It took me years to figure out how to delete this blog from my gmail account…

…but now that I can, I could bear to delete it.

P.S. I never fact-checked this, but I think "Drawn to Water" can be anagram'd into "Tear Down Wart"

- Ben

Run-through Notes 4/20 (Kathi)

Run-through Notes
4/20/2010 (7th run)

1-3: The Wall of Oliver’s life…Quiet Green Edges…Oliver is very young.
- E: be completely ready for blackout. When it goes dark, you have to be ready to go onstage.
- SOUND: can the voices arguing be slightly lower?
- E/LIGHTS: what are we doing about Oliver’s shadow?
- E: take a moment longer before waking up, revel in the quiet, then your parents start fighting again.
- E: if you can’t get your clothing on, just stay in character, struggle in character.
- K: good choice to go to say something to Oliver and stop.
4: Oheygoodmorning.
- SET/PROPS: can we get more stuff under YL’s bed?
- E: you stopped smelling yourself.
- E: good start to your monologue. Good monologue overall.
- S: cheat out more when in your room on the door-side of the room.
- S: “with blueberries” – make more 13.
- S/BEN CUE: as soon as you get offstage, start walking up the beach, slowly. Oliver will join you.
5: You’ve made my life like water.
- E&S: more noise during tussel.
- S: after E says “sorry”, make your upset-ness more obvious when you sit up.
6: The Golem.
- S: great “tidying up” during transition.
- LIGHTS: lamp will be on, turned off, S needs to go up with cue.
- S: before you leave to get the pillow cushions, have a reason to leave (you just leave, it kind of looks weird.
- E&S: kiss moment might feel weird, but it looks fine.
7: Mother Laundry.
- BEN CUE: can mother laundry and photobooth light be two separate cues?
- S: Pick chair up off the floor. It is really loud.
- E&S: person who is near the fringe of the beach should sit forward in seat.
- E&S: did you leave stage in character? Please do. All transitions should be in character.
8: Like Your Golem
- SOUND: can the sound for the beach scenes be lowered?
- E: move down the beach.
- S: if you can, hold the shell up, or something else to draw attention to the shell.
- E: even bigger as the golem.
- E: move down the beach.
9: Oliver and his Mother. Photostrip.
- S: good whistling and playing with the shell.
- K: good coming on with the folded shirt. I liked it.
- WORK: make YL’s transition more dynamic.
10: Everything was Electric.
- Lamp is blocking Sam’s face completely.
- E&S: nice waking up, again.
11: YL is drawing. Oliver’s sleeping.
- good timing throughout this scene, but the ending could be sped up. It runs a little long.
- E&S: you are in and out of your shoes a lot, don’t worry about tying them when you are older.
- E&S: nice doors closing simultaneously.
12: A Boat
- S: bread products? Ketchup.
- S: take a little more time between “its for you” and “I think we should get a boat.”
- S: great energy in the storm.
- E: much louder.
- E: move down the beach.
- WORK: golem outline.
- SOUND: levels in this scene were good.
- S: get up a little slower, move slower, as if you are thinking. Move back cautiously.
- E: hold anger through “but nothing happened.”
- E&S: nice moment looking at the golem in the sand, but I wish there were a golem in the sand.
13: Oliver, his mother, and the Golem…
- E: louder, but good pacing. You are looking a little static sitting on the bed – what are little things we can do to change this (think about the behavior/Djola thing).
- E: good book tactic with the paper falling out.
- E: you have a really nice moment after tacking the picture to the wall with your picture and your shadow. I liked it.
14: Being a golem is easy.
- K: nice choice with the shells.
- SOUND: too loud in this scene.
- K: the glasses are nice.
15: YL by himself. Pillage.
- E: don’t forget to look at your walls.
- S: I liked that you couldn’t fall asleep.
- K: look around more on the second “oliver”.
- E: take another beat after “I think she stopped putting stuff in”: It felt rushed.
16: Is Ollie Here.
- K: NICE CHANGE.
- K: I watched you go over the bar to get into O’s room and it wasn’t that noticeably awkward.
- SOUND: beach interlude was nice.
- K: really nice monologue.
- S: nice work with hat on “pulled taut, tight”
- S: your hair was poking through your hat and you looked like ace ventura.
- S: don’t forget eye contact moment with Paula.
- K: nice moment with lamp. HAHA.
17: We don’t act like people (2).
- K: nice playing with doorknob. HAHA.
- S: when door is open, move back (I know you did this, but anticipate).
- S: quiet feet.
- K: take a moment and make eye contact with E before leaving and slamming the door.
- WORK SCENE TOMORROW (ethan needs to be more angry).
18: The Ocean filled up with something else.
- E&S: nice face-off moment.
- E&S: I like that you put your shoes together.
- E: move down beach.
- E&S: good pulling Oliver down and scooting closer to him. Don’t retreat, though.
- SOUND: too loud.
- S: “you don’t have to” – don’t throw it away.
- E: your monologue is good, but you have to be louder.
- E: we lost you “look”
19: Imagine a cross-section of your world
- E: leave shirt in room on floor so you can add it to your pile.
- S: good breathing.
- E: get in shower earlier.
- E: where is your Oliver body while in the shower? If you are going to lose it when the voices stop, make sure it’s a really pronounced change.
- E: good breathing, even more.
- S: you putting on your hat was heartbreaking for some reason.
- LIGHT: need light on S when he’s at top of boardwalk.
- E: nice taking your time in your room with your walls.
- E: make noises while pulling things down.
- E: good pulling things down, even more hurried.
- E: remember everything on the floor of your room can be added to your island-pile.
- E: breathing? Can we cue this (3 breaths in then lights out).
- WORK: last scene.

General:
- there are still too many pauses and dead spaces – find places where they aren’t necessary and get rid of them.
- E: don’t take off your clothing so that the sleeves are inside out – you have to put a lot of things back on and then you have to deal with them.

Run-through Notes 4/19 (Kathi)

1-3: The Wall of Oliver’s life…Quiet Green Edges…Oliver is very young.
- E: Lights don’t come up on neutral space until Oliver is sitting. Be there faster.
- E: come up with the goggles, don’t drop them before you get back up to a sitting position.
- Shadow in Oliver’s room—could it be sharper?
- E: when do you take off your raincoat?
- K: your yell was heartbreaking.
- Sound: can the crash be louder?
- E: you need to take off your shoes before you get into bed, or untie them, or something, or else when Paula bends down to tie your shoes she has nothing to do.
- E&K: good pacing/intention with backpacks.
- K: slow down door opening/closing to match up more with E.
4: Oheygoodmorning.
- E: think about different volume levels for “Oheygoodmorning”.
- S/Sound: I would like the “oliver” call to be quieter/more murmur-y.
- S: when you can, move down the bed more to the foot board so that E can cheat out more when sitting in the chair.
- E: cheat out more when in the chair.
- E: nice finding the shoe under the bed.
5: You’ve made my life like water.
- Sound: can it be quieter during the scene?
- E: good laugh at Sam.
- E: MOVE DOWN IF YOU ARE ON THE FRINGE.
- E&S: more noise during tussel.
- E&S: you are now competing with the noise of the ocean – project!
- E: great “once you say a thing….” But it needs to be louder.
6: The Golem.
- Transition to next scene: E: feel free to say “I’ll be right there” to YL.
- S: you can re-make your bed during transitions (you love hospital corners).
- S: quieter feet if possible.
- Can the blanket being used for the fort be under YL’s bed?
- YL you can turn on your lamp when you come in during transition, then turn it off when lights change for the fort.
- S&E: WORK: “and he could kiss like” and reaction.
7: Mother Laundry.
- - LIGHTS: can mother’s laundry and photobooth light be separate cues?
- E: tell him about the photostrip (turns into real photostrip while backstage).
- K: turn off light last, do other stage business before.
8: Like Your Golem
- S: great work at top of the scene – find opportunities to make the water “real”.
- E: MOVE DOWN THE BEACH.
- S: remember where time/hand thing is.
- E: sounds during the golem can be louder/more animated.
- S: make it more clear to the audience that you are “writing” on E’s head
- E: the golem flies away – make a motion that looks more like flying away.
9: Oliver and his Mother. Photostrip.
- S: start trying to whistle earlier. Make sure it is out to the audience so they know what you are trying to do. Overall, though, good amount of whistling.
- E: move away from your mother more.
- E: you have to get to YL’s room sooner.
10: Everything was Electric.
- E&S: good “Please stay” “ok”.
- E&S: being blocked by the desk – perhaps we can litter the bed with pillows? Hmmmm?
- S: GREAT waking up. I loved it.
- E: wayyy too sexual of a touch.
- E: take your shoes in your hands and leave.
11: YL is drawing. Oliver’s sleeping.
- K: love the bag. You look so work-ready.
- LIGHTS: there is supposed to be one on YL’s room?
- S: if there isn’t a light on in your room when there is supposed to be, turn on your lamp.
- This was wayyyy too long. E: you don’t have to put your shoes back on.
12: A Boat
- S: for “you’re captain, you’re everything else”, move towards E as he moves towards you.
- E&S: yell over the storm!
- LIGHTS: can we have slightly more come up on K when she enters Oliver’s room?
- S: I really liked “you left these” tonight. It was cute.
- E: MOVE DOWN THAT FUCKING BEACH.
- E&S: still lost E’s line “I don’t know her”
- S: you made a line mistake, you corrected it in character, you kept going – perfect…well, almost perfect.
- S: take more time before saying “nothing”, then re-approach more cautiously before asking “what happened”.
- E: get away from your knees, you’re looking emo.
- E: remember to hold anger through “but nothing happened”.
- S: good moment after “is it such a big deal”.
- The golem in the sand doesn’t read from the audience. Wiggle into it more, E, like you would a snow angel.
13: Oliver, his mother, and the Golem…
- K: let another moment pass before entering after “but we don’t”.
- K: turn more into the room.
- LIGHTS: can there be more in this scene? Just slightly more.
- K: come into the room, close door partially behind you so you don’t have to negotiate around it.
14: Being a golem is easy.
- E: feel free to say “just a minute” or something to YL during the transition.
- E: good timing on your first line again.
- K: nice choice being barefoot.
- E: I SWEAR TO GOD IF YOU DON”T MOVE DOWN THE FUCKING BEACH…
15: YL by himself. Pillage.
- E: nice adding shells to the collection.
- E: take a longish pause before leaving the room to give K more time to change.
16: Is Ollie Here.
- S: great choice taking the hat off.
- S: good approach to the room.
- LIGHTS: can we get more light on Oliver while he is coming down the T?
- E: look out at the water, sky more. More lost. Really nice towards the end of the scene, though. It was just enough.
- S: move downstage more so that K can cheat out more and still talk to you.
- K: move more upstage if you need to cheat out more.
- K&S: nice moment, make it a second longer.
17: We don’t act like people (2).
- E: nice pause before beginning the scene.
- E: more anger – give K more to work off of.
- E: “I was a spaceship”. So good. You found it. Now you probably don’t remember how you said it.
18: The Ocean filled up with something else.
- E&S: good fight.
- E: really good build of anger. Let us hear you breathe – when people get angry their breathing gets erratic. Let’s hear it.
- E: Ethan. Move. Down. The. Beach. For the love of all that is holy.
- S: good stillness.
- SOUND: beautiful transition.
19: Imagine a cross-section of your world
- E: good transition, getting up, looking at YL for a moment.
- S: could we hear you breathing more.
- E: be more self conscious about your body.
- E: into the shower faster.
- E: shown how tense these “voices” make you in your body. Does it make you rock your body trying to shake yourself from it, or does it make you shut down? How do you move?
- E: pull things off walls more urgently. Make noises.
- E: just shove everything on your floors into your pile, whether or not it was on your floor.
- E: cheat out more when finding the shell.
- E: Breathe more at end.

General:
- Sound on beach can be quieter.
- Actors can be louder.
- Cheat out.
- Think about repercussions of all actions onstage – make them bigger; if there is a sad moment, make it more sad, if there is a happy moment, make that bigger, too. Make the highs higher and the lows lower.

Production Meeting Notes - 04/18/10

Production Meeting - 4/18/10

RFP's!!!!!!

Email Skye about Program Info

Production Meetings after every Dress Rehearsal.

(Rehearsals @ 8)

Designers should attend at least some of them.

Sound & Light need Ops!!!!

--

Set:

Padding Pole by Risers

YL's Chair: Can't block faces (Also, Wheely/No Wheely?)

Wall-Things

Fort: Kitchen Chair Perhaps?

Sound:

Levels

Direction of Sound

Light:

Working more with lamp.

Shadows

Light Coming up in YL's room during "Oheygoodmorning"

Times of Day

Getting Cyc Lights Setup

(Too Much?) Yellow on the Beach & YL's Room

Photobooth Square

Sound & Light:

Storm in "A boat" building to a peak

Tweak & Sync "Is Ollie Here"

Props:

Another Backpack

Stuff on Oliver's Floor

Batteries for Flashlights

Costume:

Picking Mother's Laundry

Haircuts for the Boys

Lamp On/Off Cue List (Kathi

Top of Show: Off
Scene 1: Not in script (N/S)
Scene 2: N/S
Scene 3: Oliver turns on lamp. Paula turns off lamp.
Scene 4: N/S
Scene 5: N/S (@ end of Scene, Oliver runs into room to turn on lamp).
Scene 6: N/S
Scene 7: Paula turns off the lamp.
Scene 8: N/S
Scene 9: Oliver turns on lamp.
Scene 10: N/S (Sam turns on lamp in YL’s room)
Scene 11: Paula turns off the lamp.
Scene 12: N/S
Scene 13: (in which the light has ‘burned out’) Oliver replaces bulb, turns on lamp.
Scene 14: N/S
Scene 15: N/S
Scene 16: Paula goes to turn off lamp, but doesn’t.
Scene 17: N/S
Scene 18: N/S
Scene 19: N/S (but I would like the lamp off for final blackout).

Rehearsal Report - 04/16/10

Date: 04/16/10

Called: All Cast

Speed-Through

Tweaking of Scenes

Set:

When will the doors be installed?

Lights:

What are you thinking about for the end of the show? You should talk to Kathi.

Sound:

What are you thinking about for the end of the show? You should talk to Kathi.

Will actual music play at the end of “You’ve made my life like water”?

Props:

Oliver's been putting on a watch when he's 13 in "Oheygoodmorning" Do we want this?

13 & 16 year old objects to pack up – for “Oliver and his mother. Photostrip”

Tape/Tacks to hang things on Oliver’s wall

Rehearsal Report - 04/15/10

Date: 04/15/10

Called: All Cast

Speed-through of Transitions

Run-through

Lights:

In the beginning of the scene “Oheygoodmorning”, Oliver lays in YL’s bed for a moment, a time-lapse as night turns into morning. Should/Could the lighting reflect this passing of time?

Sound:

Sam, Kierstin, & Ashur will record the voices for the last scene on Friday (Tomorrow, 4/16) @ 2:30

Tomorrow: Record YL saying ‘Oliver’ for “Oheygoodmorning”

Props:

Headphones and iPod-thing for YL (You’ve made my life like water).

How will the fort in “The Golem” be constructed?

Is Oliver going to use the same backpack throughout the show?

Junk on Oliver’s floor.