And we're off!

The show has now opened and tomorrow we head to Aberdeen. A lot has happened since last I spoke to you. We have had a press night, a party and a get out amongst many other things.

We were pleasantly surprised with audience numbers in Basingstoke. They really were very good to us and we are grateful. On our second night, we had a few people in reviewing us; they seemed to enjoy the show and so far the reviews have been rather positive. As you can imagine, Alastair is very happy but at the same time we realise how important it is not to get too 'into' what is written about the show. We just have to plough on and tour the best show we can. The party was mental. We all arrived at the barn and within 20 minutes the music had been turned up so loud that it seemed churlish not to dance. Chumbawumba even made an appearance. By midnight we were all having a go. Even my elderly, mildly mad dog. Until she got hit by a rubber skull which made its way out of the dressing up box and into someone's hand. Probably Siobhan's. We all had a ball and woke up the nxt morning feeling fresh as daisies and ready to continue with theshow.

The get out, alas, was not as fun. Get outs are never fun. You have to get into a certain mind frame if you are to be as productive and efficiant as you aim to be. Everything has to be out the theatre and into the van in just about two hours. And after you have literally been living at the theatre for the past two weeks it is not an easy job. All manner of things are packed and binned, labelled and lost. It really is an event. We were done by 1 o'clock in the morning.

A very sweaty zac drove off into the night with Meg and left me to go and meet Alastair and Chris for a drink at our beloved 'Lamb'. TheLambis a lovely pub and has been so kind to all of us not just on this tour but also in the past. It was lovely to end our time in Basingstoke around our usual table in the lamb just before closing time. Farewell to Chris, our assistant director or 'ass director' as I like to call him. Get it? He really has been incredible and a great help to all actors and particularly to Alastair. Farewell also to Hackney (our very own OKAWA) who has boosted ticket sales more than he realises. I'm sure he'll miss the girls more than he'll miss us boys, though.

I hope to upload short videos soon. See you in Aberdeen.

Oh cripes... and blackberries.

We open tomorrow night. There is much excitement and nervous energy floating around camp at the moment. I think it's mainly positive, thank the lord.

I have to say that I am dead pleased with my blackberries. I should explain what I mean by this. Towards the end of the play, Agnes (played by the beautiful Mairead) enters with two cans of blackberries. Obviously, we can't tour massive crates of real blackberries partly because of the cost but mainly because it is impractical and could get a little bit... sticky. Cue Poundworld; to those of you not familiar with this fantastic shop, I urge you to go. The clue is in the title, my friends. And it was in this shop that I purchased two packets of assorted chewy sweets which have been cunningly fashined by the poundworld elves to look like, well, blackberries. Hours later and with the help of a lot of superglue and black spray paint we had the finished product- two pales full of freshly picked blackberries. Or if you take a closer look- poundworld's own brand jelly berry sweets, £1 a packet. Ah, the joys of prop making; it is immensly satisfying.

Of course when you come and see the show remember to forget everything I just mentioned above. What you will see in the two pales are real blackberries. I promise.

Tech.

Tech is a tough one. It kind of spreads over two weeks and is hard work for everyone in the company It is especially hard and tiring for those involved with the technical side of the show, funnily enough. It takes forever to get the show lit properly and Alan and Lawrie who do just that really work hard at it. And so it looks fantastic as a result. The same goes for the set which is designed and dressed beautifully by Victoria. All you have to do is take a look at the dresser which sits centre stage to realise just how much detail and work goes into it all. There are pictures that Michael has drawn, a ticking clock and colouring crayons. Yes, you heard me- colouring crayons. Although barely visible from the back row of the stalls it is this attention to detail that really makes for a magnificent show and helps the actors too.

Below stage is a different story. The production office is awash with feathers, twigs and all sorts of foods, papers and linen. I might add that the feathers are for the rooster which makes an appearance towards the end of the show- Zac has spent days perfecting 'the art of rooster' (for we can hardly buy a live one, now can we). After three days of sweat, tears and a whole cushions worth of feathers he seems to have finally created what can only be described as a masterpeice. It involves a baby gro amongst other things.

The tech run began on Saturday and, on the whole, went smoothly. Bieng the director, Alastair could not be on stage during this so instead I took on the job of standing where he would stand, doing what he would do and speaking when he would speak during the show. Minus the irish accent. Or is it welsh that he does?

All in all, the show is looking ace. For what it is, it really deserves a big, appreciative audience. This show needs to be seen.

The Move

We are now in Basingstoke. The set is in, the majority of props are in, actors are in- it is all starting to pick up pace. The actors have spent the last two days rehearsing somewhere up the top of this maze of a theatre whilst we have been getting the set in and sorting out all things technical.

Tomorrow afternoon the actors move onto the stage and begin working things out for themselves- this takes time and effort as for the past few weeks they have been rehearsing in a small room with substitute props and set. Now they get to use the real stuff. It's a massive moment for everyone.

Props are still arriving by post or being found in the many weird and wonderful shops that make up Basingstoke. The amount of charity shops in this town is, quite frankly, unbelievable. Zac (our Company Stage Manager) has never been happier.

The Wireless has to be the prize prop at the moment and rightly so. Marconi, as it is affectionately named by the Mundy sisters, sits on the dresser in all its glory and really does look fantastic. It plays a crucial part and in many ways a lot of what happens during the show is punctuated by its occasional spurts of white noise or Irish jaunts.

If this blog seems a little scatty, it is because I am tired. I apologise to all and can only say that for the next two weeks, it ain't gonna get any better! H

A stagger...? More of a gentle jog...

A stagger run through is what Alastair called it. Actors, stage management and choreographer stood by, ready for a day of stops and starts, problem solving and headaches.

But, strangely, it was anything but all that. If this is what the show looks like when we 'stagger through it', the audience will be in for an absolute treat once we open. And I mean that. The dance was epic and for the first time, actors truly went for it with all manner of props and objects being hurled and thumped all over the set to the infectous stomping of Mason's Apron, a belter of a tune. And then alongside all this madness there were beautifully intimate moments as we witness five sisters searching for something just out of their reach, a life they yearn for but can never have. When they dance, we see this raw passion, this lust for a lost life which they know could have been theirs. It's scary watching the dance. Scary, scary, scary. And just a little bit special.

We have our first proper run through tomorrow. And then to Basingstoke. H

Rehearsal Photos

Siobhan and Trisha.

Mairead.

A meeting.

Siobhan and Paul.

Alastair and Chris. And an iron which will be replaced.

Rehearsal Photos #2

Me looking busy / casual.

Meg and Daragh.

Alastair and Daragh.

Bronagh.

The sisters and Lucie (choreographer).

Cups of tea.

It is amazing how much tea we drink here. When we have a break, we have a cup of tea. Or coffee. That's just what happens. When we have our lunch break, we all head off to Sainsburys and buy a tasteless salad (I can never 'taste the difference')or grab a panini from the posh coffee shop around the corner. That is just what happens. And I'm always jealous of Siobhan's gourmet masterpieces as I sit with my Brunch triple selection Sandwich and a pork pie. But that's another story.

Routine is an important part of the rehearsal process but alongside that there is an emormous amount of flexibility involved with putting on a play. It's funny how these two contrasting things work alongside each other so comfortably and create the process known as rehearsal. For instance, all the actors (and I mean all the actors) are open, accepting of other people's views of character or script and above all flexible whilst Meg just about maintains routine as Alastair becomes more and more engrossed in this complex and passionate script.

So when I sit quietly in a corner watching rehearsals with a notepad, a pen, the script and yet another cup of tea I listen and am astounded by it all. Trisha might suggest something to Victoria who will then take on board what Trisha has said and either go with it or not. Either way, there is a massive amount of mutual respect. And open mindedness. In a world where we must make snap decisions and stick by them whether we like them or not, I feel very privileged to be part of this play where every avenue is explored, every stone unturned, where things can be thought about and discussed openly and in lots of detail.

Believe me, the play is and will be all the richer for it. H

The Beginning

It is 11.30 at night and here I am writing the first ever entry on this blog. I'm tired, it's been a long day and yet here I am hunched over my laptop, following strict orders from our director, Alastair Whatley. He says I must update this blog frequently and intelligently and try my hardest to give you just a little bit of an insight into what we are doing and how we are doing it.

We are currently rehearsing at a space in Forest Hill, south east London. The last few days have not been spent rehearsing as such, more preparing for what is to come over the next few weeks. Or maybe preparing is what rehearsing is. The actors have spent the majority of the past few days sitting round a table, picking through every part of Friel's rich and complex script. As they sit and read through it, they talk and pose questions to one and other which are then written down and stuck all over the walls. From what I have heard this has been not only immensly helpful to all involved but also incredibly nourishing and stimulating. We who deal with props and lights and that have had these three days to source the props which we will use in the play. A battery for the Marconi wireless, a wooden spinning top and whip, indian meal- the latter is not to be mistaken with the ready made korma variety which can be found in ASDA, Sainsburys and other major supermarkets. It is in fact a variety of flour though that is all I can tell you about it. We have bits of set up in the rehearsal space, lots of pots and pans, table and chairs and a panto stove which will almost certainly be replaced. In fact, a lot of what makes up the set or counts as props at this stage, will not make it to opening night. For now, it is just so the actors have things to hold and play around with so they can see what they like.
There has also been Irish dancing, well sort of... Alastair at least gave it a go. And the less said about Chris the better. As the actors now begin blocking, the process enters a new and even more exciting phase for all involved. I am very excited. H