A HAPPY

NEW YEAR

TO ALL OUR

READER!

REHEARSING

Rock climbing is an activity that most of us, I suspect, would rather watch from the safety of terra firma, and yet a significant number of people include it in their list of hobbies. They would say that they enjoyed it, found it exhilarating, and probably even describe it as ‘good fun’, even though it’s very unlikely that they are actually convulsed with laughter whilst clinging precariously to a sheer rock face, some distance off the ground. Like any other sport, dangerous or otherwise, it requires a serious approach, and great discipline. Before they start a climb, the climber must check his or her equipment carefully and thoroughly, and whilst climbing, they must concentrate one hundred percent. Failure to follow these procedures and disciplines could prove fatal.

All together now…follow the bouncing ball… “They scraped him off the rocks like a lump of strawberry jam… "

Whilst acting is considerably less dangerous than rock climbing, although we do speak of comedians ‘dying’ on stage, the same principals apply to both activities… prepare thoroughly, and adopt a disciplined approach.

Rehearsals should be ‘fun’, but this enjoyment should come from the satisfaction of overcoming the challenge, and not from fooling around. Rehearsals should be productive, with a level of efficiency as high as possible… certainly no lower than 90%.

All this rehearsal business may seem irksome, but any actor who works hard to ensure they play a role to the best of their ability, is their own best friend. The other actors and the audience will like them as well. Enough practice helps actors get used to the words, put the whole part in focus, and get rid of first-night nerves, which are mainly caused by the uncertainty of doing the unfamiliar. The more familiar one is with an assignment the less fear, therefore, the more rehearsal the more success, and the greater peace of mind.

“It’ll be all right on the night!” certainly won’t apply if the actor is unprepared and under-rehearsed. It’s much easier, and much more enjoyable for an actor and the audience, when he or she knows exactly what they’re doing.

Successful theatre people tend to have a strong sense of discipline, not only during performances, but also during the rehearsal process. They follow a set of ‘rules’, which were not voted into existence, but are the result of years of experience of finding out what was needed and what had to be done about it. Some of these rules are so obvious it may seem foolish to mention them, and yet too often they must be reiterated forcefully. Whilst they may have no direct bearing on the show, following them is essential to the maximum realisation of it.

Punctuality is of vital importance. The old aphorism is, “If you aren’t at least ten minutes early you are ten minutes late”. Often, no work can begin when members of the cast are absent. Those who are not present are absent until they are present. If they arrive late, they have delayed work for everybody.  If twenty rehearsals, each of two and a half hours duration, are required to prepare a show for opening night, just fifteen minutes lost at each rehearsal adds up to a total of five hours… the equivalent of two rehearsals. How often have we thought during the dress rehearsal that the show would benefit greatly from another couple of rehearsals?

The director needs for his own concentration no distraction at rehearsals, therefore quiet, intelligent attentiveness is required from all those present. A performer, who listens to everything being said, will stand a better chance of carrying out the instructions being given. If the performer fails to listen intelligently, the implication is that he or she was inattentive.

Rehearsing is not designed to help actors learn their lines. They should undertake this tedious, though necessary task at home. If the concentration is intense, and the person self-disciplined, the accomplishment will be swifter, easier, and more lasting.

Performers should be made aware that they are part of a vast whole. They should all listen, watch, and be alert and quiet. Observing these small but important regulations will make a great combination to the success of the show.

I have gone on stage to tackle the leading role in a professional production of Molière’s ‘School For Wives’, with just four days rehearsal!

“Success in our business is only provisional, and it has to be worked at. We were good rehearsers and hard workers who were determined to persevere.” (Ernie Wise)