Casey Carden and Koda Kerl - using the levels
This week, The Bluest Water space has begun to be transformed. Lighting instruments appeared upstage; platforms, that before were resting on the stage floor, were raised, adding an entirely different visual in terms of levels. Performers began adjusting entrances and focus as they were now elevated above the playing space. This is only the beginning of the set changes - the construction and painting of walls which will be mounted shortly, the addition of "found" items collected from the local area, and the adjustment of furniture and final props as the process moves into week six.
Geoff adjusts the opening ensemble scene
In addition to the forward motion of the set, rehearsals have settled into the run-through stage, and fine tuning begins: tightening scenes physically to create the vivid visual pictures, working ensemble scenes vocally to form seamless connections in the storytelling, making sure actors have their lines, bringing characters into sharper focus during rehearsals of individual scenes.
Maria keeps her eyes on the script
This week, also, many cast and crew watched "Portrait of a Disaster," a movie narrated by retired state trooper Ed Tinsley, which chronicled events in the days after Camille hit Nelson County. Not only was viewing this instructive in giving details and pictures about the damage as well as rescue and recovery, it also served as a very important human reminder of the lives affected, transformed, by the storm. For actors, this connection provides another layer - another way of approaching the characters and the story with integrity.
In this next week, the playing space will be changed even more dramatically, lights and sound will begin to emerge, costumes will be fitted and adjusted --more, deeper levels of The Bluest Water.