Week 3 of rehearsals sees us installed at Midlands Arts Centre (MAC), who have been our main theatre partner for this show, supporting us with rehearsal space and programming the premiere. We took advantage of the offer of a couple extra days in the studio to have some tech try out days. Dance in the Dark is ambitious technically but also needs to be achievable to tour within the constraints we have (size of the van and get-in/out times). It felt like a real luxury to have two whole days without performers in the studio just to play with lights and set ideas, by the end of the two days we realised that this luxury was actually an essential part of the process.
With Kirsty (set), Jude (lighting), Iain (sound) and Jenny (production manager), we were able to try out hanging a big central circular truss which would form a central anchor point for lights and for which the giant sleepover den fabric would be attached to. We hung a few pieces of the den fabric so that we could play with lights and get a sense of how it would look eventually.

Ant (composer/performer), joined us for a morning, setting up his music station so that Iain could link everything up as he set up our brand new surround sound system, 7 speakers which will be placed all around the outside and above the den. It was really exciting to hear for the first time the potential to be immersed in sound and for sounds to travel and bounce around the space. We were thrilled that MAC were able to let us leave our truss in situ for the following weeks rehearsals.
Our third rehearsal week with performers held a packed schedule. I decided to invite some children to come into rehearsals mid week so that the performers could try out all the show interactive ideas and I could observe the childrens movement play. This was a fantastic learning experience for us all as we were able to witness whether things were working in a semi performance context. I briefed the performers to deliver everything non-verbally, giving the feeling of a performance. As we were in a theatre space we were also able to take the children into complete blackout towards the end of the workshop. They were given shooting stars (scarves with little lights on) to dance with and it was joyful to witness the beauty of them dancing in the dark but also with absolutely no sense of fear or strong reaction, just enjoying the moment. I am thrilled that my aim for the show was achievable.
Lou (dramaturg) also joined us in the studio for this day and was able to observe and offer insight into how things were working. Later in the day we staggered through a run of the show, putting everything together for the first time. Lou has been a really important part of this project, focusing really closely on the narrative of the show, helping me to achieve the layers of meaning behind the choreography and intention of the performers.
This week was not without its tech challanges, I was excited to be able to try out projecion of the draft shadow films with the performers, however, as is often the case the tech let us down. Using QLab to trigger cues was proving difficult, especially when you don't really know what you are doing. When it works it's magic, when it doesn't, its..... well, rubbish!
Our biggest challenge was to make the choreography and music work with the filmed footage of the frog jumping between screens in the space. As the music was being played live we had to create cue points for Ant (performer/composer) so that he could come in at the right time. Iain (sound design) added some frog croaks but it required absolute precision.

Iain (sound design) spent two day with us in the studio this week and we were able to try out lots of different sounds and soundscapes which complimented the music. We had great fun working out footsteps to travel around the outside of the tent, listening to different animals, a sniffling hedgehog that crawls around the space, froggy splashes and many different kinds of croaks.
Kirsty (set & costume) joined us towards the end of the week and quietly beavered away in the corner of the studio weaving her magic making design work. It was very exciting to see our night time animals book emerge and the painting of trunks with beautiful blues and purples, stars and moons. Having Kirsty in the studio with us means she can problem solve as we are making material, if something breaks or doesn't work in quite the right way, she's on hand to find a solution. We also got a first peek at and try on of costumes, PJ's for the girls and casual wear for Ant.
With such a busy week of creative collaborators coming and going, we also found time to start refining and polishing the choreography, as well as work on transitions. There are a few sections of 'pure dance' in the show including a duet where Ayesha (performer) shows Katie (performer) that the noises scaring her are just boxes. The duet is fun, percussive and up-tempo and needed lots of fine tuning to Ant's score which he plays live.
On the last day we were joined by Jude (lighting) who was able to help with the projection programming and talk through our ideas to create specific things in the show such as the moment we go to complete blackout and a shooting star whizzes around the den.
I am so thrilled that everything is coming together now and what a brilliant creative team I have working with me.
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