Well, dear readers, there are two schools of thought. Yes, you heard it here, dear readers, there are two schools of thought. One school of thought is that directors should and must write down every bit of the blocking they intend to do – in advance – in their script. The other school of thought is that directors shouldn’t write anything down because it impinges on creativity and seeing what the actors are bringing to a scene. I am of the latter school, I must admit and do admit since I must. I will say that the latter school is a lot scarier than the former school, but I just wouldn’t know how to attend the former school because it would inhibit me completely, in the same way that I do not outline for my books. I want the joy of discovery, no matter how scary it is. So, that’s what my rehearsals for Li’l Abner are all about. I literally have not a clew what I’m going to do, staging-wise, other than maybe some vague idea of movement or if I have a specific staging gag in mind. But I find that it’s really exhilarating for everyone with the second school. It can be frustrating at times and there’s certainly some vamping till ready time, but in the end you’re forced to use every ounce of your creativity in a very quick manner. For me, getting a musical on its feet quickly is paramount – I want to get it all so I can see it, at which point I begin my futzing and fixing and finessing (the three Fs), and all the run-throughs really help the actors get off book and comfortable with the movement, at which point we begin character and detail work.
Yesterday’s rehearsal was exhausting for me, but I did manage to get all but four pages that were scheduled – and let me tell you how long these damn scenes are. We began with where we left off – the scene leading into Put ‘Em Back. I ran the scene, made some adjustments, then had to jump into the number. I had exactly one move planned, the first step. But as soon as I gave it, the rest pretty much came to me as I did it. I’d try something, not like it, but as they did it again and again, I would then see what it needed to be. As we got each verse, we’d run it and then move on to the next. In the end, I think it came out really well. I love to stage numbers like Put ‘Em Back – it’s not dancing really, it’s just movement and fun stuff, but the gals were wonderful and picked it all up quickly. For the last verse and a half, I had one idea, which I gave and we did, then I gave everyone a break and asked Sami to stay with me, and she and I figured out the last few things together, with me giving her the ideas and her performing them for me. Then we brought the gals back and gave it to them, then ran the whole thing and fun it was. Then there was the endless second half of that scene, post musical number. Then we dove right into the scene that precedes The Country’s in the Very Best of Hands – I’d completely forgotten that I’d actually blocked the first part of it, so we ran that, then moved on to the short scene before the song. Then I blocked the song – just really simple but hopefully fun and effective moves. The key thing in that song is making sure the lyrics, with their great jokes, are heard, and to let Sam and Abner’s vocal harmonies delight the ear. Then there was another long post musical number scene. Then we moved to an earlier scene – again, a really long one. I got half of it done, and tomorrow we’ll finish the other half, which only involves a few people and should go quickly. So, a really good day’s work.
Then Sami, her mom, and I went to Genghis Cohen and it was yet another superb meal. After that (we all had a grand time), I came home, answered e-mails, and tried to relax. I was going to try and think about today’s work, especially the ballet, but other than listening to that track on the cast album, I just didn’t want to plan too much.
Prior to that, I was up at seven after only five hours of sleep. I got out of bed at nine and did a two-mile jog, then I had a work session for the Kritzerland show. Then I immediately had to go have a meeting at Paramount, which was fun. I hadn’t been on the lot in a couple of years – it’s very different than when I worked there in my acting days. Then I attended the production meeting, and then we had our four-hour rehearsal.
Today, I must be up very early and our long rehearsal day begins at ten. I’ll finish the four pages we didn’t do yesterday and then move directly on to the biggie – the Sadie Hawkins’ Day ballet. If I am lucky enough to finish it, then we’d move directly to the finale. And if we were to get that done, then the show is basically blocked, save for a couple of pages here and there. I do still have to finish restaging the opening number, and I have to do a couple of adjustments to Rag Offen the Bush as well as put the button on it. Still, with eight hours, I’m hoping to get a lot done. After, I’m sure several of us will go get something to eat.
I have almost no plans for the weekend, other than finessing the commentary for the Kritzerland show, and trying to figure out what next month’s show is. I’m probably going to see 1984 in the evening, just to show my support. Sunday I’m hoping will be mine all mine. I also have to get to the mail place – I’m sure there’s stuff there for me – haven’t been there in three days. Then next week is sheer insanity, with Kritzerland rehearsals and Abner rehearsals and getting a new release announced.
Well, dear readers, I must take the day, I must do the things I do, I must, for example, have an eight-hour rehearsal of enormous magnitude, then eat. Today’s topic of discussion: It’s Friday – what is currently in your CD player and your DVD/Blu and Ray player? I’ll start – I have no idea and I have no idea. Your turn. Let’s have loads of lovely postings, shall we, whilst I hit the road to dreamland, after which I shall have an eight-hour rehearsal of enormous magnitude.