Yoghurt Unplugged

After a rare day off, the performing team assembled in the rehearsal room on Monday morning, while Simon started the main rigging and focusing of lights in the studio.

Free from all of the paraphernalia and complication of the props and scenery, the company had a really good run-through in the morning, watched by Caroline Jester, the REP's Dramaturg, and Ali, my partner. Maybe it was something to do with the weekend, or the freedom of being back in the rehearsal room we had done so much in during October, but there was certainly a spirit of fun in the air, particularly during the afternoon.

We finally tackled the ending song, which will happen during the curtain call in effect. I had not been sure about this up to today, but it suddenly seemed clear that the simplicity and catchiness of the song would work very well in this context. Also, Young Ju, who loves working an audience, had been restrained all through the play, wanting to work the crowd, with me telling her that it is not right for this particular play. Giving her permission to play with the audience during this song at the end is unleashing a force of nature. Not that Yudai and Daniel won't hold their own, too. We all ended the day laughing.

Today may prove a key moment in tracing the meaning of this play. When scholars in years to come are reading this blog as part of their analysis of one of the great pieces of 21st century poetic drama, let them note that it was on this day that the team decided that Yoghurt will indeed be found at the end of the play....well, almost. We decided that there will be a tinkle of Yoghurt's bell, just as the lights are going out, suggesting at least that there will be a reunion soon. Ha ha... eat your heart out, Monsieur Godot.

At lunchtime, Terry Grimley of the Birmingham Post came to watch some rehearsal and interview the writers. It was interesting to hear how the different people described our project to him. Listening to Toyoko and Mijeong giving their views brought the play in even clearer focus for me, and emphasised the magic of the combination we have enjoyed. Toyoko said that she had found it very easy because usually she has to hold so many people in her head, but in this project they had all been shared. The actors had held the people, and I had provided a male perspective, while Mijeong had provided a young perspective. We also had an interesting discussion about acting style. We decided that in this production we are not interested in realism, only in truth. That is a litle deep for a Monday lunchtime.