Wow! What a day. It was short, as we only did a read through of the show, but amazing! Really - this is gonna be a helluva production!
We started a few minutes late as we were waiting for the cast to fully assemble - minus the ensemble. The first thing I noticed, even though, as I said yesterday, we've been in rehearsal already for a week and a half, was the "first read-thru" feeling in the room. Everyone was giddy and excited to be here and for those new to the room there were a lot of introductions. Once we finally sat and began, we were still missing our Tanya (Judy) as she was running late, so we started without her. She showed up moments later and we were whole. As the first act seemed to flow along, I was taken aback at how quick some of the transitions from scene to scene really are. I was especially shocked to realize that after my first scene on stage, when the Dads enter, I don't come on again till the middle of a song called "Gimme Gimme", where the girls are desperate to dance with the guys. But immediately following this raucous number comes the much more intimate, as I've said before, and touching "Name Of The Game." The quick emotional transition between the two, from happy, giddy writer out for an adventure to shocked and confused (there's that word again) possible father, caught me totally off guard. I was still enjoying the euphoria of the first world when I was suddenly slapped in the face with the reality of the second. And the slap was helped along by the truly intense and focused read of Alyse as "Sophie". She's got such an intelligent quality and a quiet intensity about her that even with her diminutive size she really commands a room. It's remarkable to see and be a part of. We finished what was left of the first act and took a break for the intermission. I introduced myself to those I had yet to meet, including Judy, and grabbed a quick bite to eat. It's amazing the amount of food actors eat, considering we were sitting in chairs for an hour. But that just shows how much work and effort goes into a production, even at the read-thru stage.
If the first act was filled with a nervous energy, the second act became much more refined, a taught string across which these characters had to traverse their emotional lives. And when John and Beth, our "Sam" and "Donna", belted out "S.O.S.", the room was rocking! Boy are they a couple of powerhouses! I just sat there taking this all in, pinching myself, as I have often along the way, thinking, "I get to work with these people 8 times a week. On Broadway!" Cool, huh? But if I thought that was good, I was in for a real treat when Beth rewarded us all with her (very early in the stage) rendition of the true 11 O'clock number, "Winner Takes It All". Holy S--t! Talk about "rocking the house", about "quiet intensity", about "keepin' it real" - she was phenomenal! This woman has such power and depth behind her voice, it's remarkable. Even she couldn't take it sitting down, forcing her, as the song did, to get to her feet and sing this ode to loneliness, to self-acceptance, to retribution and revenge with a grace and hunger that explores an interpretation never before seen. John sat there, his "Sam" dutifully taking what was due him. This is gonna be a fascinating and exciting scene.
We started a few minutes late as we were waiting for the cast to fully assemble - minus the ensemble. The first thing I noticed, even though, as I said yesterday, we've been in rehearsal already for a week and a half, was the "first read-thru" feeling in the room. Everyone was giddy and excited to be here and for those new to the room there were a lot of introductions. Once we finally sat and began, we were still missing our Tanya (Judy) as she was running late, so we started without her. She showed up moments later and we were whole. As the first act seemed to flow along, I was taken aback at how quick some of the transitions from scene to scene really are. I was especially shocked to realize that after my first scene on stage, when the Dads enter, I don't come on again till the middle of a song called "Gimme Gimme", where the girls are desperate to dance with the guys. But immediately following this raucous number comes the much more intimate, as I've said before, and touching "Name Of The Game." The quick emotional transition between the two, from happy, giddy writer out for an adventure to shocked and confused (there's that word again) possible father, caught me totally off guard. I was still enjoying the euphoria of the first world when I was suddenly slapped in the face with the reality of the second. And the slap was helped along by the truly intense and focused read of Alyse as "Sophie". She's got such an intelligent quality and a quiet intensity about her that even with her diminutive size she really commands a room. It's remarkable to see and be a part of. We finished what was left of the first act and took a break for the intermission. I introduced myself to those I had yet to meet, including Judy, and grabbed a quick bite to eat. It's amazing the amount of food actors eat, considering we were sitting in chairs for an hour. But that just shows how much work and effort goes into a production, even at the read-thru stage.
If the first act was filled with a nervous energy, the second act became much more refined, a taught string across which these characters had to traverse their emotional lives. And when John and Beth, our "Sam" and "Donna", belted out "S.O.S.", the room was rocking! Boy are they a couple of powerhouses! I just sat there taking this all in, pinching myself, as I have often along the way, thinking, "I get to work with these people 8 times a week. On Broadway!" Cool, huh? But if I thought that was good, I was in for a real treat when Beth rewarded us all with her (very early in the stage) rendition of the true 11 O'clock number, "Winner Takes It All". Holy S--t! Talk about "rocking the house", about "quiet intensity", about "keepin' it real" - she was phenomenal! This woman has such power and depth behind her voice, it's remarkable. Even she couldn't take it sitting down, forcing her, as the song did, to get to her feet and sing this ode to loneliness, to self-acceptance, to retribution and revenge with a grace and hunger that explores an interpretation never before seen. John sat there, his "Sam" dutifully taking what was due him. This is gonna be a fascinating and exciting scene.
For my own part, it was like going backward in time, and frustrating too, to be sitting there reading "Take A Chance" after having really fleshed out the characters and the scene only days before. I was ready to get up and move, as was Allison, my "Rosie", but we played the scene with all the intentions intact, only from a seated position.
When we finally finished the read, a rousing applause arose from the room, not only from the cast and creative team assembled, but company and stage management as well. It seemed the success we had hoped it might be was coming to pass. As we arose from our seats, I did have to spend some time walking around, checking in with my fellow actors and stage managers and even Martha and Janet, our director and Dance Captain, discussing the reading. The thing that really stuck out to me, and I expressed it many times in the coming moments to all assembled, was how "real" it seemed. It was grounded and whole. It didn't feel "put on" as so often musicals can. But I attributed that purely to the performers themselves. John and Beth and Alyse and Eric, our new "Sky", these are all actors of the highest caliber and their work shows. These are people who work under the same ethic as I do - the reality comes first. Playing a scene for a joke or a "bit" or a laugh is only effective for a short time, then it loses it's luster and becomes old soon. But when something is real and grounded and comes from the gut - that's something an audience can hold onto and "take home with them". It's a real connection and an audience can feel it. I was sitting in the room with these great people and I felt it! I can't wait to continue that journey.
On a personal note (although what in a blog isn't personal), I won't be writing for a few days. I have no rehearsal tomorrow or Saturday due to the funeral arrangements for my dear brother-in-law Brad who passed away last Saturday. Please remember him in your prayers. He was a sweet and gentle man and will be missed by many. He's in God's hands now.
When we finally finished the read, a rousing applause arose from the room, not only from the cast and creative team assembled, but company and stage management as well. It seemed the success we had hoped it might be was coming to pass. As we arose from our seats, I did have to spend some time walking around, checking in with my fellow actors and stage managers and even Martha and Janet, our director and Dance Captain, discussing the reading. The thing that really stuck out to me, and I expressed it many times in the coming moments to all assembled, was how "real" it seemed. It was grounded and whole. It didn't feel "put on" as so often musicals can. But I attributed that purely to the performers themselves. John and Beth and Alyse and Eric, our new "Sky", these are all actors of the highest caliber and their work shows. These are people who work under the same ethic as I do - the reality comes first. Playing a scene for a joke or a "bit" or a laugh is only effective for a short time, then it loses it's luster and becomes old soon. But when something is real and grounded and comes from the gut - that's something an audience can hold onto and "take home with them". It's a real connection and an audience can feel it. I was sitting in the room with these great people and I felt it! I can't wait to continue that journey.
On a personal note (although what in a blog isn't personal), I won't be writing for a few days. I have no rehearsal tomorrow or Saturday due to the funeral arrangements for my dear brother-in-law Brad who passed away last Saturday. Please remember him in your prayers. He was a sweet and gentle man and will be missed by many. He's in God's hands now.
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