GOLDA: And until then, we must not budge.

We are taking the word of GOLDA: THE ROMANTIC YEARS, which indicates that she had more health problems with her left than her right foot, as a sign that the phlebitis was on the left.

Nixon also had phlebitis – Vickie found an interview where Nixon talks about Golda by googling the terms “Golda + phlebitis” and discovered him mentioning it. He was a big fan of hers.

Golda is a rightie.

This production really has taught me to tell stage left from stage right. I’m 25, and I’ve never been able to do it before now. Never. I’ve always had to clench a fist, think what it really is, and say the opposite. But something about the ashtray on the SR corner and having that be the Morris corner made it work. Morris is right. Of course he is. That is, stage right. Now if this can just survive when the ashtray isn’t sitting there…

Still catching up. These are from 9.9.07.

Sylvia Berman, a TheatreWorks volunteer, was with us for an hour this morning reading the Yiddish in the script. She spent 20 years in Israel and had a very personal connection to the idea of Golda. (And she’s originally from the Bronx, like Camille.) She wanted to go to Israel in 48 but, due to pressure from her parents, waited until later to make aliyah. Her family was one of the first six in the West Bank settlement in the 70s. Incredible woman.

I am feeling myself more compelled by Israel, one week in – the myth, the reality, the history – just the idea of it. I’ve spent so long being critical. Now I feel like there’s a lot to be appreciated about the place.

We move on into Section 3. New rubrics are emerging. The Southern front is SL, and the Northern front SR. Family – Morris Corner – is DSR, along with cigarettes, but speeches and politics are DSL.

We aren’t talking beats or motivations much – again, Aaron manages to use improvisation as a quick blocking tool, not just the slow way I’ve seen it with Bill. He has a very physical sense of pace. “Too fast. You’re there too soon.” It’s so clear that it’s not pre-planned, that it comes from Camille’s work, that her instincts guide his.

Aaron and Camille get into a discussion about emphasis in phrases like this: “adjective noun”. Aaron often wants it to be either “adjective NOUN” or else equal stress on both when Camille is using an adjective stress.

A truism drifts into my brain, after watching this rehearsal:
“If you decide to be with another person to escape something, that something will manifest itself in the other person.”

Aaron and Camille discover Golda should be in a dress, not a jacket. Jill, our costume designer, comes in and they discuss this, along with fabric choices. Part of this comes from Sylvia, our guest this morning, saying that Golda was always first and foremost a mother, a human, before a politician.

Our first week of rehearsal has ended. Roughly 3 days of table work, 3 days staging, and we’ve staged through p. 23 (of 40) and reviewed through p.18. Very productive.

Aaron asks Camille to start thinking about the other characters, making their voices and motivations, their stakes and points of view, clearer. Homework.

And we all drive to Mountain View to see EMMA. On the way, Aaron and I talk about using beats and motivation and “why are you doing that, what do you want” techniques in rehearsal. He likes to stage through first and go back and fill in with scenework like that more where needed. It’s so fascinating to me, and I know I keep saying this, but it really is a revelation – it’s so fascinating that it’s possible to combine improvised blocking with an initial disregard for some of the motivation details, with a sense of speed and the confidence to return later. I really admire it. I wish I could phrase it better.

We eat at Cafe Baklava (Camille is a fan of LaChiusa’s “Way Back To Paradise.” She uses it as an audition song.) and then go visit Mr. Robert Martin.

Still catching up. These are from Sat 9.8.07.

Camille recorded the script this morning for 2 hours, so she could have a CD version to listen to, and ran lines for an hour. Then they broke, and Aaron and I joined at 2 pm.

The accent samples which I got for Camille from The International Dialects of English Archive were not very helpful. Rather than downloading more of them, they want me to focus on finding video and audio clips of the real people involved.

We went through what was staged so far and kept moving forward. It’s our second blocking day. Aaron took a moment to describe what his process was, which I think they both understood better from having…tried it the day before. Sometimes it’s no good talking about what you intend to do until you do it. Anyway, he said that he wants to lay out the architecture and then go back and refine further – ask detailed questions on the next round.

Aaron works from actor improvisation very naturally, as Bill does, but Aaron still manages to keep a fast pace the first go-round. Deeper questions are being, often, tabled for Round II. It’s good for me to see that working from actor improvisation can be consonant with a variety of approaches in blocking pace.

“Let’s not get too comfy too quick.” (Avoiding sitting down)

Aaron and Camille confront the problem of the other speakers in the text (Morris, Mother, Ben-Gurion, etc…) and try a number of different things with where Camille’s face is pointing for each speaker. They discover, remarkably quickly and easily, that the other speakers who are not Golda should face directly out to the audience. It works very well. So well, in fact, that the epistemology of the whole thing is confusing.

Aaron and I talk about this on a break, because I’m so flabbergasted that he’s figured the key out so quickly. He says he’s used front-facing presentational direct address before. (He said it in a shorter and more meaningful way, but you know what I mean.) But he didn’t plan it coming in as the key. He just found it, naturally, from watching her.

When two characters, neither one of whom is Golda, speak to each other, Aaron tries having the dominant one out front. But when that doesn’t work, he quickly modifies it – so quickly, with no attachment – I really hope to be like this some day – so that both of them are out front. And it works.

Aaron watches Camille improvise, then he jumps up and takes a move she’s just done and modifies it slightly. He riffs off of her. I wrote down, “Aaron is giving blocking readings,” at one point, but it’s not really like that – it’s more like she begins to draw a line and he guides her hand in drawing it. Whatever it is, it’s impressive. He’s a very active director. Music stand. On and off the stage.

Another convention we build, playing into the theme of everything being in Golda’s mind, is the idea of her evoking these characters before they speak. Seeing them before they are announced.