Libby Watson’s set is up and looking absolutely fabulous, complemented by Mark Jonathan’s extraordinarily beautiful lighting. The Belgrade’s set builders are truly first rate. There were a few creases which needed ironing out, but this is the purpose of the tech. It is not for the actors, but so that, lighting, sound, stage management, and the stage crew have the opportunity to be certain that they are happy with their element of the production, and that the director is satisfied with the overall picture. Having a practical, working lift on stage was bound to create a wee problem. And, it did. But, with the set builders on hand, and a seasoned (and, I have to say, incredibly well tempered) crew, the problem was solved.

It is a wonderful moment, when the team begin to see their months of work begin to come to fruition. For the actor, you finally get to inhabit your space, your character’s home for the next month. Peter and I are truly blessed to be working on a piece which is such a challenge. It is incredibly demanding on our stamina and talents. It never lets up. There is no chance of us getting bored during this run.

So, we need an audience. On Saturday, we had our first preview. Both Peter and I were blown away. Just under 200 audience members for a first night preview. How were they going to react? Our DSM, Sophie, gave us our beginners’ call, and we took up our positions back stage. The opening music swelled, the lights dimmed, the auditorium fell silent, my stomach did a little dance, and I made my first entrance, Peter not far behind me.

There was no turning back, once we were out there, we were there for the duration. The assistant director Amy Bonsall, had done a final line run with me an hour before, to keep me pitch perfect. It felt good. It felt very good. The connection with the audience creates a frisson, gives you a lift, and the piece begins to soar, it takes on a life of its own.

Suddenly it was all over. The lights flashed up. The audience were clapping, and clapping hard. Hamish had said, “If you feel the warmth of the audience, go out for a second bow. Your call.”  They were still clapping hard. We came back on stage. The applause intensified. There were some whoops and cheers.  Peter gave me a wink and a smile.

As I stepped backstage, our ASM Sarah gave us a massive hug and a kiss each, and as we headed towards our dressing rooms, our winch-man, Tim greeted us with a beaming smile and another hug. Poor devil! He’s the one deserving the hug, having to winch the lift up and down every night.

Our producer Andy Fishwick was in, as was our writer David Eldridge. What was the verdict? Most importantly, had we delivered for Hamish, our director? I was about to head out of the dressing room, when there was a knock on the door. We opened it to an ecstatic Denise and Paul Duncombe, who both work here at the theatre. They loved it. More hugs and kisses. God, I love the Belgrade.

So, out into the bar. More smiles, more hugs. David is a harsh critic, especially with his own work, but he was full of praise. As he headed for the train back to London, he said, “You’re a rock. Trust the piece. Keep calm and be disciplined. Do that, and you’ll be fine.” The first three I got. The last one confused me. I deferred to Hamish. He smiled wryly, and handed me a glass of red wine. “You were bloody marvellous. Drink this. We will work on your discipline on Monday.”

One more preview, one more dress, and Press Night Tuesday. The London Times, Guardian and other national papers are covering as well as the locals. And the Guardian’s placed BABYLONE on the top of their must see, pick of the week lists. David returns Monday with his agent. Hamish will be working his notes. The Belgrade continues to smile over us, as do the black faced sheep over me, as I bash this out on my PC in the kitchen of my cottage.

I’ll have another look at my lines, and then take some fresh air. It is Sunday after all.

JLP ;-)