AYLI, rehearsal 20: PLAYING ON THE SET

Whatever else we worked on tonight, the real thrill came from meeting the set and playing with how we could use it. It was also our first night off-book, so you can imagine how well that went. (Yes, pity the poor actors, but remember that the director has to sit out front and watch it.)

We warmed up with Clark, of course, but are now adding "Juno’s Hymn” and “Blow, Blow” to the mix.

2.4 (ARDEN ARRIVAL)

The configuration of the set for this scene was the first one that popped into my head after David came up with the idea:

2.4

It’s hard to see in this shot, but the arcs are in what we are calling the S-pose: Rosalind and gang arrive through the S-curve, wandering their way into the Forest.

3.3 (MARRYING AUDREY)

Before we figured out how to arrange the arcs for 3.3, I was a smart person and had the cast for 3.2 (THE BIG SCENE) come up and play with the yin-yang pose to make sure it would work — it does. That way, all we did for 3.3 was to swing one of the arcs out.

3.2, the yin-yang pose: Also for 3.4, 4.1, 4.3, and probably 5.2.

3.5, and NO IT’S NOT SYMMETRICAL

3.5 (PHOEBE)

3.5

What was really great about the rehearsal was how the actors were already finding fun ways to play on the arcs: sitting, reclining, lording it over someone lower, etc. However, I think it’s safe to say that after bouncing around on the arcs, no one is suggesting that we stage the gigue on them any more.