From an idea comes the original script. From the script comes a series of tableaux. From the tableaux springs a hope. From the hope comes a request: which leads to a process of discussion, presentation and more hope. Then, after the briefest moment of doubt, an ensemble emerges. Out of the dark. All moving forward. The tableau has gained animation.
It’s been a month since the last entry and several exciting developments have, well, developed. Copenhagen has been cast. I’m very pleased, proud and delighted to welcome:
Detta Hannon as Margrethe
Her stage presence is phenomenal. The process through which Detta provides an ‘in’ for the audience is both post-modern in its breach of the fourth wall and classical in the subtle ways she can draw you into a scene.
Barry Mitchell as Bohr
As well as skill, comprehension and courage, enthusiasm can make a performance sparkle. But, enthusiasm can be infectious: Barry clearly loves the play, demonstrating a great understanding of team spirit and trust – stagemanship, if you will. This is allowing the character of Bohr to breathe along with the rhythms of the piece to the benefit of all.
Michael Smith as Heisenberg
With storytelling a crucial part of the character’s function and agenda, it was imperative we found someone who possessed the vocal skills to capture the audience. That twinkle in the eye, that bravery to let the words lead the performance were evident from his first audition.
I’d also like to thank everyone who came along to the workshops and auditions. All of the panel were very impressed with the standard at which everyone was working – it made our decisions at the end very difficult!
For me, hearing the script aloud was as interesting as seeing who was interested in which role. It is always fascinating to see how actors perceive themselves in a play, and from that discovering the correct balance needed to pull the whole affair off (based on gender, age, and the believable interplay of those two). Obviously, as with any audition process, people may be disappointed with not being cast. However, I can say on behalf of the Copenhagen Production Team, we are delighted with the strength of those interested in the show as demonstrated by the workshops, and are thrilled to move on with the talent we have cast.
And so, to the stage. At last, all the theoretical blocking on an imaginary set in my head must take form with real people. Daunting and affirming in equal measure, I find I have to keep apologising for apologising during rehearsals: my oration being structured around the phrases “right then” and “sorry”. But it is beginning to work. The shape of the piece is emerging. The ideas that seemed fanciful and indulgent in my head, when explained to cast and crew, seem to resonate with the work on stage. Ideas begat new themes and motifs, building layers into the already rich text. My fears of balancing the overly static monologues with the more frenetic nature of the discussions and arguments are always about. Complicating this by ensuring that all sight lines are clear (thanks to Linz and Angela for this – and all the input on the motives and motifs, too) and that the actors are hitting their marks – which idiot volunteered me for this?
And a quick mention to two other volunteers: Rozi Owen and Ben Wells have stepped into new roles within the team. Rozi was already our costume consultant for the show, but when she and Ben arrived last Friday to get costumes for our actors in preparation for a photo shoot (of which more at a later date), we quickly roped them into being our technical operators (again more at a later date).
So, this is where you find us: an ever growing band of actors, technicians and wordy types, wandering about a stage dressed with red plastic chairs. Oh the glamour. See you in a month (or less, hopefully) for the next blog.
