Tech Week Part 1

We had our first Tech Rehearsal yesterday.

After several hours at the North Star building (the place where we usually rehearse) we carpooled over to P.A.C.E., in Easthampton.

At North Star we worked through several scenes of the play. We polished things that weren't quite done, either in the blocking or the character work. Ellen (our director) also worked with Matt (our all-around sound guy) to add more sound effects and music.

The all-around part isn't too far off. Matt's been working with quadraphonic sound. Once his speakers were all set up, if you stood in the middle of the room he could move the sound around you. All around you. There was a 2-minute period where a bunch of us stood in the middle of the room, marveling at the effect. When he moved a sound from speaker to speaker quickly enough there was an almost dizzying effect. It was as though we were being circled by a ring of musicians, whirling around and around.

At P.A.C.E. we did a bit of cue-to-cue work; which is when you go quickly through the play, stopping at all the sound and lighting cues. It isn't actually a very quick process. That is the time when all the tech people set up what they need for the show, and rehearse their part in it. For the actors it can be very tedious. We might be required to say the same line over and over again (or remain silent and still) as lights go on and off, as people in the sound/lighting booth write down their cues, or as they repair or adjust their equipment.

It's a good test of patience for the actors. It's also more than a little humbling. Here we get to see the hard work of the (usually unseen) people who will be working alongside us during the whole show, at every show. It's the time for us to shut up and do as they tell us, basically. We remember that we aren't the center of everything.

I quite like cue-to-cues. I mean, yes, they're dull for long stretches of time, which are then followed by a few moments of speech and activity. Which is then followed by the dullness. And the dull times usually require you to keep your place on the stage and half an ear open for instructions from Ellen or Matt.

But it can be peaceful, in its way. As the lights go up and down around you, as the sound blares then cuts out--followed by Matt's frustrated voice calling to Ellen or the person nearest that speaker--you achieve a kind of serenity, if you're lucky. You get the feeling that you really are right in the belly of the beast, so to speak. There are few times that you realize so strongly that this is live theater.

It's a good feeling.