(left to right) Artistic Director Ken Gass, Assistant Director Briana Brown and Lighting/Set Designer Bretta Gerecke.
Photo by Brad Fraser.
Wednesday, September 30, 2009
Tuesday, September 29, 2009
Monday, September 28, 2009
Entering the Home Stretch...
All reports indicate that the first preview on Saturday went extremely well. The actors, stage management team and Brad all seemed very pleased.
Today is our day off, and a much needed and deserved one at that. Everyone was simply exhausted by the end of the day yesterday. What a week! I hope we're all taking it easy as we launch into the last few days of rehearsal before opening on Thursday. (!)
We spent yesterday afternoon talking through the script - a return to tablework, but in the comfort of the greenroom instead of the rehearsal hall. Without the table. We reiterated objectives and intentions scene by scene, as well as overall character arcs and growth. It felt good to clarify, and make adjustments to the choices made four weeks ago to represent all that we've learned about these characters and this play since that time.
An audience is the most important ingredient in theatre and obviously we've been aware from the start of the process that having an audience is not only inevitable, but the end goal. But I think taking the intimacy of the work that we've been doing in the rehearsal hall out in front of an audience was a bit of a jolt. The private has become public - people are able to engage with the work, shouting out their opinions of the characters and situations being presented onstage in the form of laughter, silence or the occasional shock-induced inhalation.
Today is our day off, and a much needed and deserved one at that. Everyone was simply exhausted by the end of the day yesterday. What a week! I hope we're all taking it easy as we launch into the last few days of rehearsal before opening on Thursday. (!)
We spent yesterday afternoon talking through the script - a return to tablework, but in the comfort of the greenroom instead of the rehearsal hall. Without the table. We reiterated objectives and intentions scene by scene, as well as overall character arcs and growth. It felt good to clarify, and make adjustments to the choices made four weeks ago to represent all that we've learned about these characters and this play since that time.
An audience is the most important ingredient in theatre and obviously we've been aware from the start of the process that having an audience is not only inevitable, but the end goal. But I think taking the intimacy of the work that we've been doing in the rehearsal hall out in front of an audience was a bit of a jolt. The private has become public - people are able to engage with the work, shouting out their opinions of the characters and situations being presented onstage in the form of laughter, silence or the occasional shock-induced inhalation.
And so we embark on a delicate dance. We must juggle the worlds of public and private, ensuring we remain a step ahead of the audience, while concentrating our efforts on finding ways to invite them in, and stay.
Preview number 3 tomorrow night. Looking forward...
Saturday, September 26, 2009
from the hippy dippy assistant director
The herbal cigarettes smoked in the show have love and light listed as two of the ingredients, so the cast is sure to have their daily intake.
That said, I would like to send a little extra love and a little extra light to the cast and crew this evening as they embark on their FIRST PREVIEW! I know it will be a great performance.
I shall be thinking of you and wish desperately I could be in two places at once.
xoxo
gossip girl
That said, I would like to send a little extra love and a little extra light to the cast and crew this evening as they embark on their FIRST PREVIEW! I know it will be a great performance.
I shall be thinking of you and wish desperately I could be in two places at once.
xoxo
gossip girl
Friday, September 25, 2009
Friday. Today is Friday.
Just past noon, and everyone has arrived for the day. Tonight is our invited dress rehearsal – the first time the play will be seen by an audience.
At the moment, I’m tucked away in the balcony as the CBC is filming a scene between Andrew Craig (Royce) and David Keeley (David). The camera-man is onstage with them, following them around, and gettin’ all up in their faces. hmm!
The past … three?* days have been long but productive. I can’t believe how many things have happened to get the play closer and closer to production ready. We now have lights, a finished set, props, costumes, music … new haircuts. All of the final elements coming together in one last swoop. The days in the rehearsal hall seem like such a long time ago.
It hasn’t been as smooth as all that. The formula has been a step by step approach with lots of patience. It’s all very mechanical – thinking through each transition in terms of seconds, hand movements, the number of buttons that can be done or undone…
-- Bri
Tuesday, September 22, 2009
Tech Week
Brad & Bretta Gerecke (our lovely set/lighting designer) had a meeting yesterday in which light levels were set. I can’t wait to see them this morning!!
On Sunday we did two run-throughs on the stage with the work lights on and I kept thinking about what clarity the lighting would bring – to specific locations, passage of time, and simply to highlight all the expressiveness going on on the actors’ faces.
Today is the first day of Tech Week. Traditionally this means ‘lack-of-sleep-lots-of-panic’ week.
And tonight the actors arrive for our cue to cue, scheduled to end just before midnight.
Monday, September 21, 2009
Props Rehearsal: "I have a cutlery question."
The latter half of Friday and all of Saturday was spent focusing on props. Up until that point, everything had been done in mime. This is (in my experience) a bit rare. Usually props are integrated as soon as possible so the actors get used to them. However, Brad wanted the focus to be solely on the text and the acting for the first couple of weeks. "We’ll deal with the props later."
And now we have. As the play is as much about food as it is about anything else, there are quite a lot of meals consumed. And plates set. And plates cleared. And cutlery. And napkins. And dish rags. There was a zany energy as everyone worked together trying to figure out the best way to get everything where it needed to be when it needed to be there. It’s such technical work. You just have to approach it calmly, step by step, and work it out. Then repeat. Then come up with another option and try again.
“Great – all the dishes were cleared before the end of the scene. Now we just need to find a way for you to do it without saying all of your lines into the cupboard.”
That said, Brad has maintained his original vision which is to use only what is necessary in every aspect of the show.
Which is why half through the props rehearsal we did away with all the knives.
I mean, as far as utensils go, knives are pretty overrated anyway.
Tuesday, September 15, 2009
quiescently
Our non-popsicles were "quiescently frozen".
quiescent: marked by a state of tranquil repose; "the quiescent melancholy of the town"
- being quiet, or still or inactive
(now use that new word in a sentence...)
True Love Lies is the antithesis of quiecence.
quiescent: marked by a state of tranquil repose; "the quiescent melancholy of the town"
- being quiet, or still or inactive
(now use that new word in a sentence...)
True Love Lies is the antithesis of quiecence.
Hot hot heat in the rehearsal hall today. It prompted a spontaneous popsicle party (but not real popsicles…). Brad thought they would simultaneously cool us down and perhaps provide enough of a sugar high to get us through to the end of the day. I think it worked.
Today we started back at the beginning.
We worked our way through the first half of the first act, going through each scene three times:
- once just for lines, at double time – focusing on articulation*
- once for blocking, double time – ensuring the actors feel in control
- once with all of the above + acting (oh, that.)
I got to use my outside voice(!) to indicate where the beats were in the script when we came upon scenes in which the pace had become (is it possible?) a little too fast – or rather, had lost some of its original specificity. Keeping each moment, reaction and choice entirely in the present tense.
I think the actors really appreciated the work we did today. It gave them a chance to ask any outstanding character or technical questions, as well as the opportunity to explore new choices.
If nothing else, I had a great day. And really, isn’t that what’s important? How the assistant director feels?
-- Bri
* Brad has posted a giant letter “H” in the rehearsal hall as a reminder…
Today we started back at the beginning.
We worked our way through the first half of the first act, going through each scene three times:
- once just for lines, at double time – focusing on articulation*
- once for blocking, double time – ensuring the actors feel in control
- once with all of the above + acting (oh, that.)
I got to use my outside voice(!) to indicate where the beats were in the script when we came upon scenes in which the pace had become (is it possible?) a little too fast – or rather, had lost some of its original specificity. Keeping each moment, reaction and choice entirely in the present tense.
I think the actors really appreciated the work we did today. It gave them a chance to ask any outstanding character or technical questions, as well as the opportunity to explore new choices.
If nothing else, I had a great day. And really, isn’t that what’s important? How the assistant director feels?
-- Bri
* Brad has posted a giant letter “H” in the rehearsal hall as a reminder…
Monday, September 14, 2009
Sunday, September 13, 2009
Sunday
About to embark on the 6th day of our 6 day week. Planning to do two stumble-throughs of the entire show! The theme of the day: risk failure. I suspect today will be a very emotional day. I realized yesterday that in some way, each character and the journey they take during the course of the play, essentially breaks my heart. Which makes for the very best in comedy. I appreciate Brad's determination to push everyone to make the less sentimental choice in their performances.
I can't believe how many facets of human nature are being represented and explored in one piece of theatre. It's inspiring and exhilarating.
PS -
If you, dear reader, ever need help running lines -- I'm getting rilly rilly good at it.
I can't believe how many facets of human nature are being represented and explored in one piece of theatre. It's inspiring and exhilarating.
PS -
If you, dear reader, ever need help running lines -- I'm getting rilly rilly good at it.
Friday, September 11, 2009
We've been back in the rehearsal hall the last couple of days. We were very fortunate on the weekend to be on the stage. This is a true luxury and really helped for doing the initial blocking of the hall. There will be less surprises now when we eventually move into the theatre full time.
We did a run through of the first act yesterday afternoon. After nine days of rehearsal... again, speedy. Everyone seemed to feel really good about it. Brad was likening the show to dance - that the rhythm and pace of the scene is so key, that part of getting it right will simply be repeptition. With each run we can explore the choices and moments more fully, giving each scene its own flavour.
It was great to end the day on such a high note. What with the heat, and the amount detailed work and concentration required, I think everyone on the team has taken their turn at feeling a slight bit of exhaustion this week. It's these moments of seeing the work come together ('we did it!') that will keep us fighting the fatigue and putting that first day flutter of excitement back in our stomachs. If I may speak for everyone. Perhaps it's just what I needed.
Today we embark on filling in the details of act 2 with the intention to run the entire play on Sunday.
!!!
We did a run through of the first act yesterday afternoon. After nine days of rehearsal... again, speedy. Everyone seemed to feel really good about it. Brad was likening the show to dance - that the rhythm and pace of the scene is so key, that part of getting it right will simply be repeptition. With each run we can explore the choices and moments more fully, giving each scene its own flavour.
It was great to end the day on such a high note. What with the heat, and the amount detailed work and concentration required, I think everyone on the team has taken their turn at feeling a slight bit of exhaustion this week. It's these moments of seeing the work come together ('we did it!') that will keep us fighting the fatigue and putting that first day flutter of excitement back in our stomachs. If I may speak for everyone. Perhaps it's just what I needed.
Today we embark on filling in the details of act 2 with the intention to run the entire play on Sunday.
!!!
Monday, September 7, 2009
Power Blocking
Saturday and Sunday felt like a whirlwind. We managed to block the entire show in a day and a half. Which is fast. Really fast. I don’t think I took a breath before lunch on Saturday. And it’s not just because I’m young and inexperienced – I checked. In speaking with some of the other people on the team, I was reassured in my conviction that we were, in fact, speeding.
It makes a lot of sense to approach the play this way – pushing through to find the overall shape, and work in the details later. After blocking only the first few scenes, there was already a clear sense of how this show needs to move. Many of the scenes are short, and we’re moving locations constantly, so it becomes dire to be able to flow from scene to scene without a break.
Which it looks like we’ll be able to do.
It makes a lot of sense to approach the play this way – pushing through to find the overall shape, and work in the details later. After blocking only the first few scenes, there was already a clear sense of how this show needs to move. Many of the scenes are short, and we’re moving locations constantly, so it becomes dire to be able to flow from scene to scene without a break.
Which it looks like we’ll be able to do.
Friday, September 4, 2009
Dueling Rehearsals
We've spent the last 2 days competing with the rehearsals of the CNE fighter jets...
Many a scene in the rehearsal hall has gained a dramatic pause or two while the actors wait for the noise to cease so that they can continue with the scene. Running lines in the courtyard took on the feeling of yelling in a war zone.
But we will fight the fighter jets. And we will win.
Many a scene in the rehearsal hall has gained a dramatic pause or two while the actors wait for the noise to cease so that they can continue with the scene. Running lines in the courtyard took on the feeling of yelling in a war zone.
But we will fight the fighter jets. And we will win.
Beets?
Tablework will continue today, and by the end of the day we'll have made our way through the entire play, beat by beat. A major part of the work being done so far has been making sure everyone understands where each beat occurs in the script. 'Beat' is a funny word and sometimes a little inconsistent in its definition. But in this context, the word beat refers to a shift that occurs. A shift in a character's intention, in the energy of the room with someone's entrance -- a shift.
The next step will be to work through each scene on its feet - we won't be solidifying any blocking just yet, but simply getting away from the table and accessing the energy that being on your feet can provide. My job during this process will be to indicate each time a beat occurs, so that the actors are able to memorize those placements in the same way that they memorize their lines. Brad wants to be able to both see and hear a shift each time a beat occurs.
I'm excited to embark on this next step of the process.
I will, of course, continue to let you know how it goes.
-- Briana
The next step will be to work through each scene on its feet - we won't be solidifying any blocking just yet, but simply getting away from the table and accessing the energy that being on your feet can provide. My job during this process will be to indicate each time a beat occurs, so that the actors are able to memorize those placements in the same way that they memorize their lines. Brad wants to be able to both see and hear a shift each time a beat occurs.
I'm excited to embark on this next step of the process.
I will, of course, continue to let you know how it goes.
-- Briana
Wednesday, September 2, 2009
Day 2
“We’re training for the Olympics and we have three and half weeks to do it.”
– Brad Fraser
Another great day. We spent the day sitting around the table, reading and analyzing the script scene by scene. The nitty gritty. Getting as specific as possible about the rhythm of each scene, the reasons characters are making the choices they are, what they want, and whether or not they get it. The answer to each of these questions being a choice each actor needs to make.
Each choice acting as a gateway into another conversation: the prevalence of lying in our lives, the effect of past relationships on our present, chance encounters with ex’s, the process of aging…
To paraphrase Brad, the text is the tip of the iceberg. We’re in the process of building the giant structure that will rest beneath the surface of each performance.
-- Bri
(Assistant Director)
– Brad Fraser
Another great day. We spent the day sitting around the table, reading and analyzing the script scene by scene. The nitty gritty. Getting as specific as possible about the rhythm of each scene, the reasons characters are making the choices they are, what they want, and whether or not they get it. The answer to each of these questions being a choice each actor needs to make.
Each choice acting as a gateway into another conversation: the prevalence of lying in our lives, the effect of past relationships on our present, chance encounters with ex’s, the process of aging…
To paraphrase Brad, the text is the tip of the iceberg. We’re in the process of building the giant structure that will rest beneath the surface of each performance.
-- Bri
(Assistant Director)
Back to School
Hello! As the assistant director of True Love Lies, I will be blogging for the next month, sharing my perspective on the rehearsal process up until Opening Night.
Rehearsal Day 1
At the risk of sounding entirely too romantic for my very first post... There was literally something in the air today that felt like a new beginning. It was an absolutely gorgeous day, but also an absolutely autumn day. September 1. Though (I believe) students have another week left of their summer vacation, the first day of September always has that sense of preparation, of readying oneself to enter into a new phase. And I believe everyone present in the rehearsal hall today felt just that. It was a landmark. A stepping stone. The first day of rehearsal for the first production of the Factory Theatre’s 40th season.
The Factory staff and actors had the opportunity to see their first glimpse of the final production as each of the designers (set, lighting and costume) presented their visions. Playwright and director Brad Fraser heard his words read aloud by this particular group of actors for the very first time. And all involved were able to put faces to names and take our very first steps on the journey ahead.
One of the highlights for me was hearing from Brad’s perspective the process through which we will be working in the weeks to come and the philosophy behind it. (I think I’ll reveal this piece by piece… stay tuned.)
I walked home with a huge grin across my face. I’m simply overjoyed to be working with such a great group of individuals on such an exceptional piece of writing. As is sometimes the case on the first day of school, sometimes you can just tell that it’s going to be a good one.
-- Briana Brown
Assistant Director
Rehearsal Day 1
At the risk of sounding entirely too romantic for my very first post... There was literally something in the air today that felt like a new beginning. It was an absolutely gorgeous day, but also an absolutely autumn day. September 1. Though (I believe) students have another week left of their summer vacation, the first day of September always has that sense of preparation, of readying oneself to enter into a new phase. And I believe everyone present in the rehearsal hall today felt just that. It was a landmark. A stepping stone. The first day of rehearsal for the first production of the Factory Theatre’s 40th season.
The Factory staff and actors had the opportunity to see their first glimpse of the final production as each of the designers (set, lighting and costume) presented their visions. Playwright and director Brad Fraser heard his words read aloud by this particular group of actors for the very first time. And all involved were able to put faces to names and take our very first steps on the journey ahead.
One of the highlights for me was hearing from Brad’s perspective the process through which we will be working in the weeks to come and the philosophy behind it. (I think I’ll reveal this piece by piece… stay tuned.)
I walked home with a huge grin across my face. I’m simply overjoyed to be working with such a great group of individuals on such an exceptional piece of writing. As is sometimes the case on the first day of school, sometimes you can just tell that it’s going to be a good one.
-- Briana Brown
Assistant Director
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