A solid slog through the play - made it practically a third of the way through. The room was rather freezing, but we soldiered on. I don't know what the director was thinking: rehearsal at 10 am? What a nut.
Ching opened the day by disagreeing with her earlier notion about the end of the play: she now feels it is an act of liberation, rebellion on the part of the woman. Yesterday, in our discussion we talked about how when the lights go out, the ending might not be a hopeful one.
So great to hear the play read by others - and by great actors too. The biggest discussion had to do with Sofia at the river, and how that upsets the balance of the town. If she does what she is told, and behaves like the rest of the women, maybe the new captain will release the missing men. But she can't wait any longer. She is defiant, because she cannot wait any longer - and she is for some reason in tune, more in touch with nature than the rest of the women. We ended things right around where the young girl, Fidelia (played by Ana Cruz Kane) goes to protect the body claimed by her grandmother which the river has yielded. Guiesseppe as the Lieutenant then picks her up, moves her, and kisses his in front of the other woman. It is an incredible moment, I think.
I definitely will be delving more into the research this day off, reviewing my notes on TROJAN WOMEN as well as rereading ANTIGONE (one of the first plays I ever acted in - as Creon, at the tender age of 16).
Sunday, December 9
Widows: first rehearsal
A tremendous first day, with only one absence (out of 18!).
A meet and greet - and what a busy room with 25 people milling about. Colin did the introductions, then it was time for a designer presentation. Wilson, Matt, Colin and
A meet and greet - and what a busy room with 25 people milling about. Colin did the introductions, then it was time for a designer presentation. Wilson, Matt, Colin and
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