Rider University - Shadow Yearbook (Lawrenceville, NJ)

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to be adjusted. This crisis is met and the run-throughs start. Run-throughs, as the term implies, entails running through the entire play with scenery and lights to get a general feel of the production. Here the directors catch little things the actors might do that take them away from the production. It is also a time for testing and ex- perimenting with the lights. Dress rehearsals are now upon the cast and things be- gin to get desperate. With only a few rehearsals left, all the bugs in the script, costumes and staging must be worked out. It seems almost hopeless. Opening night arrives and another factor in the play enters the scene-the audience. It is now on their shoul- ders whether the production is to be a success or a fail- ure. No matter how hard everyone has worked, if the au- dience is unresponsive, the production is termed unsuccessful. The clock moves toward curtain time and everyone starts to get tense. From the cast all the way through to the ushers. The lights dim, a little prayer is said by all. Now wait for the first response from the audience. The director expects a certain response. Failure to get it will mean a slight revision before the next performance. Basi- cally, it must be done because the audience didn't see quite what he wanted them to see. So he changes with the audience and hopes that the next audience catches the desired effect. The second night comes and the revision has been in- serted. Again the director waits for the response from the audience. This time it comes. Success. Some of the ten- sion abates. The rest of the play goes smoothly and so do the following performances. The review comes out on Friday afternoon and every- one nervously flips to the seventh page. Something to the following effect can hopefully be found: If you have not seen, ---, you still have two nights to see one of the finest amateur productions l have ever had the pleasure of attending. The overall quality of the performance, accented by some exceptional individual efforts, created a deeply engrossing tribute to the author of the novel on which the play was based. . . . All aspects of the production were com- mendable. Set design, involving the building of a two story house on a stage, was particularly impres- sive. That's what the reviewer said. But after it's all over, the opinions of the actors best serve to illustrate the produc- tions true value. Said one, lt is tiring, frustrating, and almost futile at times. But the satisfaction in the end is worth it all. And another commented, Each time out is a new adventure. lt's a constant process of finding new techniques in theatricsf' As for the director, whose pretty much been neglected up to this point, this remark pretty much summarized the role he plays: The director, he really has it tough. While we only have to worry about our lines, he has to correlate all the parts, scenery, lighting, even public relations-and make sure they all run smoothly. Together!!! 47

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