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