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.
Tuesday, April 20, 2010
Monday, April 19, 2010
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.
- 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.
Sunday, April 18, 2010
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).
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).
Friday, April 16, 2010
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
Thursday, April 15, 2010
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.
Tranistion Notes (Kathi)
Transitions:
Between 1-3: (fluid movement)
Between 3-4: Oliver goes over steps and platform to cross into YL’s room.
Between 4-5: Boys exit YL’s room through his door, immediately go up steps and down boardwalk.
Between 5-6: Boys get up from beach, YL goes into his own room, Oliver veers off to “run and get stuff from his house” (golem book). Enters through YL’s door.
Between 6-7: Boys finish dialogue from scene 6 and stay in room, while Paula enters from stairs and comes down boardwalk with laundry.
Between 7-8: as soon as door to Oliver’s room, closes, boys should be coming up the steps to the boardwalk.
Between 8-9: YL starts whistling during transition, both boys go back to their own rooms.
Between 9-10: Could Paula close Oliver’s door when Oliver opens YL’s door? (simultaneous)
Between 10-11: YL to desk, Ollie to room (right over boardwalk)
Between 11-12: Good transition for (one of the) boys to change clothes. Boys arrive at steps to the boardwalk at same time.
Between 12-13: Boys walk up boardwalk, Oliver to his room. YL goes offstage.
Between 13-14: As soon as Paula is out the door, YL moves down the boardwalk (Oliver catches up).
Between 14-15: Boys go straight into rooms.
Between 15-16:Oliver goes out door, YL goes out his door.
Between 16-17: Oliver moves from beach to his room as soon as Paula is out of Oliver’s room.’
Between 17-18: YL gets up from beach, faces Oliver at top of boardwalk, face-off.
Between 18-19: Oliver up off of beach, straight to room.
Scene Number/Corresponding Title
1-3: The Wall of Oliver’s life…Quiet Green Edges…Oliver is very young.
4: Oheygoodmorning.
5: You’ve made my life like water.
6: The Golem.
7: Mother Laundry.
8: Like Your Golem
9: Oliver and his Mother. Photostrip.
10: Everything was Electric.
11: YL is drawing. Oliver’s sleeping.
12: A Boat
13: Oliver, his mother, and the Golem…
14: Being a golem is easy.
15: YL by himself. Pillage.
16: Is Ollie Here.
17: We don’t act like people (2).
18: The Ocean filled up with something else.
19: Imagine a cross-section of your world
Between 1-3: (fluid movement)
Between 3-4: Oliver goes over steps and platform to cross into YL’s room.
Between 4-5: Boys exit YL’s room through his door, immediately go up steps and down boardwalk.
Between 5-6: Boys get up from beach, YL goes into his own room, Oliver veers off to “run and get stuff from his house” (golem book). Enters through YL’s door.
Between 6-7: Boys finish dialogue from scene 6 and stay in room, while Paula enters from stairs and comes down boardwalk with laundry.
Between 7-8: as soon as door to Oliver’s room, closes, boys should be coming up the steps to the boardwalk.
Between 8-9: YL starts whistling during transition, both boys go back to their own rooms.
Between 9-10: Could Paula close Oliver’s door when Oliver opens YL’s door? (simultaneous)
Between 10-11: YL to desk, Ollie to room (right over boardwalk)
Between 11-12: Good transition for (one of the) boys to change clothes. Boys arrive at steps to the boardwalk at same time.
Between 12-13: Boys walk up boardwalk, Oliver to his room. YL goes offstage.
Between 13-14: As soon as Paula is out the door, YL moves down the boardwalk (Oliver catches up).
Between 14-15: Boys go straight into rooms.
Between 15-16:Oliver goes out door, YL goes out his door.
Between 16-17: Oliver moves from beach to his room as soon as Paula is out of Oliver’s room.’
Between 17-18: YL gets up from beach, faces Oliver at top of boardwalk, face-off.
Between 18-19: Oliver up off of beach, straight to room.
Scene Number/Corresponding Title
1-3: The Wall of Oliver’s life…Quiet Green Edges…Oliver is very young.
4: Oheygoodmorning.
5: You’ve made my life like water.
6: The Golem.
7: Mother Laundry.
8: Like Your Golem
9: Oliver and his Mother. Photostrip.
10: Everything was Electric.
11: YL is drawing. Oliver’s sleeping.
12: A Boat
13: Oliver, his mother, and the Golem…
14: Being a golem is easy.
15: YL by himself. Pillage.
16: Is Ollie Here.
17: We don’t act like people (2).
18: The Ocean filled up with something else.
19: Imagine a cross-section of your world
Wednesday, April 14, 2010
Rehearsal Report - 04/14/10
Date: 04/14/10
Called: All Cast
Finished working on transitions.
Run-through
General:
Sam & Ethan performed basic 13-16 costume changes during the run-through.
Set:
Oliver's door has to be really braced because it slams
What kind of chair is YL going to have?
Sound:
Are you thinking about having a door knock for "Is Ollie Here?" If not, it'll be YL doing that visibly at the edge of the beach.
Weather thoughts for the beach in "Is Ollie Here" and "We don't act like people II"?
Props:
Props for Fort (The Golem):
2 BIG Couch Cushions
Standing Lamp
BIG Bed Sheet
Lightbulb (Oliver, his mother, and the Golem)
Stuff in Oliver’s room for his mother to pick-up.
Weight in the early backpacks
Please keep bringing in props as you have them
Run-through Notes 4/14 (Kathi)
Run-through Notes
4/14/2010 (4th run)
7:16-8:32
1-3: The Wall of Oliver’s life…Quiet Green Edges…Oliver is very young.
- E: you keep opening the doors in different ways – ask me how they open.
- E: come down stage more at beginning of “quiet green edges” so that the audience can see you.
- E: sit up more when making shadow puppets, or put your knees down.
- E: react more to your mother “you go in that room and I fucking swear.”
- *WORK backpack moment.
- K: wait longer in Oliver’s room – until he enters YL’s room. Then leave.
4: Oheygoodmorning.
- E: make major difference in voice (between 6 year old and 13 year old).
- S: call Oliver’s name offstage at “I’m his-“ (ohheygoodmorning speech).
- S: lines in this scene were being delivered fast – we were losing words.
5: You’ve made my life like water.
- E&S: make sure E is paying attention to S’s portrayal of “Ollie’s Mother”.
- S: Make kiss less predatory! *WORK MOMENT.
- E: pants already rolled up – perhaps you were doing this at top of the scene.
- This scene felt rushed.
- E: during transition into next scene, run up boardwalk and into your house – you don’t want to waste time, you want to hang out with your friend.
6: The Golem.
- SHANNON: we need a much bigger blanket.
- S: make kissy noises at Oliver, only advance upon him a little.
7: Mother Laundry.
- *WORK photobooth.
- E&S: when putting away fort, be quieter, make motions smaller.
- K: when going into Oliver’s room, feel free to make an audible sigh.
8: Like Your Golem
- E: looking out: GOOD.
- S: nice “yes”. Give it more time before going to next line.
- E: sit downstage of S, just a little.
- E: be more frustrated with: “I go and I’m there…”.
- E&S: laugh at golem game initiation.
- S: slow down golem game so Ethan can create an arc.
- *WORK golem game.
- S: take more time between “forget it” and “hey, this kinda day’s so crazy” – YL needs to think up a change in subject.
9: Oliver and his Mother. Photostrip.
- S: during transition, stand up, look out at ocean, attempt to whistle. Oliver walks into room.
- E: don’t sit next to K, stand awkwardly next to bed, you are making her upstage herself.
- E: turn awkwardly towards bed so that your Mom can’t see you change.
- K: perhaps you can notice E changing and look away, purposefully.
- S: don’t change pants during this scene, but between transition from “Everything was electric” to the next scene (you pants are supposed to be off in “Everything was electric”, and you’re sleeping. So why did you get dressed first?) Before the next scene take off first pair of pants, get into bed in boxers. After “Everything was electric” put on pants.
10: Everything was Electric.
- S: a good scene to play with breath.
- *WORK “please stay”.
- E: have longer moment before waking up, then sit up more after waking up. Take more time before starting line.
- E: more incredulous about landing on “mars”.
- S: nice moment to put on glasses.
- S: after “you’ve fucked him up” – are you able to look Oliver in the eyes?
- AUDREY: with the hat and glasses on, Sam looks like Cam Vokey. Juss sayin.
11: YL is drawing. Oliver’s sleeping.
- K: wait to hear E settled in bed.
- K: start looking at real wall of stuff in Oliver’s room, then transition into looking at the “fake” wall, so that the audience knows what you are looking at.
- K: turn into the room to turn off the lamp.
- E: this is a good transition to change an article of clothing.
12: A Boat
- S: think about wrapping the book in your sweater so that Oliver doesn’t see it beforehand.
- SHORTER PANCAKES OR WAFFLES. 4 or 5 options and that’s it. IMEANIT.
- *WORK this scene.
- K: come to edge of the room to watch the boat go off.
- S: you remember that line, boy.
- E: move down the beach more, so that YL can trace you.
- E: we’re losing “I don’t know her” – clearer, louder.
- *WORK: build to “ohheyhowareyou” blow-up.
- S: get up slower, with more “probing” – you are trying to figure things out, and its like a puzzle.
- S: good reaction to Ollie’s yelling.
- E: “but nothing. Happened.” Think about the space between nothing and happened.
13: Oliver, his mother, and the Golem…
- K: you cut off Oliver’s first speech. Look over your cue line.
- E: after describing YL’s mother’s job, realize how stupid what you just said sounded. Let us see ths reaction.
- K: cheat out when facing E’s bed, you are cutting yourself off from part of the audience (on Stage L)
14: Being a golem is easy.
- S: that was an interesting entrance…? *WORK TRANSITION.
- E: good opening line! GOOD timing with it! I was so happy! The action didn’t go on too long!
- K: good “busying yourself” in room.
- E&S: remember not to block K, move over toward Stage L a little more.
15: YL by himself. Pillage.
- TRANSITION from last scene: say goodbye to each other before exiting to rooms.
- E: cheat out, if you are turning to a wall, make a little circle so you are only turned away from audience for a moment.
16: Is Ollie Here.
- K: try resting on the door frame after entering E’s room, let it hold you up when you think you can’t on your own.
- E: try looking above audience out at the sky, don’t look in direction of your room or audience might think you know that it is happening.
- K: turn out more to audience.
- S: you touched your belly and I really liked that choice.
- E: facial expression should be more lost than sad.
- K: good “it looks like him.”
- Let’s put K and S on a diagonal for this scene (K near the door, S near the foot of Oliver’s bed).
17: We don’t act like people (2).
- E: make “we don’t” clearer – I lost “don’t”
- K: be “on guard” when Oliver says “is this what people act like” – cross your arms or pull at your pull.
- K: you can slow yourself down for this scene. Beautiful ending.
18: The Ocean filled up with something else.
- *WORK transition.
- Good pacing during argument, but let it build more so E has more to work off of with his blow-up.
- E: good arms during blow up.
- S: if you extend your arm to Oliver, he doesn’t take it. Yank him down towards you. Make him come to you. You need him to come to you.
- E: take more time with final monologue.
- *WORK monologue.
- S: lay down slower, this is a painful moment to move away from.
- E: “look” needs to be louder.
Imagine a cross-section of your world
- E: get into shower quicker.
- E: we need you to “push” the voices out. It doesn’t have to be a yell. Maybe a sigh? SOMETHING. Also, let us hear your breathe.
- S: let’s work on the walk. Its detached, but not zombie-like. Perhaps you are hunched over more, like Oliver in a lot of scenes.
General:
- SET PROPS BEFORE THE SHOW.
- More energy!
- Anticipate transitions.
- BEACH SCENES: if you sit right next to each other on same plane we lose sight of both of you.
4/14/2010 (4th run)
7:16-8:32
1-3: The Wall of Oliver’s life…Quiet Green Edges…Oliver is very young.
- E: you keep opening the doors in different ways – ask me how they open.
- E: come down stage more at beginning of “quiet green edges” so that the audience can see you.
- E: sit up more when making shadow puppets, or put your knees down.
- E: react more to your mother “you go in that room and I fucking swear.”
- *WORK backpack moment.
- K: wait longer in Oliver’s room – until he enters YL’s room. Then leave.
4: Oheygoodmorning.
- E: make major difference in voice (between 6 year old and 13 year old).
- S: call Oliver’s name offstage at “I’m his-“ (ohheygoodmorning speech).
- S: lines in this scene were being delivered fast – we were losing words.
5: You’ve made my life like water.
- E&S: make sure E is paying attention to S’s portrayal of “Ollie’s Mother”.
- S: Make kiss less predatory! *WORK MOMENT.
- E: pants already rolled up – perhaps you were doing this at top of the scene.
- This scene felt rushed.
- E: during transition into next scene, run up boardwalk and into your house – you don’t want to waste time, you want to hang out with your friend.
6: The Golem.
- SHANNON: we need a much bigger blanket.
- S: make kissy noises at Oliver, only advance upon him a little.
7: Mother Laundry.
- *WORK photobooth.
- E&S: when putting away fort, be quieter, make motions smaller.
- K: when going into Oliver’s room, feel free to make an audible sigh.
8: Like Your Golem
- E: looking out: GOOD.
- S: nice “yes”. Give it more time before going to next line.
- E: sit downstage of S, just a little.
- E: be more frustrated with: “I go and I’m there…”.
- E&S: laugh at golem game initiation.
- S: slow down golem game so Ethan can create an arc.
- *WORK golem game.
- S: take more time between “forget it” and “hey, this kinda day’s so crazy” – YL needs to think up a change in subject.
9: Oliver and his Mother. Photostrip.
- S: during transition, stand up, look out at ocean, attempt to whistle. Oliver walks into room.
- E: don’t sit next to K, stand awkwardly next to bed, you are making her upstage herself.
- E: turn awkwardly towards bed so that your Mom can’t see you change.
- K: perhaps you can notice E changing and look away, purposefully.
- S: don’t change pants during this scene, but between transition from “Everything was electric” to the next scene (you pants are supposed to be off in “Everything was electric”, and you’re sleeping. So why did you get dressed first?) Before the next scene take off first pair of pants, get into bed in boxers. After “Everything was electric” put on pants.
10: Everything was Electric.
- S: a good scene to play with breath.
- *WORK “please stay”.
- E: have longer moment before waking up, then sit up more after waking up. Take more time before starting line.
- E: more incredulous about landing on “mars”.
- S: nice moment to put on glasses.
- S: after “you’ve fucked him up” – are you able to look Oliver in the eyes?
- AUDREY: with the hat and glasses on, Sam looks like Cam Vokey. Juss sayin.
11: YL is drawing. Oliver’s sleeping.
- K: wait to hear E settled in bed.
- K: start looking at real wall of stuff in Oliver’s room, then transition into looking at the “fake” wall, so that the audience knows what you are looking at.
- K: turn into the room to turn off the lamp.
- E: this is a good transition to change an article of clothing.
12: A Boat
- S: think about wrapping the book in your sweater so that Oliver doesn’t see it beforehand.
- SHORTER PANCAKES OR WAFFLES. 4 or 5 options and that’s it. IMEANIT.
- *WORK this scene.
- K: come to edge of the room to watch the boat go off.
- S: you remember that line, boy.
- E: move down the beach more, so that YL can trace you.
- E: we’re losing “I don’t know her” – clearer, louder.
- *WORK: build to “ohheyhowareyou” blow-up.
- S: get up slower, with more “probing” – you are trying to figure things out, and its like a puzzle.
- S: good reaction to Ollie’s yelling.
- E: “but nothing. Happened.” Think about the space between nothing and happened.
13: Oliver, his mother, and the Golem…
- K: you cut off Oliver’s first speech. Look over your cue line.
- E: after describing YL’s mother’s job, realize how stupid what you just said sounded. Let us see ths reaction.
- K: cheat out when facing E’s bed, you are cutting yourself off from part of the audience (on Stage L)
14: Being a golem is easy.
- S: that was an interesting entrance…? *WORK TRANSITION.
- E: good opening line! GOOD timing with it! I was so happy! The action didn’t go on too long!
- K: good “busying yourself” in room.
- E&S: remember not to block K, move over toward Stage L a little more.
15: YL by himself. Pillage.
- TRANSITION from last scene: say goodbye to each other before exiting to rooms.
- E: cheat out, if you are turning to a wall, make a little circle so you are only turned away from audience for a moment.
16: Is Ollie Here.
- K: try resting on the door frame after entering E’s room, let it hold you up when you think you can’t on your own.
- E: try looking above audience out at the sky, don’t look in direction of your room or audience might think you know that it is happening.
- K: turn out more to audience.
- S: you touched your belly and I really liked that choice.
- E: facial expression should be more lost than sad.
- K: good “it looks like him.”
- Let’s put K and S on a diagonal for this scene (K near the door, S near the foot of Oliver’s bed).
17: We don’t act like people (2).
- E: make “we don’t” clearer – I lost “don’t”
- K: be “on guard” when Oliver says “is this what people act like” – cross your arms or pull at your pull.
- K: you can slow yourself down for this scene. Beautiful ending.
18: The Ocean filled up with something else.
- *WORK transition.
- Good pacing during argument, but let it build more so E has more to work off of with his blow-up.
- E: good arms during blow up.
- S: if you extend your arm to Oliver, he doesn’t take it. Yank him down towards you. Make him come to you. You need him to come to you.
- E: take more time with final monologue.
- *WORK monologue.
- S: lay down slower, this is a painful moment to move away from.
- E: “look” needs to be louder.
Imagine a cross-section of your world
- E: get into shower quicker.
- E: we need you to “push” the voices out. It doesn’t have to be a yell. Maybe a sigh? SOMETHING. Also, let us hear your breathe.
- S: let’s work on the walk. Its detached, but not zombie-like. Perhaps you are hunched over more, like Oliver in a lot of scenes.
General:
- SET PROPS BEFORE THE SHOW.
- More energy!
- Anticipate transitions.
- BEACH SCENES: if you sit right next to each other on same plane we lose sight of both of you.
Rehearsal Report - 04/13/10
Date: 04/13/10
Called: All Cast
Met w/Liaisons (Scheduled One-on-One Meetings)
Met w/Dramaturge (Al)
Blocking of last scene (Imagine a cross section of your world)
Run-Through
Set:
How will Oliver rip off the things on his wall in the last scene? Will they actually get torn? Will we need multiple copies of the wall things for each show?
Will there be enough things on the walls to make Oliver's island at the end?
Will there be curtains hung behind the rooms?
Eva, can you come talk the actors about Oliver's walls and also the backstage situation? (especially any masking/curtains)
Does YL’s current desk placement show his too much of his back to part of the audience?
Costume:
Mother's laundry (underwear, maybe t-shirts, personal things)
Props:
The things strewn around Oliver's room that he packs.
Do we want to use the book that Kiersten was using in rehearsal last night for the scrapbook?
(See Costume)
Sound:
Kathi wants to talk to you about the last scene
Right now Oliver is miming turning on the shower in the last scene. You might want to see the timing of this part as it is now.
Run-through Notes 4/13 (Kathi)
Run-through Notes
4/13/2010 (3rd run)
1-3: The Wall of Oliver’s life…Quiet Green Edges…Oliver is very young.
- E: good noises, turn fish boat in ALL ways, experiment with its form. Don’t say “crash” for the crash noise – just make a crash.
- K: really good detached-ness.
- E: let K “orbit” you – CHEAT OUT.
- E (transition into scene 4) – go over the steps and platform to cross (you will not be able to cross between scrim and sic.
4: Oheygoodmorning.
- S: Is your “Oliver” call offstage a recording or you? (let’s assume its you).
- E: “O hey good morning” monologue – let’s play around with the blocking to “open you up” to the audience. Perhaps you set up YL’s chair as if it’s the person you are addressing – we need something to clarify this moment.
- S: you come on and the mood changes completely – silence is gone – good.
- S: stage direction: YL can’t believe he’s made these sounds (after talking about how to take a shower) – what does this mean?
5: You’ve made my life like water.
- S: good Ollie’s mom impression. Take more time with it.
- E: “once you say a thing…” – really well delivered.
6: The Golem.
- S: perhaps during the transition when Oliver leaves you to get the golem book, you can “clean/spruce up” YL’s room for Ollie.
- S: After “and he could kiss like…” – laugh or something to show this is not meant to be a predatory moment.
7: Mother Laundry.
- E&S: even quieter/smaller with photobooth pantomiming. But your time onstage, reading or drawing before going to the photobooth was really great.
- K: really nice moment – you pulled at your pull!
8: Like Your Golem
- S: remember to find your shell in this scene!
- Transition: As soon as door to Oliver’s room closes (by K), the boys should be coming up the steps of the boardwalk (let’s not leave dead space).
- E: let Oliver live with YL’s first “Yes.” Think about what it means, and how it pertains to you.
- S: Take more time with “yes” – before and after. Let it have room to breathe and fall over the scene.
- E: ENUNCIATE.
- S&E: strong moment with “I took it away, its gone” – but don’t draw out Oliver’s pulling away from YL too long!
9: Oliver and his Mother. Photostrip.
- S: start whistling during the transition (as soon as you get up from the beach), remember to not distract from the other scene going on, but to punctuate it.
- E: remember you are packing to go to the beach/sleepover with YL.
- E: good “photos.” Line.
10: Everything was Electric.
- Transition: could Paula close Oliver’s door at the same time as Oliver opening YL’s door into his room. If this could happen simultaneously, that’d be great.
- E&S: you both had great waking up moments. Don’t lose this!
- E: “is that your professional opinion?” – beautiful. Look for every opportunity to find the joy in each scene. You did it here.
11: YL is drawing. Oliver’s sleeping.
- S: you don’t have to leave your room for the transition, but just go to your desk.
- K: remember to turn off the lamp at the end of the scene.
12: A Boat
- E&S: TRANSITION – get up from your bed (E) and desk (S) at same time and meet at the top of the boardwalk.
- Pancakes or waffles game took way too long – keep it to 4 or 5 questions.
- E&S: even more energy – create the storm for the audience. Don’t rely upon design.
- K: take in the room until the boat gets pushed out to sea.
- E&S: be aware where K is during your scene, try not to block her from the audience (you are still in the forefront of the scene, but let the audience take in both moments).
- E&S: you touched each other – GREAT. Find other places to do this more.
- E: move down the beach (closer to the audience) so YL can trace you.
- E: slow down and think through this scene’s monologue.
- S: show more intention when getting up, linger before saying “nothing”.
- E: be more angry still on “but nothing happened” – don’t let go of all that frustration from earlier in your line just yet.
13: Oliver, his mother, and the Golem…
- E: “But I ate” – I lost the last word. Be clearer.
- K: lovely pacing.
14: Being a golem is easy.
- TRANSITION: as soon as K is out the door, S moves down the board walk, E catches up to him.
- E: get to “And then?” line much faster.
- E&S: you are completely blocking K.
- K: don’t leave so fast from Oliver’s room. Let us see there is a push/pull going on.
15: YL by himself. Pillage.
- TRANSITION: boys go back to their own rooms.
- S: don’t move so much – choose moments.
- E: remember you are getting “ready” to go the beach by yourself.
16: Is Ollie Here.
- S: YL taking in Ollie’s room – great.
- K: let us hear you holding back emotions more (knot in throat, how does this affect your voice).
- S: Nice hands (throughout this scene and the whole show).
- S: great monologue – I could see YL thinking his way through it.
17: We don’t act like people (2).
- TRANSITION: Oliver straight into his room as soon as Paula closes the door to it – you don’t have to use your door this time.
- K: feel free to slam the door.
18: The Ocean filled up with something else.
- S: “I saw your room” – great!
- E&S: wonderful build.
- E: resist more before sitting again with YL.
- S: your breakdown was nice.
- E: Nice touching S during blast off sounds. It was very sweet.
19: Imagine a cross-section of your world.
- Great breath.
- E: make noises when pulling things down from your walls.
General Notes:
- ENUNCIATE.
- CHEAT OUT.
- Make the “highs higher and the lows lower
Great run, all!
4/13/2010 (3rd run)
1-3: The Wall of Oliver’s life…Quiet Green Edges…Oliver is very young.
- E: good noises, turn fish boat in ALL ways, experiment with its form. Don’t say “crash” for the crash noise – just make a crash.
- K: really good detached-ness.
- E: let K “orbit” you – CHEAT OUT.
- E (transition into scene 4) – go over the steps and platform to cross (you will not be able to cross between scrim and sic.
4: Oheygoodmorning.
- S: Is your “Oliver” call offstage a recording or you? (let’s assume its you).
- E: “O hey good morning” monologue – let’s play around with the blocking to “open you up” to the audience. Perhaps you set up YL’s chair as if it’s the person you are addressing – we need something to clarify this moment.
- S: you come on and the mood changes completely – silence is gone – good.
- S: stage direction: YL can’t believe he’s made these sounds (after talking about how to take a shower) – what does this mean?
5: You’ve made my life like water.
- S: good Ollie’s mom impression. Take more time with it.
- E: “once you say a thing…” – really well delivered.
6: The Golem.
- S: perhaps during the transition when Oliver leaves you to get the golem book, you can “clean/spruce up” YL’s room for Ollie.
- S: After “and he could kiss like…” – laugh or something to show this is not meant to be a predatory moment.
7: Mother Laundry.
- E&S: even quieter/smaller with photobooth pantomiming. But your time onstage, reading or drawing before going to the photobooth was really great.
- K: really nice moment – you pulled at your pull!
8: Like Your Golem
- S: remember to find your shell in this scene!
- Transition: As soon as door to Oliver’s room closes (by K), the boys should be coming up the steps of the boardwalk (let’s not leave dead space).
- E: let Oliver live with YL’s first “Yes.” Think about what it means, and how it pertains to you.
- S: Take more time with “yes” – before and after. Let it have room to breathe and fall over the scene.
- E: ENUNCIATE.
- S&E: strong moment with “I took it away, its gone” – but don’t draw out Oliver’s pulling away from YL too long!
9: Oliver and his Mother. Photostrip.
- S: start whistling during the transition (as soon as you get up from the beach), remember to not distract from the other scene going on, but to punctuate it.
- E: remember you are packing to go to the beach/sleepover with YL.
- E: good “photos.” Line.
10: Everything was Electric.
- Transition: could Paula close Oliver’s door at the same time as Oliver opening YL’s door into his room. If this could happen simultaneously, that’d be great.
- E&S: you both had great waking up moments. Don’t lose this!
- E: “is that your professional opinion?” – beautiful. Look for every opportunity to find the joy in each scene. You did it here.
11: YL is drawing. Oliver’s sleeping.
- S: you don’t have to leave your room for the transition, but just go to your desk.
- K: remember to turn off the lamp at the end of the scene.
12: A Boat
- E&S: TRANSITION – get up from your bed (E) and desk (S) at same time and meet at the top of the boardwalk.
- Pancakes or waffles game took way too long – keep it to 4 or 5 questions.
- E&S: even more energy – create the storm for the audience. Don’t rely upon design.
- K: take in the room until the boat gets pushed out to sea.
- E&S: be aware where K is during your scene, try not to block her from the audience (you are still in the forefront of the scene, but let the audience take in both moments).
- E&S: you touched each other – GREAT. Find other places to do this more.
- E: move down the beach (closer to the audience) so YL can trace you.
- E: slow down and think through this scene’s monologue.
- S: show more intention when getting up, linger before saying “nothing”.
- E: be more angry still on “but nothing happened” – don’t let go of all that frustration from earlier in your line just yet.
13: Oliver, his mother, and the Golem…
- E: “But I ate” – I lost the last word. Be clearer.
- K: lovely pacing.
14: Being a golem is easy.
- TRANSITION: as soon as K is out the door, S moves down the board walk, E catches up to him.
- E: get to “And then?” line much faster.
- E&S: you are completely blocking K.
- K: don’t leave so fast from Oliver’s room. Let us see there is a push/pull going on.
15: YL by himself. Pillage.
- TRANSITION: boys go back to their own rooms.
- S: don’t move so much – choose moments.
- E: remember you are getting “ready” to go the beach by yourself.
16: Is Ollie Here.
- S: YL taking in Ollie’s room – great.
- K: let us hear you holding back emotions more (knot in throat, how does this affect your voice).
- S: Nice hands (throughout this scene and the whole show).
- S: great monologue – I could see YL thinking his way through it.
17: We don’t act like people (2).
- TRANSITION: Oliver straight into his room as soon as Paula closes the door to it – you don’t have to use your door this time.
- K: feel free to slam the door.
18: The Ocean filled up with something else.
- S: “I saw your room” – great!
- E&S: wonderful build.
- E: resist more before sitting again with YL.
- S: your breakdown was nice.
- E: Nice touching S during blast off sounds. It was very sweet.
19: Imagine a cross-section of your world.
- Great breath.
- E: make noises when pulling things down from your walls.
General Notes:
- ENUNCIATE.
- CHEAT OUT.
- Make the “highs higher and the lows lower
Great run, all!
Tuesday, April 13, 2010
Rehearsal Report - 04/12/10
Date: 04/12/10
Called: Sam & Ethan
Beach Scenes:
You’ve made my life like water
Like your Golem
General:
Oliver & YL’s physical relationship: Something between “not a relationship” and “just friends.” Developed at 15-16.
Are YL and Oliver each other’s first love?
What happens to Oliver & YL’s relationship after the play?
Set:
Neutral space being moved slightly downstage on the boardwalk.
Props:
iPod for YL
Prop Storage
Friday, April 9, 2010
Rehearsal Report - 04/08/10
Date: 04/08/10
Called: All Cast
Second Run-Through
General Notes:
Ethan stubbed his big toe, right foot. He asked me to write this down.
ACTORS: Learn scene order.
Ben: Remember to actually time the show during run-throughs. Also, bring book to fill in for golem book.
Set:
Where will the photostrip and golem drawing be placed in Oliver’s room?
A way to hang the fishboat near the door? A pushpin or something?
Costume:
Actors performed in some of their costumes during today’s run-through.
ACTORS: Bring jeans (if you have jeans) to the next rehearsal!
Kierstin needs a Cami
Laundry for Paula to fold?
Props:
Golem Book
Pen/Pencil for OM’s Scrapbook (“Being a golem is easy”)
(See Costume about Laundry)
Sound:
When Oliver overhears his name offstage (in “Oheygoodmorning”), will it be recorded?
Thursday, April 8, 2010
4/8 Run-Through Notes (Kathi)
Run-through Notes
4/8/2010 (2nd run)
Time: 6:25-7:47
1-3: The Wall of Oliver’s life…Quiet Green Edges…Oliver is very young.
- Go over scene, make more specific choices.
- E: if you need to put down the fish boat to do your goggle-eyes, feel free to do it.
- E: play time here is a deliberate mechanism for dealing with your parents’ fighting.
- JANAE: how are we going to “make” an extra shadow on the wall?
- Back pack scene: shorter/tighter. E should be still, K is “orbiting”.
4: Oheygoodmorning.
- E: go over “oheygoodmorning” speech and blocking.
- E: Why are you gathering your things? More urgency to find shoe.
- S: laugh (or show “laughing” in your body) after “hey sleeper” – we need to see you being playful. This is your introduction to the audience.
- S: “with blueberries?” – be playful/silly with it! Entice him.
5: You’ve made my life like water.
- No shoe fight. No.
- Laugh with each other.
- Look out at ocean more.
- S: “you’ve made my life…” GOOD.
6: The Golem.
- E: (concerning the transition), you have to go back to your “house” to get the golem book you have in this scene.
- S: Make kiss less predatory (play with just making a kissy sound)
7: Mother Laundry.
- K: before sitting, think about if this is your space (its not), hesitantly sit down anyway.
- E&S: make motion/noise smaller and less distracting.
8: Like Your Golem
- S: don’t do that squat thing. You know why.
- E&S: GOOD “look up” moment.
- E: get into pretending to be the golem, then be scared (we will slow down the dialogue so you have more time to transition).
- S: glasses off, “seeing each other as people.”
- S: great “forget it…this day’s kinda crazy…look” KEEP THE “LOOK”.
- S: you pick up the seashell in this scene. Make it “noticeable” to the audience.
9: Oliver and his Mother. Photostrip.
- K: good knock, great character body.
- S: less whistling during the scene (it should function as a punctuation mark to the other scene going on as opposed to upstaging it). Also, start whistling on the beach, as the transition from scene 8 to 9 starts.
10: Everything was Electric.
- E&S: When sleeping, try breathing together. Synch up before you start the scene.
- S: after “please stay” take this in and appreciate it before saying “OK”
- E: great waking up, looking at YL sleeping (you could tell Oliver was just happy).
- E: “There’s a thud sound next door” make the thus sound on the wall.
- S: After “I’m a leader in…” smile, eye contact.
- LOOK FOR PLACES TO MAKE/NOT MAKE EYE CONTACT.
11: YL is drawing. Oliver’s sleeping.
- K: Great entrance! Let’s rework you going over to Oliver while he’s sleeping thought (its bordering on creepy).
- K: make your scene a little shorter.
- S: make your scene a little longer.
12: A Boat
- S: play with new things in pancakes or waffles.
- S: try different ways of singing “you’re a column of fire…”
- GO OVER LINES. MORE EXCITEMENT ONSTAGE.
- S: I like the salute. Make it bigger.
- E: at the same time as the salute, look even more disinterested.
- E: great reaction to YL returning the golem book.
- S: “is it such a big deal” – great delivery.
13: Oliver, his mother, and the Golem…
- E: open the door to your room, look around, start monologue from the door.
- E&K: great dynamic in the scene! BUT CHEAT OUT.
- E: your description of YL’s mother’s gardening job can be funny – think about how you explain the “estate” with a garden. And a stonewall. Find the humor in it.
14: Being a golem is easy.
- E: start dialogue during “improv”
- E&S: Move over to stage left until you sit (so we can see Paula in Oliver’s room).
- GO-lem. Not GOL-um.
15: YL by himself. Pillage.
- E: louder, laught at yourself at “the self, not the person” – find lighthearted moments and embrace them.
- E: find levels within the monologue.
- E: maybe you take your fishboat off the wall and look at it during the ending of the monologue.
16: Is Ollie Here.
- K: You look beautiful in the dress.
- AUDREY: the dress is perfect!
- S&K: Great job pacing the scene.
- K: you are getting closer to “having” the monologue (I know you are a perfectionist, but it is almost there).
- E: Good level of reactions (not too small or distracting). Your facial expressions are fantastic.
- K: “Is he alright?” – don’t throw away that line.
- K: “it looks like him” – take in the whole wall so the audience doesn’t think you are looking at a picture/drawing of your husband.
- K: your “Oliver” call at the end of this scene is continued in the next – don’t be angry in the next scene!
17: We don’t act like people (2).
- E: “Yeah” (your second “yeah”) – really manly; this was jarring and unexpected and it worked really well. KEEP IT.
- K: Less angry at start.
- CHEAT OUT.
- S: sit down earlier (blocking K)
- S: beautiful facial expressions. Heart-breaking.
- K: after “it looks like him”, don’t drop your emotionality for the rest of the scene.
18: The Ocean filled up with something else.
- E: are you more sad, angry, or frustrated at the start of the scene – decide.
- E&S: GREAT RHYTHM to the scene. The fight came in waves. It was wonderful.
- E: show “blow up” in your body.
- E: Don’t look up this time YL tells you to.
- S: Good monologue (“my bed’s been electric…”), I could tell it was a hard thing for YL to be saying aloud.
- E: “There’s so much now.” – beautiful.
- E: look out to ocean/down at sand while giving last monologue – you are opening up your heart and you are probably too scared to look YL in the eyes during it.
- S: Try lines after Oliver’s last speech in different ways (quieter. Pace yourself).
- E&S: Take your time with the end – you are both aware something will change as soon as one of you gets up and goes, so hold on to this moment with white knuckles.
- Breathe together at end. After synching up breathing, E can finally move away.
General:
- Cheat out, project, enunciate.
- Move with intention, ask yourself why you are moving/saying certain things.
- S: let’s figure out when you are wearing your headphones.
- E: you have a lot of monologues. We’ll work on them, but look at them each and take them line by line, thinking about creating different levels throughout.
- Let’s find the funny moments. Let’s build the blow ups.
- LEARN YOUR LINES/SCENE ORDER.
This run was great – I’m so proud of you all, and so happy to be working with everyone. Fantastic job. Only 2 weeks to go!
-Kathi
4/8/2010 (2nd run)
Time: 6:25-7:47
1-3: The Wall of Oliver’s life…Quiet Green Edges…Oliver is very young.
- Go over scene, make more specific choices.
- E: if you need to put down the fish boat to do your goggle-eyes, feel free to do it.
- E: play time here is a deliberate mechanism for dealing with your parents’ fighting.
- JANAE: how are we going to “make” an extra shadow on the wall?
- Back pack scene: shorter/tighter. E should be still, K is “orbiting”.
4: Oheygoodmorning.
- E: go over “oheygoodmorning” speech and blocking.
- E: Why are you gathering your things? More urgency to find shoe.
- S: laugh (or show “laughing” in your body) after “hey sleeper” – we need to see you being playful. This is your introduction to the audience.
- S: “with blueberries?” – be playful/silly with it! Entice him.
5: You’ve made my life like water.
- No shoe fight. No.
- Laugh with each other.
- Look out at ocean more.
- S: “you’ve made my life…” GOOD.
6: The Golem.
- E: (concerning the transition), you have to go back to your “house” to get the golem book you have in this scene.
- S: Make kiss less predatory (play with just making a kissy sound)
7: Mother Laundry.
- K: before sitting, think about if this is your space (its not), hesitantly sit down anyway.
- E&S: make motion/noise smaller and less distracting.
8: Like Your Golem
- S: don’t do that squat thing. You know why.
- E&S: GOOD “look up” moment.
- E: get into pretending to be the golem, then be scared (we will slow down the dialogue so you have more time to transition).
- S: glasses off, “seeing each other as people.”
- S: great “forget it…this day’s kinda crazy…look” KEEP THE “LOOK”.
- S: you pick up the seashell in this scene. Make it “noticeable” to the audience.
9: Oliver and his Mother. Photostrip.
- K: good knock, great character body.
- S: less whistling during the scene (it should function as a punctuation mark to the other scene going on as opposed to upstaging it). Also, start whistling on the beach, as the transition from scene 8 to 9 starts.
10: Everything was Electric.
- E&S: When sleeping, try breathing together. Synch up before you start the scene.
- S: after “please stay” take this in and appreciate it before saying “OK”
- E: great waking up, looking at YL sleeping (you could tell Oliver was just happy).
- E: “There’s a thud sound next door” make the thus sound on the wall.
- S: After “I’m a leader in…” smile, eye contact.
- LOOK FOR PLACES TO MAKE/NOT MAKE EYE CONTACT.
11: YL is drawing. Oliver’s sleeping.
- K: Great entrance! Let’s rework you going over to Oliver while he’s sleeping thought (its bordering on creepy).
- K: make your scene a little shorter.
- S: make your scene a little longer.
12: A Boat
- S: play with new things in pancakes or waffles.
- S: try different ways of singing “you’re a column of fire…”
- GO OVER LINES. MORE EXCITEMENT ONSTAGE.
- S: I like the salute. Make it bigger.
- E: at the same time as the salute, look even more disinterested.
- E: great reaction to YL returning the golem book.
- S: “is it such a big deal” – great delivery.
13: Oliver, his mother, and the Golem…
- E: open the door to your room, look around, start monologue from the door.
- E&K: great dynamic in the scene! BUT CHEAT OUT.
- E: your description of YL’s mother’s gardening job can be funny – think about how you explain the “estate” with a garden. And a stonewall. Find the humor in it.
14: Being a golem is easy.
- E: start dialogue during “improv”
- E&S: Move over to stage left until you sit (so we can see Paula in Oliver’s room).
- GO-lem. Not GOL-um.
15: YL by himself. Pillage.
- E: louder, laught at yourself at “the self, not the person” – find lighthearted moments and embrace them.
- E: find levels within the monologue.
- E: maybe you take your fishboat off the wall and look at it during the ending of the monologue.
16: Is Ollie Here.
- K: You look beautiful in the dress.
- AUDREY: the dress is perfect!
- S&K: Great job pacing the scene.
- K: you are getting closer to “having” the monologue (I know you are a perfectionist, but it is almost there).
- E: Good level of reactions (not too small or distracting). Your facial expressions are fantastic.
- K: “Is he alright?” – don’t throw away that line.
- K: “it looks like him” – take in the whole wall so the audience doesn’t think you are looking at a picture/drawing of your husband.
- K: your “Oliver” call at the end of this scene is continued in the next – don’t be angry in the next scene!
17: We don’t act like people (2).
- E: “Yeah” (your second “yeah”) – really manly; this was jarring and unexpected and it worked really well. KEEP IT.
- K: Less angry at start.
- CHEAT OUT.
- S: sit down earlier (blocking K)
- S: beautiful facial expressions. Heart-breaking.
- K: after “it looks like him”, don’t drop your emotionality for the rest of the scene.
18: The Ocean filled up with something else.
- E: are you more sad, angry, or frustrated at the start of the scene – decide.
- E&S: GREAT RHYTHM to the scene. The fight came in waves. It was wonderful.
- E: show “blow up” in your body.
- E: Don’t look up this time YL tells you to.
- S: Good monologue (“my bed’s been electric…”), I could tell it was a hard thing for YL to be saying aloud.
- E: “There’s so much now.” – beautiful.
- E: look out to ocean/down at sand while giving last monologue – you are opening up your heart and you are probably too scared to look YL in the eyes during it.
- S: Try lines after Oliver’s last speech in different ways (quieter. Pace yourself).
- E&S: Take your time with the end – you are both aware something will change as soon as one of you gets up and goes, so hold on to this moment with white knuckles.
- Breathe together at end. After synching up breathing, E can finally move away.
General:
- Cheat out, project, enunciate.
- Move with intention, ask yourself why you are moving/saying certain things.
- S: let’s figure out when you are wearing your headphones.
- E: you have a lot of monologues. We’ll work on them, but look at them each and take them line by line, thinking about creating different levels throughout.
- Let’s find the funny moments. Let’s build the blow ups.
- LEARN YOUR LINES/SCENE ORDER.
This run was great – I’m so proud of you all, and so happy to be working with everyone. Fantastic job. Only 2 weeks to go!
-Kathi
Troublesome Lines for the Actors (Part 2)
Oheygoodmorning
O: Morning I'm YL's friend…
YL: She said we'll…
O: What's that?
You've made my life like water
YL: Does anybody call…
O: No.
O: Shit shit…
The Golem
O: Um. Listen to this…
O: I found it in my house…
O: Um. It was really strong…
Like your Golem
YL: We shouldn't stay…
O: It's more like…
YL: What happens at…
Oliver and his mother. Photostrip
At the end of the scene, Oliver exits first, then Oliver's Mother.
Everything was Electric
YL: Mmm?
O: It's beautiful…
YL: Scary stuff…
O: Yeah but it wasn't like…
YL: Mmmmhhh…
O: I said yesterday…
A boat
Oliver: sails! (both times)
O: It's over.
O: I think she used to be…
O: And a picture of me…
O: YL…
YL: Now?
O: What?
YL: Let's go, it's gonna rain.
Oliver, his mother, and the Golem/We don't act like people (1)
O: Sometimes I think I can…
O: No. Here's the book back…
Being a golem is easy
YL: Oh. And then we were…
YL by himself. Pillage
O: Sometimes we know there's all this…
We don't act like people (2)
O: We don't…
The ocean filled up with something else.
O: You went to my house?
O: It's not fair.
YL: I've just wanted you to say.
O: What? I don't know what…
YL: Look, Oliver, remember… ('Oliver' not 'Ollie')
O: I really thought I was…
YL: You didn't. It's not though…
YL: Everybody has shit… ('Shit' not 'Bullshit')
4/7 Run-Through Notes (Kathi)
Run-through Notes
4/7/2010 (1st run)
1-3: The Wall of Oliver’s life…Quiet Green Edges…Oliver is very young.
- Ethan (E) – think about Oliver’s 6-year old self, and how kids react to adults fighting; this might be making yourself into “smallness” (not only physically, but what does this direction mean mentally and emotionally?).
- E & Kierstin (K) – backpack scene can be smoother (technically) but more detached.
- K – consider how Paula gets older between the first 3 scenes and the rest of the play.
- EVERYONE NEEDS TO CHEAT OUT.
- EVERYONE NEEDS TO BE LOUDER AND CLEARER.
4: Oheygoodmorning.
- E & Sam (S) – let us see the energy of two boys after a sleepover, with a new day in front of them.
- E – you are saying your “oheygoodmorning” spiel, you overhear someone in the house saying your name, and you start to gather your belongings…why?
- Look over blocking.
- S – in the stage directions “YL cannot believe he’s made these sounds” (talking about the shower) – what does this stage direction mean to you? *We will be talking about the physical relationship between the two boys on Monday or Tuesday of next week.
- E – you stand up while you are reading the Golem book – why? Give it intention. Are you in YL’s way?
5: You’ve made my life like water.
- WHEN YOU LIE DOWN, KNEES DOWN TOO.
- E & S – when you are walking down the boardwalk, take your time and think about where (as a character) you are going. This is a whole part of the stage we are not utilizing right now, and its in the middle!
- S – “you’ve made my life like water” – this is a huge statement for your character, especially in your second scene. Find places in the scene to validify this statement for the audience, so that it is believable.
- E&S: tussel: make noise/grunts during this. Also: consider the strength level of 13 year olds: your tussel-action should be more floppy, less powerful.
6: The Golem.
- S – make sure that “and he could kiss like…” (and then your advance) is not predatory, but playful. Know how far to push Oliver.
7: Mother Laundry.
- K – great job taking your time sitting down/physicality in general.
- E&S: photobooth, decide how many pictures.
- E&S: we need your part of the scene/improvisation to be more quiet, the audience should be able to take in both you two and Paula, and right now, you are upstaging her.
8: Like Your Golem
- S: find moments of stillness in 13-year old self.
- E&S: NO SHOE FIGHTS. WHEN THINKING OF BEACH-IMPROVISATION, MAKE SURE THAT IT SUPPORTS THE SCENE AND SCRIPT. Also, allow the improvisation that you do to continue throughout the scene, take that energy from improvisational work and bring it to the dialogue.
- S: “Yes.” Think about what this line means, and play with delivery.
- Consider the beach as a calm space, a “womb” – a place that is yours, free of external expectations.
- E: When YL tells Oliver to look up, look up at the sky. Do this every time except for the last.
- We need to work through the Oliver-turns-to-Golem moment.
9: Oliver and his Mother. Photostrip.
- E: go over blocking – you are not just sitting on your bed, you are packing for a sleepover.
- K: I love your attempts at cheeriness when dealing with Oliver, but I think overall you could play with volume and levels as well.
- S: let’s work out the whistling so that it isn’t constant throughout the scene, but punctuates the other moment onstage.
10: Everything was Electric.
- S: “Trust me.” – try in different ways, think about how this phrase is used throughout the play, and why does YL make it about a trust-issue?
- E&S: You wake up in bed together. Let the audience see moments of tenderness between the two of you in the morning.
11: YL is drawing. Oliver’s sleeping.
- E: Are you facing towards or away from the wall?
- K: You usually peak into Oliver’s room when he is out of the house. Did you think he wasn’t home this time? Are you surprised to see him? Let’s experiment with whether or not you come into the room or are held back by the door frame.
12: A Boat
- E&S: know blocking and lines inside out for this scene.
- K: we’ll add you in to this at our next rehearsal.
- E: let’s work on building your blow-up.
- S: YL- “what happened” – how many times have you asked that?
- S: “Is it such a big deal?” – go over blocking (you stand up, angry), why are you angry?
- DON’T RELY ON DESIGN to create the boat and storm – do it yourselves!
- E: You are into YL’s imaginary boat idea for a while, let’s see it.
- Remember end blocking – S pulls E up, look at “golem” in sand.
13: Oliver, his mother, and the Golem…
- K: after giving the light bulb to Oliver, and you are leaving, let us see a moment where you are not ready to leave him and the room yet. You are stuck.
14: Being a golem is easy.
- E&S: Begin with playful fight, and start dialogue during it.
15: YL by himself. Pillage.
- E: Cheat out. During monologue, stop at some point, go to bed, put on shoes (you are leaving your house, for “Is Ollie Here”).
- E: You won’t be putting everything up on your walls, because I think Oliver is very precise about what is important enough to be part of his “collage”, therefore, don’t have all of your blocking revolve around putting things up on the walls, maybe look at them as a whole, and then at some things specificially.
16: Is Ollie Here.
- E: Keep shoes on on the beach?
- S: GREAT HANDS (clenched) – I’d like to see them come up in other places in the show. Also, make them even more tense.
- S: Make sure you are going to the right door (Ollie’s) before opening it. Check with Paula.
- K: GREAT PACING.
- K: “It looks like him” – good.
- S: Puase between “Have you ever felt his back” and “When I look at your son…” – you did it tonight (although it was because you forgot the line), but the long pause there works really well.
- E: great facial expressions.
17: We don’t act like people (2).
- K&E: “It looks like him” – this is the only time you acknowledge your father/husband during the show. THIS IS A BIG DEAL, how do you react?
- E: “Is this how people act?” – you are upset, why? Let’s hear it in your voice and body.
18: The Ocean filled up with something else.
- E: Bigger blow-up.
- S: you are aware there is a fight coming on. Let’s see it.
- E: wait longer before leaving YL on the beach. This is painful for you. You know that one thing is ending and another is beginning (whether or not its good or bad, it’s a moment to be nostalgic and enjoy the moment).
- E: final speech: its about your wall being your therapy. But it failed you. Let’s hear this in your voice.
General:
-louder, clearer.
-cheat out.
- CONSIDER THE ARC for your character: not just for the play, but for your role. Make sure that they end the show different than they were at the beginning.
- find the funny moments, make them more dynamic/specific.
-LEARN YOUR LINES.
If you have any questions about notes, bring them up to me at rehearsal.
I love you all,
Kathi
4/7/2010 (1st run)
1-3: The Wall of Oliver’s life…Quiet Green Edges…Oliver is very young.
- Ethan (E) – think about Oliver’s 6-year old self, and how kids react to adults fighting; this might be making yourself into “smallness” (not only physically, but what does this direction mean mentally and emotionally?).
- E & Kierstin (K) – backpack scene can be smoother (technically) but more detached.
- K – consider how Paula gets older between the first 3 scenes and the rest of the play.
- EVERYONE NEEDS TO CHEAT OUT.
- EVERYONE NEEDS TO BE LOUDER AND CLEARER.
4: Oheygoodmorning.
- E & Sam (S) – let us see the energy of two boys after a sleepover, with a new day in front of them.
- E – you are saying your “oheygoodmorning” spiel, you overhear someone in the house saying your name, and you start to gather your belongings…why?
- Look over blocking.
- S – in the stage directions “YL cannot believe he’s made these sounds” (talking about the shower) – what does this stage direction mean to you? *We will be talking about the physical relationship between the two boys on Monday or Tuesday of next week.
- E – you stand up while you are reading the Golem book – why? Give it intention. Are you in YL’s way?
5: You’ve made my life like water.
- WHEN YOU LIE DOWN, KNEES DOWN TOO.
- E & S – when you are walking down the boardwalk, take your time and think about where (as a character) you are going. This is a whole part of the stage we are not utilizing right now, and its in the middle!
- S – “you’ve made my life like water” – this is a huge statement for your character, especially in your second scene. Find places in the scene to validify this statement for the audience, so that it is believable.
- E&S: tussel: make noise/grunts during this. Also: consider the strength level of 13 year olds: your tussel-action should be more floppy, less powerful.
6: The Golem.
- S – make sure that “and he could kiss like…” (and then your advance) is not predatory, but playful. Know how far to push Oliver.
7: Mother Laundry.
- K – great job taking your time sitting down/physicality in general.
- E&S: photobooth, decide how many pictures.
- E&S: we need your part of the scene/improvisation to be more quiet, the audience should be able to take in both you two and Paula, and right now, you are upstaging her.
8: Like Your Golem
- S: find moments of stillness in 13-year old self.
- E&S: NO SHOE FIGHTS. WHEN THINKING OF BEACH-IMPROVISATION, MAKE SURE THAT IT SUPPORTS THE SCENE AND SCRIPT. Also, allow the improvisation that you do to continue throughout the scene, take that energy from improvisational work and bring it to the dialogue.
- S: “Yes.” Think about what this line means, and play with delivery.
- Consider the beach as a calm space, a “womb” – a place that is yours, free of external expectations.
- E: When YL tells Oliver to look up, look up at the sky. Do this every time except for the last.
- We need to work through the Oliver-turns-to-Golem moment.
9: Oliver and his Mother. Photostrip.
- E: go over blocking – you are not just sitting on your bed, you are packing for a sleepover.
- K: I love your attempts at cheeriness when dealing with Oliver, but I think overall you could play with volume and levels as well.
- S: let’s work out the whistling so that it isn’t constant throughout the scene, but punctuates the other moment onstage.
10: Everything was Electric.
- S: “Trust me.” – try in different ways, think about how this phrase is used throughout the play, and why does YL make it about a trust-issue?
- E&S: You wake up in bed together. Let the audience see moments of tenderness between the two of you in the morning.
11: YL is drawing. Oliver’s sleeping.
- E: Are you facing towards or away from the wall?
- K: You usually peak into Oliver’s room when he is out of the house. Did you think he wasn’t home this time? Are you surprised to see him? Let’s experiment with whether or not you come into the room or are held back by the door frame.
12: A Boat
- E&S: know blocking and lines inside out for this scene.
- K: we’ll add you in to this at our next rehearsal.
- E: let’s work on building your blow-up.
- S: YL- “what happened” – how many times have you asked that?
- S: “Is it such a big deal?” – go over blocking (you stand up, angry), why are you angry?
- DON’T RELY ON DESIGN to create the boat and storm – do it yourselves!
- E: You are into YL’s imaginary boat idea for a while, let’s see it.
- Remember end blocking – S pulls E up, look at “golem” in sand.
13: Oliver, his mother, and the Golem…
- K: after giving the light bulb to Oliver, and you are leaving, let us see a moment where you are not ready to leave him and the room yet. You are stuck.
14: Being a golem is easy.
- E&S: Begin with playful fight, and start dialogue during it.
15: YL by himself. Pillage.
- E: Cheat out. During monologue, stop at some point, go to bed, put on shoes (you are leaving your house, for “Is Ollie Here”).
- E: You won’t be putting everything up on your walls, because I think Oliver is very precise about what is important enough to be part of his “collage”, therefore, don’t have all of your blocking revolve around putting things up on the walls, maybe look at them as a whole, and then at some things specificially.
16: Is Ollie Here.
- E: Keep shoes on on the beach?
- S: GREAT HANDS (clenched) – I’d like to see them come up in other places in the show. Also, make them even more tense.
- S: Make sure you are going to the right door (Ollie’s) before opening it. Check with Paula.
- K: GREAT PACING.
- K: “It looks like him” – good.
- S: Puase between “Have you ever felt his back” and “When I look at your son…” – you did it tonight (although it was because you forgot the line), but the long pause there works really well.
- E: great facial expressions.
17: We don’t act like people (2).
- K&E: “It looks like him” – this is the only time you acknowledge your father/husband during the show. THIS IS A BIG DEAL, how do you react?
- E: “Is this how people act?” – you are upset, why? Let’s hear it in your voice and body.
18: The Ocean filled up with something else.
- E: Bigger blow-up.
- S: you are aware there is a fight coming on. Let’s see it.
- E: wait longer before leaving YL on the beach. This is painful for you. You know that one thing is ending and another is beginning (whether or not its good or bad, it’s a moment to be nostalgic and enjoy the moment).
- E: final speech: its about your wall being your therapy. But it failed you. Let’s hear this in your voice.
General:
-louder, clearer.
-cheat out.
- CONSIDER THE ARC for your character: not just for the play, but for your role. Make sure that they end the show different than they were at the beginning.
- find the funny moments, make them more dynamic/specific.
-LEARN YOUR LINES.
If you have any questions about notes, bring them up to me at rehearsal.
I love you all,
Kathi
Golem Quotes
“Your eyes saw my unformed substance.”
“…his text is too flimsy, the Golem requires strength.”
“She vanished like a stone in water.”
“The whole thing remained as secret as a stone in water.”
“Go in peace and rest in peace until al is peace.”
“Do you know anyone who lives for others, who devotes his every breath, his every thought, every inch of his being to a single, sacred purpose?”
“In spite of what you think, he was not less than human, but more than human.”
“In the morning we would say, “May we see evening,” in the evening we would whisper, “May we see dawn.”
“It is said that, much later, someone opened the attic door… he lost his sanity. Another his life. A third his soul… It is dangerous to look where you should not.”
“I dreamed about making a golem, about how the golem would accompany me wherever I might go. Who needed a fairy godmother if you had a golem?”
Wednesday, April 7, 2010
Troublesome Lines for the Actors
Here's some lines where I noticed the actors had issues. The issues range from simple word-confusion to flat-out forgetting it entirely.
Oheygoodmorning
O: Oh hi- Good morning…
YL: She said we'll…
YL: Do you want to take…
You've made my life like water
O: No
O: Shit shit. I'm sorry…
The Golem
O: I found it in my house…
YL: I mean it sounds like…
O: Um. It was really strong…
YL: And the rabbi…
Like your Golem
YL: We shouldn't stay too long…
YL: Look up, Ollie.
YL: You mean what your mom…
O: It's more like…
YL: Forget it.
YL: Hey. You know…
O: What?
YL: Look.
Oliver and his mother. Photostrip
OM: What's that?
O: Photos
Everything was electric.
YL: Mmm?
O: It's beautiful…
YL: When?
O: Last night.
YL: Like now?
O: Wake up.
YL: Now?
A boat
YL: Look. Lightning…
YL: Do you like it…
O & YL: All the line between "Cast the nets…" and "Pull the nets!"
YL: You left these.
YL: It's your mom's?
YL: Was the stuff…
YL: What about-
YL: Not any more…
YL: Hey, Ollie…
O: Hey.
YL: What happened?
O: YL…
YL: Now?
O: Now… "Oh hi oh hi…"
YL: Is it such a big deal?
Oliver, his mother, and the Golem
O: Sometimes I think I can…
O: Just YL…
Being a golem is easy…
YL: Oh. And then we…
O: Did you- Thanks…
YL: What I meant is…
YL by himself. Pillage
O: Sometimes we know…
Is Ollie here
YL: He's- um pulled…
YL: He's separated himself…
YL: When I look at…
OM: Oliver? Oliver.
We don't act like people (2)
O: We don't-
OM: Oliver? Oliver? Oliver, are you here? Oliver?
O: Yeah.
OM: It looks like him.
O: Yeah.
The ocean filled up with something else
YL: I had this dream…
YL: Yeah. You weren't there…
YL: All that…
YL: I've just wanted you to say-
O: What? I don't know what…
YL: Look.
YL: Look, Oliver, remember…
O: I really thought I was…
YL: You didn't. It's not though…
YL: Everybody has shit…
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