Blocking

It was a hard day in rehearsal yesterday.  Losing nine days to injury would put us up against it even with Martin fully recovered.  As it is, he’s brave but gets tired quickly.  A long slog in a hot room blocking the show – painstaking, gritty work – was hard for all of us.  We got through all of scene two (the busiest in the play) and I’m very pleased with what we achieved.

I had spent the weekend holed up with Maureen’s model box and some toy actors.  (Joe is played by two whisky corks with a paperclip to remind me which is his good arm, Tom is Ghosttooth, a toy given to my girlfriend by a boy named Hamish). 

This week will be a tough grind towards our first preview on Saturday.  The cast are worried they’re under prepared and won’t know their lines.  Martin’s still unsure if he should carry on with the show.  It’s a difficult time.

 

Day Job

My day job is editing TV programmes.

I may be kidding myself here.  At what point in your twenties does your day job become your job?

I have no time for such considerations - I'm working for the BBC. I am always conscious of what a privilege that is, and always conscious that a freelancer can be sacked at any moment.

This week, I’m doing two days for the Culture Show. There's a new film about Dylan Thomas, The Edge of Love, coming out.  As well as the interviews and reviews, we're making a short piece where the residents of Laugharne read a couple of Dylan Thomas's poems, Perfect Day-style.

This is the last job I did for them.

Karl is sharper than he makes out.  He works with Ricky Gervais.  (That's for you, google).