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.
Lead actors getting to know each other
Welcome Estranged Identity!
A cast of 19 actors, 4 directors and 2 choreographers look to bring a performance complete with inspiring music, exciting dances, and suspenseful swordfights. This is one show you won’t want to miss!
Trueheart Productions has officially embarked on their next adventure: Bringing the World Premiere show of Estranged Identity to the stage April 2010. It may sound slightly cliché, but this show looks to top the past two world premiere shows Trueheart Productions has brought to the stage.
Rehearsals began last week with orientation and acting training. Our first dry read was met with egger excitement. There is something very exhilarating about being a in a world premiere cast. This week we worked intensely on Ms. Barclay’s beautiful musical score. I think all involved would agree that her music is an over looked gift in Portland. Dance rehearsal begins tonight and will begin to take form over the next few week.
Stay tuned and watch this show’s journey to the stage!
Acting training
Costumes: Research & Design
Part 1 of 2
The very first step in costume design begins with a lot of questions in research… What styles of clothing did Jewish and Moabite people wear in 1500-1100 BC? Were there religious reasons for their dress? The list goes on. Due to the fact that the Jewish people did not make images of themselves, 100% authenticity is nearly impossible to achieve.
The little information we do have is based on Biblical descriptions, groups of people (Egyptians, Persians…) which included Jews in murals, a handful of artifacts, or how artists over the years have depicted them.
If you come to see the Premiere of Rejected No More, look for a few key authentic clothing facts….
- Jewish men wore tassels on the corners of their clothing
- Jewish women wore head-coverings of some kind (not sure at what age they began)
- (Moabite) wealth is shown with excess fabric (e.g. drapes, baggy sleeves, extra fabric wrapped around, multiple layers)
The next step in the process of costume making is designing. The costume designer uses information from the research and designs them into costumes for each character that reflect culture, time-period, and unique qualities of that character. They also have to take note if the actor will be dancing or needing to change costumes quickly. And finally, in our latest upcoming production of Rejected No More, it is necessary to distinguish the difference in heritage (Moabite vs. Jewish).
For example the differences between Moabites and Jews (from Bethlehem)…
Color
Moab: bright colorful clothing
Bethlehem: more dull (because they just had gone through a famine, thus poor)
Style
Moab: wrapped draped fabric + loose hanging sleeves
Bethlehem: (men) tassels on the four corners of clothing
Head-coverings (women)
Moab: no head-coverings, beaded head tie across forehead
Bethlehem: fabric coverings on all or part of head
Here’s a sneak peak of the costumes designed for the character of Ruth in our upcoming production of Rejected No More.
