Aloha [bostossers]-
I am in the middle of the second of two "ten out of twelves". That means we have a tech rehearsal for 10 out of the 12 hours everyone is called for. The cast was called at 11am, had a dinner break from 4-6, and we finish at 11pm. Throughout the tech process, we incorporate all of the technical aspects into the show. That means sets, costumes, lighting, and in the case of this production, projections.
Tech rehearsals are infamous for being slow paced and boring because it takes a lot of time to build cues and work out transitions between each part of the show. Because [title of show] only has one set, and no costume changes, this tech process has been one of the smoothest I have ever experienced.
There are a lot of light cues in the show that Jeff Adelberg has been programming at lightning pace. Our costume designer Chip Schoonmaker has been changing the cast into different outfits to get it just right. Prop master Natalie Kearns is making adjustments to the props (a few chairs have had to get repairs). Set designer Eric Levenson is taking notes on what needs to be adjusted in the set. And video designer Seaghan McKay is adding some great touches into his fabulous projections.
The long process also allows Paul Daigneaul to tweek blocking and parts of the show that isn't working. Our fabulous cast has a lot of time to work difficult parts of the show and settle into their own characters.
Because there is a lot of down time during tech, the actors came up with a brilliant way to keep themselves occupied...shadow puppets.
I am in the middle of the second of two "ten out of twelves". That means we have a tech rehearsal for 10 out of the 12 hours everyone is called for. The cast was called at 11am, had a dinner break from 4-6, and we finish at 11pm. Throughout the tech process, we incorporate all of the technical aspects into the show. That means sets, costumes, lighting, and in the case of this production, projections.
Tech rehearsals are infamous for being slow paced and boring because it takes a lot of time to build cues and work out transitions between each part of the show. Because [title of show] only has one set, and no costume changes, this tech process has been one of the smoothest I have ever experienced.
There are a lot of light cues in the show that Jeff Adelberg has been programming at lightning pace. Our costume designer Chip Schoonmaker has been changing the cast into different outfits to get it just right. Prop master Natalie Kearns is making adjustments to the props (a few chairs have had to get repairs). Set designer Eric Levenson is taking notes on what needs to be adjusted in the set. And video designer Seaghan McKay is adding some great touches into his fabulous projections.
The long process also allows Paul Daigneaul to tweek blocking and parts of the show that isn't working. Our fabulous cast has a lot of time to work difficult parts of the show and settle into their own characters.
Because there is a lot of down time during tech, the actors came up with a brilliant way to keep themselves occupied...shadow puppets.
sounds good
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