With three different productions affected by Melbourne’s theatre lockdowns, how have our company actors managed the uncertainty, the stop-start rehearsals, and the energy required to keep their performances primed for a live audience?
Keeping The Work Alive
Red Stitch ensemble actors, Joe Petruzzi (currently rehearsing Prayer Machine) and Jessica Clarke, have each experienced first-hand the difficulty and the strangeness of holding a stage show in limbo.
Watch the full IG video here
Jessica navigated three lockdowns during her critically acclaimed solo stage performance of Iphigenia in Splott by Gary Owen in July and August of this year at Red Stitch theatre in Melbourne.
‘Iphie’ was locked down in the very last week of rehearsals before opening night. Then, Jessica had two impromptu weeks off, rehearsing at home with director, Gary Abrahams, via phone and zoom call.
It was a moment ‘to kind of let things process’ she says and turned out to be ‘strangely useful’ - even though she was worried it would have exactly the opposite effect.
“Every time you’re rehearsing a theatre show normally…you always wish for more time. Always!”
But what happens when you get your wish?
Building all of your energies towards an opening night, especially carrying a solo show, and to have that deadline suddenly evaporate in a moment is surely one of the rarer experiences for a theatre actor, but possibly not the worst thing that could happen.
“Before lockdown it was a race to the finish line to get those lines (down). It would have been ok, as it always is, but it was a blessing to have those two weeks…My mum’s an actor and she was up at 6 every morning drilling lines with me all day long! Two weeks later everyone was kind of shocked at how much (the role) had become a part of me.”
Two solid weeks with nothing to do but stay completely focussed on the play and the story she had to tell turned out to be incredibly useful for Jessica, producing a powerful performance that will be talked about for a very long time to come.
Even though she never got to experience the bittersweet thrill of closing night (thanks to yet another swift and not-so-short, sharp lockdown) Jessica not only kept her show alive for the run but was able to say goodbye to it because she knew selling further tickets for shows was not possible (at least this year!)
Images below of Jessica Clarke in Iphigenia in Splott production photos taken by Jodie Hutchinson & rehearsal photos taken by Darcy Kent.
Little Rituals
How do you cope when you haven’t even finished blocking the play?
Joe Petruzzi and Patrick Williams were only a couple of weeks into rehearsal for Eric Gardiner’s Prayer Machine when they had to transfer to remote rehearsals.
“It’s an interesting place to be in because it feels like a show I’ve been involved with for months…and we still have no opening night ahead of us.”
But, says Joe, “there’s been some real plusses for us.”
“After the first lockdown we didn’t have the performance entirely blocked so when we came back for that week in between…we got the whole show set.”
Sure enough, just as they had the stage blocking completed, all Melbourne theatres were locked down for a second time just a week later.
Images below of Joe Petruzzi, Patrick Williams and Krystalla Pearce in rehearsal for Prayer Machine prior to the lockdown. Photos taken by Darcy Kent.
The actors have nevertheless enjoyed regular catch-ups on zoom to run the lines and chat - and even have a drink on occasion whilst exchanging memories and favourite clips. It’s seen a deepening of their relationship that can’t help but influence this production for the better. Now, after many weeks of remote rehearsal, they can’t wait to get out there and perform together.
Director Krystalla Pearce gave both actors license to share favourite works from beyond the world of the play as a way to explore their personal connection to the material.
“We very quickly began sending each other art works from outside the text…It’s been really interesting. We’ve sort of had (this) little cultural journey through each other’s psyches…”
Over time, they began to find new ideas within the zoom rehearsal setting, as opposed to the rehearsal room, that were just as powerful.
Keeping positive, maintaining optimism, coming up with new ways of exploring the text all seem to be essential qualities in keeping the work bubbling along for these live performers in exile.
With so many shows in Melbourne having been cancelled or devastated by density limits, ‘keeping the joy - finding the joy’ is an important principle for both of them.
“It’s really interesting, we seem to be not cancelling (our Melbourne shows) but really floating them forward,” says Joe. “Even if it just means we can give them a life next year, that’d be fantastic.”
Jessica is full of praise for the Red Stitch admin and production teams tasked with juggling availabilities and theatre tickets at a moment’s notice – whilst keeping the critically acclaimed ensemble theatre focussed on developing what’s on for next year’s season.
Will Arbery’s Heroes of the Fourth Turning is also in zoom rehearsals having never even set foot on a rehearsal room floor. And while this new show looks certain to be postponed to 2022, the team are working towards whatever season may be possible in the near future.
Heroes of the Fourth Turning in Zoom rehearsals.
This exciting new play about American right wing youth features ensemble theatre actor Darcy Kent and is sure to be one of the most anticipated Melbourne theatre shows for 2022. Darcy joined our Instagram Live series on October 20 to chat about his experiences.
For Jessica, in life after lockdown, she’s looking forward to getting out and seeing new shows in Melbourne and art ‘in all its forms’ to see how all the different artists have responded to it.
“The arts have had such a terrible time…just to have the opportunity to be on stage (in Iphigenia), I was so grateful.”
Far from feeling lonely in a one woman show during the most difficult days of the pandemic: “I felt like everyone was there with me because I was talking directly to them and sharing that story.”
Both Joe and Jess agree that the experience has, oddly, brought a new urgency to their theatre practice. Whether it’s the surprise of what can be found in the quiet moments, or the sheer joy of bringing a performance to a live audience in Melbourne, ‘giving over…giving all of yourself to the work’ is vital when you never know if it will be your last.
Catch our next Instagram Live chat on the 27 October @redstitch