Transitions:
Between 1-3: (fluid movement)
Between 3-4: Oliver goes over steps and platform to cross into YL’s room.
Between 4-5: Boys exit YL’s room through his door, immediately go up steps and down boardwalk.
Between 5-6: Boys get up from beach, YL goes into his own room, Oliver veers off to “run and get stuff from his house” (golem book). Enters through YL’s door.
Between 6-7: Boys finish dialogue from scene 6 and stay in room, while Paula enters from stairs and comes down boardwalk with laundry.
Between 7-8: as soon as door to Oliver’s room, closes, boys should be coming up the steps to the boardwalk.
Between 8-9: YL starts whistling during transition, both boys go back to their own rooms.
Between 9-10: Could Paula close Oliver’s door when Oliver opens YL’s door? (simultaneous)
Between 10-11: YL to desk, Ollie to room (right over boardwalk)
Between 11-12: Good transition for (one of the) boys to change clothes. Boys arrive at steps to the boardwalk at same time.
Between 12-13: Boys walk up boardwalk, Oliver to his room. YL goes offstage.
Between 13-14: As soon as Paula is out the door, YL moves down the boardwalk (Oliver catches up).
Between 14-15: Boys go straight into rooms.
Between 15-16:Oliver goes out door, YL goes out his door.
Between 16-17: Oliver moves from beach to his room as soon as Paula is out of Oliver’s room.’
Between 17-18: YL gets up from beach, faces Oliver at top of boardwalk, face-off.
Between 18-19: Oliver up off of beach, straight to room.
Scene Number/Corresponding Title
1-3: The Wall of Oliver’s life…Quiet Green Edges…Oliver is very young.
4: Oheygoodmorning.
5: You’ve made my life like water.
6: The Golem.
7: Mother Laundry.
8: Like Your Golem
9: Oliver and his Mother. Photostrip.
10: Everything was Electric.
11: YL is drawing. Oliver’s sleeping.
12: A Boat
13: Oliver, his mother, and the Golem…
14: Being a golem is easy.
15: YL by himself. Pillage.
16: Is Ollie Here.
17: We don’t act like people (2).
18: The Ocean filled up with something else.
19: Imagine a cross-section of your world
Thursday, April 15, 2010
Wednesday, April 14, 2010
Rehearsal Report - 04/14/10
Date: 04/14/10
Called: All Cast
Finished working on transitions.
Run-through
General:
Sam & Ethan performed basic 13-16 costume changes during the run-through.
Set:
Oliver's door has to be really braced because it slams
What kind of chair is YL going to have?
Sound:
Are you thinking about having a door knock for "Is Ollie Here?" If not, it'll be YL doing that visibly at the edge of the beach.
Weather thoughts for the beach in "Is Ollie Here" and "We don't act like people II"?
Props:
Props for Fort (The Golem):
2 BIG Couch Cushions
Standing Lamp
BIG Bed Sheet
Lightbulb (Oliver, his mother, and the Golem)
Stuff in Oliver’s room for his mother to pick-up.
Weight in the early backpacks
Please keep bringing in props as you have them
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.
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.
Rehearsal Report - 04/13/10
Date: 04/13/10
Called: All Cast
Met w/Liaisons (Scheduled One-on-One Meetings)
Met w/Dramaturge (Al)
Blocking of last scene (Imagine a cross section of your world)
Run-Through
Set:
How will Oliver rip off the things on his wall in the last scene? Will they actually get torn? Will we need multiple copies of the wall things for each show?
Will there be enough things on the walls to make Oliver's island at the end?
Will there be curtains hung behind the rooms?
Eva, can you come talk the actors about Oliver's walls and also the backstage situation? (especially any masking/curtains)
Does YL’s current desk placement show his too much of his back to part of the audience?
Costume:
Mother's laundry (underwear, maybe t-shirts, personal things)
Props:
The things strewn around Oliver's room that he packs.
Do we want to use the book that Kiersten was using in rehearsal last night for the scrapbook?
(See Costume)
Sound:
Kathi wants to talk to you about the last scene
Right now Oliver is miming turning on the shower in the last scene. You might want to see the timing of this part as it is now.
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!
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!
Tuesday, April 13, 2010
Rehearsal Report - 04/12/10
Date: 04/12/10
Called: Sam & Ethan
Beach Scenes:
You’ve made my life like water
Like your Golem
General:
Oliver & YL’s physical relationship: Something between “not a relationship” and “just friends.” Developed at 15-16.
Are YL and Oliver each other’s first love?
What happens to Oliver & YL’s relationship after the play?
Set:
Neutral space being moved slightly downstage on the boardwalk.
Props:
iPod for YL
Prop Storage
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