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
