Wednesday, July 4, 2007
Back to the beginning. We started at the top of the show today and began a detailed work-through. This is excellent, as it really shows us what we remember (and consequently, what we don’t remember) of the initial pass. Those bits that feel solid and right begin to feel more solid and right, and those that were wishy-washy in the first place can be replaced by fresh ideas inspired by the framework of the now solid bits. (I think that makes sense…) It’s like building blocks. One relies on the foundation to create the truly inspired.
It took us the whole day to work the first ten to fifteen minutes of the piece. That feels about right. It’s a good pace for really learning, so that the next pass we make through will be remembered by our bodies, and not our brains, which are full of information right now, and not terribly objective.
The tough part is the scheduling. So many technical decisions have to be made that rely on staging and creativity. So we have to plant certain things which may seem slightly in-organic. That’s theatre, though. It happens everywhere. And add to that the fact that there are extremely difficult music passages, movement vocabulary, and dance sequences that need to be drilled every day. That takes away a good chunk of rehearsal time.
All that to say, I hope I don’t bore you for the next couple of weeks. It’s just that at this point in the rehearsal process things get pretty repetitive.
Meanwhile, back on the home front, Pam Matthews has put together a short film about goats (Odysseus’ home, Ithaca, was “a goat strewn rock”) which we will have a screening of in the coming days. And at the Ferryhouse we have two new roommates from the cast of Richard/Henry: Paul and Keiran, both very nice fellows.