Natalie Abrahami and company members in rehearsal for A Midsummer Night's Dream. Photo: Keith Pattison
Director Natalie Abrahami discusses her influences and vision for the production.
Justin Avoth as Theseus and Emily Joyce as Hippolyta in A Midsummer Night's Dream. Photo: Keith Pattison
We’ve arrived in Southampton to begin the long process of adding in all of the technical elements of the show to what we’ve been doing in the rehearsal room. It’s a daunting process, especially for this show as there is so much to bring together. Each lighting cue, sound cue, actor entrance, piece of projection or scenery move has to be precisely plotted before we can run the show.
A resource packet for students and teachers, with information about Shakespeare and A Midsummer Night's Dream, as well as interviews with the production's creative team.
Oliver Kieran-Jones as Lysander and David Shaw-Parker as Egeus, in rehearsal for A Midsummer Night's Dream. Photo: Keith Pattison
We are, quite rightly, outgrowing our rehearsal room. Throughout this week we have looked in detail at the entire play in order to refine each moment.
Sound Designer and Composer Tom Mills answers questions about his process and influences.
Justin Avoth as Theseus and Emily Joyce as Hippolyta in one of the film clips from A Midsummer Night's Dream. Photo: Keith Pattison
On Monday we transformed our spacious rehearsal room into a busy film studio for the day in order to film all of the audio-visual sequences we’re using in the piece. Ian William Galloway (Video Designer) arrived laden with lights, tripods, green screens, cameras and lenses ready to capture the sequences we had rehearsed the previous week.
Designer Tom Scutt talks about his influences and the challenges of designing a Shakespeare play.
Director Natalie Abrahami, Chris Logan as Nick Bottom, Michael Dylan as Francis Flute and Justin Avoth as Oberon, in rehearsal for A Midsummer Night's Dream. Photo: Keith Pattison
This week we have begun to put the production on its feet and sketch out our initial ideas for how each scene might be staged. Possible ways of looking at the scene are discussed and some of them are played out in the space. These different versions are mined for useful discoveries and so we slowly begin to build up a picture of what the piece is going to look like.
Director Natalie Abrahami with the cast of A Midsummer Night's Dream. Photo: Keith Pattison
The first week of any rehearsal period is always a bit of a whirlwind. We started the week with a ‘meet and greet’ where the cast, creative team and the Headlong team all sit down with a coffee and a biscuit to begin the process of getting to know the people they are going to be spending the next couple of months with.