Starting to get the shape of the play, and nearly a full cast.

 Because I had forgotten my camera today, I didn't take any pictures, however, I have decided to brighten up these strings of conversation using pics of British homes during the second world war.  

These links goes to sites which have some fabulous descriptions of life during the war, and whilst they are mostly of working class homes, unlike the setting of our play, you can see the style of the era and get a feeling of the day to day life of people in Britain at this time

 http://www.bbc.co.uk/schools/primaryhistory/world_war2/wartime_homes/

http://www.iwm.org.uk/upload/package/20/lifeinww2/index.htm

Thank goodness today we had several players who were actually in definite roles, and so a lot of work could be done in developing this.  Whilst we did not have a full cast, we are now looking like we definately will have a full cast by the date of the first performance, which is very heartening :-), and the cast we do have are such a fantastic bunch that we manage to get by without letting silly worries about things like needing a full cast  dampen our spirits (lol). 

So, we started the session in a circle, on chairs, with each actor introducing him/herself, and describing his/her character in the play.  Then each other character in turn, described, briefly, their relationship to each other character.  This conversation was long, and one or two members of the cast at some points did look like they were falling asleep, but it was extremely useful, as we realised that there were many gaps in the knowledge of the cast about how each role relates to each other role.

 These relationships are very important, even when there is no particular relationship, there is then a connection through another character.

we also got a chance to look at conflicting areas, such as the very different way that Godfrey and Rachel see their marriage, and to ask questions that the script doesn't give obvious answers to, like "How come Emily doesn't have any idea about Douglas and Rachel, surely she must have some idea?  Denial?

Following this, everyone stood up, and I asked them to walk around the room, first as themself, and then as their role.  Later they started to think about how they stand, and then how the character that they play would stand, and talk about one or two things that would be very different.    

Some of the actors became aware that their stance, and actions, are generally quite casual, and relaxed, whereas their role character would be much more controlled and straight backed.  Others found that they had a habitual way of acting 'posh', when they are in role, even when their role demanded that they are 'common'.

Many English dramas tend to be centred around upper or middle class society, and historically, our actors tend to have upper or middle class accents, so it is easy for an actor to fall into the trap of thinking that 'acting' entails 'talking middle class', which in many cases is not the case.  

As a group, we played for a while at being a gang of common people sitting in a pub, with working class accents, talking 'shop', and 'the price of bread'.  This was fun, and certainly worked in enabling the actors who were playing earthy, working class characters to do with with more of a comfortable style.

During these excersises, the actors paired of and spoke with each other, first as themself, and then as their role character.  This helped them to form a background to their relationship on stage, and build up a style of interacting specific to each relationship.  Where characters don't interact much on stage, it helped them to get more of an insight into the fabric of the play, and the development of the plot.

All of this part of the session was improvised, and it became quite animated and energetic.  Sometimes conflict occured, where resentments that are built into the relationships but not actually expressed by the script, were voiced.   On many occasions, actors came to realise and build in some very subtle layers into their relationships, and realise that these are usually not that simple (as in real life!)


By lunch time a lot of familiarity had been built up in people roles and relationships, and after lunch, it was time for more script learning/consolidation and blocking.  I had intended no scripts would be on stage at all by today, but with new people joining, and some returning after an absence, I decided to allow them for part of the rehearsal, but not for the actors in performance time.  


As from this week there are no more scripts allowed on stage.  Saying that I was very impressed that some of the actors had been obviously learning words, and where they had, the character work that we did earlier, had very beneficial results on the overall performance.

Blocking was difficult as we did not decide until after the performances where the stage would eventually be.  The room has a large and very beautiful fireplace, which is the heart of some of the action, and we had to negotiate the space around this, the most suitable doors for actors entrances and exits, and another space where the stage will go when it arrives at the end of this week.  I think we have a definite plan now, which will make blocking actions in the future much easier.

So, with about 3/4 of the cast, and much more familiarity of the characters, plot twists and turns, and an awareness of the actual space that they will be performing in, the actors reach the half way point of rehearsals.


As I write this, I have just spoken with someone who has promised to play the part of Douglas.  One of the main characters.  We two will meet up on Thursday morning and go through the script together with a fine toothed comb, and hopefully he will have learned most of his part by lunch time, as the only rehearsal he can make is the last drama day.  

Other cast members are arranging to get together outside of formal rehearsal times to finalise word learning (or begin in new members cases).  This is a fantastic level of commitment and shows that the actors are taking personal responsibility for their roles in and contributions to the performance.

We had the talk about costumes, and group members have also committed themselves to seeking costumes from the right historical period, and next week we will have the clothes rail 'on site' to start collecting costumes and accessories.  Next week we meet the wardrobe mistress who will be helping and advising people on what sort of things to be looking out for and ensuring that things all 'fit' (literally and symbolically).

Next week we also start talking props - we have a rifle and a frozen rabbit so far, which is a good start.

Time to Start Thinking about Costumes

Hi All, here are some pics and links to some you tube videos that show 1940s clothing and hairstyles.   

Please can everyone hunt through their/ their mum's /their nans/ grandads/neighbours to see if they can see anything that might do for any of the characters, and bring them on Sundays.

We won't be able to get a perfectly accurate reproduction of this era, unless someone wants to make it their life work over the next 4 weeks, but a suggestion of the era by accessories, a skirt, a hairdo, or something like that, would be really good.

If you decide to buy some costume Don't spend loads of money - if you spend a very small amount, we can reimburse you, but literally, keep it at a couple of pounds max.

If you do a search on Google Images or You Tube, put in 1940's, fashion, clothing, dress, vintage - loads and loads of pics and videos come up.

Try these Links:

http://www.youtube.com/watch?v=TyHbZ4F2M-I&feature=player_embedded

http://www.youtube.com/watch?v=eV_Ncsp25HE&feature=player_embedded

http://www.youtube.com/watch?v=fbe4W_2mzZs&feature=related

http://www.youtube.com/watch?v=pKafuYAGdS8&feature=related

http://www.youtube.com/watch?v=ajunAErnQzU&feature=related

http://www.youtube.com/watch?v=P6HlMN8IlKc&NR=1&feature=fvwp

Good Luck and Happy Hunting!!

Sunshine, New People, and Decisions

Second Drama Day at the Hayes.  I walked in a little late due to unavoidable circumstances and saw only two of the people from last week (3 including the writer), and 4 new faces.  I also had 2 new faces with me, so at the beginning of the day it felt a bit like we had to start over again.  However it wasn't a problem.  The new people soon got into the swing of things, and all were chatting away like firm friends.  

Nice place for a rehearsal

 The read through was a bit quicker this time, and we didn't discuss it for so long after, because a lot of  changes have been agreed since the last rehearsal, which is good because that three way relationship between actors, writer and director is very very important, and negotiations sometimes have to take place away from the rehearsal space so that during the rehearsal we can get on with the important task of rehearsing.

Make the most of those scripts, they'll be gone soon.

 Once again I impressed on the actors the importance of working without script.  One of the most fundamental things that separates amateur from professional productions, to my thinking, is how long people spend with scripts in their hands: "Professional actors", I said - insinuating more inside knowledge than I actually had - "Don't go to rehearsals with scripts.  They learn their lines before rehearsals start.  It is not possible rehearsing with script in hand."  One of the group likened the experience of putting down the script to learning to swim.  I agreed.  Gripping onto the script is like gripping onto the side of the pool, you are never going to swim like that.  Letting go of the side, and your whole body, and focus of awareness is on the water and how you are in it, how you respond to it and it to you.  Finally you have freed up your body and mind enough to enter the experience of swimming.  And it is so much more fun than gripping onto the side!

Those prompting  have a lot to do in these early stages, and often learn the script as well as the actors.  Over a relatively short period of time, however, they become redundant, and finally get a chance to learn their own lines.

All of the group are involved in the action, not just those currently rehearsing.  Comments, ideas, promps, encouragement are all given generously by fellow members.  This is all part of the shared dramatic experience, and the all important building of relationships between group members.  As people that have known each other for 1 or 2 weeks, they are acting parts of people who have been intimately related for years, sometimes a lifetime.  A sense of familiarity and trust is essential for a convincing and comfortable performance.

Musicians make very good actors I have realised.  Not just in this, but in other projects.  Perhaps because they don't try to 'act', they 'perform', 'entertain' and the acting bit just happens.  It's a theory.  I'll work on it.

I may look like I'm having a cuppa, but I'm really working very hard.

Each drama day involves lots of performances, not just rehearsals - this enables the actors to experience gradually the nerves and exhilaration of the actual "on the night" performance.  The more they learn to perform with the nerves, not just despite them, the better they will perform and the more they will enjoy the experience of performing.

The actors worked collaboratively to find a shared drama that they all felt comfortable with.

Letting the Actors Lead
No it isn't lazy directing.  What it is, is that I believe that the actors, to give their best performance, should find their own way with a character and a script, and if I come in with too many of my own ideas, and try to force them on the actors, I'm more likely to prevent artistic expression by denying the freedom of the actor to experiment with their own ideas and creativity, and also I'm likely to annoy people.  So I try to avoid that.  Maybe the odd strategic suggestion here and there, and reminding people that they are here to enjoy themselves, as well as to learn their lines as soon as they get home (yes I am obsessed on this one).

Actors hadn't met before today,  managed within half an hour to give a performance of a couple who have known each other intimately for over 15 years.  Not bad going.

The difficult task of choosing Rachel

The most difficult part of the day had to be to choose who would play the part of Rachel.  With two very capable actresses wanting the part, the decision had to be made at the end of this session.  The decision I eventually made was based on the maternal-ness of the actress concerned.  I was not surprised after to learn that the actress who was chosen is a mother herself.  There is a quality of motherhood that is very distinctive.  The character of Rachel is not just mother to her daughter Vicky, but matriarch to the whole household.  She has a calm authority, a loving strength, the ability to soothe, and the ability to be in control when all around her threatens to descend into chaos.  The response of Vicky to her mother is also very important, and there was a tangible stage rapport between the two actresses who are playing these parts.

Minor changes to the script were accompanied by some experimenting with different actions, in order to bring about a purpose and a logic to chains of events that will be (hopefully!) very clear to the audience.  It is important at this stage to be able to ask actors to try something completely differently to how they have been doing it.  Sometimes the change won't make sense, and the actor will revert back to the original interpretation, other times, things fall into place and suddenly something that has felt that it doesn't quite fit, just seems to chrystalise.

Fabulous weather and a bit of a chance to relax after rehearsals

Drama Day number 1 - 1st read through, details and line learning

I'd like to start this post with a massive thank you to all who came today and played with such commitment and involvement.  We made a great start to the development of this production and by the end of the day had got quite a distance into our shared journey to the performance on the 21st May (and beyond).

What a lovely day we had, a great turn out and lots of skills and talents offered by the group.  Most of the group didn't know each other before today, and it was heartening to see the enthusiasm with which people worked together in an open and generous spirited way.  Because of the sunshine we were able to work much of the time outside, in the lovely gardens of the Hayes, which made it all the more enjoyable.

We started with a round circle general introductions, in which everyone got a chance to say who they are, what they do, and what they can offer to the group.  A good few people can make all 6 Sundays, which is a relief as we are on a tight schedule.  Another plus point is that we have between us more than enough skills to make this play a great success.  Some people had to choose between which of their many skills to offer, due to being unable to be in two places at once.

Once we'd done initial introductions we went into the drama room for a warm up session.  Some random walking around the room and speaking in different voices, introducing themselves to each other in different ways that got more creative and quite amusing.  It is important to challenge the "embarrassment" factor in drama, and break down inhibitions around being seen to be silly.  Being deliberately silly in a group of friendly also silly people seems to be the best way to do this.  Once we start the more academic stuff of role and script interpretation and character development, we have already faced the embarrassment factor, and rather enjoyed it.  This also releases some of the energy in the group, as it is important in performance to be able to draw on all of your energy in a positive way, so that the final show is truly as entertaining as it can be.

The first read through was lively as people seemed to enjoy their parts, putting feeling and drama into the reading, despite the fact that many didn't have a clue as to what was going on some of the time.  Nettle Roots has a meandering, twisting and many layered plot that took some getting our heads round.  It was also an opportunity for the cast to comment on some parts of the script that could be tweaked to make details clearer,  and in one or two cases changed altogether.  In places the conversation got extremely animated: we asked for people to be honest and they were!  

Beti stayed with us all the way through, which is a good sign, as she did say she wouldn't hang around if it got too painful (as someone who has written plays I can identify with this sentiment), and the group came to some broad agreements about details that could be modified, whilst being very appreciative of the fantastic and lively storylines and characters that Beti has written into the play.

Despite the fact that I hadn't thought we would cast the play today, we did mostly cast it, as the group that turned up seemed to fit many of the parts very naturally.  Many of the group haven't acted before, and were quite nervous, but still managed to be skilful and creative in their characterisations.  Most have given firm promises to stay with their parts, with just one unsure (but we hope will stay with us) and three more actors coming for the first time next week.




After the reading we had some lunch and got to sit in the sunshine and relax, however I was very pleased that even then the animated conversations about characters, motivations and plot development carried on, with people taking an energetic interest in the development of the play.

This still continued into the "pairing off" session.  With so many levels of relationships between the characters, I wanted to start off as simply as possible, so we focussed on pairs of characters.  This was very useful as people could go quite deeply into who their character is, and how they might interact with just one other character.

 The theory is that when we start to work on scenes with larger groupings, the relationships that we have studied in depth today will have more conviction and meaning, and clarity for the audience - as well as the actors.

The end "showing" part of the day took place back in the drama room, with chairs put out in the position of that they will be in on the 21st.  The actors thus took on the role of audience, taking turns to enrol into character and perform their dialogues to the rest of the group.

This is important on many levels.  Firstly, the actors get to see the play from the audience viewpoint - very important, and give comments and suggestions to each other.  Secondly, performing in the room, set out as it will be on the night, will help the actors to become familiar and comfortable with the performance space.  Despite only having worked with the script for three hours, most of the time the performances were done without script or with small glances at the script.  This is also extremely important, as scripts in hand inhibit performance more than anything else, and whilst the actor may feel less nervous with the script in the short term, in the long term they will be more confident and spirited in performance if they are used to not having it.  This came out when characters ended up ad libbing, giving a great performance, that never would have happened with script in hand.

So, my final statement in this post is in the form of a plea - please please please, all those with definite parts, learn your lines, don't think you can't because you can.  Become familiar with them, get friends to hold the script and prompt you, even if to begin with they have to prompt every line.  You will be surprised how quickly you can learn lines, by forcing yourself to work without the script.  Another good thing to do is to read your part into a Dictaphone and play it to yourself whilst doing other things (even sleeping).  The less you use the script, the more you will enjoy your role, and the better your performance will be.