Well, dear readers, it seems like only yesterday when we began rehearsals for the new play. In reality, it was four weeks ago, and now, this very evening, we shall be playing our first preview (and from what I understand, we’ll have at least half a house, which is great). Everyone on the show has worked very hard, and now it’s up to the fates. I really can’t begin to guess what the reaction will be – all I can do is hope we’re in the ballpark and that we can sharpen and hone over the next few days. Yesterday, I arrived at the El Portal at one, but knew we couldn’t start our run-through until about two-thirty, as a couple of last-minute set pieces were being installed, and we were solving our video projection problem (a basically simple fix – our set designer made a cloth thing that swings up and down and is on a pulley operated by our stage manager – he had it up and installed in twenty minutes, and it works just fine). While that work was being done, I worked in the lobby with the actors, and we did work-throughs on the notes from the day before. Then, a half-hour before the run-through was to begin, I addressed the one major thing in act two that just hasn’t been working at all. Since it’s a key moment in the play, I simply had to find a solution or at least attempt to find one. While I was explaining to the actors why I thought what we had was never going to work, at least in this particular space, a new idea came to me, just like that. I told the cast and they all responded to it very well. I put it on its feet, and it seemed like it might just work. I worked out a sound cue, and then we ran it a couple of times – it’s radically different from what is written and what was in my head, but one has to do what one has to do. We decided to do our first run-through with the new bit.
The first run-through began – the beginning was off, but they recovered and got it back on track. Even though there were some moments missed and some fumfering, the act basically played well, especially the end. The first half of act two was a big surprise – it worked the best its ever worked, and my actor has started to come through and he’s starting to really get good. And that, let me tell you, is a very pleasing thing to see. The second half wasn’t quite as good, but it moved along. The new bit seemed okay to me, although there are still a couple of problems to work out if we’re going to end up using it. If I had a more cooperative lighting designer, I might actually try some stuff, but that won’t be happening, unfortunately. After the run-through, we ate, I gave notes, and we worked through them while the crew prepared for our second run-through.
Our second run-through had some excellent things. It started beautifully, but halfway through act one the energy seemed to flag, so that’s something the actors really have to watch. The acting beats were all there, however, so it’s just vocal energy. That said, this is a difficult play for Matt and Tammy to do twice in one day when the performances are that close together. There was a little costume and set problem at the end of the act, which we’ll fix today prior to the preview. The first half of the second act wasn’t quite as sharp as the earlier run-through, but it was still very good. And the second half went very well. We did the new bit again, and today I have to fix a couple of things, and then we’ll try it out for the first couple of previews. If it works, great. If it doesn’t, we’ll go back to the first way and just make that work. It’s a tricky moment no matter which way we go. After the run-through, I gave notes and that was that.
Well, why don’t we all click on the Unseemly Button below because I have babbled on long enough in this section.
Where was I? Oh, yes, the play. The bottom line? For the first time in over a week, I felt like I was watching a real play. You know, it’s an interesting thing, the void a director works in much of the time. You’re there, being a cheerleader, a cajoler, a focuser, a masseuse; trying to get all the actors to be in the same play on the same page with good energy, trying to get the performances to be of a piece, believable, theatrical, and also trying always to see the big picture and make sure the play is being served in the best possible way – trying to make sure everything is clear, that all the beats of the play are interesting, and on and on. And, of course, you’re trying to keep the staging interesting, and the big moments of the play compelling and also make sure whatever laughs there are are playing. And, at no time, at least in this particular production, does the director ever get a nice comment from anyone – not a “good job” or “it’s looking good” or whatever. No, the director is busy telling everyone else that they’re doing a good job and that things are looking good, and here’s how we’re going to make them get better. The actors bond, the producers are a team, the set and lighting guy are a team, but all the director really has is his assistant, and thankfully, on Deceit, I have a good one, because hers is the only positive attitude I see. I swear to you, I left the theater after both days on this very long weekend – I walked out of the building alone, no one said “boo” to me, and I just thought, what a lonely thing this is sometimes. Anyway, I’m not trying to feel sorry for myself, because I’m jiggy with it all, but it’s just an observation that I find fascinating. And I wonder if it’s just something that’s peculiar to waiver theater or small theater productions, where you don’t have a big team, or whether it happens on big shows. When I attended the dress rehearsal of The Drowsy Chaperone, everyone was such a team – there was such a positive feeling in the room, and from what I could see, everyone was there to serve the director and what he wanted. That certainly has not been the case with MY creative team, although, the bottom line is that the set looks great and the lighting is fine – it’s just the bloody attitude and occasional negativity that I find rather astonishing.
In any case, tonight we have our first audience. All I can do is sit in the back of the house with Leslie, my assistant, and hope for the best. Pray for Rosemary’s Baby.
Well, dear readers, I must take the day, I must do the things I do, I must, for example, try to relax during the day, do some errands and whatnot, and then mosey on over to the theater about four. Today’s topic of discussion: Album covers – I’m talkin’ LP covers, not CD covers. I loved LP packaging, whether single or gatefold – they were artistic, fun, weird, clever, breathtaking, and sometimes just plain awful. Flipping through the bins in record stores was one of my all-time favorite pastimes. So, what are your all-time favorite album covers, and what are your candidates for weirdest and worst? Let’s have loads of lovely postings, shall we, whilst we all pray for Rosemary’s Baby.