Anne-Marie Robinson '08
In the initial production stages, cast members rehearse on the mid-construction set during the first on-stage practice.
23 January, 2008: Day 5
Today in GodspellWorld:
“Day by Day” looks solid; only one minor, eight-count section depends on a slight variation in a foot pop.
“Bless the Lord” looks a little like a Grease-inspired dance party, which could actually work to our advantage.
“All for the Best” looks hilarious. Intentionally or unintentionally, I do not know. Cheers to Bryant and Rich.
I notice the actors slipping into character often now. I suppose that happens once one feels confident with choreography – makes it easier to improvise and take chances. In “Day by Day,” Kayla’s character emerges, endearing to watch. (During one rehearsal Gabi’s character improvs a powerful, fist raised, “Girl Power!” proclamation and Kayla’s character responds with a sheepish, pigeon-toed, “Yeah, uh, girl power!” A pathetic, relatable moment.)
Eric, our costume coordinator, introduces a few select cast members to their foot apparel. Better to adjust sooner rather than later. April manages to survive a few numbers in four-inch stilettos, but she may downgrade for safety reasons. Steph receives a lovely pair of matronly, lace-up pumps, and John accepts Timberlands.
Gabi experiments with dark, punkish nail polish. Today calls for a deep lavender shade. Tomorrow, perhaps, a rich blue.
The goal for this week – Friday, that’s in two days – is completing Act I. On Friday at 1 p.m. the entire cast will perform Act I for Tymberley Wittrig, our set and lighting designer.
Elena Yamamoto '09
Designed by Tymberly Wittrig, co-chair of the Department of Theatre, the completed set contributes creatively to the show's contemporary setting.
This means, for me: Tomorrow we must, must, must complete all choreography for “Light of the World.” Then, begin choreography for “We Beseech Thee” on Thursday and complete it by noon on Friday. This afternoon, Cara, Emily, and I must learn “By My Side,” a modern, interpretive piece. They pick up choreography quickly and retain it. Very reliable, they are.
I don’t know how the actors function at this intense pace. Rena, our student director, confesses exhaustion but shrugs her shoulders, “After four years of working in the theatre department, I’m used to it.”
Ed Cohn, the director, says that this J-term schedule is like training camp for future professional actors. Broadway shows, for example, have speedy turnover rates, and it’s normal to pound out a show – choreography, vocals, lines, and all – in a month or less.
Previous | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | Next