It's a huge bonus to be able to do this development period in the theatre at Goldsmiths. For one thing, we're able to accommodate all our overseas visitors on campus at an affordable cost... More crucially, we have the luxury of rehearsing in a real theatre space for the entire period. Usually, you only get the theatre for the last few days before the show opens, which means that anything technical has to be worked out in advance, and done just the once. This inevitably tends to mean that you play safe - there's no time for things to go wrong. But, this time, we can afford the luxury of being playful in our technical work, just as we are being with the rest of the production. We've got our new video projector rigged up, and are playing with live feeds from an onstage camera. With Nancy as camera-person, we ended up re-staging a scene around what these live feeds offered us. What's more, we already have much of the lighting in place, so Nick and David have also been part of this experimental process. It's very liberating.
We've had Denise and Micha with us all week, so the emphasis has been very much on the larger scenes with movement sequences. I feel most of these are working well now, and I've been able to develop aspects of the storyline alongside their physical work. Where the holes are now is in the more intimate scenes - the two and three-handed bits of the play where the emotional depths need to be found. In previous devising processes I've found these the easiest part - but this time it feels harder, perhaps because I've shifted the emphasis. Maybe I'm lucky that Monday is the day we've allocated to the final rigging and focusing of light, and so it's the one day that I won't be working on the stage. Being in a smaller space will force me to concentrate on the more internal aspects of the play.