Day 1: We're Riding Along On The Crest Of A Wave

'Well, Barry, what did you do in your first rehearsal?'

Funny you should ask, Random Faceless Literary Construct. Today, I sang a song about copulation, simulated an orgy and wondered what it would be like to be mad.

Perhaps some context is needed, eh?

Today was the first official rehearsal for 'Marat/Sade', performed by the students of East 15 Acting School's MA Acting course, of which I am one (hi, Barry McStay, pleased to meet you, have a Ferrero Rocher won't you?). We will be performing in rep with our comrades in 'Good' by CP Taylor at the Cockpit theatre in Marylebone at the end of the month. The show takes place on June 29th and July 1st at 7.30, July 2nd at 2.30. Put the dates in your diaries. Or don't bother, I'll be reminding you of them frequently. The whole shebang will be directed by the legendary Mike Bradwell, founder of Hull Truck Theatre, former Artistic Director of the Bush Theatre and reluctant escapologist. No seriously, that's actually the title of his book. This fact alone assured us that this would be a fun process. And you're very welcome to join us on this madcap ride journey. I'll be endeavouring, in my madness, to keep this blog updated daily so do read it. If only out of sympathy for my poor addled brain and keyboard-worn fingers.

Anyway, today. The cast assembled at Murray Hall in Debden, a big bright roomy hall - yep, does what it says on the tin - with big windows and shiny floors and chairs and a kitchen and and and... We don't get out much so the excitement was truly palpable. It always is when a new project starts and we were buzzing. We all introduced ourselves in the traditional circular fashion, Mike offering a few vague hints about his thoughts for each of our characters and his assistant director, Mauricio, tapping his notes furiously into a laptop.

For those of you who don't know 'Marat/Sade', there's a handy thing they have these days called Wikipedia. Go on, I can wait.

Finished?

Good. As you will no doubt by now be well aware, 'Marat/Sade' is a play within a play depicting the murder of Jean-Paul Marat, performed in the mental asylum of Charenton in the year 1808 by a cast of lunatics under the direction of the Marquis De Sade. The majority of us, therefore, will be playing people with various psychological conditions who themselves are playing (with varying degrees of ability and success) historical figures about whom they may know very little or nothing. Simples, as our meerkat friend would say.

No problem, says Mike, as he reminds us that 'the characters have not been to drama school' - they don't show their technique, they just try bloody hard to get it right. And away we went, chatting about likely inmates of Charenton. Deep breath, and all together now: Syphilitics, spastics, catatonics, schizophrenics, manic depressives, 'abandoned women', political dissidents, the educationally sub-normal, pinheads, epileptics, obsessive compulsives, narcissists, homosexuals, paranoics, and people with autism, dementia, ADD, dissociation, Tourette and Downs Syndrome.

We whirled onwards, learning the old scout song 'We're riding along on the crest of a wave', complete with actions and 5-year-old singing style. This was followed, almost as if Mike had planned it, by learning the round which appears in 'Marat/Sade': "And what's the point of a revolution without general copulation". Again, complete with actions and...slightly older than 5-year-old singing style. The vibe we were aiming for was mime-orgy and there was much spanking, fondling, licking, shagging and, ahem, sucking. Although bless him, Stuart (who plays Roux) was adamant that he was simply begging on his knees before Ryan (who plays Coulmier). Funny thing about orgies: there tends to be very little need for begging as most participants are more than happy to make plenty of generous donations.

We were joined after lunch by the cast and crew of 'Good' and introduced to the designer, Urse - and I hope that's spelt right, please correct me if I'm wrong Urse...woops, and again! She showed us the model of the combined sets she had constructed which had the room ooh-ing and aah-ing and, in the case of James (Hitler in 'Good'. Yes. Seriously. Hitler.) squeaking with delight. She explained that she had been late in arriving as someone had picked up her bag on the tube and handed it in at the station. Apparently a wooden box full of little men and tiny furniture designed to look like some sort of horrible institution counts as a suspicious package.  Thankfully she rescued it before it could be destroyed by MI5 or Rentokil or whoever handles these matters and everyone agreed it will be a wonderful playground in which to play our plays.

'Good' departed and left us to tea, cake and a read-through of the script, with each of us reading someone else's part just for kicks and to stop us worrying too much about how to 'do our acting' just yet. At various points Mike interjected with phrases like "there'll probably be kazoos at this point", "Duperret, in a VAST codpiece" and "You'll be acting badly but well". Then, as the day drew to a close, he uttered the Quote of the Day (see below), we all had a bit of a sing-song and then shuffled off home to figure out exactly what the hell was wrong with us. By which I mean our characters, naturally. One day down, many more to go and do stay with us, because it's gonna get...well...mental.

QUOTE OF THE DAY - Mike to Andrea, who plays Kokol and also, in the musical sense, plays the accordion: "I would very much like you to whip out your squeeze-box".

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