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.”

Notes: Dress #1

***All notes should be read and 

implemented for Dress #2***

EYE to EYE

Dress #1 NOTES

Split Division:  Eyes

ALL

Opening energy was extremely low.  You should be walking much faster with an angry and determined purpose - and with tons of attitude.  It looked like “actors walking to places”.  You open this show.  You set the tone for the entire evening.  You simply cannot come on this way ever again.  J  As well, cues were quite slow - it should all move at a lightning pace until Eve yells her line to make everyone sit.  You must all take a moment to run through these lines as a pre-show warm up each night.  Don’t do it full volume (save it) - but always do it with fierce energy.  In addition to it being slow, it was all quite difficult to discern…you must enunciate clearly. 

ALL

Transitions between beats are too slow; there’s too much time:

1.  before “I’m triggered” - that breath takes too long.  It should be “I’m more important that you”, quick breath, “I’m triggered.”

2.  Before “I’m one 16^th Mexican” - get to places at lightning speed and then Marcelino must talk!

3.  Before “I’m SO offended”.  That is not a huge gasp, it’s a micro-second of time.  Last night it was “No homo” - 3 seconds - “I’m SO offended”.  But it SHOULD be:  “No homo” - .25 seconds - “I’m SO offended.”

ALL

Solo lines starting with “I’m sorry.  There’s just so much to be offended by” were nearly impossible to hear both in volume and enunciation.  Noah / Adriana - this is particularly true with you…

ALL

When you sit after Eve yells, it’s not because the director told you to sit.  You are shaken by her passion / determination - and this causes you to sit slowly and with curiosity.  As you sit, all eyes should be on her.  Don’t just plop down.

EVE

You are really diving off a lot of words in the monologue.  Carry the breath support through the last syllable - and keep it clear.

ALL

After Eve’s last line, you all left like actors being told to exit.  You must have your inner-monologues running, considering what Eve has said.  She has schooled you - and as you leave, you must consider this.  Obviously this does not apply to Justin who is transitioning to the next moment.

Kit-Kat

AIDAN

Lost “Credits role” - mush mouthed.  Still no improvement on “You know him, right?”  Please fix this.  Though I can certainly give the note a 117^th time.  J

BEN

You must time your cross and line very carefully on:  “I just loved him so much.”  You have to land at the corner on the word “much”.  Because then the light cue fires, and you must turn suddenly as it pops up to continue to the monologue.

ALL

During the stalking around the stool on “Maybe we should just kill you.  It’s only fair.” - be aware of the audience.  You have to circle that stool really tightly.

LINDSAY

“is not God” - lost “God” because you ran over the punctuation.

LINDSAY

The Taser needs to be held at its end.  You are palming it right now, so we actually never see it. When you first bring it out…make sure you are holding it at its end and let us see it extend in front of you when you are at the tower.  THEN…it needs to feel like you are holding a knife.  When you scream and begin the chase:  hold it like you will stab him with it from above…turn it into a horror movie butcher knife. 

MATTHEW

“Inject” was really late off stage.  I think you were trying to find the Kit-Kat prop.  This needs to be handed to you.  You should not have to get it.  So ask the SR person (Taylor?) about having it ready.  And you should be able to talk and grab the prop at the same time.

MATTHEW

The eating was good, but you remained facing SL the whole time.  Tonight, try facing SL, US, and DS on different beats of the anthem.  Do not face SR until you are about to walk, because that is Lydia’s cue. 

Split Division:  Machine

ALL

I need much more boisterous talking on entrances.  We could barely hear you.  Looked like a mistake.

MARCELINO

You are cheating to the DS audience too much on your presentation.  The way to solve this it to make sure you are also playing half the time to the tower folks.  Also, pace up a bit.  It’s too slow.  Allow his nerves to make him go a bit faster. 

JOHNNY

Stop saying “Push” at the wrong time.  Learn your cue, please.  This mistake has happened 7 times now.  Yes, I have hash-marks.  Keeping score!  Stop it.  J 

ALL

The tempo for the rap was fine if we were going to a funeral.  Low energy.  Low volume for the intro.  It’s not even at 10% of what I want intensity when it begins.  You took a big step back on this last night…never again.  J

ALL

Remember to pick up Patrick’s junk from Kit-Kat along with the note-cards.

Revisions

ANA

I have told Hillary that the computer must be working and maybe even using Wi-Fi so that Google Docs can be on it.  I don’t want to see a blank screen.  Please investigate this with her.

TUCKER

“In your own house.”  It was more like a question again.  Land it.  Nasty.  Mean.  Hurt her.

TUCKER

“Reading has always been hard…”  Lost the word “Reading”

ANA

I’d like to see more of her inner-workings…the thing that makes her accept his vulnerability once he confesses his disability.  What makes her shift gears and say “Is it just reading?” 

MAX

Talk to Hillary about having a bit more “filler” in your bag.  It’s like a dehydrated corpse bag laying in state on the stage.  J

TUCKER

“How bad I am” - losing the words amidst the acting (but it’s a beautiful moment - so just “up” the projection a bit).

ANA

I think when he says “How bad I am” - this hits her in an almost “instant cry” moment…I think she wells up, and I think it takes her way off guard.  So when she says “Shit” - she’s also trying not to cry - because she relates.

ANA

When you begin your monologue on the circle apron facing DS, be careful…I think the audience behind you is losing words.

TUCKER

“As long as she gets better.”  Not projected for US audience…careful.

TUCKER

Love the sigh and reaction before she re-enters. Keep it.

TUCKER

You are sort of screwing up your face into some sort of odd inquisitive look after she refuses to hug you.  Don’t “act it” so hard.  Just “be it”.

BOTH

As usual - tight, connected work…  Love this piece.

Split Division:  Love

ALL

This was really good - and actually made me choke up.  You were really starting to find the style of movement - and to connect really deeply.  This felt like the first moment in the run when the Devising Ensemble became an ensemble.  Everything prior was unfocused.  But this was terrific. 

ADRIANA

Much better on projecting - and I love the simplicity of what you are doing.  It’s very haunting and beautiful to watch you up there.  The one note is this:  when you say the list of words, think of each of them as having a period at the end of the word, instead of a comma.  That doesn’t mean slowing anything down…it’s about allowing each word its own weight.  In addition, you must get louder - crescendo as it goes on. “Respect” should be the fullest word…and now, it’s not able to be heard at all, because you dive off of it.

Spectral

ALL

Overall, a huge leap forward.  All characters were connecting.  Chemistry was terrific!

TESS

Better this evening, but still a bit muddy in the vocal area.  Make sure to “anchor” yourself in this first scene and make yourself enunciate every single syllable - and never dive off a word.  And to help this…remember:  she is investigating Sylvie…she is fascinated by her… So that curiosity should help elevate the language…help energize her.  Sometimes in this first scene, it feels like something tragic has happened…and I don’t know why.  Also - when you bring up the plan to meet “tomorrow”, really land the word “tomorrow” - it plants the seed for their ritual.

BOWEN

“talk to me” needs a little more punch.  It’s not in CAPS…but as it is, I don’t know why you apologize in the next line.  Put more venom in it.  Punish her with that line.

MICHAEL

248^th time I’ve given this note:  Turn away from Easton ON “Let it be, East” and walk to the block. You know…like I’ve said 247 times before.  J

RUBY

“Just now getting used to it.” - give me even more excitement on that line.  Remember, she overcompensates for her fear.  Fight the obstacle - don’t play the obstacle.

RUBY

Let Easton get a little further away before “Is he right?”  As it is, I think he’d hear you and turn back.

RUBY

I think she is pretty irritated with Terra the second Terra enters.   I think the friendship has already turned for Aurora - and that she’s come to see Terra as a self-sabotaging drama queen.  I’d like to see more of that judgment when Terra enters.  This should help pace up this scene, which is way too slow.  So…most of her lines should be to end the conversation and get Terra to leave.  This is the scene where we see Aurora at her least kind…she does call Terra out in this scene.  I think her temper flares on “Plan?”

TESS

After AURORA says “Thanks, Terr.” you need to immediately stand and see Sylvie and move to center and start talking with “I wasn’t sure you’d be back.”  Even if you can’t actually “see” Lindsay yet, you “see” her anyway. 

TESS

The monologue about her past is really hard to understand - the muddiest part of your diction right now.  Also, the first part should be funny.  Make fun of Indiana…and make a bigger joke out of the worms…that is a funny self deprecating moment…and she says it to get Sylvie to smile.  THEN...things shift to something a bit darker when she talks about the guys (when you cross).  Bottom line:  think of this monologue in two parts.  Right now it’s all one note that says “My life sucks”…it needs more levels.

RUBY

Similar to Tess’s note above, you have a confession to Sylvie as well - what I call the “tom boy” monologue.  The first part should be a remembrance of her joy…she LOVED running around in mud and all that…let us see the spark inside her - her light that shined before she started being told she needed to be more gender normative.  This part can be energize and full of life as she’s swept up in the memory.  So it’s not until “And everyone told me not to” that it takes a turn to her sorrow.  And this is what gets Sylvie to cross…Sylvie sees that turn…sees the damage that was done…sees the struggle.

RUBY / MICHAEL

Restaging - read carefully - try it tonight:

Aurora:  On “Not if I keep trying to be someone I’m not.” - turn away from him and go sit on steps - the exact same place you sit in your final scene with Easton.

Ryland - Enter talking, up steps, across stage to sit next to her on the steps - one step up from her.

Aurora:  On “You can figure a lot of people out…” rise and cross SR to center. Turn back to face him on “All you have to understand is…” Stay there and then exit as usual.

BOTH

Even with the sitting as detailed above, don’t let it become too conversational and casual.  Keep the tension high.  She’s not in a place to really want to be helped….she wants comfort and acknowledgement.  And he wants to calm her down.  Let that conflict heat up. 

TESS / MICHAEL

This scene was really rough…and Michael, it’s mostly on you.  Tess is coming in really energized, in full attack - and you swere super slow in picking up cues.  This is a fast scene and must drive.  Cut the beat before “I guess I’m not then.”  Tess can still take a micro-beat before “I-I don’t know…”

MICHAEL

See Harlan earlier and say “Gay boy’s back.”  That pause is its own play.  340^th note on this. J

BOWEN / RUBY

Amazing date scene…really strong. 

BOWEN

“Dad’s not here tonight” - losing that line…critical to the scene.

TESS

The line to Eston is “Are you comfortable being on a date?  Since I’m friends with”  I think you did not read the version in color online and so thought “on a date” was cut…but it was never in the old version…it’s a new line.

BOWEN / MICHAEL

Great connections.  But…the kiss was a little fast.  That joint inhale on the kiss - and a slow release is critical to the line later when Harlan says “I felt you kiss back.”  The audience should think they are going to get together when they see the kiss happen.  And then suddenly, both Harlan AND the audience realize they got it all wrong.  Hope that makes sense.

MICHAEL

58^th time I’ve given this note:  grab his hands on “Maybe I did. Maybe it was the heat of the moment.”  He then pulls away from you - which really injects energy into the scene.  Don’t forget like you have the last 57 times.  J

RUBY

You aren’t landing your final line to Easton in the play.  It has to be the “final good-bye”. It’s rushed and you are diving off it a bit.  Really important.

TESS

“Vastness” - losing that.

TESS

You are speeding through “They’re just as pretty as you are.”…that is a really important line.  Like…super important.  And she has the courage there to say it.  And then Sylvie begins to see it as an invitation.  That line leads to the kiss.

MICHAEL

Don’t break character when you forget (or repeat) a line.  And remember:  Sylvie puts her hand on your heart BEFORE you say “Love really changes someone…”

BOWEN

“cute” - losing that for US audience.

LINDSAY

The breath before your only line - ha - is a bit long.  Just shorten that beat a tad.  It feels almost like someone had dropped a line. 

Split Division:  Finale Part 1

TESS / LINDSAY / JULIET

Heads up.  I’m re-conceiving the end of Act One.  So…after “And I love you” - the last line of Spectral.  Lights will slowly change as soft music comes up (a repeat of the Love music) - and this happens as Juliet slowly enters and stands on the block.  Juliet will not speak UNTIL she gets up to the block.  She then takes a breath and begins talking…like a ritual.  Once she begins talking, Lindsay and Tess slowly rise, hand in hand, and walk off stage.  The monologue ends with Juliet jumping off and exiting as usual. 

Split Division:  Feast

JUSTIN

Can’t understand almost anything in your lines.  Enunciate.  Especially in Oreo.  It’s O-re-o.  Right now, I’m hearing “oryo”. 

ALL

This piece is SOOOOOOOOO SLOOOOOOOOOW and SOOOOOOOOO BOOOOOOOOORING.  Can you tell how I feel?  The eating is not intense.  The sounds are not intense.  The actions are unspecific.  But mostly, all the lines are taking 5 minutes per line…well, it feels that way.  So, starting with Marcelino’s “I don’t at well, so I’m going to eat organic food.”, you must be picking up cues and accelerating.  This whole section is meant to be a build.  Each line is louder, more intense, and faster than the one before it until you reach the chant (“Should, Will, Can’t, …etc.) ß----- which was sloppy - but should be lighting fast.  And there’s no pause before you all start repeating your words and going to the table…it should be a mad, furious thing.  And then you take a quick breath and dive into the food, which for Noah, is still on the floor for reasons I cannot understand J.   

Blank

ALL

Some notes I’ll address in rehearsal.

ALL

Where are the picture props?  We have had them for days.  They simply needed to be copied.  Please check with Hillary.  We must use actual props tonight.  And you must all figure out a system for ordering them.  I expect this done prior to Act Two.  Use the first half of the show to coordinate it.

CLAIRE

Words really muddled in first scene.  In general, your enunciation has been struggling the past three rehearsals or so…maybe consider a more rigorous vocal warm up.

CONNOR

Cut the “…” before “ghostbusters-sanctioned ghost party”.  I think he’s been holding that bad joke in his pocket for a while, so just say it with full authority and no pause.

AVA

“I wouldn’t get too invested if I were you.”  Lost that line. 

JACKSON

Jab him harder on “You’re not nearly a good enough artist.”

NEALA

Props - all food props need to be pre-torn a bit to make for easy opening.  Also - we can’t hear any noise of wrappers back stage prior to your entrances.  This means the wrappers in your mouth have to be folded carefully and easy to pop in your mouth.  This means that you can’t grab the handful of wrappers for the “dropping them on the aisles” section until the music starts for that moment.  Think it all through.

EMILY

Again, when she asks you to walk with her… “Of course” is meant to be friendly. It still seems like you are suspicious.  No.  It’s a kind line.  Smile when you say it.  Phoebe is thrilled that her seduction is working.

EMILY

“Eat it”.  I’m hearing “t - t” 

AVA

In the “She lied” scene, Lola should be on fire…pace it up - keep it energized - keep her filled with anger and disgust…drive it!!!

AVA / CONNOR / JACKSON

The entire “she lied” scene needs to double in pace and drive.  And I need Lola to exit faster with much more fury after “Let’s go ask Skylar if there’s anything we can do.”  And then a much faster stopping her on “Lola, you wouldn’t happen to have that drawing would you?” SO SLOW RIGH NOW.

AVA

It’s Skylar’s line:  “You know those drawings you and Elliott found?” that makes her instantly suspicious.  When she says that, it’s a huge shift in Lola.

CONNOR

“We need to get to her before she does something stupid” isn’t reading right.  What he’s saying is:  “we need to stop her from self harming…or worse.”  But right now, “something stupid” sounds like she’s going to make a bad YouTube video and publish it or something. J

NEALA

When you read the texts that are questions, you need to make them questions.  Like “Are you safe?”  Remember, these texts bring her hope.  Right now, you seem to be hating all of their texts. It’s the opposite.  These texts make her consider leaving Phoebe…which is why Phoebe goes into a rage.  We’re not getting that.

SAMMY / JACKON / CONNOR / AVA / EMILY / NEALA

I want to cut all of the lines that are not Piper’s and Phoebe’s…they are all sort of throw away horror movie lines right now…and over expository.  I think the image of them all coming in and seeing her…fearful and not knowing what to do…I think that’s much more haunting. This would mean “We’re here”, “Piper, it’s us. We got your drawings.”, “Piper, who’re you”  would all go.  We’ll discuss at rehearsal today.

NEALA

You cannot put any pauses in your lines with Emily during this climax…it’s so, so bad right now and killing the scene.  And Emily is having to wait and wait on you.  I know the physicality and intensity is tough  - but you cannot be having to think about lines here.  And if we cut the above lines, you need to look at that too.

NEALA / CLAIRE

Pace up the last scene.  It’s not a funeral.  And Skylar could start it with some pretty positive, cheery energy… Try to make good with her.  Invite her to lunch. 

Split Division:  Enjoy

Will address at intermission rehearsal.  But in general, way too slow.  Lines need to pick up!  And Barrett, it’s coming off as “I’m sad, grumpy, down, bored.”  Give him more drive.

B²

ALL

I took few notes last night.  Because as has been the case for some time, the characters are super clear.  and the intentions work overall.  Right now, it’s just a bit sloppy in places.  The second half, in particular, was quite rough…with a huge loss in pace and dove-tailing scenes.  This is to be expected, given the time away from it…so no worries.  But remember…things cannot stop.  It’s a mad dash. 

TRISTAN

You are the main culprit (see above).  You are late on many entrances, not anticipating…and in many cases, you should say lines AS you enter and not wait to get to places.  Your “Big Tony” line can be “as is” with the cross first, but the others should all be “speak as enter”.

SURESH / TRISTAN

The hug/rocking moment is weird - because PJ is giving him no reason to step away and say, “PJ, is that really you.”  So Suresh, on “I would get mad at you, but I won’t…” You have to break down into ugly crying.  It’s a comic beat.  His crying is what makes Remy step away and question him…because emotion is not something PJ shows…

CLAIRE

Don’t “robot” your final dust fact.  Say in genuinely.  We’d like to see it tried this way once, and then we’ll decide if we keep the new way - or revert.

Split Division:  Finale Part 2

JOHNNY

You are ending the whole show.  You.  I gave the ending of our 3 hour epic to you.  It’s a huge responsibility and a privilege to have that moment.  Think about that when you are deciding how to spend your time off stage.  Juliet is NAILING the same monologue - and it’s backwards.  I appreciate you coming up to me to address it and to apologize, but you still are not off the hook.  That can’t happen again.  Okay?  J

URGENT: SCENIC RUN CREW "Costume"

The Scenic Run Crew will not be wearing the traditional all black but will instead wear:

Blue Jeans (you provide)

Sneakers (you provide)

T-Shirts (costuming provides)

I need Scenic Run Crew -  Hillary, Ethan, Mak, Taylor - to check in with Jim and me at 3:30p immediately after school to confirm your T-shirt size and to alert us if you have any other questions about your "costume" for the show.  

If you do not confirm, we will assume what we have on file is correct.  

You will need to bring in your "costume" and wear it starting tomorrow, Wed 5/2.

RE: Tuesday 5/1

NW14: Tuesday 5/1

Detailed Schedule

4:00p - 5:00p

Called:  Blank, SMs, Sammy

Agenda:  Tech Changes, Staging Changes

5:00p - 5:30p

Dinner

5:00p - 6:30p*

Called:  Lighting Prep (w/Becca)

Agenda:  Focus, Hang, Re-focus, Walking

5:30p - 6:30p^

Called:  Full Company

Agenda:  Crew Prep, Actor Prep (full costume, hair, make-up)

6:30p - 10:00p⁺

Called:  Full Company

Agenda:  Dress #2 / w stops for technical needs

*Ethan takes dinner break 5:15p - 5:45p

^Crew should check in with Lydia to see if they are needed prior to 5:30p

+The Devising ensemble will not have a break at “intermission”. They will come on stage between acts to re-stage the opening of Enjoy  - and to clarify some moments in Echo Chamber. 

ALERT: Change for Prep Crew

After last evening, the tech needs are clearer  - and the call for today is much shorter - and more specific.  We will also only be addressing lighting.  So here you go:

Tuesday 5/1*

5:00p - 6:30p

Called: Lighting Prep Crew w/ Becca

Agenda:  Hang / Focus / Re-focus / Walkers

*Ethan, take your diner break 5:15p - 5:45p.