We began the rehearsal going over the massive forty minute section with Antigone and Creon before the rest of the cast appeared. Firstly we began looking at the tone of Creon's first lines which we decided would be politician-like trying to grasp the situation, then 'pitch-like' instructions to Antigone. Finally, I understand the right-angles walking around the stage as it's meant to reflect Creon's politician like state, I just though Chipp was being picky and trying to make Creon look more formal or something. Finally sorted the "why did you bury your brother" which some reason I had been struggling over how to say for a while, deciding now on saying it tiredly. We've also added scornful tone around ideas relating to Oedipus and Antigone's family to rile her up and to show how annoyed Creon is at their family ruining everything. The first section, although previously doing it quite mockingly, we've decided to make it quite mean which I love because it works so well with the lines, pointing them and laughing at the vanity of Oedipus and his kids, who keep ruining everything. In this monologue, we also added a more tender image at the end with Creon being genuinely kind and loving in both his words and actions, where before we just put a hand on her shoulder, we added a more familial move with Creon putting his arm around her shoulders and leading her forward a bit etc.
With the arrival with the rest of the cast, we began looking at holes in the blocking linking the larger sections we had already done. Saying that, I wasn't part of that but was instead sent off to rehearse scenes we had previously blocked with various cast members. What came to my mind whilst doing this was how static I felt as Creon appears to have his own favourite corner at stage-front-left where I seem to be perpetually standing looking unimpressed at other characters. I also find there's a lack of physical connection (though Creon isn't the type to give it out Willy nilly) but for my liking, I find myself standing facing someone and acting through face and speech with little through movement quite a lot, which may be advantageous for the style or something but I would like to move a bit more, with perhaps a few more levels. Furthermore, in the massive section between Creon and Antigone, I feel uncomfortable with the number of times I walk around the back of her and I'm worried it looks a bit too staged, I think she be more natural movement between Antigone and Creon though God save us from the awkward shuffle!
Whilst looking at the Haemon and Creon scene which hadn't been blocked previously, it came to light that me and Harriet had quite differing opinions on how Creon should act around his son who's fiancee he had just condemned to death. I thought Creon should be extremely broken over it all having warred against his niece, almost killed her himself then condemning her to death and ruining his son's life, though urgent in ensuring Haemon understands he had no choice in the matter. However, Harriet thought it should be more Politician like, though upset, but again, no physical contact! I think there should at least a heartfelt embrace from Creon at the start even if he turns more cold and politician-like at the end when he tells his son the world's basically terrible.
In the afternoon we did a ragged run through swapping in the various cast members (jeez it's confusing having different casts) which went reasonably well. However, I think the unanimous decision was to keep weapons far away from me by the end of the day: during the first fight sequence I accident misjudged distance, I think because of the lighting, and hit my partner Shanice in the eye with my stick, then later on managed to hit Connie in the fingers with a (blunt) machete. Sorry guys. What I really learnt from that was to be far more conscientious with my fight sequences as I don't really want to ruin the performance by blinding someone.
The chorus scenes also seemed a bit chaotic, especially the Tumbril sequence which whilst chaotic was also quite slow. It seems no matter how many times we rehearse these sequences, the next time we manage to forget all the choreography for a short section. The only opportunity I got to stretch my Creon muscles was at the beginning in the Chorus section where I got to do the Creon bit, in which for the first time, I hit all the cues! But the run through didn't actually reach any my scenes as we were going the first but with each Antigone and improving on them. These seemed good, to me at least, though I hate to say it, seeing scenes a few times in a row can make it hard as a chorus member sitting at the side of the stage to seem interested in the action.
These are the fruits of our labour (video links):
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