Early rehearsals are strange beasts. No one is familiar with the text, people haven’t quite found their characters, and everyone is still feeling their way cautiously about the space.
Space is a greater issue than usual, as Hurjaruuth is a new theatre for us and we weren’t able to rehearse there. At least we were able to pop in for a quick shufty, even though it was set up for another production.
One small step for Anna… one giant WTF for mankind.
It’s a pity we can’t rehearse at the theatre. On the other hand, getting into the real space always boosts a plateaued play to new levels.
You’d think it would be difficult to move into a completely new space, but it’s actually surprisingly easy – once you get your set in place.
Setting the waypoints.
For months, we’ve been practicing moving between a number of fixed points – the tables, the boxes, the screen, and the bench. Once they’re in place, we simply continue to move between those fixed points. What surrounds them doesn’t matter.
Early rehearsals are strange beasts. No one is familiar with the text, people haven’t quite sussed out their characters, and everyone is still feeling their way cautiously around the space.
But there are certain points when the stage adrenalin kicks in and the play comes to life, such as the first rehearsal in full costume and, in particular, the first rehearsal in front of an audience.
Stage adrenalin can, however, have unfortunate side effects. Some actors find it impossible to eat or drink anything on stage, while others gulp down their oddly Ribena-flavoured wine with abandon.
Sometimes small objects will no longer do as they’re told. In the last few rehearsals, I’ve sent a pen and a water bottle bouncing merrily across stage. And Anna managed to toss the key to her handcuffs into the (imaginary) audience.
When this happens, your only course of action is to try to retrieve the said object, in character, before it is next required. This being more challenging if your hands are cuffed under your knee…