I've just been authorised to give away tickets to the show. I've decided to run a competition over the next few days, based upon posts that have been in this blog. Details tomorrow.
Also, there's a new poll. Cast your votes!!
Today's video is a question I put to Malthouse Artistic Director Michael Kantor about the body of Chris and Lally's work. He's makes some really interesting points;
Carlee is back today and dance training is on again. The mood is light, everybody is wearing 'show' shoes, and some of the cast seem to even be wearing dance specific attire. There's a lot of laughter and everybody is having fun. The group's energy is irresistible. Carlee brings a fantastic 'just do it' attitude that the cast taps into. The phrase of the session is “repetition, repetition.” The choreography is simply going to need repetition if they are going to get it perfect, and they seem to be loving the simplicity of that.
While Carlee works on different parts of the choreography in one room, Lawrence, the Magic Consultant is working in another. Chris moves between the two rooms, checking in on both and providing the necessary input for those decisions that only a director can make. Another run of the second act is scheduled for the afternoon, so there is a tight schedule of scenes and moments to work on, in readiness for that run.
The company's energy feels slightly more relaxed today. As they work there seems less urgency. I might be imagining it, but the conversations seem slower, thoughts more deeply considered. Yesterday's script analysis is present in the conversations; there is more sharing of thoughts and less logic-based discussion. As we get closer to run time a buzz builds in the room. The dramaturgs Kate and Maryanne come in to watch the second act run. Feels as though there's a bit riding on it. It would be really great to have a breakthrough run before the weekend. It would give everybody a chance to relax and restore their energy levels in preparation for what is always a big final week before entering production week.
Will the threads come together? Will it build the drive it needs?
The second act begins.
The beginning calls for big energy and Jim is right up to it. He dominates the room and sets the tone perfectly.
The scenes generally seem considerably stronger, but the 'transitions' are still very present. This is always the case with early runs. But, the particular structure of this show makes the transitions between scenes especially apparent. Given the emphasis Chris places on the rhythms of the work, this is not at all surprising.
About half way through the run it has hit a solid tempo. The energy is now being maintained from scene to scene in a way it hasn't done so before; it's developing a self-sufficiency that it didn't have previously. Scenes are starting to build their meaning and drive from scenes that come prior; sort of an obvious thing to say, but when you rehearse scenes one at a time it can be difficult to feel the energy that the previous scenes provide, even if you know intellectually what it's going to provide. There are some great moments that genuinely surprise and energise the performance, even for an audience that are not new to the show.
The run winds up right before the end of the day. No time to hear from Chris how he thought it went. No time to hear from the dramaturgs who will also provide their reflections.
Everybody agrees that they will email over the weekend.
Darren's word for the day - "So you think you can dance"
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