Week 1
Week 2
Week 3

Creative team

Week 1
Karen worked with David, (Chorus), Simon (Jago) and Leela (Graf). They initially read through the whole play and then worked scene by scene. Karen explained that she had taken out a lot of the writer's stage directions so that she as director and the actors could bring to the play their own ideas and thoughts.

The cast read through the script, on the set, before acting each scene with the director. They had decided to use the floor cloth and doorframe in order for the cast to be familiar and comfortable with the set. Karen asked specific questions to establish what is happening in each scene; to reflect on how the characters might have been feeling and analyse the text.

In the earlier scenes she asked where the characters felt they were physically. They decided that they were probably in the outskirts of a city, and that they were still in danger. They discussed how they would reflect this using the set. Karen asked Graf and Jago how they were feeling, how could they portray this, in their movements and in their positions on the set. She encouraged them to internalise their feelings as Graf and Jago, their dilemmas, backgrounds, and emotions. Karen asked what they felt when they started their journey together. Jago suggested that he felt uncomfortable and edgy because Graf still had the box. He debated the idea that he could keep following her in order to get the box or that he could follow her in the hope that she would lead him back to his home. Graf feels quite harsh towards Jago; he has stolen her wedding ring and he has become an extra responsibility.

The issue of Jago having to use non – verbal communication was discussed. Jago felt it was an extra challenge for him as an actor and that he had to really think about his facial gestures, expressions and his body language. Karen and Jago worked on various dramatic techniques for Jago to communicate his thoughts. For example when Graf asks him to name one item that he can have from the box; Jago had to work on getting the word across making the actions appear focused and business like.

Karen discussed with Graf and Jago their feelings towards each other as the play progresses. Karen encouraged them to really analyse their emotions, to work on displaying them as they changed throughout the play. She encouraged Graf to consider her internal struggle. Was Graf a soldier? Wife, mother or nanny? At one stage they felt that Jago was being incredible stubborn, challenging Graf. But when Graf starts to crack and lose her patience with Jago, he is utterly lost and vulnerable. He still wants to stick by her and their relationship starts to become more interdependent. Jago starts to help Graf, rather than just following her. At this point Graf appears to be uncertain in her feelings for him, whereas Jago seems more positive.

In the later scenes when Graf and Jago were on the move, Karen and the actors discussed techniques to make the journey appear to be long and arduous. They used the set, varying the levels and positions to demonstrate moving through rubble and the elements, as in the weather and time span. Karen suggested that Graf and Jago spent time choreographing the movement of the set to construct images of their journey before finding the barn. Karen also encouraged Graf and Jago to consider their actions off stage to consolidate their role and to put everything into context. For example where did Jago go to get the food? He felt that he was probably stealing from farms, but maybe eventually stealing from kitchens in private houses.

Matthew Wood (musician) came along to watch the rehearsal to get a feel for the play, the atmosphere, pace etc. He will then compose the music for himself and David (Chorus) to play.

^ top of page

Week 2
This week the cast worked on blocking the scenes (organising their positions and movements on the set) and developing the sequences in using the door frame. They would occasionally just walk through the sequences, memorising the actions, movements and facial gestures. There was more of an emphasis to keep the pace going and to decide on whether the sequences of actions physically worked.

Music and sound effects were slowly being introduced. Matthew was starting to devise and compose the music during the rehearsal process. The actors found that their acting could be influenced by the music. They had to be careful not to be drawn too much into the tone of the music, but to stay focused on how they were actually feeling at that time.

The actors were now using some of the actual props rather than replica objects. They also had Jago's box that was to be used in the final performances. The actors were not generally using their scripts, but just referred to them for reference or to add some notes. On occasion Graf would be given a prompt to allow her to concentrate more on her actions.

Karen had decided to keep revisiting certain scenes, especially the scenes with a strong interaction with Jago and Graf. The rehearsal process now seemed to have a greater intensity bringing many levels and strands together of music, sound effects, movements, technical aspects and stage directions.

The cast discussed the logistics in using the props whilst moving around the set. For example Graf decided to take off her rucksack whilst trying to squeeze through the lower door to the den. She also questioned would she actually bring in her rucksack, not knowing the danger? Karen suggested that she could assume it was safe before she actually spied Jago. They considered the accuracy in the positions of various props, whether it should be moved, left open, hidden etc. When Jago hears Graf coming into the den, they need to decide whether he should hide his box, lock his box, or to hide himself completely.

Karen was developing a greater emphasis of stage directions and of the actor's specific movements. They worked on what felt natural during particular scenes to make it more intense and realistic. For example, they need to decide how Jago will hide, either lying down or kneeling wrapping the blanket around him. Karen, Graf and Jago worked on how Graf should capture him, either to have the knife at his throat, whilst holding the torch and to also be looking at his face. Karen mentioned the point that when she first sees him, to show some recognition that she had encountered a homeless child. Graf developed an interaction with him as if she was taunting him. Jago felt that at first it did not feel right in her capturing him, as if there wasn't any physical tension between them. Jago felt that he needed Graf to use more force, to make him feel more trapped. They continued to work on getting this scene and others more powerful and realistic.

^ top of page

Week 3
The emphasis this week was giving the scenes a clear and a crisp focus. They had to consider their levels of emotion, maintaining a consistency from heightened emotion to calmness. Karen suggested just before each run/through of the scenes; to take a moment to pause and reflect on where they were in the play, both physically and emotionally, staying really focused. She asked them to consider their eye levels, their responses between each other, their volume and a clearer diction. Karen asked them to play a little bit larger, even overplay it, so that she can pull them back.

Just before a complete run of the entire play Karen asked them to take time to be quiet and thoughtful. To think about their character standing next to Jago, to each other and to hear their own characters voice. She asked them to consider the saddest thing that has happened to them, the most frightening and the happiest.

They worked on cueing and technical aspects, for instance not rushing a line but saying the line at exactly the same time, during the same action and in the same scene. They kept on repeating scenes in order to get them just right. For example they decided that Jago should stand up and take a step towards Graf when she says that he was "stubborn" rather than just to sit up and watch. They had to work on keeping their movements sharp and there seemed to be a greater emphasis on direct, crisp movements. They kept the actions in a sequence and to remembering any changes that they make.

During the scenes with the 'rat' the company discussed whether they would heighten the humour by adding fun snappy music. They decided that this would actually overplay the humour as the scene was quite funny just with Jago's face and Graf's reaction. They also did not want to deflect from the humour in Jago's recollection of stealing the eggs.

They continued by working on Jago's 'chicken story.' Matthew, Karen and the actors played with the movements, the humour and the music. Matthew devised the music to correspond and to heighten the action. This gave a greater clarity, from the humour to the brisk reality of the farmer bursting into their 'den.' Matthew has composed the music, but it will vary with the pace of the performances.

Matthew directed the cast through the scenes which involved music. Practising their tunes together with their movements, he suggested that they kept the sound as constant as they could and be really efficient with their moves.

The set was now complete and had all been painted. The company still had to practise assembling and taking the whole set down, including the backdrops.

There was a real development this week on the clarity in the speeches; they were sharper, louder and clearer. The company appeared full of energy and commitment and they did not need their scripts.

^ top of page