The show was still in development while we were learning it, making the pre-rehearsal homework simple. Read the script - which would probably change before the first rehearsal - and make some initial character decisions. I read through the script, contemplated who Dorothy was and why she was so “political” compared to Buddy. 

Questions: 

• Had she had unsupportive parents? 

• When did she know she was a clown? 

• What is clowning in this world? 

• What type of clown is she? 

  • She’s extremely into her job

• Why is she so afraid of the theatre? 

  • What does the theatre represent to her?

Rehearsals began in mid-August. We always started with a check-in and physical warm-up, which was a nice way to ease into a second rehearsal after coming directly for a completely different piece. On the first day, we did a free write check-in, seeing where everyone was at with their day. I wrote about the many positive, and few negative, experiences so far that day. The free-writing prompt was a quick method to reflect and remind myself to be mentally present in rehearsals. Our first meeting was different from any of our other rehearsals because we were doing analysis work and physical explorations. It was only rehearsal that Jonah did not play Buddy. We had another person cast as Buddy, but when scheduling issues forced them to drop out, Jonah stepped in to take on the role. 

I worked with Izzy as my director previously, for a Greek scene study of Oedipus we were assigned at the beginning of the year. Her practice includes a group reading of the script in every first rehearsal, going through the script scene by scene, breaking down the events of each scene as well as character intentions. I find the scene breakdowns immensely helpful, because they help the ensemble get aligned on the vision of the piece while creating a common language the ensemble can use to discuss the show. We did this for On The Nose, pausing to break down each scene as well as talk about our initial impulses within the story. We worked a lot with our physical space and miming during the initial rehearsal. We explored LeCoq’s dimensions and levels of tension through very engaging physical work. 

“When, aware of the theatrical dimension, the actor can shape an improvisation for spectators using rhythm, tempo, space and form” (Actorstoolkit, no date)

We paired off and played with finding the opposite dimension of your partner to establish a movement dialogue with each other. Having conversations solely with dimensions. We did explored physical offerings, telling a story with the ensemble without speaking. These exercises were helpful in establishing non-verbal connections between the ensemble. I had not done LeCoq’s dimensions before, but I want to use it in the future to explore dimensional relationships within scenes.

We had a lot of space between our first and second rehearsal. Our second rehearsal, on August 31st, was very brief. We did another read through of the script to familiarize ourselves with the changes, discussed those changes, and worked on character choices.

The remaining rehearsals all centered around blocking, scene work, and seeking out comedic bits to inject into the piece. This process was different from the other case studies because it required much less analysis from me as an actor. I enjoyed this process because I was able to turn off my academic brain and turn on my goofy one. By fully allowing myself to have fun, not focusing on documentation or how I would analyze every rehearsal, I was free to contribute heavily to my character. This is the process I have the least amount of documentation for, as every rehearsal was spent on our feet, tracking our movements, playing with different comedy bits, and bringing our characters fully to life. We took time to find our individual clown walk and states of being, helping uncover answers about Dorothy’s personality. She was heavy footed, focused, unbound, aware of the space she takes up, and focused on her goals. She feels content in her identity - opposite to Buddy - and free to be herself. She does not understand why Buddy does not share that contentment and freedom. 

The entire process felt comforting. Not just because of the atmosphere that was created, or the all queer team, but because it was a familiar rehearsal process. One that challenged me, acting and delivery-wise, but let me truly flourish and be comfortable knowing rehearsals would be all about playing and finding a solid physical comedy structure for the show. This varies from my previous intellectual approach, as I had all the opportunities in the world to experiment with the humor of the show without worrying about adapting and evolving the script.

As much as I value what I’ve learned from the other two projects I performed in for my IRP, it was lovely to have this process to fall back on. I knew rehearsals were a time for joy, for entertaining our audience of one, Izzy - along with whomever else our imagination conjured - and to make unserious choices. Compared to All The Light and The Pillowman, On The Nose was my breath of fresh air. I was able to experience this fun, consistently structured rehearsal process, with no need to come up with narrative content. As a theatre-maker, I love creating characters and building an entire show, but as an actor first, and having worked on many devising projects over the last two years, it was freeing to be handed a script and told to go wild with blocking and improvisation for a pre-established character. Working directly with the writer of the piece was wonderful, as I could “fact-check” my character choices, striving to build my character within the playwright’s original intentions. 

Some Notes/Questions from Rehearsals: 

• Free-write check-in

• Readthrough 

  • Nickname: Dot 

  • Buddy and Dorothy are roommates! 

• Queer media transitions interesting- still being worked out 

• Dorothy is a loyal and helpful friend 

  • Helps Buddy practice his audition sides 

  • Takes him to the clown-baret 

  • Threatens to sue when he doesn’t book the audition 

  • Tries to understand the “theatre thing”

• Casting director complete shift in character 

• Jealous of Buddy’s new friends 

  • I just want to be included 

  • Trying to learn about the theatre to have things in common but missing hanging out like clowns with Buddy 

  • Hurt because he doesn’t want to do parties

• Losing the joyful queerness because of dark theatre and sad queer representation

• Clown = who you are, Clowning = what you do 

  • Internalized clownphobia--- labels and how do they matter to the character? 

  • Why is this rocking the foundation of their friendship 

  • RULES ARE IMPORTANT TO HER! 

• Why does Buddy want to do theatre? 

• No one way to be a good clown

  • Is clowning a type of being queer? 

  • What does Dorothy think about Buddy wanting to leave clowning? 

• How do the characters change one another? 

  • What is Dorothy’s journey?

My chosen theme for this project is JOY. The enjoyment of creation, of exploration, of originating a character, of immersion in a project that is seeking to stage joy. To rehearse for discovery’s sake, not just for the performance. In reading back through my notes while reviewing this project, what stood out the most is the amount of times I mentioned having fun in rehearsals and the unrelentingly positive energy. The fact that I have the least amount of documentation for this project, I believe, attests to the amount of fun we were having and how being thoughtless in the moment can be the right approach in certain circumstances. I want to take that memory of enjoying pieces in the moment with me, to remind myself to reach for that happiness and joy rather than being immersed in stress regarding the final product.

In one of the interviews, an interviewee shared a part of their practice that stuck with me. I used it occasionally during On The Nose, and I would like to keep using it in the future. For them, it was important to always come into the rehearsal space focused on a positive mentality for the day. They created a notebook full of bright words to center this positive mentality around: love, ambition, joy, and imagination. They picked one every day, bringing it as a mental centerpiece into the rehearsal space. I thought this was beautiful; it immediately jumpstarts a positive, focused outlook in both the actor’s headspace and the rehearsal space as a whole. 

It was important for me to investigate how my inner clown would shift and change my approach to building a character, therefore I had to suppress my inherent urges to intellectualize the process. I wanted to see how she would shift and change organically, without a purposefully guiding hand. How could I represent my inner clown and joy through Dorothy? The exercises we did in rehearsals, including physical communications and communal warm-up games, all contributed to an environment that cultivated joy and happy discoveries. It reminded me how much I love clowning. It reinforced to me how important silly shows, shows that make me laugh, are to my artistry and process both.