Combat and Contrasts

I have the extreme good fortune to be working with a seasoned, certified fight choreographer for this show.  Patrick is also a member of our ensemble and a good friend, besides.  One of the first things he asked for when I asked what he needed from me to prep the fight choreography was/were "stories":  the story of how the "fight" unfolds, why it happens, does anyone fight back, are they eager, reluctant; are there any specific moves I need at any specific times.... Verbally detailing the back and forth of a physical interaction is a fascinating exercise in specificity, for me, and for the actors.  It's exquisitely  clear when building a piece of stage combat--that everything happens for a specific reason.  Literally, no move happens without a specific reason, and no countermove happens without a specific reason.  Expanding that level of specificity to include all the action that happening on stage is first of all, worth the time it takes to build!  and second, will  add a level of richness, detail and texture to the story-telling.  Hopefully, people will come to the show and say, "There was so much to see!  Everyone on stage was so involved and interesting!  I'll have to see it again!"  (haha)  So, thanks to Patrick for sending me that lesson!

Last night's rehearsal was a study in contrasts.  We worked Convicts in the first part of rehearsal, developing stage combat choreography between convicts and guards.  Patrick is an excellent teacher and our actors are incredibly tuned in and eager to learn and try new things.  Some of them have worked with him in other shows and easily added "story" details to flesh out the basic stage combat moves.  Also, stage combat work is just FUN.  It's physically and mentally engaging.  It's intense partner work, and thrilling to watch, even in it's early stages.  Thrilling and  sweaty!

At the other end of our rehearsal was "Turning", the female, small group choral number after Javert's Suicide.  I am very proud to say that Jane and Freda choreographed and staged the entire number, and I loved it.  We worked to "specify" some of the reasons that they were doing things--It's a funeral march, It's what women have been doing for 1000s of years:  picking up and going on, It's seeing who is missing after the battle-How can you solve the problem of this loss?  --and again, our actors build with us and layer on nuances that were deeply, breathtakingly moving.  At one point, I positioned little Ella's, Stacy and Betsy's gazes:  Ella is 8 and looks up and out to the balcony, Stacy, the mother, looks at her child Ella, and Betsy as the crone, looks at her daughter Stacy.  It was a beautiful moment that felt so right that we all held our breath for a minute.  The number has a haunting quality to it...Quite a contrast from the  grunting and hollering during fight choreography work!

And the work goes on!
To the Barricades!
K