The Company of The Seagull. Photo: Tristram Kenton.
Discover more about the lives of the characters in Chekhov's The Seagull, as imagined by the company who play them.
So we’re into week 5 and we’re all settling into the comfortable surroundings of the Nuffield Theatre Southampton. The set has been built and installed on stage so it’s time for tech rehearsals. This is when the actors get onto the set for the first time and the technical crew get a chance to rehearse the lighting and sound. The lighting and sound desks are out in the auditorium rather than hidden away in the lighting box. There are wires everywhere and there are countless calls from the various technical people that seem to be in a different language, which sounds like English, but it seems to be in a strange code. Phrases like "Put the SL Boom Base DS of the leg. Don't think we'll need an Iris, but you never know" might sound mystifying to the casual listener but they are clear as day to the technical crew.
Explore Laura Hopkin's portfolio of design ideas for The Seagull.
I have been thinking about water surfaces, and this reminded me of the boat sequence in Night of the Hunter; it's completely wrong, but something about it snagged me...
So what happens when the fragmented sections of rehearsals are pieced together for the first run through? Well. A collective gulp and then off we go…
I'm raising something mad here. Is that even possible, let alone effective?!
There are so many things happening in the rehearsal room, it’s sometimes difficult to know what might be interesting for you folks to see. So to give you an overarching feel for week two, I’ll start with how I’m trying to use day-to-day observations to visualise the process.
Get a glimpse of what's happening in The Seagull rehearsal room.
One of the most fascinating moments in the rehearsal room is seeing what the director chooses to do first.
The Theatre is DEAD. There must be a new theatre.