Letters from Boston #3January 3rd 2008 |
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January 3, 2008
Greetings and Happy New Year...
I hope everyone had a great time this holiday season and that, as we look ahead to 2008, you will be as excited as I am about what we have in store for you. First up, opening February 1, is David Mamet's very funny play Boston Marriage. Below I have posted the latest rehearsal diary from Julieanne Pogue and I hope following their progress through Julieanne's notes will get you revved up to see this scathingly funny show...If you like David Mamet and/or if you like Oscar Wilde, this one will be for you!!
See you at the theatre!!
Peace and Love,
Rick St. Peter
Artistic Director
From Julieanne Pogue
Rehearsal, January 2
We couldn’t “slog through” more than half of Act I, because we couldn’t agree about stage directions. We’d changed them so many times in the first pass that each of us remembered or had written something else. Gina and I will meet earlier today to compare notes on the second half, with hopes that this will shave a bit of time off tonight’s endeavors.
I was happy to have brought my research illustrations, shoes, wig, corset, and petticoat; unbeknownst to me, Monica was measuring us for costumes at the beginning of rehearsal. I had thought to use a wig rather than a hairpiece as my hair is far to short to hold any anchor…I have nightmares of flinging myself about the stage and watching helplessly as this dead cat flies off my head and into the lap of some unsuspecting prisoner in the audience.
That is, in fact, why I started “augmenting” my hair color with copper highlights…my fear of losing a wig as my character was kicked off the side of a substantial mountain in “Dark of the Moon”. From that time, I just died my hair whatever color was needed, but I can’t grow it any longer in time for the show so…wig it is! There are a few characteristic styles of the day, and I’ve chosen one part up, part down, the better to fling and preen (very much the Anna I have come to know).
The corset is not nearly as uncomfortable or unwieldy as I had feared, and it informed my movement in helpful ways. I’ve always held that movement starts from the inside out and the bottom up; the shoes, petticoat and corset began to define Anna in ways I could not have imagined, creating a kind of delicacy and grace to her ways that are belied by her monstrous hystrionics.
Jack will begin to emphasize the separate beats of the script beginning next week - those bits of ebb and flow that underlie the comedy and form the impetus for action.
If we can just get through Act I!
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