ENTRY #1

At the time of this writing, I sit in my dressing room at SUNY Purchase, where we are holding all of our technical rehearsals before hitting the road for Dallas. I’m sitting here in sweatpants and a T-shirt with calf-high boots and a wireless mic strapped around my waist – I look like some kind of high tech Nike pirate. This has been my basic rehearsal garb for the last few weeks, minus the mic. We are officially "in tech", which is that critical period of time before public performances when all the elements of a show are slowly put together, hopefully to ultimately give an audience chills. Currently we are working with sets, lights, piano and percussion. Next week we add costumes and wigs and orchestra, although all of those departments are up here now, working away.

Spirits are high among the cast and, though this is a slow moving and time consuming process, everyone is keeping a sense of humor and enjoying the work. I have to say that this is an exceptional group of people, not only in talent, but also in chemistry. There is very little ego (if that can ever be said about a group of actors) and an overall feeling of, well, fun. I always feel a show is at its best when the actors are truly having fun, in which case this one should be a blast to watch.

We have graduated to this stage after 6 weeks of rehearsal in NYC, 2 weeks with just principals and understudies, 4 with the entire company. We began fight rehearsals (for the final duel) immediately. This is one of the most complicated elements of the show because it is one of the most dangerous. Swing a couple of metal blades around at high speed and, even when choreographed, the risk level jumps up there. Fortunately our fight director, Rick Sordelet, is one of the best in the business. Though a good deal of the fight from previous versions of the show is intact, there are a couple of differences. Marc Kudisch and I are both accomplished stage fighters (Marc was also on the fencing team in college), so we’re pushing the envelope a little more. Also, I’m left handed, which has brought about some revisions.

Anyway, we spent about an hour and a half each day getting that up to a thrilling pace. Some elements of rehearsals moved very quickly because of an existing idea or version that Bobby Longbottom was happy with or that he felt was working. Other things took more time because of new or different set pieces or ideas. This is a rare opportunity, the chance to re-envision or refocus an existing production and I believe Bobby is taking full advantage of the situation, taking a wonderful show and making it even better. I have the utmost respect for him. There’s nothing more frustrating for an actor than working with a director who doesn’t have a clear vision of their show. That can never be said of Bobby. In most cases he knows exactly what he wants, what’s believable, what surprises or pleases an audience, what makes you look best. But he remains open to your contributions, valuing what you’re bringing to the party. It’s an actor’s dream to feel so well guided, yet free to invent and play.

The opportunity has not been missed by our designers either. Each day of tech brings a new surprise of ingenuity from Andrew Jackness, Natasha Katz or Jane Greenwood. Small touches like Andrew’s re-thinking of "the hideaway" (set), Jane’s revision of "The Ball" (costume) and Natasha’s bending and shaping of mood and environment throughout (lighting) are making "SPIII" its own, unique animal. There’s much more to say, but the surprises are worth the wait, believe me.

For me the process of finding Sir Percy is not too different from other characters I’ve worked on. I always start with myself, and I always start at the beginning. What is the original source of the character, what do I have in common with him? Reading the novel brought to light a couple of things…

One element is the sheer audacity of Percy; that he will hide in plain site, using disguises that play more on his enemies homophobic fear or prejudice, letting that be the screen which prevents his enemy from really taking a good look at him. In the novel for example, there is a character very similar to the "Grappin" of this version, that Percy chooses to use at a time when he is closest to Chauvelin. Because of Chauvelin’s prejudice, as well as his singular focus in catching the Scarlet Pimpernel, Percy is better hidden by his knowledge of his adversary’s psyche than by his false nose and wig.

This clever creation on Baroness Orczy’s part has informed all of the characters of our modern comic books. Batman, Superman, Spider-man, they all live double lives, hiding there daring deeds behind a disguise that protects the ones they love. And their disguises play against their heroism; Timid, clumsy Clark Kent; self- centered, reckless playboy Bruce Wayne. And, for a boy who grew up pretending to be all of these heroes, getting to bring the granddaddy of them all to life is quite a rush.

Another element that the novel inspired me toward is the intensity of the romance between Percy and Marguerite. A passage of the book describes Percy, after a moment of hiding his true self once again from Marguerite, Upon her leaving, falling to his knees and kissing the very ground where she has stepped. This may seem melodramatic by today’s standards, but it certainly paints a picture of devotion; one cannot deny the intensity of such passion.

Though this musical veers from and improves upon many elements of this story, I believe that these essential elements are what make it appealing to each gender, to all ages. This is an adventure I think we’d all enjoy having.

That being said, there are lots and lots of layers to put on top of that, many of which will continue to reveal themselves over the coming weeks of performances. I certainly feel fortunate to be a part of this adventure. I look forward to sharing it with you…