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