Entry Twelve - Once A King Or Queen Of Narnia...

This will be the final entry on this blog (at least for now) and will focus on a summing up of the performances themselves. The end-product of weeks and weeks of preparation; what every theatre production ultimately leads to – the performance, and the audience’s response.

Throughout most of the day I felt strangely distant, which I think was connected to the fact that to me this was more than just a performance. I like to feel invested in every production I am involved in, whatever role I happen to be playing. I have felt the pressure of staging plays that I have written and directed before. This one was really significant to me though. It represented so much more than a single performance. It represented a hypothetical future, and the notion that it could very well be possible to continue doing what I love as a part of a professional theatre company. To be able to produce the plays that I want to produce – to adapt my favourite stories to the stage, to put on the plays I’ve always wanted to, and on my own terms. To create opportunities for myself – and for others – opportunities that I would not receive otherwise.

All of this in addition to the sheer amount of time invested in this production, and the pressure of playing one of the leading roles, amounted to a very melancholy and distant feeling, that would not shift until the show began.

We had a few hours before the audience arrived to set up the studio for the performance, and a lot of technical areas to cover in that time. We set up the wardrobe and the lamppost, as well as the audience seating and a couple of cameras to record the performance. We also had to pre-set all of the costumes and props in a very limited back-stage area (which would also have to accommodate varying numbers of actors at any given time). The lighting was pre-set, but all of the changes needed to be practiced, along with the music cues and the projections (which would illustrate changes in scenery). This called for a cue-to-cue run through of the play, a typical practice for any production, and one that I always see as a necessary evil. They are rarely very enjoyable, as they a slow processes, and generally require strict focus and very little distraction from the cast as a whole. They are completely necessary though, as without them the performance would constantly be stopping, and there would be very noticeable confusion from the performers during scene changes.

We had a few hours to get everything sorted, but that time slipped by really quickly, and before we knew it the audience were arriving and ready to be let in. The arrival of the audience is always a nerve-wracking moment, because the wait just before a show starts gives plenty of time for the reality of the situation to sink in. On this occasion the wait was longer than usual, as it turned out that we had filled every seat, and needed to squeeze extra people in. This gave me just enough time to get really nervous before the lights went down and the performance finally began.

The audience were really receptive of the piece throughout, and it allowed for a very lively and energetic performance from the entire cast. There was a lot of laughter – sometimes in unexpected places – and I was absolutely thrilled with how well everything went. After the show was over there was a lot of praise from the audience, and some really wonderful compliments about the show, the performances, the pacing, the adaptation, the energy of the piece, and a whole lot more. It would have been great to have been able to have taken it in, but we needed to clear out the studio and get back into our regular clothes very quickly.

Nevertheless it was a wonderful feeling, and one that made all of the time that we had invested into this production completely worthwhile. We all felt that we had earned our celebratory drinks at the end of the night.

One day went by, and then we were all set to perform once again – this time in Cornwall at North Hill Village Hall. It was a very different performance space to the one we had been rehearsing in, and we only had a couple of hours to adapt the performance into it before the audience arrived. This was a big undertaking, but we managed it in time. The audience was smaller this time around, but they gave a very positive response at the end of the show. I spoke to one couple who asked some very encouraging questions such as “when are you performing this show next?” and perhaps even more encouraging “when are you coming back?” At this stage in time it is hard to answer these questions definitively, but the fact that they were asked at all made me feel very positive about the possibilities for this show looking ahead.

We have ambitious plans for this production, and hopefully I will be able to look back on this stage of the process as ‘only the beginning’. I suppose we will have to wait and see, but if the final scene of the play is any indication, then of course we will go back to Narnia again!

Entry Eleven - Last Rehearsal Before Performance

This would be the last proper rehearsal before the actual performance day. We got off to a slower start than in the previous session due to a traffic delay holding up the arrival of most of the costumes and props. The intention was to practice the fight sequences and any other difficult moments before having another full run of the play. These delays meant that we would not likely be able to fit everything in, but nevertheless we managed to make effective use of the time.

We worked on all of the fight scenes, adding in a lot more intent – as the fights had become rather safe-looking due to our familiarity with them. The addition of characterisation and heightened emotion, brings a much more dramatic feel to these fights (some characters are afraid, others are angry, others are over-confident) and also increases the intensity of every aggressive action.

We performed a full run of the play, but stopped at a point close to the end in order to fit in any notes and allow time to clear our equipment out of the studio before our time ran out. This run through was not our best, as it was slightly slower than our previous one, but this was not a discouraging sign. Many of us have often been of the belief that a poor dress run will lead to a good final performance – it would be a shame to peak to early, especially without an audience.

That is not to say that this was a bad performance of the play, as we managed to address a lot of issues from our previous run-through, making subtle improvements throughout, and we also became more familiar with our backstage area where costume changes take place, and where items of scenery and set are stored. The scene changes need to be quick, and more familiarity with the set-up will hopefully pay off when the performance comes around.

I think that tiredness was also a factor for a lot of the cast – this process has been very full-on, with lengthy rehearsals taking place most days of the week, and not to mention everyone’s other commitments. There will be a day off in between this rehearsal and the performance day, which will hopefully allow everyone to feel rested and re-energised when the show comes around.

Quote of the day: “Aslan’s getting plaits” Chris Harknett (The Great Lion clearly felt jealous of Lucy’s hairstyle)

Entry Ten - Let's Try That Again!

It’s the week of the performance, and we had three hours to set up, get everyone into costume, run a fight call and then perform a full run of the play. Our previous full run of the play would never have fit within this time-frame, not to mention all of the other factors that needed to be sorted out. This time however, we not only had time for a full run, but we had time to spare afterwards!

This session was carried out in a neighbouring studio to the one where we’ll be performing, and it is the same size, which gave us a much clearer idea of what the real performance space will be like. We set up a row of chairs indicating where the audience will be, and were able to make entrances and exits in the actual backstage areas. This is still a bit of an issue, as the backstage areas need to accommodate a lot of props and set, but also need to be maneuverable enough to allow for costume changes (very quick ones in some instances). It will be possible, but everything is a bit squashed right now.

The run-through was much pacier, and significantly more focussed than it had been previously. Transitions from one scene into the next had a much more smooth flow to them, and the cast seemed more confident and at ease. As a result the story and the characters were really able to shine through a lot more. That is not to say there aren’t areas that couldn’t be improved upon. We still need to add in the technical factors, specifically lighting changes. There are also a few things that still need to be added in. This run-through was conducted without the Wardrobe or the lamppost, but we are all aware of where they will be placed.

I also think that the performance is now at a decent standard, but it can most certainly be pushed even further. I think worrying about running time and technical issues may have been a big distraction, but this run-through will hopefully rid us of those concerns and allow us all to focus more clearly on our characters and their roles within the narrative.

The running time of this performance was just under 90 minutes – a certifiable triumph! It is worth noting that this is more than an hour less than our previous run through! I had been feeling worried about the running time after the first full run that we did, but it was a necessary evil in many ways, because it gave everyone the drive and determination to put things right. We will have another full run before the actual performance, and also a tech run on the day – but right now I am feeling very excited. We have time to make it even better before we perform to an audience.

Quote of the day: “That’s the last time I go to Minions-R-Us, it’s Minions.co.uk from now on!” Emily Carding (The White Witch considers the need for new – and more efficient – personnel!)

Entry Nine - The First Full Run-Through Of The Play

In today’s rehearsal we carried out a full run through of the play, which included costumes and set. The majority of the costumes were being used for the first time, and it was also our first time using the Wardrobe. In any case this first attempt at a run-through had a lot of obstacles against it.

The focus in the most recent rehearsals has been on scenes from the second half of the play, and so the run got off to a slow start as we re-familiarised ourselves with the early scenes as we went along. There were stumbles in the first scene in Narnia when Lucy meets Tumnus for the first time (the woolly shoulder fur that made up part of Tumnus’ costume refused to behave and kept falling off). All of these incidents were detrimental to the run, as the focus slipped, and the energy fell. Once the momentum starts to wane, it’s really difficult to pick it back up again.

We continued on and made it through the first half without too many major issues, but the second half was a lot more problematic – as the second half contains a lot more characters, a lot more costume changes, all of the fights take place in the second half, and there are big changes of set as well. There was a great amount of stalling in places, and at times the run-through just ground to a halt altogether. Aslan’s costume was problematic, as the Great Lion looked significantly less majestic with his mane all askew.

The first full run-through really brought all of the technical needs of the show to the forefront – some scenes were re-shuffled in order to accommodate problematic costume changes – and it was impossible to estimate the show’s run-time by the time we got to the end, because of the amount of stopping that had occurred.

After the run-through we openly addressed all of the issues, and the need to iron them all out. There was not enough time to carry out another full run of the play, but we decided to perform an ‘Italian Run’ – a run of the play at super speed, skipping over costume changes, but including changes of set. This was the right thing to do after the problematic first run, as it brought the energy right back up again, there was more focus when it came to scene changes, and we were able to get through the entire play in under an hour.

The first run-through brought all of the necessary issues to our attention; it was a struggle, and didn’t feel as satisfying as I had originally hoped it would. However, those kinds of run-throughs are very useful, as they prevent a cast from becoming complacent. This run-through provided the incentive we needed to bring a lot more focus and attention to the next one. The ‘Italian Run’ meant that the rehearsal ended on a more positive and optimistic note – which is what we need going into the show-week.

Quotes of the day: “Why this is Narnia. Everything from the lamp-post, to the castle of Cair Paravel in the far east, just beyond that ginger!” James Bush (Tumnus goes a little bit Meta)

“On Dasher!” Tom Chadwick (Father Christmas commands his one reindeer – this statement was followed very shortly by a loud crash!)

"I am the secret captain of the white police" Dan McNeill (Maugrim announces his job title, but gets a little muddled)

“Look at me instead Aslan, I’m not laughing” Melissa Barrett (Aslan’s resurrection was somewhat undermined by a wonkily aligned costume)

Entry Eight - Running Act Two

Today we had a full run-through of the entire second half of the play. Before starting we had a fight-call where we ran through all of the battle sequences, so that there wouldn’t be any stopping and starting during the run.

We started the run-through from the scene in the Beaver’s house, just before the end of Act One and continued from there. Since this scene was only rehearsed recently there were a few moments where it got a little choppy, but with more practice it should very soon be flowing smoothly. This scene then ran into Edmund’s arrival at the Witch’s palace, which also had a few stumbles as it has been quite a while since it was last rehearsed. This first run-through feels like a nice way to get everything up to the same standard, so no scene falls flat when compared to others.

I was very pleased that we were able to get through the whole of Act Two, and with plenty of time to spare before the end of rehearsals. Sometimes first attempts at full run-throughs can prove disastrous, but this run gave a positive indication that the show is in a good state.

The run wasn’t completely smooth though, as there are various scenery changes that need to be factored in, as well as costume changes that also need to be taken into account. Everyone needs to be aware of when their entrances and exits are, and also to be on hand to move scenery on and off again to ensure the show doesn’t ever grind to a halt. These are all elements which will likely be planned out for our next rehearsal in which we intend to run the show in its entirety.

The issue of corpsing was still a factor, and although it was not as invasive as it was during the early days of this production, it has a habit of taking the momentum out of a scene – and once the momentum begins to drop, it is very difficult to get it back again. Also there are plenty of truly wonderful moments in this story, and when they are acted genuinely it makes for a much more engaging scene. These moments are not all that rare either, there isn’t just one single moment that the whole play leads up to; there are many of them throughout.

We are moving into the final week of this production, and with the focus and dedication of the ensemble as a whole we should be able to produce something pretty special by the time we perform to an audience.

Quote of the day: “I don’t think that really was Father Christmas” George Bradley (Just after Father Christmas makes his exit)

Entry Seven - Covering A Lot More Ground

Today we were able to work on all the scenes that we’ve not worked on so far since the start of the New Year. This included the first appearance of Aslan – which leads into Peter’s fight with Maugrim – the first confrontation between Aslan and the White Witch, the scenes at the Beaver’s house, the Father Christmas scene, the aftermath of the great battle, the coronation scene, and the montage that covers the fifteen year span of the four children’s reign as Kings and Queens of Narnia. 

Whew! A lot was covered!

I should mention that we also practiced the fights again, and choreographed the fight between Aslan and the White Witch.

Now that we have a conclusion to the final battle we were able to work on the ending to that scene. Susan and Lucy arrive just after Aslan kills the Witch, they hug Peter – relieved to see that he survived – but then their attention turns to Edmund who is lying wounded slightly further off. When working on these scenes I can’t help but think about the ages of these characters, and that really brings a lot more heightened emotion into the scene. They may have been through life-altering experiences, but they are still children after all.

Aslan praises Peter for his efforts, and Peter states that Edmund was the real hero, as he broke the Witch’s wand, giving their army more of a chance at winning. Aslan then knights Edmund, before the children all head off for their coronation at Cair Paravel.

The coronation is a really nice sequence, as almost the entire ensemble is on stage, and the mood is celebratory which feels deserved after all the adversity that has been built up, and now overcome. Each of the children is crowned by a different Narnian character, whilst Aslan makes one last proclamation (his final appearance). There is then a brief celebration, before Lucy notices that Aslan has slipped away. Susan ponders if they will be able to cope without Aslan, but Mr and Mrs Beaver offer reassuring words. There then follows a montage-of-sorts in which the Narnians talk about the reign of the Pevensie children.

We then worked on the scenes that involve the Beavers, which we’ve not worked on since before Christmas. First of all we worked on the Father Christmas scene, which is short but very significant. Fergus, who is playing the White Witch’s Dwarf follower was also vying to play Father Christmas’ Elf, but the recent costume acquisitions lead to a slight change of plan. He was rather bemused to discover that he is now Father Christmas’ reindeer instead! We also now have Peter’s shield emblazoned with a lion insignia (painted by the very talented Emily Carding AKA The White Witch).

Then we worked on the two scenes that take place in the Beavers house, which contain a lot of exposition about the significance of the children’s arrival in Narnia (the prophecies about Cair Paravel). They also talk about Aslan’s return and that they will meet Aslan very soon. During this scene Edmund sneaks away, and the children learn about his betrayal – realising that he has joined the White Witch. This scene is very important as it establishes a lot of important storylines, and also it ends on a more urgent note as they realise that the White Witch will send her followers to the Beavers house, once Edmund reaches her.

Then finally we covered the following scene where Mr Beaver and the children frantically get ready to head out, whilst Mrs Beaver is slowly taking her time packing supplies. I really like this scene – especially in the BBC version – because it makes the Beavers believable as ordinary Narnian citizens (they’re not adventurers or fighters). There is something very identifiable about this scene. I also really like Mrs Beaver’s line about her sewing machine (there was no way that line was getting cut in our adaptation). This scene is very much Mrs Beaver’s time to shine, as she gets a lot of comedic opportunities throughout.

The show is one week away, and this rehearsal really eased my mind. Every scene has been rehearsed, the costumes are sorted, the fights are all choreographed and practised – now we’re ready to start running the show in full.

Quote of the day: "When Peter has a beaver in front of him, we all kneel down" Jake Francis (Unusual coronation ceremony)

Entry Six - Covering A Lot Of Ground

With the performance date approaching at an alarming rate additional rehearsals have been added to the schedule, in addition to making room for extra work to be done in predetermined rehearsals. Today’s session was originally going to focus on the final scenes of the play, in which the four Pevensie siblings return to the lamppost, and emerge back in the real world, before telling the Professor all about their adventures. We worked on all of these scenes, but also managed to find the time to sort out more costumes and choreograph the fight between Peter and Maugrim (and also practiced the fight between the White Witch and Peter).

The four Pevensie siblings spend fifteen years in Narnia, growing to young adulthood in the process, prior to de-aging in  matter of moments and finding themselves right back where they were on the day they climbed into the Wardrobe. Something that none of the adaptations put any focus on is just how unusual an occurrence that truly is. At the point when we stumble out of the Wardrobe and find ourselves as children again we take a moment to pause and take in the sudden alteration. It is a really fascinating discussion point that these four children are now wise beyond their years: they have won a war, ruled over a country, grown to maturity, etc. then they are young children once again with all of that knowledge and experience they’ve gained.

The final scene of the play involves the four children telling their story to the Professor, who tells them that they will return to Narnia again someday, and then cryptically suggests that he has also had adventures there himself. As the children get to the end of their story they come to the realisation that they accidentally left the Professor’s fur coats in Narnia. This lead to a very funny run-through of the scene where the Professor was outraged to discover this and slammed his fist down on the table – we carried on, but never regained our composure after that!

We then worked out the fight sequence between Peter and Maugrim – AKA ‘Peter and the Wolf’. This was another unusual fight sequence as it has an ‘armed against unarmed’ dynamic, and yet the one who is armed is at a disadvantage. This fight is Peter’s first battle, and he has never fought with a sword until now. As a result Peter is extremely nervous during this sequence, whilst Maugrim is strong and confident: being the captain of the White Witch’s Secret Police. These factors help to make the fight a lot more performative and character driven. There is a very strong sense of threat to Peter’s life in this duel, for although he is destined to be High King of Narnia, he is an untested warrior. The choreography captures Peter’s inexperience very strongly, and hopefully there will be a sense of danger when the audience sees the show.

We also took advantage of the time we had and sorted out the costumes for all of the Pevensie’s when they are fully grown adults, as well as for several other characters. Then since we had our fight director on hand, we practiced the fight between the White Witch and Peter a few times to get it up to a more performance-ready standard.

Quotes of the day:

“The first thing I’ll do when I’m king of Exeter will be to make some decent roads!” Jake Francis (Life imitates art! We all encounter perilous frozen pathways en route to rehearsal)

“Tumnus will be long dead by the time you get back, but his great, great, great grand-daughter is pretty fine!” James Bush (Contemplating the children’s eventual return to Narnia)

“Excuse me, my name is Peter Pevensie, and you appear to have killed my brother, so if you wouldn’t mind, then prepare yourself for the possibility of death!” (Rousing words from the future king!)

Entry Five - Fight Choreography (Part Two)

Today we worked on fight choreography once again, this time focussing on the final battle at the end of the play. The big climactic fight breaks down into several stages: the first charge, the White Witch’s dominance, a duel between Edmund and the Witch, a duel between Peter and the Witch, Aslan’s arrival and the victory for the Narnians.

We started with a quick tutorial in stage-combat, covering the basic footwork, and the standard cuts and parries. Then we worked through the first charge of the final battle, where there is plenty of steel clashing against steel. Peter and Edmund find their confidence on the battlefield during separate duels with the White Witch’s minions. Neither Peter nor Edmund have ever fought in a battle before, but here they find their courage and inner strength to lead the Narnian people – fulfilling their destined roles.

The scene then jumps to another area of the battlefield, where the White Witch shows off her power, by turning a couple of Narnian warriors into stone with ease. She does so almost nonchalantly, which is a very effective demonstration of her supremacy. She then yells out a command to her minions. In the next section the Witch is about to claim another victim, when Edmund arrives and intercepts. She decides not to kill him outright, but instead have some sport. She mocks him for his earlier failings, taunts him, and easily defends his attacks. However, she underestimates him and pays dearly for it, as Edmund knocks her wand from her hand and smashes it. Outraged the Witch stabs him, mortally wounding him. She takes Edmund’s sword from him and prepares to deal a finishing blow.

It is at this point that Peter arrives, and drives the Witch away from his brother. At this point the White Witch is armed with two swords, whist Peter fights with a sword and shield (which he received from Father Christmas). Fighting with a shield is something that I’ve never done before, so it takes some getting used to. Coupled with the unusual dynamic (two swords/sword and shield) and we have a slightly complicated fight sequence on our hands. Nevertheless we ended up with a very dramatic duel, which builds up the sense of risk very effectively – the Witch is much more powerful than Peter and ultimately gains the upper hand. We didn’t get around to choreographing Aslan’s arrival, and timely intervention – but we now have the rest of the final battle worked out.

Whilst the fights were being worked out, other scenes were rehearsed with the rest of the cast to make effective use of the time. The scene when Susan and Lucy wake in the night and discover Aslan walking alone was worked out, along with the scenes which follow Aslan’s execution, and their arrival at the White Witch’s house, where Aslan revives all of the stone statues. I didn’t see most of this, but I happened to catch a run through of the first of these scenes and felt that it was very effective and poignant. The absence of the usual laughter and corpsing added a very genuine feeling to the scene, and that sincerity will hopefully run through the final performance. There are a lot of very effective scenes throughout the show, and once we perform them with complete sincerity we should have something very special on our hands.

Quote of the day: (“I’m only ten years old”) “Yes, but you are destiny’s child” Tom Chadwick (Providing the best kind of fight direction)

Entry Four - Children's Scenes and Act One

The first part of today’s rehearsal focussed on the scenes involving the four Pevensie children, and for the first time we were able to practice these scenes in full costume. Since we are playing characters who are much younger than we are, it helps a lot to dress appropriately, and in a style that befits the 1940s era. The sight of me in a blue sweater-vest, big shorts, long socks and school blazer certainly amused the rest of the cast as they arrived during the session. I am feeling a lot more at ease within the role; the costume helps, along with the fact that I have shaved off my beard for this production (which de-ages me by several years).

To start with we worked on the scenes where Lucy arrives in Narnia and meets with Mr Tumnus. The addition of costumes really helped to enhance the imagery, as we not only had Lucy dressed in a little dress and her hair in plaits, but also Tumnus wearing a red scarf and carrying an umbrella. The sight of the two of them walking together underneath Tumnus’ umbrella is still my favourite image of this production so far.

There is a lot at stake in this scene, especially for Tumnus, and there are several moments during his dialogue when he alludes to his higher agenda. As the scene ensues he struggles more with the moral dilemma he is facing, because he has found a true friend in Lucy (beforehand the notion of Sons of Adam or Daughters of Eve were mythological concepts and nothing more) and he feels reluctant to give her over to the White Witch. He also has self-preservation to consider, as his own life is at risk if he allows Lucy to walk free. There is a lot taking place during this relatively short scene, and Tumnus represents on a smaller scale the threat of something much greater which will eventually come into play. At this point Lucy is rather naïve to the magnitude of Tumnus’ dilemma, but later on she holds herself accountable for what happens to her friend.

 

We then worked on all of the scenes involving the children which take place outside of Narnia, in the Professor’s house. Starting from the opening scene in which the children make their journey to the countryside by train, and Edmund asserts his rebellious nature, much to the chagrin of his other siblings. Edmund continues to act out in the following scene by smirking and struggling not to laugh at Mrs Macready and the Professor. Edmund is probably the most established of the four siblings in these earlier scenes; Peter and Susan are assuming parental responsibilities, and Lucy is feeling nervous about being away from home (though she will find her sense of adventure soon enough).

We worked on the scenes when the children explore the house which leads to the discovery of the Wardrobe, and then jumped past the scenes in Narnia, continuing from the moment when Lucy comes back out of Narnia. This way we were able to experience the events in real-time, the way they seem for the other siblings, making Lucy’s lively outburst seem even more unusual.

We did a character workshop for about an hour where we contemplated the status of our characters, and the ways in which they present themselves and the way they move. We also imitated the movements of various animals to see which creatures most closely represent our own characters.

We carried out a full run through of Act One to end the session, which was rough, but very satisfying. It is a good indication that the show will be ready in two weeks, that we were able to make it through the whole first act without everything falling apart. The first half does have a very different feel to the second, as it focusses more intimately on characters, whilst the second is more of an ensemble based story which is more about Narnia and its inhabitants.

Quotes of the day: (The joys of forgetting lines)

Edmund: (To Mr Beaver) If it comes to talking about sides, how do we know you’re on the up and up?

Lucy: But what about Mr Tumnus, where is he? / Mr Beaver: I dunno! 

Entry Three - Fight Choreography (Part One)

Today’s session was focussed primarily on choreography, and covered three scenes: Edmund’s arrival at the Witch’s palace, Edmund’s rescue at the hands of Aslan’s followers, and Aslan’s execution.

The first of the three scenes only required a little bit of work, but to make sure the scene looks impressive, and also to ensure cast safety it helps to choreograph the motions. In this scene Edmund arrives at the Witch’s palace and wanders through her courtyard, encountering many stone statues of her previous victims. He then approaches what he perceives to be a stone wolf, before it suddenly leaps up and scares him, introducing himself as Maugrim: Captain of the Secret Police.

Edmund has been examining the stone figures throughout the courtyard, and so grows in confidence as he moves to the wolf. He leans in close, and then receives a shock when Maugrim’s eyes suddenly open, and the wolf grabs him by the wrist.

In the previous entry I mentioned that Edmund receives a lot of rough usage, and that continued here. The White Witch contemplates the prophesy; wondering whether it can be fulfilled if only three of the four thrones in Cair Paravel are filled. Having decided that Edmund is of no further use to her she decides to kill him, but at that moment Aslan’s followers arrive, and spirit Edmund away just in time.

This moment is done differently in each adaptation, and so it gives Tom our fight director (also Father Christmas) a chance to play around. Consequently there is a little bit of swordplay, which adds more excitement to the scene – The White Witch raises her sword above her head and starts to bring it down, but then one of Aslan’s soldiers intercepts and blocks her sword with his own. It’s rather cinematic! There is then a brief scuffle, as one soldier fights with the Witch, another fights the Dwarf and a third snatches up Edmund and runs back to Aslan.

Whilst the fight was being worked out, we worked on another scene involving Peter and Edmund preparing for the battle. They receive the news that Aslan is nowhere to be found, but they have to prepare for the battle to come regardless. This is a scene that we’ve invented for this adaptation, but its significance became really clear as we worked on it during this session, Peter takes on the leadership role that has been laid out for him, and the two brothers are unified by their cause, having been at odds with one another since the start of the play (even before they arrived in Narnia).

We then returned to Edmund’s rescue, and ran the full scene. This lead to another dubious line, spoken by the White Witch: “I would like to have it done on the Stone Table. That is the proper place. That is where it has always been done before.” (More corpsing ensued!) Eventually we’ll stop finding these lines funny and there will be a lot more tension.

Then we moved onto Aslan’s execution, which had already been worked on before Christmas, but now the actual stabbing needed to be integrated. I’m not sure what blade we’ll be using in the actual performance yet, but for the purposes of this session we used Tom’s newly acquired gladius (a short sword, but a HUGE knife!) which looked very imposing when raised up in the air as a sacrificial weapon. During the scene the White Witch makes a mocking speech to Aslan, before bringing down the blade, and then she marches away in triumph, followed by her minions. The scene is filled with activity, as there are a lot of bodies on the stage (almost the whole ensemble is present to play the Witch’s army). Everyone swarms around Aslan, cackling and jeering at him, and then they all draw nearer as the Witch prepared to kill the great lion. At the moment of impact there is a brief silence, before the minions all cheer loudly, and then follow the Witch as she exits.

Two rehearsals into the New Year, and the show is really starting to take shape. It’s a very encouraging sign, and soon we’ll start to bring costumes, props and even set into play as well.

Quote of the day: “I am a big angry warrior” James Bush (Getting psyched up as he prepared for his fight with the Dwarf during Edmund's rescue)

Entry Two - Rehearsals Resume After The Christmas Break

The first rehearsal of the New Year was primarily focussed on scenes involving the White Witch and Edmund. This commenced with the iconic scene when Edmund arrives in Narnia for the first time. This is a famous scene that is largely engrained within the consciousness of popular culture – particularly because of the Turkish Delight.

The iconography of this scene is something that makes this kind of production particularly exciting: to create such a moment within a live medium. There is so much potential within this scene, and so we are hoping to keep everything intact. One thing that bothers me about the recent film adaptation is that this scene is incredibly rushed, and a lot of the significance gets lost amidst some throwaway comedic moments.

This really can’t be the case as the scene is very significant with regards to the plot. Edmund succumbs to temptation, and the seeds are sown for an eventual betrayal of his siblings. The scene also alludes to several significant plot details which will come into greater significance later on, such as the prophesy involving two sons of Adam and two daughters of Eve.

There was some alarming beaching of health and safety, involving an unsanctioned temporary sledge. This lead to some hesitation during the first run-through of this scene, and consequently resulted in corpsing – which was further exasperated on certain lines. The “my house is between those hills” line reared its ugly head once more! Nevertheless, the first run-through allowed for everyone to get the laughter and mistakes out of their systems, and so the second run-through was a lot smoother.

We then moved ahead to the ending to Act One, in which Edmund arrives at the White Witch’s palace – and very quickly learns that he has made a terrible mistake. This is a very significant turning point for Edmund’s character. Having fallen under to enchantments of the White Witch he has shunned his friends and family in favour of her. He has been the sceptic amongst his siblings, and has shown little sympathy towards the Narnian’s and their plight. There has always been a glimmer of doubt for Edmund concerning his decision – as he’s making his way to the Witch’s palace he talks out-loud to himself, as though trying to feel justified in his own reasoning.

In this scene the Witch drops all pretense of being a kind and courteous figure, and reveals her true self. It is a very dramatic moment, one that many of us remember being scared of when watching the BBC version as children (”How dare you come alone!”). We took a little bit of inspiration from the film adaptation in our script, and so rather than erupting as soon as Edmund arrives, the Witch lulls him into a false sense of security first.

This scene really raises the stakes, and places the Witch in a very powerful position. Consequently it seems like a logical point to close out Act One. The ending to the scene is very much like a cliffhanger ending to a television episode, hopefully enough to keep audiences in suspense during an interval, before resuming.

If we were using child actors there would be a limit to how roughly we could treat Edmund, but since we are using older performers to play the children, Edmund gets treated very harshly in the ensuing scenes. There are moments when the implications are rather alarming, when you consider that the character is ten-years old.

The most problematic scene of this rehearsal was the scene in which a group of Narnian animals have just been visited by Father Christmas and are celebrating in the woods, when the White Witch chances upon them. There was more corpsing here than in any other scene, which was a by-product of ‘animal acting’ and having to pretend to be a statue, but being unable to hold it together.

Fortunately there was plenty of time to work on this scene and address the sticky-areas. This is scene that really cannot afford to be funny, because it is a very sad moment: a group of celebrating animals are effectively ‘killed’ by the Witch. When this scene occurs in the book, it is mentioned that Edmund – for the first time – feels sorry for others, and not just himself. He is also carrying a lot of guilt at this stage. The cruelty of the White Witch and her contempt for other creatures is showcased in this scene, and continues to build-up her power and status.

Quote of the day: “I am essentially Jesus-Cat!” Chris Harknett (Contemplating the responsibility of playing Aslan)

Entry One - A Brief Overview Of The Pre-Christmas Rehearsals

The surreal feeling that ‘this is really happening’ is something I’m still coming to terms with, along with the idea of the possibilities that such a show could (potentially) lead to. Rehearsals began with the first few scenes based around the four Pevensie children: of whom I am playing Peter.

The play begins with the four children travelling by train to the countryside, in order to keep them safe from the war. This scene is not in the book, but within the medium of performance it is very important to introduce these characters, and to also take time to establish their defining character traits; Peter as the eldest feels responsible for his siblings, and tries to be sensible and protective; Susan is more of a cautious figure, assuming motherly tendencies towards her younger sister; Edmund is the rebellious one, eager to prove his maturity despite his youth; and Lucy – the youngest – is imaginative and curious. Within all of the children there is an excitement and eagerness to explore and discover – which is particularly showcased when they explore the Professor’s house.

A significant obstacle that the entire ensemble has come up against is uncontrollable laughter, this was particularly noteworthy during the read-through (which took at least half and hour longer than it should have done). This was brought about by a combination of the delightful timely 1940s phrases (expressions such of “By Jove”, and “Don’t talk such tosh!”) as well as deliberately gleaning alternative meanings in a lot of the language.

Amongst these lines, some of the ‘worst offenders’ are:

White Witch: You see those two hills? My house is between those hills.

Father Christmas: These are your presents, and they are tools not toys.

Aslan: And, whatever happens, never forget to wipe your sword.

In spite of the uncontrollable laughter there were a couple of moments of sincerity where it felt really heart-warming to see the iconographic images start to come to life, in particular the sight of Lucy meeting Mr. Tumnus in the woods.

Even with rehearsals underway, I’m still coming to terms with the reality of this production. It excites me for a number of reasons; not just because of the nostalgia that comes from staging a production of a story I grew up with, but also because of the possibilities that such a production opens up. A story as popular as The Lion, The Witch & The Wardrobe could potentially take off, and be performed at any number of venues, and appeal to a wide demographic. Another possibility that introduces itself is the notion that we could stage productions of any number of our favourite stories, plays etc.

There was a limited amount of time prior to the Christmas holidays, in addition to the varying availabilities of every cast-member, but a schedule was co-ordinated which meant that every scene from the play would be covered before the New Year.

At this stage the show is very skeletal in structure, with many scenes having only received a small amount of attention due to the time restraints. However it is very helpful that every scene has been covered at least once – those involved within scenes already have some familiarity with the language and the movement, and consequently they will be easier to develop and bring more fully to life.

There is a lot of excitement about the way everything will look once the scripts go down, the fights are choreographed and we are able to add costumes and set (although the set will be fairly minimal). The intention is to have everyone off-script by the time rehearsals resume in the New Year. 

Introduction

I am twenty four years old, and have just graduated from university with a Drama degree and a keen aptitude for theatre and performing arts. Throughout the last several years my knowledge of the theatre industry has expanded (and continues to do so) and despite being inundated by overwhelming amounts of negativity and highly pessimistic reports about the nature of this industry, I find myself at the end of my degree feeling strangely optimistic.

I know that a great amount of hard work and dedication needs to go into any theatrical production, and that one can feel completely burned out by the time any production comes to an end. I have learned this by experiencing it, and have built up a significant body of experience over time.

I have not been handed anything, and don’t believe that I am blessed with any natural talent. This has lead me to work at my craft for years and years, to build my abilities from the ground up. It is a very gradual process, and can often seem like a thankless one (I have seen many people lose interest and abandon it altogether) but I have persevered, developing a very pro-active work ethic and also my abilities as a performer have reached a much higher standard than what I started out with. I always try to avoid becoming complacent within my own abilities.

I have partaken in productions which have been hugely successful, as well as productions that have failed spectacularly. I have had to deal with rejection on many occasions, as well as the demoralizing feelings that can emerge from criticism. As an actor you make yourself vulnerable, presenting yourself on a stage for all to see, which leaves you fully exposed to ridicule. I have experienced all of this, and feel that it has prepared me for the actors’ life within the real world.

This new blog is designed to chronicle the progress of an upcoming production of “The Lion, The Witch & The Wardrobe”. Theatrical companies, Brite Theater and Midsummer Madness Theatre Company are combining their efforts to bring this classic and well beloved tale to life.

The idea of staging C.S Lewis’ classic children’s novel is not a new one – as there have been many staged productions of this play before – but it is the realization of an idea that many within our respective companies feel very passionately about.

For a long time the notion seemed little more than a fanciful ideal, the sort of thing that would often be talked about, but that would ultimately never happen. However, about a month ago a small group of us put our heads together and made the decision that it was really happening. We then divided up responsibilities, and set about turning this idea into a reality.

I shared the responsibilities of casting the show, as well as adapting an original version of the script (published versions do exist, but we made the decision to write our own adaptation). The majority of the casting ended up being a relatively straightforward process, as we had access to a variety of very talented performers whom we have worked with previously, and many people just seemed like a natural fit for their characters. Another factor was people’s enthusiasm for the project: we didn’t hold auditions as we already knew what people were capable of, but a requirement for any potential cast-member was that they had to show enthusiasm for the project when presented with the idea of it.

As for the adaptation, we wanted to make sure that it was faithful to the original text – which consequently became the foundation of the script. There were many dialogue-free gaps which needed filling in, and we referred to the other adaptations (the 2005 film, as well as the 1988 BBC mini-series) to see how they dealt with such sequences. Drawing upon what we considered to be the best aspects of each version, we conflated everything together into our adaptation. We then went through the entire script and ironed out any difficult areas, making minor cosmetic changes in some areas, adding in small sections of dialogue in others, and sometimes trimming away any excess. It took a long time – and will probably require further alterations in due course – but once we’d finished, we felt very satisfied.

With the show cast and the script complete, rehearsals could finally begin. It’s time to venture into the wardrobe!