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As it turns out, even in a place like the Mansion, where the jobs are made up and the points don’t matter, it can still be incredibly difficult to get schedules to align enough to have rehearsals for a play. Eventually Susan and Dionysus work out a schedule that meets everyone’s needs though, and rehearsals are able to start in earnest. No doubt the colder weather outside has everyone thankful for a hobby that they get to take part in indoors, Dionysus having set up the dance studio as a rehearsal space for the time being. At least, he’s hopeful everyone is thankful for it. Nobody outright said they did not want to take part after being volunteered for the cast, so he’s going to take that as a net positive and assume they’re all happy to be there.
The first few rehearsals are a bit touch and go, of course. There’s a decent amount of the cast who have never even seen a play, let alone been in one, but Dionysus is a patient co-director (and a gracious scene partner). He does what he can to help everyone feel safe enough to be comfortable making their choices with the text, and… gently guiding them, let’s say, when they might need a little assistance.
Susan watches everything with a critical eye, but it isn't one that's seeking errors to correct. Instead she's taking copious notes, trying to envision better ways to construct scenes so that they translate well to the audience, considering the sort of stage she'd like to see so that she might pass along her notes to Laertes, who is overseeing its construction. She hasn't got a long history with the theater the way Bacchus has, beyond sleeping with an aspiring actress in London. She knows every line so that she might fill in as needed, and everything else is in service of creating an entertaining show for the rest of the residents - both those who are participating in the production and those who shall be watching it. She leaves the corrections to Bacchus, primarily, but shares her notes with him during breaks in rehearsals to see if they align in their opinions, and steps in whenever someone might need to be bullied into some confidence.
Dionysus is, as expected, ecstatic that the play is at long last properly under development. He’s the god of theatre, of course, but more than that, he just loves it. He loves getting to watch the group come together to try and create something, to tell a story using everything at their disposal, figuring out how each of their talents and voices can combine to best convey the message they’re delivering – in this case, a story about a group of friends from two very different worlds, who met through chance, who all realized what they thought were weaknesses were actually their greatest strengths, and who became something of a family.
(This post is open for primarily prose responses about how your characters are handling rehearsals. If anyone WANTS to thread something out, let me know, but obviously having a thread of an actual rehearsal would be near impossible, given the amount of characters present at most rehearsals, so I figure just a prose response if you want to would be best in this situation. As a reminder, here's the cast and crew list, and let me or S know if you have any questions about anything!)
The first few rehearsals are a bit touch and go, of course. There’s a decent amount of the cast who have never even seen a play, let alone been in one, but Dionysus is a patient co-director (and a gracious scene partner). He does what he can to help everyone feel safe enough to be comfortable making their choices with the text, and… gently guiding them, let’s say, when they might need a little assistance.
Susan watches everything with a critical eye, but it isn't one that's seeking errors to correct. Instead she's taking copious notes, trying to envision better ways to construct scenes so that they translate well to the audience, considering the sort of stage she'd like to see so that she might pass along her notes to Laertes, who is overseeing its construction. She hasn't got a long history with the theater the way Bacchus has, beyond sleeping with an aspiring actress in London. She knows every line so that she might fill in as needed, and everything else is in service of creating an entertaining show for the rest of the residents - both those who are participating in the production and those who shall be watching it. She leaves the corrections to Bacchus, primarily, but shares her notes with him during breaks in rehearsals to see if they align in their opinions, and steps in whenever someone might need to be bullied into some confidence.
Dionysus is, as expected, ecstatic that the play is at long last properly under development. He’s the god of theatre, of course, but more than that, he just loves it. He loves getting to watch the group come together to try and create something, to tell a story using everything at their disposal, figuring out how each of their talents and voices can combine to best convey the message they’re delivering – in this case, a story about a group of friends from two very different worlds, who met through chance, who all realized what they thought were weaknesses were actually their greatest strengths, and who became something of a family.
(This post is open for primarily prose responses about how your characters are handling rehearsals. If anyone WANTS to thread something out, let me know, but obviously having a thread of an actual rehearsal would be near impossible, given the amount of characters present at most rehearsals, so I figure just a prose response if you want to would be best in this situation. As a reminder, here's the cast and crew list, and let me or S know if you have any questions about anything!)
