Rehearsals have officially begun for our Christmas show, The Little Matchgirl and Other Happier Tales. Here, Assistant Director Keziah Serreau gives us a first behind-the-scenes look at this Christmas’ Hans Christian Andersen-inspired tale.
Here we are on the first day of Little Matchgirl remount rehearsals and it’s all very exciting. I can sense a few nerves floating about in the room as the company arrive one after the other. It feels a bit like the first day at school. We’re remounting the show with an entirely new company of actors apart from our Puppeteer Eddie, most of them have not worked together before. The room is bubbling with the same excitement and apprehension as when one embarks on an entirely new play. Although the show is familiar to me as I was in rehearsals when it was first created last year, I cannot wait to see how this new company will bring their own interpretation to the show.
Another new element is the fact that we now have a fully formed set, hooray! We first created the show for the Sam Wanamaker Playhouse which is a beautiful and intimate candlelit theatre but can also be quite restrictive in terms of set design. So, as this show will now venture into new venues touring around the UK over the next months, Vicki our Designer, gives us a short presentation of the model box. She has come up with a set that embraces the different worlds of the show, from the magical Edwardian music hall world of Ole Shuteye to the cold reality in which our Little Matchgirl lives.
Emma and Vicki explain they want the set to reflect the injustice and inequalities happening worldwide, they want to reclaim the idea of Christmas by acknowledging the harsh living conditions many people experience. On a cut out stuck on the model box, we see an abundant xmas table and can read the words ‘make Christmas great again’, we all laugh.
We play a few games to start with and get to know each other. We jokingly call it our youth club warm up. The atmosphere becomes playful and focused. Playing games switches our brains on, gets rid of inhibitions and binds us together, all the essential elements we need to be creative and collaborative.
Next, Sarah, our Puppet Director leads a short puppet session before she has to rush off to Bristol to perform in The Tin Drum. Sarah hands out sticks of all different shapes and sizes and the company play with the idea of the stick being just a stick in the hand of an actor to a puppet stick operated by an actor. The company explore the different focus points and the relationship between the puppeteer, the puppet and audience.
Katy tries to operate Thumbelina and after a few goes, she discovers how very technically difficult it is to operate a puppet, she jokingly suggests that perhaps Thumbelina should be in a chair as she struggles to make the puppet legs walk.
As stage management unfold all the props of the show, our rehearsal room fills up with big beetle legs, mattresses, a toad, a swallow, a butterfly, small beetles, a fly, crowns, Christmas trees, a thunder box, mice, presents, chips and a charity workers hi viz jacket.
As the company start to learn the moves and songs of the Shuteyes, our chorus of Edwardian music hall story tellers, the company unveil some of the magic and start to own this play.