Remounts and Long Runs: How to Keep Things Fresh
While film and television may have extended shoots or seasons that span many years, live theatre tests the patience in a different way. On Broadway, it is not uncommon for shows to run continuously for years on end. Even in regional theatre, remounts (bringing back the same production for four or six week runs the following season) are not unheard of. But how to keep things fresh and organic night after night?
- 1. What has changed? Examining how changes in the production might be incorporated is important to keep things fresh. If you are returning to a remount, for example, there may be new cast members stepping in, blocking that was adjusted from last time etc. Instead of falling back on what was done before, see if there are ways these external changes might fuel growth in your performance. Just because you’re remounting the framework doesn’t mean you have to stop evolving–it’s still a new production.
- 2. Keep unpacking. One of the great things about extended runs is it gives you more room to play. Ever get to closing weekend and kick yourself because you just made a discovery you could have been using this whole time? (I have). With longer runs you get more time to explore. Don’t stop working when you feel you’ve hit your stride. When you start feeling really comfortable, it could be a sign that it’s time to mine a little deeper. Reexamine bits, change up tactics, revisit your pre-beats and as ifs. Even a slight mental reframing of the scene can be a springboard for fresh work and new discoveries.
- 3. Return to the text. If you don’t know where to start, go back to basics. Returning to the text with a new perspective can be a great way to open up new possibilities. Consider beating out the script again from the other side of practical experience. You might find the words hit differently.
- 4. Set new challenges. When nothing is working and I feel stuck, I like to set small challenges for myself. Don’t try to rejuvenate your whole performance at once. Start with one scene and give yourself a game. For example, I recently was in a remount production and one small scene was feeling stale. The framework of the scene had me and my primacy scene partner listening to the lead while we periodically interjected. I spoke to my scene partner ahead of time and we agreed we were going to go in with the intention of always trying to one-up the other one. It made sense for our characters and the scene, it didn’t affect the lead but it returned to the scene the slight edge of urgency that had started to dull. Finding new ways to play can get your mind sparking again and breathe new life into your work.
The last thing we want is to feel like we’re phoning it in. Instead of looking at long runs and remounts as doing the same thing over and over again, try to see it as a work in progress. There will always be opportunities to stretch, evolve, and try something new. And the beauty of live theatre is if something doesn’t work tonight, you can try a different approach tomorrow.
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