The show was cast and the agonising task of putting together the rehearsal schedule was done, so that could mean only one thing: the dreaded read-through.
I say dreaded because, for most actors, the read-through is a necessary evil. For others it is an unnecessary tradition. For our director of the Comedy of Errors, Vin, it’s somewhere in between. A tradition that no show would feel properly started without, a chance to formally kick off the rehearsal process, and an important opportunity for the whole cast to get together. For some of us, this will be the only time we see certain members of the cast until the first full run-through, particularly if we don’t have any scenes together.
Many actors dread the read-through because that’s just what it is: reading. Sight-reading is a far cry from actually acting, and requires many different skills altogether. I have seen actors who can deliver the most commanding performance on stage being reduced to a gibbering wreck in a read-through, tripping over their words until they end up lying in a heap of jumbled letters.
Although everyone did admirably well last night, we did have a few giggles here and there. Accidentally substituting prostrate with prostate got a good laugh.
The read-through also has another very important function. It gives everyone an overall flavour of the play, which can be difficult to get from individual rehearsals. Even if we don’t meet your character until the third act, it is important that they have a backstory, and what happens and is said in the previous two acts can inform this backstory.
It is also important that each actor’s interpretation of their character fits in to the journey of the play, rather than being a standalone element, so having the chance to hear the whole play read through in this way gives each actor that sense of how their character fits in.
I’m playing the Courtesan, who doesn’t make an appearance until the second half of the play, but is mentioned by other characters earlier on. Despite her limited stage time, she is a strong character and hopefully, in our version at least, a memorable one, so getting a feel for the world of the play in which she exists will help me bring to the stage a fuller and more rounded performance rather than something flat which exists solely in that moment on stage.
Rehearsals start this week, where we’ll be working on a big ensemble scene. With plentiful laughs in this wonderful Shakespearean farce, it promises to be a lot of fun.
The Comedy of Errors, performed by the Southsea Shakespeare Actors, runs from 13 to 16 November 2013 at the Station Theatre, Hayling Island.