We’re now up and running. Here’s the latest installment on mounting my play, A OR B? –
now playing at the Falcon Theatre in Burbank. When we last left our heroes… tech work had been completed. Now it was time to prepare for the first preview, which was last Wednesday night.
The actors pretty much have the script memorized although more changes were expected once I heard preview audiences. The thing I’m stressing now is to hold for laughs (assuming there are any). When actors don’t hold for laughs two things happen. First, the audience misses the next line or joke because they’re laughing through it. And secondly, after that occurs a few times the audience will just stop laughing for fear of missing something. Of course it’s hard to know just what
will get laughs so previews are very helpful.
We had a full dress rehearsal on Tuesday night for an invited audience of maybe 15. With that small a group I was pleased to get a few big titters. As I expected, it was also the NOISES OFF runthrough. In other words, there were wardrobe malfunctions, props not being where they were supposed to be, missed light cues, lines jumped, etc. Best to get all of that out of the way now. Do you know there’s such a thing as zipper oil? If you’re doing a play with costume changes make sure you have some.
It’s amazing how you can watch rehearsals for four weeks and everything looks great but then you see it on its feet and there are moments you go "Yikes!" So my routine this last week has been this: show up at the theatre at 4:00. Actors rehearse trouble spots or new material. The show at 8:00, notes at 10:00, and then I go home and rewrite until 2:30.
One thing I miss about being on staff on a TV show – writing material and seeing it performed the next day. Serving it while it’s hot.
Each night gets better. In fact, a new joke I wrote Thursday might get the biggest laugh in the play. And then of course there are the “Bono’s” (
see yesterday’s post for explanation). There are a couple that I think I’ll be wrestling with until opening night. The actors are good sports, gamely delivering the new lines without complaint (at least within earshot).
Another difference between the theatre and TV: In TV I go down for a runthrough that consists of about 22 minutes of content. I then go back with seven or eight highly trained comedy writers to fix the script. Here it’s 90 minutes of material and just me. But I will say this – the TV training has been INVALUABLE. You learn to be facile and attack problems. There are a lot of excellent playwrights who happen to write very slowly. This is like catching a moving train. There’s also the temptation for thoughtful (i.e. slow) playwrights to keep things that should go because it took so long to write them in the first place.
I had one scene that felt too long. I couldn’t wait to get home and chop the shit out of it. Jokes I liked a week ago I couldn’t wait to cut. The next night the scene played sooo much better. That’s what often happens. You have a scene with say ten jokes and they all play okay. You cut five and the ones you keep get even bigger laughs. Don’t be afraid to cut.
I generally go into runthrough with some ideas of cuts I’d like to make. Same has been true with the play. There was one joke I was thinking of cutting because I’d like the scene a little shorter. But it got a good laugh. My first reaction was “damn, it worked.” And then I thought, “You idiot. It WORKED.” I’ll find a trim somewhere else.
We also made some lighting and blocking adjustments that quickened the pace.
The Wednesday and Thursdays previews played pretty well. The weekend was better. What’s always odd is that certain jokes that work one night don’t the next and vice versa. And from time to time straight lines will get laughs. Don’t ask me why. I’ll take it.
Something was nagging me however. I couldn’t put my finger on it until the weekend, but a lightbulb went off and the answer was clear. But it will require major light and sound cue adjustments, some new blocking, new wardrobe, and two existing scenes being intercut. It sounds more radical than it is, but still, it will take a little coordinated rehearsal time so we'll put it in this week. It’s not fair to the actors (or crew) to just throw them out there without proper preparation. Especially since I like them. But I’m excited to see the new stuff that goes in starting Wednesday.
Another problem we had to address was costume changes. Our actors, Jules Willcox & Jason Dechert, have to make some quick ones. They do it under 30 seconds, but that’s still a long transition on stage with nothing happening. We tried covering it with music and visually interesting things going on on stage, but it wasn’t enough. Our director, Andy Barnicle, came up with the fix – voice over funny dialogue. So I went off into a corner, wrote them, and they were recorded that night.
So a few more days of tinkering and previews, and then Friday is Opening Night. I think we’ll be okay… as long as we have enough zipper oil.
It’s been a blast meeting some blog readers who’ve attended the previews. Thanks so much. Here’s where you go for tickets, and if you do attend a performance please flag me down. I’m the one in the corner of the lobby just rocking back and forth.