Laura talks about the intense rehearsal process and how her involvement in the play is more than just playing her character Adriana.
Time: 3 minutes, 19 seconds
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Transcript of Podcast
Can you briefly talk though a typical day’s rehearsal?
The typical day is 10 to 6 and we’ll do maybe a quick warm up, if we’re going in to rehearse any of the movement bits or the jig, or we’ll just go straight in with starting to rehearse the scenes. So, for example, today we are working through Act 5, so we’ve started off from there. So we’ll do a scene and then we’ll go back and do it in more detail because now we are getting into the final week of rehearsal - and then putting it all together. So after lunch we finish the work on Act 5 and then we go back and run it.
How does the rehearsal process differ for this show compared to other work you have done at the Globe?
This is a more ensemble piece, so when there are scenes that you’re not necessarily in, you might be playing an instrument or doing some percussion at the side, or we are brought in to be nuns walking through a set at the beginning of a scene. So we haven’t really had any time out, we’ve all been there all the time. And a lot of plays there will be big chunks where you’re not involved so you might have a day off, or have an afternoon off, or a few hours off. So with this it’s been very much – because I’ve come into it new, it’s been very much grabbing any kind of moment to make sure you’re learning your lines, whether that’s on the train in the morning coming in, or in a tea break, or when you’ve got literally 10 minutes when you’re not needed at that moment, going into another room and running lines with somebody else. So it’s been very much you’ve been there all the time, which I think is good because it is such a short space of time to rehearse and it’s nice to be able to feel like we’re a group before we go away. But that probably would be the main difference.
Have you done any specific text or voice work for your character?
We had Giles come in and listen to us read through the play, after we had been able to learn it a little bit and taken it apart and put it into modern day speak so we all know exactly what we were talking about. And then he would stop us after every scene and pick out things if he thought that the emphasis should be on a different word or if we were breaking up the line, anything like that. And then we had Martin come in and do an individual, half an hour on the voice, on the breath and getting exercises to make sure that the breath is right; because it’s quite physical, madcap it could quite easily get into – your voice becomes too high and you’re not centred, so we learnt different techniques of how to make sure we are very grounded. It’s been a rather unique process in that we haven’t had as much time as you would normally get to rehearse a Shakespeare play from scratch.
Have you done any specific movement work for your character?
Because this is a show that’s in its third reincarnation, half of the cast have done it before, either in the first year or the second year, and half the cast are completely new. So a lot of the set pieces, the choreography, has already been worked out which does save time because it’s just about teaching that to the people who have done it before and learning it like a dance, and then finding other things around it. But I think the physicality of the character comes out once you’ve learnt and are really connected with what she’s about, because she’s quite petulant and stroppy so you can show that in your physicality.