All Hedda

Now it's all Hedda, all the time.  We finally did the full run last night--for the first time at Surflight--but without an intermission, it ran until 11:00.  Granted, we started late and Desi addressed us after, but still--.  I cringe at the thought of my seventyish friends sitting through this and just hope the snores don't overwhelm the dialogue.
This is a deep, psychological drama--probably the least favorite theatrical experience among my contemporaries--and there are subtleties that are imperative to grasp.  Unfortunately, it's very talky which, of all damming features, seems the worse.  Months back when we were having the heated discussion* about whether to cut it or not--and the non-cutters won--I wish we cut-favorers had held out longer.  The first act is very long and the second and third acts, in particular, seem to drag on interminably. They could have--and should have, if you ask me--been consolidated into one act.    
Well, there are some bright spots, notably the mikes.  The only other time I was wired up was in Arsenic last year, in this very theatre. The mouthpiece was taped to the face--very uncomfortable and also problematic because it had more places to snag on.  The wire (which is put under the clothes, of course) runs to the battery pack and I was emphatically told by Our Gang people that it had to go on my back.    
But no: Last night, Mark, the sound and light guy, told me those mikes were owned by Our Gang, and just happened to be the style they chose.  What we're using belong to Surflight and are much more comfortable.  The battery can be placed (in its cloth pouch and velcro "belt") anywhere the actor prefers.  I put mine at my side, much better for sitting down. What's more, the mouthpiece (really just a tiny extension of the wire) in this version is anchored in the hair (or in my case, the wig), so much less intrusive and more comfortable.
Another concern for the cast is the small stage, which means that, with the necessary furniture, it's awkward to move around, especially upstage.  We have to plan our blocking with care so it doesn't look awkward.
Amy, the hair/wig person, will be at my place at 3:30 today, then I'll pick Aline up in Manahawkin after.
Oh me, oh my, let's fervently hope this thing comes off before the length of it empties the theatre.  Dress rehearsal tonight.    
* From my January 26 entry:
Did a lot of e-mailing back and forth over whether we should do some revision on Hedda--especially act one, which is talky and repetitive.  Geez, it's a three hour play as it stands (plus intermission) and Grey sensibly suggested cutting. Neil then got on his high horse and exhibited his usual stance of nobleman against the peasants, arguing passionately that the great writer couldn't be treated that way and it's a sacrilege (well, he didn't use that word), and so on and so forth.  I pointed out that almost all writers have editors and that plays are routinely revised, sometimes drastically (e.g., Night Must Fall).  I found on-line that Hedda itself has been staged in altered versions--at least once, as a lesbian drama and at Princeton U., Hedda was changed into a man--talk about revision.  Anyway, it's so satisfying to be in a position where I can argue back and forth with like-minded people, whether they agree with me or not.