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.