Number Drama: An Update

Its been a rocky, uphill battle these past few days as far as my number is concerned. The notes concerning my number after the first run through consisted of:

• Its too long, make it shorter. *
  
• Also, add more pauses.
• I like spirals. There should be more spirals. Why aren't there more spirals?
• The music crushes you, but not the rock and roll part**.
  
• Why must you manipulate your wheel? Can't you do it less? Why don't you just finish in the right spot for the next move?
  

I think there was more conflicting craziness, but those were the big ones. Thank goodness for the assistant director. After my number got trashed (seriously, they have seen it several times over the last few weeks, why have they waited until now to say these things?), he came up to me and said, "Just some positive notes for you: There's a huge difference in your connection to the audience and the musicians. I can really see the work you've put into it."

Thank you...

That was all up to yesterday. We ran the first chunk of the show again today, with very different results.

For starters, I ran my number in my costume (my super hot costume!). Also, midway through my number the composer decided the musicians were playing so poorly that they had to stop and start over again. Meaning that I had to stop and start over again. Only after he stopped and made a scene did he ask if it was okay to do so. A little late, don't you think?

If you'll permit me this aside, as circus artists, we never have a chance to start over when we mess up. We learn early on in our training that we need to work through our errors, and over come our mistakes without letting it show in our faces or in our bodies. To me, that was inexcusable and I told him so after wards. The musicians always apologize to me when they play poorly. I understand that we all have our off nights, that we make mistakes and that right now, they are still in the process of mastering the twenty some odd pieces they have to learn. So no worries. But when you act without professionalism, then I take issue.

That being said, the redo was brutal. Not in the way you would think though. The first time I started my number I was really into it, and felt really, really good in what I was doing. When I had to start over, I was already pretty tired (and frustrated), and so everything became much more laboured. Considering the lack of love for my manipulations, I was rather worried about the feedback I would later receive for my heinous (the really were heinous) manipulations.

Much to my surprise, however, I got pretty good reviews. Today it was super. Today, the director took notice of my connection to those around me. The musicians noticed it too. They love the costume (did I mention its hot?), and the last line is just amazing.

There's just that one sequence that's too far back. We can't see it well. Especially since there's no light there. Do you really need the main straight line sequence of your act?

Sigh...

I'm sure the nitpicking is for the best, but seriously, soon I'm going to start punching people. One thing that amazes me is that the director of the show is one of the founding members of this circus company, has been doing shows for 25 years and used to be in them as a juggler. Despite all this experience, he is not, nor has he ever been an acrobat. And regardless of all the experience he has being around acrobats, he is completely oblivious to the needs and demands that we acrobats have. It would be really funny if it weren't so damn infuriating.

Fortunately, I think I have a solution to this latest problem.

And if that's not a ray of sunshine, this next bit most certainly is.

Our master set and prop builder saw the run today. It was the first time he's seen anything of the show. He gave me a glowing review, loved the number, and found that it was one of the most powerful moments in a show that has few powerful moments.

I'm getting there...



* Remember how I was told that my number was eight minutes long? The next day, as we continued the giving of notes, the German wheel number was suddenly six minutes 57 seconds. Without even trying I lost a minute three over night! Woo! Looks like my argument won.

** My number has three phases in the music. It starts off very soft and pretty, then gets all intense and moody, and then turns into full out rock and roll.