by Shera Cohen
What is a play preview, and why would you attend a preview
instead of the “real thing”?
A preview is usually the entire production of a play, where
a few blips, bumps, and forgotten lines are acceptable. The preview is
essentially the final dress rehearsal, yet in front of an audience.
My philosophy on theatre is that a play is never complete
without the essential element of an audience. Yes, the text is the crucial
start. Add an astute director, creative designers, exceptional actors,
exquisite sets, perfect costumes and coifs, talented crew, on-their-toes front
of house staff, and all of the necessary rehearsals, and this is not quite yet
a play. I fall back on the saying, “If a tree falls in the forest and no one is
there to hear it, does it still make a sound?” I don’t know enough science to
answer that question. But, I do know that without people to react to the words
and movement on the stage, the play is not complete. The individuals in their
seats, hopefully you, are a vital component in the play production business.
That said, a preview is very important as it is the first
time an audience can react to the production. The director and actors certainly
have their own opinions. Facing the proverbial music, however, means receiving
the opinions of the audience. An audience is also never “right” or “wrong”
because it changes from day to day.
Why attend? You help make the production better. You
experience theatre somewhat at the ground level and learn a little more about
the process. You usually pay less for tickets.
Are you seeing a “lesser” theatre production? Having seen
many previews in the past 30+ years, I have yet to say that a preview has been
in any way mediocre to the real deal.
My recent summer viewing included several previews,
oftentimes because some previews fit my schedule and other times because I
purposely sought the experience of participating in a preview. Except for some
tweaking, Berkshire Theatre Festival’s “Anna Christie” was perfect in its
execution and acting. Frankly (and who am I to be so boastful), I would have
changed some of Eugene O’Neill’s script. One single word was forgotten by
Olympia Dukakis, start of Shakespeare & Company’s “Mother Courage and Her
Children.” At age 82, with the onus of this long production on her, one word is
certainly forgivable.
