There is a recent tradition in theatre that on a particular given date the cast and creatives will assemble on stage after the performance and field questions. These discussions are usually rewarding and elucidating for audiences. But after today’s script discussion of the cast and crew it seems to me that theatre goers would give a lot to be present at the discussions the artists have in the early stages of rehearsal.
It’s impossible to cover the breadth of discussion as the group revelled in all the issues thrown up by the play, from historical to meta-physical, theatrical, meta-theatrical, practical, psychological, social, musical, anecdotal, and everything else the reading of the play threw up the previous day.
One theme of discussion revolved around locating where the ‘reality’ or ‘realities’ of the play (co)-exist. The actors have very finely tuned antennae to what their characters understand as ‘real’ or ‘pretend,’ and a complex understanding that what is ‘real’ to their particular character may not be ‘real’ to other characters in the piece. Identifying points of realisation and transformation are vital to the actors as they map their journeys. The discussion itself echoed the theme, interchanging seamlessly between ‘real’ history and the ‘pretend’ world of the play, as well as the mythology of vaudeville existing somewhere between the ‘real’ and the ‘pretend.’ Of course this is a fundamental theme of the theatre, but one which is particularly poignant in relation to Goodbye Vaudeville Charlie Mudd.
During lunch the rehearsal room has been set up ready to begin work on the first scene of the piece, including old temporary rigged curtains. The changing set up of the room is a powerful signal that scene work on the script is ready to begin. It’s another level of anticipation, another level of focus; the initial period of acclimatisation is ending and everybody is ready to get working on the floor. We start at the start; simple choices, understanding the spatial set up, feeling the words in the space, the first sketches of character, the first interactions of actor to actor, character to character. Christen works with the ventriloquists dummy for the first time; how does the mouth work, how do the eyes work, how does the neck work. They are technical skills and questions that need exploring. Although the other actors don’t have such direct technical questions to explore, the impression is that they are doing something similar in relation to themselves and their characters in the space.
I had a quick word to Lally to get a sense of what was going through her mind. I asked her what specific questions she was asking herself on Day 2. This was her response;-
“I’m asking myself if I’m going to be able to rewrite some of the script that’s going to make it good enough to honour the possibilities of what it could be. Given the time, the support, the people who’ve given their time, their stories, the history of vaudeville…”
“What’s the best way to tell the truth of the characters and have it be theatrically satisfying?”
“What is the best technique of re-drafting?”
Lally’s words for the day – launching, re-remembering, inviting
Julia’s one word for the day – rejuvenating.
No comments:
Post a Comment