You could say that it’s the beginning of the end of what has been nearly a 5 year journey for Hanyong Theatre Company. Actors have been cast, flights bought, money secured, performances scheduled and tickets are on sale. It seems that the most intensive part has been left until last. Rehearsals.
The British actors arrive in Seoul. They are met at the airport by some of the team from the National Theatre Company of Korea and immediately all talk turns to rehearsals. Schedules are set and the expectations are that the world of Orange Polar Bear will be their whole life for the next seven weeks of rehearsals in Seoul and the 10 days of performance in Seoul, at the Minho Theatre of the NTCK, and then later 10 more days in Birmingham, at the Birmingham REP. It’s a big commitment for everyone involved. For the British actors, they are truly out of their comfort zone. For the Korean actors, the comfort level is slightly easier, but for everyone they have no idea what to expect or what will happen.
The actors only had that evening to get through their jet lag before it’s the first day of rehearsal. Remember to shoes off before coming into the rehearsal room! Everyone is introduced, games are played and the movement director, 윤정 (Yun Jing), leads a workshop. Everyone is getting to know each other tentatively and as a way of getting to know each other, they do an exercise to discover more about the meanings of their names. Throughout week one, the focus is becoming familiar with the narrative and each actors character (or characters in the case of the ensemble). There is a strong theme of family running through the entire play, and the relationship between 지영(Jiyoung) and her father and grandmother, and William and his mother, is vital. There needs to be an unspoken history and set of understandings that come clearly through acting. There is also cultural sharing. The cast learn games, songs and discuss what it is like to be a teenager in each country.
The Korean actors share a traditional Korean nursery rhyme Dong, Dong, Dongdaemun, which involves movement. Check out the video -
Into week two and script work truly begins. Preliminary blocking of scenes and read throughs begin to give the cast a crew a sense of the work that needs to be put into bringing the play together. Playwright 고순덕 joins the British dramaturg Tessa to discuss the script in-depth and answer any questions the team might have so far. They discover that the setting in late summer and beginning of autumn and the significance of this. There is also discussion surrounding the ensemble actors and how they will appear in both ‘worlds’, but will speak their native languages. 여신동(Shindong), our designer, also spends some time explaining how the set and projection will work. 여신동has been a collaborator on this journey for a number of years and was one of the co-directors in 2016. There are never fewer than 12-15 people in the rehearsal room at any one time and everyone has a very specific role. The stage managers are keeping meticulous track of how the set moves and entrances and exits, the assistant director is keeping track of the cuts and additions, everyone is always busy.
Blocking and line learning takes up the majority of week three, but there is some filming taking place for a trailer showing part of the prologue and some rehearsal footage. By the end of week 3, the play is ready for its first ‘stumble through’. This is an opportunity for the wider crew to see the shape of the play as a whole and so a ready made audience gathers. The actors don’t feel ready but from the outside it’s looking great. It’s clear to see how 지영 and William’s stories unfold and it’s amazing how much progress can be made in such a short space of time. The actors are beginning to embody the characters subtleties that make 고순덕and Evan Placey’s writing so nuanced. Everyone comes away from this first go through knowing exactly what they need to do next. The composer, 장영규 (Yeong-gyu Jang), has an idea what effect his music could have on the action, 새미 (Sae Mi), the assistant director is scribbling her notes ready for the new week ahead, and the actors can see their character’s story arch as a whole. Now it’s time to rest up and get ready for the next stage of rehearsals. So much has been done but there is much, much more left to do.
Catch Orange Polar Bear at the National Theatre Company of Korea: 11th-21st October and The Birmingham Rep: 1st-10th November.