October 1, 2013
I find myself running a lot these days, from rehearsals to costume fittings to voice calls, to Sainsbury's for a banana to refuel and back into rehearsals to run scenes.
The tempo of this play is fast and hard to keep up with.
You have to hit the ground running, the language, the complexity of thought, and the ever-changing pace, in order to meet these components you have to work hard, but what a thrill it is to be on.
Working with David Tennant is like being in a whirlwind, his energy is infectious and unrelenting, trying new things, and adapting to change.
His work ethic is admirable. I often find myself excited to see what he tries next. He tries out a new idea… it doesn't work, he tries something else, it works, he changes it, he changes it again, experimenting, molding, and enjoying playing.
As a newbie in the RSC watching him, and playing with him gives me courage, the courage to find new things, to get it completely and utterly wrong, acknowledge that and try again. David brings a freedom into the rehearsal room that liberates me and makes me try harder.
We go up soon!
'We go up soon' something I keep reminding myself, that we do indeed go up soon. It's daunting to think that it's true. All this fun and magic we have been having in the rehearsal room is going to be on the RST in a couple weeks. I know we will be ready and seeing the cast around me work in the rehearsal room gives me shivers - they are so good.
I watch people giving performances in our intimate little space that wouldn't be out of place in the biggest of arenas with thousands of people watching, but still the idea of leaving the womb of the rehearsal room and stepping out onto the big stage is petrifying.
I'm in the green room today reading lines, I decide to go to Sainsbury's to get a banana before we run one of my scenes. David walks in.
'You alright?' I say
'Yeah' he says
'Want anything from Sainsbury's'
'Another three weeks.'
'I don't know if they stock extra rehearsal time.'
We smile, I leave.
Thank god I'm not the only one.
by Elliot Barnes-Worrell
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