Wednesday, December 06, 2006

Today we were in costume for the first time. We were called at 11:00 but had to be there a little earlier to get dressed, however, once dressed there was about a half hour of work to be done with chorus before we could begin.

In the first scene we are all dressed in war garb- dark costumes with leather armor. We also have helmets that look like cones with a pebble on top in leather. The chorus has special backs on their costumes with a mask and all white so that when they turn it is very eerie. After the first scene I was told the armor for me had been cut so I will be in black and gold and a wig. Fine with me. I tried on the wig after rehearsal today. It was really wonderful with many loops and much gold ornamenting on the black hair. It is also very comfortable.

I was not needed after Scene 1 as I am not in the remainder of Act. I, so I watched the rest. We also had some lighting today which sure makes the whole set work. I am amazed at how Duane, the lighting designer, can even keep up with all the changes let alone light it so well. He is also faced with the challenge of the ropes that are always hanging and the metal steps. He is still adjusting, of course, playing around with color and various combos and focusing. Still, it was nice to see it under the light.

Scene II begins with Placido at the top of the steps. He looks small and far a way (he is he latter) and he is in red with red light. There is a cloth panel that falls under him as he descends but it falls under the steps not over- a bit like a window blind. The carpet image is very colorful. He was having a lot of trouble seeing his way so during the break the crew figured out some solution.

That scene actually went very well once it got going, Scene III in which the Princess seduces Jian Li – the one which had the lacquer bed that was then cut- is again up the steps, but on a cushion now. She and Paul are totally in white and the area just around them is lit. Light snow falls making a lovely image. Later the dancers do something under the steps which we can see but I am not sure why. They were very noisy under fragile music so that may bet cut. When the Emperor, General and Shaman come in to find the princess has lost her virginity it is represented by a long red piece of fabric which Placido drags behind him. That is another strong image. The Emperor costume is also of a white color scheme, at this point.
Other than a few costume issues, bedclothes getting wrapped up in skirt, etc., that scene went pretty very well.

My view of our First Emperor rehearsals now that we are onstage becomes unique. As the prompter, I have a great view and can watch and hear the director closely (this is assuming I hear the translation!), talk to the singers, chorus, dancers, stage managers and keep in touch with the conductor by means of the TV monitors in the prompt box. On the other hand, any discussions that happen out in the theater I totally miss! That’s just one illustration of the dependence on teamwork in such a project as this.

Since it has not yet been addressed, let me mention a few aspects of the musical teamwork. It begins with Tan Dun, our conductor and composer. The music staff’s job is to support him and the singers and make the process of creating the piece as easy as possible. Our principal pianist, Dennis Giauque, has been working long hours, playing rehearsals downstairs as we stage and re-stage, and working with Placido Domingo whenever they can find time. Sometimes I will join in on those rehearsals as will Tan Dun, as musical lines are coached and discussed. Just yesterday we were given some more music that Tan had written for Placido the night before. Steve Osgood, our cover conductor, had already copied them into his score and the music staff made quite a funny picture as we huddled around the score, copying the changes into our scores. Steve will be bringing all of the musical notes and changes to our librarians who will pass them on to the singers, stage directors, stage managers, etc. We have two other pianists working on the piece as well, Howard Watkins and Tom Bagwell. They have been busy coaching and working with our cover cast and playing rehearsals and English diction sessions with as well. With a project this large, at times we will have dancers and chorus in one room and other musicals or coachings going on in another part of the building. All of us are in frequent communication, assessing how we can help the singers and support the musical process from the actual learning of the piece to polishing and refining it.

These days, I am helping the rehearsal process flow as much as possible. Not only do I prompt the text, by saying it before a musical entrance, but also frequently sing a part because it is simply the most expedient way for a singer to find their place again. Usually, a singer is given a staging or blocking as we call it, which means a physical pattern or outline of where they walk, sit, etc. The first time they go through the blocking they may talk it or mark it (not sing in full voice). Then they sing out and begin to fill in more detail. One of the major differences in our rehearsal process with the First Emperor has been that the Chinese directors seem to like the singers to sing out and perform while they talk to them or to other singers while the music is being sung. This can be quite a challenge! To have so many signals coming at you while singing brand new music is daunting and it’s easy to lose your place in the music. If I just sing the line for a second or two, the singers usually adjust and we can continue without grinding to a halt. Picture Elizabeth Futral, our Yue Yang, singing and acting out her seduction scene while Wang Chaoge talks Paul Groves, her soon-to-be lover, through his moves! I grin when I think that the flurry of sound and activity is probably a small reflection of China itself. As I said earlier, this is a fascinating multicultural experience.

We have been on stage all week, which has been exciting, but also challenging. It’s amazing how many people are involved in this project, and the many different opinions. Sometimes it makes for a brilliant result, and sometimes it just makes soup. To be involved in such a project as the First Emperor is such a great honor, but it has been so much more. First of all, our cast is so wonderful. And everyone is not only nice, but so much fun! And the musical staff and directorial staff from the Met are supportive and lovely. Our assistant director, Ms. Wang, is so full of life and energy, and although she doesn’t speak English, we laugh so much with her, as she imitates us singing. But she is fantastic showing us exactly what she wants us to do… and fortunately we have a translator, Kerry, who is also great fun to have around. We have our bumps in the road, but for the most part, we are having a blast.