Now blogging: Laura Lussier, Assistant to the Director
Thursday, March 23
It’s Tech Week! We had our last run-through of the show in the rehearsal hall yesterday. It’s always an exciting time when the crew moves all of the props and furniture into the theatre, where Set Designer Carole Klemm is putting the finishing touches to the world of The Birds and the Bees.
Today, after a safety walk with the Production Manager (Wayne Buss!) and an exploration of the set, we started the process of what we call “Spacing.” This is my first time working in a theatre with a true thrust stage in a directing capacity. PTE’s stage extends into the audience on three sides. It presents some challenges, but I love the intimacy that it provides the audience. Spacing consisted of the actors moving through the play with director Ann Hodges and I literally running around the theatre checking sightlines and making adjustments to the actors’ movements to make sure that the audience is seeing as much of the action onstage as possible, without actors blocking other actors or parts of the set getting in the way of the audience’s view. (Pretty sure we hit 10,000 steps without even leaving the theatre!) Spacing is all about finding solutions to little technical problems in the space, and about the actors getting comfortable in their new home, the stage.
While the actors get some well-deserved rest, Ann and I stayed at the theatre for what we call “Levels”. Larry Isacoff, the Lighting Designer, and Ian Hodges, the Sound Designer, as well as lighting and sound operators and a “light-walker” settled in for what will be a long evening. We started building lighting cues last night: the lighting designer shows the director what he has envisioned for certain moments in the play and they collaborate to find the right timing and level of light. The light-walker helps by standing in for the actors onstage, so that we can tell what the light looks like on bodies and faces in the space. Then, the Director and the Stage Manager collaborate to determine when to call the cue. It’s a complex process, but it’s all worth it! The set looks gorgeous under Larry’s lighting design!
Tonight, we added sound to the mix. Ann and Ian Hodges listen to the cues in the space to determine what level is appropriate, when the music or sound cue should fade in or out, and from which speakers the sound should be heard. Then, we see how lights and sound work together. It’s intricate work and we have to be as efficient as possible because we only have approximately eight hours to build all the cues in the show – lighting and sound. We’re talking over a hundred cues, and this isn’t even a tech-heavy show! (I don’t know how they do it in eight hours for musicals…) The time-crunch of Levels is a bit crazy in my opinion, but it always gets done somehow. We’ll go through the cues with actors and run through the show several times, so the work we do in Levels serves as a base for the work in the coming days. The designers will keep tweaking until Opening Night, which is in exactly one week!!!
The days until opening are long and full of adjustments and challenges for everyone. We’re getting higher and higher on our mountain, which means that the time is shorter and exhaustion becomes a factor. Everyone has to take special care of themselves during Tech Week and we all have to take extra care of each other. We’ll be working 12 hour days with two one-hour meal breaks most days until opening. (We call these days “Ten out of Twelves.”) But everyone working on this production is so wonderful that these long days on the climb to Opening Night will be less exhausting that they will be delightful, I’m sure.
More to come on Tech Week in the coming days! Q to Q, Quick Change Rehearsal and more!