Monday, 16 October 2006

First rehearsal

by Tim Massey

So, I'm reminded why I don't keep a diary or journal - even though I think it's a great idea for a writer to do so both as a writing exercise and to generate source material for projects. Every time I attempt a chronicle, I get so bogged down in detail that keeping it up to date becomes an uphill battle and I fall way behind. As I write, I'm in the middle of my entry on Mark Breckon's thought-provoking play, The Keith Ashton Experience, which I'll have to get online later. I thought that the start of the Salt'n'Sauce rehearsals deserved a prompt posting, though.

We're holding the first two days' rehearsal in the Coopers' Loft at Bristol Old Vic, and everyone had arrived by the time I puffed and wheezed my way to the summit of the building at 10am. Alison and Ann from Theatre West joined Sam, the cast and me for the initial read-through.

Sam kicked things off by welcoming everyone and explaining his approach to directing. He said he saw the process as a journey for which the destination was clear, but the route had to be discovered. He mentioned that when he'd read the treatment for Salt'n'Sauce, he thought that its scope was too large for a play lasting an hour. 'And now he's read the script, he thinks an hour's way too long,' I interjected. Sam concluded diplomatically that he felt that two weeks' rehearsal was enough to get through the amount of material in the play, and asked me to outline my reasons for writing it.

I started by explaining the title, admitting that since asking Ann to change the programme design to show a vinegar sprinkler instead of a tomato-shaped ketchup bottle, I'd discovered that the 'sauce' in question isn't vinegar but a thin brown sauce. I said that the vinegar dispenser was more appropriate than the ketchup bottle, though, as Edinburgh sauce has the consistency of vinegar. Ann thought that I was wriggling in my justification for the change in her artwork.

I continued that Salt'n'Sauce is based loosely on my experience of staging a play at the Edinburgh Festival Fringe, stressing that it would be conceited for anyone involved in that production to assume that any of the characters in Salt'n'Sauce is based directly on him or her. I admitted that I identify closely with John, the central character, though, and have given him my clumsiness - something I proved to Sam by spilling lager all over him at our last meeting.

In general, I concluded, the play is a commentary on itself without breaking the 'fourth wall' between the audience and the performers. I mentioned that Mark and I compared notes while writing Keith Ashton and Salt'n'Sauce respectively, and the self-referential bits in my script take the form of nudges and winks to the audience rather than direct address as in Mark's.

We moved on to the read-through and, as at the audition, it was gratifying to hear everyone laughing. My main feeling on hearing the play aloud for the first time was that it would have been good to make more of the part of Emily as I enjoy the scenes with her in them. Some moments do seem to drag a little, but I think that these are dramatic and the drama can be emphasised in rehearsal to make them more engaging.

Sam passed some sketches of the set around following the read-through. Catherine has designed it so that the action in John and Paul's flat takes place towards the back of the stage with the other scenes played around seats and other furniture at the front. The design features several flats, one of which will conceal the kitchenette of the studio apartment - Catherine and Sam agreed that this was too costly and complex to show on stage.

Alison and Ann left the rehearsal and we talked about how the actors saw their characters. Simon opened the discussion and said he thought that Paul was a good director, although he was on a short fuse. Sam agreed that it was important that he shouldn't be played as a mincing queen. Both Simon and Sam had given some thought to how Simon should wear his hair for the show. It's cropped close at present (as in Simon's cast biography picture), but Simon agreed to grow it over the rehearsal period - he's keen to ring the changes from the way he looked in Keith Ashton so that audiences don't confuse the characters.

Paul said that he thought his character, John, was likeable and easy-going with a passion for his writing, which he takes very seriously. He felt that while John had this passion, he didn't have the killer instinct for self-promotion that his archrival, Crispin, did. Simon agreed that John wasn't a 'player' in this respect and felt that this was also reflected in his relationship with Emily. He said he thought that Emily needed to be 'played' - bought a drink and chatted up - in order to get anywhere with her romantically, and this is what Crispin had done he and Emily met on Emily's first night in Edinburgh. This is why John doesn't get the girl.

Jo said she thought that Emily had graduated from drama school just before going to Edinburgh. She explained that this was her own Edinburgh experience, having been to the Fringe after finishing at the Welsh College of Music and Drama. With her training, Emily felt a bit superior to John and Paul's production, but took on the job as stage manager for the opportunity to network at the Festival Fringe. I agreed that drama school graduates were willing to be part of productions they wouldn't otherwise consider because of the chance to be part of a show in Edinburgh.

The discussion was very interesting and enlightening, but, unfortunately, I had to go out into the pouring rain and catch the bus to work.