Choreographer Lesley Telford, who is busy with her own show at The Dance Centre (on through this evening), popped into the studio yesterday to help adjust a couple of the movement sequences. The changes were exactly what was needed and it was fantastic to see not just how on board the actors were with the new material, but also how quickly they were able to absorb it into their bodies. When we started this second go-round on Tuesday I think everyone was a bit trepidatious about how much of the original movement score they'd remembered. But with the aid of video documentation and each other's kinetic memories, and with a lot of counted repetitions, the sequences came back incredibly quickly to the actors, and watching them yesterday during our first complete run through you would have thought they'd been doing this continuously since November rather than having had a hiatus of four months.
Generally we're trying to loosen things up with both the movement and the text, and to give the actors permission to play a bit more. Our costume designer, Connie Hosie, commented after yesterday afternoon's run-through that our efforts seemed to be working. Notwithstanding some dropped lines and a couple of starts and stops with respect to new movement and blocking, she said the piece was noticeably tighter and that all the actors were more clearly at home in their characters. That's great to hear, as we only have two more days of rehearsal before we go into tech. Getting into the actual Annex space will also be exciting, as we have a lot more room than we did at the Gateway's Studio B.
Tickets for the show can be purchased here. I probably won't be blogging again about the process until after we open. In the meantime, here's a selfie I took the other day in front of one of the bus shelter posters advertising the play around the city. Linda Quibell, who plays Grace, commented yesterday that the image is a bit CSI-y. That's perhaps not a bad analogy given the mystery that has to be unravelled in the play.