Moving to the Big Stage!

Friday night's rehearsal was a run-through of the entire opera in the UNCSA rehearsal hall, our last night working there. It was fantastic! Everyone was in full, beautiful voice, the fight scenes were fierce and realistic and the acting incredible. There were not many pauses for corrections found to be necessary. And there was an enthusiastic response from our nice audience. I was only able to get a couple of photos before the action began, these of two intrepid soldiers:

Above is James Hopkins, who coined the "turtlehead" description.

To the right is Kenneth Alexander, in "fierce" mode!

After the rehearsal Jamie told us some unfortunate news - trouble had occurred during the load-in of the set at the Stevens Center - luckily no one was hurt when one of the large columns collapsed and fell onto another one of them! Adjustments were having to be made to the set to compensate and our rehearsal set for yesterday afternoon was moved to last night.



When I arrived at the Stevens Center through the stage door entrance, I immediately got lost in the rabbit warren of the "underground" regions of the backstage world! Fortunately, Amanda Moody rescued me and showed me the way to the dressing rooms. I found the room designated for the female chorus, and saw racks of costumes set up, arranged in order of last names. What a wonderful sight! That is, until I could find neither my name nor my treasured gypsy attire. Then Amanda reappeared to say that I was to share her dressing room! She led me through more doors and down several stairways, to a lovely space outfitted with super-bright makeup lights and even a bathroom to be shared with Azucena, Shannon Magee, next door. "Our" door is marked "Ines (Amanda's character) and Super Lady", such a privilege to be in this rarefied atmosphere. Other close neighbors are "Ferrando and Ruiz" (Richard Ollarsaba and Marvin Kehler.) Our costumes were there but we are not allowed to put them on until the wardrobe people arrive to dress us. Pity! But I'm pretty sure tonight (Sunday) will be the night this happens for the first time.

After we scoped out our arrangements, the entire cast gathered in the audience of the theatre to receive instructions for the evening. The stage crew was there, as well as the lighting folks. We had a chance to get up on the stage to walk about on the raked (remember? that means inclined) platform, which does feel a little strange after the flat floor of prior rehearsals. Jill Gardner said it helps to "think of cows on a hillside, they put one leg a little ahead of the other to balance themselves!" There are also two steps up to be aware of, one from the base of the stage in front, another at the back. In addition, enhanced props such as carts and benches were introduced, as well as two giant crosses for the convent scene. So you have to be alert as to where you are at all times, while often dodging the swordplay!

After a session of fight reenactments supervised by Dale Girard and adjusted for the new setting, we began another run-through of the entire opera, but this time the singing was held back (according to my roommate Amanda) for two reasons: one is to be able to concentrate on the staging and placement, the other is to allow the voices, particularly of the principals, a day of rest. Amanda said they are rarely asked to "sing out" for two days in a row. Given that the Stevens Center stage is much larger than the previous rehearsal space, a good many adjustments were made by Steve as we went along. We only ran into each other a few times as we got used to all these changes!

I think I'll arrive early for my "dress call" tonight, hoping to get into La Zingarella mode as soon as possible! We will be rehearsing with Angela Ward on the piano for one last time before full dress with the orchestra on Tuesday night. But challenges still await for tonight with full skirts and costume changes added to the mix! On with the show...

Super Lady (or Super Woman, your pick!)