Final Rehearsal Before Opening Night

A Tuning the Air Journal

Monday April 12, 2010 – Final Rehearsal Before Opening Night

Performance team gathered at the Wilsons at 8:30pm. Chris asked us to run the set, as it was understood at this point, so that we could play through it for timing. We began by “calling the set”, as we do before each show: the person responsible for beginning or counting in each piece calls it out, theoretically in the right order. We clarified a couple of gray areas, and then went for it. A number of x-factors to keep in mind in terms of the timing; the opening C Minor chimes, the D Minor spontaneous composition and circulating “through the audience” are not of determined length, of course, nor is Travis’ address to the audience, so we needed to think in terms of a range of time. Up through Sigh and a Kiss, the end of the “fixed” set, we clocked in at 38 minutes. Aiming for a 50-55 minute set, so that left 12-17 minutes, plus or minus the x-factors.

The plan for this final set was a combination of repertoire and directed improvs, all coming “from the hat”. So we reviewed the available repertoire. Jaxie wondered if having a predetermined “closer” would be a good idea. This is something we adopted last season – little islands of reliability at the beginning, middle and end of the set, even when we were doing almost entirely “from the hat” shows. Twilight has proven a powerful closer, which makes it attractive in that slot. The question – probably the “question of the season” when you come right down to it – was, are we doing whatever we do because it is what is best for the show, or because it is [safe, different, proven, a change of pace – fill in the appropriate potential description]? It is a very interesting microscope to put every choice we make under. We are literally on our toes at every stage.

Since Lament was on the list, but there has been some question about what the arrangement ought to be, it seemed that some decisions needed to be made before committing the piece to the hat. In the end, a new and powerful arrangement emerged. It was strong enough that Chris felt it warranted a secure place in the set. So the final part of the set emerged, with a couple of “improvs from the hat” in strategic spots around the more set repertoire.

Of course, the Music Director (or any of us, when you come right down to it) always has the option to call out a deviation from the established flight plan, should the spirit move. The set feels very solid; a good mix of repertoire and elements of the unknown, and a launching pad for whatever is going to come, this Thursday and over the arc of the season; reliable and deliverable, without fixing us too securely to the earth.