AYLI, rehearsal 22: 1.2 (WRESTLING)

Twice now I have prepared a detailed email of upcoming rehearsals and then forgotten to send it, mostly because it fell behind other windows on my laptop. This meant that no one who was not in 1.2 (originally on the schedule) knew that we’d also try to work on 2.7 (BLOW, BLOW) and actor’s choices. Sorry, guys!

As it happened, after we went over “Blow, Blow” a couple of times, we had plenty to sort out with 1.2. It’s a large group scene, and now we have the set to play on, plus the actual wrestling scene to polish and perfect.

The wrestling is going to be entertaining and a little scary. We’re trying to avoid laughs, which is going to be difficult given the difference in Robert and Ronald’s sizes.

The rest of the cast is developing their crowd reax to the rise and fall of the fight scene; otherwise, it plays out in uncomfortable silence.

It’s been a relief finally to be able to start blocking some action/movement into the scenes. The set is already causing comment and admiration from others at the theatre. Such elegant, abstract flexibility!

Other than the fight, two moments developed nicely. First, the “meet cute” between Orlando and Rosalind is going to be an adorable moment: Orlando is struck first when he is called over to talk to the girls; and then, when he whips off his wrestling mask (he “comes in disguised” against Charles), Rosalind is speechless to the point that Celia has to step in to initiate the conversation.

Likewise, after the wrestling, Shakespeare has written a romcom scene where Rosalind keeps inventing excuses to come back to talk to Orlando, while Orlando is basically struck dumb. It’s going to be a hoot.

Side thought: When I read the text, the language often registers in my head as “elevated” and “formal,” but once we start working on it on the stage, the language becomes immediate and human and the situation totally recognizable and human. (N.B.: English teachers, did you just pay attention to what I just said?)

The second moment was the end of the scene where LeBeau — more than anything else in the scene — impresses upon us what a nasty, treacherous place Frederick’s Court is.