Spectral: Actor Notes 4/20

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Stage Managers, please read and make blocking adjustments in your books.

Please forgive typos.  Feel free to ask for clarity at next rehearsal.

Spectral

Notes:  Run 4/20/18

TERRA / SYLVIE

At the top, you must consider:  what world are you waking up in?  In many ways, I’d like you to think of this as a liminal space, one where neither of you are sure whether or not you are awake or asleep.  Given you open and close the play, one could argue that this is really their story…and everything else comes from their memory, prognostication, suspicions, etc…but they keep coming back here…to their reality…the only one that matters…this romantic dance they do…  So really give us a sense of the “other worldly” when you awake and take it all in…this isn’t realism…  And as you take in the space, you also begin to realize that something magnetic is between you…a pull…something calling each of you to the other.

TERRA

Per the above note…make sure the thought processes are happening as you assess SYLVIE’s gestures and expressions…let the audience into TERRA’s process.  Right now, it reads as though you’re a mind reader…which is another sort of play…  Really, it’s that you’re so instantly connected, it’s your empathy and attraction that allows you to learn Sylvie’s language quickly…

TERRA
When you are mentioning the questions:  “two?  three?” - there are little beats between those.  Look back at the script.  And this is also a slight moment of humor and connection. 

HARLAN

Say “Sylvie” when entering; don’t wait to hit your mark.  Dovetail the previous scene a bit. 

HARLAN

In general:  stop sighing.  You do it quite a bit, and it’s an actor leak.  It happens the most with Sylvie.  It lets the energy out…keep it vibrating within.  Also - you are acting with your hands a lot… “handacting”…the gestures seem forced and completely unnecessary.  I get this sense you feel you need to be doing something to emphasize the language.  And you need not do that very often.  Trust the words and your intent.  Trust you are interesting.  Again - this happens the most with Sylvie.

RYLAND / HARLAN

New blocking:   the initial entrance to your first scene will remain the same…but before RYLAND says his first line, RYLAND will get to his mark, wait a beat, sense HARLAN, turn to look at him, HARLAN turns away quickly (caught staring), RYLAND turns away again, waits another beat, then says “You can talk, right?”

RYLAND / HARLAN

There is an undeniable connection, spark, and desire (emotional, sexual, romantic and/or otherwise) between these characters that builds quickly through their first scene.  I’m not seeing either really investigate the other…  Allow that “pull” to happen.

RYLAND

Michael, you are “princess posing” a lot.  This is when you stand with one foot flat and the other on the toe.  Lots of actors do this when uncertain of blocking, so that may be it.  But make sure you ground him wherever he is.  Allow him to drop into the earth.

RYLAND

Go through the script and really look at punctuation.  Utilize it.  Land thoughts that end with a period.  And remember - of all the characters, RYLAND is the most confident in his speech.  He is the most sure of himself - or at least is good at looking like it.  Don’t throw a single syllable away.  I suggest you read the script again carefully…all your lines out loud - as you make sure to honor every period and keep your voice driving forward to every last syllable.  I am losing 50% of everything you say.  Right now, RYLAND seems either confused or bored much of the time - like he’d rather not be there.  And then, the other half, there’s a real beautiful character building. 

RYLAND

Right now you are saying “but I like you” as if you’ve been planning to say it for months.  He just met him…that line has to be searched for a bit…he comes to realize it in the moment…and it makes him very curious.

ALL

In general, there is very little - to no - subtext.  This is why crosses are so awkward and nothing feels “filled in”.  The inner world that must be pulsing through the characters’ minds is more important, in a way, than the text itself.  If we don’t see, sense, hear, and feel all of the gears turning in their minds…the play dies.  Please…don’t be a play murderer.  It’s a serious crime, and I don’t want to send you all to Kit-Kat. J

ALL

I don’t think one actor has done their work in completing their interrupted lines.  If your scene partner fails to interrupt you on time, YOU have failed.  You must keep talking until they interrupt you.  It will also stop you from all sounding like “I know I have a dash in my line and I will emphasize the final word of my line strangely to let everyone know I don’t know how people talk.”  J

EASTON

Make a bigger point of “Should I be calling you a BOY name.”  Mock them on this.  Reveal your transphobia in all its ugly glory.

AURORA

You can’t run across the stage after EASTON leaves, having manhandled you and tried to remove your clothes - and then say “Is he right?”  They’d need to take that in for a breath before blaming themselves.

AURORA

Occasionally you insert very odd…pauses…between your…words, so…that they…do…not sound like…a person…talking at…all. J  I think you are doing this in an attempt to seem as though you are figuring things out.  But it comes off very awkwardly.  Land your thoughts.  It will also keep them stronger.

TERRA
New blocking:  Wait to cross to the block until you say “There’s something comforting about…Someone being there.”

TERRA
In general, you’re getting a bit stuck vocally.  Your range is very tight and needs some more stretch into the upper part of your vocal range.  There’s very little musicality in the voice right now and so many lines end up sounding like recitations of the same thought…this is also leading to her seeming “done” all the time.  Or  “over it”.  Allow her more physical and vocal flexibility.

AURORA

When you first meet SYLVIE, you must justify why you’d bother stopping to investigate her.  Something about her is almost magic to you.  Give yourself a moment to really take her in.  And don’t run around on your blocking…take your time.  I think you find her to be magical almost.  You even say “You seem sweet” after just 10 seconds.  As you cross downstage (“That’s…reassuring”) …don’t take your eyes off her…but keep your distance - as though to really assess this creature.  Who is this awesome woman?

RYLAND

As you enter, please look at AURORA; they are talking to you.  It looks like an actor has missed his entrance…  Connect as you enter.

RYLAND / HARLAN

Remember:  the role-playing game does not turn the play into farce.  Ryland should play it with a bit more sophistication.  And Harlan needs to do his best, not fumble like a dufus.  J

HARLAN

Blocking change:  Start coming back onto the stage a bit earlier - even a bit before you say “hey” when AURORA enters for the date.  Anticipate it.

AURORA

Blocking change:  cross UR to 3 on “Thanks” (where you used to cross on “No, it was nice to hear.”)

EASTON

Scene with SYLVIE was tough vocally.  I love the passion in the delivery, but you’re all consonants, clipping words, so it’s like tongue Morse code.

SYLVIE

When you are making that odd cross behind Easton when he’s heading to 5, really use it to investigate him.

EASTON

Blocking change:  Don’t do the looking-where-SYLVIE-was-and-realizing-she-moved thing.  Bad director.  Sorry.  Sense that she’s moved and just turn to look at her.

TERRA
Your “I-I don’t mean like-“ is coming off as really homophobic - too similar to HARLAN’s “I’m not gay” moments.  It’s a subtle line…it need not be pushed.

EASTON / RYLAND

Slight blocking change:  After attacking RYLAND, storm quickly down the stairs and go even further SR, as if to exit A.  Then stop, slowly turn back and make eye contact with RYLAND. At that point (and not before), RYLAND crosses to the top of the stairs, sensing EASTON’s trying to connect.  And then EASTON slowly buries his face in his hands and begins to sob.  RYLAND starts to come down, and he bolts out as usual…

RYLAND

Reminder to slowly cross after the kiss…keep him in suspense.

RYLAND

You really are sorry when you apologize to HARLAN…the idea of breaking his heart or forcing him back in the closet because you can’t date him is awful…and I think it’s also heartbreaking for you a bit…because you’d love to be someone who can feel for HARLAN the way HARLAN feels for you…

RYLAND

Slow down and make the point “But I’m not an option.”  And in saying that…you’re almost apologizing again…it’s hard to tell someone the truth like that…

AURORA

Look at the line on p39 “I thought you meant…  Who I was.  Being….who I am.  Being a girl, or being…”  Slow it down…and really make your point…  Right now, I don’t see how TERRA would pick up on your crisis… And I think the audience will be lost too.

TERRA / SYLVIE

Blocking change: After the kiss, TERRA don’t go up the stairs; just stay at base.  Still grab hands.

RYLAND

“Love really changes someone…”   This may be the most important line in the show.  And oh, how he longs to be like others…  He is at once filled with joy at seeing love within Sylvie…but also so, so envious.

RYALAND / HARLAN

The final moment “As friends” is getting oddly “bro-ey”.  Rushed.  Not tender at all.  And why are you holding hands up in the air like you both want the other to kiss your ring?  Hold hands and walk…like people do.  J