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Blog entries posted during March 2013

Noah’s Flood Rehearsal = the pain, the agony, the achievement

Muse Lee, our favorite high school blogger, has returned for a series on her participation in the Community Opera production of Benjamin Britten's Noah's Flood.  Performances are April 19 and 20 at the Cathedral of Our Lady of the Angels.


Recently, I heard a comic comparing a music rehearsal to the ER. Both are supposed to help you get better, both make you cry, and both are filled with excruciating pain. During Noah’s Flood rehearsal on Sunday, we experienced all three of these things.

For this rehearsal, only the animals, raindrops, waves, rainbows, and the raven and dove were called. I’m one of the fourteen waves. Basically, what we do is maneuver long strips of blue fabric, with two people per strip. I had a similar job during Opera Camp, so I thought I was prepared for this. However, I soon realized that there are two crucial differences between The White Bird of Poston and Noah’s Flood waves. Firstly, this wave scene goes on for 7 minutes, and secondly, while the Poston waves represented the Colorado River, these waves are supposed to make up a worldwide flood.

Flood #1

To help us achieve the desired effect, assistant director, Heather Lipson-Bell patiently and energetically taught us a bunch of different wave movements. I don’t want to give it all away before the performance, but I’ll just say that it involved incessant arm-pumping, duck-walking, and squats. Twenty minutes in, my wavemate and I were already hot and red-faced. By the end, we were ready to drown along with God’s condemned. I think my muscles hate me right now. 

After our exhausting wave movement session, we listened to the music for the storm and flood scene. When I heard the glorious, crashing music, it suddenly hit me: I’m actually in a Benjamin Britten opera. I’ll be singing something written by Benjamin Britten. Both that thought and the beauty of the music gave me chills. My eyes watered. There’s nothing like opera to bring on the tears.

Following this, we were released, but I didn’t want to leave yet. I’d been hearing the kids singing their animal parts upstairs, and I really wanted to get a glimpse of their rehearsal. Halfway there, I heard a huge, enthusiastic voice that almost sounded amplified. Turns out it was assistant director, Nathan Rifenburg – who happens to have twice the energy of an average human being.

When I walked into the classroom, he was animatedly demonstrating monkey movements, bouncing around and bending down to pick imaginary bugs out of a kid’s hair. I was trying to be as inconspicuous as possible, but it was just too awesome not to giggle. The best part was that the kids weren’t laughing at all. They took it all so seriously. Whenever Nathan told them to stand up, they immediately sprang up like jack-in-the-boxes. And their ark entrance scene—wow. They were so focused, and even if I couldn’t immediately tell what animal they were, I saw that they believed in it, and so I did too. The rest of rehearsal was delightful: the best parts included an impromptu “Doe-A-Deer” and Nathan’s colorful description of well-supported singing as “throwing your guts on the table.”

Flood #3

The day ended on an exciting note: as we were leaving, we received Noah’s Flood posters. It includes the names of all participating choruses and orchestras. The fact that we’re on the same poster as James Conlon is way too awesome to handle. And I had no idea that Ronnita Nicole Miller will be Mrs. Noye. I started spazzing out. (download the poster here)

As for us ensemble members, though?  Improvement: check. Tears: check. Pain: double check. We know what that means: this production is on its way to becoming something incredible.


Noah's Flood Rehearsal: When the Opera Pixies Take Over

Muse Lee, our favorite high school blogger, has returned for a series on her participation in the Community Opera production of Benjamin Britten's Noah's Flood.  Performances are April 19 and 20 at the Cathedral of Our Lady of the Angels. Tickets become available tomorrow, March 14 at 10am.
 

With five upcoming tests, an essay to write, and a lost hour of sleep, I really didn't want to go to Noah’s Flood rehearsal on Sunday. I’d spent the weekend studying, sneezing, and wallowing in self-pity. When I finally dragged myself out of the house, though, everything changed. The opera pixies took over: the moment I signed myself in, all the stress disappeared, and I was ready to sing.

NF - Floyd coaching

Assistant Conductor Paul Floyd leads the adults in a music rehearsal.

The day started with a change of scenery. Instead of practicing in the auditorium as usual, we switched places with the children and went into the upstairs classroom. There, we reviewed the opening scene with assistant director Heather. Before I could get totally wrapped up in it, though, a few of us were pulled out for costume fitting. The group of us went into a small room, and we were greeted by costume designer Paula Higgins. After taking our measurements, she gave us costumes to try on. I loved mine immediately—it really looked and felt like water. I was reluctant to take it off, but I knew I’d see it a lot in the coming weeks, so I put it back on the hanger and returned to rehearsal.

Heather Lipson Bell

Assistant Director Heather Lipson-Bell

When we got back, we practiced the choreography with the singing and moved onto the storm scene. We waves didn’t have to learn the movements, so we stood off to the side and observed. It was so cool to just watch the scene develop—it gave us an idea of how it'll look to the audience.

After trooping downstairs and refining the opening a little more, most of the ensemble took a break. Those of us working with props, though, stepped up to rehearse with Heather and director Eli. Eli distributed wave fabric to each pair and determined our positions and cues. Then, we went over our movements and practiced engulfing the doomed. My and my wave-mate’s “victim” is absolutely terrifying when she begins drowning. To me, it looked like something out of a horror movie. Eli’s take on it was much different: he told our drownee that she’s supposed to look like Han Solo frozen in carbonite. Whoever talks about opera and Star Wars in the same sentence is automatically my hero.

NF Adults Rehearsing 

Director Eli Villanueva leads the adults in a staging rehearsal.

With Eli’s instructions in mind, we put it all together, running through the whole storm scene with music. Since my wave-mate and I are standing at the front, we could watch the entire scene unfolding behind us. The effect is just astonishing. Enraptured as I was, I wouldn’t have minded staying longer, but time was up. Rehearsal ended with a few final announcements.

I signed myself out and walked through the door. As I left, I started remembering all that homework that lay in wait, and all that studying that had to be done. Somehow, though, it no longer looked so bad. I guess the opera pixies hadn’t abandoned me.


Noah's Flood Rehearsal: "I Need a Stunt Double"

Muse Lee, our favorite high school blogger, has returned for a series on her participation in the Community Opera production of Benjamin Britten's Noah's Flood.  Performances are April 19 and 20 at the Cathedral of Our Lady of the Angels.

Last week Friday, a miracle of biblical proportions took place: school finally ended. A long, glorious spring break stretched before me like the rainbow after the flood. The perfect way to celebrate its arrival was going to Noah’s Flood rehearsal stress-free.

And what a celebration it was. This was the most rewarding rehearsal yet: on Sunday, everything began to come together. For the first time, the ark was brought in. With it there, we went over our wave movements, and we confirmed our various cues. As we did, the “doomed” practiced getting engulfed. I said before that their drowning looked like a horror film scene, but during this rehearsal, director Eli changed it a bit. It just got a whole lot scarier. Now, it involves the drowned rolling around on the ground. I think the situation was summed up best by one of the victims: “I need a stunt double.”

Muse

While we worked the waves, the four guardian angels practiced maneuvering the ark for the first time. I almost lost focus on my movements because I couldn’t take my eyes off the ship. With our blue strips billowing around it, it sailed and rocked and veered. Later, I went up close to the ark, and I realized that it was only a frame with fabric. Though one of my fellow waves joked that we needed CGI, I heard one lady marveling at how incredibly well it worked. She was saying that this really shows the beauty of theater: the audience is not only given a story, but is also invited to fill in the gaps and complete it. It’s kind of like how when a tree falls in a forest, it technically only makes a sound if people are there to hear it. Or maybe it’s more like a coloring book. We provide the outline, and each audience member can fill the blank spaces with his or her own colors.

Ark far

After a short break, Eli got us back on our feet. It was now time to start working on the final scene. We figured out our entrances and exits and got a rough idea of the music. As we practiced, the people manipulating the rainbow sent it streaking back and forth over our heads. It was absolutely gorgeous, but as a wave, I could only imagine their pain once we hit the forty-minute mark.

Doomed

As usual, the three hours of rehearsal went by quickly, and before we knew it, it was time to go home. With rehearsal over, spring break officially began. I can’t ask for a more wonderful start!


Noah’s Flood Rehearsal: It’s All Coming Together

During a field trip last week, I mentioned rehearsal to one of my teachers. She asked me what show I’m doing, and I told her that it’s Noah’s Flood. “By Benjamin Britten?” she asked. “I did that show about 20 years ago!” She went on to tell me about her experience. It’s almost scary to think that in 2033, we’ll be talking about our production like that.

However, I decided to slow down and take it one rehearsal at a time — I mean, we haven’t even started rehearsing in the Cathedral of Our Lady of the Angels yet. Rehearsal #5 took place on Saturday, instead of our usual Sunday. Because of the wicked L.A. traffic, it took a while for all of us to get to East Los Angeles Performing Arts Academy. When almost everyone had arrived, though, we began rehearsal.

There was something new in the building that day: tape markings on the floor to delineate the Cathedral’s stage area. We knew what that meant. It was time to really get down to business. Sure enough, director Eli Villanueva announced that today would be our first stumble-through rehearsal, in which we’d put all the scenes we’d learned in sequence.

Muse and Eli

After some warm-up, we dispersed to our opening positions. All of us enter from different locations, and originally, a small group of us had to run halfway around the stage area to get to our initial positions.  A few injuries later, we found our number reduced to only two. Eli greeted us with the additional happy news that he had made an executive decision: by his decree, we now had to run around the entire stage. When we finally made it to our spots a geologic era later, we ended up gasping instead of singing. I didn’t know that I had signed up for operatic boot camp!  

After Eli worked with us on the physical, assistant conductor Paul Floyd gave us tips for the singing. He told us to really think about the verbs and to energize them. Now, it sounds less like a practiced mantra, and more like a sincere prayer. With all those repeating phrases, it’s easy to simply chant the words, but Paul helped us really find the color and intention in each one.

Katie and Eli

We transitioned from the opening scene to the ark entrance. The kids came downstairs to rehearse this, and since the adult ensemble isn’t in the scene, we got to sit down and watch. What a treat! Playing various types of animals, including birds, cats, and deer, the children paraded out, swooping, prowling, or prancing up the ramp and into the ark. My wavemate and I alternated between happily singing along with the animals and going insane because of the cuteness. By the time the mice came out, we were literally dying.

NF Lions

Luckily, break came next, so we had time to recover. We bonded over Shakespeare, dying oranges, and free verse about cement. As cheesy as it sounds, theater really brings people together and makes them bond over the most random things!

After break, we continued from right where we left off. With our animals in the ark, we proceeded to the flood scene. With all of us together for the first time, the power of the music ballooned us up, infusing the scene with an incredible collective energy. Instead of simply being the manipulator of a fabric strip, I keenly felt my own role in the drama. My wave and I had become a living, breathing character.

Birds

It’s really all coming together now. I can’t believe that we’re already halfway through the program, and only about three weeks away from the performance. And I can see it already—with each rehearsal, we’re also a little closer to 2033, when we’ll be talking on and on about Britten’s centennial year and that amazing production we put together.