week 1 A Rehe Rehears arsal al Scr Scrapb apbook ook To cut or not to cut. Hamlet is perhaps the most revered play in the canon, perhaps the most familiar. But there’s no such thing as a denitive production, perhaps because there’s no such thing as a denitive text. The rst published edition we have of the play, the First Quarto, has lines like ‘To be or not to be. Aye, there’s the point’ and is usually referred to as the ‘Bad’ Quarto. It’s short: about 2,200 lines (a bit longer than Macbeth and The Tempest), but it is nearly half the length of the next edition, the Second Quarto, which is 3,900 lines. Shakespeare must have continued to revise the play as it continued in the repertoire of the company, because by the time his fellow actors published the Complete Works edition after his death (the First Folio) the text had been cut and substantially rearranged. He can’t ever have imagined the play would have been performed at that length, as plays at the Globe went up at two o’clock and had to be down by between four and ve, so perhaps he prepared an edition for the library, a bit like the director’s cut in the lm industry, for the acionado’s private enjoyment. The rst time the full Folio text was played was here in Stratford, in 1899 by Frank Benson. They played up to the end of the closet scene in the afternoon and then resumed the rest of the play in the evening. The rst marathon Shakespeare day! On the afternoon of the rst day of rehearsals we visit the Shakespeare Centre Library in Henley Street, where Head Librarian Sylvia Morris gets out the RSC’s own copy of the First Folio for the company to look at. At the front is my favourite page: the list of all the actors who rst appeared in the plays. After Shakespeare comes Richard Burbage, the rst Hamlet; further down the list is Joseph Taylor, who took over the part after his death, thus beginning a long line which goes through Betterton, Garrick, Kemble, Kean, Macready, Irving, Gielgud, Olivier and on up to David Tennant now. Gregory Doran
Designing the Production The design process begins with the director and designer discussing their individual responses to the play and then working together to establish the world in which the play will be set. We will look through numerous paintings, photographs and any other visual aids which might provide inspiration for the set and costumes. In the case of Hamlet it was established from a very early stage that it would be a mirrored world and we then began to explore ideas around this. Next comes the
design model. Initially this is a very rough version in white card. This is used to work out if the design is workable (and affordable!) and allows us to develop a number of different design solutions to any problems that may arise. Once rened, this is then followed by a very detailed nished model, with many of the props and furniture modelled to absolute scale. This is a vital tool, which helps everyone from actors to lighting designers to composers to the workshops to visualise the director
and designer’s vision of the piece. It is integral to the process of communication. From this nished model, sets of detailed ‘working drawings’ are prepared in order to work out the mechanics and actually build the set. All the carpentry, metal work and painting is processed by the RSC workshops to produce the nished piece, including building specic scenic props (like the chandeliers in this production). Robert Jones, Designer
week 2
wn character. on their o e ar we nse ek we nd co For a se es there are inte m eti m So e bl ta ery a ev m sitting around ents. We have m t relief fro disagree y-b As a little ligh rd wo ay xt pl te e e th th h g of explorin rk we watc possible edition all the brain wo s ne. The whole ou li ri yva -b t ne ul li ns , psons co m rd wo e Si at hand to an episode of Th in ay pl e th ad . re ns let. m pany m co editorial opinio ich Bart plays Ha wh d in an , to ne ce nd -s te by s itor turns, scenea sticker Inevitably the ed Above his bed is to their in t in ne po li e ch th ea st t ju then pu fall silent on ads ‘Danes do it ay sound ting. which re na i m lu il nt wa wn words. This m o the actors w Melancholy’. reveals ho t to Friday ge we e laborious, but it m ti e th By w e you kno m su signer, ole play easy it is to as Robert Jones, de d we read the wh an w ho d an , in an e wland, our e m what the words m and Christine Ro h for the rst ti ug ro th gin really ready and e supervisor, be um hard it is to be cost go, everyone is e on es it m e chats with eti m m ic. So spec having costu ared. ep pr , ns pany. ptio m bers of the co m e shatters preconce m ges a m i s al ve . m re e s ctor, th es re s m r The proc es con m eti m The assistant di so n ca h ic es wh id ov ns pr io e of the eone m m and descript Occasionally so Cressida, and so ke li , ed ok on’; hearsed easily be overlo orable ‘translati any present a re m p e m co a m illing irable m ide th ad Shakespeare’s ch ading of ‘Fratric Andrea Harris, wi re us di au e Cl w nteenth anslates th description of ho alliteration, tr Punished’, a seve d an z nt ra as an version of m keeps Rosenc century Ger word ‘Mountebank’ an e ap n ‘a de’ and Guildenstern like let, which has a m ‘drug-dealing du Ha its of s) er ot rn ro co e as th ns y account ka apple, in particularly funn (revealing her Ar st la be to d m to he s’ out m way fro Drea outh, rst m let got a m m w Ha ho converts ‘John-aof , ng ki -run’. strikes us wed’. It’s a shoc wallo s Who-hit-John-and the pirates. It ‘ t is rd su ab st o ent m m ight be a frag etaphysical, al m this m at ve th ti ec l ll sa co ar r he ou re es m eti m Very quickly let, so m age. The work of m i of the Ur-Ha is nt ay i m pl h e es th fr of d ich an wh ge wled try kno as Kyd, m to will be to ibed to Tho cr d as we lo al is ne -o e. enhanced. No wrote. ages such as thes m m m ent i Shakespeare re co or rt pa wn o r ei read th G.D.
’ h d s e n u i P d i e c tri a r F ‘
The Text and Voice Coach All productions have the support of text and voice coaches. In rehearsal we work on the language by exploring the dynamics of sound and rhythm and provide opportunities for actors to approach the text in a physical and visceral way. We also assist actors in their quest to build vocal and breathing stamina, exibility and muscularity as well as to make connections between text, voice and character. This entails work on the body as well as the voice and a movement practitioner has worked with us on Hamlet. Text, voice and movement coaches also work on the understudy roles, offering actors the time and space to ‘play’ with the text and organically develop their performances. Voice and movement warm-ups take place before every performance and these help actors prepare their voices and bodies and focus their minds. Lyn Darnley, Head of Text, Voice and Artist Development
week 3 Br eaking p lay sl the p lay d o y w n. T , scen o his w chance wl e-b eek w to inv y scen e w or estig e o ther a . k thr I t g ate th o nd to i ug v e h the s e i e ar c r v h e gu e f a r r l e y l o l e a n n t e i o g r e o t n h e o ship t w e r s w s to g lines that easses her ith ea h o . a s v c e h A the im s a r D b enm een cu ar esult p k. U a c t t , nlike o o o f the f this r f ather his b new ki p , w ro e c h l e o l n s i g s had ch g ent , C sing l le co alleng er p r edeces audius, o m b a e t d n o the o so n the a r, H as no ld K am ice, C nd w l i e t n t g ’ N laudiu ab s o o o f o rw ve sle ay b s has rw ay to y dip dding N m V lo a ol tem n m ag his p atic e ed to and an ol eax f f av or t e d C o w i ho had s d or a w n l a e o r l n i e w b u . i e s t C h e n cut, (C on s u actio o eli ently n her r e-ente rn a in o eq o, F r u r or t h p t e r inb p ductio lay ra s. T er , as d o ry K n), ing co o e s t h Laer n e t i nues w tes. o hey rk o a half T ’v n the e w o r f k e gh t w o r d e t h v str e e it r y uctur r s m t o am r tw ning f h H let an e. N o w e o the r w e o d k r t s h a e o n ehear r n e h r o w o u i u r sal l g l h a i n b n d r e r o om it eg ut the ular s g o W self o rk ing . e s s io thr ns o ou g so utside h A lilo ct T q uy o h r e f e her a w ll: ’T e r e? W each t hy o b , af e, o he m the P t e r o r st f n H o lay a t am m l t e e o o r t us ’s tea b h e a ’ catch s . f W r o h u y s n the co at H d i s s uch it ecub nsc has he a, w ir hen he insp a descen ience o t i f o n in the ki has de f ded in atalis n g c t i m o w d ? i e th T d to this s A so Q he M uar lutio lo to ug o usetr , the n p h o r f e sents desp sp , tim eech a on denc ap e w i t e see s p e p l y e f a . a r n H s I d f am n the in A ather let f ct T ’s sp F ol lo ir w st o, and ir w i distr i n t g and si the en i s acted t h n c e ce O o p nce unte r ado ph elia p ting t ri ’ ith hi st ’s des r w pe ar his st s ap s ance i c ip r uctur tio n her r n o G .D e. . clo set. W f the e tr y
The Fight Director The ght scenes begin with a discussion with the director and the actors about what sort of ght they consider to be appropriate: how the characters relate to the ght and how they would feel about ghting. From there we build up various moves, listen to various suggestions, and through rehearsal we rene these until hopefully we realise the vision of what we want the ght to be. Most actors don’t have the specic technical knowledge of how to use a sword, so I try to interpret what they want to communicate and make the ghts expressive of that, but also accurate. Taking voice as an example, if you talk very quietly on the stage it might seem very realistic, but the audience won’t be able to hear at the back. The same applies to swordplay. You have to interpret and experiment with what is precisely accurate in order to make it appear realistic on stage.
The biggest challenge in Hamlet is that there is nothing to distract attention from the ghts. Arranging big ght scenes with lots of people on stage does present its own problems, but it also means that the swordplay doesn’t necessarily have to be very clever, because your eyes are constantly being pulled all around the stage. In Hamlet there is a lot of focus on just two people ghting; they are the centre of attention. Terry King, Fight Director
week 4
This week we are nally on our feet e sketching out the whole play. With a littl s scene the ed, ple stage geography appli m si selves. To keep the play m ove the begin to m wed very oving we’ve allo m uid and fastlittle furniture. shcroft begins ent director Michael A m Move w and we try to work out bsho m work on the du ween it and the the difference bet ining the m within-a-play. In exa playreal focus the s m staging of this it see of the audience’s attention should be on Claudius and Gertrude. It is they who are on display. m e On Tuesday we rehearse for the rst ti lights on the Courtyard stage. The working m is lit are on the stage and the auditoriu by the house lights, so we can’t see the ust carry the actors’ faces; their voices m scene. Cicely Berry, the RSC’s Director of Text and Voice, is watching and listening . m intently at the back of the auditoriu
She puts her nger on the challenge w e face. Everybody m ight now know preci se ly w h at they are talking about, but it is not only li te ral m eaning that is im portant w ith Shakespeare. Hi s pow er is also conveyed thr ough the rhythm an d sound of the language; ‘the so und m ust seem an echo to the sense’. On a m ore m undane level, w e have to decide w here to place the inte rval. Shakespeare didn’t have intervals, but th ese days they are dem anded, both by audiences and bar m anagers. So, w here to put it? W hat about after the pl ay ? Bu t surely that w ould interrupt th e furious dynam ic that leads right throu gh that terrible day to the closet scene and on to Ham let’s departure fo r England? Before th e play? Too early, su re ly ? W about tw hat o intervals? One w hen Ham let decides not to rely solely on the evidence of the Ghost but to set The Mousetrap , and perhaps one ju st before the ‘Eggshell’ scene, as Ham let w i tn es ses Fo rt inbras’ arm y m arching against a corner of Poland and nally determ ines to accept hi s fate and delay longer. But that no w ould m ake a long evening eve longer. So w n here is the ideal cliffhanger? G.D.
The Movement Director The movement director has various roles, dependant on the type of production and on what the director wants. Sometimes the director will ask for a dance, so it is then my job to go away and, working with the composer, choreograph a dance routine. Sometimes a director might not be totally sure what they require physically in a scene. A lot of the time the process is simply trying out different forms of movement and physical styles. These can then be rened and developed back in the rehearsal room. A lot depends on the actors. You might nd somebody in the company who is very, very
physical, in which case you can put those skills to use. It is hard to plan too much before rehearsals begin, as there is no point creating a lovely big dance routine, then arriving in rehearsal to discover that it doesn’t look right or isn’t suitable for the actor. The movement and choreography is something that develops throughout the rehearsal process in discussions with the director, the composer and the actors. It is a very collaborative process. Michael Ashcroft, Movement Director
week 5 . ad scene the m : r u o kin F s d Act hen her rl calle ) t i r g e d a y, r u 9 m 7 udd e m his In 15 om bec et was l y m l a k H c i e u n th hari uld q aw wi wo Kat on at d-r v e A r e d h n t a w hed ho m wned in scratc dro pstrea this is st u ps u a j h r , e n P o e t . pear e. stings kes Tidding Sha ad scen e m ord. h f t t a y r a t l S , p om to fr ah Gale yed en. Mari e t f ho pla w d s n , a a y w r , r a e i T l phe ry Ellen Hen ys O ho pla w pposite here o w a t i o l p he e s h p y t O he t bl ba pro e s I visit v a a w h , o g an rvin I eant t o visit t s s it was m s recorded in e r t the rst ac h pened, a the esearc ap r f h o o t s d m r u o his yl as urt rec g dness. T n a o m l a s the Co ’ k r l e a hed haract c y reac hen we w bl i s s e. T s o m w p o ti l e v t wil 89, initiati von, pas n, in 19 e ver. h i w he A r t t e h h g t ant ylance’s its hei k R ll r a a t M wing asl e k r o gro a o there the he RSC t t pot oor, m . m ad o o s r s B o In one s l o b t ly e pl let inal ur m am p H e cri s, h e t l p ikes of r r p o u s f p he spital he long ho un for t y are t bes do a r i he r T o c t s e , d e ude insan ch Gertr hi d of w n a l r a g ates. m in w phelia’s O h ro g in y e h T that eac ed eds. e e r w g a t e e n g v o ad cor We ha he m tingin hearse t nks of s e r e e w h s ong ba t e r m m o a ti her of her act not ot a ( e d h e s t r e e l , h t e t a net oute scen hat r w ia has g l w e o h n p s k O r u t s re cc plant will no ess we a n d). It o d n a a m l r s a ’ g phelia O for her ah were to igates f Mari i t a hat inst h w t , g n i her e k to us h a t sense to m hering t t s a i g t y a r h t , W he . es to it. y to t ac s, nettl n e u l l p r m u e e p h e long ust s hat m owers, t ow e said t cr c n , o s s e op e e i i n s s o i n e m da pa ple st So en peo ennel, f h w , s y s r i t a c m s . e u rose adnes m nd yo she coll ch hi understa w o e t u y r r g a n d r i n y a une tr agined f m her us’ t a f udi d in her i a e er d ere, Cla h h w r ght e o u s f r l e E e g ug but ing ta h e b d tri e e i r r a r u n a h Switzers y buried i ( after ilitar y c e r of m c e t s i b f o a ugger m y Staff e b n i l p i c s di obertson ’ R o b b o R ‘ Sgt. well ck Cass Ni . t g S d n ch of a cal bran o l e h t om fr y m . Ar itorial r r e T e h t D. G.
Co m posing the s core I norm ally begin to sketch out id conv eas after read ersation w ith the direct ing the scri pt and an init or about the production, e. pr ial op os g. w ed style and ill it be a pe feel of the fast-paced pr riod setting oduction or st or contem porary, a v ark and m alw ery physical ays inspirin inim al in design , g and I often . Th e m o de tr l y m sh usic. M to ow m ing is atch the atm any of Shakes osphere of th peare’s plays e set w place to star hav ith the e songs in th t in nding em , and that ca a harm onic language requires acti n be a good v for the piece. e participatio n on stage, i. A ny m m usic, needs to u si c w hich e. songs, danc be w ritten early es or on in the contex st in ag the process so e band t of the scen that it can be es. In Ham early, in orde re l he et arsed I needed to get r that Opheli Ophelia’s song a and the rest s w ritten of the cast ha A t som d tim e point during e to learn th re hearsals, w em . decide w e’ll sit and here w e think m go through th u si c should go and e script and underscore is w hat its functi w ritten as the on is sc . The score an en m es take shape usic needs to d and it becom do; for exam e p s le clear w , som w ith m etim h at usic or, alte es one w th e ants to usher rnativ ely, linger on in the next sc m usic m ight try to m a m ene o m e nt at the end of irror how a ch a scene. The or som aracter is fe e other threat el ing, or indica is approachin te that an ar the technical g. The score m y period, as pr is still bein actical m g w orked on thro atters often ug h dictate the le Paul Englishb y, Com ngth of cues. poser
week 6 rocess P y d u t rt nders ke pa a t o he U t T e agre
r to he RSC at t in orde s s r s o e t c c o a r on in y p All tud ill go rs t e s d t. n n u a c e h absen y g la n p in t i e e b h t r to at h y ac st of ure t of an ens e ca l y b t u i o l d a ut u o nt gh u tire eve hro t he an en t l e t a l l h a t t n par eans oun m his m T an a rsing i c a e s h l e a r s r hea t is ch le un m Ha ur l hese re T ho . f s l s a e een h c o s, he pr over gr t ts ng call te i a h n c e v y e k u in -m be tric ee to long r n h a t c d g n hin atc tings a Ti ee ctors e sn m m he a . e l t e l f f a o t c ten s o m of m l roo nd are a t, as a e y l a m d a H m in he th wi s Drea ring t ’ u t d h g d i e N l er m am um are cal e, I m i A Mids t g ase e n m i a m s r he ls in c t a perfo s t r A a e . h s e es; vening ut of r o he e he scen t t ip l n s i o s t t en nt pm cta heir u velo rel ve in t al de i i t c a u e r r c c iss cters’ I m are so ara h s c l a e p h i t c m t ee ha t he prin t king, s arsals oc l e b h e r e r o e m ti y heref t da s, and n o i t ion. n e t in ry sess ve e y to e g tud n a h ders n u to c n a period, for w e l i a v u e s r u t un he p t ublic t is no t p I s even in r , n r o u o o g sy u owards ry b ave to h e ve tle t r r a u h s r e ts o w t he ac and gh t and as c l i l s a u m e c an les. rm cking, perfo ipal ro nc ds, blo i r r o p w y g ands. r n m a learni hese de r ordin t i e y h b t d f p o unfaze on to em se y e h t y kil uc L own, a Br Cressid Direc tor nt a t s i s s A
Back to the top of the play. Lots of questions have emerged, which now need answering. The text may allow ambiguity, but actors can’t act it. We need to make choices. That’s the difference between reading a play and acting it. When did Claudius and Gertrude begin their affair? Was it before Old Hamlet’s death? Is that why the Ghost accuses them of adultery? Why does Hamlet adopt his antic disposition? Does Hamlet realise he is being overheard in the nunnery scene? Does Claudius actually reveal his guilt in his reaction to The Mousetrap, or is that Hamlet’s imagination, and what does Horatio think? Why does the Ghost appear in the closet scene, and what effect does that have on his old family? Does he prevent his son’s attack on his mother? Is that his intention? Why doesn’t Gertrude see the Ghost if, after all, mere soldiers like Barnado and Marcellus do? Why does Gertrude seem not to have run to help Ophelia as she drowns? Why does Shakespeare put the invitation to the duel in the mouth of a watery like Osric? When does Gertrude realise the cup is poisoned? We might not have all the answers, but perhaps we have some of the right questions. G.D.
The Costume Department On this production of Hamlet the designer and costume supervisor have involved the actors as much as possible in the design process. For the newly made period costumes fabrics were sampled from both national and international suppliers. The RSC Cutters draft all patterns themselves according to the specics of each design. Once the fabric pieces have been cut they are handed on to a team of makers who begin construction ready for the rst costume ttings. At the same time, the supervisor shops for hundreds of individual items of clothing: everything from suits to socks. Every article of costume is tted on the actor to determine the visual look of the garment as well as to check technical aspects. Sometimes designs can change considerably through the rehearsals. Before any costume or footwear goes on stage it may need breaking down: the process of distressing a costume to give it a worn and authentic look. The dye department also regularly cover footwear with specially made ‘mud’. The technical rehearsal is the rst time that the actor gets to wear the complete costume and the designer sees it under stage lighting. This is a very busy time as some costumes may need alterations in terms of design or t, some need extra breaking down and sometimes unforeseen difculties arise as part of the technical process. Alistair McArthur, Head of Costume
week 7
We start to run sections together. Pace is clarity of thought. If our thinking is right, the pace of the play should be swift and deadly. As we start to run sections, the ve distinct days over which the play occurs (allowing for the various time shifts) emerge with clarity. After one run, Cicely Berry, shaking her head, says ‘It is all so human’. We have explored the historicist perspective (is Polonius a portrait of Lord Burleigh, Queen Elizabeth’s Chief Minister? Is Hamlet an autobiographical portrait of the Earl of Oxford?). We’ve argued about the play’s politics. It’s an intensely dangerous world of hyper-surveillance, in which Hamlet himself seems largely politically disinterested. We’ve delved into the psychoanalysis of poisoners, and rejected Freudian analysis of the oedipal nature of the closet scene. But to bring the play home to each of us, to allow it to touch our own lives, and to get even closer to the iconic questions touching our own mortality that the play poses, we have more work to do. Next week we move from the security of our rehearsal room into The Courtyard Theatre for the technical week. Suddenly there will be a huge set, and lights, and sound effects, and costumes, and dressers and wig girls, and the whole stage crew and props staff, and a band and music cues, and ymen on hand for the automation, and the aerial work, and a production photographer, and a massive auditorium to reach, and, by the rst preview on Thursday, a thousand people sitting in it. On Monday morning it seems impossible to believe that we will ever get there! G.D.
The Production anager M The Production Manager (PM) is involved in a production m beginning to end, fro supervising collaboration ween the creative and the bet s. Coordinating m technical tea all the physical aspects of a production, such as scenery, e m lighting, props, sound, costu and special effects, involves ents and the PM m any depart m works in close collaboration with all of these to realise the creative vision of the . m artistic tea The life of a production begins with a design brief, written by the PM, which prescribes the eters of the production. m para The designer then produces odel of a detailed scale m the set, which is assessed for practicality, safety and affordability by the PM and ents. Once m construction depart in rehearsal, the PM chairs eetings attended a series of m by the director, designers, w running construction and sho ents, where progress, m depart ents m changes, rehearsal develop are nts e m and artistic require ws up dra also PM The discussed. hich e, w dul the production sche etables the preparation and m ti w into installation of the sho the theatre.
Then com es the hectic business of ‘tting up’ a sho w : the initial assem bly on stage of all the hard w are needed for a production. This is follo w ed by the technical and dress rehearsals and then the previe w perform ances, all coordinated by the PM. Even w hen a production is safely up and running and in the hands of the stage m anager, the PM has a role in responding to requests for m aintenance and repair, as the life of a production is often m easured in m onths and som etim es years. W hen this life is extended as productions are transferred to London, Ne w castle or cities around the w orld, the PM w ill be involved in the process of m oving the sho w into its ne w hom e and ensuring that the original vision of the artistic team is preserved. Sim on A sh, Production Manager
week 8
ent em anag Stage M
, am heir te h t it w er h t ge of all Manager, to m th running oo The Stage s e h t r hing nyt ble fo sponsi can be a s hi is re T s. ehearsal the cast to pects of r ers of as b m e m r that fo ing ing , to ensur om organis rk fr wo t a aintained vedigger are m ts n e m re visit a gra ui o ty req Manager als ge h and safe ta S he healt T . m oo this ll; ehearsal r the r in hearsal ca re y il d out da e o th ctor t n re hedules di sc e h t h owing eeting wit the foll for d entails m re i qu re are nising ch actors hi w ll as orga we s a ls are hearsa the actors y’s re da at h t s ng ings, thi her and wig tt the ot e m all tu os c h as ht suc ls, g needed for, ialect cal d s, al rs hearsals. ehea g re in y ent r m d ove an m ews vi ss inter er calls, pre Stage Manag he t of s the ain role of the m transition One of h ot o m s the the re m into is to ensu al roo rs ea h e hearsal r he om t hnical re ec y fr t pla he t hat am run he te certain t ng ki a m , theatre. T hedule tion ght sc y ti the produc to a ver ct of pe as l ca io at n are chni om y te and aut ever nd ou s g, ow. sh htin the h as lig reate c suc to y tl correc ion introduced gh product hi e h t g in aintain m y press ved b chie As well as a be o t ible for that need pons es r values so al e m ar ny. m o pa the tea ght, ni e acting c h t f o re l ca the pastora ent m ge Stage Mana
The Sound Design Having received the script, I generally look through and mark obvious points where a sound effect might be used and what it might be. Shakespeare is very good at letting you know what’s required, and if you’re not too sure, just read on a little and he usually gives up the reason. The main answers come from the director describing the inuences, style and period of the production, and from engaging with each artistic discipline. Some sound effects will be the result of a director’s inspirational idea, some from a direct request, say for a bell striking twelve. We try and record as many new sound effects as we can, but if all else fails the RSC has a huge library of effects to hand, both purchased and from previous shows. As rehearsals progress we test out our ideas as we gain more and more knowledge about the production and how sound and music will interface to tell the story. All RSC music is live; in this show the musicians are high up behind the mirror wall. When we get to technical rehearsals the band and the sound operator join and we have at least one microphone on each instrument; they will be mixed live with the sound effects, and balanced against the actors’ voices for each performance. Jeremy Dunn, Sound Designer
