Notes: Dress #2

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.”