January 31, 2018
As assistant director, I fill many roles: a body/placeholder for missing actors/Singers, a blog writer, a note taker, etc. Tonight I got to take acting notes, which is a part of the process I have been looking forward to as a way to get hands-on learning experience with directing a full play and a full cast. During a run, a director and sometimes assistant directors take notes on how the actors are doing, generally in the form of adjustments or corrections. Instead of shouting out an adjustment and stopping the flow of the play, the director writes these down to share with the actors after the run. It felt good to help with that, and have my thoughts used for the process.
January 30, 2018
Before the run (rehearsal of the full play without stops) started, I helped one of our swings, Jada, run lines for the character of Ellen who she was portraying while Katharina Fox is out sick. A swing is typically defined as an actor cast to fill in for multiple roles, similar to an understudy who would typically learn a specific principal role. To help with the lines, I read all of the other characters’ lines from scenes with Ellen and Jada recited her Ellen lines. Tonight, both of our female swings performed in the run. One of our beloved actors, Anna Lee Hawkins, had an onstage mishap resulting in injury last night. Her wonderful understudy, Lindsay Howard stepped in as Betty while she recovers. We all wish both Anna Lee and Katharina quick recoveries!
January 28, 2018
Being on-book requires laser focus, quick reflexes, clear diction, and absolutely no distractions. By “on-book” I mean carefully listening to the actors on stage while also scanning a copy of the script in front of you in case an actor calls for a line. At a certain point in every rehearsal process, the actors must have their lines memorized, which is generally referred to as being “off-book.” Because actors are only human, however, they may occasionally require someone to read them their line while they are onstage in the middle of the action. This is called “calling for a line.” This was my job tonight. While not a difficult task, it can be challenging to keep up with the actors and stay focused.
January 27, 2018
Tonight was our stumble-through, which is a rehearsal where the entire play is rehearsed as it will be presented, but it is understood that it may be messy. It is the first time the entire play is rehearsed in order, so oftentimes transitions are awkward and things tend to go just a little bit wrong. It went well since even the transitions were carefully rehearsed with the Singers beforehand. The way this production is structured does not allow for any air between scenes or even songs, so these transitions are especially important to the show.
January 26, 2018
For the first time since our table read—a preliminary reading of the script with the whole cast and stage directions read out—at the end of last semester, we worked on the entire play tonight. It was a strange feeling, partially because it wasn’t explicitly scheduled and partially because we’ve been working through scenes up until this point out of order. When the scenes aren’t in order, it’s hard to remember where the action of the play is headed. Seeing it performed in order was a jolting reminder of how intense this play is. Once it starts, it does not stop or slow down.
January 25, 2018
Tonight, I stepped in for Anne Dillon Loflin, one of the Singers, who was getting over an illness. I was there to aid the blocking process for scenes not yet blocked. By blocking, I mean the staging of the actors (and in our case, Singers) of the production. As I said in a previous post, the stage is not my comfort zone, and tonight was even more involved than before due to the nature of the sections needing to be blocked. I can’t believe how tired it made me, just to stand there and take direction. I can’t even imagine what it would be like to actually have to sing and play an instrument. These young women are so amazingly talented; it can’t be overstated. I absolutely have a renewed respect for actors after tonight.
January 24, 2018
Last night, I stepped on stage (and out of my comfort zone) for the first and probably last time at the University of Alabama. I stood in as Ellen, the ‘cunning woman’ in the play, to help the actors rehearse blocking. Being close to the actors on the stage, rather than sitting in the house, gave me a new appreciation of how amazingly talented these people are. Every song in the show has now been composed, which is a very exciting milestone. This means that all the components of the show have been created. Starting Monday, the entire cast will be together in the Gallaway, doing runs of the entire show. It’s strange and exciting to think we’re already so close to opening.
20 days until opening!
January 23, 2018
Singers Desirée Wilkins and Catherine Bradwell are healthy again and back with us, thank goodness. Tonight, I was in the Gallaway instead of music rehearsal. Our wonderful Joan (played by Morgan Hall) worked through her major monologue, which started the rehearsal at a ten in intensity. After that, Erato and the Singers came downstairs to join us. The most amazing part of this process is watching the scenes and songs come together to create the show that you all are going to see in a few weeks. More of this process happened tonight, as well as a presentation of the newest song, which is a rap (we have a clip of the music for you!).
21 days until opening night!
January 21, 2018
For the third day in a row, I had the privilege of attending the music rehearsal. After running through some of the songs that are already put together, Erato and the singers worked on the final number of the show, with music by Marissa Swanner. From the perspective of someone whose entire music career consists of middle school viola, it’s truly amazing how many instruments these women know between all of them. Once they felt confident in the new song they had been rehearsing, Annie invited us all into the Gallaway to start incorporating the songs into the play itself. It was fascinating to see the Singers onstage rather than huddled around a piano in the rehearsal room. It’s great to see the show coming together so well. I’m sure audience are going to be blown away by the acting and singing talent being presented.
January 19, 2018
I got the privilege of being Annie’s eyes and ears for the music rehearsal again tonight. They started the rehearsal by listening to one of the Singers, Marissa Swanner, present her version of one of the songs. After a quick vocal warm-up, everyone reviewed the songs that they had already worked on. Next, Riley Rawson played her song, which has a completely different feel, and all the Singers began working together on it. The melodies being written are just as distinctive and unique as the Singers responsible for writing them, which makes this process so fascinating.
At the end of rehearsal, we once again moved into the Gallaway so that the Singers and Erato could present their progress to Annie. Being a part of this process has been so rewarding for me, I truly cannot wait for Tuscaloosa to see this fantastic show.
January 18, 2018
Vinegar Tom, set in seventeenth-century and present day, this play surrounds accusations of witchcraft against several women. Caryl Churchill’s bewitching drama draws a powerful connection between these witch hunts and the oppression of women.
Taylor Dial (Assistant Director) is a Junior Interdisciplinary Studies Major with a Theatre Minor. Previous UA credits include Alpha Psi Omega’s production of Glengarry Glen Ross (Stage Manager) and UA Theatre and Dance’s production of The Philadelphia Story (Assistant Stage Manager). She would like to thank the production staff for a wonderful show, and Annie Levy for this amazing opportunity to grow as an artist! Taylor will bring you updates from UA Theatre and Dance’s production of Vinegar Tom. From rehearsal photos to fun thoughts on the process, we hope you enjoy!