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* Phase 1
reasons. What I saw in both of them was an orientation towards the work of acting
that was, in a word, professional. I found that they rarely came into a rehearsal
without evidencing work that they had done since the last rehearsal. They had
almost always advanced during the intervening time. This is a basic quality which I
trust and value not only because it saves time but also because it indicates the
actor's ability to allow the work to live within them. As well as the actor's ability to
live within the work. In rehearsal both of these actors had proved to be attentive,
tenacious and concerned with the overall theatrical effectiveness of a given
moment or scene, rather than only their role within it.
often flamboyant and full
capable of incisive and cold self criticism and/or condemnation.
performance talents that both Rachel and Jay possessed, they added up to the
qualities of effective and profound collaborators.
half-crazed enthusiasm for the process of creating a play, when focused into a
suitable project, was a powerful force. What I found particularly interesting about
Rachel's attention to theatre was that it was concentrated on the present moment.
Rachel had a firm grasp on the fact that the essence of theatre was in the ephemeral
moment to moment nature of real time.
his work with careful attention to the structure and underpinnings of what he was
doing. Not that Jay was a stranger to the capricious winds of the muse, but that he