Walking through the stage door of The Barbican theatre at 10.30 am and signing in for the day is the first action of a desperate man – desperate to get things right that is. The RSC have devoted so much time and support to this project and it has been going so well so far that none of us want to go down in infamy as the one who “mucked up”. So it’s a deep breath and then down into the bowels of the Barbican to the rehearsal room. We’re in the rehearsal room because up above us the stage is being fitted up ready for the performances to start the following day.
It’s just the Tower Dreamteam in the morning with Erica and Kim. Voice guru Michael is feeling unwell and we hope he can return to the fold really soon; I have a feeling I may be needing his talents ere long. We start, naturally enough, with our opening scene which I could by now recite in my sleep – and possibly do/will. We skip past the second scene as this requires Lucy (Puck) who won’t arrive until later and then move into the short transition scene in Act IV. The work is intense but still highly enjoyable, especially when we discover yet more new things hidden away in the text. A first go at Pyramus and Thisbe comes before a visit to the stage to see the set going up. There are boxes of materials everywhere; it looks like chaos but I’m certain that it is far from it. The visit serves as a very timely reminder of the sheer scale in which we will be working. I actually found sitting in the auditorium and looking back at the stage even more daunting as we contemplated what lay ahead. Meanwhile all of the morning’s events were being filmed by the BBC documentary team and a brief interview session with them finished the morning.
There was actually little time for lunch (well not for me at least) but some fruit on the terrace and some fresh air was very welcome; the Barbican backstage can be an airless place with few windows on the outside world. I had to return below ground fairly swiftly to work with Ayesha on our scenes – cue happy moments of reunion both with her and the other adult fairies. Ayesha as ever kept me on my toes with fresh approaches and new ideas and I was reminded that Bottom has a whole other side to his character (other than the rather loud blustering which passes for acting the rest of the time).
Next it was time for the schoolchildren’s session; the Beam and Eastbury pupils were intelligent and alert and Kim in particular worked her socks off to get through so much in a short space of time. It was great to see all the enthusiastic, eager faces again and it is clear that they and their teachers have been doing a lot of work on their scenes. Finally we all got to do the Bergomask several times before the youngsters and their chaperones headed off home and we took a meal break. There’s a nice canteen (called the Green Room) for the artists and the Barbican staff which we are being allowed to use. Then there was just time to pay a visit to our allocated dressing rooms – the male contingent of the Tower team are all together in one space while Maria is sharing with Lucy. The dressing rooms are much swisher than many I have seen – individual stations, organised and spacious clothes rails and shoe storage, lockers for ordinary clothes, a shower, a sofa and even our own fridge – very snazzy. The room comes complete with our very own Jen– our dresser who helps us to sort everything out and keep things in good order. It’s all a far cry from the often cramped muddle of am dram world.
The evening session was spent working on the rehearsal in the forest scene; Lucy joined us for this and added some inventive business with Puck’s mischief making based on what we were doing. We also did the second half of Pyramus and Thisbe. Tiredness was definitely setting in by now and I was having to play in a rather lower key than earlier. The directors were happy to allow this as they knew that when it came to actual performance the adrenaline would kick in and Doctor Theatre would work his magic. A last glance to see how the set was coming along (well, since you ask) and it was off home to get some rest so we could do it all again soon. Tomorrow is even longer and more intense but also contains THE big moment. Crikey!
This week the production is at the Barbican in London– click on the image below to reveal full details.
Evenings at 7.30 Tuesday 17th – Saturday 21st May
Matinées at 1.00 Thursday May 19th & Saturday May 21st