Something is lost in leaving the studio behind: the clear view of facial expression and the immediacy of corrections and adjustments made in front of one’s eyes. The intimacy of the studio gives way to public space and a larger cast of characters in the drama of putting on a show.
And something is gained. The “magic”—trite as it is, there is no other good word—of performance. Theater week is the extended moment when all the settings and props, light and sound that will bring the show to fruition before an audience—the “production values,” to use a rather soulless term—are layered in.
Moving into the theater is a transformative moment—for choreographers, dancers, stage manager and crew, lighting designer, and watchers like me.
THREEFOLD opened Friday night (to a packed, SRO house) with Whim W’Him artistic director Olivier Wevers‘s new We Are Not the Same. On Wednesday, having already watched many rehearsals, I meant just to sample a lighting rehearsal for the piece,
but stayed on transfixed by the silent dancers moving as directed into different configurations and the soft voices of master lighting designer Michael Mazzola and Olivier as they decided when and how to deploy stacked racks of lights from the sides and tried different shapes, intensity, and texture of light patterns on the stage floor.
MM: Do you like that?