Surviving the First Read, Part Two

This post is a continuation of Surviving the First Read, Part One.

So, in summary the first read sounds fairly simple.

All right, in all likelihood, it doesn't sound that simple at all, and it isn't.  In fact, it's more complicated even than it might first appear.   

None of the first reads I've ever participated in work exactly the way I've just described.



The Space:

Most of them have occurred in a different location than the theater.  This is usually the only practical choice the director can make.

Often, the real auditorium is not equipped with the table and chairs necessary for a first read.  The only time I remember having the read through in the actual theater was a production of Twelve Angry Men where the actors were going to spend the whole play sitting at one table anyway, and it was already set up.

In the case of an outdoor amphitheater, this is particularly true.

So in reality the first read will probably happen in a space where you will rarely rehearse.

Run Time: 

Also, though the first timing of the show will give the director a good sense of how long the play is, it will do little for you.

You won't be married to this run time.  The play will get longer as you add movement, and then shorter as the director makes cuts, or as the actors become more comfortable with the script.

The Cast:

Meeting the other cast members is one thing I can almost guarantee you'll do.

However, sometimes a person from the cast won't be able to make a first read, though this is unusual.  This can sometimes disrupt a cast's equilibrium and change your early understanding of the show, but it's important not to let it faze you too much.   

My advice is try not to let most things faze you.

Meeting a group of actors can be quite trying.  Often, there are hugs from complete strangers.  This is par for the course, really, and whether it's a burden or a joy depends on the people involved.

It isn't my favorite moment.

The Vision: 

 

Hearing the director's "vision" can also be complicated.  It might sound like the most brilliant thing you've ever heard.  It might sound crazy.

It's best to be enthusiastic regardless.

What You Should Know:

Be prepared to read the play- and by that I'm suggesting reading over it a few times.

Some directors will request you be off book (memorized) before the first read.  If he or she has, please be off book.  It will make everything much easier for you and for the other actors.  If not, at least look over your lines a few times.

Either way, try not to fall too in love with them.  Some lines are cut during or after the first read.  In fact, some lines are cut throughout the rehearsal process, whether you've memorized them nor not.

One thing that has never been quite clear to me is how much you should act at a first read.  I've gotten suggestions (from actors, teachers, and directors) which range from a simple, flat reading of the text to giving it 100%, and everything in between.

I recommend watching the other actors and emulating them, if possible.  If it isn't possible, try for a middle ground- don't act like a zombie, but don't go for an Academy award either.

You've gotten the part, now it's time to wait for blocking and learn what the director wants.

Click here to return to Surviving the First Read, Part One, or post below to ask me any questions or request any content.

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