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.