NAVIGATING - a play, not a thing

Hello again, friends and colleagues. Our groundbreaking production of this seminal Katherine Thomson play is virtually ready for you, the discerning theatre-going public. At the risk of coming across as a control freak and even wieirder than I have so far, I would like to share with you the general notes I have given, the night before the final Dress Rehearsal. *First, be aware that we are playing to an audience, whatever their age, who is used top watching a lot of TV. * Secondly, the reason we have a stage divided into 7 (or is it 10) spaces is so we can shift quickly from scene to scene. This is pandering to the TV audience but is also quite challenging from a theatrical point of view. * Thirdly, at the risk of teaching my grandmother to suck eggs, there are 3 areas I would like to direct focus on: FACES The stage equivalent of the 'close-up' is to turn your face to the light. Very effective if you have a big speech to deliver. Looking at the person you are speaking to only works in real life. (Note for Gordon: Real Life = Naturalism, NOT Realism) HANDS Those things that stop your arms from fraying can be a liability. If you are using a 'psychological gesture', it's time to internalise it. If in doubt, stick them in your pockets if you have them. Above all, do not touch your face unless the script calls for it, otherwise you look like a lab rat. FEET Not many of us look really good in profile. Therefore, make sure your feet are always at an angle to the audience. That way, the rest of your body will always naturally adopt its best aspect. Note to self: try not to sound like a typical director/complete tosser. PLEASE JOIN US FOR A DRINK AT THE WONDERFUL RICHES BAR AFTER THE SHOW FOLKS sINCERELY, sTINGER