Context
Being in any form of performance-based project - or any form of work at all - there will always be challenges and roadblocks to face. During the Saturday rehearsal, we experienced the first major instance of this. A storm in the local area meant that a Red Weather Warning was issued, meaning that our rehearsal was heavily compromised. We originally intended to be ready to begin in the auditorium for 9:00; this had to be pushed back as late as 12:00 due to the circumstances.
Despite this, the company came together in a highly professional way, recognising the significant time restriction and adjusting our haste accordingly. We still ended the rehearsal at the same time as previously intended (17:30), having achieved that which we wished to.
Overview
This rehearsal, too, was a crucial element of the process; it was the final full runthrough that my cast would have before our first performance the following Tuesday. Because the Wednesday/Friday cast had their equivalent of this on the Monday, I will not need to blog this. However, there were small aspects of it that proved useful to me, which I will simply put in this blog instead to prevent the need for an additional one with hardly any content!
Main Body
Essentially, this day consisted of our cast running the show in its entirety, with none of the typical interruptions or pauses for adjustments that we would have had in prior rehearsals. We were, for lack of a better phrase, running the show as if it were being performed to a public audience.
This form of rehearsal is essential for any performance process; we have had these in the past, but never with all technical aspects put together. As a result, the day was crucial for our cast to be able to familiarise ourselves with the logistics of a full-scale running in preparation for the following week. Moreover, and more importantly, it means that we could all identify any logistical qualms and complications that would need to be ironed out through an alternative approach, particularly backstage. As mentioned in a previous blog, I spent some time mapping out my trajectory as both my character and my off-night role, in order for this to become a much smoother process. However, with the addition of new factors with each coming show, there was always more to be added! For more information on this topic, please see the full scale trajectory plan I will be writing up later.
Another key reason why this rehearsal needed to be the most disciplined and focused yet was that this was the primary time for any 'snags' to be registered by the respective departments. Whether this be a lighting misdirection, a sound cue with a strange entrance, singers out of time with their music etc... this is the time where that was found. All of these variables discussed were made particularly prevalent because we were the first cast to do this form of run. As a result of our collective efforts - and a snagging session on Monday morning - the content of the Monday rehearsal was much smoother, although there were still repairs to be made!
This next point will be highlighted again once I embed the director's commentary, but I believe it important to mention here: finally having all facets of the performance (costume, mics, set, lights, live music etc.) can make a humungous difference on a performer's output! Those who claim that these things help to build the character are very much correct; the complete alteration of one's usual surroundings and appearance can isolate them from themselves in a way that allows a healthy, strong portrayal of a character to shine through. I felt this very strongly on this day, and it was incredibly inciteful in terms of my self-reflection to see how much of an amplification the technical elements had on my performance!
Director's Commentary (Post-Rehearsal)
''Well done all for a really solid run. We lost 2 hours to the storm and still managed to run without stopping. We can now snag and make last minute changes and additions. Be proud of yourselves. There were stellar performances and realisations of roles throughout the day. We now need to perfect what we can, work together as a team and all make the one shared vision happen...a knock-out show.''
''Rest, relax, eat well and look after yourselves tomorrow, sing through songs and think about notes. The week will be magical and exhausting in equal measures, but you will make memories this week that will be with you for life and make those who love you so proud.''
Sunday - Rest Day Pre-Show-Week
Although not nearly as commonly discussed, rest days during periods of intense rehearsal are crucial in the schedule of any performer. Having a day with tasks unrelated to the project - or even better, no tasks at all - is highly important for the recovery of both the physical and mental wellbeing of a company member. Muscles and joints which will have been put under strain during the week had an opportunity to properly relax and recuperate for the long stretch ahead; the same is true for the voice, which acts in a very similar way to any other muscle or organ! Moreover, the fatigue from strenuous rehearsal can be compensated for during this day - a performer, whilst not interrupting their circadian rhythm, should take this day to sleep a decent amount, as well as minimising intense activity.
Psychologically, rest days can also be vital. Theatre is a very social sport, and you will spend every day communicating with people in a wide array of environments. Sometimes, this can result in disputes, usually due to an imbalance of emotions from the strain of the week. Even if this is not the case, anxieties and high emotions can permeate a performer's psyche, making other functions difficult or overwhelming. This day of rest can be spent in any way the person wants, of course, but spending time with people you love, or even just having some time alone to decompress, is certainly not a bad idea!
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