This is just one of those been-awhile posts. The show is open and still running, which in my history with “open” runs is nothing short of miraculous. The local reviews were rather unkind, but we got a couple raves from the AP and Gannett, which have run in papers across the country. Our audiences, even when small, have been enthusiastic, so everyone has been keeping in good spirits. We are also taking part in fundraising for Broadway Cares / Equity Fights AIDS now. With the strike going on, our relatively small contribution is going to mean a lot more this year, with 27 Broadway shows shut down and unable to collect money. We may be a small show, but our audiences have been very generous.

Understudy Mania
This week was the first in which we didn’t really have understudy rehearsal (well we’re rehearsing on Sunday, but we have the majority of the week free of rehearsal). Last week we had our first scheduled understudy going on — Christiane was out for three shows over the weekend, with Casey Clark covering the role of Elizabeth, and Leslie Henstock covering Casey, as well as her own ensemble stuff (we have no swings — a bad thing waiting to happen if ever there was one).

We had a very interesting put-in the day before. All our understudies are basically ready to go on, so instead of a put-in with the regular cast opposite Casey and Leslie, we decided to lighten the load on the principals (who would have had to do the equivalent of a 5-show weekend) and let the understudies handle the bulk of the show, except in scenes were they played directly opposite Casey or Leslie. It was very interesting when the handoffs would happen. For instance, Jim Stanek played Victor for most of the show, but before scenes between Victor and Elizabeth, Jim would exit and at the next entrance Hunter would come in. It was really fun, if a bit confusing!

Anyway, all of that went surprisingly well (especially given that some people were understudying two roles at once!), but at the end of it, we found out that Casey might be going on that night as Mother. Despite the fact that her scheduled performances as Elizabeth had been the focus of understudy rehearsals from day one, she had also gotten enough time on stage as Mother, so it wasn’t really scary, just a little surprising. With seven minutes left before the end of rehearsal, we ran the big chunk of Mother’s part of the show and called it a day, and wardrobe sat around on the dinner break waiting for word to begin frantic altering of costumes. Casey did end up going on that night, and Leslie got to go on a day early for Casey, and both did a great job. By the time Casey was Elizabeth the next day, everyone was completely calm, like it was the most well-prepared-for thing in the world. I was really proud of us as a company for pulling off a great put-in, allowing all of our understudies the luxury of some time in real performance conditions (it was full tech, costumes only for Casey and Leslie), and then throwing in another put-in at the last minute for that night’s show.

As much as rehearsal can make every day feel like a matinee day, I have never felt like it’s wasting my time. I learn things about the show constantly. If there’s truly nothing going on on the deck for a while, I can come out front and actually see stuff. There are tons of little moments that I never knew were there. Learning what the show looks like from the front is going to be very important as time goes on, for calling the show and times when I may need to run rehearsals by myself. The dance captain and understudies had requested an additional video monitor stage left next to the conductor monitor, that would show the same feed the stage manager gets of the front view of the stage. Then one day we had rehearsal. When we came back that night, suddenly there it was, thanks to our always-accommodating sound department. That night was quite comical — it was like I imagine it to have been when the first television sets started to appear in homes. Everyone just gathered around under it, whether they were waiting for an entrance or not, watching the little figures move around inside the tiny glowing box, putting on a show that none of us had been able to see before. Once the novelty wore off, it’s now mostly used by the understudies to look at specific moments they want to see (often involving them pointing at the screen trying to count the steps on the grand staircase to double-check which step their person is standing on).

Although I don’t have a calling script yet, I have been doing everything I can to prepare to call the show. The new monitor, as well as the conductor monitors scattered about, have been very helpful that way. Even before we started previews, Josh has been saying, “Can you get near a conductor monitor for this cue?” and explaining what he’s calling so that I start to learn what the cues look like.

My Rehearsal Process
In rehearsal, even though I’m basically just doing what I always do, it has added challenges. My stuff is the same, but the idea that none of the actors are doing their normal thing makes me have to pay attention to things I take for granted. As we go through the show, especially the first time giving them blocking, I had my own private backstage blocking rehearsal going on. It’s often said on many shows that there’s more choreography backstage than onstage. That is certainly true of our show at times, and I made it my task when people came offstage to talk them through anything interesting that they might encounter: “I’ll be standing here, you hand me your props, you step over here where your dresser will do your change, then you have to watch out because a table will be coming off this way, and this person needs to get by. Before you go on again, don’t forget to pick up your prop here…” Thinking about all those little things that just kind of happen automatically was good mental exercise for me, and it reduces the number of traffic accidents we’ll have when an unfamiliar person steps into an otherwise well-oiled machine.

At the put-in we ran the show with full tech, but in regular rehearsals I’m alone on the deck, which is really cool because it forces me to think about all the deck cues, not just my own. It’s already my job to make sure the other cues happen, but watching them happen is different from actually operating them myself, and knowing off the top of my head where every deck cue is called (we rehearse without cue lights, and often without headsets in more informal rehearsals). Throughout the tech and preview periods, a lot of cues were added and cut so I used to do some of the cues that are no longer mine. But rehearsing is a good way for me to keep up with actually doing them correctly in case I ever have to do them during performance in an emergency — things like operating the trap and catching the lantern that Victor throws are not things I’d want to do without being confident.

The Routine
Overall I’m just happy to have a job. I really enjoy the routine of going to the same place every day, seeing the same people, doing basically the same thing, which is what I love to do. And every Thursday at midnight, more than enough money to live on magically appears in my bank account. I have no expectations of how long this will continue — I’ve said the whole time it could be a huge hit or close in a week — I don’t really mind, I will appreciate it as long as it lasts.

I am anything but a morning person, but for some strange reason I look forward to matinee days. Maybe it’s because I make such terrible use of my free time anyway (not that there’s anything wrong with sleep), but I just feel so much more productive when I get up and go to work all day. Or maybe it’s because I know how quickly I could find myself unemployed, and I’d rather do two shows a day than have no show to do.

It’s starting to feel like a real show. We’re up and running, and that’s a big change for stage management, when the creative team is gone and the operation and maintenance of the show is up to us. We have some fans who are becoming organized — I just heard tonight they’re starting to refer to themselves as the Prometheans — a reference to Mary Shelley’s characterization of Victor Frankenstein as “the modern Prometheus.” Your show really isn’t anywhere until your fans have a clever name for themselves. There are a couple fan sites cropping up on MySpace and Facebook — I actually finally joined Facebook tonight to check it out. It seems like that’s where the majority of our company members have accounts, or at least which they like better. This is my first experience being on this kind of show since the era of social networking sites began, and it’s really cool to have these pages where the fans and the cast and crew can post messages back and forth easily. I heard a girl the other day introducing herself to one of our actors after the show as “the one from MySpace,” so it’s fun to make the connection between the people on the internet and the real live people who watch our show each night, some of them coming back multiple times. This show, like many of the other dark/serious musicals, will need that kind of active fan support to thrive, so it’s been very helpful to our morale to see people getting attached to the show and taking it upon themselves to spread the word.