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In a week and a little under 12 hours, I'll be onstage playing Hamlet.
I'm not off-book yet, but I'm close, and I'll be there. I'm spending about six hours on it today. That'll get me almost there, but probably not quite.
We have four more runthrus scheduled, tonight, Friday, Saturday, and Monday, the last a tech-dress with the full cast - the only time we'll have the full cast before we open. Tonight we're only down one actor, so that's good. We might lose one of the runthrus to deal with fight choreography, costumes, and props (either Friday or Saturday) with, respectively, Qui Nguyen, Karen Flood, and Berit.
I am anxious, but in an odd way. I am anxious that I am not more stressed about the show. I feel like I must be forgetting something and there's something else I have to do, but I think we have things under control. We have to build the platforms by next Monday, finish the postcard and send it out tonight, get the rest of the props (there aren't nearly as many as usual in one of my shows), finish the sound design, buy the fencing equipment, and . . . oh, there must be other things. Berit has a list . . .
But we seem to be together. I just have to get my lines down. Tomorrow I drive up to Maine to get my teeth finally fixed, back late the next day or early the following.
Sent out another round of press stuff and the promo email to my list.
Berit made up scale diagrams of the set positions for the cast in Photoshop - we won't get to work the transitions until tech, so I'd like them to have as clear as possible an image of what things are supposed to look like. Moving everything around at scale also made it obvious that certain plans we had as to where things were going to go will not work, and we had to fix them. Here's some of the settings in this form - a, b, and c are the three platforms (2' high, one of them 6x3.5', the other two 7x2'), d is a writing desk, and e is a step that can be placed by the platforms. The other shapes are chairs and a mic stand. Other lines are the curtains at The Brick, and several hanging 4' pieces of rust-colored paper.
Here is Act I, Scene 3 (our Act/Scene designations), the "dock" where Laertes says goodbye to Polonius and Ophelia:
Act I, Scene 7 - the office/hall in Elsinore where many scenes happen:
Act I, Scenes 9-10 - the play within the play and aftermath:
Act II, Scene 4 - the graveyard:
You can see in the last that we had to shift things a bit to make way for the coffin - it was delivered by Gaby and Nick to the space yesterday while we were there, and was larger than anticipated. Ah, well, it'll work. We have a coffin. Great!
Okay, time to finish up the morning's online business and get back to lines. I've got a week to become a proper Hamlet. Almost there. Almost there.
I'm not off-book yet, but I'm close, and I'll be there. I'm spending about six hours on it today. That'll get me almost there, but probably not quite.
We have four more runthrus scheduled, tonight, Friday, Saturday, and Monday, the last a tech-dress with the full cast - the only time we'll have the full cast before we open. Tonight we're only down one actor, so that's good. We might lose one of the runthrus to deal with fight choreography, costumes, and props (either Friday or Saturday) with, respectively, Qui Nguyen, Karen Flood, and Berit.
I am anxious, but in an odd way. I am anxious that I am not more stressed about the show. I feel like I must be forgetting something and there's something else I have to do, but I think we have things under control. We have to build the platforms by next Monday, finish the postcard and send it out tonight, get the rest of the props (there aren't nearly as many as usual in one of my shows), finish the sound design, buy the fencing equipment, and . . . oh, there must be other things. Berit has a list . . .
But we seem to be together. I just have to get my lines down. Tomorrow I drive up to Maine to get my teeth finally fixed, back late the next day or early the following.
Sent out another round of press stuff and the promo email to my list.
Berit made up scale diagrams of the set positions for the cast in Photoshop - we won't get to work the transitions until tech, so I'd like them to have as clear as possible an image of what things are supposed to look like. Moving everything around at scale also made it obvious that certain plans we had as to where things were going to go will not work, and we had to fix them. Here's some of the settings in this form - a, b, and c are the three platforms (2' high, one of them 6x3.5', the other two 7x2'), d is a writing desk, and e is a step that can be placed by the platforms. The other shapes are chairs and a mic stand. Other lines are the curtains at The Brick, and several hanging 4' pieces of rust-colored paper.
Here is Act I, Scene 3 (our Act/Scene designations), the "dock" where Laertes says goodbye to Polonius and Ophelia:
Act I, Scene 7 - the office/hall in Elsinore where many scenes happen:
Act I, Scenes 9-10 - the play within the play and aftermath:
Act II, Scene 4 - the graveyard:
You can see in the last that we had to shift things a bit to make way for the coffin - it was delivered by Gaby and Nick to the space yesterday while we were there, and was larger than anticipated. Ah, well, it'll work. We have a coffin. Great!
Okay, time to finish up the morning's online business and get back to lines. I've got a week to become a proper Hamlet. Almost there. Almost there.
