Sunday, June 25, 2006
Bridging the Act Two Divide: Rehearsal Number Eight
We've already managed to rough out act one with some surprisingly quick success, so it's that time when we have to start facing the beast that is act two! The second act poses some unique directing challenges that I've mentioned briefly in earlier blogs. While there were many second acts that I felt hit well last season, as a whole, this portion of the show was more challenging and problematic. It's hard to rehearse something that is sooo dependent (especially in terms of content) on the act that came before. The structure I developed also didn't work as well on the stage as it did in my head - it made logical sense but not always dramatic sense for the first-time viewer. As a result, I've taken much of the act back to the drawing board. This is exciting but also a little unsettling as a director. The complexity of the form tends to push the company outside of their performance comfort zones as it is - if I appear too unsure as to the show's overall direction, this can make everyone even more nervous. I do, however, love the opportunity to strengthen the overall format!
I've given a lot of thought as to how to resituate the second act after taking into account some good feedback garnered from the first run. Consequently, I had a couple of agendas for today: Jay and Mark rejoined us after various times away and so they needed to be brought up to speed and folded back into the group; I also was keen to explore some modifications of song formats that I wanted to incorporate as set pieces for act two.
Sometimes the company very much feels like two groups: those who performed in the run last year, and those who are new to the show. For those returning, I am always fearful that there may be resistance as I change structural elements that were once familiar. In particular, I wanted to polish the opening and closing songs of the second act. Last year, the opening number felt pedestrian in that it often wandered and lost steam or finesse, while the last improv song often lost its precision and focus (it frequently landed on the shoulders of the star almost exclusively who was a bit sung out at that point.) With that in mind, we workshopped these two numbers and set some fun dynamics and singing sequences. Luckily, both returning and new players saw the value of these changes and jumped on board. We also played with a crescendoing song format that I'd like to introduce to the act as a way of building energy and suspense. It's loosely based on the short-form game "Entrances and Exits" and I've used this general idea earlier in my improvised Opera structure, (Your) Opera in a Trunk that tours with Pensacola Opera. The dynamic seems promising, although it hasn't quite found its button yet. Heather then joined us for the last hour and we danced the afternoon away!
Sunday's rehearsal will involve loosely stringing together the first half of the act. We're getting to the point that we need the overall structure in place so that we can run it and explore content more fully. We get Robyn back tomorrow (yeah!) but loose Jay and Darren (booh!). The comings and goings are a bit frustrating as it tends to slide us back when we have to explain old material to missing members... but to be an optimist, it also gives a chance to review key elements and structures.
Your act-two-contemplating Director, David C.
We've already managed to rough out act one with some surprisingly quick success, so it's that time when we have to start facing the beast that is act two! The second act poses some unique directing challenges that I've mentioned briefly in earlier blogs. While there were many second acts that I felt hit well last season, as a whole, this portion of the show was more challenging and problematic. It's hard to rehearse something that is sooo dependent (especially in terms of content) on the act that came before. The structure I developed also didn't work as well on the stage as it did in my head - it made logical sense but not always dramatic sense for the first-time viewer. As a result, I've taken much of the act back to the drawing board. This is exciting but also a little unsettling as a director. The complexity of the form tends to push the company outside of their performance comfort zones as it is - if I appear too unsure as to the show's overall direction, this can make everyone even more nervous. I do, however, love the opportunity to strengthen the overall format!
I've given a lot of thought as to how to resituate the second act after taking into account some good feedback garnered from the first run. Consequently, I had a couple of agendas for today: Jay and Mark rejoined us after various times away and so they needed to be brought up to speed and folded back into the group; I also was keen to explore some modifications of song formats that I wanted to incorporate as set pieces for act two.Sometimes the company very much feels like two groups: those who performed in the run last year, and those who are new to the show. For those returning, I am always fearful that there may be resistance as I change structural elements that were once familiar. In particular, I wanted to polish the opening and closing songs of the second act. Last year, the opening number felt pedestrian in that it often wandered and lost steam or finesse, while the last improv song often lost its precision and focus (it frequently landed on the shoulders of the star almost exclusively who was a bit sung out at that point.) With that in mind, we workshopped these two numbers and set some fun dynamics and singing sequences. Luckily, both returning and new players saw the value of these changes and jumped on board. We also played with a crescendoing song format that I'd like to introduce to the act as a way of building energy and suspense. It's loosely based on the short-form game "Entrances and Exits" and I've used this general idea earlier in my improvised Opera structure, (Your) Opera in a Trunk that tours with Pensacola Opera. The dynamic seems promising, although it hasn't quite found its button yet. Heather then joined us for the last hour and we danced the afternoon away!
Sunday's rehearsal will involve loosely stringing together the first half of the act. We're getting to the point that we need the overall structure in place so that we can run it and explore content more fully. We get Robyn back tomorrow (yeah!) but loose Jay and Darren (booh!). The comings and goings are a bit frustrating as it tends to slide us back when we have to explain old material to missing members... but to be an optimist, it also gives a chance to review key elements and structures.
Your act-two-contemplating Director, David C.
