Rehearsals start in Tbilisi

The British contingent has arrived in Tbilisi to start rehearsals for Captain Corelli's Mandolin, a co-production between the Mercury Theatre Company Colchester and the Marjanishvili Theatre Tbilisi in assocociation with NFA International Arts and Culture. The show will open in Tbilisi on 5 October as part of the Tbilisi International Festival of Theatre before moving on to Colchester, opening on 27 October at the Mercury Theatre.



Mike and Gus feel the coolness in the air

 Things started easily with a short meeting to introduce everybody and talk about the process Then it was off to Levan Tsuladze's summer house, high above the heat and dust of Tbilisi for a welcoming party. At 1200 metres above sea level the air was clear, the wine was cool and the food delicious!

 The first day proper of rehearsal began with  a reading of the script. As well as playing their own characters, the actors have to provide voices for the puppets so they need a variety of voices - and then have to remember which is which! Towards the end of Act 1 there was a long pause. We had reached the moment when Corelli arrives in the village and addresses the villagers.There are three characters in the jeep plus a number of villagers standing and watching. Levan turned to me with a grave expression: 'Roger, we will need more puppeteers'. So, can we a) find the budget for three more puppeteers and b) arrange UK visas for them in time? It'll be alright on the night.


The first read through


The rehearsal process is quite different to the way in which the Mercury company is used to working. They are used to working in a rehearsal room without a set and with rehearsal props and furniture but with this show all elements are brought together at the same time. As the production is so visual, it is important for the Director to be able to see the finished effect as it takes shape.

Most of the first day on stage was taken up with the first scene - only a few lines of text but a mountain of technical effects. Dr Iannis (Mike Maran) is sitting at his wife's grave chatting to her. In the background villagers are climbing the hill to the church carrying candles and singing to pray for the sick. Iannis decides to join them. At this point the scene transforms and the live actor is replaced by his puppet. It is a beautiful moment but also crucial for the audience as it is the first moment when they realise that the characters on stage are both actors and puppets. They will hopefully marvel at the beauty - and does it matter if they don't know that those few seconds took nearly four hours to create?