The eye of the storm

From Eric Hale:

As I mentioned in my last post, we did not have rehearsal today. That’s unusual, although I’m sure the rest did everyone good. I don’t know how the others spent their evening, but here’s how I spent mine.

I spent part of the time with my family. Evan, my son, and I had wide ranging conversation, touching on everything from the provinces of Canada to politics; chemistry; sushi; Flatland, which he’s about to start reading; video games; and, inevitably, Star Wars – which lead to the biomechanics of lemurs. The last will make sense if you’re ever seen a sifaka jump.

Anna Bess, my wife, and I talked about more prosaic things: How to organize the week so that Evan gets to and from school, her recent visit with her father, both our jobs. More prosaic, maybe, but it’s the stuff of life. Anna Bess is also reading the blog, organizing my opening night posse, handling everything at home, and generally being more supportive than anyone could reasonably ask.

I spent the rest of the evening prepping for tomorrow.

I checked my makeup kit. Everything was in good shape, but I had to run out and buy some moisten wipes, which I use to help take off the makeup.

For costuming, I need to bring black shoes, black socks, and a tee shirt. The tee shirt will make a valiant, but ultimately futile effort to keep the sweat off the costume shirt. My pants are blue, so I pack a navy pair of socks as well.

I spent some time reviewing my music, but that was a secondary focus for tonight. I know my music, but I’m working on getting to the next stage of being able to sing it while moving and acting. Funny how things you think you know can disappear when you’re doing two or three things at once.

I review the blocking notes. I’ve performed in Fletcher twice before, and I spend some time visualizing the stage. I really needed to spend some time thinking about movement. Fletcher is a considerably different environment than any we’re rehearsed in. Here are some of the ways:

We’re going to have some more width than we’re used to, as well as a lot more depth. So, the time to move across stage will be longer. We may also find ourselves further apart, since we have more area to fill.

The area to either side will be divided into short corridors called wings, from which we will enter. The wings are separated by curtains called legs. If the legs move, it's visible from the audience. It’s a safe bet that we’ll be reprimanded at least once a night about making the legs move. I should also mention that the back of the stage area is covered by an enormous curtain called a cyclorama, or cyc for short. The cyc costs five figures, so its visible and potentially very expensive if anything happens to the cyc. The wrath of god will land on your head if you disturb the cyc.

Wayne will be conducting from the orchestra pit, which means we will need to look down to see him. We may find that we can no longer see him, and need to adjust our position. It is more important than ever to watch the conductor now. The orchestra is under us, and we really do not hear the sound coming through the floor. Rather, it goes out and bounces back. Even assuming a steady tempo, if you only use your ears you can find yourself behind the beat.

Finally, we’re going to have to deal with a real set. Platforms which, until now, have been only and abstract concept will be real physical impediments. People you thought were your level will be a couple of feet higher. Seemingly unobstructed pathways will be blocked. On the other hand, Escamillo and the Gypsies will finally be able to dance without fear that the folding table will collapse beneath them.

Tomorrow, we start to sprint. I expect it will be very educational.