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Leanna Brodie

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Feed, Fight, Flee, and... Flirt: Rehearsing "And Bella Sang With Us"

August 9, 2016 Leanna Brodie
Rehearsing a fight with Sarah May Redmond. Just off camera is our fight choreographer, Derek Metz... who has faith that I'll get there, eventually!

Rehearsing a fight with Sarah May Redmond. Just off camera is our fight choreographer, Derek Metz... who has faith that I'll get there, eventually!

In real life, fighting and making love are intimate acts: outside of whoever you're doing them with, no one else exists.

In the theatre, representing either violence or sexuality comes with a set of paradoxes.

During stage combat, your first duty is to your own safety and that of your fellow performers. Your second duty is to make it look like you're trying to hurt them.

Staging love/attraction/sexuality, meanwhile, turns one's most private moments into a PDA.

Actors love to live as fully as possible through their time on stage. In And Bella Sang With Us, I get to deduce, chase, argue, mime, sing, drink, kiss, make jokes, make a fool of myself and others, and perform heroic deeds. I'm a lover, a fighter, a friend, and (as The Wire would have it) "good police".

I knew I'd ease into the fighting slowly, able to bring the aggression only once I'm sure I know the choreography and that no one's going to lose an eye. (I'm lucky in that Sarah May Redmond and I just worked together on He Said It. In fight scenes as in love scenes, trust always helps.)

On the other hand, I was startled to hear from director Sarah Rodgers and her assistant Ian that whenever Simon Webb and I are playing ex-lovers O'Rourke and Harris, our volume drops to a nearly inaudible whisper. As Ian put it: "If this were a film and we had microphones, it would be very steamy!" Simon and I are both stage animals and, once into performance, I doubt we've ever gotten a volume note in our lives. However, this is rehearsal, and this is different. The overt sexual content of this play is pretty mild – it's essentially a buddy cop story set in 1912, after all – but Harris and O'Rourke have a pretty torrid history, even if only the tip of it is currently bobbing above the surface.

I do feel that, particularly when we play lovers with actors who are strangers, there needs to be a period (even one run-through, if the schedule is tight) where it is just for us. We need to create intimacy... because erotic and sexual material, in the context of the theatre, is not generally about exhibitionism. It's not actually a PDA. It's a very private moment... shared.

Not to worry, though, Rodge: now that Simon and I have got the hang of it, we'll bump it up a decibel or forty. Next I need to focus on improving my hand-to-hand... while wearing a long skirt. Good times.

And Bella Sang With Us plays at the Cultch Sept. 9-17. Tickets and more information here.

My comments about intimacy and privacy are obviously not universally applicable: when it comes to the Kardashian family, for example, all bets are off. However, most reality TV stars haven't seen fit to turn their talents to the stage. Yet.

Tags Vancouver Fringe, Canadian theatre, Policewomen in Canada, The Cultch, stage combat, stage acting

Back on the boards in September

July 18, 2016 Leanna Brodie
The show poster, with the sparkling Sarah Louise Turner. I knew my favourite chapeau from Lilliput Hats would come in handy someday.

The show poster, with the sparkling Sarah Louise Turner. I knew my favourite chapeau from Lilliput Hats would come in handy someday.

Gearing up to rehearse And Bella Sang With Us for the Vancouver Fringe in September. This fast-paced historical adventure passes the Bechdel Test with flying colours and with Sarahs to spare: we initially had *four* of them in our rehearsal room, which made it feel like some sort of Presbyterian convent (or the world's most goyishe mikvah). In the interests of sanity, they have been renamed Sarah May (Redmond), Sarah Louise (Turner), Sarah Roa (her full name), and Rodge (Sarah Rodgers), for the duration. Sally Stubbs is around as producer and playwright, and stage manager Patricia Jiang is on hand to keep all that estrogen on the straight(ish) and narrow.

Our resident menfolk include assistant director Ian Harmon and ASM Kenta Nezu. Versatile SImon Webb rounds out the cast, playing all mankind. Simon should compare notes with dear Rob Fortin, who played The Men when we did the equally female-centric For Home and Country at the 4th Line Theatre. Or possibly with Chris Hemsworth from Ghostbusters... though at least our action-packed tale is unlikely to retroactively ruin the childhoods of any whiny American boy-men.

Tags Vancouver Fringe, Vancouver police, Policewomen in Canada, plays by women

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