AYLI, rehearsal 26: 2.1–2.6

More slogging through the show, fitting stuff together. Unbeknownst to the cast, one thing that goes through my head as I sit out there taking notes is how to manage the transitions between scenes. We’ll begin focusing on that next week, especially the shoving around of the beautiful, heavy, cumbersome arcs.

2.1 (OLD DUKE)

This transition is already in place: as Rosalind and Celia leave to plot their escape, a drumming circle erupts offstage R as somebody splits the circle into the ‘head-to-head’ formation. It continues as the Old Duke and his entourage enter.

The main issues with the transition were that two of my drums had gone flaccid in the moisture at the theatre, so they didn’t sound like drums; and the Duke’s entourage is exactly two guys. We really could use two or three more decorative men to stand about and play drums and sing during these scenes.

It’s JAKE-wess, Gary, JAKE-wess. By the end of the rehearsal, everyone in the room was yelling it back at him. This is Gary’s first stage role, and he’s going to be great — it’s just that I forget how much he doesn’t know about the mysteries of standing on a stage and saying words to an audience.

2.2 (GONE GIRLS)

A tiny adjustment has given some new interest to this scene: we created a kind of back story for FIRST LORD and SECOND LORD. Since we’ve put LeBeau in as First Lord, and are showing him joining the TAZ gang in 2.7, plus his terrified warning to Orlando in 1.2, we’re positing that he is very uncomfortable at Court and is trying to cover for the girls. Second Lord, on the other hand, is a snake: seeing his chance to undercut LeBeau, he takes it.

One tiny idea, and suddenly two nothing lines by two nothing characters becomes a whole Game of Thrones episode. Turn-turn-kick-turn, yes, IT WILL WORK!

2.3 (ORLANDO FLEES)

If only I knew my lines, this scene would flow a lot better.

2.4 (ARDEN ARRIVAL)

This scene works. I tightened up my blocking for Corin and Silvius so that poor Alexander is not condemned to wander aimlessly about the stage.

Kudos to Chas for showing up with the most outrageous hillbilly accent, and his addition of a “Woo–ee!” before the already over-the-top “Phoebe, Phoebe, Phoebe!” was a scene stealer.

2.5 (GREENWOOD TREE)

Another scene where it would be helpful to have a few more men to sing.

This is actually the first time we’ve looked at this scene (largely due to my losing Garrick from the email list), so it ate up a lot of time as we blocked, adjusted, all those things I intended to get done this past Sunday night.

As I’ve said repeatedly, the songs in this show are basically “in-one” scenes, i.e., time wasters to separate two scenes that use the same characters but are hours/days apart. To a modern audience they can be tedious since both “Greenwood Tree” and “Lover & His Lass” are just excuses for Jaques (JAKE-wess) and Touchstone to make fun of the singers.

However, I think we’re close to making both scenes enjoyable. Certainly the songs seem to be catchy enough, which frankly is a surprise to me.

Also, kudos to the gang for underlining who Jaques (JAKE-wess) is through their reactions to their little possum friend.

2.6 (ADAM FAINTS)

It doesn’t seem possible to play the scene with any pathos, if the cast’s reaction to my pitiful collapse is any indication. So for laughs it is.