Another Opening Night. Feels like I say that a lot lately. Not complaining in the slightest, but wondering how anyone does it. The process of getting a show up and ready kicks my ass sometimes and I second guess myself about whether or not I'm doing the right thing or maybe I'm being lazy. I certainly know I'm tired. "Love Song" by John Kolvenbach opens tonight at the Art Square Theatre and if we improve as much tonight as we did from Wed to Thu, it's going to be fantastic. It's already been great for me. The role feels very familiar and that's perhaps why my character development during the rehearsal process has felt non-existent. The character Harry is me. Maybe I should just embrace that concept instead of fighting it. Lots of firsts in this one too. Surprisingly, after nearly 10 years of doing this, there were some steps and methods that I'd never been involved with before. Lots of table readings and discussions and dissections of the character before we ever set foot on the stage. Made the process of blocking very simplified. Our motivations were well established, so movement had its purpose and didn't feel like wandering. I hate it when my character moves across stage for no reason other than that's what I was directed to do. The notes process was typical, but our line notes were on forms with shorthand notations specifically indicating what the error(s) in the dialogue was. Way better than a stack of paper scraps, or a verbal dressing down after rehearsals. Even the speed-throughs were fun (read as I hated every minute of it, but loved how useful it was). Hindsight is great. A line Nazi was on book for every word, every contraction, every pause, period and pronouncement. Very aggravating to have to re-say a line 15 times because you learned it wrong. As King of the Paraphrasers, I was scowling at the AD the whole time and professing my love for her through clenched teeth.
I wish I had a ritual.........I think. I'm not superstitious, but I like feeling comfortable. It happens eventually with most every show I've done. (Notable exceptions excluded for the sake of courtesy.) I don't eat the same sandwich before opening night, nor do I have lucky underwear. I do try to remember what I felt at final dress and use that going forward, but it's not like I give the same static performance. I did once make the mistake of having a Super-Big Gulp with a little mini-bar bottle of rum (or two) mixed in on final dress. I did it out of raw nervousness. I needed to take the edge off of my performance. I was the title character and felt an overwhelming need to carry the show. I had a great final dress, so I didn't want to test fate. I had the same drink every performance. That was very early on and I've never done that sense. The exception being The Rocky Horror Show. As the Narrator (Criminologist for you Picture Show Nerds) I asked the Director, one night during tech if I could try drinking on stage. He let me try it, and afterwards, insisted that I make it a part of the character in every performance. Let's say that the 2 show Halloween Night Spectacular was indeed Spectacular. With all the call-outs I had to respond to, I was indeed loose-lipped that night. There is video to prove it.
I guess I do have one thing that I do for every show. I carry a Talisman in a little black felt bag. The Talisman has been with me for every performance, every rehearsal, every show......every day for that matter since it was given to me at the end of a run of Annie in the summer of 2011. I squeeze it before every curtain and remember what it means to me and how fortunate I have been to be given the opportunities to act and tell stories with my characters. It gives me strength, because I know the person who gave it to me is my biggest supporter and possibly the President of my Fan Club. It calms me like no rum and coke ever could. It steels my nerves and focuses me to the task at hand. So much from a little stone given to me on a midnight hike in Red Rock Canyon. Thank you Kelly. I've said it before, many times each day, but so you know that there is not doubt, I love you. Time for me to go kick a curtain, which is paraphrasing for break a leg.
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