There’s a very relaxed vibe, myself included. We’ve already done the tech.
At the tech Jonnie pointed out that the cues in the second half are not the same as in the first. It has a fluidity and is less interactive from the point of view of the sound operator. Jonnie urges me to address this, suggesting that a ‘cue to cue’ typical of a tech run would be of benefit.
So, prior to performance I work on tightening up these cues.
A cue to cue isn’t necessary but attention is given to the new material in the second half. Some of it is about timing, about close instruction for Peter who is operating the sound, and some of it is fixing punctuating activities for the performers, such as resetting the chair after it has been knocked down and the exact order with which certain actions should be carried out.
There is a lot of attention to detail required with Elephant in the Room, I think this is because of the complexities of it, the fact that the sound/voice/inner worlds and the on stage action are disparate. The performers need more steer at times. Sometimes I assume that they’ll settle into these things themselves, figure it out as they go along trusting their impulses and instincts– I don’t want to micro direct as I have tried this before and it was very frustrating but sometimes it seems that it is essential to do this and I can’t assume that the performers will automatically grasp for the best course of action.
The relaxed vibe halts abruptly when we get into the space and realise that there’s only an hour to reset the tech which has been repositioned and altered since our tech time...
The technical challenges prevent a pre-performance run and this impacts on the performance.
At the tech Jonnie pointed out that the cues in the second half are not the same as in the first. It has a fluidity and is less interactive from the point of view of the sound operator. Jonnie urges me to address this, suggesting that a ‘cue to cue’ typical of a tech run would be of benefit.
So, prior to performance I work on tightening up these cues.
A cue to cue isn’t necessary but attention is given to the new material in the second half. Some of it is about timing, about close instruction for Peter who is operating the sound, and some of it is fixing punctuating activities for the performers, such as resetting the chair after it has been knocked down and the exact order with which certain actions should be carried out.
There is a lot of attention to detail required with Elephant in the Room, I think this is because of the complexities of it, the fact that the sound/voice/inner worlds and the on stage action are disparate. The performers need more steer at times. Sometimes I assume that they’ll settle into these things themselves, figure it out as they go along trusting their impulses and instincts– I don’t want to micro direct as I have tried this before and it was very frustrating but sometimes it seems that it is essential to do this and I can’t assume that the performers will automatically grasp for the best course of action.
The relaxed vibe halts abruptly when we get into the space and realise that there’s only an hour to reset the tech which has been repositioned and altered since our tech time...
The technical challenges prevent a pre-performance run and this impacts on the performance.
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