Read-through

Through the eyes of a director: Monday, February 8th

Week one of rehearsals for Trueheart Productions started with a complete read-through of the script. It was the first time the entire cast would gather.  After a short welcome and introduction by our stage manager, seventeen actors trooped up onto the stage to sit in a large semi-circle for the undertaking.  

What were these thespians feeling?  Understandably nervous? (“This would be a good time for the earth to swallow me up.”) Arrogantly confident ? (“Everyone is going to be so impressed when they hear me read my lines.”) Or condescendingly lifelesss? (“It’s only a read-through. What a tedious exercise.”). 

Several years ago I read the background story for BBC’s Pride and Prejudice.   I had appreciated that film production.  Its length kept it from the all too common, all too poorly done abbreviating of Austen’s work.  And refreshingly, there was no transposing of contemporary values on these classic literary characters.  Relief, joy. 

So what was their read-through like?  With many seasoned professional actors, it was endearing to read that Jennifer Ehle (Elizabeth) considered it a terrifying ordeal.  Colin Firth (Darcy) was in the gents room groaning aloud in agony before it started.   David Bamber (Mr. Collins) thought that at any moment someone would tap him on his shoulder, mid-sentence and ask him to leave, without a script.

How would the cast of Estranged Identity, a mix of student, community, and professional actors fare under the pressures of a read-through? It sounds like most actors find it a nerve-wracking experience when they are “on show” for the first time. Would our cast survive the fears of being judged prematurely by directors and fellow actors? And would they bring life and energy to this important first-time through the script?

Amazingly, the cast seemed at ease and if anyone was suffering from butterflies, he was able to force them to fly in formation. As one individual brought force and pitch to his lines, others enlivened and joined in. Many lines began to be delivered with interpretive quality and color.

It was a very promising start as the life in Tiffany Barclay’s lines began the process of taking shape as they moved from paper to stage. Next step, two music rehearsals this week run by Estranged Identity’s composer, Ms. Barclay and the show’s conductor, John Carter.