Hello again! Thank you so much for coming back each week to read this little memoir; I hope you are getting as much out of it as I am.
So, as you may have guessed this week we were predominantly in the space; which basically means that if 'Beautiful Thing' is not running, our company is able to utilise the stage and benefit from it. This is a massive luxury for actors as well as all other company members in the 3rd week. Usually, a company does not get 'into the ring' until we start teching the show (putting lights in etc) so we really are very lucky. The Royal Exchange are to thank for this. Hopefully, it will enable us to engage with our surroundings early on and be so familiar with the stage by the time that we open (not long now!) that nothing will take us by surprise. (Plenty will surprise YOU but that's another story!).
It wasn't until we were actually walking and talking (read=acting) that the company realised the vastness of the space. It is so wide and so tall and feels quite liberating when you are in it. Without too much 'actor talk', one can almost 'feel' the room in the pit of the stomach and I discovered that we really must rely on what we 'feel' and not necessarily 'think'. This will aid to the success of our show working on this specific stage.
On Monday we primarily focussed on 'feeling' the stage and its surroundings; as well as looking at our scene changes. This might sound rather dull to those of you who have not experienced a 'Told by an Idiot' production before but let me assure you, it wont be. I cant give too much away except to tease you with the idea of a 'furniture ballet,' which is what we have come to call each of out scene changes. As an actor, one of the most soul destroying aspects of a production you are in is a boring scene change. Of course, they have to be done. In both a practical and rapid way. But to just turn off the lights and shift furniture or back-drops around seems to sap the energy out of the scenes either side. So I am extremely pleased to be involved in something that has much more pizzazz to its scene changes!
It is interesting to note how many new things are being discovered all the time; as we all become more confident with the text and obviously more familiar with the space. Not only in the director daring us to try new things all the time (Paul's brain is constantly fizzing with new approaches to a scene -its a wonder the man hasn't exploded), but actors and stage management are putting forward their ideas too. It is this kind of ensemble creative process that is such a joy to be a part of. Of course, there are ideas that will not work - either too elaborate or just simply a Health and Safety hazard (Denton!) but all are considered and tried out. I have a feeling that even throughout the run, different ingedients to a scene will be tried and tested. This sort of process lends itself to this kind of play and this kind of company and can only thrive if we allow it to happen.
On Wednesday we ran the play for the first time. VERY SCARY! It suddenly dawned on me that all this fun I have been having actually is only part of the journey and we are soon nearing the destination. It is not long now really until we are open. The run went well though and Paul seemed pleased. We are looking at about 2 hours running time plus the interval. This may change (when we are snowed under with laughs!) but roughly that is the time; which is pretty good going. The play is packed with action; it is not heavy or strong in its narrative but there is a great deal to watch all the time and is filled with physical and visual treats and I'm sure the evenings entertainment will fly by!
The lovely Sian Williams came up to see us on Thursday. A lot of work was done with Sophie (Essie) on her ballet routine as well as various little titbits throughout the play. But of course, we ended the day with the company dance. It is in the Lindy Hop genre so there is much swinging and twirling each other about - not so great after one of Yvonne and Pam's specialities in the Green Room, but enjoyable much the same! Anyone who walked past would have no doubt assumed the professionals from Strictly Come Dancing were in the building - perhaps with just a few less sequins and sparkles. (and rhythm!)
The week was rounded off nicely with some more work in the space - so amazing to have that luxury as well as a number of props and costumes to hand, and as I looked around the room ahead of a company tapas meal planned for later than evening I felt so proud at how far we'd come and what i am a part of. I am glad we have another week , don't get me wrong, but I am hopeful of the outcome and pleased as punch that we seem to be in pretty great shape. The rehearsals have been a joy and I have learnt so much from those around me. I am honoured to be a part of this magic. I hope that you will feel the same. Sarah x
Sarah Ridgeway, playing the part of Alice in YOU CAN'T TAKE IT WITH YOU, blogs from rehearsals.
Tuesday, 29 November 2011
Friday, 25 November 2011
WEEK 2!
Hello again!
Welcome back! Well, it has certainly been a busy week for all involved in 'You Can't Take it with You,' hence this late entry for the past days events. Apologies for that. We began Week Two, and indeed Act Two with the intensity and excitement that was felt in the room just one week ago. (How time flies! Can't believe its only been a week!) To tease you with a line from the play we all feel very much like 'Life is chasing around inside of us, like a squirrel.'
By now, the rehearsal room floor is marked out in different coloured tape, more props are starting to appear, more tricks and surprising sound effects are being conjured up and there are about 100 tea cups lying about the room. These, are of course, not part of the play; simply fuel to function the actors brain! (The rehearsal room bin is filled with Kit Kat wrappers!) The morning began with the cast gathered around their director like a group of primary school children at 3pm, while he read to us inspirational quotes from 'Act One' - an autobiography by Moss Hart, with an introduction by Woody Allen. This is a wonderful book (on Amazon for just £9.98) filled with wonder, drama and heartbreak that surrounded Broadway around the time the play was written and an explanation and exploration in to understanding how much in the world, acts as a vehicle for the events of the play.
We were invited at the beginning of the week to attend the Press Night of 'Beautiful Thing.' And what a beautiful thing it was. If you haven't seen it, you simply must. It is a joy from beginning to end and will make you laugh and smile in equal measure. I found the ending particularly moving and if you haven't already seen it, i really recommend that you do. You wont regret it. Gorgeous performances from all involved and the direction and design are marvellous. Well Done to all involved.
It was particularly interesting for me, as an actor who has not worked at this particular theatre before to see how a play works in this very specific space. To analyse what happens vocally and physically as one moves around proved to be incredibly helpful and useful. The evening was not only a wonderful night's entertainment but I learnt a lot about performing on this stage, which I was excited to bring into the room the next day. So it was a surprise to me the next morning when Paul explained to us that we would be trying a new technique which was basically, and I'm paraphrasing here, 'Acting for Idiots.' Stanislavski says 'Analyse first, block later.' He later changed his mind actually, but this was his main school of thought. The only problem with this however is that what you read on the page and decide for your character might not be the same when you come to put that character on its feet or see how it relates to other charatcers.
This method involves recording a scene on tape and then 5 stages of acting it out; without speaking, just listening to the tape. You can only move in three ways - towards each other (impelled), away from each other (repelled) and staying put (compelled.) The catch is however (and this was where my brain began to frazzle) is that each time this is done, you cannot make the same move. Even as I type, this seems like quite a simple technique and I wonder why I found it so difficult, but in situe, believe me its pretty tricky! However, it is also amazingly refreshing and very rewarding. Aspects of a scene and of characters are discovered which would never have been found in a conventional rehearsal process. I suppose, it is a little like improvisation in that actors have to be more and more inventive at each stage of the process and though I said that i found it fairly hard, it is also invigoratingly joyful , taking performers to a place of vulnerability and excitement which is exactly what an audience always longs to see onstage. If too much thought was allowed, would never happen. This method means that you don't think. You just do.
This week felt very much like progression. Act Two was developed in much greater detail as more characters and new tricks are introduced. We are still laughing a lot as a company, both inside the rehearsal room and out, which is always good but also we found time for a lot of dancing too! All part of the play you understand. We weren't just gallivanting about for the hell of it! There was a lot of work with Sophie Russell (Essie) in preparation for her ballet-style grand entrance (you'll have to wait and see!) as well as some nifty moves among the rest of us. Sian Williams, our marvel of a choreographer and movement director came into rehearsals on Thursday to work with us all and surprised us with a dance routine which will feature somewhere within the play. Myself and Hugh Skinner (Tony) look particularly striking as he is 6 ft 1 and I am a foot smaller! Sian also worked extensively with the actors playing Essie, Mr. Kolenkov and Ed or specific ballet moves which would be peppered throughout the whole piece. The journey was hilarious fun and the end result went down well. I think Paul even went so far as to use the word 'impressed'! Which was nice.
You never know, if you're sat in the right place, we may even coax some of you into getting involved too! Next week we are in the space for some of the rehearsal period and we will be running (well, staggering) the whole play for the first time! eeeesch! Fingers crossed! I'll keep you posted! Hope you've bought your tickets - they are selling like hot blintzes!
Sarah x
Welcome back! Well, it has certainly been a busy week for all involved in 'You Can't Take it with You,' hence this late entry for the past days events. Apologies for that. We began Week Two, and indeed Act Two with the intensity and excitement that was felt in the room just one week ago. (How time flies! Can't believe its only been a week!) To tease you with a line from the play we all feel very much like 'Life is chasing around inside of us, like a squirrel.'
By now, the rehearsal room floor is marked out in different coloured tape, more props are starting to appear, more tricks and surprising sound effects are being conjured up and there are about 100 tea cups lying about the room. These, are of course, not part of the play; simply fuel to function the actors brain! (The rehearsal room bin is filled with Kit Kat wrappers!) The morning began with the cast gathered around their director like a group of primary school children at 3pm, while he read to us inspirational quotes from 'Act One' - an autobiography by Moss Hart, with an introduction by Woody Allen. This is a wonderful book (on Amazon for just £9.98) filled with wonder, drama and heartbreak that surrounded Broadway around the time the play was written and an explanation and exploration in to understanding how much in the world, acts as a vehicle for the events of the play.
We were invited at the beginning of the week to attend the Press Night of 'Beautiful Thing.' And what a beautiful thing it was. If you haven't seen it, you simply must. It is a joy from beginning to end and will make you laugh and smile in equal measure. I found the ending particularly moving and if you haven't already seen it, i really recommend that you do. You wont regret it. Gorgeous performances from all involved and the direction and design are marvellous. Well Done to all involved.
It was particularly interesting for me, as an actor who has not worked at this particular theatre before to see how a play works in this very specific space. To analyse what happens vocally and physically as one moves around proved to be incredibly helpful and useful. The evening was not only a wonderful night's entertainment but I learnt a lot about performing on this stage, which I was excited to bring into the room the next day. So it was a surprise to me the next morning when Paul explained to us that we would be trying a new technique which was basically, and I'm paraphrasing here, 'Acting for Idiots.' Stanislavski says 'Analyse first, block later.' He later changed his mind actually, but this was his main school of thought. The only problem with this however is that what you read on the page and decide for your character might not be the same when you come to put that character on its feet or see how it relates to other charatcers.
This method involves recording a scene on tape and then 5 stages of acting it out; without speaking, just listening to the tape. You can only move in three ways - towards each other (impelled), away from each other (repelled) and staying put (compelled.) The catch is however (and this was where my brain began to frazzle) is that each time this is done, you cannot make the same move. Even as I type, this seems like quite a simple technique and I wonder why I found it so difficult, but in situe, believe me its pretty tricky! However, it is also amazingly refreshing and very rewarding. Aspects of a scene and of characters are discovered which would never have been found in a conventional rehearsal process. I suppose, it is a little like improvisation in that actors have to be more and more inventive at each stage of the process and though I said that i found it fairly hard, it is also invigoratingly joyful , taking performers to a place of vulnerability and excitement which is exactly what an audience always longs to see onstage. If too much thought was allowed, would never happen. This method means that you don't think. You just do.
This week felt very much like progression. Act Two was developed in much greater detail as more characters and new tricks are introduced. We are still laughing a lot as a company, both inside the rehearsal room and out, which is always good but also we found time for a lot of dancing too! All part of the play you understand. We weren't just gallivanting about for the hell of it! There was a lot of work with Sophie Russell (Essie) in preparation for her ballet-style grand entrance (you'll have to wait and see!) as well as some nifty moves among the rest of us. Sian Williams, our marvel of a choreographer and movement director came into rehearsals on Thursday to work with us all and surprised us with a dance routine which will feature somewhere within the play. Myself and Hugh Skinner (Tony) look particularly striking as he is 6 ft 1 and I am a foot smaller! Sian also worked extensively with the actors playing Essie, Mr. Kolenkov and Ed or specific ballet moves which would be peppered throughout the whole piece. The journey was hilarious fun and the end result went down well. I think Paul even went so far as to use the word 'impressed'! Which was nice.
You never know, if you're sat in the right place, we may even coax some of you into getting involved too! Next week we are in the space for some of the rehearsal period and we will be running (well, staggering) the whole play for the first time! eeeesch! Fingers crossed! I'll keep you posted! Hope you've bought your tickets - they are selling like hot blintzes!
Sarah x
Tuesday, 15 November 2011
Hello - and Week 1
Hello! Thank you for clicking on to the link and welcome. This is my little blog about rehearsing the exciting new production of You Can't Take It With You at the Royal Exchange Theatre. But first I thought I’d better do a bit of research into the history of the play and explore how the timeless appeal and fun of the piece, promotes immediate enjoyment (hopefully!) to an audience.
You Can't Take It with You opened in New York in December of 1936 to instant critical and popular acclaim. This depiction of a delightfully eccentric family, the third collaboration by playwrights George S. Kaufman and Moss Hart, proved to be their most successful and longest-running work. Awarded the Pulitzer Prize in 1936, the comedy went on to run 837 performances on Broadway. In 1938 the play was re-written as a screenoplay Kaufman and Hart sold the film rights to Columbia Pictures for a record-setting amount.. Though quite different to the original text, the film won an Academy Award for best picture. (The play is so much better!)
Without wishing to give anything away to you, all of who I’m sure already have your tickets. (!) You Can't Take It with You relates the humorous encounter between the conservative Kirby family and the crazy household of Grandpa Martin Vanderhof. Grandpa's family of idiosyncratic individualists amuse with their slightly ‘off-the-wall’ but charming comment on life through chaotic activity and inspire with their wholehearted pursuit of happiness and having fun, completely brushing aside any notion of ‘normality’ or indeed, the ‘socially acceptable’. Critics have admired the witty one-liners, the visual theatricalism, and the balanced construction of the play. Although You Can't Take It with You is undeniably escapist theatre with fun and frolics all round, it is also touching, heartfelt and an honest view of social hieracrhy of America during the 1930’s and love between two young people and the families which surround them.
I have always found the rehearsal process fascinating. To an outsider, it must all seem a bit bonkers - the actors in part costume drifting both in out of character, revealing snippets of the play, chatting with stage hands and directors in a funny voice or acccent, dancing, repeating scenes and moving in and out of real time and the time the play is set. Much like the play itself, our rehearsal room (on the top floor of the building – with no lift!), is a merge of the real and the imaginary, the playful nature of the piece and the seriousness of the task ahead.
In brief, this week has been nothing but a week of surprises. I have been amazed each and every day at the creativity and excitement which fills the rehearsal room. Led by Paul Hunter, our director who ‘bounces’ about the room both in voice and physicality is infectious and all the actors have been nervously and animatedly chatting away about the play all through our lunches and tea breaks – not wanting to let the ball of focus drop for a second!
The first surprise of the week came at about 12.30 when the actors were ushered into a room to meet the ‘Royal Exchange Team.’ You might have thought, like me, that this would consist of ten or so other people whom the actors would work closely with throughout our time here at the Exchange. In the words of Chruchill the dog, ‘Oh, no, no,. no!’ There must have been at least 40 beaming faces in this room, ready to welcome us to their second home. And it does feel like a second home. Already. Everyone has been so welcoming and kind. At 5pm, just as it was feeling like the end of the first day at school – the actors were invited into marketing for a ‘social bonding meeting’ (read = wine.) This was much welcomed and a great time was had by all; though I felt less fresh on Tuesday morning than I did on Monday!
One other thing about the first day which was surprising was the fact that we were told that all furniture on the set would all be on wheels.Yes, wheels. This means that whenever one sits down or leans on a table, the whole piece of furniture would move. There are other tricks to the set also, but for me to reveal them now would spoil the curiosity so I’m going to conceal them for the time being. But if anyone has any ideas, do let me know!
Day two, you might think that all surprises were over. But oh no. 10am: Paul Hunter announces that we are going to embark on a run. Yes, a whole run. Withuot scripts. Now, I know his company is called ‘Told by an Idiot’ but really?! Yes, this wasn’t a joke.And we did it. Stage Managers and helpful volunteers fed the actors the lines and the moves as described in the piece. Slowly but surely, we managed to run the whole play. It took all day, granted, but we did it. And created a lot of giggles on the way; not least watching people come to grips with the movable set! Lines that were vaguely funny on paper seem suddenly to be utterly outrageous when acted out on stage, and excitement for the potential of this show bubbled through our veins even more.
Day three was a less surprising day – more pleasantly enchanting mainly due toYvonne and Ann in our Green Room. The Royal Exchange Theatre is the only Theatre in England that still has a Green Room, and it is such a joy and delight to be there amongst so much history that it seems ridiculous not to mention it. These two ladies feed our brains and our bellies so that we work with gusto and juice thoughout the afternoon. Without this pastoral care, the shows might not be as energectic as they are and for this, I believe these ladies deserve a special mention.
As I was walking to the theatre on Thursday, it suddenly occurred to me that it had not rained during the day. All week. At all!! Having spent three years here, studying drama at the University of Manchester, I am well aware that Manchester is notorious for rain. And beautiful though Manchester is during the rain, I have been pleasently surprised that it has been so dry this last week and very thankful indeed. Lets hope it stays that way for a little while – at least until I’ve had time to indulge in a couple of cheeky mulled wines at the infamous Christmas markets!
So, last day of the week (we’ve got Saturday off this week – yet, another surprise! Given the size of the show, I thought we’d be in at least 6 days a week) and we attempt a stagger through Act One. As I sit back and observe the work that has gone on in these four walls over the past 5 days, I am immensly proud to be part of such a creative team who are passionate and enthsiactic about every step taken and every word spoken. The ‘stagger’ goes pretty well and I laugh a lot, even though I know whats coming. The quick costume changes, the wobbly set and the acting of all involved impresses me more and more each day and unless something distastrous happens over the next two weeks, I think we are all in for a treat. ‘Told by an Idiot’ is not accurate at all. ‘Told by a Genius’ is far more apt. And I only hope you’ll agreee.
As we made plans to hit the town on Friday night for some more ‘social bonding’(read=beer and curry), which is paramount to the success of the production I’ll have you know (!) I am delighted to share with you tales of what lies ahead. I hope that you are too.
You Can't Take It with You opened in New York in December of 1936 to instant critical and popular acclaim. This depiction of a delightfully eccentric family, the third collaboration by playwrights George S. Kaufman and Moss Hart, proved to be their most successful and longest-running work. Awarded the Pulitzer Prize in 1936, the comedy went on to run 837 performances on Broadway. In 1938 the play was re-written as a screenoplay Kaufman and Hart sold the film rights to Columbia Pictures for a record-setting amount.. Though quite different to the original text, the film won an Academy Award for best picture. (The play is so much better!)
Without wishing to give anything away to you, all of who I’m sure already have your tickets. (!) You Can't Take It with You relates the humorous encounter between the conservative Kirby family and the crazy household of Grandpa Martin Vanderhof. Grandpa's family of idiosyncratic individualists amuse with their slightly ‘off-the-wall’ but charming comment on life through chaotic activity and inspire with their wholehearted pursuit of happiness and having fun, completely brushing aside any notion of ‘normality’ or indeed, the ‘socially acceptable’. Critics have admired the witty one-liners, the visual theatricalism, and the balanced construction of the play. Although You Can't Take It with You is undeniably escapist theatre with fun and frolics all round, it is also touching, heartfelt and an honest view of social hieracrhy of America during the 1930’s and love between two young people and the families which surround them.
I have always found the rehearsal process fascinating. To an outsider, it must all seem a bit bonkers - the actors in part costume drifting both in out of character, revealing snippets of the play, chatting with stage hands and directors in a funny voice or acccent, dancing, repeating scenes and moving in and out of real time and the time the play is set. Much like the play itself, our rehearsal room (on the top floor of the building – with no lift!), is a merge of the real and the imaginary, the playful nature of the piece and the seriousness of the task ahead.
In brief, this week has been nothing but a week of surprises. I have been amazed each and every day at the creativity and excitement which fills the rehearsal room. Led by Paul Hunter, our director who ‘bounces’ about the room both in voice and physicality is infectious and all the actors have been nervously and animatedly chatting away about the play all through our lunches and tea breaks – not wanting to let the ball of focus drop for a second!
The first surprise of the week came at about 12.30 when the actors were ushered into a room to meet the ‘Royal Exchange Team.’ You might have thought, like me, that this would consist of ten or so other people whom the actors would work closely with throughout our time here at the Exchange. In the words of Chruchill the dog, ‘Oh, no, no,. no!’ There must have been at least 40 beaming faces in this room, ready to welcome us to their second home. And it does feel like a second home. Already. Everyone has been so welcoming and kind. At 5pm, just as it was feeling like the end of the first day at school – the actors were invited into marketing for a ‘social bonding meeting’ (read = wine.) This was much welcomed and a great time was had by all; though I felt less fresh on Tuesday morning than I did on Monday!
One other thing about the first day which was surprising was the fact that we were told that all furniture on the set would all be on wheels.Yes, wheels. This means that whenever one sits down or leans on a table, the whole piece of furniture would move. There are other tricks to the set also, but for me to reveal them now would spoil the curiosity so I’m going to conceal them for the time being. But if anyone has any ideas, do let me know!
Day two, you might think that all surprises were over. But oh no. 10am: Paul Hunter announces that we are going to embark on a run. Yes, a whole run. Withuot scripts. Now, I know his company is called ‘Told by an Idiot’ but really?! Yes, this wasn’t a joke.And we did it. Stage Managers and helpful volunteers fed the actors the lines and the moves as described in the piece. Slowly but surely, we managed to run the whole play. It took all day, granted, but we did it. And created a lot of giggles on the way; not least watching people come to grips with the movable set! Lines that were vaguely funny on paper seem suddenly to be utterly outrageous when acted out on stage, and excitement for the potential of this show bubbled through our veins even more.
Day three was a less surprising day – more pleasantly enchanting mainly due toYvonne and Ann in our Green Room. The Royal Exchange Theatre is the only Theatre in England that still has a Green Room, and it is such a joy and delight to be there amongst so much history that it seems ridiculous not to mention it. These two ladies feed our brains and our bellies so that we work with gusto and juice thoughout the afternoon. Without this pastoral care, the shows might not be as energectic as they are and for this, I believe these ladies deserve a special mention.
As I was walking to the theatre on Thursday, it suddenly occurred to me that it had not rained during the day. All week. At all!! Having spent three years here, studying drama at the University of Manchester, I am well aware that Manchester is notorious for rain. And beautiful though Manchester is during the rain, I have been pleasently surprised that it has been so dry this last week and very thankful indeed. Lets hope it stays that way for a little while – at least until I’ve had time to indulge in a couple of cheeky mulled wines at the infamous Christmas markets!
So, last day of the week (we’ve got Saturday off this week – yet, another surprise! Given the size of the show, I thought we’d be in at least 6 days a week) and we attempt a stagger through Act One. As I sit back and observe the work that has gone on in these four walls over the past 5 days, I am immensly proud to be part of such a creative team who are passionate and enthsiactic about every step taken and every word spoken. The ‘stagger’ goes pretty well and I laugh a lot, even though I know whats coming. The quick costume changes, the wobbly set and the acting of all involved impresses me more and more each day and unless something distastrous happens over the next two weeks, I think we are all in for a treat. ‘Told by an Idiot’ is not accurate at all. ‘Told by a Genius’ is far more apt. And I only hope you’ll agreee.
As we made plans to hit the town on Friday night for some more ‘social bonding’(read=beer and curry), which is paramount to the success of the production I’ll have you know (!) I am delighted to share with you tales of what lies ahead. I hope that you are too.
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