get my ducks in a row!
To the Barricades!
KAK
Sunday, March 23, 2014
One Day More
Today's rehearsal is brought to you by Sound. Corey and his crew are EQing all miced peeps at the Flynn! There are 51 mic'ed cast members...everyone except 2. Glorious sound, but what it also means is a lot of transmitter switching throughout the show. That's not unusual, but the amount of switching and the sheer puzzle-ry of figuring out who needs what when is mind-boggling. Freda, my assistant, has been working with Corey because this is just the kind of details that can completely derail me. I need all of my brain cells to do other things, so Freda went through our character by scene grid and plotted all the mic changes. Then, after I created a hair/makeup/costume change document (cause I don't do grid!), she plotted that on the character by scene grid. So now, ALL of our crews have the benefit of an easy access "change" chart--courtesy of Freda! It still is going to take time when we movein and start teching things, but at least everyone will be on the same page--literally!
In other news, my costume goddesses are working round-the-clock on details that ALWAYS seem to pop up at the last minute, no matter how much we communicate. Example: Are the convicts going barefoot? We need to checkwith out tech director before we make that decision. So, message from Lyn to me, from me to Stephen, from Stephen to B. Hopefully they can go barefoot, but we wont't hear from B til later today. Also, the courtroom scene. My cast didn't realize that they are part of the court personnel, so when Lyn was fitting them for robes, they were very confused. This made Lyn nervous, so she sent me an email, which I responded to and made sure that my cast knew what was what. Two days. More unexpected details: In the Act 2 Epilogue, Fantine, et al, need to make their entrance pretty far down stage. She is in white, so is visible before I want her to be seen...Can I get black silks or cloaks for she, Eponine and the Bishop? Lyn is very acommodating, but I've added 2 hours of work per set of blacks. More: Costume fittings are taking longer, and folks were late to rehearsal. I had to ask my stage manager to make sure that costumes let them go in time to get to rehearsal. Erg. I fear the message was delivered in a way that made me sound like I was having a tantrum. I need to offer some concessions to Lyn so that she gets what she (and our cast) needs!
My cast took a huge leap at rehearsal on Friday, everyone from JVJ to ensemble. They took my breath away several times! Abby continues to discover fresh things about Fantine; she is truly lovely. Kianna's Eponine is grounded and connected and fierce and almost shy. Mark's Javert is powerful and riveting. Margaret and Bob are cunning, hilarious and mobile-faced--and spot-on responsive to notes and new ideas. Merrill's Cosette makes me smile--her energy is fresh and lovely and feminine and she and Michael are so, so lovely together. Michael's Marius is masculine, emotional and heartbreaking. Ben's Enjolras is contained power--when he lets it rip, it makes your hair stand on end! My Barricade Boys are so invested and smart about the show and their performance. I just love them all. My ensemble has no idea how powerful they are--no idea. They are beautiful. And Ian! His JVJ came alive with power and emotionality. He's been sick for the past two weeks and has been forced to explore other ways--not just vocal power--to communicate JVJ's story. I know that he works unceasingly to get a deeper, richer understanding of his work, and something clicked for him. The details, the transitions, the scope and sweep of his character arc are REAL and something we can see him experiencing in his body, mind and soul. He in particular is on a path of discovery and being in the moment that will serve him very well for the next three weeks. Goose-bump inducing.
I feel so honored that they have been so willing to put themselves in my hands. I don't feel right saying that I'm proud of them--that seems to imply a judgement or an imbalance of power somehow, and I truly believe that this work is a collaboration. But I am grateful! and so excited for them to have an audience. And so eager to tell them how wonderful they are! Opening night is less than 2 weeks away---it's almost time to unleash the Beast!
To the Barricades!
KAK
In other news, my costume goddesses are working round-the-clock on details that ALWAYS seem to pop up at the last minute, no matter how much we communicate. Example: Are the convicts going barefoot? We need to checkwith out tech director before we make that decision. So, message from Lyn to me, from me to Stephen, from Stephen to B. Hopefully they can go barefoot, but we wont't hear from B til later today. Also, the courtroom scene. My cast didn't realize that they are part of the court personnel, so when Lyn was fitting them for robes, they were very confused. This made Lyn nervous, so she sent me an email, which I responded to and made sure that my cast knew what was what. Two days. More unexpected details: In the Act 2 Epilogue, Fantine, et al, need to make their entrance pretty far down stage. She is in white, so is visible before I want her to be seen...Can I get black silks or cloaks for she, Eponine and the Bishop? Lyn is very acommodating, but I've added 2 hours of work per set of blacks. More: Costume fittings are taking longer, and folks were late to rehearsal. I had to ask my stage manager to make sure that costumes let them go in time to get to rehearsal. Erg. I fear the message was delivered in a way that made me sound like I was having a tantrum. I need to offer some concessions to Lyn so that she gets what she (and our cast) needs!
My cast took a huge leap at rehearsal on Friday, everyone from JVJ to ensemble. They took my breath away several times! Abby continues to discover fresh things about Fantine; she is truly lovely. Kianna's Eponine is grounded and connected and fierce and almost shy. Mark's Javert is powerful and riveting. Margaret and Bob are cunning, hilarious and mobile-faced--and spot-on responsive to notes and new ideas. Merrill's Cosette makes me smile--her energy is fresh and lovely and feminine and she and Michael are so, so lovely together. Michael's Marius is masculine, emotional and heartbreaking. Ben's Enjolras is contained power--when he lets it rip, it makes your hair stand on end! My Barricade Boys are so invested and smart about the show and their performance. I just love them all. My ensemble has no idea how powerful they are--no idea. They are beautiful. And Ian! His JVJ came alive with power and emotionality. He's been sick for the past two weeks and has been forced to explore other ways--not just vocal power--to communicate JVJ's story. I know that he works unceasingly to get a deeper, richer understanding of his work, and something clicked for him. The details, the transitions, the scope and sweep of his character arc are REAL and something we can see him experiencing in his body, mind and soul. He in particular is on a path of discovery and being in the moment that will serve him very well for the next three weeks. Goose-bump inducing.
I feel so honored that they have been so willing to put themselves in my hands. I don't feel right saying that I'm proud of them--that seems to imply a judgement or an imbalance of power somehow, and I truly believe that this work is a collaboration. But I am grateful! and so excited for them to have an audience. And so eager to tell them how wonderful they are! Opening night is less than 2 weeks away---it's almost time to unleash the Beast!
To the Barricades!
KAK
Sunday, March 16, 2014
Alive
Today we managed to make it through a "double" rehearsal: 1 to 5PM and then 6 to 8:30. We've lost three days of rehearsal because of winter weather and illness and just needed to cram in a few more hours before we start running things. Cast was incredibly flexible; no complaints, everyone good-natured and focused even after a dinner break. Really just excellent work all around--despite continued illness among my principal players! We need haz-mat suits for poor Javert, Eponine, Cosette and JVJ! Pray for Marius--that he isn't incubating a doozy of a cold.
We have 7 more rehearsals before we move into the Flynn, one of which is a full run at the theatre. Move in starts on Thursday, 3/27--the truck gets loaded with everything (EVERYTHING!) that is going to the theatre, an then gets unloaded on Friday morning. Our rehearsal Friday will be weird because we won't have any props, crates, set pieces or anything! and we've been kind of spoiled because our prop ladies have let us practice with the actual props more than once. They've made several trips with boxes of stuff so that cast can get a handle on the level of detail they'll be working with. Bravo Prop Tarts!
I have several pages of notes, but what I need to do is comb through and find the minutiae of blocking that isn't working. There's a lot that is still messy and not quite working. I keep letting the rehearsals run because I hate to stop and fix--I keep hoping that some of it will work itself out with repetition. It's not a lot, but it requires time--time to talk, practice, run, adjust.
I was moved to tears several times in rehearsal today. There are some emotional moments that are really working--the actors are committed and truthful and digging for connection with the material. It's breath-taking...and they SOUND SO GOOD! There are also moments that people are still exploring--and I 'm really hesitant to touch or fiddle with those because they literally change before my eyes as actors start to hear, see and feel things in the context of the story. They really are feeling their way and it's exciting to watch. I'm betting, gambling, really-- that there will be enough time for them to find their way ALL the way to where I need them to be. They have a ton of information and backstory and most of them are working really hard to put it into practice.
I made a deliberate decision to focus and spend my energy on MY area after Paper tech yesterday. My crews and team are all capable, talented people and I do NOT have to hold every detail of the entire show in my head. I can't. I could feel the energy draining out of me yesterday---eek! It's hard for me to let go of those pieces but I have to....the story isn't in place yet, and that is my priority. I want it to be so strongly woven together, and my actors so prepared that there is no room for error, or ok, very little room for error.
I've never thought of it that way, but the show, the story really is a "thing" that is woven from all of our efforts. It's not on the pages of the script or score and it's not the back-breaking work of backstories and motivation and notes and rhythms and blocking and choreography. It's something separate and distinct. I could almost see it at points today--some "thing" shimmering between cast members on stage..like a giant soap bubble. It's ephemeral and alive. I think it happens when actors trust--the story, each other, the pathways and roadmaps that they've built--they trust and let the story fill up the air between them. That's what I'm aiming for. That's what I 'm searching for as I take notes on the scenes: is something real happening and if not what's hampering it? That is part of the reason that I ask my actors "How does that feel?". It has to feel right or that trust can't happen.
My head is so full of images and people and ideas and emotions! I cannot adequately express how breath-taking it is to see this come to life...how much larger than each of us individually is the sum total!
Sleep, and then on to another day.
at the Barricades!
KAK
We have 7 more rehearsals before we move into the Flynn, one of which is a full run at the theatre. Move in starts on Thursday, 3/27--the truck gets loaded with everything (EVERYTHING!) that is going to the theatre, an then gets unloaded on Friday morning. Our rehearsal Friday will be weird because we won't have any props, crates, set pieces or anything! and we've been kind of spoiled because our prop ladies have let us practice with the actual props more than once. They've made several trips with boxes of stuff so that cast can get a handle on the level of detail they'll be working with. Bravo Prop Tarts!
I have several pages of notes, but what I need to do is comb through and find the minutiae of blocking that isn't working. There's a lot that is still messy and not quite working. I keep letting the rehearsals run because I hate to stop and fix--I keep hoping that some of it will work itself out with repetition. It's not a lot, but it requires time--time to talk, practice, run, adjust.
I was moved to tears several times in rehearsal today. There are some emotional moments that are really working--the actors are committed and truthful and digging for connection with the material. It's breath-taking...and they SOUND SO GOOD! There are also moments that people are still exploring--and I 'm really hesitant to touch or fiddle with those because they literally change before my eyes as actors start to hear, see and feel things in the context of the story. They really are feeling their way and it's exciting to watch. I'm betting, gambling, really-- that there will be enough time for them to find their way ALL the way to where I need them to be. They have a ton of information and backstory and most of them are working really hard to put it into practice.
I made a deliberate decision to focus and spend my energy on MY area after Paper tech yesterday. My crews and team are all capable, talented people and I do NOT have to hold every detail of the entire show in my head. I can't. I could feel the energy draining out of me yesterday---eek! It's hard for me to let go of those pieces but I have to....the story isn't in place yet, and that is my priority. I want it to be so strongly woven together, and my actors so prepared that there is no room for error, or ok, very little room for error.
I've never thought of it that way, but the show, the story really is a "thing" that is woven from all of our efforts. It's not on the pages of the script or score and it's not the back-breaking work of backstories and motivation and notes and rhythms and blocking and choreography. It's something separate and distinct. I could almost see it at points today--some "thing" shimmering between cast members on stage..like a giant soap bubble. It's ephemeral and alive. I think it happens when actors trust--the story, each other, the pathways and roadmaps that they've built--they trust and let the story fill up the air between them. That's what I'm aiming for. That's what I 'm searching for as I take notes on the scenes: is something real happening and if not what's hampering it? That is part of the reason that I ask my actors "How does that feel?". It has to feel right or that trust can't happen.
My head is so full of images and people and ideas and emotions! I cannot adequately express how breath-taking it is to see this come to life...how much larger than each of us individually is the sum total!
Sleep, and then on to another day.
at the Barricades!
KAK
Monday, March 10, 2014
The Nature of The Beast
So...here we are. It is March....I'm not even sure. I know it's Monday! I think it's the 10th....Yes! Just checked my rehearsal schedule and it is indeed the 10th. Tonight we are staging Gavroche's and the student's deaths on the Barricade. They are getting gun assignments and having the microphone talk to prep for using mics and pouches at rehearsal on the 12th.
I am starting work on my paper tech prep. Not sure what form that will take yet...I have to figure out how to hold all the details of costume, make-up, hair, mic changes, props, sets, lights, projection images, blocking and still be able to look at and feel the totality of the production. We--my team and I --have attempted to tell this story in a certain way: a spare, dynamic and versatile set, projections that provide texture and detail, simple and authentic story-telling with talented, collaborative and team-oriented actors, the thoughtful use of light and shadow, realistic details in props and costumes...My job is to have a firm hold on that re-telling of the story, so that any questions can be brought back to that vision. I have to be able to answer the questions: Does this element contribute to how we want the story to be told?
At any rate, I need to refresh my memory of all those details and put it into some read-able form. Paper tech is on Saturday, 3/15. I think going through all those things will definitely highlight what is going to take the most time at actual tech. There are many moments where we are guessing at timing of VDSU movements, timing of light changes, etc.
I'm also prepping to work with Andy, our lighting designer. I'm creating a scene list for him--from the top of the show to the end--that describes time of day, mood, action and feeling words. That will take some time, but again will lay a great foundation for our work together. It's kind of like creating a language to speak together.
In the rush of this type of mental preparation and imagining; it's difficult to believe that this will be all done in 5 weeks. I think I'm giving myself a sort of mental safety raft--if I can keep a count down in my head then somehow--when this project ends --I won't be blind-sided by emotion. It is impossible to keep those two mind-sets--"I'm in the middle of it" and "It's almost done"--going at the same time, and I'm not sure that the "It's almost done" piece is particularly helpful to the process of creating the show. It keeps me from full participation somehow....funny how I always find a way to protect myself from the wild and compulsive nature of full participation! It's a way to keep balance, I think. Even the minimal amount of hours that I'm spending at my day job requires a physical re-setting...of my mind, my focus, my energy level--especially if I start my day with coffee and email! Invariably there is something rehearsal related or promo related to respond to--and then I have to pull myself out of that world and back into daily reality. To say that I find it challenging to shift back and forth might be the understatement of the century. I suppose it is the nature of this beast--it's a living thing and it requires sustained care and regular feedings of energy, imagination, collaboration and the best that all of us have to offer in order for it to come alive and thrive. It's the sustained care and feeding that wreck havoc with the rest of one's life...
I hope that I can remember what this was like.
I've gone back to read what I wrote at the beginning of this post. Can you tell that I'm a bit bleary?? Once again, it is all about the story, and how my team and I have chosen to tell it...As our production schedule escalates and the thousands of production details start to converge, the trick is how to work, shop and do laundry when the care and feeding of this Beast could easily be a 24 hour labor of love...
To the barricades!
KAK
I am starting work on my paper tech prep. Not sure what form that will take yet...I have to figure out how to hold all the details of costume, make-up, hair, mic changes, props, sets, lights, projection images, blocking and still be able to look at and feel the totality of the production. We--my team and I --have attempted to tell this story in a certain way: a spare, dynamic and versatile set, projections that provide texture and detail, simple and authentic story-telling with talented, collaborative and team-oriented actors, the thoughtful use of light and shadow, realistic details in props and costumes...My job is to have a firm hold on that re-telling of the story, so that any questions can be brought back to that vision. I have to be able to answer the questions: Does this element contribute to how we want the story to be told?
At any rate, I need to refresh my memory of all those details and put it into some read-able form. Paper tech is on Saturday, 3/15. I think going through all those things will definitely highlight what is going to take the most time at actual tech. There are many moments where we are guessing at timing of VDSU movements, timing of light changes, etc.
I'm also prepping to work with Andy, our lighting designer. I'm creating a scene list for him--from the top of the show to the end--that describes time of day, mood, action and feeling words. That will take some time, but again will lay a great foundation for our work together. It's kind of like creating a language to speak together.
In the rush of this type of mental preparation and imagining; it's difficult to believe that this will be all done in 5 weeks. I think I'm giving myself a sort of mental safety raft--if I can keep a count down in my head then somehow--when this project ends --I won't be blind-sided by emotion. It is impossible to keep those two mind-sets--"I'm in the middle of it" and "It's almost done"--going at the same time, and I'm not sure that the "It's almost done" piece is particularly helpful to the process of creating the show. It keeps me from full participation somehow....funny how I always find a way to protect myself from the wild and compulsive nature of full participation! It's a way to keep balance, I think. Even the minimal amount of hours that I'm spending at my day job requires a physical re-setting...of my mind, my focus, my energy level--especially if I start my day with coffee and email! Invariably there is something rehearsal related or promo related to respond to--and then I have to pull myself out of that world and back into daily reality. To say that I find it challenging to shift back and forth might be the understatement of the century. I suppose it is the nature of this beast--it's a living thing and it requires sustained care and regular feedings of energy, imagination, collaboration and the best that all of us have to offer in order for it to come alive and thrive. It's the sustained care and feeding that wreck havoc with the rest of one's life...
I hope that I can remember what this was like.
I've gone back to read what I wrote at the beginning of this post. Can you tell that I'm a bit bleary?? Once again, it is all about the story, and how my team and I have chosen to tell it...As our production schedule escalates and the thousands of production details start to converge, the trick is how to work, shop and do laundry when the care and feeding of this Beast could easily be a 24 hour labor of love...
To the barricades!
KAK
Tuesday, March 4, 2014
Shift
A very definite shift in rehearsals since our run through on Sunday. We got to rehearse in the theatre--running through the show without props, sets or the usual rehearsal items-checking out the space, the feel of the auditorium, etc. It is a generally useful day--no time to fix specific things, but time to imagine what it will be like when all of those production elements are there. It is an eye-opening experience--even for veterans--because it wakes you up. We've been kind of grooving in rehearsal mode for awhile and all of sudden we realize that we'll be doing it in front 1400 people, 9 times!!
When I'm in a show, having a Flynn rehearsal makes me take a closer look at both my backstage and onstage traffic patterns, "After this scene, I need to go change shoes on Stage left , then pick up my prop and reenter on SR...I wonder if I'll have time?" I look carefully at tape marks that mark set pieces and try to understand moving set patterns. I map out my entrances and exits and any changes or pick ups I have off stage --because it makes me feel more secure in what I am doing on-stage. I also "tech out" terribly--I''m a worrier and very impatient with letting things work themselves out. I want to know Right Now! how things are going to work. There is a general sort of ..."tightening up". It can be a good thing because actors start to pay a lot more attention to details of their rehearsal space. They ask a lot more questions and want to know a lot more details. The tricky part of this is that we can "lock down" too early. We have 31/2 weeks til our last rehearsal in the rehearsal space, and we have a lot more pacing, intensity and timing issues to work out. Things are not ready to "set" just yet.
What can happen is that the "tightening up" that I mentioned can turn into resistance. I start to hear "Yes, but.." when I am giving notes about a particular moment or piece of business. I find myself explaining why I want actors to do simple bits of business because they are reluctant to try it-it's one more thing to add, or they've already got it worked out, or it's right the way it is. Actors try to talk and think and strategize through something instead of taking the note and trying it on at the next rehearsal. Actors over-worry about props and set pieces, and want to know exactly what is going to happen. We want it to be done so we can stop thinking about it--especially after feeling that enormous performance space and seeing the reality (in 1400 seats!) of what we are trying to accomplish. We are all tired, many of us are run-down or ill, and we want to push away the problems--instead of pulling it closer and continuing to work through it.
I know I'm tired. My reserves are gone. I constantly crave sugar and carbs. I have a slight head cold and constant aches in my neck, back and joints. I'm tired to the point of stupidity--perilously tired, and I can't get my mind to stop--even when I'm sleeping. I need some drastic action to get myself ready for the final push, both for myself and my cast and crews. I want and need to be at my best, and I have to apply what I know about myself and my response to stress to combat old habits: Exercise, sun, cut back on carbs and sugar. Pretty simple, but challenging to break my own cycle of stress, sugar, crash, repeat ad infinitum.
I'm not sure if it's related to tiredness--I think it is, but Im not sure--but I've noticed a vary placating tone or approach in me as well. AS if I'm anxious to please and anxious that I don't ask too much of anyone...I think the key to fixing that is to really get a grip of sets, props, costumes, make-up changes then pull together my final plan and vision for the show. Why do i feel so...apologetic?? Weird. I have a sense that I'm going to need to pull out all the stops to get people over this last hump of resistance--and moving forward to streamlined, authentic, emotional story-telling. Maybe clarifying the purpose of each scene in the larger picture of the show will give me a clearer direction...and making decisions about tempo, driving energy, pace and "problem-solving". I really need to get a video camera...
That's all for now. i'm going to go sleep
to the barricade...
Kelly
When I'm in a show, having a Flynn rehearsal makes me take a closer look at both my backstage and onstage traffic patterns, "After this scene, I need to go change shoes on Stage left , then pick up my prop and reenter on SR...I wonder if I'll have time?" I look carefully at tape marks that mark set pieces and try to understand moving set patterns. I map out my entrances and exits and any changes or pick ups I have off stage --because it makes me feel more secure in what I am doing on-stage. I also "tech out" terribly--I''m a worrier and very impatient with letting things work themselves out. I want to know Right Now! how things are going to work. There is a general sort of ..."tightening up". It can be a good thing because actors start to pay a lot more attention to details of their rehearsal space. They ask a lot more questions and want to know a lot more details. The tricky part of this is that we can "lock down" too early. We have 31/2 weeks til our last rehearsal in the rehearsal space, and we have a lot more pacing, intensity and timing issues to work out. Things are not ready to "set" just yet.
What can happen is that the "tightening up" that I mentioned can turn into resistance. I start to hear "Yes, but.." when I am giving notes about a particular moment or piece of business. I find myself explaining why I want actors to do simple bits of business because they are reluctant to try it-it's one more thing to add, or they've already got it worked out, or it's right the way it is. Actors try to talk and think and strategize through something instead of taking the note and trying it on at the next rehearsal. Actors over-worry about props and set pieces, and want to know exactly what is going to happen. We want it to be done so we can stop thinking about it--especially after feeling that enormous performance space and seeing the reality (in 1400 seats!) of what we are trying to accomplish. We are all tired, many of us are run-down or ill, and we want to push away the problems--instead of pulling it closer and continuing to work through it.
I know I'm tired. My reserves are gone. I constantly crave sugar and carbs. I have a slight head cold and constant aches in my neck, back and joints. I'm tired to the point of stupidity--perilously tired, and I can't get my mind to stop--even when I'm sleeping. I need some drastic action to get myself ready for the final push, both for myself and my cast and crews. I want and need to be at my best, and I have to apply what I know about myself and my response to stress to combat old habits: Exercise, sun, cut back on carbs and sugar. Pretty simple, but challenging to break my own cycle of stress, sugar, crash, repeat ad infinitum.
I'm not sure if it's related to tiredness--I think it is, but Im not sure--but I've noticed a vary placating tone or approach in me as well. AS if I'm anxious to please and anxious that I don't ask too much of anyone...I think the key to fixing that is to really get a grip of sets, props, costumes, make-up changes then pull together my final plan and vision for the show. Why do i feel so...apologetic?? Weird. I have a sense that I'm going to need to pull out all the stops to get people over this last hump of resistance--and moving forward to streamlined, authentic, emotional story-telling. Maybe clarifying the purpose of each scene in the larger picture of the show will give me a clearer direction...and making decisions about tempo, driving energy, pace and "problem-solving". I really need to get a video camera...
That's all for now. i'm going to go sleep
to the barricade...
Kelly
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