It took a little while for everyone to assemble for our first rehearsal, but the important thing is that they did make it, from all over Lucknow, and that we had 100% attendance for all those called for the opening scene. Indeed, there were also extra people – a young man called Kushagra, a potential new Ferdinand, here to audition for the role; Sachin, the old Ferdinand, forced to withdraw when offered a role in a film, but dropping in to see the rehearsal; Arun, playing Gonzalo, just there to observe. And towards the end of the rehearsal, a gentleman called Govind Singh Yadav, an assistant professor of lighting and design at the Institute of Performing and Dramatic Arts in Lucknow.
We warmed up with the usual sort of stretches etc, and then them to Zip Zap Boing (of course.) We rad through the scene, and then split into four groups (not easy in such a relatively confined space) so that everyone was working at once. Their work ethic, even in such cramped conditions, was impressive, with everyone committed to using the time productively. The seven Ariels were working on their first emergence, summoned into existence (they lay on their backs, using their arms to suggest snakes charmed into being. Cali and Ban worked on their voices and low, earthy movement, answering back to Prospero; Prospero himself looked at his lines; while I listened to Kushagra reading with Miranda. He was fine, and in some ways an improvement on Sachin, as he is younger, more vulnerable: he has the part.
As I say, they needed no chivvying, and worked through the different sections of the relatively short scene. As I explained, I wanted them all to be involved in creating the scene; I would be no puppet-master, dictating every movement. And at the end, we had time to run through the first scene from beginning to end, and it was very encouraging, for it shows great promise. With the added production elements – set, lighting, costume, and especially music – we have the potential for an arresting, dramatic opening scene.
Afterwards, I had the opportunity to chat with Govind. He will be taking a session on lighting with the group; this is a Stage School project, not just a series of rehearsals, and they will be learning about other elements too. Govind reminded me of the importance of the stage manager, and the prompt book (something I have never had the luxury of being able to maintain, while working with young people.) It s an important point, and something we need to maintain if we are to approach the project in a professional manner. Vikash suggested that he and Mohit might share the job of SM, which is fine, of course… except that I am worried that he is already spreading himself too thin.
