Making the picture

From Eric Hale:

Sunday was a very busy day and I did not get to write. I apologize. Fortunately, Shiangtai came through.

We had 6 hours of blocking rehearsal over the weekend. In that time we blocked all the parts of the opera involving the chorus. We also got to run parts of the blocking with the principals on Sunday.

As I mentioned in my earlier post, bloking rehearsals can be demoralizing. You’re moving, trying to juggle a book, write your blocking notes, and sing music you haven’t fully learned yet. You’re also holding in your imagination where the platforms, tables, chairs and other bits of scenery are. There’s a lot to keep track of. So much so that I can only comment on things that involved me directly. Even when I was not involved in the action, as in the children’s march, I was scribbling notes, or studying the music for the next section. So, I’m sure that many interesting things happened which I missed. Perhaps someone else will contribute their perspective.

One way that Thomas works is to say “Let’s just make the picture, then we’ll figure out how we get there.” That gives us a clear understanding where we need to be before we start trying to move.

There are surprises, and much can spring from a little change. During Sunday’s rehearsal, Thomas changed one of my entrances and told me that I would be reading a book. That’s all good for me, as a book is a great prop with which to work. However, I need to rethink my character. Literacy was not very common among early 19th century peasants, so I need a credible back story that explains why my character can read. That affects my current job and standing in the community, and hence my relationships to the other people on stage.

These rehearsals are also times when you discover problems. For example, when Escamillo makes his first big entrance, I’m carrying his cape for him. I had it draped over my arm. I had not thought through the fact that when he grabbed it, my hand would be trapped – as it was during the rehearsal of the Toreador song. Fortunately, Steven is pretty quick on the uptake, and managed to release my hand without stopping the song. It’s not a mistake I’ll make again.

There was also a truly awful pun by Wayne involving the the word turnips. It would take too long to explain, but it was truly a groaner of epic proportions.

Since thre rehearsal, I’ve been through my score and copied my blocking notes, at least the ones I could read. When we show up on Saturday, I’ll need to be able to do the movement without the book. Fortunately, my memory for blocking is generally good, so that does not intimidate me as much as memorizing the rest of my music.

My next rehearsal is Saturday. I have much to get done before then.

On a different topic, I must commend Ellen Williams for hosting the Capital Opera Donor Appreciation Evening Sunday. Ellen did an excellent job. The event was very successful, with good food and wine, and some very excellent singing by Cheryse McLeod Lewis (Carmen), Anna Kirby (Micaela), and Steven Jepson (Escamillo). The three performers were also very generous with their time and charmed the guests.