Bricken Go Bragh

Tonight was my last rehearsal with Bricken before she jets off to Dublin to perform. It was mighty generous of her to put in so much time between her gig a couple of weeks ago in Tokyo and this one. I’m still jet lagging a bit. I need to rest up. I ran out of steam during the run today. I’m pretty much off book but I’m still have those moments when my mental/physical/emotional computer crashes. It’s like what I remember from childhood pre-cable television when the picture would go to a weird red and green and be out of focus. The show is still going on but something major is off. Not bad for being a week out from opening. I called for lines twice during my competitive eater character who now sounds like a pro-wrestler. I burned a hole in his jacket while ironing out my costumes earlier today. When you see it, you’ll know why. It is a walking fire hazard but the care instructions said it could take an iron. It is one of a few pieces I will have to hand stitch a bit.
I open a week from tonight. I felt a bunch of weak places in it. I don’t know for sure what to do about them. Usually, I need to get through a run and feel it out with the audiences to know what to keep, alter, build, or toss. I don’t know how this will go over. I do know I can’t back off any of it on the inside just because it feels like it might be making people feel uncomfortable. Sometimes you have to play above the audience’s reaction. It’s different than when you are doing a scene with someone else there. You have to build in how the other character is taking in what you are doing as well as create the entire atmosphere and conjure the world if there’s no realistic set around you. When all of it flows, it’s a huge rush. When it’s off, it’s the worst thing in the world. My girlfriend compares it to an Olympic figure skater being off.
I don’t think I did myself any favohttp://www.blogger.com/img/gl.italic.gif
insert italic tagsrs by making this such a tough piece. It isn’t very funny in a lot of places. Hopefully, the in-between pieces will pick up that slack so the overall feeling will be balanced. Maybe I should have read The Audacity of Hope before beginning this process.
Some of the characters I’ve got down at this point while others not so much. I think I need to break things down and get a grasp on each. Like I should go through the whole piece without saying the words so I know what my body is doing and where my focus is. Pause in between and feel out what the other characters are doing. I don’t talk very often, if at all, in this piece to the audience. In fact, I don’t. I think I’ve skipped some basic Stanislavski homework with this but it’s different than when you are doing a piece someone else wrote. I do have a couple of moments when I discover something the playwright put in that I didn’t get until then. Then I realize that I was the one who wrote it. Then I feel stupid. I guess it’s like how it might different for a band to play something in the studio but have to rehearse it to get it right live.
The good news I got from Dr. Dave Ores is that I just have a back spasm. He said I wouldn’t have the flexibility I have if it was spinal or nerve problems. So I guess I didn’t really break my ass last week. It still hurts getting up and down. He suggested swimming and hot tub treatments.

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