These last two weeks have been very hectic. We’ve been doing a lot of detailed work on scenes. Quite a few people have their books down and the difference is noticeable. It’s at this stage the final details of the blocking get set. With a book in your hand it can be hard to get a fix on where you are on stage.
We’re all finding the play has more depth than we thought. However, it’s also funnier than we first thought and the little idiosyncrasies of each person are shining though. What’s nice is that all Father Flotte’s band of players are developing into likeable people.
While all that goes on the Production Manager’s work is never done. We’re slowly tracking down the props, though some are still giving me trouble. We need a wooden wheelbarrow. All the ones I’ve tracked down are too small. I have a vested interest in this wheelbarrow – for reasons that will be clearer if you come and see us. We also need a cart for carrying corpses and Mother Metz.
I think I made a bad mistake last week taking Ian the Director to Stratford to see David Tennant in ‘Love’s Labours Lost’ and ‘Hamlet’. The plays were wonderful. However, the RSC always makes him discontented and wanting things he can’t have! The next production meeting involved a long discussion about flying things. Dave, the lighting person, has gone away to see if we have enough pulleys!
I’ve sat through a lot of these meetings while the tech crew try to negotiate about snow, rain and glitter to name just a few of the director’s ideas. My function is to speak as an actor, audience and general devil’s advocate.
This week we run the play. This is always a nerve wracking experience for cast, crew and director. We always decide that the play will run for at least nine hours and nobody will come and see it. This is a perfectly normal reaction. Adding in the music really adds to the atmosphere.
Richard, the stage manager, is working on the sound effects. Being a computer war game expert he’s got access to the strangest noises. Just as well with this play!
It’s all starting to come together but there’s a way to got yet – more ginseng and Earl Grey tea!
Sunday 26 October 2008
Sunday 12 October 2008
Week Commencing 10th October 2008
Week Commencing 10th October 2008
This has been a tiring week. We’ve staggered through the play in two halves.
The scale of what we’ve taken on has just hit us! It’s a huge production. As more and more people arrived for the run though, together with the stage crew and the lighting technician I wondered where we’ll put them all when we get into the theatre. The idea of a queuing system to get on stage has gone from a jokey suggestion to an absolute necessity.
Those who missed the blocking have been slotted in and we all have some idea of the shape of the piece. Ray, who’s playing Bembo, has just come back to us having directed a play in Rotherham. He’s just written ‘follow Adam’ (Le Grue) as his only stage direction. Let’s hope Adam knows where they should both be.
The next stage of the production is to do detailed work on each scene, concentrating on characterisation and relationships. As production manager, I’ll be taking rehearsal props down from now on. Gradually the rehearsal props will be replaced by the real ones as they’re found or made. I’m currently working on the scourges for the flagellants. The clubs they also have are posing more of a problem. How can I get them to look right without causing concussion to those who have to be hit with them?
I’m meeting a friend this week to talk publicity and props. It’s time to tell the media what we’re doing and try to interest them in publishing some photos. Rather than use the ones we take at each rehearsal, we’ll have to pose these. We’ve got one legged tap dancers, blind jugglers and a randy nun so I’m sure we can think of something.
The director and I have met the wardrobe mistress. She’s done wonders getting things together. However, she’s still sourcing things to hire and there’s a long list of things to make. She and I are getting together to decide finally what’s props and what’s costumes.
This week it’s more detailed work. I’d better get learning the leper role and looking out some bandages.
This has been a tiring week. We’ve staggered through the play in two halves.
The scale of what we’ve taken on has just hit us! It’s a huge production. As more and more people arrived for the run though, together with the stage crew and the lighting technician I wondered where we’ll put them all when we get into the theatre. The idea of a queuing system to get on stage has gone from a jokey suggestion to an absolute necessity.
Those who missed the blocking have been slotted in and we all have some idea of the shape of the piece. Ray, who’s playing Bembo, has just come back to us having directed a play in Rotherham. He’s just written ‘follow Adam’ (Le Grue) as his only stage direction. Let’s hope Adam knows where they should both be.
The next stage of the production is to do detailed work on each scene, concentrating on characterisation and relationships. As production manager, I’ll be taking rehearsal props down from now on. Gradually the rehearsal props will be replaced by the real ones as they’re found or made. I’m currently working on the scourges for the flagellants. The clubs they also have are posing more of a problem. How can I get them to look right without causing concussion to those who have to be hit with them?
I’m meeting a friend this week to talk publicity and props. It’s time to tell the media what we’re doing and try to interest them in publishing some photos. Rather than use the ones we take at each rehearsal, we’ll have to pose these. We’ve got one legged tap dancers, blind jugglers and a randy nun so I’m sure we can think of something.
The director and I have met the wardrobe mistress. She’s done wonders getting things together. However, she’s still sourcing things to hire and there’s a long list of things to make. She and I are getting together to decide finally what’s props and what’s costumes.
This week it’s more detailed work. I’d better get learning the leper role and looking out some bandages.
Sunday 5 October 2008
Week ending 3rd October
Week Ending 3rd October
We’ve reached a milestone this week – we’ve finished blocking the play. In theory this means that everybody knows where they’re supposed to be in each scene – well that’s the theory! As with all huge cast plays not everybody has been to every rehearsal and will have to be slotted in to scenes.
Next week we’re running the play in 2 halves so we all get the feel for the flow of it. Richard, our stage manager, has written all the moves down. His backstage crew are due down too to help with finalising the props plot and work out the necessary traffic control for getting people on and off in the limited space we have in the wings. Wheelbarrows and carts full of corpses don’t help as they take up a lot of room.
On a personal note, one of the cast has had to drop out due to family commitments and I’ve acquired the role of first leper. This isn’t unusual in a large cast play. Our drop out rate has been very small – touch wood – but it does happen. The new role gives me some lovely sad lines but a costume made of rags! Can’t win – good frock not such good lines, nasty frock sad, lyrical lines. I’m currently toying with the idea of making my toes up.
Once we’ve staggered through the play, we start working on the detail of each scene. Not long to books down now, so people are starting to do bits without the book. Having learnt Camille, I now have to start again with first leper.
On the practical side, the wardrobe mistress has started making and sourcing costumes. She and I are looking at the props plot to decide what is costume and what props so that things don’t get done twice or not at all. For example, Ian, the director, would like Dr Antrechau to have a mask. This is partly to give him a mysterious and slightly scary look, but also to disguise the fact that the same actor is playing Patrice.
We’ll need a full production meeting soon to sort out how the flying Ian wants affects the lighting rig, where we are with the props and costumes. All of these have an impact on the risk assessment so we have to go through things closely.
All this and real life too!
We’ve reached a milestone this week – we’ve finished blocking the play. In theory this means that everybody knows where they’re supposed to be in each scene – well that’s the theory! As with all huge cast plays not everybody has been to every rehearsal and will have to be slotted in to scenes.
Next week we’re running the play in 2 halves so we all get the feel for the flow of it. Richard, our stage manager, has written all the moves down. His backstage crew are due down too to help with finalising the props plot and work out the necessary traffic control for getting people on and off in the limited space we have in the wings. Wheelbarrows and carts full of corpses don’t help as they take up a lot of room.
On a personal note, one of the cast has had to drop out due to family commitments and I’ve acquired the role of first leper. This isn’t unusual in a large cast play. Our drop out rate has been very small – touch wood – but it does happen. The new role gives me some lovely sad lines but a costume made of rags! Can’t win – good frock not such good lines, nasty frock sad, lyrical lines. I’m currently toying with the idea of making my toes up.
Once we’ve staggered through the play, we start working on the detail of each scene. Not long to books down now, so people are starting to do bits without the book. Having learnt Camille, I now have to start again with first leper.
On the practical side, the wardrobe mistress has started making and sourcing costumes. She and I are looking at the props plot to decide what is costume and what props so that things don’t get done twice or not at all. For example, Ian, the director, would like Dr Antrechau to have a mask. This is partly to give him a mysterious and slightly scary look, but also to disguise the fact that the same actor is playing Patrice.
We’ll need a full production meeting soon to sort out how the flying Ian wants affects the lighting rig, where we are with the props and costumes. All of these have an impact on the risk assessment so we have to go through things closely.
All this and real life too!
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