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!