mirror teeth: T-19 days (ish)

Jun 15, 2011 by

So, here’s the deal.

 

That brings us about up to date, I think.  Now then, would you like to hear my thoughts from the first day of rehearsals?  I thought you would.

1. Everyone knows the script better than I do.

Well, sort of.  It’s really interesting to hear Philip (designer) casually talking about the number of exits and entrances in the third scene (about which I couldn’t even hazard a guess), and Ruth (costume) talk about whether one of the characters would carry a gun, and if so what kind of gun, and if so where would we get the gun from, and would there be any special restrictions around the gun, and what sort of hat would go with the gun.  Things you just don’t (well, I don’t) consider when writing a play.  Director Kate did have a discussion with me about what some of the characters should wear, and I had to say that I didn’t really know.

I tend to consider some things to be outside a writer’s remit, and costume is very much one of those.  Maybe one day I’ll get round to writing something on here about what I believe a writer’s remit to be.  That’s what the Internet’s been lacking all this time, isn’t it?

These production discussions have also meant that I had the gigglesome moment of overhearing “We need to book in a time to go underwear shopping”. I’m a child.

 

2. It’s strange to think that these things are actually going to be performed

I’m very much in two minds about this one.  See, I’ve been writing for quite a long time, and nothing’s ever really come of it, which has meant that I’ve felt completely uninhibited in what I write about: if no-one’s ever actually going to stage it, it doesn’t matter how strange, obnoxious, risqué, or angry it is, so I’m free to write what I want.  That, I would argue, is in fact a pretty good state to be in, when writing.

However, it does come as a bit of a shock to realise that this stuff I’ve written (and, let’s be clear, it’s a pretty unpleasant play in its own way) is actually going to be performed by actual actors.  It makes it a little hard to look some of them in the eye.

 

3. Actors are good.

Ours are absolutely astounding (and you can find out more about them on the production page; there’ll be more about them coming up, too). They’re making the script much better than I wrote it.  The trouble is that, if something goes wrong, it’s definitely my fault.

 

Revelations all, I think you’ll agree.  More devastating insight from the rehearsal room to follow, you lucky things.  You can follow what we’re up to on our Facebook Page and, if you want to tweet about the show, please feel free to use the #mirrorteeth hashtag.  Oh yes, and buy some tickets, please.

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  1. Mike

    On the back of the playbook your play is described as a “visceral, smart, brutally hilarious play about prejudice, arms dealing, and what it means to be English”. It is certainly visceral, smart and brutally hilarious but didn’t tell us anything about prejudice, arms dealing and what it means to be English. It did however tell us about the stereotypical attitudes to those three subjects. It’s a brilliant play – well up to the highest echelons of the outstanding Finborough productions, enhanced by the stunning casting, acting, direction and technical presentation. The mind bending last act is, well, strangely and disconcertingly different. Congratulations but more than that – well done!

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