Process Of The Process

Let me begin this post by saying that it is soooooo refreshing to be working on a live show again!  I have been doing a great deal of photography, film making and descriptive video these days, and have scarcely been involved in anything connected with my true love - THEATRE!   I get a little rush of excitement thinking about it.  I'm excited to go to rehearsals (yes it's true) and it's great to work with theatre people I've never met, and have the pleasure of reacquainting with those I've worked with in the past.

It's also kind of cool to watch the evolution of the cast (who are athletes, not actors) as the director whips them into shape and gets them ready for performance.

We are now into the second week of rehearsals for PUSH!  I must say it is great being included - and welcome to join in on the rehearsal process.  In my own personal experience this rarely happens, if at all.  You usually have to fly by the seat of your pants and do all your prep during dress rehearsal or previews.  In Canada at least, and Toronto in particular in my case, this is due to lack of awareness of the needs of the process, and in general, awareness that this work even exists in the first place.  And sometimes it's just |well, "we have to do this." and accommodation is an intrusion on the "creative " process - and generally a big pain in the ass.

For the most part, when audio description is included in a live event or show - especially in theatre - there is a sort of territorial thing that happens and one is often made to feel as if providing AD and ASL is a big inconvenience to cast and crew.  I don't think this is intentional in most cases, but change is hard - especially in theatre where things have been done a certain way forever.  Although you think it would be just the opposite.

Here I have a unique opportunity to develop the AD script and my own process while the show itself evolves.  Very refreshing.

Although, this still has it's issues.  Mainly as a describer I cannot interfere in the actual development of the performance - ie, timing of the delivery of lines, use of audio visual material etc. Generally, with an existing show or script that does not involve a lot of development this is pretty standard.  The audio describer is an invisible entity hidden away in the booth; unseen, uncredited,  heard by those few with a headset who need to be told what is happening visually on stage.  Thus, the audience, crew and performers are blissfully unaware of the of the poor sod who is trying to insert concise descriptive words into the rapid fire dialogue and action on stage.

In this instance, PUSH! is a staged reading.  The actors sit in a semicircle on stage and read from a script on a stand in front of them.  There is no movement other than a few gestures and facial expressions. There are no set changes.

There is however a HUGE amount of dialogue which conveys six different stories and in order to facilitate the understanding of who is telling what story it is necessary to identify the respective speakers in a succinct manner.

There are also 5 separate video montages.  These are made up of many, many rapid fire clips that only,  last a split second.  In addition to this, there is dialogue from the stage while the video is playing.  So,   often one word descriptions must be fitted in between the performers talking.

As I do this professionally for film and television, I am used to this - except that with live people on stage no two performances are the same.  I don't like to speak over someone, but I also don't like to generalize my description.  What is seen by the general audience MUST be conveyed properly to those who cannot see it.

So when I ask the director if he can modify what the performers are saying, (especially when they aren't conveying any useful info) just a tad, and he says something to the effect of  "Can't you just say something like, "WWII footage and let them imagine what's happening."  I get pissed off.  Not much I can do though, but try to work with  and around it though.  That's the process of the process.  It's hard, and often frustrating.  Especially when there is a perfect opportunity to provide a very high level of access.

Another hurtle here is getting the actual finished visual material in a timely manner.  I need to watch this stuff, identify what exactly it is (this material is very specific, photos of events, specific people etc) and figure out what I can include or omit in the description to best suit the needs of my listeners.

Then there are the performers themselves.  And I have to say they are pretty great.  While they are all athletes, used to being watched by thousands of people from all over the world, they are not actors.  They do not have the experience of stagecraft, or the many years it takes an actor to develop the improvisational, connective and performance skills one usually sees on stage - so that can be a bit daunting. Especially when something like a gesture is different every time it is executed. 

There is also the knowledge - or lack there of of theatre edicate.  Those of us who have worked in the performing arts all our lives just know this stuff instinctively - but newcomers often have no idea what we are talking about when we use theatre terms, or of the processes that have to happen in order for a show to come together.  Or even just the professional conduct one exhibits while working.  But then, the theatre is world unto itself, isn't it?

The dialogue itself is often delivered very quickly.  To me it seems too quickly.  Theatre is about being in the moment and living and  reliving that moment as the story is told.  It's not a race - although, these guys have owned the podium, so I'm sure they are just naturally inclined to go fast :)  There are times when a pause here and there would greatly aid me in my work.

All in all it's shaping up to be a pretty good show though.  We have added music and live percussionist Luis Orbegoso who is absolutely amazing.  His addition has greatly changed the energy of the show and it has become a living thing.

That's the magic of theatre.  The process is fascinating.

Next week will be the final week of rehearsals and then we move into the theatre.  It will be even more fascinating to watch the show morph and get right up on it's feet.  And as I said, I am thrilled to be a part of it.

So, if you are in the Toronto Area during the ParapanAm games, come see the show!

Details are as follows;

AUGUST 11-14 2015 7:30 PM
AUGUST 12 2:30 PM MICHAEL YOUNG THEATRE
YOUNG CENTRE FOR THE PERFORMING ARTS 50 TANK HOUSE LANE, TORONTO, ON
$30 GENERAL ADMISSION
BUY TICKETS AT TANGLEDARTS.ORG/PUSH

OR CALL 416.866.8666
(if you wish to use the Live Audio Description Service you have to callthe above numer as there is no option for this type of ticket reservation on the website).