...and now it's closer to two weeks late so that doesn't even work any more. Oh, woe is me, why am I so bad at writing blog posts at a fitting time?
As you may know, if you assiduously keep track of my life, last wednesday I was in a show. If you didn't know that, you do now. But this show was special. I mean they're all kind of special, but this one more so. Reason being, this wasn't just one of the local G&S societies, this was the Buxton International G&S Festival.
Well, I guess Dauntless Theatre do kind of count as a local G&S society. But still! Buxton!
I mean, we weren't performing in the Opera House which you see in the background there, but we were part of the festival.
I like Buxton. It seemed a nice town. I think I wouldn't mind living there, if I had to move. Not totally small town far away from everything useful, but not big city either. Generally seems nice. Hosts the International G&S Festival. Has a serious aversion to Tesco for some reason - almost every shop we passed had a little "No to Tesco!" flag above it, no idea why. But I'm not really bothered about Tesco either way.
Anyway, onto the production. HMS Pinafore, updated to the 1940s. Similar to what we did in May, but proper reduced company this time, some different casting, some things changed. And the reason for the title is that we put together the production in the space of one week (Also adapting a line: "Josephine, in one brief breath I will concentrate the hopes, the doubts, the anxious fears of six weary months!")
It was a pretty intensive rehearsal schedule. Personally, I didn't mind that much - I think in some ways I prefer having it compressed like that rather than it all being dragged outover months. Of course, one of the big issues was simply that of learning everything within a week. Personally, I was fine - but I learn things quickly and in anycase I knew most of it already. Pinafore being my favourite show and this being the third time I've performed it, only a few months after the last time, I pretty much know the script backwards. I just had to remember which of my lines had been taken away and given to the Cook, and there were a few slightly different movements. To be honest, I probably could have skipped several rehearsals and still been fine on those grounds (I didn't though, because my absence would have made things more difficult for the people who were supposed to be interacting with me either by singing, dancing or speaking, also I love the show and enjoy doing it, and I don't really have anything else to be doing).
It was rather impressive. I think I've commented before on how a show can go from shambolic to good very rapidly in terms of rehearsal time - in this instance it was pretty fast in real time as well. The first few rehearsals seemed a bit of a struggle, and one might have been concerned that it wouldn't work out, but after a few days we reached the point of a generally very good show, with just a few moments which needed to be polished a bit.
And so, to the show experience itself, which is all I have photos of (Several times during the week of rehearsals in Sunderland I was thinking "Why didn't I bring my camera?")
After a ridiculously early start on Tuesday morning and a fairly knackered rehearsal (Once we actually got into the church - there was a worrying period of time in which we were stuck outside, the vicar not being there with the key, considering whether it would be better to try and break in or just rehearse the show in the street), we set off on the journey south.
Well, I say relaxed. We were kind of trying to race and see who got there first. Unfortunately my chances of being in the victorious party were dashed by conversation distracting our driver from the satnav, leading to an impromptu detour through the Devil's Arse.
Not even kidding. Peak Cavern is also known as the Devil's Arse. Google it if you don't believe me. (In the interest of full honesty, I should mention that I think we didn't actually go through it so much as past it, but still. It was an interesting experience). We also passed through Dove Holes and Hope (Must be neat for the residents to be able to say "I live in Hope." At least for the first few times before the novelty wears off and people keep making tiresome jokes about it for the rest of your life, or until you move to somewhere else). I love some British place names. Apparently the orchestra drove past somewhere called Wigtwizzle. And I have on many occasions in the past been driven past Wombleton.
Anyway, so we arrived, went to the theatre and set up. Some things we were expecting from the set weren't there, but there was enough to make do, obviously, and we covered everything with Union Jacks.
Incidentally, if anyone's feeling pedantic, yes I know it's only the Union Jack when flown at sea and otherwise it's the Union Flag (The things you can learn from Doctor Who...), but since this is supposed to be the HMS Pinafore, a ship of the Royal Navy, it counts as far as I'm concerned.
Oh, also, the heater makes your hair float:
|Photo taken by Buttercupliffy.|
And then, on to the pub!
Following day, I may have somehow mentally shifted the time we had to be at the theatre backwards an hour without realising (Really don't know how I managed that), so I was ready to go before breakfast. On the plus side, not having to rush is good.
So we muddled through the dress rehearsal, pulled at the curtains to make more entrances and exits, moved everything further forwards on the stage, and took a bunch of photographs.
To the left you see the start of a little during-overture scene of everyone panicking about how soon the show started.
To the left again, Dick Deadeye hitting Ralph Rackstraw and knocking him over.
|Act 1 finale.|
|And Sir Joseph drops Captain Corcoran.|
These two photos are mine, taken from some seats up on the right hand side of the stage. I am ashamed to admit I almost forgot I had to be onstage because I was waiting for another photo I wanted, of Dick Deadeye and the Captain in the orchestra pit - so:
Sadly, I don't think anyone actually laughed at "Is there a boat cloak in the house?" during the actual performance. Philistines.
And the Englishman song. My big moment! This time round, shared between me and the Cook (As some of my spoken lines were). But I don't really mind, because it does seem reasonable to make the Cook more of a character, and that allows more interaction between him and the Boatswain, so it's all good really.
And thus we move into the somewhat nerve-wracking wait before the show.
I'll be honest - I wasn't that nervous. But then, I was playing a fairly minor part, in a show I pretty much know backwards, so I didn't have that much to be worried about. And, well, yes, we were at the International G&S Festival, where it is known for audiences to take their vocal scores into performances to follow along with the music (They must get a bit confused when things have been cut) - but really, it's still just a stage, and a show. You do the same things in the Pavilion Arts Centre in Buxton as you would in the RGS Performing Arts Centre in Jesmond.
That said, if I'd been playing a bigger part I might have been more worried. Or if it had been a different show, one that I didn't know so well (Note: So you know, I only figuratively know Pinafore backwards. I'm pretty sure if you asked me to recite the script backwards I'd get rather confused).
|Oops. We may have killed the director.|
One point is that really, they were classic first night slip ups. But we only had the one performance, so they couldn't be corrected subsequently. That was weird, just doing it the once and then leaving. And the people using the theatre the day afterwards coming in pretty much as soon as we'd gotten the set down to prepare for their show, that was strange.
|And a shot of the full cast, taken during the interval.|
So what I do want to talk about, rather than the performance, is the manner of putting the show together - doing it all in one week. Now, had it not been for numerous people already knowing the show, a week might have been too short. Two weeks might be better to really cement things - but we might well want to just have the first week of rehearsals at someone's house, before moving into a proper rehearsal space for the second, thus saving money.
Anyway, one week or two, the principle is still the same. Brief period of focused rehearsals leading up to the show. In some ways it's definitely better. For one thing, it's likely to be more efficient - with rehearsals spread over several months, it's all too easy to learn something, think "Yeah, we've got that sorted, we don't need to go over it again," and then forget it after about a month of not doing it. That problem is not completely eliminated with a short focused burst of rehearsing, it is entirely possible to learn something, get it down and then forget what it was overnight - especially if you're learning a lot of things that quickly - but it is much reduced.
Downside - people with jobs will obviously have to take time off work for full day rehearsals, not to mention travelling down, doing the show and travelling back. On the other hand, you have to take holidays some time, and if G&S is something you love doing, like I do, why not?
Upside - the social aspect. Typically I find that you don't really conect with other cast members who you didn't already know until late on in the rehearsal process. It's easy enough to come to weekly evening rehearsals, maybe chat to your friends a little, learn the music and the moves and leave and not get to know anyone. You don't start to connect so much until you have long rehearsals and the show itself, when you're all stuck in one place together for hours on end, a significant amount of which time will be taken up with rehearsing bits you're not actually involved in. Also, nothing brings people together like shared emotion, right? In this case, the emotion is probably panic. But it helps you to bond! In this case, that's compressed. Rather than having a few months of vaguely knowing people and then making friends with them in the last few weeks or days, you go straight to the shared panic and being stuck together for hours at a time. Of course, then afterwards you've done the show and are no longer seeing these wonderful new friends you've made on a regular basis, but that happens with long rehearsal periods as well, unless you go straight into doing another show with the same people.
Downside - getting put through the emotional wringer. Kayleigh has compared the end of a show to a messy breakup, and Bette on Toast has extended this to comparing the whole experience to a whirlwind love affair. In which case, this is rather more whirlwind than most. Starts and ends in only a week! I personally found the post-show bereavement wasn't as bad for this, probably because it happened so fast, I didn't have so much time to get invested in it. I imagine it'd be similar with an actual love affair that only lasted a week from meeting the person to them vanishing off the face of the planet. It's less "Oh, this was a huge part of my life and now it's gone what do I do sob sob sob," and more "Oh. That was fun." But other people may well respond differently to me. As I said, I didn't worry that much about this show, I'm generally pretty laid back about these things, and it may have helped that I was quite tired through a decent amount of the week. People with more to be concerned over, and with different attitudes to these things will be, like poor Ralph Rackstraw, driven hither by objective influences, thither by subjective emotions, wafted one moment into blazing day by mocking hope - plunged the next into the Cimmerian darkness of tangible despair. And at some point, or even several points before the show is over, they may well be but a living ganglion of irreconcilable antagonisms. When Ralph says he will concentrate into one brief breath the hopes, the doubts and the anxious fears of six weary months, he means it has all led to this, and been about this, whereas for putting together a show like this one, granted a week is longer than a breath, but in this instance all the hopes, doubts and anxious fears are actually being experienced within that period of time. There are times I am glad to be an unaffectinator.
The issue with the emotions of it for me was not that I had my nerves shredded or anything, but that as I said, I didn't get so invested in it. This meant I didn't have such a massive come-down afterwards, but that's because I didn't go to quite the same heights. It went by a bit too fast for me to savour the experience. I would've liked a little more time in the theatre, to that end, and in some ways the very business-like course of getting in, getting it done and having to get out to allow the next people to get sorted subtracts a little bit from the magic for me. That, combined with the speed of everything, reaplced the post-show bereavement feelings of grief with something more like shock. I had a difficult time when we were all signing a card for our wonderful director, thinking of something to say. I mean, I have difficulty with that sort of thing anyway, but in this case it was because I really didn't know what to feel about the show, it feeling like it had just breezed by and not really sunk in.
Overall? I like doing shows, however they're rehearsed. I would definitely do a show like this again, but I don't think I'd want to make a frequent habit of it - I'd just wear myself out. And, as I've said, maybe an extra week rehearsing to cement things a bit more, and more performance time. I suppose in that regard the ideal for me would be if we could put the show together and then put it on locally immediately before taking it down to Buxton, because I did greatly enjoy going to Buxton, but obviously they won't give us multiple performances at the festival.
Whatever. I don't have control over this sort of thing, much as I might like to at some point. I'm just musing.
Returning to my Buxton experience (Oh yes, there's more... though not that much more), we went to the pub, signed and presented the aforementioned director's card, went out for dinner, and then went to the festival club, where the cast of that night's Opera House production (Iolanthe) sang cabaret!
The cabaret wasn't very good. I was disappointed in that regard. I was also disappointed in that I was told they would end up singing G&S choruses, everyone joining in. This did not happen. I was a sad obsessive.
On the other hand, though, what really mattered at that point was that the show was over, everyone was able to relax, and we were out eating, drinking, and being merry
|Everyone is relaxed and being silly!|
Oddly, in some ways that's more what I've taken away from this - not so much the show as the experience surrounding it.
We had some strange and interesting conversations. Like who, from all of history, would you have a conversation with, if you could. And why, obviously. And then that got adapted to who from history would you have sex with. And then this kind of led onto a general sex/sexuality discussion.
Oh, and the question of why G&S isn't more popular, and whether it's really opera or musical theatre. Now, I don't really know precisely what distinguishes opera from musical theatre, but I suspect one of the problems G&S has is that it is described as opera, so a lot of people will think it won't interest them (Of course this is also part of a general issue where things like opera are viewed as being only for the intellectual elite), when in fact it is much more like musical theatre in many ways, and certainly I would think should still have appeal for a lot of people. The other related problem is that it's Victorian, so people assume it'll be stuffy and boring, when in fact it makes fun of how stuffy and boring the Victorians supposesedly were and is therefore in perfect accordance with the views of these potential audience members.
Our Ralph made the point that he really liked what Kayleigh did with our Pinafore, making it more accessible to people now, potentially helping to move G&S out of being just an activity for old people. Personally I disagree - I think G&S is accessible for all people without having to be updated or messed about with, so long as it's done right. Not to say new, weird and interesting takes on the old shows can't be interesting, but they're certainly not required.
As to why G&S is done almost exclusively by amateur societies primarily made up of old people, I really don't know. For one thing, G&S societies seem to be a reasonably common feature of english universities - do all these people just stop when they graduate? And if so, why? I don't understand it at all.
I'm not sure if this line of thought is really going anywhere...
Finally. The day after. There is one crucially important thing in Buxton I have yet to mention, which we went to see and experience:
We were even more enthusiastic the second time around (You got two trips round the park for the one ticket), but I stopped filming after the first.
The train driver was cool as well. He high fived our Stage Manager on the way past after we'd got off (Despite the fact there's a rule about keeping your limbs inside the train while it's moving).
Just a couple more photos borrowed from the Pinafore's Cook to round this post off:
|This nefarious villain has captured our female stars!|
|We considered performing the show again on this little plinth, but decided to just pose for a photo instead.|
Good times. I want to go again.