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Guest Director BJ Jones, Artistic Director of Northlight Theatre in Chicago, takes us on a journey through the rehearsal process of INTIMAN’s season opener.
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REHEARSAL JOURNAL | March 27, 2006 |
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An early morning call at 10 AM , starting with the photo call in which our intrepid Communication Director Stephanie Coen and Marketing Director Lisa Fulton brought our wonderful photographer Chris Bennion down to rehearsal to shoot some stills to be used for publicity and pre show marketing until we shoot more photos during tech. These are shot with bits of costumes and set elements cobbled together in a rough approximation of what will eventually be used. Bits of scenes are played while Chris shoots and some are staged based on nothing other than contrived moments, which will look good in the newspaper. Michael and Richard are hilarious making rude comments and perverting existing lines from the play for the general amusement of all. The shots, done digitally, look very good and I am impressed with Chris lighting.
Afterwards we start rehearsal beginning with the first scene, running through it, working out the kinks, re running sections as needs be. We chat about the tone of an argument, how much should be in the equipment bag, what worked in the past, or not. Michael Edwards did the play in Cleveland and I did the original production so there is a wealth of experience in hand. The original production did not have scenes involving Mrs. Timmy, who is the object of Coach Don s leering. I find the humor delightfully inappropriate and I can t help laughing through it. Don is such an egotistical sexist, that it just makes me howl. She wants me, he tells Coach Michael, and in Richard Ziman s hands the line is deadpan and hilarious.
Dresser is brilliant at this kind of delicious outrageousness. It s that comic contrast in his writing that I admire most, because right after that you realize how sad his characters really are. Boldly they flash their bravura, and in deep relief their flaws are exposed. It s masterful writing.
We get through half the first act, working the first game a couple of times, and stopping here and there to clarify and adjust. It s all about learning lines now and getting more comfortable with the action and the intentions of the play so that they become effortless and autonomic.
I worked with Albert Finney in the first production at Steppenwolf Theatre s new building in the early 90 s. He always said that, you have to get the words down backwards and forwards, so that you could begin to blow jazz. And that is where we are. Repetition! Say the French. And we do.
Short day tomorrow, as I head back to Chicago for the opening Wednesday night of our own production
Chalk Garden.
Our Northlight audiences there are enjoying this period English mystery, first performed 50 years ago on Broadway and then on film with Deborah Kerr and Hailey Mills. At Northlight we like to blow the dust off of old chestnuts and our brilliant director Bill Brown is just the man to do it.
Returning to Seattle on Thursday, and back to work!
By the way, my old friend Wier Harmon who runs the Town Hall here in Seattle took me to the Black Bottle for dinner and I really enjoyed it. It s a must if you re looking for delicious tapas style dining. Then went to see Weir s beautiful 1908-converted church. The Town Hall is gorgeous, and very interesting. And it s great to see Weir again who is always a boost and a real straight shooter.
More anon….
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Beej
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