When I directed a college production of
As It Is In Heaven a few years ago, i included everyone in the first read through -- cast, ensemble, stage manager, assistant stage managers, dramaturg, assistant director, designers and their assistants, tech director, etc. We sat in a big circle and read the play from beginning to end with each person reading the next line regardless of the character. It forced us to share and hear the play as a company and the actors weren't flipping pages to see where their next scene was or trying to impress anyone. The group was engaged the entire time and felt very much a part of the process. The designers shared their renderings and models with us that day, too, and I talked about the background of the play, so the focus was more on the production than the acting. When I direct again next year I plan to do the same thing. The funniest part was the rumor around the department that "she's a playwright and doesn't know how to direct," when in fact under another name I had Off-Broadway, regional and Edinburgh directing credits, with more professional work than any of the faculty members.
I highly recommend a "circle read through" for community building and forcing the actors to let go of their first day nerves and actually hear the whole play.
------------------------------
Arlene Hutton, playwright
Letters to Sala
I Dream Before I Take the Stand
Kissed the Girls & Made Them Cry
As It Is In Heaven
Susie Sits Shiva (EdTA commission)
faculty, The Barrow Group, NYC
arlene@barrowgroup.org------------------------------
Original Message:
Sent: 01-30-2020 21:51
From: Melissa Charych
Subject: Making your read through rehearsal valuable for all
Hi all,
I'm hoping you'd be willing to share your best practices for running a read through rehearsal for a large cast of a high school musical. In my experience, table reads are very exciting for the few actors who have lines/songs, but incredibly boring (and even occasionally rubs salt in the "fresh wound") for ensemble members who haven't had a change to fall in love with the experience yet.
In addition to ensemble work before you begin the reading, does anyone have any creative ways to make all actors feel like a valuable part of the production at the read through?
Thanks in advance!
Melissa
------------------------------
Melissa Charych
Concord MA
------------------------------