Putting It Together

I'm often asked how a show is put together - I'm assuming that's what people mean when they ask,"what do you guys do in there all afternoon?"As we rush towards the opening of Antigone on November 2nd, I thought this would be a good opportunity to show you how we make it all happen.

Before rehearsals begin, I work closely with the text: establishing facts, asking and answering questions that arise and familiarizing myself with when and where the action takes place and researching the performance history. Once the background work is done, I design the set and decide upon the "look" of the show, which incorporates everything from sets to costumes to lighting. At this point I have a series of meetings with our technical director Alex Valdez to discuss production requirements.

After casting the show, we usually begin with a silent group exercise. This gives the actors the opportunity to work with each other through creativity and play. It also is a good way for me to see how they function as a group. In this case, an actor had to put a chair into the center of the space and walk away. The next person added their chair to the scene. Once that was done, they had to incorporate themselves into the sculpture in a way that would enhance the overall image and provide a narrative. This was the result:

Day One and the cast is working nicely together. Appropriately, Mallory (Antigone) is at the helm

Every rehearsal begins with a series of warm up exercises, lead by veteran members of the company. We do a physical and vocal warm up, then concentrate on skills and characterization. The exercises we do are chosen to support and inform the scenes we'll be working on later in the rehearsal.

Jack leads the physical warm up  

Mallory leads the company in a series of character explorations

Meanwhile, outside on the patio...
Keely and Alessandra get to work on the only set piece in Antigone: a very, very long table. Due to it's abstract and minimilist nature, Greek tragedy is notoriously difficult to perform. With "no tables and no telephones" (as a famous British actor once sniffed) the performer has to rely solely on the body and the voice to convey meaning. There is (literally) very little else to lean on.

Due to the Mudd renovation, our scene shop is unavailable. So the tech team make do and build a table on the patio.

Rehearsals begin with the bare-bones of the production, just the script, a concept and an outline of the set. As we work through the scenes we roughly block the show. Blocking (how and when the actors move around the set) is an essential part of telling the story. It can inform the audience how a character is feeling, what they're doing and thinking, and what their relationship is with others. It is vital that the blocking makes sense; so in rehearsal we spend a fair amount of time working on it. It's a process, so it will often change as we discover new things about the characters and the play. In the photo below, you can see Stage Manager Alicia "on book." It's her responsibility to read along throughout each scene. If an actor forgets a line, they can say "line" and Alicia will read it out to them. She also writes down the blocking for future reference.

Antigone (Mallory) addresses members of the Chorus (Amelia, Jaclyn and Tim) while Vicky (Ismene) waits for her cue.  Due to the extreme heat, Storm and Keely had to move the table indoors during varnishing day.

Ismene  bravely faces interrogation and avoids the tech crew (left) while chorus member Alexis looks justifiably concerned as Creon (Jack) questions Antigone. 

Once the show is blocked, Tech Director Alex Valdez starts to work on the light plot. The plot shows what kinds of lights and colors are required in order to achieve the look we're after, and where they should be hung. He also must determine what dimmers they are plugged into so that he can coordinate them on the light board.

Meanwhile, during freeblocks and weekends, I scour Goodwill, thrift shops, sales racks and the internet for costumes. The color, texture and style of the clothing says an extraordinary amount about a character in a very subtle way, so it's important to get it right!

Royalty mingles with the common folk and the otherworldly. Can you tell which is which?

Between lights, sound, props, costumes, sound effects, lighting effects, tech crew, actors, production requirements and starting work on the next show, Alex and I make a lot of lists!

Since the Tech crew can't hang lights or work on the set during rehearsal, they usually have a "work day" on the weekend to get the big stuff done: hanging and focusing lights, dropping gels (gels are colored plastic sheets that change the color of the lights) The colors are mixed - a warm tone in one lamp combined with a cool tone in another - to create a natural effect. Once the lights are hung, the patch the light board. I understand there is also a fair amount of dancing and pizza eating, too.

In the Heights: Alessandra and Keely get ready to hang some lights!

After weeks of rehearsal, building and costume fitting - it's time for a tech and dress rehearsal. This is the first opportunity the actors have to put on their make-up and costumes and work with all their props. It's also the first time we have the opportunity to incorporate sound and lighting effects.

Without Mudd we are without dressing rooms and make up lights. So we've improvised and set up mirrors on the table under the show lights. The performers will be putting on their make up before we open the house for the audience, then going to our makeshift dressing room in the Digital Media Lab. Photo by Nina Gilbert.

Stage manager Alicia (also playing Eurydice) makes sure the Chorus sets their props before showtime.

I'm happy to report that the dress rehearsal went off without a hitch! We are primed and ready for opening night. Thanks to Webb photographer Scott Nichols and yearbook photographers Joyce Xu and Max Popov, we can give you a sneak preview of some of the scenes:

Antigone shares a secret with Ismene

Creon gives his son Haemon some unsolicited advice

Chorus leader Anni-Ming and chorus member Vincent consider the tasks before them. 

Our rented seating risers arrive two days before we open. Jack and Landen (who isn't even in the show this season) gave up their lunch and a free block to help Alex assemble them. 

Who says theater isn't physical? These suckers are heavy!

Ready for an audience: Landen, Jack and Alex get the risers up it time for our final dress rehearsal.

Fun with Random Objects: Landen decides to get a head start on his audition for "The 39 Steps"

Less than 24 hours until opening - and there's still so much to do! Finish the program, send out a million emails about audience logistics, work on costume repairs,  and finish this blog.  It's been a wonderful show to put together for both cast and crew, and we look forward to welcoming you to the Copeland Donahue this weekend for an evening of exceptional entertainment. For those of you who can't make it - please join us for the live stream on Saturday night, November 3rd at www.webb.org See you at the show! 

Stefanie Hamlyn

Many thanks to Nina Gilbert, Max Popov,  Joyce Xu and Scott Nichols for the excellent photographs. All rubbishy photos were taken by me, on my iphone.