We are now just over half way through the rehearsal process and will soon be entering our final and most intensive weeks of rehearsal and preparation. I would like to share some notes, observations, and suggestions with you.  So far, our rehearsal process has been quite productive, successful, and enjoyable.  The cast has done a great job.  Attendance, punctuality, and preparation have all been very good.  I thank you!

As good as things have been going, there are some areas in which I would like to ask for even more focus, attention and thought; and as we approach performance time there are some aspects of the show that will demand an incredible amount of maturity and commitment.  I know that you expect nothing less than the best possible effort from your fellow cast members and from me.

*Characterization, character development, etc.: Although we’ve only been working on rudimentary blocking and movement, I would like to see much more in the way of characterization from nearly everyone.  By and large, this is work you must do on your own.  You must understand these characters inside and out.  You must know what they want and what is stopping them from achieving their goals.  You must know how they differ from you (age, physical attributes, emotional makeup) and figure out how that translates to physical gesture, vocal inflection and phrasing, and expression.  I have seen a lot of posing and posturing and little in the way of natural looking stage presence.  I strongly recommend you get together with song and scene partners on your own and work out the finer details of your blocking, gesture, and movement until it looks and feels natural.  We will not have time to do this in rehearsal.  I will be happy to meet with individuals and/or groups whenever I can outside of rehearsal time.

*Focus: this means two things. One, when your attention and focus is in a scene.  I often see actors speaking or singing past each other or not really paying attention to where the “action” is.  Chorus members, you have a tough job…you have to draw the audience’s attention to what is important and at the same time have a sense of individual character.  Leads, you absolutely must start acting with/against each other more.  This can only be worked out with practice (see the suggestion above).  The other meaning of focus here is concentration in rehearsal…usually good, occasionally a little bit scattered. 

*Music: Since so much of Les Misérables is carried by the music, this must be as strong as it can be.  All of the leads need to sing with better diction and greater expression.  I want to know that you have worked out how you want to phrase the music and have practiced it…not that you are simply imitating a recording (no matter how great) or worse, that you haven’t thought about it at all.  This is your responsibility as an actor.  You are creating the role, and you have the unique opportunity to bring to it something that no one else ever has.  Every singing part, every line, has to be great!

Future Challenges…

We’ve built a very strong foundation for the rest of our work.  But the really tough and exciting part is still to come.  Here are some things to be thinking about, planning for, and anticipating.  Preparation is the key to success.

Sets and Props: There are a couple of major challenges here (the barricade, the cart crash unit) and a lot of smaller things (the backdrops, flats, furniture) that will need to complete.  I will need your help. No one person can do all of this stuff (see director meltdown below).  If you can pull some evening and weekend work time, it will be appreciated.

Costumes: I can guarantee there will be costume problems and frustrations.  No matter how good our costumer, there are a lot of people in the show, wearing a lot of costumes.  Stuff will be missing until the last minute.  Stuff won’t fit right away.  You might not like the look of the costume.  Here’s what you do: take a deep breath, smile, relax, and do what you can to make it better. Don’t whine, get an attitude, pull a star trip, etc.  We’ll do what we can do get everyone in the costumes they need.  You absolutely must help by keeping your costumes organized and in good condition.

Sound and orchestra balance: I can likewise predict that we will have trouble with mics and sound, at least for a while.  I promise that they will be worked out. You can help by treating mics like the expensive and delicate instruments that they are, and remember that the orchestra members are all un-paid volunteers who are doing us a favor by playing.

End of the quarter and opening: For those of you at the high school, keep in mind the end of the quarter coincides with opening week.  So that you don’t get behind or in academic trouble, plan ahead here and keep up.  You might very nicely explain to your teachers this crunch and see if you can do some things ahead of time.

Director Meltdown: Even with help in key areas, Les Mis is a big and hugely time-consuming project and so if you see signs of director meltdown (steam coming from the ears, etc.) do what you can to help—usually, this means taking on a little more responsibility (without being asked), or at the very least, being as cooperative as you can.  Don’t take snappiness personally—we all get exhausted and I assure you now I have a lot of respect and admiration for your abilities.  (The Director’s notes for Les Mis recommend planning a really cool vacation for after the show)

Health Concerns: This is a vocally demanding show and rehearsals and performances are draining. Here’s where a professional approach can help: get sleep, eat well, take vitamins, and rest your voice when you can.  No silly screaming at pep rallies before a show!