I confess: I wrote this yesterday, and actually thought it had posted yesterday. But I think a little fairy mischief got into the blog…So, here’s yesterday’s update from tech.
I’m writing from Geva’s mainstage theatre, where the artistic team – designers, directors, acting ensemble and production crew – are working to create the magic for A Midsummer Night’s Dream. If you’ve been following along, you know that we’ve just finished our last week in the rehearsal hall, and are now in the technical rehearsal process in the theatre.
We started our rehearsals on April 9th, focusing on creating the fairy world in which we spend a great deal of the play. That world includes the feuding Oberon and Titania, their fairy attendants, and Robin Goodfellow – or Puck. And let’s be honest – who wouldn’t want to spend time there? Here, hanging out in the costume shop, are Keith Cobb, who plays Oberon, and two of Titania’s fairy attendants – played by Lea Mancarella and Taylor Tydings. If you’re better with mathematics than I am, you’ve already figured out that we had three and a half weeks of rehearsal before adding in the technical elements that will help to define the production. We could see magic in the chemistry among the acting ensemble in the rehearsal room, and now we add the magic of theatrical design to the storytelling of the actors.
This begs the question: what kind of magic are we talking about?
Lighting designer Annie Wrightson is writing cues as we speak, sculpting the stage with light. Here’s what she has said earlier about her approach to the show: “The directors felt that the woods and trees, as well as the topsy turvy seasons produced by the discord in the fairy world, were the strongest images in the play. This is a rich world of patterns, leaves, sharp edges, and whirling light, so my color is dictated by the seasons to some degree with red and gold through to green and lavender. Puck and the fairies are of a world of unexpected colors and whimsy: think red moons and teal skies, while Oberon’s colors are darker and more intense in the range of purple and green. The traditional spaces of the court counter that with colors of amber and sepia that speak to the formal, lawful world. Transformation is the endgame here, so the three couples emerge into a world of more clarity and peace with pale, beautiful, sunrise colors.”
And the set? Well, Jo Winiarski’s set design is gorgeous – a previous post shared a picture of the set model, and here you can see it in process, in Geva’s scene shop. I promise you, it looks a LOT different now, on the stage, bathed in light.
Earlier today, a horse named Orb won the Kentucky Derby, which seems somewhat fitting, on a day that the Geva gang has spent looking at a set infused with circles, inspired by a play in which the moon and its journey plays a central role, and the fairies serve their queen by placing orbs of dew upon the ground.
More from us in the coming days, including pictures, of what promises to be an incredible production!