In Quest Of Conscience
Once again, the time has come for the presentation of what we have been doing for the past few months: our Arts House performance, "In Quest Of Conscience". Before our rehearsal began at 1pm, we took our GP Package Test at 11am and went for lunch at a nearby coffee shop.
Just yesterday we made our first trip to the Arts House to rehearse a little at our performance venue, the Play Den in the Old Parliament House. The set we had been building in school all along was too wide for the stage space, and so we had to shrink it. Even then, the front row audience would be so close to the set that all they needed to do was to stretch out their legs. Nevertheless, the venue was very cool.
After a short run through in the drama studio and our preparations (changing into costumes, make-up, prayer), we took the bus to the Arts House. Once there, we were ushered into the female dressing room behind the Play Den because VJC was still performing in the Play Den. We were sitting in the dressing room quietly (almost like prisoners) until VJC was done. Then we moved the platforms from the storage room onto the stage and set up the frame quickly. A short warm-up and concentration exercise later, we sat in the frame while the teachers opened the doors to allow the public in.
The play went on rather smoothly. At one point someone accidentally kicked a C-lock out of its place and it fell to the ground with a rather loud clang. I had a conversation to act out in a few seconds' time, but I was the closest to the fallen lock. But I could see how I could adapt to the lines. I swiftly picked the lock up and went through my lines like nothing happened. When I finished my lines and the next line said, "'Stop, stop,' I told him. 'Go away!'", I moved back and silently placed the lock back to where it fell out from.
When the performance was finally over, we hung around in the frame a little more while until Mrs Creffield gave us the go-ahead to look for our friends in the audience who remained behind. Just like Camelot, flowers (and in Joshua's case, a huge bear) were presented to the cast, and after about 10 minutes, the signal was given to strike set. We swiftly removed the platforms from the stage and onto the truck waiting for us downstairs. We then got onto the bus and on our trip back to school, the madams told us about all the great comments they received about the play, one of them from Michael Corbidge, vocal coach during Camelot.
Went home at 11pm after ridding the studio of cockroaches which decided to move in while we were away. That's another production to my portfolio.
Just yesterday we made our first trip to the Arts House to rehearse a little at our performance venue, the Play Den in the Old Parliament House. The set we had been building in school all along was too wide for the stage space, and so we had to shrink it. Even then, the front row audience would be so close to the set that all they needed to do was to stretch out their legs. Nevertheless, the venue was very cool.
After a short run through in the drama studio and our preparations (changing into costumes, make-up, prayer), we took the bus to the Arts House. Once there, we were ushered into the female dressing room behind the Play Den because VJC was still performing in the Play Den. We were sitting in the dressing room quietly (almost like prisoners) until VJC was done. Then we moved the platforms from the storage room onto the stage and set up the frame quickly. A short warm-up and concentration exercise later, we sat in the frame while the teachers opened the doors to allow the public in.
The play went on rather smoothly. At one point someone accidentally kicked a C-lock out of its place and it fell to the ground with a rather loud clang. I had a conversation to act out in a few seconds' time, but I was the closest to the fallen lock. But I could see how I could adapt to the lines. I swiftly picked the lock up and went through my lines like nothing happened. When I finished my lines and the next line said, "'Stop, stop,' I told him. 'Go away!'", I moved back and silently placed the lock back to where it fell out from.
When the performance was finally over, we hung around in the frame a little more while until Mrs Creffield gave us the go-ahead to look for our friends in the audience who remained behind. Just like Camelot, flowers (and in Joshua's case, a huge bear) were presented to the cast, and after about 10 minutes, the signal was given to strike set. We swiftly removed the platforms from the stage and onto the truck waiting for us downstairs. We then got onto the bus and on our trip back to school, the madams told us about all the great comments they received about the play, one of them from Michael Corbidge, vocal coach during Camelot.
Went home at 11pm after ridding the studio of cockroaches which decided to move in while we were away. That's another production to my portfolio.
yours truly, tobias at 11:44 pm
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