I've done a few shows where the playwright was a distant part of the process, and the script changes amounted to nothing much spectacular. A few words, here and there, some lines dropped or added; nothing drastic.
Now, I'm on a world premier, and I've received three wildly differing scripts, so far, and we're only on the second day of rehersal. In addition, the playwright is VERY much part of the process. We received script changes from her between the first read-through and the end of rehearsal, last night.
Those of you who have been in these situations before: how much of the supporting paperwork do you re-do from script version to script version?
Obviously, anything that affects the run, props tracking and whatnot, but do you re-do the tech analysis? Re-work the French scenes listing?
I'm going to be a good little SM and re-do it all, but I guess just very frustrated. I was told that the first version of the script I was given was "close enough" to start paperwork on, and this is the third time, in less than a week, that I'm going to have to ENTIRELY re-do a good bit of pretty meticulous paperwork. Editing paperwork is one thing; of course I'm used to doing that daily. But re-doing is making my head ache way too early in this process.
-Edit to tag subject line-Rebbe