ROMI KUPFER

Production week was something that I had not experienced before. As per usual we had bump in for the first day, where the set was installed alongside all costumes and props. The second day was more of bump in alongside the actors getting to know the space with the set in it. What I didn't expect was the amount of time Tanya would give towards the technical aspects of lighting and sound as opposed to running the show. She worked very closely with Jason Crick (lighting designer) and Julian Dibley-Hall (associate artist/sound designer) and Matt Furlani (sound designer/maker). For the rest of production week, the sound and lighting was focused on, the show was only run twice and in this time many parts of the show were cut. 

​

I found it incredibly overwhelming to see how much of the show was removed in the few days leading up to previews. I could see how this caused stress for the actors. Speaking to Tanya in reflection about this part of the process, she mentioned that this happens consistently in her process. A large part of her aesthetic is audio/visual and it is imperative for that to be a strong influencer for the audience, therefore the only opportunity to fine tune these performative elements is during production week. 

​

During this week, I used my time to support the tech crew bumping in as well as the actors rehearsing lines, going over the new transitions etc. I also put together a trailer for the show.