REHEARSALS -- WEEK TWO
Tuesday February 21st – After hastily taking care of essential work commitments at home, I drove back up to Meath for another fascinating day with the Gaelforce troupe. When I arrived around mid-morning, they were deep into one of the big troupe numbers, the Betrayal scene, and the full cast was on stage. I was amazed and delighted to see how much progress they had made since Friday. They seemed even more a team together, and obviously were picking up the step sequences just about as fast as Richard could teach them!
I had half expected to see a few dancers hobbling around, hardly able to move after their first grueling week; but they seemed to be bouncing with energy and still full of laughter and fun as they worked out intricate moves and poses. Only one unfortunate dancer, Sarah Murray from Liverpool, sat frustrated on the sidelines, unable to dance for a couple of days because of injury. She was watching and trying her best to learn the steps in her head, but was restless and bored with her forced idleness and itching to be up dancing again. Ashley Miller's foot was holding up well and he was back dancing, and said it seemed to be getting better, so that was good news indeed.
I had brought printouts of the portrait photos I had taken on Friday, so they could all approve them or ask for re-takes. The photos caused much laughter and protest as almost no-one likes pictures of themselves, and we ended up organising a mini-photo shoot for after lunch when everyone was relaxed and had had a break. I think all Celtic Cafe viewers will agree the resulting gallery of photos was well worth the exercise! This is one great-looking troupe! I was sorry I couldn’t be with them the next day, Wednesday, as a professional photographer was coming for an official photo shoot for the show’s programme book.
Today I also watched as Alan packed up the last of the freight for shipping out tomorrow to Estonia. This included such items as the roll-up dance floor, merchandise such as programmes and videos, and the costumes. This last quite surprised me, as I realised it meant there would be no opportunity to do a dress rehearsal before the troupe reaches Estonia! The sequence and timing of costume change can be a major concern in a fast-moving show. But I later learned there are contingency plans to practice changing clothes between numbers in later rehearsals, so at least the timing can be gone through.
The early departure of costumes also took me by surprise because lace and costume design is part of my business, and I had been asked by Michael if I could add some handwork and decoration to brighten up a basque top for Aisling, one of the female lead roles. I had expected to have all of this week to do it! Luckily, I learned about the deadline early enough on Monday to spend that evening at work on the costume. It was a treat for me to do it, as it made me feel even more truly part of the company. I brought all my materials with me on Tuesday, prepared if necessary to make changes or add more decoration, but the basque was immediately approved as soon as Kristyn Fontanella tried it on. Almost before I knew it, it was packed away in the costume trunk and shipped out! If I hadn't taken a photo of Kristyn modelling the costume I could easily have thought I had imagined the whole affair.
The physiotherapist came in again later that day, but surprisingly did not have many requiring his services. Dancers are certainly a strong breed! By the end of the day Richard had taught them the bulk of the big finale scene, which he said he had been dreading, it was such a challenge. He could not believe how well they picked it up, and commented to me more than once what a lively and energetic troupe they are, and amazingly well suited to one another, all great friends.
During the day, both Richard Griffin and Alan Whelan kindly took time out for me to interview them – click for their special perspectives on the show.
I had intended to leave after dinner, but Richard decided to have a quick run-through with the soundtrack of all the numbers they had learned so far, and of course I could not resist watching! It was a little late for me as I drove home, but it was worth it to see how far the show had developed. I could not believe how the dancers went from one number to the next without hesitation, the step sequences already almost move-perfect. If this was how far they had come in one week, there is no doubt that after another two weeks' polishing, Gaelforce Dance is going to erupt with a bang on that opening night stage in Estonia!
Author: Ann Margaret Keller
Editing: Louise Owen
