Rehearsal Evaluation

Evaluation of personal role

I believe my overall role and contribution to the rehearsal process was positive. I was open to helping throughout the play, although I was not in Act One I helped with 'Footman Wilson' bringing chairs on and off. This not only gave me something to do during this act but also made the blocking easier and more fluid.

 There were points in the rehearsal when I could had more focus however overall I thought I stayed energetic and focused to a fairly high level. Some rehearsals were very long and I found these hard to keep the same level of professionalism as I would ordinarily bring to shorter rehearsals. This is a skill that the process has helped me learn, it is something that is vital in the life of an actor as long rehearsals are not uncommon. 

Outside of the rehearsal I did extra work with both Lucy and Toby. These two relationships were extremely complex, a best friend and my first love both of whom I haven't seen in eight years. The scene's in which we were reunited were the ones that required the most work. Me and Lucy discovered that a lot happens in our first scene together but it is just a page long. We worked hard at gaining that sense of importance and tension in that small space of time. The work outside the rehearsal allowed me to discover more about my character and his relationships, I could talk through what was happening and the sub text with the other actor at length, I think it really helped me grasp these high tension scenes. 

Evaluation of the whole rehearsal process

The rehearsal process was extremely successful, we produced a very thrilling and exciting piece of theatre and told a wonderful story. The play did throw up some very big challenges but these were circumnavigated, sometimes more successfully then others. The play has a lot of scene changes, this posed both a blocking problem and an acting problem. The play had a lot of blocking to remember, seven entrances and exits and sixty three scenes, remembering it all was difficult and making the scenes flow in to each other was also a challenge. But also reacting to changing given circumstances quickly was also an issue. I went from outside a grand house in london to docks within five seconds, however these issues were dealt with effectively. We blocked the piece and had very few alterations which made it much easier to be in the right place and the right time. The dry tech also allowed me to really get a feel for the entrances and exits and the distances between them.

In the early days of the rehearsal it felt difficult to really understand the play as a whole. So much happens and it is such an epic story, this makes it challenging to tell. However, once we were able to run the whole piece the arc of the story presented itself and I found it much easier to understand what I was doing as a character and what the play was truly about.

The cast gelled really well and the rehearsal space felt open and free. There were very few tensions and overall I felt that this ability to experiment and take risks really helped the final show become what it was and personally helped me to develop character more thoroughly. 

Warm-Up

Warm-ups for both rehearsals and performances are very important, they help to gain focus and prepare the body and voice for the things to come.

Here are a few of the exercises we undertook to warm up...

Sirening

We said the word 'king' and on the 'ng' sound we went up and down in pitch in a sirening fashion. This warms the voice up and allows us to use our voices fully without damaging them. This is absolutely vital for an actor as in a large proportion of plays, especially period dramas such as Coram Boy, speech is central and the ability to make ones voice heard and not damage it is key to giving a great and consistent performance. This exercise also brakes down the barriers that we hold stopping us from using our voices to the full amount they can be. Which allows us to be more open in rehearsals and explore things that we may not have previously.

Yoga

We would do a series of motions in connection with our breath. Breath is vital to any performance, being able to breath properly means you can enter the character to a greater extent and push the voice further with diction and projection. Opening the body up in this way allows character to come much more easily and be much more of a full body experience rather then just in the voice. Connecting the two in this warm-up exercise allowed me, as an actor, to enter a focused and prepared state of mind and body.

Pass the line 

This was a warm up exercise we did before each of the three performances, it consisted of all the actors walking around the space and then stopping. Someone would say the name of another actor and then one of their lines, sending it across the space at full performance level, this process was then repeated by the actor whose name was said. This exercise has many benefits for the actor, most obviously it gave me the chance to get used to speaking at the level at which I would have to throughout the performance. It also allowed us to connect as a group, saying the lines, moving around the space and calling each others names created a sense of company which we could then take on to the stage.

The Journey

With six entrances, two characters and 62 scenes learning the blocking of the play is a difficult job. One way in which I decided to do this was to create this list of my entrances and exits through out the play. So this is my journey.

ACT ONE

Scene One, wait at B for entrance in scene two.

Enter after - 

“DR SMITH: Out! Out, out! This is not a shelter for vagrants! Out with you!”

Have LOG.

Walk around and talk with people and buy things, become silent when OTIS speaks.

When BELL RINGS walk to and exit from A2.

                 

Scene Twelve, wait at D for entrance at the end of the scene.

(Melissa is playing on the harpsichord at waterside.)

Enter after –

“OTIS: Meshak! Get here before I brake your bones!”

Have CHAIRS and TRAY OF TEA ready.

Set chairs for the drawing room. Exit and get the tray of tea, stand with tray until the scene ends, exit D.

Scene Twenty, wait at C2 for entrance in the middle of scene.

(Isobel and Melissa talk of the ball, Thomas enters)

Enter after –

“ISOBEL: Guests! Let’s go and watch.”

Have TRAY OF CUPS.

Enter and stand with cups, let people take them from the tray. When Miss Price and Mrs Lynch re-enter COLLECT THE CUPS from the guests. Take them off at C2. Take CHAIRS OFF and then stand until the dance. When music plays get ready for the DANCE and then go through it twice. Once we are done exit A2. Wait until Claymore and Miss Price go back inside and Mrs Lynch says: “Good evening, Sir.” Enter A2 and stand until the scene ends and then reset the CHAIRS for the drawing room. Exit B.  

Scene Twenty-Nine, wait at B for entrance at the end of the scene.

(Mellissa has her dream)

Enter after –

“MELLISSA: Alexander…”

No Props.

Enter and take chairs off at Mrs Lynch’s order.  Exit B.

Scene Thirty-Two, wait at B for entrance at the end of the scene.

(Children playing and they find the skulls)

Enter after –

Mrs Milcote enters the house.

Have SHOVEL AND CLOTH.

Enter and pick the boxes and up and take them off B. Do this until they are all gone.

Scene Thirty-Three, wait at A for entrance at the end of the scene.

(Mr Claymore speaks to the Ashbrook’s)

Enter after –

“CLAYMORE: …I’ll hang him anyway, confession or no confession.”

Have OTIS and NOOSE ready.

Pull Otis through the doors and hold him, after Otis says, “…Pay me to do their dirty work!” Drag him off through the doors. Then put a bag on Toby’s head and get the noose in position ready to be put around his neck.

ACT TWO

Scene Six, wait at B for entrance in the middle of the scene.

(Aaron and Mr Ledbury walking around my house)

Enter after –

“THOMAS: Now then – ♫ In Gloucester docks, so I… ♫ Perhaps not.”

Have CUPS ready for next scene.

Walk on and perform scene, remember the ‘MOMENT’ on the last line. Show other characters off A1.

Scene Seven, wait at A1 for entrance at the end of the scene.

(Gaddarn talking to Toby)

Enter after –

“GADDARN: …Now get out there and serve. And smile, Toby Gaddarn.”

Have CUPS.

Enter and put the cups down, set the chair and then pour the drinks. Hand one to Thomas and sit. Make sure the scene is alive and not too slow. At the end of the scene replace the cups on the table and walk straight into the scene in front of us. Clap along to Gaddarn’s toast, when it has finished walk to the choir and share a LOOK with Gaddarn. When Toby says “I don’t like surprises anymore” ensure you are near Thomas. Move to the centre of the stage and go through lines after Toby says, “I’m not allowed to speak to people.” After lines rejoin the crowds ‘chatting’, at the end of the scene exit C1.

Scene Seventeen, Wait at B for entrance at the end of the scene.

(Gaddarn puts girls in the passage)

Enter after –

“OTIS: Run, run, Toby Gaddarn.”

No props.

Enter and look around the house. Make sure I have my back to D, as each person enters hug etc. Share a significant LOOK with Melissa. At the end of the scene exit through B and RUN to A (The double doors). Walk the length of the stage and do the Waterside scene with Melissa. When Isobel enters follow her off through the double doors at A.

Scene Twenty-One, wait at D for entrance in the middle of the scene.

(Melissa talks to Thomas about the whereabouts of Aaron.)

Enter after –

“THOMAS: Are you alright, Melissa?”

No props.

Enter frantically and turn to Mellissa. Share a MOMENT, turn in to the next scene as people enter from B. Be sure to use the space and keep moving. Play scene, at the end move and kneel in front of Melissa and take her hand. Exit through B.

Scene Twenty-Four, wait at C1 for entrance at the end of the scene.

(Mrs Lynch tells Otis that he has been found out)

Enter after –

‘When TOBY gets to the middle of the stage’

No props.

Run to the middle and do the scene, follow Toby off C2, when others enter and are a quarter of the way across the stage run on and meet them in the middle from C2. Say lines and lunge for Aaron and fight Otis, go to Aaron and then see Thomas take a knife for you and as you tend to him take a blow to the head. Come round after Otis says, “You mad bitch, I hope you rot in hell.” Exit B.

Scene Twenty-Seven, wait at C2 for entrance at the end of the scene.

(Meshak jumps of the ship.)

Enter after –

“ANGEL: Come now, Meshak. Come to me.”

No props.

Enter and take the bench with Peter to the middle of the stage, place it at a slight diagonal. Then pace in front of A. Do lines with Melissa and go to the choir, get stopped and turned. Have loving moments with Aaron and hug him, Melissa and Toby. When Aaron asks to let him go, do so and follow him. Count the choir in, black out. 

Alexander and his Music

Music is one the key elements to Alexander as a character, he runs away from home for eight years for it and then develops a career around it. 

I decided to research the type of music that was around at the time, including his idle, Handel. Here is one of the pieces in the play which I listened to, it is still a very famous piece of music and yet one rarely hears it from a full chorus and orchestra.

The period in which the play is set is a time of great change, the period of popular Baroque music is moving towards an era now named the classical period. Mozart, Beethoven and Haydn all came in the second half of the 18th Century and changed the face of the musical world. Alexander's musical taste would have been transforming throughout his life, however the great composer of the time, Handel, remained. Christianity was in fashion at the time and music was largely joyful, this is reflected in the text and the obsession Alex has with finding his joy.

The period is also a time in which orchestra's are beginning to take shape, they are starting to gain more and more instruments all working perfectly with one another. This allows composers to have greater freedom and opportunity to really experiment and come up with, what are now deemed the greatest pieces of music ever written.

Understanding the state of music in this period and the types that most people were listening to and Alexander would have been playing and singing helped me grasp his passion. I now know what he loves so much and although personally I am not a naturally talented musician who has Synesthesia (when some one sees colours when they listen to music) I am able to use this knowledge to try and picture it.

Lets Dance

Learning the dance did pose some serious obstacles however it also helped me realise some characterisations I could use for Alexander. 

The style of dancing we are attempting is called Baroque which was the precursor to modern ballet and was the fashionable music and dancing of the time. I looked on YouTube at some videos of Baroque dancers to get an idea of the way in which it was meant to look. Here is one of the videos I watched. 

The Character

One thing that I immediately realised was the graceful nature in which they dance, it is light and smooth. The difference in the sexes is minimal they are both as light and bouncy as one another. I also thought about the upright nature of which they were standing, this was also pointed out by Josie, the lady who taught us the dance. The 21st Century posture is very different from the 18th Century one and this is something I not only have to take into consideration for the dance but also the characterisation of Alexander. Letting my posture slide would brake the illusion, it would pull the 18th Century world we create straight back to a group of modern actors trying to act like they are from the 1700s. 

The Dance

Learning the dance and getting it right was also a challenge, as a group we went through all the steps and practiced them over and over again. One way that helped me remember what to do was create a chart of all the moves. This is shown below.

As a group of non-dancers it was definitely a challenge and finding my graceful side was not the easiest thing. However, by practicing it with cast members and asking them for advice I believe that my posture is sliding in to place. Repetition and the chart helped me memorise the moves and although I was nervous at the start I am beginning to grow more confident with this section of the play. 

Creating Character

In the past rehearsals I have tried to look into greater depth at my character and his physicality.

I started to think about the differences between how I stand and Alexander stands, how I talk and how Alexander talks. Alex is Upper Class, although he ran away he has still been raised in a family from the landed aristocracy. This is somewhat different to my middle class upbringing. This makes me walk more upright, talk with complete clarity and have certain traits. For example, he will always feel a sense of being higher status then most other people. Although he denounced his role in the aristocracy he still has that upbringing which makes him slightly look down on everyone in a subtle way. This made me think about an upright posture, with my neck stretched and my head tilted down. I discovered this when doing and exercise in which we exaggerated out character from one to ten. This allowed me to realise exactly what my character was doing, such as the head tilt.

Character in the scene.

When running the second scene I was in I found it difficult to juggle lines, character and to lift the scene. It became slow and monotonous, this had to be changed. The director told us to look at the script and find points when things change and react to them. This really helped me, by acting on impulse and standing and moving when it feels right the scene transformed.

The main thing that I believe is necessary to do within the next week is to learn lines and become confident with them. This will allow me to really engage in the character without holding a script.

Character Journey

I Sing in the cathedral choir -> I am happy, I am respected by my peers and noticed as talented by the conductor.

I am not allowed to continue singing ->  I am angry, I feel as if no one understands anything about me except those with musical talent such as my friend Thomas. I will do anything to carry on with my music.

My voice brakes -> I am embarrassed. I made a fool of myself, I want to cry.

I am denied access to musical instruments -> I can't take it, the only thing that makes me happy has been taken away from me and I cannot see my future in a house in which I am denied access to the one thing I love.

Melissa shows me a secret instrument -> There is hope, Melissa has given me hope and it feels like she understands how I feel. I love her.

The one instrument I have left is broken -> I cannot believe my father would do such a thing, without this I cannot survive, I must leave, leave this house and leave Melissa. I am sorry.

I move to Switzerland -> I am lonely and poor, I do not like it here and want to move as soon as possible.

I go to Germany -> I feel Handel, his passion is amongst the other musicians here but I want to go home.

I move to London -> I am so close to home, I long to be with my family. After meeting Handel I feel happy but this is false, I thought music could bring me everything I could want from life. But it is nothing unless you have people to share it with.

I hear Thomas' name -> My mind jumps straight to Melissa, whenever I think of home I think of her first. This is my opportunity, I must take it.

I meet Thomas and we talk -> I am happy to see him, my old friend but the only thing I can think about is Melissa, I want to know how she is, what she is doing and whether she is with another man.

I am told the Coram Choir will perform at Ashbrook -> I am delighted but not convinced, my father still hasn't agreed and he is the one who ruined everything, he smashed my instrument.

The Coram Choir sing -> I am in my room at an inn and pacing, I am nervous for the children and thinking what my father may do.

I am allowed back -> I cannot wait, my limbs feel unsteady the thought of seeing them all is overwhelming. But the first thing I have to do is talk to Melissa, she has to know how I feel and I have to know if I have the slightest chance to be with her.

I am told I had a child -> I feel even worse then when my voice broke. I am embarrassed for being so childish and not facing my responsibility, I want to make it up to Melissa, do something, anything.

I realise -> Everything fits together, Mr. Gaddarn, the children, my child. I am angry, furious but I have to make sure my accusations are true before I jump to conclusions.

I find my son with Otis -> I am scared, this boy who i have never properly met before makes me want to risk my life for him. But I do not hesitate, I have to save him.

I recover from injuries -> My wounds are not bad, not like Thomas' but I have the emotional pain of loosing a son who I didn't even know. I felt worse then ever before, the only thing keeping me together is Melissa, we are dealing with it together.

I am reunited with my son -> This moment, right now is the best moment of my life. Nothing before it has even come close. I am surrounded by the people I love and we are happy.

Notes


Directorial notes can be very useful but they only aid a performance if one is able to take them on board and react accordingly. I believe on most occasions i was able to do this. Notes ranged from practical ones such as, 'when taking the boxes off use cloths' to far more difficult emotional ones such as, 'knowing exactly what your character wants at any given time.' As a result of this note I decided to do even greater work on character and the text. Really stripping back each line and working out what Alexander wants and why he is saying and doing what he is doing. I also looked into the given circumstances, so when I went back to my old house I thought about its size and grandness but also its mixture of new but also very familiar. The first time I did this I did not think about it enough and didn't go in to enough depth, however, I believe I righted this after the feedback.

We also received group feedback at points, the most prominent was volume. The rehearsal space was relatively small in comparison to the stage space. The Obie Theatre is an unforgiving space for un-amplified voice and I had to really think about projecting my voice so that it would not be lost.

Enter Alexander!

Over the past few rehearsals blocking has begun for Act Two, the act Alexander (my character) enters. This has thrown up more challenges, with more things to do and the difficulty of starting to develop a character. 


Blocking


Learning where and when to enter and exit will be a challenge, the stage consists of seven entrances and exits. This process started with me writing down all blocking notes in my script. Eventually this should become second nature, I will learn the pattern of the piece and know when and where to enter and leave. However, learning both this and the lines for the play will take difficult. If I start now, everything should run smoothly.

Blocking is vital, it gives the piece shape and allows all the characters to exist throughout the play in a harmonious manner. However, the blocking also allows one to begin to develop a character and discover the relationships characters have with one another.

Character

Alexander is a happy child, he finds joy in God, music and his family. When he is asked to choose between music and his family he becomes angsty and eventually runs away. When he reenters the play eight years later, he has grown and matured, he becomes shy and reserved. He feels that he is not happy, he has gained everything he ever could want from music but without his family, without Melissa he can not find joy. This relays to my characterisation as it makes him kind and loving but held back, not willing to show everything. When he first meets Thomas after years of absence, he does not hug him straight away but waits for his response. He is almost frightened when he meets the people of his past.

Costume

We have also received the costumes for our characters which helped me enormously with visualising exactly what Alexander will look like and some of the mannerisms he may have.

This is a picture of the costume...

The red shows his passion, he has passion for music and Melissa, he is the type of person who does things one hundred percent or not at all. The costume also allowed me to think of the time period and the way in which that will effect the way he walks and talks. He will not have the modern teenage way of standing and is unlikely to slump in his chair, he is from the landed aristocracy, after all.