"You get into the room with other actors and you start talking to each other and trying to change each other and make each other feel stuff. There have been a few moments where surprising things happened that feel like they might be right and they might end up in the show in two and a half weeks’ time!"
As performances approach, Emily takes us through Nancy's rehearsal room, the story of the show, and favourite moments so far.
Time: 3 minutes 41 seconds
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Transcript of Podcast
Rona Kelly: And can you tell us a bit about what you’ve been up to in the rehearsal room so far?
Emily Bruni: Yes. Well, I haven't worked with Nancy [Meckler, Director] before, although I’ve worked for her company, for Shared Experience. So we’re working a lot on the movement. So the concept and the movement, [it's] probably gonna be a lot of the cast on stage a lot of the time. And because I haven’t worked with Nancy before, I don’t know whether that is how she works most of the time or whether it’s a response to this play and this space.
You know, it seems to me at this point that this theatre responds well to quite big storytelling, theatrical techniques. And we’re certainly keeping that whole space in mind when we’re working. And I don’t just mean the stage space, I mean the ground and the balconies and the different levels of the back. It’s just trying to keep that in mind the whole time. So we’re doing a lot of movement.
And [for] the blinding, the whole company is on stage. Nancy has this concept that the play has been performed by a group of disparate people. So you see them actually clothe themselves, a little mask at the beginning where you see them arrive and do a little prequel to the show where you see these three women being given away and being chattel. So it just sets up the story of the powerlessness of these women. We've spent a lot of time working on that, this sort of frame for the play.
RK: Kind of contextualising it for the audience, and making it about these three women’s kind of journey...
EB: Well, of course, I’m just seeing...You know, you have to be completely myopic because you’re just seeing everything from inside your character. I think that’s the job, you know? It's obviously not the director’s job, [that's] to see the whole. So obviously I’m seeing everything through the journey that these women are taking.
RK: And then, finally, what has been a favourite moment from rehearsals so far?
EB: Well, I suppose it’s any of the very tiny, brief moments where something ignites and flies. Where something new happens, because you get into the room with other actors and what happens when you start talking to each other and trying to change each other and make each other feel stuff. There have been a few moments where surprising things happened that feel like they might be right and they might end up in the show in two and a half weeks’ time! So there have been just a little handful of those moments, but it’s still very early going.
RK: Can you give us a hint about one of them maybe, or are they all too spoilery?
EB: Oh, I’m a bit superstitious! I feel like I might jinx it!
RK: That's okay! We won’t say then.
EB: I mean I will say that the other thing I’ve really enjoyed. I haven’t been in a big company for a while, and Nancy’s chosen very carefully, it’s a very willing group of people. Everyone’s very, very willing. And the great thing you get in this company, of course, is you get people of all ages and from different walks of life. And it can be a very, very pleasant environment to be in, an unusual work environment to be in because of that. And I’m really, really enjoying being in a company for the first time in a little while. A big company, I’ve been in small companies which was also lovely.
EB: Thank you, Rona.
RK: Well, thanks for joining us. So we’ll catch up in a few weeks.
Thanks to Judith for the transcription of this interview.