Sound cue synopsis

DTW Sound Cue synopsis - none of this is set in stone, and this is basically a preliminary idea for everything.

/ThewallofOliver'slife/
1 A murkiness, distorted low rumbles like underwater, rising fast to the surface then breaking it – the wall is air and sun and clarity and presence. Maybe wind and air for a moment until it is reeled indoors – more confined, quiet, stifled?

/Quietgreenedgesofyourworld/
2 Arguing, weaving voices competing from a certain direction on stage. They might become mission control, or space radio tattic, chatter.

/Oliverisveryyoung/
3 Arguing, louder, less like radio static more real until [OM: You go in that room...]
4 Crash, door slam, sobbing into radio static, the sea
5 Transition, moments of echo

/Ohheygoodmorning/
6 The space of YL's house
7 [YL: I'll show you.] Shower becomes the sea! Like going underwater, then back up

/You'vemademylifelikewater/
8 Okay this is the real beach. Dynamic elements, air all around, moving. Water over there, moving up then down. We'll be here a lot so cue should be long, loops undetectable, random forces of nature at play.
9 YL: Listen to this / sound like underwater, like being in love but its music, barely.
The beach blows away into YL's room

/TheGolem/
10 YL's room

/MotherLaundry/
11 Photobooth (what does this sound like/how do we get it?) becomes the sea

/Likeyourgolem/
12 “The beach is familiar but subtly different”
this beach blows away into the boys' rooms

/Oliverandhismother. Photostrip./
13 There are two rooms, the boys are becoming older. This could be the sound of the rooms but more like a wind tunnel or a draft blowing through, something you might notice but wouldn't wonder about. Alternative: no sound

/Everythingwaselectric/
14 YL's room, early morning – the world fresh, quiet, waking up.
15 YL's room, late morning, the world is awake now, maybe a bird chirps or a breeze blows. After a moment this might turn into Mars, and a moment after that it might become very quiet.
Transition to...


/YL is drawing. Oliver's sleeping/
16 Oliver's room. YL's room. Silence when OM turns off the lamp. Transition into...

/aboat/
17 The Beach
18 After [YL: You’rrrrre a column of fire and I am the seeeea. ] a rumble of thunder in the distance
19 During the fantasy, a storm, a different place than where they are. It ends with a long roll of deep thunder that might be a wave crashing down on everything. Then we're back on the beach.
20 As they push the imaginary boat out to sea, everything gets more quiet for a while.
21 The rain starts, then shifts to being heard from Oliver's room

/Oliver,his mother, and the golem/wedontactlikepeople(1)/
22 Oliver's room “Claustrophobic space”, rain
23 Rain turns into sea

/Being a golem is easy.../
24 The beach is familiar but subtly different [it might be brighter, or stormier]
25 The beach blows into the boys' rooms

/YL by himself. Pillage/
26 The boys' rooms

/IsOllieHere/
27 Oliver's house, not his room.
28 The beach, quietly, in a certain space
29 Oliver's room
Maybe a slight transition into next scene, just time passing

/Wedon'tactlikepeople(2)/
30 Oliver's room
transition into beach

/Theoceanfilledupwithsomethingelse/
31 “This scene should have a lot of space... The beach is familiar but subtly different.”
32 The ocean fills with something different, this is a transition.

/Imagine a cross section of your world/
33 A different Oliver's room, a nosier room, each sound that makes it his room in his mothers house is bigger, worse.
34 The shower, which contains echoes, which changes from a shower to a submersion, down into the depths of where we are until it stops, suddenly, leaving only a drip, drip.
35 A different Oliver's room, a quiet, bright place. A slow, cleansing tide approaches.

Rehearsal Report - 03/30/10

Date: 3/30/10

Called: Sam & Ethan

Scenes: "Everything was electric", "A boat"

General Notes:

There will be NO BLACKOUTS

Storm in “A Boat” will happen with sound and light.

Rehearsals in main stage, April 6^th.

SAND AT BAM

http://www.nytimes.com/slideshow/2010/02/26/theater/20100226_TEMPEST_SLIDESHOW_index.html

Rehearsal Report - 03/26/10

Rehearsal was cancelled today.

"Everything was electric." will be blocked instead on Tuesday, March 30th.

"YL is drawing. Oliver's sleeping." will be blocked instead on Wednesday, March 31st.

Next Rehearsal: Tuesday, March 30th. Sam & Ethan are called.

Rehearsal Report - 03/25/10

Date: 3/25/10

Called: All Cast

Scenes: "Like Your Golem", "Oliver and his mother. Photostrip."

General:

We will be revisiting the blocking of “Oliver and his mother. Photostrip.” and the 13-16 transition.

It’s pronounced Golem NOT Gollum!

Set:

The actors are working a lot with picking up shells on the beach.

Does Oliver have a dresser in his room?

Props:

(See Set Notes about shells)

Costume:

Whenever Oliver’s Mother enters a scene, where is she coming from?

YL should wear glasses, but less modern when 13.

Sound:

The offstage voices will be prerecorded.

Dramaturgy:

How is "Rabbi Loew" pronounced?

The next rehearsal is Friday, March 26th at 5:30 (FPH 108)

Ashur's Homework

The beach is seldom visited for a reason. Perhaps it is rocky and treacherous, the water suddenly deep not far from the shore, with cold water and undertow. Perhaps, also, there is some proximity of the outside world (see aerial picture) where smoke or the sound of traffic combines with mist and the sound of the waves. The beach is thus isolated due to its lack of isolation, the annoyance of metropolitan life driving away all but two teenage boys who prefer privacy to ambiance.

I don't know how anyone else feels about this, but it seems like it could work. Thoughts?

Rehearsal Report - 03/24/10

Date: 3/24/10

Called: All Cast

Scenes: The Golem, Mother Laundry

General Notes:

The atmosphere for “The Golem” will be a 13 year old sleepover in YL’s room. With a pillow fort and flashlights.

How do you pronounce “Rabbi Loew”? (Low? Loel?)

Set:

Could YL build a pillow fort during the scene “The Golem”? Couch cushions? Sheets?

Will actors be able to exit the stage from the sides of the sand downstage?

Costume:

Any preferences for the actors’ hair?

Sound:

Will the offstage voices (in the “Quiet green edges of your world” and “Imagine a cross-section of your world”) be recorded or live?

Sound cues for photobooth.

Props:

Flashlights for “The Golem”

Laundry basket for “Mother Laundry”

Production Meeting Notes - 03/21/10

Budget: Fill out your RFP as soon as possible! You only have 30 days to get credit cards reimbursed. Give your RFPs to Skye.

Eva's Preliminary Set Design:

A 'T' of sand with Oliver and YL's room on opposite sides.

Oliver's Lamp:

Blue, Sturdy

Pull Chain

YL's Lamp:

Modern, Bendy, Black

Will there be actual doors in the doorways for Oliver and YL's rooms?

What will be at the end of the T upstage? Scrim? Cyc? Blue sky? Darkness?

How will actors exit the stage?

Audrey's Preliminary Costume Ideas

Mother:

Land's End

Humble Clothes

Capri Pants

Oliver:

13: Clothes bought by mother

16: Jeans & t-shirts (Similar to YL's clothes)

YL

13: Less Modern Glasses, Cargo Shorts, Sleeveless Shirts

16: Jeans & t-shirts

Her hair-drying outfit (in "Is Ollie Here") should contrast with her other clothes.

Clothes for Mom and 13 year old Oliver will be new.

How many days occur within the play?

Wardrobe changes with scene transitions.

Actors changing onstage with clothes from a dresser.

Our next production meeting will be this Sunday, March 28th, at 4pm.

Rehearsal Report - 03/23/10

Date: 03/23/10

Called: Ethan & Sam

Scenes: Oheygoodmoring, You've made my life like water

Set:

Can the actors get a copy of the ground plan for rehearsals?

Costume:

Today in "Oheygoodmorning," Ethan mimed a watch or bracelet as his accessory. Do you want to go in this direction instead of the hoodie?

When does YL wear headphones? (Coordinate with props)

Sound:

What music will play at the end of "You've made my life like water"?

Props:

(See Costume)

Pictorial Imaging of Beachiness

Here's a few of the pictures I brought in to the production meeting the other day. Check 'em out.

Rehearsal Schedule March 23-April 15th

Rehearsal Schedule

This is the “scaffolding’’ of the next few weeks of rehearsals. Be aware that which scenes we are blocking on certain days may change as the process wears on, since some things may take longer/shorter than expected. Ben or I will update the blog if any changes occur.

Production Team/Designers: let us know when you want to drop into rehearsal so we can plan accordingly and have something to show you.

Actors: a reminder that off-book day is on Thursday and we will be holding a speed-through of the entire show’s dialogue before we start blocking scenes. Also, keep in mind that we will continue to work on characterization throughout blocking – your character work is not over yet!

Here we go:

Blocking: March 23-April 6th
First stumble-through of entire show: April 7th
Second run-through: April 8th
Run-throughs/Individual “moment-tweaking” (adding in details): April 12-15)

In-depth Plan for Blocking:
March 23: Scenes 4&5 (Oheygoodmorning & you’ve made my life like water)
March 24: 6&7 (The Golem & Mother Laundry)
March 25: 8&9 (Like your Golem & Oliver and his mother. Photostrip.)
March 26: 10&11 (Everything was electric & YL is drawing, Oliver’s sleeping)
March 30: 12 (A boat)
March 31st: 13&14&15 (Oliver, his mother…, Being a golem is easy, YL by himself. Pillage)
April 1st: 18 (The ocean filled up with something else)
April 5th: 16&17 (Is Ollie here & We don’t act like people (2))
April 6th: 1&2&3&19 (The wall of Oliver’s life…, quiet green edges…, Oliver is very young & Imagine a cross-section of your world)

This final day of blocking will be dedicated to the beginning and ending of the play. This choice is so that the actors have already gone through the rest of the scenes and have a better idea of the story arc, so we can figure out how to best “shape” the play from beginning to end. They are also scenes that are dictated more by interpretation than cemented dialogue.

If you have any questions/comments/concerns (I hope not the last), please send me an email: kfk08

Peaches and Cream,
Kathi

Design Meeting Notes 3/21

These are the notes I have from the beach assignment. And some of the images I showed you. Unfortunately, I don't think you can post pictures in comments, but feel free to put pictures in your own posts. Please add things I've left out that you think are important.

Ashpoint:

-clean, plastic shovels, charred wood, dune fences, more east coast, no undertow, walkers, dogs

-Yellow/white fine sand

-You bring your kids there, pay parking, walkway down to the water

Peninsula:

-Seagulls struggling to fly in wind, floating, fighting over fish

-The boys are there even when the beach and water are ugly

-Bluish glow, white and yellow on bright days, gray on dark days

-Seaweed and debris, tidelines, rivulets in the sand

-More west coast with mist and cold and cliffs, big waves, undertow (cliffs and waves as fortifications)

-Private, quiet, weeping

-On some perfect days it's hot through your eyelids

-Sand is packed closer to the water, and looser further back

-Cold energetic mist makes your hair sticky and salty and your feet are cold

Drawings

Maybe YL draws like this/likes these drawings.

Design Meeting Notes 3/8

So I thought that some really exciting stuff came out of today's design meeting!

Like I said I would, I'm posting a few things that I saw as being potentially useful to everyone, and things that are going to require consideration between two or more areas.

Also there are two assignments for the next meeting at the bottom. So read 'em and do 'em!

-"wavy": Ashur was talking about sound, but I think it's one of those words we might want to keep an eye on.

-Sound tied to changes in light

-Rooms static, beach dynamic (Ashur I know you had some additional thoughts about this if you want to comment)

-Sound and Set should stay in communication about where things are in vertical and horizontal space.

-"under water" also tides/tracking (maybe the feeling of things moving further and closer without literally sliding).

-Everyone: what feels the same and different between the two rooms? Also between the two boys' costumes? How can the similarities/differences between their spaces/clothes/bodies support each other?

-How can light help to make one costume fit/not fit in a variety of spaces?

Two Assignments (in a good way):

-Before our next meeting(Sun. 21st), really think about the way you imagine this beach. When it's clear? Cloudy? Winter? Spring? Find some images (they don't have to be of beaches, they could be of colors that remind you of this beach). Take some notes. Write a paragraph of description (what it sounds like, feels like etc.) Bring what you got to the meeting. The sooner we're all on the same beach, the better.

-Like I said before, lay down outside, put your hands around your eyes, and make it so all you can see it the sky, no trees or anything. I'm serious. This is a real thing for you to do.

Weekly Rehearsal Plan (Tentative): 3/9-3/11

The following post comes from the mind of our director, Kathi Kaity:

As we talked about this past Friday at our full, production team read-through, I will be constructing a weekly rehearsal report that will outline objectives, goals, and themes for each week of the process. This system will allow designers and other production team members to plan accordingly for which rehearsal they want to drop in on, as well as allowing the actors a sneak peak to what they will be working on.

These rehearsal reports are partial, meaning they won’t explain everything we will be doing, but giving a brief overview (there are things I don’t want the cast to know about prior to rehearsal) – if you want more specific information on anything, email me (kfk08). Production Team members – if you see a rehearsal that you think would be beneficial for you to attend, please e-mail Ben with the date as soon as possible, so we know to expect you. Thanks!

Week of 3/7 - 3/13
Final Week of Intensive Character Work
Overall Objectives:

• Physicality (13 year olds, 16 year olds, mother)


• Learn story of Golem


• Setting personal goals (for each actor)

Tuesday, 3/9; 5:30-7:30
Called: Ethan, Sam

• Sit down, check-in’s (about how everyone’s day has been)


• Writing (5 minutes) – What happens to Oliver and YL’s friend/relation-ship?
  
  During the play and after the play? Have they “lost” that special something about first love already?
  


• “This is Your…” Game – Oliver and YL have a very intimate relationship – one where, at times, it appears they are more comfortable with their best friend’s body than their own. This is one aspect of physicality that must come through onstage. In this game, partners of two will take turns touching certain body parts of their partner, and explaining what they are for, in either the most literal or metaphorical language they can think of. Example (touching partner’s nose): “This is your nose. It is for sniffing./ This is your nose. It is for smelling the ocean.”


• Armchair, Shelf, Swab the deck – partners will use their bodies together to create a single narrative.


• Mirror Game


• Get into character


• “Entering the space” – partners of two, ask permission to “enter a space.” Go back and forth asking yes or no questions such as “can I stand?”, “can I crawl 3 paces to the left?”, and “ can I put my head on your shoulder?” In character.


• Character interviews/stories.


• Close Rehearsal

Wednesday, 3/10; 5:30-7:30
Called: Full Cast

• Sit down, check in's


• Setting personal goals for each actor. Talk about what they want to work on and what we (directing team) want to work on.


• Enunciation– there are a lot of moments in the script where there is “hushed” dialogue – dialogue that is said quietly because a character is unsure or apprehensive about saying it. Let’s start practicing it now AND enunciating so the audience won’t lose these important words and scenes later.


• Writing (5 minutes) – What does your character need? What does it take for them to ask for it?


• Mill and Seeth – playing with awareness of all body parts, speeds, levels, characterizations.


• 3’s – People tend to have certain stances that they fall into when they are not paying attention, most people have about 3 go-to stances, such as standing with weight on one foot, arms crossed, etc. Each person must find 3 “go-to” stances for their character. These will be the positions they put themselves in when onstage and not performing a specific action.


• Get into character.


• "Molding” – in character, actors will “mold” their peers into different emotions, the way the character would see fit. Example, we ask YL to mold Oliver into “sadness” – YL would move Oliver’s body (and Oliver would maintain pose) into what YL considers sadness. We will also “mold” characters into different ages.


• "MOVE" exercise


• Character Interviews/Stories


• Talk about the story of the Golem (Al? Rachel?)


• Close rehearsal, remind cast of offbook day (Thursday after Spring Break)

Thursday, 3/11; 3:30-5:30

Called: Ethan, Sam

*Closed rehearsal*

• Sit down, check-in's


• So much of this play revolves around water and beaches – we are going to be going to a beach, why not go in the water?


• Differences between 13 year olds in water and 16 year olds in water…what games do they play?


• Get into character


• Marco Polo


• Pancakes or waffles


• Free swim - in character


• Character Interviews/Stories


• Close rehearsal, remind cast members of off-book day!