Hey amazing actors! As I mentioned last week, getting into the complexity of technical rehearsals can make everyone feel discombobulated. And not only that, the director and actors can get quite disconnected. It feels strange not having the wonderful conversations I've had with you - both individually and as a group - about the character arcs, the story points, the themes, and the overall shape of the play. And of course, I have not been able to give you terribly good notes for many days. Such is the process!
So…due to time restraints, I am going to give you many notes below. These are things I’ve been noticing…a combination of many things I’ve considered over the past week. Please read them, and feel free to come ask me questions if you have them.
These notes aside, please know that you are all on the right track. You have each worked very hard to understand both the play as a whole and the place in which your character fits. The individual journeys you are taking are beautiful to witness. Use these notes to keep finessing your performances, to add layers, to keep sharpening your craft.
NOTES
ALL: The thing lacking, as a whole, is consistent confidence in executing your performances. Of course, given the addition of technical elements and the complexity of the show, this makes total sense! That said, your job now is to incorporate all these things within yourselves. You must know your lines, know your entrances, and stay very connected to your scene partners. You must remember that you are all storytellers, and that your vocal work and clarity is critical to the success of this show. In the back of your minds, you must always remember that the audience is seeing this for the first time. Take them on the journey. Pull them in - and they will be riveted. Keep your work energized at every moment. Live theater is what I call the “artistic athletic sport”… it takes total commitment and focus: physically, mentally, emotionally. When you put all that together, it is incredibly satisfying for both actor and patron. This drama program has a history of doing just that, particularly with Teen West Project. In short, it is time for you all to take the reins of this show and seize the opportunity… when you do, you will not only elevate your work, but you will be so proud of the accomplishment.
1:1
Jasper – remember your posture. Stay very upright and roll your feet. I love how “human” he is…but we do need that nod to “android”. It keeps him friendly with a touch of creep when you do that. You have a terrific voice, but you have been diving a bit off the ends of phrases lately…losing the ends of sentences, and I hardly ever hear “red heart”…I love the tenderness and sometimes flirty nature of that line…just make sure we can also hear it.
Charlie – sometimes you get ahead in your head – haha – and you don’t actually take in the info… the pace of the scene is so fast, but don’t forget to listen…to always register what has been said to you. For example, I often fail to see the embarrassment on “lover”. Also – consider that somewhere in his mind, he thinks, “I really love Tom…if only he were real…”
Charlie – LINE CHANGE – rather than say “some questions are more googleable than others” replace that sentence with, “Some questions are easier to google than others.” – then continue on with “I don’t want to be bitchy…”
1:2
Eia – it’s clear she’s down, but I’m not getting “anxious” as much as I think is warranted. Maybe allow her to nervously shift a bit…trying to take deep breaths, etc… The audience needs to think “something is wrong in her life” when they first see Casey.
AI - This is the first time we hear you speak as individuals and small groups. It is your introduction. Each line must be absolutely clear, volume in the right spot, and pulling the audience to you.
1:3
Eia / Ana - overall, this scene remains strong and is getting stronger.
Ana – Remember to pull from your comic abilities at the top…the dead pan stares, etc. Not in a “sketch comedy” way – you wanna keep it real…but land that “vibe” at the top… Also – the placement of the plaque is unclear…really “see” it and reference it. When you ask to touch Casey…yes, it’s something you do…but you also sense that she needs it…it’s an act of care and love…
Eia – allow her to become more and more amused by Briar’s dark humor. I think Casey laughs pretty hard when she says “that’s horrible” – and…when Briar lies about the second tree, make sure your “oh” is saying “Ok, I get it…you’re messing with me…how cheeky”… In short, allow Briar to charm you…
1:4
All - consider me a broken record - this scene must launch at majorly fast pace, huge comic energy, ZERO pauses… this is a very crude note, but if you simply demand of yourselves to literally talk much louder and faster at the top of the scene, you will land this. There is an ongoing cliché: “louder, faster, funnier!” - but it works. I have only seen this scene work once since the initial read. It is critical you land this as the introduction to the survivalist characters, or they have nowhere to go.
Giuseppe / Jane - you have a tougher job in this scene, because you are both playing against the comic characters… approach this as if you are both on a deadline - and need to get this done.
Jane - As always, Lydia is sarcastic in this scene, revealing her annoyance - which is one of the reasons you are having a tough time with pace… it is coming off as though she is bored. In fact, treat all of her lines like poison darts. Go comically aggressive.
1:5
Sabina - General note, you have struggled with your voice work the last few days... Please address that, because it has really slipped into old habits… this is the first time we hear you speak. You must introduce this character as a very important part of this story. There is never anything passive about her.
Ana - once she starts speaking, I'm not seeing the high stakes of your confusion. Allow us to see a bit of fear and startle when you turn. In other words, the ghost begins to seep through.
1:6
Jane - You are doing a great job up there, which is a hard thing to pull off... I would like to see a more curious and determined “work face” - Perhaps the journey is that she starts with a question, determined to better her circumstance... but as the scene goes on and she gets more answers, she begins to feel a bit overwhelmed by all of it. Don't overthink this, it is subtle...
AI - This is getting better in terms of the individual lines. Keep it bold and clear. It does need to be much more aggressive starting with “great question”! And there can be no energy drop after “schools” – keep it driving. I want a much more overtly loud and super friendly delivery on the last line “you're a natural”.
1:7
Charlie / Jasper - The scene is going well... I think it has to play a bit like the beginning of a potential breakup. Tom starts asking the tough questions like a couple that is facing an imminent end. At the same time, Tom doesn't want it to end. So there is this mixture of getting Jalen to face reality, but Tom also not wanting to lose him. Make sure all of those complexities are running in your inner dialog.
Eia - you are doing this well, just never forget how important this last line is. Don't ever rush it. Take a healthy pause before you ask it. And make sure it is vocally at a strong level. Critical to the whole play!
1:8
Sunny - You don't need to rush the line “that thing I told you about” - I feel like you are so determined to keep the pace going that you aren't landing the subject matter of the scene, so the audience is going to get lost. It is not that I want you to slow down a ton, but I do think all of your lines on page 52 are delivered at a pretty steady pace. Bruce is the one who is skittish, but you are not here. So, convince him by being sweet and friendly and showing your genuine desire to be intimate. Then, when you say “what are you afraid of”, things start to pace up.
Leo - Things are going well in this scene, but when you hit the line “look babe...” - slow that down. Really try to convince her. Don't rush that moment.
1:9
Ana / Eia – beautiful – just keep it fresh… never forget to truly listen and keep all that subtext running in your minds…
1:10
AI – fantastic first section, but after “Paranoia Check”, there isn’t that storytelling that gives us a sense of “omen”… remember, Frank references this later, so I need your “DM” characterizations to be less matter of fact…and more like a great storyteller who is building palpable suspense..
1:11
All - Everything is in place for this scene, it is just a matter of confidence in every single line, blocking, etcetera… sometimes it loses its crispness due to a lack of running it enough. But you all three know what you are doing. Enjoy “owning” this scene.
1:12
Leo / Desmond – the laugh is…not really a laugh… It sounds like 2 actors who have been told to laugh and hate their director for asking them to do that. But, the director is still asking you to do that. So…DO IT!!! Louder, bigger, longer…like the best joke has been told.
Leo - Don't forget to cross halfway to him on “it's suss that you even know that”.
1:13
Maddie – a CHANGE… I want you to start this scene in your position right in front of Lara, so that there is no pause before your line “So his resistance…”.
ALL / Danielle – a CHANGE… Danielle will no longer get off the block at the end of her final line. So she will be on the block for the final group line – thus, there is no longer a huge pause before “Just tell me what direction you want to explore.”
1:14
Sabina – I want decent pauses between your first three lines “poke” – “waving hand emoji” – “Hello Briar” – you are really rushing this.
Sabina – sometimes, there is this “I’m over it” energy with Robin…and I get it, because she is so tired…but “tired” is not interesting to watch…Robin is ON A MISSION…never forget that…keep all of her lines driven with purpose…with an agenda…with a hope to be set free… The ending after Briar left was great…haunting..
Ana – don’t forget that she has a “please” before you exit… You can even take a brief beat after “please” – as if to consider it…then it scares you…then you dash off…
1:15
AI - You are not all clear on the group lines. You clearly don't know all of your cues. And you are taking odd pauses before the group lines, often turning late. This has been lit to highlight all of those quick turns and group lines… any mistake is extremely exposed. Please look this over carefully. That said, the travel patterns are looking really good. And the ending was terrific following the gasp.
Jane - consider how should reacts to being told she has asked an inappropriate question.
1:16
Leo / Sunny – lovely work… this scene is going really well.
Leo - You still are not grabbing her hand as you say the final line. You don't grab it after, you grab it as you say it. And you should grab it as though you like holding her hand.
1:17
Giuseppe / Jane - Because you are both basically facing directly off stage for all of these lines, I barely hear any of them. Really project.
Giuseppe - I need really clear annoyance on your final “Lydia”… put her in her place.
1:18
Ana / Eia - I'm staying out of your way on this one…this scene is really lovely. Just keep it fresh!
1:19
All – BRAVO - This was one of the best scenes the last time you did it… there were still a couple of line drops, but you understand what needs to happen… it really energized the play. Do this always!!!
1:20
AI - You are doing a very good job with the movement. It is looking extremely intense and aggressive. However, the volume on your individual voices is all about 50% right now. You basically need to shout all of these lines. Basically, attack Frank the entire time. The last whispered line was awesome – terrifying.
Maddie / Savanah - Your timing getting on the block is still a little weird. You are inserting pauses to achieve what I asked... but there should be no pauses… and you still have to get off the block during the last part of your lines. If you are confused about this come talk to me.
1:21
Ana / Sabina - Overall, very strong... Just keep in mind that the scene is very dark and moody in the lighting... so your vocal work must be absolutely stellar… but this is definitely in the right “spot”.
1:22
All - This is working well. Just keep the voices clear and the intentions fresh!
1:23
Ana / AI - let’s make these group lines easier at the top.
So… when lights come up…
Ana should be sitting on the bench.
Ana - after a couple of seconds of clear anxiety on the bench, stand up suddenly… this will cue AI to say “Now playing peaceful guitar”.
Ana – then take a moment to pace in front of the bench. Then decide to go behind the bench…and then stop behind the bench. When Ana stops behind the bench, this cues AI to say, “Now playing Chill piano vibes.”
Ana – with piano playing, pace a bit behind the bench, then decide to travel in front of the bench again and stop in front of the bench, but do not sit… when Ana stops in front of the bench, this cues AI to say, “Now playing ambient…”
Ana – take a moment of stillness as you hear the ambient music start…and then sit. When Ana sits, this cues “Welcome back Briar.”
Maddie – really excellent… my only concern is your vocal level… And I know you are fighting illness, but this was an issue before that… Just raise your volume about 20%... But the approach is perfect!
Ana – When Sabina says her line, you have to freeze, hear it, let us see the terror, THEN run off…
1:24
Charlie / Jasper - I like where this scene is going. Really allow it to be a fight. It can get quite heated.
Jasper - The final monologue is rushed. And I need an even bigger pause between “that's not how you made me” and when you continue. We are sinking into a beautiful light and sound cue. And... this is a complete change in tactic. Tom is taking the temperature down and shifting to a much more gentle, compassionate, and loving approach. Also, a CHANGE… After you step off the block, do not travel to the bench until the start of the sentence “you won't know if you don't ask”.
1:25
All - this scene is really starting to crackle - All in the right direction.
Charlie - a small caution... some of the pauses in the first part of the scene as he navigates what he wants to say and the awkwardness… are getting a tad long.
1:26
AI - same note as the previous Frank scene... just make sure your voices are huge and aggressive and that you are on the attack - but it is looking great!
1:27
All - I have to be honest... Of all of the scenes in the shelter, this is the weakest - I don't believe they are in a new scary space, I don't believe they are feeling dizzy and altered by it, I don't believe they are scared of the body, I don't believe they are feeling actually trapped… I think what will be important, is that somewhere within them, they truly fear for their lives… the second they walk in…
All - When you see the body, and you have the huge reaction to it, you all need to keep looking at it then looking away then looking at it then looking away - like you are drawn to it, but it disgusts you and scares you every time… I think that will help.
All - The last three lines are rushed. There should be a pause after “why did you bring me” and another pause after “I couldn't be alone”.
Charlie - the last line feels casual as opposed to what you are actually saying which is something like “we are now trapped with the dead” - you must land the final line… and I think as he says it, he almost begins to cry - because he is so terrified.
2:1
Eia - make sure make sure you are clear on when to stand and start walking.
Max - This monologue is so close to being brilliant if you will simply drop in a bit more to the emotional reality of it. He is both so lonely and also so filled with rage. This monologue highlights that dichotomy. Sometimes, in all of your delivery, there is something sort of casual about him. Be clear, there is never anything casual about his lines. Every single syllable is filled with intention, purpose, often vengeful rage, or deep sorrow. There are no throwaway lines. And, you must pull the audience to you and dare us to look away. You, as an incredibly talented actor, have the power to command the stage when you are confident. It is breathtaking when it lands. You must be 100% sure of every single thing you are doing. The only thing holding you back is your confidence in memorization and blocking.
2:1
Jasper – beautiful…
2:3
All – terrific… Occasionally, your individual voices are getting lost in this scene, because they are all in this more contemplative place in their minds. Keep your technique sound.
Athena - occasionally, your hesitations in your lines... which you are doing to show their anxiety... is reading as though Athena doesn't know her lines and is searching for the right word - as opposed to Frank searching for the right word. Just don't overdo that hesitant “thing”.
2:4
Jane / Giuesppe - For some reason, this scene continues to be the roughest. There is a lack of connection between the two of you, and a real lack of confidence in the blocking. It feels awkward and deeply uncomfortable. There is no natural flow. Frankly, I think you need to run this scene on your own and just make sure the lines are solid.
Giuseppe - this scene sometimes feels like you are just spouting words, and often I catch you not looking at Jane when you speak. And when you stand up and shout at her, you aren't looking at her - you are looking to your left and to the floor every time. When you stand up and bellow in her face, it must be unapologetic, confident, and without hesitancy. Nail her with that line. And... even though you are yelling “I don't know” - do not plead with her. When you yell “I don't know” the subtext is “shut the F up!!!”.
2:5 – and all other Shelter scenes…
Charlie / Eia / Ana - I'm very impressed with where all of this is headed… and I have very few notes, because I think you all understand the general arc of each scene. I am seeing much more evolution in the madness… I am seeing the desperation… I am seeing much more terror. I can really see the commitment you are making. A general note about the violent moments… anytime you are being thrown across the floor, flipped, dragged, etc… when you have any of those sound cues and light cues... you must give a vocal response… basically, you must yell or scream every single time one of those things happens. EXCEPTION: after “don't call me crazy” – that one is fine as is.
Max - There are moments when you are absolutely terrifying and filled with a young man's desperate rage - and it is terrific. There is a very odd moment, however, when you say “you're afraid you might be” - after the “don't call me crazy” moment… You have this incredible monologue there, and you never look at them. And, you are delivering it with incredible casualness… you just attacked them, but I get no sense that you arer determined to keep them in your clutches. The main problem is that you aren't connecting with them... In this, and other moments, when you are delivering your lines, and threatening them, and trying to teach them about the truth they must embrace, you are not commanding their attention - instead, you are sometimes delivering it like you are doing a Shakespearean soliloquy into the air… always connect. And keep that vocal level up up up! Also, I don't really believe any of the moments of violence from your end. There is not enough power in your gestures. You are also not always setting them up. If you have the line that leads into the gesture, that line should be rising in volume and power - and the gesture is the exclamation point on it. Finally, you must stop dropping lines in these moments... Especially when Ana is on the floor crawling… you must not leave your fellow actor in that vulnerable position. Please work that with her if necessary. Having said all that, there are so many moments when you are absolutely captivating and it is all working… truly, this is about memorization and confidence. You know what to do.
2:6
Jane - When you step off the block, silencing AI, take a slightly bigger pause and let us see how shaken she is, then really make a decision - that the audience sees to leave – then dash off…
2:8 and 2:13
All - These scenes on the steps are going well, but just make sure your voices are very clear and your intentions sharp. It is easy to get lost in that part of the set. You are very far away from some of the audience members. Simply have a great awareness of that.
Athena: Line CHANGE - it is now "We stick together. We survive together."
2:10
AI - We are losing some of that wonderful voice we found where you are really trying to help Lara… really be her best friend.
2:14
All - this split scene is really marvelous. Just remember you must come right in! For the most part, you are doing that when you start a scene, but there were a couple of small pauses.
Jane – the word “prick” is lost at the end… I love the delivery, just need more volume!
Max – nice job on the crosses… careful not to dip your head too much… keep powerful and upright as you watch them.
Charlie – the pause before “sorry” (to Casey) is a bit long.
2:15
AI – a CHANGE… I don’t like when you turn around after “Just continuity” – it’s loud and sloppy…and not at all your fault… Instead, I want you all to reach out and touch – or try to touch Tom… on his outer arms, or back… and after you touch…all of you, Tom included, take a breath together – in and out – then Tom says the final line… Then you all turn and go with music.
2:16
Athena – they are not resigned in this scene, but that is how you are playing it… When you say “the door won’t budge”, there should be deep frustration in that.
Sunny / Athena - You are rushing this scene a bit. You should both be trying to figure out what to do. Like you must crack the code and the puzzle.
2:17
Max - I need to hear some vocalization of your sobs once you are in her arms. You really have to go for this moment.
2:18
All – lovely…a very poignant ending...
Max - loved the tender exit...the small smile and release of his pain...gorgeous and moving.
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