Reposted from @filmmakersworld [LET’S JUMP] into this new weekend! What’s up fam?
We shared months ago the still of the jump, love to share also this crazy post via @allanungar
In honor of fun stunts and cameramen doing crazy things to get a shot (ahem @extractionfilm here’s some behind the scenes of DP @alexanderchinnici and @nathanfillion. Also threw in a window smash just for fun.
We are preparing some new dope post, stay tuned on @filmmakersworld #filmmakersworld for more and don’t miss to check our YouTube channel for live Q&A and more. Link in bio! Happy weekend fam ❤️🎬 - #regrann https://www.instagram.com/p/CB6MR17lh6C/?igshid=syas0hv21aos
We’re so far into it at this point it’s difficult to say where to start! The process has gone smoothly as far as rehearsals are concerned. The cast is a boisterous and charming group of people to be around and they are bringing Kate Hamill’s whirlwind of an adaptation to life with zest. And thank God for that! Because this show MOVES!
From the opening entrance of the chorus of Gossips, the show’s pace is unrelenting and sheer number of scene changes is challenging (to say the least). I made it a point to work the numerous shifts into the fabric of rehearsals rather than to wait until some later date to “work transitions” as often happens. This has proved to be effective in this case, although it has occasionally come at the cost of really getting to explore some of the more quiet and introspective moments of the story as deeply as I would have liked at this point. I’m confident that we will get there, as I said - the cast is up to the challenges!
Rendering of Don Naggiar’s set design.
The look and feel of the production is light, bright, and open. Things need to move quickly and elegantly. We came up with as open a concept as possible (while still be structurally safe and within our time and budget constraints). I’m really happy with the look and the way that the space has allowed us to work the flow of the show. Day by day more paint and detail is being added to this space which needs to be Norland, Barton Park, the Cottage, Cleveland, London, and a variety of interior and exterior spaces in between. This is one of the hardest parts about staging an adaptation of a novel and why so many adaptations don’t measure up to the power of the original source material.
Novels, much like in film, have the ability to jump seamlessly from location to location or bounce between days and weeks and years without having to ask their audience to suspend their disbelief. Theatre, on the other hand, requires an audience to do just that. To put aside any notion that what is happening in front of their eyes in real space and time is actually “real.” In most cases theatre doesn’t do a photographic representation of reality as effectively as film. Of course theatre captures emotions, immediacy, and the power of presence as spectators and performers share a space in a moment with the understanding that one will impact the other from moment to moment. Unlike film audiences, most theatre audiences aren’t demanding photographic representation in design or performances and are much more willing to suspend their disbelief when we establish the convention of a bench suddenly representing the edge of a cliff or a pair of human actors suddenly being a pair of horses.
This is one of the reasons I was drawn to Kate Hamill’s adaptation as opposed to the others. The script embraces the theatrical rather than simply attempts to replicate the events of the novel. Hamill (an actress herself) is a savvy enough writer to understand how to maintain the integrity of the story and the familiar characters while translating the work to a different medium. The chorus of gossips gets at one of the central themes of the novel in a fun presentational manner.
The first of two awkward dinners in the play. Fanny (Nicole Moussa) deliberately attempts to make things difficult for the Dashwood sisters.
The Dashwood sisters have been pushed to the outer edges of their society because of their half brother’s careless selfishness. Although Elinor and Marianne are kind, witty, and beautiful young women, the prospect of either of them making a “good match” through marriage dries up due to a lack of income and connections. The emotional heart of the story is the plight of Elinor and Marianne who attempt to navigate their new circumstances with varied degrees of success. All the while, the Gossips, swirl in and out, creating chaos wherever they go. Few characters are immune to the allure of intrigue, even sympathetic characters such as Sir John and Mrs. Jennings, who seem to care about Marianne and Elinor, can’t help but get swept up in the throes of society gossip.
This presents a fun directorial challenge in telling a story with real emotional stakes, but extremely goofy and outlandish comic moments. The pace is quick and should leave the audience feeling as Elinor often does - sitting helplessly at the center of a tornado, the world changing around her at every moment. Through embracing the broad comic opportunities provided by the script, we truly earn the more poignant and slower moments - Edward and Elinor’s awkward good-byes or the slow build toward Marianne and Colonel Brandon’s romance.
With a little more than a week before tech we are facing our first full off-book and worked run through tonight. There is still so much to do in putting the puzzle back together, but I love where it’s headed!