Monthly Archives: November 2012

November 5, 2012

You did it!  You got the gig.  Congratulations!

Now, to rehearse.

Rehearsals, of course, can consist of the most studious table work to downright physical challenge.  It helps to be prepared to run the gamut.  In this series called Stage Manage Yourself, I’m looking at preparing yourself as an Actor through the practical eyes of a Stage Manager.

The philosophy of the Stage Manage Yourself Series is:

• Define your process. 
• Create your ideal conditions. 
• Have what you need.

In this post, I try to span my coverage for an actor who is just starting out to an old theatrical salt.  Pick and choose as you like, and please tell me about your system!  I’m fascinated to learn how other actors get it done.

Rock on.

My Stage Manager’s Handbook says the following:

The rehearsal process of a show is a period of constant exploration, re-adjustment, improvement, and accommodation…There are many varieties of rehearsal periods, and every director works in a different way.

(There is, in fact, an entire chapter entitled “The First Rehearsal.”  Seriously, just get a stage manager’s handbook.  Really and truly.  It’s invaluable. )

But first, before we delve into supplies and such,  let’s talk about you.

How are ya?  Did ya have a good day?  Did you have a bad one?  How’s life?  The answers to these questions will change on a daily basis, and that’s why I bring them up.  Good or bad, you have to leave your day at the door of the rehearsal room.  Theatre/Acting/Art is a job unlike any other and to be able to practice it at it’s highest level, you have to be able to function in the world that you and your castmates and the production team are creating.  Your bad public transportation experience or even the most joyous romantic encounter of your life has very little place in the rehearsal room if it’s a distraction to you or others.

That said, we’re all human.  If life sucks right now, it sucks right now.  Just do your best to be present and do your work.  Anna Deveare Smith, in her wonderful book Letters to a Young Artist, talks about her pre-rehearsal ritual which is to literally sweep the room.  It’s a way to clear the space of it’s previous use, an indicator to all involved that work is about to begin, and a personal warm-up exercise. Smith says,

My favorite thing to do in teaching or directing is to sweep the floor before class or rehearsal starts.  For us it’s important because we will be working in bare feet.  Also it’s important to actually, physically have the image of us taking our space.

At the risk of sounding a bit woo woo, the rehearsal space is sacred because a group of humans is coming together to create something that wasn’t there before by providing a piece of themselves to be a part of a larger whole.

That’s just another way of saying, Can the attitude, Sweetcakes. It isn’t all about you.  Isn’t that great?  Honestly, it’s so freeing.  You are one part, no matter how big or small your role, of creating an amazing whole.  Theatre is a Group Project writ large.

It isn’t about you.

However, YOU are responsible for you.  So let’s talk about YOU in actual rehearsal.  Obviously, each rehearsal process is as unique as the proverbial snowflake, so I’ve organized this discussion into the different potential types of rehearsal. In fact, I can think of only one item (aside from the script) that is truly an undeniable and ubiquitous essential:

The Pencil.  You will never have enough.  The Stage Manager will likely provide a supply but do be a dear and just bring some yourself.  Lots.  More than you think you need. You’ll be writing down staging notes, choreography, definitions, beats, transitions, edits and they are all subject to, nay, nearly guaranteed to change.  A lot.  On that note, throw in an eraser, too.

Another item I always have in tow is what I call my Rehearsal Kit.  It’s basically just a cosmetics bag with stuff that I don’t always need, but when I don’t have it I’m a mess:  Advil, extra contacts, lady business, lozenges, mints, more pencils, kleenexes, lip balm, and bandaids.  Think of it this way, What would your Mom bring to rehearsal?  That’s what you put in your rehearsal kit.  I actually have three rehearsal kits – one goes in my rehearsal bag, one goes in my audition bag, and one goes in my purse.

Here is the contents:

• Bobby pins
• Breath mints
• Comb/brush/Hairspray
• Contact solution
• Dental floss
• Deodorant
• Emergen-C or something like it
• Extra contacts
• Eye drops
• Glasses
• Hair ties
• Highlighters
• Lady business (i.e. feminine hygiene products)
• Lozenges
• Lotion
• Pen
• Pencils
• Perfume or body spray (nice for sweaty dance rehearsals and physical scenes when you are up in somebody’s business for a few hours)
• Personal meds (those of us with asthma, etc.)
• Phone charger
• Post its
• Safety pins
• Small case with Advil, Zyrtec, Benadryl, Tums,etc.
• Tissues
• $20 emergency cash (Sometimes you just need a cab)

Thorough, yes, but oh so helpful.

Now let’s get more specific and talk about the different types of rehearsal.

• TABLE WORK

For those just starting out, Table Work is the time period usually occurring at the beginning of the rehearsal process, where the cast, director and sometimes designers do read-throughs of the script and hold discussions about specific concepts, contexts, research, and dramaturgy.  It’s a time for the company to come together as a unit and share opinions and begin to make discoveries.  As with any process involve folding table and stacks of papers, table work does have the potential to be a bit boring.  However, at it’s best, table work can be an essential and inspiring time period. Some directors choose to forego table work, preferring to explore the text with actors “on their feet.”  (Directors of musical productions, for example, often eschew table work preferring to jump right into music and choreography.)  However, if your rehearsal process includes table work, here are some supplies to consider:

• Pencils
• An Eraser
• Pens
• Highlighters
• A Notebook
• A Binder
• An Ipad or Tablet or laptop (Great for real time research and easy image sharing)
• A ruler
• Folders
• Glasses (if you need them for reading)
• Water bottle
• Three hole punch
• Stapler
• Binder clips
• Paper Clips
• Post-it notes
• Sticky flags
• Kleenexes (Oh the dust in a theatre)
• A sweater, sweatshirt or wrap because temperatures in theatres and rehearsal spaces can fluctuate wildly

Actors dealing with classical texts may also want to consider plot summaries, analysis, pronunciation dictionaries, different edited texts, and lexicons.  These are items that are investments but invaluable resources.

Attire:

While table work, as you would expect, is largely conceptual and academic (ie NON-physical), it’s best to be prepared for anything.  I recommend always wearing closed-toe shoes that fit well, and clothing you are comfortable moving in, just  a bit.  Jeans can be okay for table work.  No need for a full dance ensemble, but just know that a director might (and, in my experience, often does, very suddenly shoves a table away and says “Enough! I’ve got to see this on its feet.”)  Usually, I just throw a pair of yoga pants in my rehearsal bag, just to be on the safe side.

• STAGING/BLOCKING

Like any other theatrical situation, staging and blocking rehearsal can range from fairly stagnant movement to full on physical experimentation.  Still, no matter how physically involved, generally you are still clutching a script in your hand.  I usually bind my scripts in a three ring binder, but I will admit, this is bulky and awkward to maneuver while staging.  Some actors choose to spiral bind their scripts at a copy shop.  Sometimes the theatre provides bound copies.  Sometimes you get those wonderful little Dramatists’s or Samuel French books.  Other times you get a stapled copy.  I know some actors who order themselves the published copy of the show (It’s a write-off).  Others make themselves enlarged prints.  It’s up to you how you do it.  The point is, you have the freedom to do it any way you want to.  You could even have several copies of the script for different purposes: line learning, staging, research.

Still, in regards to staging and blocking, guess what you’ll need no matter what?  A PENCIL. This is definitely not the last time I’m going to say that in this post.

BLOCKING NOTES – Coming up with functional shorthand for writing blocking notes saves tons of time and keeps you present during rehearsal.  While it is technically the stage management team’s responsibility to keep the official blocking notes, having clear and specific ones of your own isn’t just the right thing to do, it helps with memorization and the work you do on your script when you aren’t at rehearsal.  Every actor has their own system.  I use one very similar to stage management, but far more basic:

X = Cross

L, R, D, U, C = Left, Right, Down, Up, Center

• = “of” i.e. “Cross Left of downstage right chair” = XL (.) DSR Chair

– = “to” i.e. “Cross to Harold Hill on third measure” = X – HH m3

I then draw all sort of doodles that represent travel patterns, choreography, and stylized movement.  The beauty is, only the actor writing it needs to know how to read it.

I know some actors, and particularly directors, like to have several copies of the set designers floor plan.  They then make notes using that which is very handy dandy and visually-oriented.  Give it a try!

Attire:

Enter the rehearsal wear.  Dress comfortably, in clothing that fits well.  This means you shouldn’t be pullin’ and tuggin’ all the time.  If you are self-conscious about parts of your body, find rehearsal wear you can move in that camoflauges what distracts you or makes you feel weird.

Meanwhile, this would be the time that rehearsal skirts, corsets, shoes, hats, and other costume items that you have to “deal” with should start appearing.  If the theatre isn’t able to provide you with either your actual costume piece or a rehearsal version of it, make do and see what you can provide on your own.  It’s all to benefit you and how you move and carry yourself onstage.  Ask yourself what you need or what would help?

This is also the time to begin to make those fun onstage discoveries about your character.  Personal prop and costume ideas may pop up at this time.  Make polite requests.  For example, if you are playing a woman in a piece occuring anytime before 1965, you probably carry a purse and wear gloves.  These are items to begin to use onstage as soon as you can.

This is also the time to consider the frumpy but indisposable character shoe.  To truly be prepared for almost anything, consider four pairs; beige mary-janes, beige t-straps, black mary-janes, and black t-straps.  Varied heel heights can come in handy as well.  Men would do well to have a pair each in beige and black.

Glassware, weaponry, and other bulky, fragile, or awkward items should be considered as well.  As soon as you can get your script out of your hand, and those items into your hand, you will be better off.  That said, designers and production folk need time to acquire these items.  Make your requests and then be patient.  The more unique and specific a prop, the more difficult it is for the production staff to make or acquire it.  Keep personal notes on props, costumes, and entrances and exits.  This will likely change, but it’s nice to have an outline.

• MUSIC REHEARSALS

Go to 20:45 in this clip to watch Meryl Streep in music rehearsal with Jeanine Tesori. (Also, just watch Theatre of War. Streep.  Brecht.  Rehearsal.)

Music rehearsals are similar to table work in that you are seated most of the time, and dealing with a lot of paper.  They are technical and frankly, can be tedious.  Guess what you need the most?  A PENCIL.  You will be making notes, writing in changes, indicating parts, marking trouble sections.  This all changes very quickly.  Do it in PENCIL.

Other supplies you may want to consider:

• Pens
• An eraser
• Notebook
• Highlighter
• Binder or designated folder
• A recording device (sometimes musical directors require a recording device.)
• Pitchpipe or keyboard app (for when you find yourself with personal rehearsal time
• Lozenges
• Water
• Honey, throat coat tea, apples or any other throat remedy

Sometimes actors are required to play musical instruments.  As each instrument requires its own supplies, I won’t try to list everything.  Just be clear about what you need.  Bass, cello or other musicians who play bulky or heavy instruments may want to discuss with stage management about safe places to store their equipment.  Having a portable music stand can be invaluable as there just never seem to be enough music stands.

• PHYSICAL EXPERIMENTATION, FIGHT AND DANCE

Just because you aren’t in a traditional musical, doesn’t mean you won’t be physical.  In fact, one could argue all theatre is physical (but that’s another post).  Fight scenes, group movement, and different styles of theatre demand physical freedom and healthy bodies.

It’s important to have a supply of rehearsal clothing that allows you to work freely.  This can mean many things from tights to sweats and leotards.  Many directors require something of a rehearsal uniform in the sense that want to see you in solid colors that show your physical form and line.  This is not a rare request, and one it makes sense to be prepared for.  That said, these items don’t have to be brand spanking new.  In fact, there is something romantic about dance and rehearsal togs beaten to hell.  Ripped tights, scuffed dance shoes and slashed tee shirts are a few of my favorite things.  As long as they are still able to provide form and comfort, you are in the clear.

Musicals may demand different types of choreography and it is therefore best to have different types of dance shoes on hand.  If you aren’t sure what to bring, feel free to approach stage management even before the rehearsal period begins and ask.  Generally, after callbacks you will have an idea of what to expect, but it’s not unheard of that a quick tap number might be thrown in because, hey, who doesn’t love a tap number?

For fight choreography, it’s important to have fairly close fitting clothes that allow your “opponent” to see your body.  Injuries happen when things aren’t clear. Baggy sweats don’t give your partner crucial information about where your body is at a given moment in time.  However, make sure your clothing is loose enough that you have free and unhindered use of your body. A very accomplished fight-choreographer friend of mine also insists on fighting in the shoes you will be performing in.  Tech week isn’t the time to find out things are slippery.  If you think you might need mats or padding, ask the stage manager or production team if they can accommodate you.

There are certain specific types of theatrical study and training that are often used as rehearsal techniques.  Suzuki Method, for example, uses a special type of sock (tabi) that is designed for the training method’s floor and ground-oriented percussive work and also as a stabilizer.  Other training methods prefer bare feet.  You may even find yourself in a rehearsal process where the company itself creates a physical vocabulary.  And this, my friends, is why theatre is awesome.  But I digress.

Consider safety, as well.  It’s highly likely the theatre will have a first aid kit on hand, however if your jazz shoes are giving you a blister, it’s just nice to have some moleskin and a band-aid in your bag.  It’s faster, and the action doesn’t have to stop to accommodate you.  Sometimes different styles of dance will engage parts of your body you had forgotten all about (Ah yes, I have hips.  Now I remember…) and leave you sore for those few days of choreography.  You’ll be glad you’ve got some Advil and Icy Hot in your bag. When things get really intense, lots of actor carry tapes, wraps, and supports as well as knee pads, elbow pads, gloves, cups and dance belts for boys, sports bras for girls, and any variety of braces.  If you need something like this, and you don’t have it?  Ask. (Although, you know, with the cups and the bras…maybe pick that up yourself?)

As an allergy and asthma sufferer, I like to have a couple benadryl and a spare inhaler on hand.  Actors with different physical conditions should have their prescriptions nearby.  Also, even if you’ve filled out an emergency contact form, take the extra step of personally informing stage management if you have a medical issue.  They will be more likely to respond effectively if they know your situation.

• PRE-TECH RUNS

You’re almost there, but not quite.  The unmitigated stress and exhaustion of tech week has not set in, but that pre-show buzz has.  The main thing here is to take care of yourself.  Get all the sleep you can.  Drink tons of water.  Eat right.  Get your laundry done.  Restock your supplies.  Clean out the trash.  Meditate.  Run your lines.  Sometimes, when I’m really motivated (or when things start to feel out of control) I take what I call The Pledge of Monastic Existence.  It is a temporary time period of piety and smart decisions (because, let’s face it, I cannot behave that way forever).  You just do what it takes to get done what needs to be done.  No partying.  Just work and rest.  You might say, “I pledge to myself two weeks of putting my nose to the grindstone.  I will do what do what it takes to get this show up and running with as much efficiency as possible on my part.”  Sometimes you have to tell your friends and family, “Forgive me, but for two weeks, I’m out of commission.  I will see you on the flip side.”  Most of the time, they understand.  What they don’t understand is when we snap at them and get cranky about shit that downright ain’t their fault and ain’t that big of a deal.  If you need something, ask for it.

But back to rehearsal:

Attire:  This is where you can begin to hone your rehearsal attire.  Although you are not fully costumed at this time, perhaps you are aware of a quick change that might be easier if your shoelaces were elastic, for example.  Put in your requests to the stage manager now.  The designers will be overwhelmed come tech week.  Request necessary items in a  timely manner.

• MISCELLANEOUS REHEARSAL:  Workshops and Classes, Understudy, Replacement, Pick Ups, Etc.

There are three things that go together like the Musketeers:  Farting Around, Grab Ass and Pick-Up Rehearsals.  As fun as dicking around onstage can be, pick ups and understudy rehearsals exist for a reason: to help you.  USE THEM.  From my Stage Management Handbook:

Normally, understudy rehearsals are held once or twice a week.  As soon as the actors know their parts, it is best to run the show straight through and not spend a lot of time working on scenes, because understudies must keep up their stamina, honing their ability to play their roles from beginning to end.  This process is much like keeping an athlete in shape.  Occasionally, if an understudy is going to be going on for an extended period of time, the regular cast will join the rehearsal and run scenes and work out any special business or fights.  Furthermore, a tech/dress is usually scheduled the afternoon the substitute goes in.

Frankly, that is in an ideal world.  When things get non-union, they get less structured.  As an understudy, know your shit as quickly and as thoroughly as possible.  It will only benefit you.

Sometimes directors or theatres have a particular style that they must teach to the cast in order to stage the show.  These types of rehearsals are often held in workshop or classroom form and can range from text-based work to improvisation to teaching movement techniques to full-on dance class.  Typically the production team will prepare you for these types of rehearsals, but it’s important to mention them.  One of the best things you can do as an actor is be game and prepared for anything.

One of my favorite writers insists that it is best to start with gratitude.  I agree.  Right before you head into that first rehearsal, take a little moment of gratitude to be thankful you’ve been given this new opportunity, and to remember that for every role you are offered, there is a line of people who were also considered and who wanted it just as badly as you did.  The opportunity was handed to you.  You are its keeper.  It is a gift and a privilege.  Also be humbled by the knowledge that as wonderful and as talented as you are, you are replaceable.  You’ve got a golden ticket, Charlie Bucket.  Don’t throw it away.

Now.  You’ve got your supplies.  You’ve prepared.  The Floor is Swept.  Get in there, and knock ’em dead.

Oh!  I almost forgot the most important thing:

COFFEE.

Sing out, Louise,

Your Audition Coach

RESOURCE:  Check out my completely free Performer Checklist.  A very handy dandy tool for keeping yourself stocked and ready to go.

Coming up next– Stage Manage Yourself: Part Four – TECH WEEK

Posted by E. Morgan in Acting, Rehearsal and Practice, Stage Manage Yourself Tags: Preparation, Rehearsal