Read-Through and the Technical Rehearsals

(Originally written between Saturday, November 6^th and Wednesday, November 10^th)

Saturday morning marked the official start to the full-ensemble rehearsals in preparation for the first year production with a largely un-blocked read-through by each cast—an incredibly promising process.

Each group’s scene is clearly markedly disparate from any other, which promises a highly varied experience for next Saturday’s audience. On a more important note, though, each group is clearly committed to its scene and each actor within to the others.

Personally, I feel as if Danie and I have been working together for months. She and I seem to share an understanding of each other’s presence as a performer, and I am more than confident that our scene from Art will only get better.

Charged with “having fun” with our scene (and considering the fact that only the first of our two scene’s had been formally blocked at that point), it felt as natural as anything, and the comedic beats seemed to flow very well—it was reminiscent to me of sketch or television comedy, in the way I felt impeccably well-written banter of each scene roll fluidly.

NOTE: It’s very important that each person operating a scene change knows that he or she is participating, and it’s always better to have too many people, the extras of whom can be eventually dismissed, than too few.

Monday promised the first of the two purely technical productions. Honestly, I’d say technical productions are one of my favorite elements of the rehearsal process—a low pressure acting scenario, it’s the perfect time to toy with the limitations of sets, props, and characters without close directorial supervision. Additionally, it’s a good opportunity to bond with the other castmembers… though the nights were long, I honestly didn’t care. Many people were frustrated by the way that the first two rehearsals already began to monopolize their time, but I honestly couldn’t care less. I loved every minute of the rehearsals, and I’m already looking forward to the rest of this week, as the rehearsals shift their focus to the stage and its actors, and I can begin to interact with a small, makeshift audience of second years. Danie and I have improved with the addition of props and the stage, but I’d still like to know whether or not I’m going to have cashews to use during the final performance.

NOTE: Clarify props and set pieces with actors early on, and attempt to ensure their presence at as many rehearsals as possible—unless purposefully withheld. While I’d like to have the cashews, it’s possible that, by the time I get them, any added elements to the scene will only enrich the performance for added spontaneity.