We’ve all experienced those moments in the life where we’ve
had to try and forget something we’ve spent hard-won hours learning. Days and
weeks forcing the seemingly impossible into our over-crowded brain, only to
desperately try and erase all memory of it once it has finally germinated and
taken root. New theatre teases you - a little like the way a mischievous child, once discovering how
annoying mimicry can be, will taunt you mercilessly with their
new-found power. For actors, creating a new piece of theatre is a little like
that. We spend hours outside of the rehearsal room working on script and songs
and moves, only to be handed new pages, or harmonies, or even entire dance
routines the following morning. It’s a huge part of the development process and
a necessary, though sometimes frustrating, evil.
When it came to developing a new version of an old classic,
our creative team had the framework to build their show upon, taking the very
best bits of the original Sixpence
production by composer/lyricist David Heneker and bookwriter Beverley Cross,
and shaping it into a completely new show. When you visit our Half A Sixpence you’ll spot familiar
songs sitting alongside new material by Stiles and Drewe, woven seamlessly
together with a brand new book by Julian Fellowes, which draws upon material in
the original inspirational novel Kipps
by H.G. Wells. It was only by starting all the way back at the beginning that
this was possible, and the process of picking apart, stitching and re-stitching
is one which takes time and patience.
Where it all began....
There is much work that happens ahead of the script and
score making it to the cast and rehearsal room. Workshops, table reads, rewrites,
demo recordings – all happened in the name of perfecting this piece as much as
possible before it was presented to the cast on that first day. I was fortunate
enough to be involved in some of those early demos, but much of that material
has changed, even if only incrementally, since then. Equally the pages
distributed for our auditions, faithfully learnt and committed to immortal
memory have also shifted and this is where The Great Unlearn begins.
As actors we’re taught to memorise vast amounts of material
so that no matter what, come fire alarm going off mid-show, disruptive audience
member or costume malfunction, you are able to carry on regardless. Stiff upper
lip and all that, eh? Learning to ‘unlearn’, as it were, is one of those
necessary but impossible to describe skills. For me it’s more like learning an
alternative version and hoping that the original one will eventually fade away
to the recesses of my mind, only to be dredged up at cast parties when you
loudly exclaim ‘oh god, do you remember that first attempt with the unicorn and
fire dancing?!’ [NB there will be neither of these in Half A Sixpence… at this moment in time…]
Helen Wals(h)ingham's first appearance in the novel
But whilst it’s hard, it’s also part of what makes working
on a brand new show thoroughly exciting. Every day, as the material begins to
settle, little tweaks make their way into the script. Tiny cuts to make the
flow of the narrative clearer, to keep the pace fast and the humour and pathos
balanced. It’s a tricky part of the job, but sacrificing part of your role is
sometimes necessary for the good of the show overall and being able to
recognise those moments is key.
Only today we were handed an alternative version of one of
the big numbers called ‘If The Rain’s Got To Fall’. It’s essentially the same
song but arranged alternatively, making it more exciting and interesting. The
harmonies are the same but the lyrics have shifted around a little. I think
that’s even harder than learning a totally new song as you’re singing the same
words but to a section of the tune that you know other words to. It’s
beautifully befuddling and a testament to the patience of our wonderful Musical
Director, Graham Hurman, that he was still smiling by the time we’d finished
despite it being the end of a VERY long day.
Putting new pages into the script and score
Furthermore these changes can sometimes mean re-choreographing
big chunks of the show. Andrew Wright, our fantastic Choreographer, has an
organic approach to dance, which makes routines flow out of everyday movement
rather than the entire company suddenly bursting out into a massive dance
routine every time they sing. It feels more realistic as a performer and gives
the audience much more to look at as there are little storylines happening all
over the stage. However this also means that, when a big change needs to be
implemented, there’s much more work to be done. In a company that consists of
every permutation from highly accomplished dancer to potentially awkward mover,
Andrew makes sure that everyone is shown off to the best of their ability and
with Dance Captain, Jaye Elster, they’re whipping us neatly into shape.
Add in Rachel Kavanaugh, our phenomenal Director, and we’re
incredibly lucky that such a great Creative Team is helming this brilliant new
show. Their unflappable spirit and passion is unrivalled, and the lack of fear
they show in being ruthless with material that isn’t quite working as well as
it could or should, makes the company more able to try out alternative options
with aplomb. It’s a true team effort and whilst we still have a way to go
before previews and the further changes needed that can only be discovered
through presentation to an audience, I have a feeling we have the makings of
something truly magnificent on our hands.
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