We’ve been pushing the heightened language of the piece, as well as the contemporary references. We have been speaking about the different flavour of each act, and this is clarifying as rehearsals progress. We’ve been practicing this to make sure that the onstage queues work effectively and in time with offstage sound queues. These sounds are created from cast recordings (see the trailer for a sense of this),which can then be modulated using the desk. Max and sound operator Matt Russell have been working on the sound desk that Higgins and Pickering manipulate onstage in Act 2.
We have been perfecting our Act 1 sound experiment, which involves tight choreography and very specific notes, as well as a number of re-records of the voices of cast and non-cast to ensure consistency in the sound quality.
We also had Coach Schafer hooked up to a Virtual Reality baseball simulation. It’s imperative that we practice this to make sure that both the actors and stage management are familiar with the way this interaction works. If you watched this weeks video, you saw competition was heating up at practice. We are now able to see the filmed sequences from our shoot last week, and we are projecting these onto the wall of the rehearsal room, which allows us to fully understand how the video works in relation with the stage action. We have had video designer Will Duke, lighting designer Jack Knowles and sound designer Max Ringham in the room with us at points throughout the week to ensure a consistent language across all aspects of the production. The show has come together in its entirety this week, and director Sam Pritchard has been focusing on the heightened physical language of the piece and the technical journey.
#VIDEO DIARY WEEK 4 FULL#
We began this week with a move up North for our final full week of rehearsals before we go into tech and then open at West Yorkshire Playhouse.
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