Rehearsals for Edward II are coming along slowly but surely. We began blocking Margaret's wedding night. There is so much emotional turmoil in this particular scene, I felt a little overwhelmed holding my book and frantically accessing the physical movement of the scene in an unfamilar rehearsal space. We have a break in our rehearsal schedule, to which I will devote the majority of my time refocusing my character and memorizing my dialog. My text analysis work had prompted new discoveries about my character. I realized early on that Margaret must be a genuinely caring individual. She rarely talks about herself, except on her wedding night, when she is faced with a life-altering, tragic situation. When others speak of her they refer to her as sweet: "Sweet Margaret," "Sweet Niece," "Sweet Wife," and "Sweet Lady." She regards the Queen as her friend and confidant, and thinks of her before all things, until the doom of her wedding night approaches. She makes the majority of her entrances "quickly" or "rushing," "looks pale" adn through Gaveston has no intimate or logistical desire to be her husband, he believes she "she deserve(s) affection and regard". I am currently investigatng points of attack, I am very interested to know what will drive my Margaret through the course of her journey.
Springing forward into Marlowe
Yesterday I beat the urge to sleep in on a Sunday morning, "sprang foward," and drug myself out of bed to do what I love best. Our first read-through for edward II enthused my desire to get this show on its feet. Unfortunately I will have to guide my way through the next week of table work in order to get to that point. I think the table work will be exciting in itself though, as I will be able to have an hour one-on-one with our director to discuss character.
The script diverges from Marlowe's version in a very sincere and exciting way. Darcy has added language, re-assigned dialog and added characters to create a much improved emotional journey which electridies the characters of the show. I am ready to make strong choices and collaborate on this unique look into one of Marlowe's greatest.
Edward II Casting!
On Saturday I attended an audition for Edward II at the Empire Theatre in Santa Ana. Sunday I was blessed with a callback, and to start my Monday morning off right, today I received notice that I have been cast as Margaret. The joyfully pleasant Darcy Hogan called me this morning to announce my inclusion in Theatre Out's adapted production of Marlowe's last play. In addition to playing the emotionally tragic role of margaret, I will also be playin gthe messenger! I think the juxaposition of these roles provide a worthy challenge for any actor. I am excited to begin this journey with this liberating theatre company. This play marks one year of back-to-back productions on my resume, and my 45th production!