First Day in Flynn Space.

King Lear: Day 12

Although it was wonderful to have the rehearsal space and all the adjacent rooms, it is great to start identifying with the actual dimensions and parameters of the show. We also had full percussion and painstakingly worked our way through the first act, ironing out all the sound cues. It is extremely difficult to stay focused while Brian and Mark are working out the details. It reminded me of film work, when you are placed and manipulated to fit the framing of the scene. Obviously, this wasn't quite as restricting and the overall outcome will bring a dimension to the show that will both capture and disorient the audience as set forth by the themes of the show.

I am getting frustrated by some of the blocking with France again. I have been presented with a unique challenge by being asked to construct two different characters, which appear very close in proximity in the first act. My instinct is to want to differentiate as much as possible. I have been attempting to use physicality and vocal tone to inform these characters, which does not seem to be the direction Mark wants to go. I am concerned there will not be enough variance in these characters and I fear the implications which that brings. I will have to continue my exploration of France to find something that may inform me more. On the bright side, I feel very confident about Peter and hope this will keep my instincts sharp as we move into the final week of rehearsals.

Maybe it is self-indulgent to worry so much about my part. I know that my part is small in comparison, and that the other actors must be working through their own stuff. Of course, if they are as concerned as I am, we are going to have one hell of a show.

So I guess it can pay to attend the work with as much intraspection as one can muster. Though I know frustration does not serve the scene, my general unrest may give me the opportunity to explore until the scene feels right. Hopefully, that will happen before opening night.