Oct 8th Nut rehearsal: Inspired casting

Sunday was the first supporting cast rehearsal for Ballet Embody's production of The Maryland Nutcracker. Although it uses the traditional Tchaikovsky music, the choreography is non-traditional. For example, instead of Drosselmeyer, there is Edgar Allen Poe.

When we auditioned, we danced a bit to what most people would identify as "Mother Gigogne". In previous years this has been a dance performed as a male solo, but now will have supporting cast backing. My reaction to the supporting cast choreography for this piece was that it was clearly "girly", but if they wanted me to dance those steps then I was going to do my best.

As part of the acceptance letter we received a tentative rehearsal schedule. About a week before each rehearsal we get an update by email giving specific call times for each group (pro company, student company, supporting cast) and sometimes individual dancers. The update for this past weekend's rehearsal called for the four adult women in the supporting cast to arrive at noon to practice the piece we did during the audition. The rest of the supporting cast didn't need to show up until 1pm. I guess I'm not doing that dance after all.

I arrived at about 12:45 and watched those four finish their dance. Shortly after 1pm we started blocking the party scene. I've been given the role of The Grandfather. This should have been no surprise -- I'm in my early 60s, grey-haired, and the only male supporting cast member.

I must have looked displeased when I was told I would enter the party using a cane and assisted by a nurse, because our director, Emily, assured me that I'd get to ditch the cane and "bust a move" later. When she turned away, I pretended I was holding a cane and did a little fake tapdance, which elicited laughs from the other cast members.

My role as the put-upon Theatre Troupe Director in A Midsummer Night's Dream was basically straight man opposite the comedic Bottom. I played the role absolutely straight, and I think I let that seriousness bleed into my own attitude. This time my role is choreographed for comedic effect, and I fully intend to have fun with it.

Another change I want to make is to suppress my competitiveness as best I can. One of the challenges of being supporting cast to a pro company is that the pros get all the good roles. In Midsummer I felt like I needed to prove I was worthy of meatier roles, and that took a lot of the fun out of it. This time I'm just going to do what I can, have fun with it. If I get a better role in next year's productions then that'll be fine and I'm not going to lose sleep over it.

After rehearsal I wanted to ask our director about shoes. Ballet slippers seemed inappropriate for a formal party scene, and I asked if some jazz shoes I'd seen online would be appropriate. She thought they would be fine, and we talked a bit about the rest of the costuming. I mentioned that I own a Victorian era costume frock coat, shirt with a high collar, and puff tie. She broke into a grin and said, "I was talking with Melissa about your costume, and she said 'He probably has that at home.'".  Okaaay...