After years of writing and rewriting, workshops and readings, auditions, casting, and months of actors working on their own, we're all finally in the theatre to start the rehearsal process. Days 1 and 2 were spent around the table, reading the script aloud and discussing meaning. Dramaturg Megan Thornton provided the cast with historical context about the rise of facism in Europe. Director Rob Caisley spoke generally about his concepts for play and the relationships between characters. Then we all moved into the Hartung Theatre to start blocking.
Rob's approach is to generally sketch out the movement of each scene rather quickly at first to get a sense of the orchestration of the entire play. Here he directs the arts patrons as they view Dora Maar's photographs in a Parisian gallery.
In the scene below, Rob gives blocking direction to Marie Therese as Dora and Maar take notes in their script binders.
Clearly, construction has not yet begun on the set, although the actors are guided by lines taped onto the floor that indicate where certain large set pieces will be. Also, we have some stand-in set pieces with which to work, such as a table and chairs for the cafe scenes.
Below, Dora poses for Picasso in his studio as Valentine recites a poem.
During rehearsal, the stage manager takes notes regarding props, costumes, sound etc. then distributes them to the company, so everyone is aware of directorial decisions. As playwright, I'm also taking notes, listening for lines that need adjustment, clarification, or just plain rewriting. With a new play, the actors must be prepared for regular (sometimes daily) changes to their lines as both Rob and I learn what works and what doesn't as the play gets on its feet.
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