Threeeee is the magic number. I’m back, this time to tell you about Week 3.

We’ve moved from the cavernous wide space of Stage 1 to a wide, seats back version of Stage 2. The lovely technical team have remarked all the floor, the set has all been moved and we’re back on it.

Now I’ve mentioned in previous weeks that there’s 37 characters and 10 actors and what often goes overlooked in the final glorious product is how mind-bogglingly difficult it is to follow all the actor tracks to make sure all of this works. This has been part of my job, tracking which characters are where, where they leave stage, stay on stage, change to another character, re-change, where their costume ends up, if they’re in the right place according to the geography that we’ve decided for Road and whether they’ve actually got time to do all of the above (often the case is they have just the right amount of time, down to the second). Natalie’s commitment to the text is very impressive so we’ve got to keep an eye on everything.

When you go into the bright lights, greasepaint and standing ovations of theatre, you don’t realise how much you’ll rely on the humble spreadsheet. But let me tell you reader, you do. WILDLY so. Without my lovely 4-page spreadsheet I’d have lost me head somewhere in Act 2 Scene 1 and never have found it again. Learn excel, it'll save you hoooooours of headaches.

This week, I’ve started watching the new series of Sex Education, have you? (weird segway Haws, what you talking about) well clue's in the name but there’s loads of very intimate scenes in Sex Education so at the end in the credits you’ll see some people called Intimacy Coordinators. This hasn’t been around long in the theatre world but we’ve got some wonderful intimacy coordinators on Road. We worked with Yarit and Enric on Saturday to begin to look at the scenes with intimacy (intimacy here includes any kind of touch, kissing or proximity) nudity or violence.

We dedicated a full day to this on Saturday, with a closed space and only people that the actors felt comfortable having in the room. Giving time and a safe space to actors who are really going through huge emotional complexities in the play and seeing what they’re comfortable or uncomfortable with is important but it’s also a new skill. It treats physical intimacy as choreography, there’s nobody waiting till the last minute and just going “well you need to kiss at some point” which for years and years has been an actor's experience. And while that is massively unfair and can be damaging and uncomfortable for a cast member. It also doesn’t create the best environment for the wider team or believable work for a paying audience. So here’s to intimacy coordination. *clinks coffee cup*

We have our Movement Director Nadia Iftkhar with us full time from this point on and what an absolute joy it is to have so many experts at their craft in a room. Nadia has come on board to help us find the “beauty in the everyday'' and let me tell you reader it’s looking beautiful. In Week 3 we’ve been finding the B story, which here means everything that happens on stage that isn’t pre-determined in the script. Our Road is never asleep, it is always alive. Breathing, dancing and demanding your attention. I’ve never seen anything like it on stage, not with the mix of set, tech, lighting, costume. It’s gonna be breathtaking. ROAD’S COMING ROUND W’ LADS ROADS COMING ROUND W’!

P.S our open rehearsals are fully booked now but there is the opportunity to come and meet Natalie, and I’ll be kicking about too, on October 19th for interval drinks you can book that here.

See you next week!

Book tickets for Road here.

< Read about week 2 of rehearsals.

Read about week 4 of rehearsals. >