To Kill a Mockingbird – Assistant Director’s Blog 3

It’s 1935 and it’s Maycomb, Alabama… Step by step

Week 3: As we move closer towards production week, it is really interesting to watch the actors shape their performances. This is a really personal thing, each to their own, and in their own time. They draw on the reserves of their craft. They build their voices for when we move into the theatre. They finalise the traits of their characters.

Just as the actors prepare, new layers are being added to the production all the time. At the end of last week, fight director Liam Evans-Ford choreographed the main “action” sequence. Stage fights have to be worked out accurately, to make sure that everything is done as safely as possible (although it still looks great!) We have also been doing some multimedia work – trailers, interviews and some other bits and pieces (wait and see).

These activities have brought a new energy and drive to rehearsals. Perhaps it’s the energy which comes from the knowledge that in just over a weeks time, we’ll be opening. We have now had several “runs” (going through the play from beginning to end without stopping). Each time there are fewer and fewer notes to give the actors. There are one or two things that still need to be worked on. As lighting and sound are added, timings will need to be adapted slightly. Aspects of the set may need to be shifted. However, this is what next week will be about. Technical and dress rehearsals are when all the different aspects of a production come together properly for the first time. All the hard work will come to fruition. Lighting and sound add new layers – they give a fictional setting its reality; they mount, intensify or lessen an atmosphere. They split the space into new environments. In many respects, they give a piece of theatre its magic. The set has been constructed. As I write it is probably being transferred into the space.

On Friday 4th, Composer Christopher Madin brought in some of the music for us to listen to. The excitement was intense as we went through the score. It was almost like the heartbeat of the production. We could hear the story unfolding. We were then able to incorporate it into some of the rehearsal in the afternoon.

There was an extra rehearsal on Saturday. Once again we ran the show from beginning to end without stopping (well, there were cups of tea at the interval). Lighting designer Richard G. Jones was in attendance, as well as representatives from The Touring Consortium Theatre Company, and YTR Production Department. As a play develops, there are always little changes along the way, and it was useful for everybody to see the play in its “final” form.

Some of you may be wondering what goes on during a professional production week. Well, to be honest every show varies. However, as a basic rule of thumb, all of the technical elements (costumes, lights, sound, and makeup) are present during rehearsal for the first time. We’ll rehearse the show with all of these elements in place. The actors will get used to working with the set and in their costumes. The production crew will work to solve unexpected problems. The director will see how everything comes together as an artistic whole. Practical problems will probably be discovered. For example, an actor may report that their costume restricts their movement. A hand prop may be too awkward. A set door that performed fine the week before may bang shut too loudly now that there are live microphones on the stage. This is the nature of the beast; essentially it’s there to highlight puzzles which need solving.

So then, with next week likely to be a mixture of painting, lighting, filming and construction, my episode next week will probably be shorter than usual, or at least a little more irregular. Whatever the case, it’ll reach you step by step.

JRW