A Show’s Story — Princess Ida (1984)

or, Counting down to First Night.

Monday

Moving into Hart House: opening night is three days away. The set is brought into the backstage tunnel from the truck. John Guy liaises with the house stage crew, directing the installation of the set on the stage itself. Risers first, then the elements that would make up the vine-covered arches backing the set. Places were selected where the removable elements for the different acts would sleep when they weren’t required.

The sets, structurally sound, still resemble the wooden constructs they are. Careful detailing with brown, gray, gold, and green paint must be applied to plywood facings, counterfeiting the opulence of marble. Out front, the lighting designer supervises the mounting and focus of the instruments that will create mood and atmosphere.

Tuesday

The Tech Rehearsal: Opening Night minus two. Everything is in place as the cast begins to arrive. Make-up tests are conducted, to find the best look that will ‘read’ effectively under the hot lights. The cast try on their costumes for the first time, confirming fit and (relative) comfort. Minor problems are sewn-up on the QT, while major problems are reported to costumier Warren Hughes for his immediate attention. —No detail can be allowed to spoil the premiere.

At the minus 20 minute mark, music director John Greer leads the chorus in vocal warm-up exercises. Later, soloists acquaint themselves with the dressed stage, running through their parts and receiving additional musical notations from Maestro Greer to further strengthen their performances.

With the company on-stage, director Michael Albano makes last minute corrections to blocking and any special business, placing the cast to most effectively utilize the size and shape of the stage-space available. While Michael works with the ladies on the second act, the gentlemen inaugurate the ‘Princess Ida Cribbage Invitational’ that would convene nightly during the run of the show.

Wednesday

The Dress Rehearsal: One day more... The company will perform with orchestra for the first time. Chairs and music stands are placed next to the stage forming a makeshift pit. As the musicians arrive at the theatre, they find a quiet place (in short supply) and ready themselves for the performance. Final concerns from the cast are addressed to ensure the run-through proceeds as smoothly as possible.

With the entire company “rigged out in magnificent array,” each waits for their cue in their own way: hushed though excited conversation with fellow cast-members, articulating scales and arpeggios, or reading the assortment of messages from the directors, the most recent praising the quality of the work accomplished thus far, and reminding all to have fun...

Thursday

“Overture, curtain lights; this is it, the night of nights...” On performance night director Michael Albano is among the first to arrive at the theatre, fretting like a nervous parent. Though it’s difficult distancing oneself from a project in which so much has been invested, technically, his work is done. The show is now the responsibility of the stage manager.

There was no cause for worry. The cast’s performance is letter-perfect in all respects. The audience proves very responsive, reacting enthusiastically to the comedic directorial touches, the humour and wit of the lyric, and the undeniable beauty of the music.

“Never in the history of musical theatre, have so many colourful characters been essayed by so few, for the pleasure of so many.” — Milton Churchill

Later, when costumes and props have been put away for the night, the cast and crew would adjourn to the local public house for a well-deserved celebratory libation.