Directors Notes Issue 5

There are times when you’re directing, when you want to dive into the middle of the set and become one of the actors. Not because you think you can do it better than the people already there, but because there comes a point in the evolution of a play, when it’s more fun to be in than to watch.

We’re in the early stages of books down, but it’s already evident that the cast are metamorphosing from the nervous caterpillars of three weeks ago, to the beautiful butterflies of movement and grace. Hands are coming into play, faces are fixed and interested in the dialogue of others (rather than being buried in a script) and bodies are slouching or leaping as they should be.

Now that hands are free, we can start thinking about props. And it’s no exaggeration to say that this play has more props than Dicken’s Old Curiosity Shop. Everything from breast pumps to medical journals to electronic organisers to coffins. We somewhat press-ganged Jean Hickey into being props manager last night and I’m not sure she knows what she’s let herself in for. I think we also got the other jobs sorted, with Sinead agreeing to do prompt (but only for rehearsals), Props but only on Friday night and Assistant stage manager, but only on Thursday and Friday. And people say you can’t tie lawyers down to dates.

Roll on Thursday, when the Whiskey bottle will make its debut and begin its procession round the stage like St.Teresa of Avila dragging her bones round Ireland. The Whiskey will be the star of this play, so treat her gently.