Tea for (Act) Two - Run 2, Tuesday March 24

Our evening started with more costume delights - Peter brought in several pieces for each actor, including several key items like "the sacred sweater", and he's really hitting them out of the park. He has an excellent sense of the character and ability to dress the actors, I am so happy with the looks he's acheiving. In some cases I might even vamp the transitions a bit so we can accomodate the quick changes, the looks are worth it.

This week I am trying to decide if the intermission stays out or if we run it. I still believe the show runs great without it, but having now seen the acts separately, I need to think through the story of each section, to see if that story fits our production. I would love to let Marber's word steamroll over the crowd, but I think the running time will be close to 2 hours. Will having a breath and a pint invigorate the audience or lag them? Must continue my thinking.

The rehearsal props were a godsend as well - pacing often hangs on how long it takes to move that bag/book, whatever. Cigarettes are the next thing to bring in. I wish they could smoke onstage. I wish smoking was not the great societal evil we all acknowledge it to be. The smoking in the script is quite necessary. But not enough to spark up onstage, alas. Nowadays the smoke irritates the audience so much the distraction pulls focus from the stage. Of course, watching a non-smoker actor diligently pretend to smoke onstage without lighting up can be painfully earnest as well. Still, it's the way of the world. Fighting for the right to pollute a theatre and raise the fire risks is not the way to spend my time. There are bigger fish to fry.

Such as my delightful cast, who are all hammering away at the script with a growing ferocity. Yippee! Off book is a fact. I love that, because now I can see where the line blanks may be significant (an actor forgets a line because s/he is not clear in his/her action) rather than brain freeze. At this point in rehearsal it can be a useful signpost for me. I have less and less rehearsal time open to general work in the next few weeks, so I need to prioritize what we can push further. The rest of the week is more runs, but there is detail work scheduled for the following week. This play is a collision of moments - when the pace slips in one section it can ripple through the entire piece. I need to get the momentum right.

Amusement:

I've started noting the accent slips and bringing them forward in general notes, and L helps out by checking the pronounciation. Also, this was our first return to the infamous and sexy scene 7. The result: Notes session chiefly consisted of Laura V commenting "There's no R" and me saying "keep your boobs in his face a beat longer please".

Ah, theatre!