Closer to Perfect
Posted by Whitney Dibo on 7/18/2008
As we quickly approach the opening of First Look Rep, the First Look 101 Open Rehearsals become more and more like watching a play. We are now in the third week of rehearsal, and the plays are beginning to take on a real shape: a semblance of what the audience will see opening night is beginning to emerge, albeit a bit rough around the edges.
Even though it was a beautiful Chicago Saturday, approximately thirty faithful First Look 101ers showed up this weekend to observe an open rehearsal of Perfect Mendacity. As they arrived, the actors were preparing to do a full run of Act II – something they had not attempted in its entirety. The cast is off-book at this point, or at least getting there – stage manager Kathleen Petroziello diligently watched the script and called out lines if (and when) the actors missed a cue.
As the 101ers looked on, it was clear this was a different stage of theatrical adolescence than we had previously experienced during the last two weeks: there was minimal discussion about character motivation and little opportunity to stop mid-scene and “work through” a given moment. After two full weeks of rehearsal – it was time to, well, do the thing. After all, tech rehearsal is a mere ten days away, and the actors need time to get the play in their bones.
Director David Cromer did, however, take time to work the more physically challenging moments of Act II. Perfect Mendacity does not shy away from intense stage combat, or weapons for that matter. After Mr. Cromer explained that the pace of the fight choreography is much slower during rehearsal than in production, the actors launched fearlessly into a somewhat violent second act. The 101 observers were noticeably intrigued at the amount of detail that goes into choreographing a fight scene – it was almost as if the actors had memorized a complex dance, and were now embellishing it with words. Even close-up in the small rehearsal room the fight choreography was quite believable, despite the cautious pace. It helped too that the actors were really selling it: shrieks and cries of pain punctuated the 3rd floor conference room as Act II barreled toward its climatic finish.
At the day’s end, both Mr. Cromer and playwright Jason Wells commented on how exciting it was to see the second act performed as one, cohesive entity. The rhythm of it had suddenly become illuminated – the way the tension of the first half fuels the second, eventually erupting into the violence of the play’s final pages. By the time the play begins performances, the audience will see a seamless second act – in addition to quick, perfected fight choreography. The 101ers however, will always know the baby steps Perfect Mendacity had to walk in order to arrive at that perfect, polished place.