THEATER

The Seams Behind A Seamless Production   

Yasmeen Tajiddin

October 2019

At the beginning of the semester, when I was chatting with one of the actors in The Caucasian Chalk Circle, he casually mentioned he’d had twenty-four hours of rehearsal that week. Twenty-four hours. A full day.

After I saw the production though, it all added up. In a little under a month and a half, the cast and crew constructed an entire world on a small, intimate stage. From the shadow puppetry to the musical numbers, every detail felt intentional. This accomplishment would not have been possible without a considerable amount of work put in behind the scenes—all of which was concealed from the audience.

Ana Karneža as the judge Azdak in the NYUAD production of Bertolt Brecht’s The Caucasian Chalk Circle, directed by Orlando Pabotoy.

Photo Credit: Waleed Shah

Tori Mondello, a lighting operator, spoke to some of the work that had to be done before the actors even stepped into the Black Box.

“We had about a week of prepping the Black Box […] and that was just on the lighting side. We hung lights for them, made presets (positioning options for lights that have to be set manually) to where we thought they would need light, etc.”  

She emphasized that the seamlessness of the play should be credited to the people who were a part of tech along with the actors. It can be easy to allow the tech work to fall to the wayside because it isn’t noticed the same way the actors are during a production, but the lighting, sound design, entrance and exit cues, and prop organization are a vital part of any theatrical piece and enhance the actors’ performances.

Crowd scene from The Caucasian Chalk Circle.

Photo Credit: Nikith Nath

This work was particularly important in this production because of the limited time the cast had to prepare. The director, NYU-NY Affiliate Faculty Orlando Pabotoy, highlighted the necessity of a clear structure, which he and the crew communicated to the actors, in order to have a polished product by the end of their rehearsals. Elements like the blocking (an actor’s movements), music and lighting design had to be set in stone before rehearsals to give the actors a solid jumping-off point.

These pre-set constraints helped move the rehearsals along, and affected the actors’ ability to freely and completely explore all the possibilities for their roles. Pabotoy explained, “If you [the actors] had more time, there would be more time to explore other possibilities […] but that doesn’t mean there’s no time for that […] It happens within the structure.” The actors were free to explore, in other words, but within the enabling constraints that had already been established.

Mother-in-Law (Nabiha Nahyan) washes the Invalid (Hubert Eric Garrish) as Grusha (Bernice delos Reyes) turns away.

Photo Credit: Waleed Shah

The performance though, was anything but constrained, especially during the musical numbers. Anyone who saw the production would be convinced that the show was originally made to be a musical, but the music was actually created for this show by composer Fabian Obispo.

“We had separate music rehearsals, and we had to tie it into the story we had to tell,” explained Archita Arun, an actress in the production. Once the music was smoothly integrated into the production, the musical numbers became the most expressive and compelling parts of the play.

Grusha (Bernice delos Reyes) at the trial, flanked by Ludovia (Archita Arun) and Simon (Carlos Páez).

Photo Credit: Waleed Shah

Despite the long rehearsals, lost sleep, and high levels of stress, every person I asked said they would definitely be a part of the production again.

 “This was my first time operating a show,” Tori Mondello revealed. “To be constantly aware for almost three hours, double checking cue numbers and having fast reflexes when the stage manager gives the go was difficult, but very rewarding […] I would do it again!”

Azdak (Ana Karneža) has a dilemma.

Photo Credit: Nikith Nath

Actress Stalina Guberchenko said,“I met the most amazing people who created a warm atmosphere for both professional and creative work. All of them inspired me to move further, collaborate and create.”

During the final curtain call, the actors’ camaraderie with everyone on and off stage was palpable. I got the sense that they valued all twenty-four of those hours together and the countless hours that came after.

Stalina Guberchenko in
The Caucasian Chalk Circle.

Photo credit: Nikith Nath

Yasmeen Tajiddin is a creative writing student with a minor in Arabic at NYU Abu Dhabi.
FURTHER READING
LITERATURE AND CREATIVE WRITING
LITERATURE AND CREATIVE WRITING

Pin It on Pinterest

Share This