Rethinking Rehearsal Schedules

I’ve noticed what seems to be sort of a growing trend among some community theatre groups in regard to making abbreviated rehearsal schedules.   I’ve been thinkign a lot about this recenly especially because I just announced auditions for S.E.E. and indeed posted the entire (albeit an early draft) rehearsal schedule on the S.E.E. website.  I’ve definitely found it helpful to give potential cast members and audience members for that matter as much information ahead of time as possible.  But rehearsal schedules – which often take participating cast, crew and orchestra members away from “real life” obligations for long periods of time – have often been one of themain roadblocks to attracting new and higher quality talent to our productions.

So what are some options?  I’ve noticed here in the Cleveland area, some directors putting together skeds with fewer weeks, but more rehearsals in the week.  Instead of two or three times a week, five or six.  Can your cast handle that kind of intensive rehearsal period for three weeks?

Although I’ve considered similar models with the shows I’ve put together, I’m still a believer that at the community theatre level it takes more than that.  A three week rehearsal schedule works with casts that can rehearse during the day, for instance, and who may be getting paid for their work.  These performers also may need less guidance and direction because they are “professionals” (which purposes here only means when one does something for 8 or 10 hours a day, one is bound to be a little more adept at it).  A community theatre cast has full time day jobs, families, other obligations that interfere with the production process (or is that the other way around?).  3 hour rehearsals can be productive if organized correctly, but to launch a musical or some other large-scale production in that time seems to me almost impossible.

Now add things like the cost of gas to the mix and directors have to ask, “How in the hell am I going to get people to audition for my show?”.  What do you do if you need large numbers of men (who are few and far between in the best conditions).  As a person of color, I ask what if you need large numbers of black, asian or hispanic men – an even smaller subset? More to come on that subject in another blog.  Performers now not only have to sacrifice huge chunks of time, but pay $4 a gallon to do it!!  I’m anxious to hear what you – my colleagues – think.

There are solutions though.  Smaller casts can rehearse in   various convenient locations, closer to individual s’ homes on a rotating basis.  One theatre here in the area – Mighty Goliath Players – only rehearses on Friday nights – one of the nights the rest of us don’t rehearse.  Their schedule requires little time, but also a lot of time, meaning with that kind of schedules, there can be no “conflicts”.  We also need to create carpools, publicize public transportation routes, utilize shuttles, etc.  If small gas stipends can be afforded – especially for smaller casts – great.  If these things are available and are promoted with just as much enthusiasm as the actual production, we may be able to attract more people.

Or we can just ride bikes!