Moving Day
As the calendar turns from 2025 to 2026, and resolutions are being made…soon to be broken, our rehearsal process for The Seagull also takes a turn on January 1st: from Swillburg Studio to the Multi-use Community Center. That’s the day we shift to rehearsing as a lead-up to performances. It’s always a big move, and reveals many truths about the work one has done so far. Not all of them positive!
You see, going from a rehearsal studio with its floor taped to represent the scenery ground plan, and its stand-in furniture and props, fluorescent lighting, loud HVAC, while learning staging and dialogue - and generally being in the “pretend” part of theatremaking – to the actual stage with its actual sets, props, costumes, stage lighting and sound…well, it can be rather jarring. While the design elements offer a more complete story, there is now a focus on “product” that is different from the rehearsals so far. It’s time to fine tune, settle on details, and ramp up to audience performance level. It’s also a time, at least initially, when everything so carefully nurtured can easily fall apart.
Founding artistic director Mark Cuddy at work with actors Ian Yates and Natalia Hulse
…and actors Rick Staropoli and Natalie Koenig.
Adding all these production values to an actor’s vision of their character can be unsettling: “Am I wearing a hat in this scene?” “Where do I put my overcoat onstage?” “I didn’t know this prop was so big, it doesn’t fit in my pocket.” “I can’t hear my cue over the music.” “I don’t want to wear a hat in this scene.” “I can’t find my hat!” and so on. Not only do things get added at this point but people get added, too. Lighting designers and technicians, sound designers and operators, dressers, assistant stage managers – all having to learn the play’s action in two to three days while the actors have had three to four weeks. Introducing new colleagues into the production needs everyone to be welcoming and calm. We always take time for introductions and a reminder that there will be some bumpy moments while we slowly coalesce into alignment.
It’s also the time when an actor stands on the stage, looks out into the seating area where currently only the director and designers reside, and thinks “I can’t believe a paying audience will be showing up soon to see me. I’d better know what I’m doing!” Yes, it happens to the best of them. Nerves are part of an actor’s life, and each actor has their own pre-show activities to get ready. It could be repeating the same physical & vocal warm-up; or going over their lines for a certain tricky scene; or having a cup of Throat Coat tea and simply listening to music in a corner. Like professional athletes, an actor’s “pre-game” routine stays about the same during the run. When one is about to expose themselves to a crowd of strangers while holding onto an imaginary narrative, the familiarity of preparation can be a security blanket.
Actors Erin-Kate Howard and Aaron Duclos
Actors Natalia Hulse and Aaron Duclos
All photos by Renee Veniskey, Immagine’ Photography
So here we are about to take this theatrical leap with you in a matter of days. During a performance of The Seagull there will be eighteen cast and crew members working in concert for you, and another fifteen of us who have brought it to Opening Night. Thirty-three dedicated souls who think bringing the classics to life is worth their time, talent and effort. Lord knows we don’t do it for the money, but we still find a bounty of riches in making art for our community.