Opening Night

King Lear: First Performance

This is it, we are open! After all the hard work and hours of rehearsals we have finally realized the show that is "King Lear." With all the excitement and antipathy of a child's new toy, we played our house this gripping tale of tragedy and woe. Our new toy is out of the package and we can't wait to use it again tonight.

Backstage, there was almost a somber tone as we opened, I think due mostly to the focus level of everyone performing. We were also forced to kill the running lights in the men's dressing room due to spill-over into the house. This was a little disconcerting at first but may have helped with the undertones in trying to capture this tragedy. It was a blast to witness as we transitioned from scene to scene like some finely oiled machine but hours on the job. It is this focus level that allows the talent to slip into character and the language to float on top of the action and mechanics of the show. It is with complete confidence that I transitioned from one entrance to the next, relying on all involved to hit their marks. I was not disappointed.

An explosion of light outlined the intermission call as the dressing room lights were illuminated to full power and brought everyone to that midway station, giving us a breath to reflect on the opening act, if just for a moment. The general consensus was that we were running strong but still playing it safe (to be expected with an opening night). I love the feeling backstage when you know something is working. All the hard work has payed off and now it's play time. As we exchanged approving glances and handshakes we slowly slipped back into the world of Lear to begin the second act.

I think we silently resolved ourselves to take more chances in the second act, which began with a snapping lurch as the audience (and ourselves) was thrown back into action. Sometimes speed can be your best friend when you want to infuse more energy into a show and there was not lack of it out of the gate. Weaving an intricate pattern of plots and perspectives, the second act is intensely active and requires an unparalleled amount of attention. It is when everyone is tuned in that individuals are allowed to take their moments and make them their own. It is so much like a meditation in that respect. That we are all one but still contribute a unique quality that is integral to the overall outcome of the show. And still discoveries are being made. I myself found a moment with Chris (Edgar) on stage when I recognize his character and offer up a piece of information that moves him into action. I do not have a ton of time on stage but it is moving to know that even my few moments are imperative.

As the lights came down on our first show, the house erupted in thunderous applause, giving us all the indication of a job well done. What a relief. Truly, until you hear the applause you can only hope that people will enjoy the show, but never certain. I feel we can be now. The cast convened in the house after the curtain call for cocktails and congratulations from friends and fans. We were ecstatic to meet and greet our public as we could all see the relief wash over each others eyes. We've done it and not a moment too soon. The magic of the theatre is just so. It does all work out in the end. We don't know how. It's a mystery!