After almost three weeks of rehearsal, we head into our first run-thru this Sunday. The process of developing the script has moved wonderfully quickly, the actors are excellent improvisers and thoughtful storytellers. They are also terrific musicians, singers and dancers! We've thrown a lot their way in the past three weeks, new songs, new dances, the challenge of inventing our tale out of thin air in the style of the late 19th century, and all in two languages! They are true champions.

Kudos to our design team who are working diligently to create their pieces of the puzzle with limited information that changes daily as this new work emerges into being. It's been a flurry of activity this week. Tonite Hal arrived with a new corrido that he wrote; on Tuesday Maria refined the choreography of the chotis and polka, adjusting it to the set that was now taped on the floor by Gavin; Mark is in the scene shop, building the set with Becca; and Sarah has crafted her props list from the latest version of the script posted up on the wikisite by Estela. It's a team effort by an excellent team.

So, tomorrow Friday, we'll take a look at the scenes based on Wednesday night's improvs, and create the transitions between the scenes. I'm truly grateful that we have such a great troupe that can catch everything we throw at them and toss it back with grace and beauty...

Tonite they sounded so good at music rehearsal that they began looking for a name for their band. Hal suggested: Los muertos agradecidos!

L'shana tova...

Five days before rehearsals are scheduled to begin and Thank God for the excellent conversations with our designers that have helped clarify so many elements of this show! And we are cast, to boot. A sweet day, thank God.

We discovered that we need a scene where Don Juan teaches our shy actor, Rafael, how to woo a lady, and that the duel may in fact be a dance-off. Learned that the impact of the French upon Mexican history in the 19th century, most evident after the Mexican Independence, is an important ingredient in the creation of the Revolution in the early 20th century. Although France made European fashion and manners alluring, it was Emperor Maximilian, ruler of Mexico from 1864 to 1867, who upheld several liberal policies proposed by the Juárez administration – such as land reforms.

Back to dramaturgy, a new question came up, go Tim, how is Don Juan visible to the living? We bounced a couple ideas around. What do you think?

Who are We?

We have a great cast for this production, singers, dancers, actors, musicians, all rolled into 6 or 7 ~ one remains to confirm!

However, it recently dawned on me that while we have roles for all 6 or 7 within the play Don Juan Tenorio (which serves as the play within the play), we have not identified the roles in the greater framework (Viva Don Juan!) that is really the heart and soul of our production. And so, here are some ideas for our 3 men and 4 women:

We have DON JUAN, of course, the spirit come back to the land of living looking for his altar. Finding none (for who would wish to honor the scoundrel?) he decides to infiltrate the upcoming production and change the ending, thereby redeeming his once good name.

His daughter, ISABELA, an actress who plays the role of Doña Ines in the play.

Her confidante, BRIGIDA, another actress who performs (as luck would have it) Brigida, the nurse who betrays Doña Ines.

The poor actor, RAFAEL, who's in love with ISABELA but too shy to let her know. He plays Don Gonzalo (Doña Ines' father) in the play.

JAIME, the actor who plays Don Luis in the play, who learns of ISABELA's inheritance and wishes to take advantage of her generosity.

CARMEN, the founder of the theatre troupe who encourages BRIGIDA to tell ISABELA the truth about her origins.

FRANCINE, the fiancee of JAIME, who plays Doña Ana, the fiancee of Don Luis (as luck would have it). She grows jealous when JAIME turns his affection toward ISABELA.

Everybody has a song to sing, and several will dance. I imagine.

It's a start...