One Week Down, Eight to go!

A.H:

So, writing this at the end of week one of rehearsals and on the cusp of starting the second everything seems to have got off to a brilliant start. There's been no mishaps, everyone's rather friendly and we’ve made plenty of head way in terms of getting the first act on its feet and seeing what works and, more importantly, what doesn’t. This involves working through the play from beginning to end, scene by scene. First we sit round a table to discuss the scene: working out the motives of the character’s and then we put it up on its feet in order to 'block' the scene (effectively working out where people move on the stage and when) and how certain technical aspects will work. These initial discussions and ideas all contribute to creating the rules of the world within which we will be working for the next four weeks of rehearsal.

For the actors rehearsal time is absolutely invaluable and provides a time for us to play and try anything that we see fit. The first weeks of rehearsals are always like this as the outlines of characters initially sketched out start to be refined as the smorgasbord of possibilities an actor comes up with are tried, tested, kept or thrown away. For example, for me, this week has been an exercise in exactly this. I have two characters: the Minstrel and the Table-Slave, for the latter I have a very clear idea of how I perceive the character and, therefore, how to play him, but for the former, I had no real insight. The only information available about the Minstrel in the script (always the first port of call for an actor when building a character) is that he constantly sings. Now, one week of rehearsals on and several suggestions from Dominic later I have a clearer idea of which avenue to pursue . Surprisingly, this has led to me having to learn the Ukulele (a suggestion of Dominic’s), for this task I have been lent a 'Ukulele for Beginner's' book and a Ukulele (surely the most vital of the two). Let's see what happens.

Lucy in 'Thornbush' Rehearsal Mode



However, the company is made up of more than just the principal cast and the creative team are equally invaluable in helping piece the world together: we have Lucien and Benedicte, our Movement Directors who have been making thorns come to life; Paddy our musical director teaching us songs, assistant director Debbie and Cathy our Stage Manager. We also have an ensemble made up of five Musical Theatre students from the Royal Conservatoire of Scotland who will play a plethora of different parts and also understudy the principal roles.

When Dominic took over the Citz’ last year using RCS students in his productions was something he was keen to introduce as well as for there to be a relationship between the school and the Citizens. In the space of a year this has gone from strength to strength with RCS students in King Lear, Dominic directing the MA Musical Theatre’s at the fringe this summer in Company and now Sleeping Beauty. When Dominic came to the school to talk to us (Lucy and I were in our third year) I remember very much appreciating him actively taking the time to speak to us and establish that relationship. As a Drama School student you spend a lot of your time vying for the attention of Agents, Casting Directors and Theatre Directors yet here was an Artistic Director actively seeking our attention and asking for our involvement in his theatre. It was very impressive.

Finally, Saturday brought about the company’s first birthday! Lucy Hollis (my fellow intern and blogger) is now officially a year older. This meant Saturday morning rehearsals were punctuated by a healthy dose of cake and our Saturday evening punctuated with some fairly vigorous dancing.

Now, where’s that Ukulele?

 ‘Sleeping Beauty’ is on at the Citizens Theatre, Glasgow, from the 1 December to the 6 January. For tickets, please call the box office on: 0141 429 0022; or book online at www.citz.co.uk.