The first night of any new piece of writing is always a huge risk. Directing a new piece of writing is a challenge because the material has never been tested. This is the challenge, but also the joy.
The rehearsal process is a great opportunity to hone the work. As writers, we tend to over-write - there are sometimes huge chunks of text to get through, but the action behind the dialogue can become obscured from too much chat. A comedy is difficult because you want the jokes, but you need the action to drive it. In theatre, especially, dialogue is action. Action is characters doing things to each other, driven by what they want. Action isn't a character walking from stage right to stage left, unless they're doing it as a strategy to achieve something. Dialogue isn't the vessel to carry the narrative - it's a device for the characters make sense of the narrative.
In comedy, the dialogue is the starting point. You have to really mine into the character's objectives and determine what they're doing, then turn the urgency to get it done up to 11. Marina and the Clone is a world of the ridiculous and this is why it has been such great fun to work with. It's all about ramping up the stakes, making the characters really suffer. It's physical comedy - we want to see the characters battle against the odds - there's nothing internal or subtle going on - it's only funny when the characters panic. And they do. It's a high energy, high concept piece that asks some interesting questions about the lengths we will go to in the pursuit of physical beauty - and what beauty is. Of course, there's nothing "worthy" or earnest about it - it's very silly, very over-the-top, a touch of the Ab Fab. I've had a ball as a director.
So, when it comes to the opening night, all of the work in the rehearsal room comes to fruition. But it's not without a hint of uncertainty. Maybe we've just all gone completely mental in the rehearsal room. Maybe we've been laughing when we should have been seeking therapy.
The first half was played strongly, taking into account the inevitable nerves and potential for disaster that untested physical comedy threatens at every step. It went smoothly, but I'm not sure it quite hit its rhythm. The interval was a nervy time - there were reassurances abound. You have to just go for it, be as silly as you can and try and make each other laugh. Throw yourself into the physicality with total commitment and it will be as funny as it was in rehearsals. We've been blessed with a brilliant cast. And they did it. The second half got all the laughs and, most importantly, the actors had a great time. If the cast are loving it, so will the audience. The second half was great and we've now found the level for the first half.
UPDATE - The second night was perfect. They hit every beat right on the button. The house was completely full and there was big laughs all the way through! Can't wait for the next two shows.
Marina and the Clone runs at The Kings Arms Theatre, Salford, til Saturday 18th March. Tickets are still available for tonight and Saturday.
