Stage hand goes to work....

This photo was taken in rehearsal today - the cast working on a full run through.
(Stephen and Jeffery in front, Cassie and Susie behind, Elver and Isabelle upstage left, Sarah stage right with three more people behind her whom I can't make out.)
Yet another day working on the VSA piece "The Farthest Earth From Thee," inspired by Shakespere's sonnets, and choreographed by Peter Dimuro at the Dance Exchange, will be performed this weekend at Greenberg Theatre in Washington, DC. I've been given the opportunity to come on board as an extra stage hand, which is great because it means I'm being involved at every level of preparation up until the show. I began sitting in on rehearsals last week for the first time and was amazed at how seamlessly the multi-ability cast was able to work together. For all the complaints and usual difficulties, my impression is that this team is experiencing far fewer creative differences and hold-ups then the average group of dancers and we're talking a 22 member, multi-generational, multi-physical ability cast, and a dog. Not your average group of dancers. The cast is moving in and out of various transitions with multiple props on wheels, with multiple issues to still work out from props, costumes, lines, and transitions, the cast is surprisingly calm with only a few days until the opening! I've especially enjoyed watching how adaptations and accommodations are made in a way that remains artistic and true to the quality of the work. Wheelchairs that can't make cross overs are worked into the stage space, some cast members are assisted with their entrances and exits, the crutches make cross overs whenever needed, and the dog is always entertained (and entertaining). Particularly interesting are the artistic choices when able bodied dancers are moving in the space with disabled dancers. The image is always interesting to watch and the choices clear. Here's a look into the creation of the work if you wish to read it:

Shakespeare’s Sonnet 44 for instance, gives us some obvious places to start for dance. Its references to “leap large lengths,” “injurious distance,” and “heavy tears” might lead us to seek 20 ways, both obvious and unexpected, of turning each of those phrases into motion. (movement metaphore) Also inspiring are the image polarities of sea and land, earth and water. But the ultimate, juicy challenge of this sonnet will likely be in what it says about the limits of physicality. That is where we find the true possibility for movement, partnering, imagery, and staging. That is where we find the permission for fantasy.(an interesting use of structure).