EYE
to EYE
Dress
#2 NOTES
GENERAL
NOISE
Noise
backstage was truly atrocious. I
will address backstage rules with both crew and full cast today as a
group. But one thing to be ready
for is that the Devising Ensemble will not enter until the transitions begins. So you will wait in the hallway, listen
for the music, and once it starts, you will have about 30 seconds to get in the
door and to places.
FYI
- When I realized this was going to be a problem, given we could not even get
quiet at places…I decided to make hash marks for every time I heard noise.
The
total?: 93
That’s
a first in my entire career. Not a
record I ever wanted for a production I directed. Wow…
HOW
TO READ NOTES
If
you don’t get the same note twice, it usually means you resolved the previous
note. I will rarely say
“Great job on taking the last note.”
So assume, unless you get it again, that I felt you had improved!
A
few crew notes are scattered throughout. Please look.
DROPPING
IN
It
is clear to me that some casts are not taking the necessary time to focus, get
quiet, and put all attention on the show ahead. I know this, because only 1 minute prior to Act Two
starting, actors from Blank were
socializing in the foyer. I hear
this is true of others as well. Please…put yourselves in a position to be successful. None of you yet possess the skills to
just walk on stage and “nail it” without proper preparation. And…once your play has performed, be
respectful. Know that others still
have a play to do… You should be
quiet, do homework, watch something under headphones, etc.
PERSONAL
DRAMA
It
ends. Now. I am extremely aware of the numerous
instances of interpersonal nonsense transpiring. Is this normal for high school? Of course. Do I
“get it”? Yes. It’s part of growing up and navigating
the many changes in your minds, bodies, and lives. But can any of it be allowed to poison our collective hard
work? No. And what saddens me is that I chose to
cast as many people as possible - the largest New Works cast in our
history. I did this because there
was the talent, yes…but also, because I wanted to allow as much opportunity as
possible. But I worried…is casting
30 people a good idea? Because
with more people - there is always more potential for some to stir things up
and sabotage the process. And that
is beginning to happen…right before opening…in at least 4 different
situations. So let me be
clear: if you are not able to
control your behavior so as to always contribute to the collective effort…if
you are not able to place your full energy on the production…you are not ready
to be in this - or any - play. You
do not yet have the maturity to do so.
Do not be selfish and hurt your peers who have worked this hard. Stop making it about you… We made a deal with each other: this was to always be a process about
building a platform for your colleagues - where we all put others first…so that
ultimately, we are all standing on a stage where we have each other’s backs…where
we will all succeed and grow.
Remember that…and knock off the petty, inconsequential, and unimportant
gossipy nonsense. It’s beneath
you. I expect more from you. Because I respect you.
Split Division: Eyes
ALL
Much
better energy. I would love it if
the volume at the top on the “As a…” entrance isn’t full yelling from the
beginning. You all came in with
the drive I asked for. YAY! Now let’s add some nuance. So come in quieter - seething - but
still with that drive and pace…and then let the lines crescendo as you travel -
and finally reach the stage. And
when you do reach the stage, I need a strong pose/look prior to Noah beginning
the next section. It can’t look
like actors waiting for a cue.
JULIET
“Cracker
is a slur” - losing the word “Cracker”.
BARRETT
“Not
all men” is too styled…so losing the sentence because of the overt
mockery. Back down a little.
EVE
You
are bit late on your big line: MY
MOM AND BROTHER ARE DEAD! - That should almost interrupt the group line “I’m SO
offended”. I think you should look
at it like an overlap, so think of that previous line as: “I’m SO offen//ded.” This will make for more of a startle.
ADRIANA
“I’m
afraid of places where…” This line
is still tough to hear. I realized
it’s because you are looking at the floor. Love the delivery of the line - just pop it up a bit!
ALL
Per
above note: careful not to stare
at floor…ever. The words die
there. J Keep
heads up.
Kit-Kat
AIDAN
You
can hide the Kit-Kat wrapper in your back pocket, but it can’t be seen. In this run, it was hanging out and
totally visible - to the point where I did not know why Patrick was so blind. J
BEN
“Until
I’m left with a skin tone” - line still rushed…losing words. The word “left” is what I’m really
missing.
CREW
I did not see a curtain pull when they were backing
Aidan out with the dolly.
BEN
“Maybe
we shouldn’t kill her.” The
emphasis should be on “shouldn’t”.
Right now, it’s on “kill” so it doesn’t make much sense.
ALL
It’s
beginning to get a bit “yelly” through the whole show. I don’t mind the intense volume and
love that I can hear almost every word.
But be cautious about vocal scrape. When that scrape sound comes out…you are no longer
supporting your voice with the diaphragm.
And it comes off as “screaming” not “strong voice work”.
MATT
/ BEN / LINDSAY
This
is a change.to help timing with the off stage prep…
Right
after Lindsay has been drug off and she’s chanting, I now want the line: “You watch the front…” said OFF STAGE.
So, it will work like this:
-Dylan
- “Good. She’s dead.”
-Regina
is dragged off as she’s chanting, the chanting gets weaker once off.
-Once
off stage, Ben preps his mouth as Dylan yells “You watch the front…”
-Patrick
then enters, Dylan soon follows - and it’s okay if Patrick is still making his
way to the tower when Dylan enters.
Split Division: Machine
ALL
Excellent
overall. Really impressed with the
improvement. Tempos and rhythms
were great.
MARCELINO
Still
need to play a bit more to the tower.
And make sure your feet are squared, so you aren’t cheating DS.
Revisions
ANA
Don’t
forget your costume, because you know…actors wear costumes. J
BOTH
I
felt this started a bit rough with neither of you listening very well to each
other. It’s easy for a piece like
this to become stale… Every time
you go on…it must happen “for the first time”. It settled in nicely after a
bit…
BOTH
…a
little too nicely. It got super “pausy”.
Lots of ACTING happening on pauses. J There
were multiple moments when I think the audience would consider a line had been
dropped. Tucker, you were bit more
guilty of this than Ana.
TUCKER
Still
losing “how bad I am”. It’s the
“b” on bad.
TUCKER
One
of those pauses was after she leaves the first time. You might have noticed you didn’t even get to travel before
she was back on stage. Her timing
was the same. J
Split Division: Love
JULIET
You
were really late rising to have your moment with Noah - and then it was rushed,
not connected, and you sort of ran back to lie down… Not sure what happened. But should an error like that occur…don’t let it throw
you. Let me know if I need to
address something in that moment.
ALL
Getting
a bit slow. As noted last night,
we ran way over time. I am nervous
about giving you this note, because I love the connections…and I think you are
going slower to make sure you don’t rush…
So it’s about balance.
Don’t over think the note…just be aware to keep things rolling
forward.
ADRIANA
Nice
adjustment on the vocals…much stronger on the list. And I heard “respect” for the first time! YAY!
Spectral
ALL
Overall,
still moving forward in terrific ways.
And you are all starting to feel the seamless flow from scene to
scene. Keep it up.
TESS
“I
mean, did something happen?” - Land that line, lost it.
BOWEN
“Don’t
make it weird.” Lost it.
RUBY
Great
overall run - but you had two scenes where vocals got really low. And it’s the two scenes I think I gave
you the most notes on. One is the
“plan” scene with Terra. The other
was the monologue to Sylvie (tom boy)…both were very cinematic - you were very
tight-jawed and inarticulate in those moments. It was an almost strange contrast with other scenes, which
were so “on”. J
SAM
“Can
you skip rocks?” - lost that line…pretty important. And now with your congestion (so sorry!) - you need to be
extra diligent about diction.
And…see about Afrin Severe Congestion. It’s not great for you as it can’t be used too many days in
a row. But it’s an actor’s savior
for performances, because your nose will open and you can breathe.
BOWEN
/ MICHAEL
The
scene with the kiss was the best its ever been - and probably the “scene of the
night” - such strong listening, timing, connecting…very strong work from you
two. I felt I finally understood
both these complex characters in these moments. Bravo. Brave,
vulnerable work…
LINDSAY
Just a note to say that you are stellar in this role. I have yet to find a single moment when you are not actively
listening. Really impressed with
the level of focus and intensity…
Bravo!
LINDSAY
/ BOWEN
Your
climactic scene is starting to get a bit “by the numbers”…it’s so emotional and
tough, this scene…you must learn to play it for the first time each run… I love what you are both doing, but I
didn’t totally buy it this run…
Split Division: Finale Part 1
JULIET
With
sound now under you, be very aware of the need to project. You are doing a very nice job with
this…now really “own” that you are closing the entire act. Stay on that voice…let me hear a bit
more confidence in the language…
But overall, very nice.
Split Division: Echo Chamber
MEN
Head
turns are a mess at top.
ALL
There’s
this cool thing in musicals where you have to move and sing at the same
time. But you found a new way to
do it where when you were still, I could hear you - but when you were moving, I
could not. That’s very minimal,
modern, and deconstructed…but consider me an old fashioned guy who likes it
when you can move AND sing. J
Split Division: Feast
ALL
This
is a change.
The
second Echo Chamber’s last note ends, you are to immediately make loud eating
noises and mime holding food AS you walk to your places. Justin, that goes for you too. And then as soon as Justin hits his
mark, he speaks and all quiet down and eat a little softer under him. This will help bridge the gap between
the two pieces.
ADRIANA
Looking
at floor again… Lost you lines.
Blank
ALL
So
much better. It was a little shaky
in places, because I could see you “thinking” - and “making changes” - but I
think as it drops in, you will now finally be able to seize the show.
EMILY
“Prep
for the walk out” - lost the word “prep”
JACKSON
Speak
as you enter for that initial scene.
You should be saying “It looks familiar” the moment you step through
that curtain - and really project, so that our eyes turn to you and all who are
entering.
CLAIRE
“The
goal is to spread our message…”
Lost that line.
JACKSON
The
insult to Ben was better…but you need to actually look at him when you say
“You’re not nearly a good enough artist.”
CONNOR
In
general, you were really mush mouthed.
Lost about 20% more of your words than the last run. I suspect it might be about you
thinking about notes…so hopefully it was just this run - but stay on top of
your diction…and stop diving off the end of words.
PROPS
The drawings are too light. All pages look blank from the auditorium side. Maybe we need to copy on a heavier
setting… Let’s experiment with a
new set for final dress.
NEALA
“Want
a Snickers?” - Lost that line.
CONNOR
/ NEALA
You
were both handling the props much better! YAY
CONNOR
Finding
the drawing and getting to the steps and seeing Elliott took way too long. Tighten.
EMILY
“We’ll
take care of it later” is a HUGE line.
It refers to her bulimia. So
she needs to say it euphemistically.
Talk to me if this does not make sense.
AVA
/ CONNOR
Ava’s
blocking error was a good accident.
I want to keep it. So…
After
“Let’s go ask Skylar if there’s anything we can do.” Go as if to exit the Aisle C steps. Connor will interrupt right away - then
just go back to the tower steps as usual.
AVA
Much
nicer drive overall.
AVA
/ JACKSON
There
is no reason to have this hug it out moment if the moment before has no
“bite”. So Ava…you must nail him
with “Was it long enough to see her unravel?” - etc. And that allows us to see how painful this was for her
too. But you have to just nail him
to the wall. And then the apology
and hug make sense. Also - what’s
with that hug? It reads like both
of you failed to shower properly and don’t want to smell each other. J Seriously… Odd.
JACKSON
“Then
we can probably catch up” - You’re losing that great adjustment you made weeks
ago when we get the sense from him that he can’t believe they’ve been wasting
time.
CLAIRE
“You
went in my bag?” - Lost that line.
And this section always starts a bit shaky for you - and then gets
strong halfway through. I feel you
never drop in until “Oh, please.
Do you think your comments…”
The monologue prior to that is lacking in full confidence. Once you throw those drawings, you need
to “take the stage” and “prowl”. You are in charge.
CONNOR
“Before
she does something stupid.” Not
quite. J You
chose to take giant pauses in the line and stutter. All you need to do is have this subtext in your mind: “Before she hurts herself.” And that should do the trick.
NEALA
“You
okay?” is a question. J
NEALA
When
the giant sound cue goes off after “It’s perfect”, I want you to jump out of
your skin - as though it slams into your mind - you can even scream there. And then cover your ears and shake,
almost violently.
CLAIRE
/ NEALA
Nice
last scene - well paced!
Split Division: Enjoy
NOAH
/ JOHNNY
You
are to keep marching in place. And
what the heck was with lines? You
know, the audience has eyes. They
can see you when you are trying to give each other hints. J
BARRETT
Nice
job saving that moment above.
Always feel free to click people off. J
ALL
The
TV scenes all must pace up. Justin
and Juliet are the closest to what we need. Then Eve has the right attitude, but it begins to slow, and
then we hit the Western which is hilarious but WAY too slow.
BARRETT
You
keep playing him like a sad, depressed, victim. Be careful. We
can barely hear you it’s so “down”.
MARCELINO
/ BARRETT
Double
the pace of all your exchanges.
Marcelino…play him like that kid who cannot be still…and like someone
who drank 4 Red Bulls.
ALL
Don’t stomp down steps on exit.
B2
CLAIRE
/ SURESH
Skipped
- and so lost “interesting” definition.
L
RORY
“Blade”
- I never understand this word. I
hear no “b”.
TRISTAN
The
growling during your initial bit is too loud now…burying the lines of
others. Pull back a bit.
ANABELLA
Carl
Sagan is two names, not one. J Losing this because you’re slurring through it.
CLAIRE
“Always
meet up” - losing “meet up” - rushed - and that’s a big moment! Nail that line…it’s a new idea…a new
thought…and radical!
TRISTAN
The
transition into the recluse monologue is taking too long. Is that a choice - or did you go up?
SURESH
Really
work on that cut. The line s
supposed to now be: “NOOO, I am
never going to be able…” The “NOOO”
is now the top of the sentence…
CLAIRE
I
loved the power walking you used to do…please keep it! You lost it tonight.
CREW
Lost
curtain pull for Tristan when he exits asleep and crashes into cage on p31.
CLAIRE
/ SURESH
Your
duet on p36 still starts so sloppily, like neither are sure of lines… Please
get together and work this. Eliminate all pauses!
CLAIRE
Don’t
rush the “I think you are a 4/5” section.
It needs to land.
SURESH
The
new crying moment was priceless.
ANABELLA
See
above - and don’t break. J
Split Division: Finale Part 2
JOHNNY
It
still comes off a bit shaky - though lines were better. The ending needs to be like this.
“We’re
consumed with being right.”
Big
pause while you look to both sides of the audience. Then look straight ahead at the tower, head up, and finally
say:
“We
forget to actually make progress.”
