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Man oh manischevitz, have I been shagged and fagged and fashed this week, as Alexander DeLarge might say.
Rehearsals on the weekend, all going well, as they have been. Sunday, a bit held back by my still being on book for an important scene (sorry, Stacia).
Monday, I had to be at The Brick at 9.00 am to let in a show for rehearsal, then stay until 2.30 pm to help another show coming in.
Then I got to go to Gyda Arber's Memorial Day BBQ for a couple of hours and eat too much meat.
Then back to The Brick from 6.20 pm to 3.30 am to work on getting the tech ready for the Pretentious Festival and have the space ready for a shoot the next day. I was going to have rehearsal Tuesday evening, but after getting home at 5.00 am I emailed the cast and told them I'd be in no shape to work (I might have been able to direct a bit, there was no way I could do anything of value as Hamlet).
Back to the space at 9.30 am Tuesday to open up and supervise the shoot, which featured Ms. Kathleen Turner. Yes, at The Brick. They had to shoot an interview with her for a tribute they're doing at some Massachusetts film festival, and a friend of a friend put this film crew from Boston in touch with us, and it wound up with Ms. Turner giving a great, funny, and candid interview on the stage of The Brick.
Meanwhile, Berit was off at Big Apple Lights getting us the last supplies we needed to finally get the house plot in The Brick set up the way we've wanted it for months. So after the film crew left, we finished the work, sat back a moment to admire it as Amanda, the lighting director for the Fest, wrote some cues for one of the shows she's designing, and then got the hell home to rest a bit.
I'm glad I took Tuesday evening off, and spent Wednesday just doing simple paper and email work at home. I got the first good night's sleep I've had in weeks, got a huge amount accomplished in production work and line-learning, and actually felt relaxed for a while.
Which helped with the line-learning. I'm now almost completely off-book for Act I, with a couple of gaps. I'm going to try to do it tonight with no book, but no matter how well I get it at home, in front of the mirror, I'll still probably lose something and call for line still tonight. Some of it comes so easily and some just won't stick. Almost there on the act. I have 4 hours or more to work this afternoon (I have to be at the space at 5.00 pm, and then have rehearsal at 7.00).
I realized, in line-learning, that Berit and I both missed something in one of my lines that messes up the timeline we worked out for the play - there's one more day in there (we both confused some lines and thought the play within the play happens the same day as when the players arrive - it's the next day). So there's an extra day as what was "July 16" gets split into two days. Oh, well, don't think it'll change anyone's intentions or anything . . .
We now have the great Karen Flood on board doing our costumes for Ian W. Hill's Hamlet, which makes me very happy. She's designed a number of Kirk Wood Bromley's shows, and I've wanted to work with her more, but I think thus far we've only done my production of Mac Wellman's Harm's Way together, back in '98, though she's supplied me with an item here and there (a VERY important bowler hat for Temptation). I wrote her some extensive notes about the show, which I'll put up shortly.
So, more soon.
Rehearsals on the weekend, all going well, as they have been. Sunday, a bit held back by my still being on book for an important scene (sorry, Stacia).
Monday, I had to be at The Brick at 9.00 am to let in a show for rehearsal, then stay until 2.30 pm to help another show coming in.
Then I got to go to Gyda Arber's Memorial Day BBQ for a couple of hours and eat too much meat.
Then back to The Brick from 6.20 pm to 3.30 am to work on getting the tech ready for the Pretentious Festival and have the space ready for a shoot the next day. I was going to have rehearsal Tuesday evening, but after getting home at 5.00 am I emailed the cast and told them I'd be in no shape to work (I might have been able to direct a bit, there was no way I could do anything of value as Hamlet).
Back to the space at 9.30 am Tuesday to open up and supervise the shoot, which featured Ms. Kathleen Turner. Yes, at The Brick. They had to shoot an interview with her for a tribute they're doing at some Massachusetts film festival, and a friend of a friend put this film crew from Boston in touch with us, and it wound up with Ms. Turner giving a great, funny, and candid interview on the stage of The Brick.
Meanwhile, Berit was off at Big Apple Lights getting us the last supplies we needed to finally get the house plot in The Brick set up the way we've wanted it for months. So after the film crew left, we finished the work, sat back a moment to admire it as Amanda, the lighting director for the Fest, wrote some cues for one of the shows she's designing, and then got the hell home to rest a bit.
I'm glad I took Tuesday evening off, and spent Wednesday just doing simple paper and email work at home. I got the first good night's sleep I've had in weeks, got a huge amount accomplished in production work and line-learning, and actually felt relaxed for a while.
Which helped with the line-learning. I'm now almost completely off-book for Act I, with a couple of gaps. I'm going to try to do it tonight with no book, but no matter how well I get it at home, in front of the mirror, I'll still probably lose something and call for line still tonight. Some of it comes so easily and some just won't stick. Almost there on the act. I have 4 hours or more to work this afternoon (I have to be at the space at 5.00 pm, and then have rehearsal at 7.00).
I realized, in line-learning, that Berit and I both missed something in one of my lines that messes up the timeline we worked out for the play - there's one more day in there (we both confused some lines and thought the play within the play happens the same day as when the players arrive - it's the next day). So there's an extra day as what was "July 16" gets split into two days. Oh, well, don't think it'll change anyone's intentions or anything . . .
We now have the great Karen Flood on board doing our costumes for Ian W. Hill's Hamlet, which makes me very happy. She's designed a number of Kirk Wood Bromley's shows, and I've wanted to work with her more, but I think thus far we've only done my production of Mac Wellman's Harm's Way together, back in '98, though she's supplied me with an item here and there (a VERY important bowler hat for Temptation). I wrote her some extensive notes about the show, which I'll put up shortly.
So, more soon.
