Thanks to John Surso for these great photos from the production

More photos coming soon...



Suzanne, Gary (Labarbe), and Phil (Morin)



Morin and the "Gorgeous Women"



Caroline (Henriette), looking dreamy



That Pig, Morin, complete with topiary 

The Pig Day Arrives

More than two hundred people packed out the auditorium last night for the US workshop premiere of That Pig, Morin. Despite being uncharacteristically nervous before the show, I was soon made to feel at ease by the actors and dancers, who delivered performances that were at once skillful and at the same time totally in keeping with the character of the piece. I am deeply grateful to all who took part, whether on stage, or behind the scenes.

Throughout the course of today, I have received many comments encouraging us to take That Pig to the next level. With such an auspicious start, we might just do that.

Thanks once again, and look for photographs from the workshop soon.

Final Rehearsal Collage

Click to enlarge this collage of pictures, which will give you a flavor of our final rehearsal...

Final Rehearsal

Here are some pictures from our final rehearsal, which took place today.

See you at the workshop tomorrow. Good luck, everyone!



Suzanne (Director), Gary (Labarbe) and Ian (Rivet).



Chrissy (Dancer), and Phil (Morin).



Phil (Morin) and Dancers.



Caroline (Henriette) and Phil (Morin) 

Doin' the Piggy Polka...

Rehearsal last night was necessarily long and detailed as Suzanne worked out blocking (the choreography of actors' movements throughout the entire musical) for the actors and dancers. I found it fascinating to observe how the musical is gradually coming to life, and gaining depth (both figuratively and literally) through being staged. I continue to be impressed by the diligence and professionalism of our actors, particularly in the way they genuinely seek to delve into their characters and what motivates them.

Last night we also enjoyed some spectacular dance routines - 'Piggy Polka' is a setting of Labarbe's worst nightmare, reflecting Morin's encounter with his 'Gorgeous Women' at the beginning of the musical, and linking him with 'that Pig, Morin'. The slick choreography, together with masks, piggy noses and ooh-la-la's made for an unforgettable presentation!

One more rehearsal to go - on Saturday afternoon. I'll keep you posted.

Rehearsal update

We covered a lot of ground during yesterday's rehearsal. I was particularly impressed by the care with which our performers approached the songs, bringing out the depth of the meaning of the words and diligently projecting the musical lines. We're really fortunate to have such a fantastic cast - thanks you guys - I'm looking forward to the workshop on March 26th.

Our first rehearsal went off well yesterday, with much excitement among the talented group of actors and musicians assembled in the choir room of St Paul's. I stayed behind to record the songs, which will hopefully make them easier to learn. There was an interesting discussion about what accent was appropriate for a work set in the 19th century, converted into a musical by two 20th century Brits, and soon to be performed by an assortment of Americans. Does anyone have any suggestions?

That Pig, Morin

Nineteenth-century France: small-town draper Morin, returning from business in Paris, is accused of advances towards a young woman on a train. His home town's most eminent man (and most eligible bachelor), Labarbe, is persuaded to intercede on his behalf, and soon meets Morin's alleged victim, the delectable Henriette...
Based on a short story by Maupassant, this not-quite romantic comedy has six main roles (3m, 3f) and a small chorus.