I’m not one for fiddling with the text of a play while it’s being rehearsed.
Feedback from actors and directors is a valuable part of the writing process, but, at some point, the script has to be set in stone, and the production team left to make it work as written. Otherwise, it becomes far too easy for the production team to edit out problems, rather than solve them.
As an actor and a director, I’ve made some of my most important discoveries working the hard bits of a script that others might have simply cut.
As a further plus, because I’m not part of the rehearsal process, I get to see opening night with fresh eyes.
I was very impressed with Wayne and Jen’s work, on opening night. Very quickly, I realized they had figured out how to make the script work, as I watched Jen easily and confidently transition from character to character.
The production was a success, I think, because the characters were allowed to move through space when they were “off-camera.” When Jen played one character, there was no reason to expect the other character to stay put. As Grace spoke, Samuel could prowl. As Amy spoke, Grace could draw near. Effectively, Wayne and Jen gave themselves permission to move the characters around the stage, as if there was more than one body on the stage. At times, I was reminded of a well-edited film.
At play’s end, I wanted to see it again, which, for me, is quite rare. Unfortunately, my schedule did not allow me to see the production again at the 2013 Ottawa Fringe. Fortunately, Wayne is cooking up the possibility of a very unique kind of remount.
I will keep you posted.