Rehearsal 5-5:30pm - Ordinary People by Josef Krebs, directed by Linda Lombardi
Well, this is it. This is the last show I'm going to be able to observe. I'm missing one. And even this one, I almost missed. I knock on the door of their rehearsal space and hear "come in" but when I poke my head in, there's no one there. Then I hear "hello" from behind me and Michael Patten is standing behind the door loading up his bag. I ask what they're doing, tell him that I want to watch them. He says they'll be in tech in a few minutes. So, I catch only their tech rehearsal. Tech rehearsal isn't a great time to get a feel for a piece because the actors are often standing in the lights to make sure they're seen, waiting for set pieces to be marked, holding for music cues, holding for prop placement. But this one doesn't have a lot of that stuff and therefore fewer interruptions. So, I get to see the whole thing and it's delightful! Michael Patten and Charles Smith play an adorable couple getting ready for a trip. Linda Lombardi really is letting go of it now. She does tell them to put the suitcases down in a different place. But that's it. These boys are ready to go! And we're all ready for dinner. See you in the theatre!
Becky
Saturday, August 8, 2009
The glory of Tech.
You know what the best thing about tech rehearsals at 14/48?
There's no time for anyone to be an asshole. Everyone is cooperating and listening to one another...no diva acts from any side here. That's the running theme...there is simply no time to incorporate your ego in these things.
Also, to anyone who works a 14/48 in their lifetime: Take five minutes out of your schedule to watch another shows' tech. I guarantee that you will see magic happen.
Observation #5
Rehearsal 4:15-5pm When I Slip Out To Play by Carl Sander, directed by Tim Hyland
I heard Annette Toutonghi say earlier today that she "had a poem". Now I find out what she meant by that. I catch tech rehearsal for this show and it is in verse - all of it. I'm in awe of the courage and the craft that went into writing this show and in awe of what Annette, R. Hamilton Wright and Shawn Law are doing with this. It's childhood creepy. It's sexy Disney. It's apocalytic lullaby. I go back with them to the dressing room/rehearsal room and watch while Tim works with them on the rhythm, words, and meaning. Poems in theatre are difficult for the actors, I think. The language is so specific and intentional and when it rhymes, you really can't replace a word. It's interesting to watch them work in minute detail on each word - land or place, paws or toes, we ten or ten we. Unlike all the other pieces I watched rehearse today, I get to hear this one all the way through, several times. These three actors are wonderful - I've seen each of them in many things. And what a treat to watch Tim lovingly (yes, I do mean lovingly but I hope that doesn't sound weird) direct them. He is their audience of one, has been all day. There are signs here of a director starting to let the actors own the script, the performance. This is the type of little jewel that is so delightful to see at 14/48. I'm running out of time! I head out to find the two shows I've missed!
Becky
I heard Annette Toutonghi say earlier today that she "had a poem". Now I find out what she meant by that. I catch tech rehearsal for this show and it is in verse - all of it. I'm in awe of the courage and the craft that went into writing this show and in awe of what Annette, R. Hamilton Wright and Shawn Law are doing with this. It's childhood creepy. It's sexy Disney. It's apocalytic lullaby. I go back with them to the dressing room/rehearsal room and watch while Tim works with them on the rhythm, words, and meaning. Poems in theatre are difficult for the actors, I think. The language is so specific and intentional and when it rhymes, you really can't replace a word. It's interesting to watch them work in minute detail on each word - land or place, paws or toes, we ten or ten we. Unlike all the other pieces I watched rehearse today, I get to hear this one all the way through, several times. These three actors are wonderful - I've seen each of them in many things. And what a treat to watch Tim lovingly (yes, I do mean lovingly but I hope that doesn't sound weird) direct them. He is their audience of one, has been all day. There are signs here of a director starting to let the actors own the script, the performance. This is the type of little jewel that is so delightful to see at 14/48. I'm running out of time! I head out to find the two shows I've missed!
Becky
Observation #4
Rehearsal 3-3:30pm - Just Drink It by Paul Mullin, directed by Brian Faker
Brian has decided not to go back to his rehearsal space at the Rep so his cast is at On the Boards trying to find a corner in which to rehearse. This is how it happens that Tracy Hyland and Connor Toms are practicing a sex scene on the floor up against a couch in the food hallway. They have to be quieted for the director's meeting but it's clearly a fabulous scene! Then Andromeda Dunker follows the script while they run lines. This is an interesting scene that I look forward to seeing in the context of the entire play. Brian interrupts the line running to call the rest of the cast (Alyssa Keene and Heather Persinger) over to sit on the floor in front of the food bar. He puts a manila envelope on the ground and starts to draw on it. He has apparently rethought a bunch of stuff - taking the action on the stage back to a much more minimal thing. There is a bed (mais oui!) and images projected on the screen. Everyone seems good with this idea of simplification. There's a lot of nodding. The band will be playing one of my favorite songs, Man on the Moon. Throughout this time, people are walking through the cast to get to the restrooms and the kitchen. Brian and the cast then look for a place that they can perch and practice. The problem is, there really isn't anywhere and for about 10 minutes I follow them through the building looking for space. They finally go into a little closed-in lobby area on the bottom floor. Regretfully, it's too small for me to join them. It's also going to be warm in that space. I know people make it work at 14/48. I know this. But, if this is where more magic is going to be created, I'm going to miss it.
Becky
Brian has decided not to go back to his rehearsal space at the Rep so his cast is at On the Boards trying to find a corner in which to rehearse. This is how it happens that Tracy Hyland and Connor Toms are practicing a sex scene on the floor up against a couch in the food hallway. They have to be quieted for the director's meeting but it's clearly a fabulous scene! Then Andromeda Dunker follows the script while they run lines. This is an interesting scene that I look forward to seeing in the context of the entire play. Brian interrupts the line running to call the rest of the cast (Alyssa Keene and Heather Persinger) over to sit on the floor in front of the food bar. He puts a manila envelope on the ground and starts to draw on it. He has apparently rethought a bunch of stuff - taking the action on the stage back to a much more minimal thing. There is a bed (mais oui!) and images projected on the screen. Everyone seems good with this idea of simplification. There's a lot of nodding. The band will be playing one of my favorite songs, Man on the Moon. Throughout this time, people are walking through the cast to get to the restrooms and the kitchen. Brian and the cast then look for a place that they can perch and practice. The problem is, there really isn't anywhere and for about 10 minutes I follow them through the building looking for space. They finally go into a little closed-in lobby area on the bottom floor. Regretfully, it's too small for me to join them. It's also going to be warm in that space. I know people make it work at 14/48. I know this. But, if this is where more magic is going to be created, I'm going to miss it.
Becky
Someone says...
Someone says, "Still Life: Smoking Man with Cookies" and we look up and Alex Samuels is putting his cigarette out before he comes in with his arms full of cookies. He says, "John Bradshaw rocks!" Apparently John is responsible for the cookies - which means, he really does rock!
Someone says, "Have you heard there's a play with gay werewolves." "No, seriously?" "Yeah, just an ordinary gay couple but, you know, werewolves."
Someone says, "This is the worst support group I've ever been in!"
Someone says, "Okay, in the interest of full disclosure, my antibiotic prescription ran out this morning and now I'm on Vicodin. Basically, I'll be high for the rest of the show." (the "someone" is our Stage Manager, Lou!!)
Someone says, "I don't care which music it is. Well, not true, I do care it's just that I'm bankrupt in ideas in that department right now."
Someone says, "They're just rehearsing their orgasm."
Someone says, "What's state of the superhero, fairy, and bear costumes?" "Done."
Becky
Someone says, "Have you heard there's a play with gay werewolves." "No, seriously?" "Yeah, just an ordinary gay couple but, you know, werewolves."
Someone says, "This is the worst support group I've ever been in!"
Someone says, "Okay, in the interest of full disclosure, my antibiotic prescription ran out this morning and now I'm on Vicodin. Basically, I'll be high for the rest of the show." (the "someone" is our Stage Manager, Lou!!)
Someone says, "I don't care which music it is. Well, not true, I do care it's just that I'm bankrupt in ideas in that department right now."
Someone says, "They're just rehearsing their orgasm."
Someone says, "What's state of the superhero, fairy, and bear costumes?" "Done."
Becky
Everybody's working for the weekend
Well, no, not technically, but that's the song that the band is rehearsing right now. A big shout out must be given to Jason Harber, who's sitting in on the band for tonight's show. He, as well the rest of them, sound fantastic, as always. Random Question: Has there been any time that the band has not sounded fantastic? Money's on it has never happened.
PDO'C just walked through the lobby, sighed "Jesus Fuckin' Christ..." and left. Erin Kraft, the only other person in the room, deadpanned: "Day Two."
Jim Jewell reports that things are going well on the food end but "we're exhausted." At least there is no more coordinating and organizing and ordering. All they have to do for dinner is get the food and hope the actors eat it. There will not be any problem there.
The lobby is a pretty damn cool place to hang out because you can get a steady stream of the most random apropros of nothing. For instance, Hana Lass just entered and is running over a cute little dance for show number five, A Whole Mess of Badgers. That, or she really just has a dance in her heart, and needs to let it out.
Lou Butler just entered, looking for a missing director for the directors meeting. "Oh, it's just you," she said, noticing me. "Just?" I replied, in mock pain. "Especially," she corrected. Can you tell she's worked with actors before?
And now I've heard everybody's working for the weekend 10 times, and I think it's safe to say it is now stuck in everyone's head. Time, methinks, to find another nook to lurk in.
Observation #3
Rehearsal 11:30am-12:15pm Hansani Safari by Heidi Heimarck, directed by Andy Jensen
Once again, without having the official schedule in hand, I suspect this is Heidi's piece... and it is. And, once again, I can't exactly explain how I know but there's something about Heidi's writing that is poetic and specific and embraces the mystery of the world. And this is a mysterious piece. They are well into the process, the actors are even speaking whole lines without looking at their script, and it takes me awhile to understand exactly what I'm hearing. It's real dialogue. There's something really happening here with three of the actors, Patrick Allcorn, Scott Plusquellec, and Allison Strickland. But there's also a presence on stage that is not human played by Ben Gonio. Andy steps into the center of them to talk about the space and the staging. He is a kenetic, energized, positive director. He does a stomping, tap-dancing move when he comes up with a cool idea. He likes hearing actor input. He talks to Patrick about his physical presence and his voice and how strong it is. He praises Allison for her choice to deliver her lines matter-of-factly. Scott plays with the humor of his character and makes me laugh. Ben suggests a fluttery movement for his character. Even without completely understanding it, I get goosebumps, and once I've watched long enough to understand it, I'm entranced. My car is already in danger of getting a ticket and I have to run out and move it. I'd rather stay and see this piece develop.
Becky
Once again, without having the official schedule in hand, I suspect this is Heidi's piece... and it is. And, once again, I can't exactly explain how I know but there's something about Heidi's writing that is poetic and specific and embraces the mystery of the world. And this is a mysterious piece. They are well into the process, the actors are even speaking whole lines without looking at their script, and it takes me awhile to understand exactly what I'm hearing. It's real dialogue. There's something really happening here with three of the actors, Patrick Allcorn, Scott Plusquellec, and Allison Strickland. But there's also a presence on stage that is not human played by Ben Gonio. Andy steps into the center of them to talk about the space and the staging. He is a kenetic, energized, positive director. He does a stomping, tap-dancing move when he comes up with a cool idea. He likes hearing actor input. He talks to Patrick about his physical presence and his voice and how strong it is. He praises Allison for her choice to deliver her lines matter-of-factly. Scott plays with the humor of his character and makes me laugh. Ben suggests a fluttery movement for his character. Even without completely understanding it, I get goosebumps, and once I've watched long enough to understand it, I'm entranced. My car is already in danger of getting a ticket and I have to run out and move it. I'd rather stay and see this piece develop.
Becky
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