We are nearing the end of our third week of rehearsals; in my last post, I mentioned the upcoming rehearsal with the choir There are many parts in The Gospel at Colonus – actors speaking powerful text, quartets singing harmonies and performing movement. In addition we are fortunate to have Tony Jones, Choir director of the LA Youth Choir of the Gospel Workshop of America and his dedicated singers who will fill the Colonus choir stand with their fervent singing.
Last Sunday, at the end of our regular rehearsal day, thirteen choir members arrived for the first rehearsal at the theatre with Musical Director Abdul Hamid Royal and Tony Jones.
We had set up the chairs around the piano in the rehearsal room, and spirits were high as everyone assembled to sing through the choral numbers in the show. After a rousing welcome by Wren T. Brown, and a brief tour of the set in the theatre, Abdul Hamid lost no time, jumping immediately into the material with the choir. It soon became clear that the talents brought by these young people are real and significant.
Producer Wren T. Brown, Director Andi Chapman and I were sitting at the tables in the room working on our own tasks, and basking in the music. It is unquestionably one of the perks a stage manager has to get to listen to the voices that are on any show, but particularly on this production. There are some phenomenal vocal talents in the show – Dorian Holley
, Jackie Gouché
and LaVan Davis,
whose sense of humor and actor’s sensibilities support his vocal chops. And without exception, their voices are exceeded by their humility. What’s clear from watching the musicians on the show is the joy that they each derive from using their voices in service to the work at hand. It has inspired me to watch them support the text with their voices. This play is tricky – the language is oblique at times, and both Andi and Abdul Hamid have worked hard to make sure the story is clear.
I know I’ve digressed from the choir, but in my earlier posts, I focused more on the text and the fact is that Bob Telson’s music is equally important to this play. Back in the rehearsal room, at one point, as they sang “Let the Weeping Cease” with the music building in intensity and volume, I glanced over toward Wren and Andi. I can’t speak for what they were feeling, but I was moved to tears by the emotion of the choir’s commitment and their faith. It was palpable in the room.
The day before, our first day on stage, just at the end of rehearsal, Andi, as she was talking to one of the actors, and standing on the steps into the house, took a step back and slipped off the step, falling hard on her right knee. It was shocking and unexpected and required an impromptu trip to the emergency room that night. But on Sunday, she was sitting with her leg propped up, her crutches behind her, grinning with my same excitement about the contribution that the choir was bringing. The music was a good tonic to the pain in her knee. This blogger pushed a little too hard with the insistence on pictures however, and got this photo saying
Talk to the hand.
In addition to the music work, we have done some musical staging with the effervescent Keith Young. I had never worked with Keith before. He is extremely laid back, but brings a rigor and groove and expectation that his actors will do well. And he is the funniest choreographer I have worked with. His imagery is quirky and unrestrained. He employs a lot of laughter and an extremely talented assistant who executes the choreography with precision and offers useful suggestions to make the moves easier.
There are two musical groups in the show, the Ismene Quartet, headed up by the afore-mentioned Jackie Gouché, and the Choragos Quartet, led by LaVan Davis, in the role of Choragos. After blocking in the rehearsal room, last Saturday, both groups got on stage with Keith to begin movement.
What I have come to appreciate even more through this process is that we as individuals bring unique gifts to this project. The men in the quintet, Milton Ellis, Otis Easter, Gerald J. Mitchell and Ricke Vermont all are strong and experienced singers. Keith has given them pretty straight forward movement and has guided them and refined the movements based on their skill and in celebration of their vocal talents.
In the course of staging one of the numbers, one of the singers was having a little trouble getting the steps. Another choreographer might have said, “Actor A, please swap with Actor B because you aren’t getting the steps.” Not Keith. Instead of shaming anyone, he reworked the steps so that the actor became featured in the number; he did it with such grace, remaining flexible in his approach so that no one felt less capable and the number ended up working just as well. Keith’s philosophy is clearly karmically correct.
Having gifts that differ according to the grace given to us, let us use them.
It is that kind of grace that makes it so nice to go to work each day on Colonus.