It’s interesting to see little pieces of history all around us, and how things that have seemed standard for years are changing. It also hits home when situations you’ve been discussing in rehearsal as part of a play unfold before you in real life. 

For example…I don’t know if anyone else has noticed this but my friends and I have witnessed a trend. I live in a large, mixed urban/suburban city. Near the more condensely populated section there is a Home Depot. 

While picking up paint for my father, I noticed what seemed to be a large line of men waiting outside the store. They seemed eager, looking out into the distance at nothing in particular. All of a sudden, a group of men in a pick-up truck pulled up. After a short conversation, some men hopped into the back of the pick-up, eager for wherever they were going.

It played out exactly like a scene in Grapes. I imagine these men were taken to a construction site to do work, at extremely low rates since it was under the radar and not according to modern day standards of business. I saw a Tom and a Pa hop into the back of that truck, willing to do anything to make a few bucks. 

Now more than ever I’m convinced what we’re doing is so important because it outlines what’s still going on today. The labor fight isn’t over yet, and the fight to survive is still raging on. 

This has been stuck in my brain (and Lauren’s…and Michael’s) for the past two days. It’s funny how a riffing guitar and nonsensical lyrics can be so catchy! I was able to spend some time conversing with Michael, the musical director, and Matt, who doubles as Granpa and a guitar player in the pit. They were going through the songs in both acts, discussing arrangements and incidentals and a host of all other things that will change over the next few weeks. Matt is functioning as a jack-of-all-trades, also playing the harmonica, banjo, accordion, and perhaps a squeeze box (that’s something I’ll have to look up).  We also have a second guitarist, fiddler and bass player. Michael will be leading them in rehearsals to form a solid quartet, soon to be a fluid, onstage part of the ensemble. 

Something that really stuck with me today is that Michael likened Grapes to a mini-musical; the sheer grandiosity of the sets combined with the other technical elements lend itself more towards that genre than of the simpler plays we’ve done at MSU. Music drives the entire first act, and acts as a mirror of the plot during the second. Music literally drives the car as well, syncing with the movements of the narrators. It’s such a crucial element in this show, and I’m highly anticipating sitting in on my next musical rehearsal. Until then I’ll be listening to the Hooverville Waltz in my head. 

…the mice will square dance. 

Heather is leading the square dancing group for the night at the Weedpatch Camp. They’re do-si-doing, hopping, swingin’ their partners, among other things. The mood at this particular rehearsal is light and jovial, coupled with Matt’s easy, breezy harmonizing on the harmonica and guitar. It seems as if everyone’s completely getting into the spirit of this. 

Heather’s asking the group to focus on the authenticity of the movement as well as the authenticity of the mood. Tommy, one of the narrators, has previous experience in square dancing and has volunteered to be today’s “Danceaturgist”. Since he’s part of the dance, and since I have two left feet, I’m more than happy to sit back and observe. 

Now comes the hard part. They’re reaching and grabbing partners, weaving in and out of each other. The dance becomes more and more complicated as they go on, and I can barely keep track of what the first moves were. 

I’ll update later during the rehearsal of the fight scenes; today is ALL about movement and I can’t wait to see (and report on) the epic scene of Casy’s death. 

I’m just dropping in again, and coincidentally so are the actors today. They’re working with Dianna on a vocal exercise and “dropping in” with partners. It’s very relaxed, in contrast to some previous warm-ups. Most actors have their drill lists nearby, alternating word sounds and slowly moving their bodies to the sounds of their voices. Dianna stated before the warm-up that each word learned using the accents should be from shape of character and not just a rote recitation. ha-yut. sa-yud. glah-yud. ma-yud. Personalizing these words is a huge aspect of today’s work; making the accents connected as opposed to forced. 

Things are starting to form up. I’ve been intermittently in and out of rehearsals now, mostly because the bulk of my work is done and I’m here for observation and support. This is the first time I’m seeing the mock truck in all its framed, boxy glory. It’s huge. To be expected; I need to keep in mind that we will eventually have an actual car in its place. The gigantic wooden structure is now acting as Grampa’s coffin, housing his “body” (This will be the body’s second appearance on the Kasser stage, it was first prominently featured in last semester’s Sweeney Todd). 

The work going on beside the truck is far more interesting now. The key word is play- they play with themselves, each other. We are witnesses to the formation of an actual ensemble. It’s not about being within oneself; it’s all about connections. Right now the actors are doing group tempo exercises, working and being alive with every part of their body. Much like improv, there is no negative response. It’s all yes, all motion. To quote Heather, “it’s less about what you want and more about what’s around you”. 

Susan’s continuing to block the truck packing scene today. It’s more choreography, seeing as it involves a majority of the cast and a myriad of props, but extremely important regarding group movement and working together. It’s extremely complex, and needs to be entirely specific. 

This is also the last time actors are allowed to use their books for Act I. Memorization is just another layer of work the actors have to add to their performances. No pressure, despite school and work and other obligations. Ah, the life of a theater student.