Tuesday, April 28, 2009
Tuesday, April 21, 2009
We Can Make It
Hey guys!!!
I just wanted to encourage everyone by complimenting on what a wonderful job we have done and have yet to do. However, I am aware of some drama that has arroused within the OAP Family. Everyone loves and cares for eachother like a sibbling, even when nerves fly, we we are mature enough to handle the situation with class. Now, don't let my words of praise be empty. Let's, this goes for EVERYONE, set aside frusturation and look past the drama. When we are able to join with eachother in a group as a FAMILY we can succeed, BUT when we allow bitter feelings and gossip (by the way I know in a-round-about way what goes on in the A Dressing room) we can reach out goals!!!!! (Our goal is to make it to STATE) I know that whenever people as talented and as dedicated as we are and people who spend more of our lives together than apart, nerves are bound to spark. I am only encouraging you, if anything for the sake of sanity of Mrs. Couch and OAP, please set aside your personal 'selves' better the success of OAP. Please let's do our best to promote peace. We only have a couple more months together. Don't take it for granted. I love you guys. We Can Make It!!!
I just wanted to encourage everyone by complimenting on what a wonderful job we have done and have yet to do. However, I am aware of some drama that has arroused within the OAP Family. Everyone loves and cares for eachother like a sibbling, even when nerves fly, we we are mature enough to handle the situation with class. Now, don't let my words of praise be empty. Let's, this goes for EVERYONE, set aside frusturation and look past the drama. When we are able to join with eachother in a group as a FAMILY we can succeed, BUT when we allow bitter feelings and gossip (by the way I know in a-round-about way what goes on in the A Dressing room) we can reach out goals!!!!! (Our goal is to make it to STATE) I know that whenever people as talented and as dedicated as we are and people who spend more of our lives together than apart, nerves are bound to spark. I am only encouraging you, if anything for the sake of sanity of Mrs. Couch and OAP, please set aside your personal 'selves' better the success of OAP. Please let's do our best to promote peace. We only have a couple more months together. Don't take it for granted. I love you guys. We Can Make It!!!
Monday, April 20, 2009
Last Rehearsal Before Regionals
We need the following:
Strike papers
Union agenda for Joe and Lannon
Strike papers
Union agenda for Joe and Lannon
- Brandon, never run between actors talking.
- Chavez - kick back (enunciate)
- Teresa, pull hat back
- Bridget, vest
- Bridget, cannot understand "Get on.....
- Women, react to Ruth's line about her mother
- EVERYONE needs to be louder.... Lannon and all girls.
- Roger, roll up sleeves before fight.
- Women with Roth, move back and forth in slow motion.
- Bridget, be fiestier with Matron at jail.
- Bridget, we need the lilt.
- Everyone's accents are sloppy.
- Great monologue, Bridget. You are finding subtleties in the language.
- Cohen, move out when saying the motion dies. Good job crumpling paper.
- Society women, look at the ground. Remember this is a stinky place.
- Roth, Stolle, Brandon - good job. BUT, remember to listen to what is going on so you can react to what has happened or what is said.
- Julie and Alina, great job!
- Judge! SUPERB!
- Streetwalkers - be more insulted.
- Brandon, when you are with Roth on 4 X 4, use the upstage instead of the downstage arm.
- Lenore, great job in the tomb!
- Overflowing bucket - needs laughter.
- Anya, believe.
- Roth, say "justice" following your speech.
- Louder crying when Clara dies.
- Great job, Kalyn and Justin. It is hard to fill in. We are fortunate to have you both.
- HOMEWORK - I need for everyone to write a short paragraph(2-3 sentences) on what this play has meant to you. I want to send the mail to Cynthia. Be specific, not generic.
- "Nothing so distinguishes great acting -- in any style, in any historical period -- than the feeling that the actor has the potential to 'go off' at any moment, and to unleash an explosion -- a flood of lava, that will be totally uncontrolled and uncontrollable. Great Acting always dances with danger!" - Robert Cohen
"If you really do want to be an actor who can satisfy himself and his audience, you need to be vulnerable. [You must] reach the emotional and intellectual level of ability where you can go out stark naked, emotionally, in front of an audience." - Jack Lemon
Last Sunday's rehearsal before regionals
Critiques
1. Light and sound needs to be simultaneous
2. Newspapers – we cannot see the ads. Turn them so this is not evident.
3. Everyone who wears hats. Always put them down upside down. This is a custom.
4. Bridget, you need to be more lyrical.
5. EVERYONE – use accents each day this week.
6. Roger, when Roth is mean to the girls, REACT – all men left on stage need to do this.
7. Teresa, slow down and enunciate new lines. This is FUNNY – laugh, people.
8. It is HOT – don’t forget this.
9. Nathan, say ADJOURN to Clara
10. You’re a girl, clean it …., Anya, don’t anticipate.
11. Better clumping during Clara’s speech – don’t revert back to bad habits.
12. Brandon, EXCELLENT dance
13. It is cool in the jail.
14. Music cues are good.
15. FREEZE – men and women during Bridget’s speech.
16. Need a lilt – Bridget.
17. More murmuring in 2nd meeting.
18. Bloody miracle was good
19. Cohen, great variety in voice. Keep it up.
20. Laugher at the anger line of Bridget’s was good.
21. More murmuring in 2nd union scene.
22. Society women need to walk on platform.
23. Judge and Roth, exchange money on 4 X 4.
24. Murmur in hearing.
25. Judge, hit PRACTICE
26. Murmur in hearing after each speech that is crazy
27. Roth, Brandon, Stolle in hearing was good.
28. Murmur going back into the tombs
29. Rosie LEFT me
30. Clara, work on believability.
31. There are LICE in prison
32. Ruth, good job of the crazy cross when Anya get sup.
33. Judge – compromise was good
34. Great job turning sign around when Roth calls your name. Work on facial expressions EVERYONE when you freeze
35. Roth’s last lines were rushed.
1. Light and sound needs to be simultaneous
2. Newspapers – we cannot see the ads. Turn them so this is not evident.
3. Everyone who wears hats. Always put them down upside down. This is a custom.
4. Bridget, you need to be more lyrical.
5. EVERYONE – use accents each day this week.
6. Roger, when Roth is mean to the girls, REACT – all men left on stage need to do this.
7. Teresa, slow down and enunciate new lines. This is FUNNY – laugh, people.
8. It is HOT – don’t forget this.
9. Nathan, say ADJOURN to Clara
10. You’re a girl, clean it …., Anya, don’t anticipate.
11. Better clumping during Clara’s speech – don’t revert back to bad habits.
12. Brandon, EXCELLENT dance
13. It is cool in the jail.
14. Music cues are good.
15. FREEZE – men and women during Bridget’s speech.
16. Need a lilt – Bridget.
17. More murmuring in 2nd meeting.
18. Bloody miracle was good
19. Cohen, great variety in voice. Keep it up.
20. Laugher at the anger line of Bridget’s was good.
21. More murmuring in 2nd union scene.
22. Society women need to walk on platform.
23. Judge and Roth, exchange money on 4 X 4.
24. Murmur in hearing.
25. Judge, hit PRACTICE
26. Murmur in hearing after each speech that is crazy
27. Roth, Brandon, Stolle in hearing was good.
28. Murmur going back into the tombs
29. Rosie LEFT me
30. Clara, work on believability.
31. There are LICE in prison
32. Ruth, good job of the crazy cross when Anya get sup.
33. Judge – compromise was good
34. Great job turning sign around when Roth calls your name. Work on facial expressions EVERYONE when you freeze
35. Roth’s last lines were rushed.
Thursday, April 16, 2009
Clara's Reflection
Breathing…to some this task is not even noticed, but every time I breathe needles scrape the inside of my lungs. The filthy damp air only prolongs the torture of the ripping of my chest. I hate coughing; it only makes the pain worse. I wish there was a way to remove the blood and tissues without coughing, but I know there is no hope. It is inevitable; this illness will devour my energy, my will, and my life. Until then though, I live on, making the most of each day. Today, I awoke with little sleep, pinned my hair back, and ate what little food I could scramble up. I was fortunate. One of the boarders had a strawberry. Oh how I love strawberries. It is not often that I am able to indulge in such pleasure, but today was different. The girls and I spoke once again of the cruelty of the shirt waste factory. If there was anything that I could do to change the way the world was…well I want to say that I would grasp that opportunity with my head held high, boldly. But the truth of the matter was, was that I’m so scared of this city. New York isn’t the land of the free, the land of equality, the land of justice. No. This was the land of bitterness, disappointment, and darkness. Every once in a while, some days, days like today, days when optimism fills my soul. Anya talked about a strike.. This was the train I had been so ready to aboard, but I was unsure. The things that I would be sacrificing such as my job, my family’s reputation, or even my sanity (which honestly I felt I lost long ago when we, my father and I, moved to this country in hope of getting away from the crime in France.). Nothing is different here. The homes are the same, except now we have to house strangers. Today is a day of goodness though. I think the angels picked today to smile upon, because I said that I would take part in what would be the most revolutionary act of the time. I would be apart of saving the working conditions for not only my children, but generations to come. I bled and died on the picket line, and I starved in the fresh air. I am someone’s hero. I am a simple French girl who helped changed the world.
Tuesday, April 14, 2009
A Reminder
Amy said...
looks like we get to go first... we need to make a lasting (good, memorible) impression on the judge.. we have come so far and are so close to state... lets give the best performance we have ever given... we need to push hard in practice coming up... everyone be ready to work... this is what we live for! (well atleast in the spring semester).. haha
looks like we get to go first... we need to make a lasting (good, memorible) impression on the judge.. we have come so far and are so close to state... lets give the best performance we have ever given... we need to push hard in practice coming up... everyone be ready to work... this is what we live for! (well atleast in the spring semester).. haha
Tuesday's Trial by Fire
OKAY, we got this one out of our system.
- Teresa, you are blocked by the girls at the beginning. Work your wayout of there.
- Nathan and Brandon, we cannot see you in the back as thugs. Make sure that you can see the judge's light. This goes for everyone.
- Matron, we need to see you in the jail scene. Make sure that you can see the judge's light. This goes for everyone.
- Nathan, you are blocked at the second union scene. If you cannot see the judge's light, move.
- Lannon, you are blocked in the second union scene. But, we love you by the pylon.
- Watch blocking in the trial scene.
- The tomb scene had problem blocking.
- In the ending scene, spread apart.
- Margaret, we need to see you left stage at the end.
- We started off about one minute late at the first time check.
- Clara - zee
- Watch the line downstage. No one can pass it.
- Zack, vendor, react to Nathan, vendor.
- \Bridget, come by and see the picture I have for you.
- Anya, louder when thugs come out.
- Roger, freeze during thug dance.
- LINES - do not stand in lines following the thug dance. THIS WAS EVIDENT!
- Guys, by the fire in Bridget's monolouge, freeze!
- Everyone needs to vary body language.
- Judge Powell, study your lines!
- So am I - Nathan, say this downstage.
- Brandon, scoot stage right more and with your back to the audience.
- Where is it fair - say this downstage more
- EYETIE - Brandon
- Jump on shoulder, Bridget.
- Americaaaaaaaaaaaa
- Bloody Miracle - don't say it upstage.
- Bridget, get mad when they laugh at your anger line - use the picture I have for you.
- Roger, bite the dime on the side facing the audience.
- Boys, watch clumping in second Union scene. Where was the union sign?
- Brandon - second scene, be more open
- Chance - Clara, that is such a powerful speech - we don't want you to lose it speaking into the curtains.
- Bribe - move more left stage.
- Today - Judge
- More crying, Anya - off in the tombs.
- Hug doll to chest, Roth, see me again.
- Brick wall - look at that speech. See smile - papers
- Tombs - Women must be engaged in what is happening there.
- it is too crowded right stage when the strike begins again.
- Accents worked well last week, mostly because you used them all week. This week's contest has a stronger judge. We CANNOT lose the contest because of accents.
- 1st Union scene - men in a straight line
- Chavez - accent?
- That's why women get married - more assured, matter of fact - not so much cocky
- When Clara speaks, all women are in a clump right stage.
- When you are supposed to be frozen, freeze.
- Theatre is the best means not to find oneself but to create oneself. Who said this? What does it mean? Let me know for a 100. Text - 470-9940 - only during lunch, before or after school; call my cell - same number - same story - before school, after school or during lunch; call my extension 2239.
- Red scarf, Chavez?
- Brandon and ALina, move more stage left after dance.
- Bridget, your monologue was good.
- Men, listen to Cohen, then talk or react to WHAT HE IS SAYING.
- Joe and ANya ************** second union meeting.
- Violet, accent?
- Clara, watch speaking upstage.
- Roger, put the hat upside down
- Society women, we need to mark your bench downstage more during trial.
- Brandon, wear a tie.
- Powell, bring the women downstage and talk to them.
- LINES?????
- Where were the dirty shawls?
- Compromise - Anya or Powell needs to move.
- Roth, cap on back of head.
OKAY, you got the bad rehearsal out of your system. Come to rehearal Thursday night ready to work at 7PM. Good luck to the band!
- Brandon, talk to Stolle at the trial.
Ruth Stein's Character Sketch
(Note that ANYTIME I say “I”-or say anything in first person- during this, I am referring to Ruth, not Kayla)
:Ruth Stein:
Like Anya-and everyone else in the world for that matter-, Ruth's background had a major influence on who she is now.
I am the youngest of 8 living brothers and sisters (There were 12 total. 4 died before my birth), so I was obviously never put in a position of much power or responsibility. I was never asked to be a leader. So now, even without my family or my age to stop me, I naturally fall into the position of a follower. I do what I’m told to do... That's the way I grew up and it's all I really know.
I am also very sensitive to illness and death. I am this way because my father, along with 4 of my brothers and sisters, passed away before I was born. My mother was 5 months pregnant with me when my father died. So, growing up, the only way the other children could deal with their losses was to make jokes. Sadly, the majority of the jokes were more like, "Let's lock Ruth in a closet/hold her head under water/leave her stuck in the tree/pretend we all died". I didn't understand, I couldn't. My brothers and sisters only did this to me because I was the youngest and never knew any of these people, but it scarred me for life. Death always had a large, dark place in my heart and mind. I was afraid of that place. So, obviously, when death comes into my life once again, I am thrust back into my old memories. It is enough to break down the walls I built to protect myself from these emotions. No matter how hard I try to be strong, I can’t.
Margaret brings out two sides of me. She is one of the only people I have ever felt the need or urge to lead. This is only because Margaret often has different views and is not very open to other people’s ideas. I can’t understand her sometimes, the way she thinks… Why she does what she does. This is why I often try to lead Margaret in other directions, such as joining in on the strike. On the other hand… When Margaret is so stubborn that she absolutely will not open up to other ideas, the more hard-headed side of me rears its head. I don’t like it when people can’t see my way, my side of things. So naturally, I get upset when Margaret’s ears seem to be plugged when I’m talking to her. I am a competitive person. Maybe that’s why I always tend to talk to her and try to persuade her. Maybe I get some kind of odd thrill from the challenge of trying to get her to give in. It must be something along those lines, because otherwise I don’t see how we could be friends or how I could stand to be around her so much. I am an easy person to anger, and Margaret tends to accomplish this feat a lot. But I still love her.
Anya is one of the people that allow me to sink into the person I have been all my life. The follower. It’s so easy around Anya. She is a born leader so it just comes natural to me to fall into step behind her. When I’m around her, I don’t have to think so much for myself. I don’t have to be brave or strong, because she can do that for me. But if there comes a time when I need to be brave, it is easier if she is there. I just follow her lead, like everything else. I am greatly influenced by what she says and does. The majority of what everyone sees when they look at me is the product of Anya’s influence, because that is who I look up to.
Bridget, like Anya, allows me to be a follower. The majority of what was said about Anya applies to Bridget too. But Bridget also brings out another part of me. And secretly, I am more like Bridget than anyone will ever know. The way I think-what goes through my head-is like a mirror image of what Bridget is on the outside. A lot of what everyone sees from her, I am inside my head. This has a lot to do with why we butt heads so often. It’s because we are so much alike in certain ways. She brings out a more forceful side of me. If there were ever to be a physical entity for my thoughts, she would be it. But, unlike my thoughts, I cannot so easily suppress her. So when she blurts out the very thing that I was working so hard to hold in my head, it frustrates me to no end. I try to keep those thoughts in my head and away from others for reasons I think are very important and when Bridget says my thoughts or acts the way I was envisioning, it’s like someone told my most important secret… ratted me out. And Bridget obviously doesn’t take too well to it when I try to keep her from doing those things, so she reacts to me the way I know I would react and it is the most peculiar thing to look my thoughts in the eye and not be able to control them.
Clara… oh, Clara. As much as I love Clara, she scares me. She’s sick… I hate sickness. Sickness brings death, and death brings torment for me. Jokes. It always has and I never learned how to properly deal with death. But then again, Clara is the sweetest girl I have ever met. She draws me like a magnet in a maternal way. I want to protect her. I feel the need to watch over her the way a mother watches over her new-born. So fragile. She can’t take care of herself, so she needs me to do it for her. That’s the way I think. But I can’t become attached to her… I can’t need her the way she needs me, or the way I think she needs me-though she does a fine job of taking care of herself and it’s not like there aren’t others that take care of her-. I need to protect and take care of her… But I need to be away from her, from inevitable death.
Teresa brings out another kind of motherly instinct in me. But it is more of the educational sense. I want to show her things. Teach her. She is so smart, I just know that if she had a proper teacher, she could learn to live and thrive in America better than the majority of born Americans could. I pity her in a way too… It is so hard for her to understand what is going on. And there isn’t much that angers me more than to see someone treat her badly. She doesn’t know what’s happening, or why she is getting singled out. Well, she’s probably figured out that it’s because we’re immigrants that we are treated so badly… But it still infuriates me. I feel protective of her as well. And though I could never stand up to someone important for my own sake, if it came to protecting her-or Clara-I wouldn’t hesitate.
Roth… There is not another human in this world that could frustrate me more than this man does. I’m sure of it. He’s so… Unfair, unjust, cruel, all-together wrong. He MUST take some kind of pleasure in the torment he forces upon us girls. I can’t understand him. There are some evil men in the world, but he’s in a league of his own. The way he treats us just makes me want to spit in his face. He stirs some of the most evil thoughts in me. Though I never flesh out any of my unspoken plots against him, I’m sure it is obvious that I hate him. Pure hatred radiates from me when he enters the room. It’s that awful feeling that shoots up your spine and makes you go rigid. The way he thinks we are nothing but trash… in his way. He doesn’t keep his ill thoughts of us to himself. If he can hate us so much for no reason at all… Why can’t I hate him for that?
Joe brings out a very mixed number of emotions in me. At first, he brings out a defensive side of me. I’m afraid of him, because I’ve come to develop some sort of fear of men in general. Then, I grow to just dislike him. His attitude towards our efforts frustrates me. And the fact that he continually shows up and questions Anya irritates me. I look up to her and having someone constantly question her isn’t comforting. Then, as he continues to support us, I gradually grow to like seeing him around because he makes good things happen for us. He stands up for us. But, of course-like any man-I can’t like him for long, because he now brings a new emotion that I wasn’t familiar with. Jealousy. I am SO EXTREMELY jealous of Anya and Joe together. It’s so obvious the way they feel about each other. For her… it doesn’t really matter if we win the strike or not. If we do, she’ll get better treatment in the workplace AND marry him… have a happy life. If we don’t… He’ll marry her anyways and she’ll be protected and secure… Happy ending. It’s not like that for the rest of us girls. She’s secure. I’m jealous of that security. Not to mention just the plain fact that she has a good man now… Someone to love and receive love in return from.
Society girls… These girls bring out several emotions in me as well. For the longest time, I felt ashamed to be around them. They are so pretty in their nice clothes and fancy things… It doesn’t seem right that someone like me, with my ratty clothes, should be anywhere near them. At the same time, this ignites anger in me. I envy them but I know I will never have what they have. No matter how hard I work, there’s just no way. And they don’t have to lift a finger for it. It’s not fair. Then, when they come to try to join us, I get sent on a rollercoaster ride of emotions. First I can’t believe they’d show up out here, then I can’t believe they’d have the nerve to try to compare their lives to ours… To even think that they might be the same… Then almost rage washes over me when they tell us that they want to see what it’s like to live like us. They WANT this?! It’s absurd. But my heart softens when they offer warmth to Clara, and I can’t seem to shake this new-found acceptance of them as they continue to stick around and support us.
:Ruth Stein:
Like Anya-and everyone else in the world for that matter-, Ruth's background had a major influence on who she is now.
I am the youngest of 8 living brothers and sisters (There were 12 total. 4 died before my birth), so I was obviously never put in a position of much power or responsibility. I was never asked to be a leader. So now, even without my family or my age to stop me, I naturally fall into the position of a follower. I do what I’m told to do... That's the way I grew up and it's all I really know.
I am also very sensitive to illness and death. I am this way because my father, along with 4 of my brothers and sisters, passed away before I was born. My mother was 5 months pregnant with me when my father died. So, growing up, the only way the other children could deal with their losses was to make jokes. Sadly, the majority of the jokes were more like, "Let's lock Ruth in a closet/hold her head under water/leave her stuck in the tree/pretend we all died". I didn't understand, I couldn't. My brothers and sisters only did this to me because I was the youngest and never knew any of these people, but it scarred me for life. Death always had a large, dark place in my heart and mind. I was afraid of that place. So, obviously, when death comes into my life once again, I am thrust back into my old memories. It is enough to break down the walls I built to protect myself from these emotions. No matter how hard I try to be strong, I can’t.
Margaret brings out two sides of me. She is one of the only people I have ever felt the need or urge to lead. This is only because Margaret often has different views and is not very open to other people’s ideas. I can’t understand her sometimes, the way she thinks… Why she does what she does. This is why I often try to lead Margaret in other directions, such as joining in on the strike. On the other hand… When Margaret is so stubborn that she absolutely will not open up to other ideas, the more hard-headed side of me rears its head. I don’t like it when people can’t see my way, my side of things. So naturally, I get upset when Margaret’s ears seem to be plugged when I’m talking to her. I am a competitive person. Maybe that’s why I always tend to talk to her and try to persuade her. Maybe I get some kind of odd thrill from the challenge of trying to get her to give in. It must be something along those lines, because otherwise I don’t see how we could be friends or how I could stand to be around her so much. I am an easy person to anger, and Margaret tends to accomplish this feat a lot. But I still love her.
Anya is one of the people that allow me to sink into the person I have been all my life. The follower. It’s so easy around Anya. She is a born leader so it just comes natural to me to fall into step behind her. When I’m around her, I don’t have to think so much for myself. I don’t have to be brave or strong, because she can do that for me. But if there comes a time when I need to be brave, it is easier if she is there. I just follow her lead, like everything else. I am greatly influenced by what she says and does. The majority of what everyone sees when they look at me is the product of Anya’s influence, because that is who I look up to.
Bridget, like Anya, allows me to be a follower. The majority of what was said about Anya applies to Bridget too. But Bridget also brings out another part of me. And secretly, I am more like Bridget than anyone will ever know. The way I think-what goes through my head-is like a mirror image of what Bridget is on the outside. A lot of what everyone sees from her, I am inside my head. This has a lot to do with why we butt heads so often. It’s because we are so much alike in certain ways. She brings out a more forceful side of me. If there were ever to be a physical entity for my thoughts, she would be it. But, unlike my thoughts, I cannot so easily suppress her. So when she blurts out the very thing that I was working so hard to hold in my head, it frustrates me to no end. I try to keep those thoughts in my head and away from others for reasons I think are very important and when Bridget says my thoughts or acts the way I was envisioning, it’s like someone told my most important secret… ratted me out. And Bridget obviously doesn’t take too well to it when I try to keep her from doing those things, so she reacts to me the way I know I would react and it is the most peculiar thing to look my thoughts in the eye and not be able to control them.
Clara… oh, Clara. As much as I love Clara, she scares me. She’s sick… I hate sickness. Sickness brings death, and death brings torment for me. Jokes. It always has and I never learned how to properly deal with death. But then again, Clara is the sweetest girl I have ever met. She draws me like a magnet in a maternal way. I want to protect her. I feel the need to watch over her the way a mother watches over her new-born. So fragile. She can’t take care of herself, so she needs me to do it for her. That’s the way I think. But I can’t become attached to her… I can’t need her the way she needs me, or the way I think she needs me-though she does a fine job of taking care of herself and it’s not like there aren’t others that take care of her-. I need to protect and take care of her… But I need to be away from her, from inevitable death.
Teresa brings out another kind of motherly instinct in me. But it is more of the educational sense. I want to show her things. Teach her. She is so smart, I just know that if she had a proper teacher, she could learn to live and thrive in America better than the majority of born Americans could. I pity her in a way too… It is so hard for her to understand what is going on. And there isn’t much that angers me more than to see someone treat her badly. She doesn’t know what’s happening, or why she is getting singled out. Well, she’s probably figured out that it’s because we’re immigrants that we are treated so badly… But it still infuriates me. I feel protective of her as well. And though I could never stand up to someone important for my own sake, if it came to protecting her-or Clara-I wouldn’t hesitate.
Roth… There is not another human in this world that could frustrate me more than this man does. I’m sure of it. He’s so… Unfair, unjust, cruel, all-together wrong. He MUST take some kind of pleasure in the torment he forces upon us girls. I can’t understand him. There are some evil men in the world, but he’s in a league of his own. The way he treats us just makes me want to spit in his face. He stirs some of the most evil thoughts in me. Though I never flesh out any of my unspoken plots against him, I’m sure it is obvious that I hate him. Pure hatred radiates from me when he enters the room. It’s that awful feeling that shoots up your spine and makes you go rigid. The way he thinks we are nothing but trash… in his way. He doesn’t keep his ill thoughts of us to himself. If he can hate us so much for no reason at all… Why can’t I hate him for that?
Joe brings out a very mixed number of emotions in me. At first, he brings out a defensive side of me. I’m afraid of him, because I’ve come to develop some sort of fear of men in general. Then, I grow to just dislike him. His attitude towards our efforts frustrates me. And the fact that he continually shows up and questions Anya irritates me. I look up to her and having someone constantly question her isn’t comforting. Then, as he continues to support us, I gradually grow to like seeing him around because he makes good things happen for us. He stands up for us. But, of course-like any man-I can’t like him for long, because he now brings a new emotion that I wasn’t familiar with. Jealousy. I am SO EXTREMELY jealous of Anya and Joe together. It’s so obvious the way they feel about each other. For her… it doesn’t really matter if we win the strike or not. If we do, she’ll get better treatment in the workplace AND marry him… have a happy life. If we don’t… He’ll marry her anyways and she’ll be protected and secure… Happy ending. It’s not like that for the rest of us girls. She’s secure. I’m jealous of that security. Not to mention just the plain fact that she has a good man now… Someone to love and receive love in return from.
Society girls… These girls bring out several emotions in me as well. For the longest time, I felt ashamed to be around them. They are so pretty in their nice clothes and fancy things… It doesn’t seem right that someone like me, with my ratty clothes, should be anywhere near them. At the same time, this ignites anger in me. I envy them but I know I will never have what they have. No matter how hard I work, there’s just no way. And they don’t have to lift a finger for it. It’s not fair. Then, when they come to try to join us, I get sent on a rollercoaster ride of emotions. First I can’t believe they’d show up out here, then I can’t believe they’d have the nerve to try to compare their lives to ours… To even think that they might be the same… Then almost rage washes over me when they tell us that they want to see what it’s like to live like us. They WANT this?! It’s absurd. But my heart softens when they offer warmth to Clara, and I can’t seem to shake this new-found acceptance of them as they continue to stick around and support us.
Regional Competitors
Blood Brothers is the hugely popular play by the well-known author of Educating Rita, Willy Russell. It is fast-moving and perceptive, entertaining and thought-provoking, funny yet ultimately tragic. It tells the tale of twin brothers who are born into a large working-class family and what happens when their mother decides to have one of them adopted. Blood Brothers looks at the differences and conflicts of their upbringings, their relationships with each other and with their real and adopted mothers.
Big Love is a play by American playwright Charles L. Mee. Based on Aeschylus's The Supplicants, it is about fifty brides who flee to a manor in Italy to avoid marrying their fifty cousins. The play takes the plot of the original Greek play into modern times, including such details as having the grooms ambush the brides by helicopter. While the brides and grooms wait for their wedding day, the characters raise issues of gender politics, love, and domestic violence.
Paganini is a dark comedy by Don Nigro. It is the tale of a man so gifted in playing the violin that people believed he made a pact with the devil.
The Marriage of Bette and Boo is a dark comedy: A woman gives birth to four successive stillborn babies, each of whom is unceremoniously dumped on to the hospital floor by the obstetrician. There are onstage deaths by stroke and by cancer. One character is an alcoholic, another a psychotic, another senile. And heaven help those who seek solace from the neighborhood priest. As Father Donnallyexplains, he is powerless to do anything except ''mumble platitudes'' to the ''stupid people'' who come to him with ''insoluble problems.''
Big Love is a play by American playwright Charles L. Mee. Based on Aeschylus's The Supplicants, it is about fifty brides who flee to a manor in Italy to avoid marrying their fifty cousins. The play takes the plot of the original Greek play into modern times, including such details as having the grooms ambush the brides by helicopter. While the brides and grooms wait for their wedding day, the characters raise issues of gender politics, love, and domestic violence.
Paganini is a dark comedy by Don Nigro. It is the tale of a man so gifted in playing the violin that people believed he made a pact with the devil.
The Marriage of Bette and Boo is a dark comedy: A woman gives birth to four successive stillborn babies, each of whom is unceremoniously dumped on to the hospital floor by the obstetrician. There are onstage deaths by stroke and by cancer. One character is an alcoholic, another a psychotic, another senile. And heaven help those who seek solace from the neighborhood priest. As Father Donnallyexplains, he is powerless to do anything except ''mumble platitudes'' to the ''stupid people'' who come to him with ''insoluble problems.''
Susan Loughran
Hi Cindy:
I saw on the UIL website that you folks have advanced to regional! Hooray! I wish all the best. I know you all will do a wonderful job representing Shallowater HS and your district.
Susan
P.S. Inspired by your show, I read a book titled UPRISING by Margaret Peterson Haddix. It focuses on the Triangle Shirtwaist Fire, but covers a lot of the same kind of material that TO SEE THE STARS does. It is a very interesting and accessible read that I found at the public library. Your students might enjoy it.
I saw on the UIL website that you folks have advanced to regional! Hooray! I wish all the best. I know you all will do a wonderful job representing Shallowater HS and your district.
Susan
P.S. Inspired by your show, I read a book titled UPRISING by Margaret Peterson Haddix. It focuses on the Triangle Shirtwaist Fire, but covers a lot of the same kind of material that TO SEE THE STARS does. It is a very interesting and accessible read that I found at the public library. Your students might enjoy it.
From Freida
Hi!!! How are you? When is contest and what number is your show? I hope all is going well. Tell the kids to keep the show new, exciting, and full of controlled energy!!!!! Love to all, Freida Attaway
Thursday, April 9, 2009
Regional ONE-ACT PLAY
Chuck Everett, Chairman(432) 335-6664ceverett@odessa.edu
Thursday, April 23, 2009 -
Rehearsals begin1:00 p.m.
SCHEDULE
OAP JUDGE: Beverly Murray
Closed Rehearsals
Begin at 1PM
Rehearsal order will be determined based on the distance that advancing schools have to travel. The closest schools rehearse first with the school having the longest distance to travel rehearsing last. All concerned schools will be notified of rehearsal positions at that time.
Directors' Meeting -7:30PM Thursday:
A meeting of all directors with critic judge and contestchairman will be held in
A meeting of all directors with critic judge and contestchairman will be held in
Deaderick Hall Auditorium,
Odessa College campus.
Friday, April 24, 2009
Public Performances
Public performances will begin at 9:30 a.m.
Public Performances
Public performances will begin at 9:30 a.m.
Admission Charge for Public Performances:
$5.00 for adults$3.00 for students and senior citizens (age 55 and older)
NO ONE WILL BE ADMITTED TO THE AUDITORIUM WHILE A PERFORMANCE IS IN PROGRESS
Entry Fee
ONE-ACT PLAY INFORMATIONParticipating schools are not responsible for sending entry fees to the Regional Director.Each District Director will handle all entry fees for a district and then bill respective schools for the amount owed.
Entry fee for each One-Act Play is $200.00.
“Eligibility Notices to the Contest Manager Regional Director and State Theatre Director must be postmarked, hand delivered or sent by courier by Monday,
midnight following your area contest."
Location of Contest
The One-Act Play contest will be held in Deaderick Hall Auditorium, Odessa College.
Members of the Odessa College staff will serve as hosts for the One-Act Play competition.
Performance & Rehearsal positions Rehearsal order will be determined based on the distance that advancing schools have to travel.The closest schools rehearse first with the school having the longest distance to travel rehearsinglast. All concerned schools will be notified of rehearsal positions at that time.
Performance order has been determined by a blind draw.
Performance order has been determined by a blind draw.
Using 6 slots, 2 each from the area contests with the "A" and "B" slots from each area to be determined from the advancing play titles alphabetically.
The drawn order is, 1B, 2A, 3A, 2B, 1A, 3B.
We do not have the results from the other area yet.
1A Friona - sf In The Garden of Live Flowers
1A Friona - sf In The Garden of Live Flowers
1BShallowater - To See The Stars
2A Big Lake: Reagan Co. - sf Big Love
2B Sonora - sf Blood Brothers
We will be first.
Information will be updated on the web as received.
Questionsregarding entries/scheduling of the One-Act Play contest may be directed to
Chuck Everett,(432) 335-6664 or ceverett@odessa.edu.
Rehearsals
A school should report to the stage loading door (at the North side of Deaderick HallAuditorium) about fifteen minutes before the hour for its rehearsal.
A school should report to the stage loading door (at the North side of Deaderick HallAuditorium) about fifteen minutes before the hour for its rehearsal.
A college host will bewaiting there to answer questions, to direct the unloading of props, and to assist in every way possible.
Be On Time
Be On Time
Events will run as scheduled. Failure to report promptly at specified times will result in forfeiture.
RehearsalsEach play will have exactly one clock hour on the stage.
A One-Act Play group will be permittedto enter stage on the hour and must be off by the end of the hour.
A tour of backstage facilities and discussion of procedures will follow each rehearsal.
The Stage
The Stage
The acting area on the stage in the Deaderick Hall Auditorium is about thirty (30) feetwide and thirty-one (31) feet deep (from the back wall to the curtain line).
The apron of thestage extends about six and one-half (6-1/2) feet beyond the proscenium wall.
Plays must be staged against black drapes.
There is an orchestra pit in front of the stage.
Questions concerning the technical specifications of the stage area should be directed to
Chuck Everett,(432) 335-6664, or ceverett@odessa.edu.
Another message from Mercati
Hi,
Thank you for sending me the character sketch of Anya. Lizzie found things I didn't know were there, how Bridget brings out the leader in her, and how she loves Clara as her own.
Since Anya is a thinly disguised version of myself, I agree with all the actress wrote - I do get impatient and angry with people far quicker than I should, if they won't take a stand for what they believe. Some of the words in the script directed at Anya have been directed at me, especially when I was a young girl, like Anya, and passionate about Civil Rights, women's rights, etc.
Why do you have to make the trouble? Cause the scene?
What could I answer? I was born that way.
I like what she said about Joe as well, that she senses something different in him.
I loved my father very much and miss him, and he, too, was passionate about his beliefs, although as an Italian father, it was hard for him to see any future for me but as wife and mother. He did send me to college, but it was only to find a man with a degree to marry.
I am first generation on both sides, my mother is Russian, my father, as I said, Italian. So I identified with the girls and their immigrant experience. I grew up in Chicago - only in a place like that, full of immigrant neighborhoods, could a Russian girl marry an Italian boy!
I am sharing your journey with TO SEE THE STARS with my script writer's group. We are all so impressed with your students' devotion and interest in the show.
Thanks for much for doing this and keeping me informed and sending things on to Dramatic.
I keep saying Rosaries for you - although now that baseball season has started, I'm saying them for the White Sox as well.
The Chicago Cubs are of course, the cuddly losers everyone loves.
The South Side White Sox are gritty, the working man's team, and I have loved them since I was 10.
And, like Anya, I can't keep my mouth shut about the team. I always felt the White Sox needed me to stick up for them, since the Cubs had a radio station, and a TV station devoted to them, and the Chicago Tribune newspaper was owned by the same man who owned the Cubs. The Sox always came in second, they are the true underdogs, and so, naturally, I was drawn to them. Now, however, President Obama has declared himself a White Sox fan, so they're getting more attention.
Blessings, peace, light and energy to you and your wonderful cast.
Cindy
Thank you for sending me the character sketch of Anya. Lizzie found things I didn't know were there, how Bridget brings out the leader in her, and how she loves Clara as her own.
Since Anya is a thinly disguised version of myself, I agree with all the actress wrote - I do get impatient and angry with people far quicker than I should, if they won't take a stand for what they believe. Some of the words in the script directed at Anya have been directed at me, especially when I was a young girl, like Anya, and passionate about Civil Rights, women's rights, etc.
Why do you have to make the trouble? Cause the scene?
What could I answer? I was born that way.
I like what she said about Joe as well, that she senses something different in him.
I loved my father very much and miss him, and he, too, was passionate about his beliefs, although as an Italian father, it was hard for him to see any future for me but as wife and mother. He did send me to college, but it was only to find a man with a degree to marry.
I am first generation on both sides, my mother is Russian, my father, as I said, Italian. So I identified with the girls and their immigrant experience. I grew up in Chicago - only in a place like that, full of immigrant neighborhoods, could a Russian girl marry an Italian boy!
I am sharing your journey with TO SEE THE STARS with my script writer's group. We are all so impressed with your students' devotion and interest in the show.
Thanks for much for doing this and keeping me informed and sending things on to Dramatic.
I keep saying Rosaries for you - although now that baseball season has started, I'm saying them for the White Sox as well.
The Chicago Cubs are of course, the cuddly losers everyone loves.
The South Side White Sox are gritty, the working man's team, and I have loved them since I was 10.
And, like Anya, I can't keep my mouth shut about the team. I always felt the White Sox needed me to stick up for them, since the Cubs had a radio station, and a TV station devoted to them, and the Chicago Tribune newspaper was owned by the same man who owned the Cubs. The Sox always came in second, they are the true underdogs, and so, naturally, I was drawn to them. Now, however, President Obama has declared himself a White Sox fan, so they're getting more attention.
Blessings, peace, light and energy to you and your wonderful cast.
Cindy
Wednesday, April 8, 2009
Area Critique
Adair’s Critique
Ensemble was good. Accents were good. That does not mean stop rehearsing accents. Remember, they should be second nature. Work at least four hours each day on this. After school, at lunch, etc.
Brandon, eat the apple or another fruit – not a banana.
Society Women, find something to do onstage in addition to reading the paper.
Good job, tipping hats.
Roth, good job.
Factory women, find more planning stage business. Strike scene. All people can use this. If you have read this far, call Ms. Couch, ext. 2239 or text 470-9940.
Meeting scene was good.
Joe, how do you make Anya stay? Two judges have said this. This probably should be done in the first union meeting. I have an idea, but see what you can come up with.
Joe, don’t stay in profile.
Everyone, find a funny or happy moment. This is an assignment. If you have read this far, text or call.
Clara, cough from diaphragm
Fight scene, all need to wear red neckerchiefs
Matron, stay in light.
Bridget – America – Decide what part of Ireland you are from. This is for everyone. Bring or send me a picture of your hometown or country.
Cohen, good job.
We need to SEE the decision on Nathan’s, Brandon’s, and Chavez’s faces
Why do the society women want to help? Tell me this and tell me how are you going to show it?
Judge, hat higher.
Trial scene seemed forced? Everyone in that scene needs to tell me why you are angry. This means 15 people better have answers.
Roth, how are you going to create more levels?
One more time – Find the sweet and funny moments. If you want to volunteer to do this, see me for a script. This is not restricted to actors.
The further we advance, the less I am seeing people work for the good of the company. Remember, underclassmen, you will want to audition next year, I hope. I take notes on how many times I have asked you to help and how many times you have helped without me asking. You might want to change your attitude or rethink traveling with us to Odessa. I am trying to have a clinic with three area schools after TAKS. This will be outside the school day if we can do this.
The next rehearsal is Monday, April 13; Thursday ,16; and Monday, 20.
We will leave sometime on Thursday, the 23rd. Let me know if there are any conflicts on these three days.
This is interesting – a quote from our next judge. It was on her profile. “Theatre is the best means not to find oneself but to create oneself.”
Sunday, April 5, 2009
Sunday, April 5th Critiques
Things we need:
- Blood Capsules
- Wipes
- C Clamps
- Chemise?
Critiques: -Border-
- Zack - Put your foot on the bench in the Union scene
- Lights need to be dimmer in Jail
- Work on blood - Girls
- Boys - We need to have the umbrellas out there
- Judge - Tie?
- Didn't catch the bribe
- Girls - Hold your signs so that they won't cast a shadow on your face
- Need to see more determination in the girls faces
-Couch-
- In the beginning, lights and sound needs to come up at the same time with curtains
- Fix Kayla's Shirt - Chemise?
- Hem Roger's pants
- Fix Lizzie's Skirt
- Matron's skirt?
- Anya - stand on your first line
- "Time for work" - Roth, look at your watch
- "V"alk in park - Ruth, hit the V
- Light on Anya quicker when she crosses to DCS
- Joe, Roger, and Lannon - You were in a line. Fix it
- Have to use blood capsules
- After jail, girls bunched up. Be aware of your surroundings and adjust. Some move right stage, others on the platform.
- Bridget - work on your lilt. "Women" & "November"
- Bridget - "America" Make it sound like the Promised Land
- Cohen - Use your arms
- Nathan - Use a different coat in the Union scene
- Good job - Nathan, Brandon, and Roger
- Lizzie and Joe - Smile was great
- Good job listening Lenore
- Roth - "Going to trial" - whatever you did today worked, keep it
- Brandon - Get over to right stage sooner and help set up for hearing
- Judge - Must have a tie! Outside jacket - ask Couch
- Roth - Good job on "streetwalkers"
- Society girls - Remember to dust off the seats each time you sit down with your hanky
- Blackwell's Island - Roth and Stolle, look at each other
- Roth - Speech in tombs was good
- "Sound of our singin" - Anya, look at Bridget with hope
- Bring Clara DS more to die
- Roger - "That's called compromise" Take your hat off and hold it
- "Starve" - Good job
- Anya - touch Joe's face on "That boy"
- Joe - Wiping the tear was good
- Stolle - Speak to audience
- When Roth calls out the names - Girls be more dynamic
- Margaret - Slower on last line
Everyone who has a dialect needs to speak in them from now until competition. And if you have been told to work on enunciation - Work on it. If you see someone who is supposed to be speaking in an accent refusing to do so, tell me and I will deduct points from their grade. The accents MUST be second nature.
I love you all!
Saturday, April 4, 2009
Read Lizzie's comments
Lizzie said...
I'm so excited about this!!Anya Rosen. Her background has a lot to do with why she is how she is today. When she was twelve her father died from a heart attack. She was not paricularly close to her father but still loved him as most children love their parents. He was no longer there to be the protector of the house, the bread winner...nearly all her sense of security was lost. She traveled to America with her two younger sisters and mother. The most terrifying trip of her life. When she arrived in America, she tried to assume the position of the bread winner and protector. She feels responsible for her family of women. Now! because of all this that has happened to her...she is very strong. She can deal with harsh conditions and harsh people. However, she's terrified of losing the ones she loves. Which is why she is so slow to let people in. She doesnt want to get hurt again. She doesnt trust people. All trust was shattered when she suddenly lost all that she thought to be stable.She is a leader. She is ruthless and determined. She speaks her mind and isn't afraid of the outcome. But, she is human. And when everything piles up on her and bad after bad after bad keeps happening, she sometimes loses hope.Bridget brings out the leader in her. Bridget makes her stronger. Bridget is a leader herself and not afraid to speak her mind, therefore enabling Anya to step up and take the lead along with her. She encourages her... even if its not verbal.Clara makes her stronger as well. Brings out the protectiveness in her. She views Clara like she views her younger sisters. She loves her as much as she loves her own flesh and blood. She feels obligated to protect and take care of her. Is constantly concerned for her well being... because she LOVES her so much.Margeret brings out the bad in her. It hurts her inside when people are so weak willed. She can't understand those who won't stand up for what they believe in... no matter the cost. She has to constantly keep checking her attitude when she is around Margaret. She's just always so negative! Won't even try to understand anyone elses view..won't even try to step out of her comfort zone for those she loves. Tries to treat her with love and respect...but is a constant battle to stay positive around her.Roth brings out the very worst in her. She has NO respect for him. He is deceptive and rude and condescending. Sarcasm and her short temper are triggered when he's around. She also feels such hatred towards him because he causes such fear in Clara. She never wants ANYONE messing with Clara.Joe. From the very beginning she sensed something different about him, but that scared/stubborn side of her comes out and refuses to let him in. Keeps her guard up. However, as time goes on, he continues to prove himself trustworthy and she slowly starts to let her guard down..so much that she falls for him. Feels that void in her life..the hole that her father left being filled again.
I'm so excited about this!!Anya Rosen. Her background has a lot to do with why she is how she is today. When she was twelve her father died from a heart attack. She was not paricularly close to her father but still loved him as most children love their parents. He was no longer there to be the protector of the house, the bread winner...nearly all her sense of security was lost. She traveled to America with her two younger sisters and mother. The most terrifying trip of her life. When she arrived in America, she tried to assume the position of the bread winner and protector. She feels responsible for her family of women. Now! because of all this that has happened to her...she is very strong. She can deal with harsh conditions and harsh people. However, she's terrified of losing the ones she loves. Which is why she is so slow to let people in. She doesnt want to get hurt again. She doesnt trust people. All trust was shattered when she suddenly lost all that she thought to be stable.She is a leader. She is ruthless and determined. She speaks her mind and isn't afraid of the outcome. But, she is human. And when everything piles up on her and bad after bad after bad keeps happening, she sometimes loses hope.Bridget brings out the leader in her. Bridget makes her stronger. Bridget is a leader herself and not afraid to speak her mind, therefore enabling Anya to step up and take the lead along with her. She encourages her... even if its not verbal.Clara makes her stronger as well. Brings out the protectiveness in her. She views Clara like she views her younger sisters. She loves her as much as she loves her own flesh and blood. She feels obligated to protect and take care of her. Is constantly concerned for her well being... because she LOVES her so much.Margeret brings out the bad in her. It hurts her inside when people are so weak willed. She can't understand those who won't stand up for what they believe in... no matter the cost. She has to constantly keep checking her attitude when she is around Margaret. She's just always so negative! Won't even try to understand anyone elses view..won't even try to step out of her comfort zone for those she loves. Tries to treat her with love and respect...but is a constant battle to stay positive around her.Roth brings out the very worst in her. She has NO respect for him. He is deceptive and rude and condescending. Sarcasm and her short temper are triggered when he's around. She also feels such hatred towards him because he causes such fear in Clara. She never wants ANYONE messing with Clara.Joe. From the very beginning she sensed something different about him, but that scared/stubborn side of her comes out and refuses to let him in. Keeps her guard up. However, as time goes on, he continues to prove himself trustworthy and she slowly starts to let her guard down..so much that she falls for him. Feels that void in her life..the hole that her father left being filled again.
DIstrict Comments
West Texas A&M University
Sybil B. Harrington Fine Arts Complex
Branding Iron Theatre
Canyon, TX 79016
Phone: (806) 651-2799
Fax: (806) 651-2818
Perry Crafton Phone: 806-651-2813
wcrafton@mail.wtamu.edu
Load-in: Tuesday, April 7 at 9:15pm
Rehearsal: Tuesday, April 7 from 9:45am-10:45am
1. Sanford Fritch - Peer Gynt
2. Shallowater - To See the Stars
3. Tulia - Look Homeward, Angel
4. RiverRoad - Send me a Tenor
5. Friona - Flowers and Lies
6. Roosevelt - Wit
The directors' meeting is at 12:30.
First play is at 1:30. They are back to back. We should go on about 2:30.
The judge should critique about 8-8:30.
We will eat a light lunch about 11-11:30. We will bring in pizza for dinner - probably about 6:30-7PM. Following the critique, we will return home.
We need the following:
Sybil B. Harrington Fine Arts Complex
Branding Iron Theatre
Canyon, TX 79016
Phone: (806) 651-2799
Fax: (806) 651-2818
Perry Crafton Phone: 806-651-2813
wcrafton@mail.wtamu.edu
Load-in: Tuesday, April 7 at 9:15pm
Rehearsal: Tuesday, April 7 from 9:45am-10:45am
1. Sanford Fritch - Peer Gynt
2. Shallowater - To See the Stars
3. Tulia - Look Homeward, Angel
4. RiverRoad - Send me a Tenor
5. Friona - Flowers and Lies
6. Roosevelt - Wit
The directors' meeting is at 12:30.
First play is at 1:30. They are back to back. We should go on about 2:30.
The judge should critique about 8-8:30.
We will eat a light lunch about 11-11:30. We will bring in pizza for dinner - probably about 6:30-7PM. Following the critique, we will return home.
We need the following:
- rolled bandages
- blood capsules
- corset or slip for Ruth
- apron for matron
- Dialects must be second nature. Please speak in the dialects from now until performance on Tuesday. Everyone else, work on diction.
- Watch diagonal lines and horizontal lines on stage. On the first union scene, move Roger to platform behind Nathan and Brandon. Gradually, he will make his way up by Lannon - perhaps between Nathan and Lannon.
- Actors, be spatially aware . Watch clumping. Alternates, watch this on Monday's practice.
- Everyone, don't move without purpose or reason. I thought we did this, but be careful about this.
- During weeping and screaming, you cannot be understood.
- Roth and society girls sounded like they were in their teens (she didn't read the script or she would know you weren't very old.
- Joe and Anya need to fall in love. When does it happen?
- The beginning, she could not understand the accents, so we will work on them. Everyone, slow down and hit the consonants, particularly people with accents.
- Bridget needs a lilt in the accent.
- Anya needs to egg on Roth's anger.
- Clara, try to hold the cough back since we know that drives Roth crazy.
- Anya, we don't know your dreams.
- Chavez, keep the accent; we like it.
- Need to see Joe's face at all times.
- Joe, question Anya to determine if she is strong enough to rally the women.
- Thugs, plant feet. Roger, thug, don't forget to roll up shirt sleeves.
- On choreography, we have a dancing judge - movements must be crisp and exaggerated. All men except Roger are slacking on this part. Also, expressions will be important to this judge. We HAVE to exaggerate them.
- Clara, work on accent.
- Girls need to be whipped on. I think we will tear off Ruth's shirt, and we will have blood. Then, in the jail, you can pull yourself back together. We will use rolled bandages.
- We need to see the strength in Joe
- Matron needs an apron. Do not change her character.
- Smooth transitions
- Bridget, lighten up
- Crowd noise needs to increase from rain area to union scene
- Bridget, second union scene, move down the ramp.
- Work on better stage pictures in the second union scene.
- Need to see the boys - Nathan and Brandon and Chavez, change their minds.
- Lower voices, Society girls
- Change society girls and re stage
- Society girls should seem to be more adult.
- Lenore, it is not a contest, show more adult mannerisms.
- In transition following Roth's line, we need to see Roth give the judge money. Judge, nod at Roth during the scene as if to complete the contract.
- Roth, plant feet.
- Judge, do not step down with Joe
- Judge, know who you are hollering at.
- Judge, move the girls down and talk to them both toward the audience. Show WHY you are crossing down.
- Roth, your livelihood is affected by the girls. We need to see the struggle within you. Why is it important to attack the women. You need to be three dimensional.
- Too bunchy
- Dream scream
- What is Clara's objective. We need to see her rally. She can't die in vain.
- In prison, why does Anya leave the group?
- Bridget and Anya, move toward the others.
- We need solidarity in the dancing scene - girls need to dance together.
- Different scarf for Joe. Don't be so dramatic with the story about your father. Make more of a connection with Anya. Become your father.
- Starve in the fresh air needs to be humorous and meaningful
- Don't be so cold you cannot talk. Joe, watch so much hanky business
- Roth, we need to care more about you.
- Turn around girls, with fists in the air - be more dramatic.
- DO not drop signs when Joe announces the win.
- The celebration needs to b e on all levels.
- at the end, we need to see serious, dramatic expressions on the people front stage.
I think the tragic feeling is invoked in us when we are in the presence of a character who is ready to lay down his life, if need be, to secure one thing -- his sense of personal dignity. Arthur Miller
You have come so far. It reminds me of Stolle's line - "You beat em.... they just keep comin" This may not be right, but it reflects your perseverance, your dedication to producing good theatre, and your competitive natures. I love each one of you and I thank you for your hard work. Be ready tomorrow to work. Let me know what you feel about the quote - Arthur Miller's
Thursday, April 2, 2009
Current Competition Status
At Zone, we advanced to district. Julie Tarter(Margaret) and Kayla Cristy (Ruth) received honorable mention. Emily Thompson (Bridget), Kylee Silvas (Clara), and Johnny Fowler (Joe) received All Star cast. Lizzie Elston (Anya) received best actress. Brent Lovett, Amy White, Alli Burgett, and Kara Bewley received best Tech Crew. District competition is Friday, April 3.
Wednesday, April 1, 2009
Cynthia Mercatti
You don't know how much your letter meant to me.I'm going through a rough time emotionally, and to hear how much your students have put into a play I love, is so, so gratifying. Everything you've told me, makes me think I need to write a play about the putting on of a play. How wonderful for the girls and the guys to realize what women went through - and in many countries, are still going through. My mother was born before women could vote, she's 93 and was born in 1916, I often think of that. Hilary Clinton's run for the presidency meant a great deal to her. You certainly will have stiff competition, with Wit and Shakespeare.Like the Italian girl in the play - I'm Italian - I will say a Rosary for you that day. A funny thing, several years I was touring in one m y own shows for young people and we went to a school in the far reaches of Iowa. One of the kids came up to me after and said that was the second best play he'd ever seen. When I asked him what the firs play was, he said, Hamlet.There was so much to respond to you in your letter, the tragedy, the hope, the learning, the acting awards - everything. I'm keeping up a commentary with my script writer's group on your process.You don't have to do this, but - if you have the time, do you think you could drop a letter or e-mail to Linda Habjan at Dramatic Publishing? I'm hoping it might get the play a little more attention in thecatalogue and that they might even use a few pictures.Thanks, all the best - to everyone, Cynthia
ATTENTION!!!!!!!!!!!!!!!!!!!!!!!!
You can see that I have posted several blog entries today. If you are interested in working on your character, read through the first entries. The critiques are under "Tuesday's Rehearsal."
Best Character Sketch
NAME
Name ----------------------------------
Physical Appearance:
Character’s Voice:
Myers-Briggs Type Indicator:
Which means:
Characteristics:
How others may see this person:
Areas for growth:
DISC Pattern:Which means:
Judges others by:
Influences others by:
Under pressure:
Dimensions of Characterization:
A. PhysicalWhy?
B. SociologicalWhy?
C. PsychologicalWhy?
D. SpiritualWhy?
E. PhilosophicalWhy?
F. NeurosesWhy?
G. Freaky HabitsWhy?
Character Mood Intensity:
A. Temperament
B. Heartbeat
C. Breathing
D. State of Perspiration
E. Muscular Tension
F. Stomach Condition
G. Sensory Condition
H. Intelligence – What kind
I. Major Frustrations
J. InsecuritiesK. Paranoia
----------------------------------Research:
Character’s Goals(Needs)
What does the character want?
What are the goals, desires, and motivations of that individual?
What are the character’s needs, which propel the story forward?
Almost all storytelling is a protagonist trying to achieve something that he/she wants but is up against forces of antagonism.
Character goals can be simple or complicated, but they should always be clear. The goals can be long-term and/or short-term, tangible or intangible, physical, spiritual, emotional, or psychological.
Robert McKee divided character goals into two categories: the Conscious Object of Desire and the Unconscious Object of Desire.
Linda Seger divided character goals into three categories: Internal Goal, External Goal, and the Hidden Need.
You can have goals that can be pinpointed on Maslow’s hierarchy of needs (or goals that spring from one of the Seven Deadly Sins).
Personally, I’ve always found creative inspiration in Maslow’s metaneeds, which are the needs of the self-actualizers at the very top of the chart (illustrated above) in order to be happy:
Truth, rather than dishonesty.
Goodness, rather than evil.
Beauty, not ugliness or vulgarity.Unity, wholeness, and transcendence of opposites, not arbitrariness or forced choices.
Aliveness, not deadness or the mechanization of life.Uniqueness, not bland uniformity.
Perfection and necessity, not sloppiness, inconsistency, or accident.
Completion, rather than incompleteness.
Justice and order, not injustice and lawlessness.
Simplicity, not unnecessary complexity.
Richness, not environmental impoverishment.
Effortlessness, not strain.
Playfulness, not grim, humorless, drudgery.
Self-sufficiency, not dependency.Meaningfulness, rather than senselessness.
If you have characters living in extraordinary circumstances such as war or rural poverty, it probably won’t occur to them that they have metaneeds, because they worry about basic needs - getting enough food to eat and having a roof over their head. In fact, Maslow believes that much of what is wrong with the world comes down to the fact that very few people really are interested in these values. Hence, the role of the artist.
Name ----------------------------------
Physical Appearance:
Character’s Voice:
Myers-Briggs Type Indicator:
Which means:
Characteristics:
How others may see this person:
Areas for growth:
DISC Pattern:Which means:
Judges others by:
Influences others by:
Under pressure:
Dimensions of Characterization:
A. PhysicalWhy?
B. SociologicalWhy?
C. PsychologicalWhy?
D. SpiritualWhy?
E. PhilosophicalWhy?
F. NeurosesWhy?
G. Freaky HabitsWhy?
Character Mood Intensity:
A. Temperament
B. Heartbeat
C. Breathing
D. State of Perspiration
E. Muscular Tension
F. Stomach Condition
G. Sensory Condition
H. Intelligence – What kind
I. Major Frustrations
J. InsecuritiesK. Paranoia
----------------------------------Research:
Character’s Goals(Needs)
What does the character want?
What are the goals, desires, and motivations of that individual?
What are the character’s needs, which propel the story forward?
Almost all storytelling is a protagonist trying to achieve something that he/she wants but is up against forces of antagonism.
Character goals can be simple or complicated, but they should always be clear. The goals can be long-term and/or short-term, tangible or intangible, physical, spiritual, emotional, or psychological.
Robert McKee divided character goals into two categories: the Conscious Object of Desire and the Unconscious Object of Desire.
Linda Seger divided character goals into three categories: Internal Goal, External Goal, and the Hidden Need.
You can have goals that can be pinpointed on Maslow’s hierarchy of needs (or goals that spring from one of the Seven Deadly Sins).
Personally, I’ve always found creative inspiration in Maslow’s metaneeds, which are the needs of the self-actualizers at the very top of the chart (illustrated above) in order to be happy:
Truth, rather than dishonesty.
Goodness, rather than evil.
Beauty, not ugliness or vulgarity.Unity, wholeness, and transcendence of opposites, not arbitrariness or forced choices.
Aliveness, not deadness or the mechanization of life.Uniqueness, not bland uniformity.
Perfection and necessity, not sloppiness, inconsistency, or accident.
Completion, rather than incompleteness.
Justice and order, not injustice and lawlessness.
Simplicity, not unnecessary complexity.
Richness, not environmental impoverishment.
Effortlessness, not strain.
Playfulness, not grim, humorless, drudgery.
Self-sufficiency, not dependency.Meaningfulness, rather than senselessness.
If you have characters living in extraordinary circumstances such as war or rural poverty, it probably won’t occur to them that they have metaneeds, because they worry about basic needs - getting enough food to eat and having a roof over their head. In fact, Maslow believes that much of what is wrong with the world comes down to the fact that very few people really are interested in these values. Hence, the role of the artist.
Hamartia
Hamartia –The character’s tragic flaw
ha·mar·tia
Pronunciation:
\ˌhä-ˌmär-ˈtē-ə\
Function: noun
Etymology:
Greek, from hamartanein to miss the mark, err
Hamartia, or otherwise known as a character’s tragic flaw is a great way to get your Protagonist (actor) to change.
By identifying your Protagonist’s (actor’s) tragic flaw UP FRONT, you can very easily figure out where he or she needs to go to bring about that change.
Of course, it shouldn’t be an easy task… After all, we all perform maintenance of our “hamartia” don’t we? Do we not consciously or unconsciously maintain our tragic flaw by way of our:
Environment
Circumstance
Decisions
People we associate with
Actions
And, if this is true, could we not utilize this same model for the Protagonist?
A Protagonist’s tragic flaw is actually more like his or her ego defense mechanism. In the beginning of the story and through approximately the third quarter of a story, the Protagonist continually relies on this tragic flaw to get as far as he or she has gotten. Up to this point however, whether they are aware of the flaw or not, they think they need it to get through the day. Consciously or unconsciously…
Work it correctly and natural conflict — conflict that you need for your story should be almost obvious during every scene if you keep yourself aware of your Protagonist’s tragic flaw.
The Character Arc.
I’ve said it before and I’ll say it again and I don’t really care if anyone agrees with me or not… I like a Protagonist that changes during the story and I submit that change does happen… Maybe in microcosm ways but I THINK IT HAPPENS.
Because if change didn’t happen, what would be the point of the story? Why would we care? But I’m not really trying to talk about change as much as I’m attempting to discuss the Protagonist’s MAINTENANCE OF THE TRAGIC FLAW.
That’s right…
That’s what your Protagonist does. He or she utilizes pretty much the same elements we all utilize to maintain our tragic flaws…
Environment
Circumstance
Decisions
Characters
Actions
Not necessarily in that order but you get the gist.
Your Protagonist’s ordinary world is made up of the above elements is it not? Why is this his or her ordinary world? It’s not unlike a criminal running away from the law… He hides out because he doesn’t want to get caught, right?
So does your tragic flaw. Of course it rears its nasty head at the drop of a hat but rest assured, it’s lurking… Waiting for something to trigger its need or use.
And just like a criminal finds someone to assist in hiding him out, so do we assist our tragic flaw in hiding out… To keep it safe and sound until we need it again. In other words, to kick this tragic flaw out into the light means — dare I say it again — CHANGE.
And really… Overall… Does anyone really want to change?
Or do they hide out in their ordinary world because they can control their ordinary world much better than any new world that is placed in front of them?
So of course maintenance of the flaw is of the utmost importance… Your Protagonist chose the environment he or she lives in so that his or her tragic flaw can thrive. Your protagonist continually places themselves in circumstances where their tragic flaw thrives even more. Of course most of their decisions help maintain their tragic flaw as do the characters they choose to associate with. Last but not least is your Protagonist’s ACTION. All the elements preceding action culminate in some kind of action by the Protagonist that once again, assists in maintaining their tragic flaw.
I guess you could just as easy call it ENABLING.
Good Protagonists do whatever it takes to maintain their tragic flaw. It affects just about everything they do UNTIL that point comes along when they realize they no longer want to allow their tragic flaw to control their life.
Certainly, baby steps toward outing the tragic flaw will show some kind of change depending on how you create those steps. A fairly easy way to know where you should end up INTERNALLY however, is to simply figure out what the opposite of the Protagonist’s tragic flaw is. Once you figure out what the opposite of that flaw is, and you LIKE IT enough to use it, you can now figure out ways to slowly but surely OUT the flaw.
ha·mar·tia
Pronunciation:
\ˌhä-ˌmär-ˈtē-ə\
Function: noun
Etymology:
Greek, from hamartanein to miss the mark, err
Hamartia, or otherwise known as a character’s tragic flaw is a great way to get your Protagonist (actor) to change.
By identifying your Protagonist’s (actor’s) tragic flaw UP FRONT, you can very easily figure out where he or she needs to go to bring about that change.
Of course, it shouldn’t be an easy task… After all, we all perform maintenance of our “hamartia” don’t we? Do we not consciously or unconsciously maintain our tragic flaw by way of our:
Environment
Circumstance
Decisions
People we associate with
Actions
And, if this is true, could we not utilize this same model for the Protagonist?
A Protagonist’s tragic flaw is actually more like his or her ego defense mechanism. In the beginning of the story and through approximately the third quarter of a story, the Protagonist continually relies on this tragic flaw to get as far as he or she has gotten. Up to this point however, whether they are aware of the flaw or not, they think they need it to get through the day. Consciously or unconsciously…
Work it correctly and natural conflict — conflict that you need for your story should be almost obvious during every scene if you keep yourself aware of your Protagonist’s tragic flaw.
The Character Arc.
I’ve said it before and I’ll say it again and I don’t really care if anyone agrees with me or not… I like a Protagonist that changes during the story and I submit that change does happen… Maybe in microcosm ways but I THINK IT HAPPENS.
Because if change didn’t happen, what would be the point of the story? Why would we care? But I’m not really trying to talk about change as much as I’m attempting to discuss the Protagonist’s MAINTENANCE OF THE TRAGIC FLAW.
That’s right…
That’s what your Protagonist does. He or she utilizes pretty much the same elements we all utilize to maintain our tragic flaws…
Environment
Circumstance
Decisions
Characters
Actions
Not necessarily in that order but you get the gist.
Your Protagonist’s ordinary world is made up of the above elements is it not? Why is this his or her ordinary world? It’s not unlike a criminal running away from the law… He hides out because he doesn’t want to get caught, right?
So does your tragic flaw. Of course it rears its nasty head at the drop of a hat but rest assured, it’s lurking… Waiting for something to trigger its need or use.
And just like a criminal finds someone to assist in hiding him out, so do we assist our tragic flaw in hiding out… To keep it safe and sound until we need it again. In other words, to kick this tragic flaw out into the light means — dare I say it again — CHANGE.
And really… Overall… Does anyone really want to change?
Or do they hide out in their ordinary world because they can control their ordinary world much better than any new world that is placed in front of them?
So of course maintenance of the flaw is of the utmost importance… Your Protagonist chose the environment he or she lives in so that his or her tragic flaw can thrive. Your protagonist continually places themselves in circumstances where their tragic flaw thrives even more. Of course most of their decisions help maintain their tragic flaw as do the characters they choose to associate with. Last but not least is your Protagonist’s ACTION. All the elements preceding action culminate in some kind of action by the Protagonist that once again, assists in maintaining their tragic flaw.
I guess you could just as easy call it ENABLING.
Good Protagonists do whatever it takes to maintain their tragic flaw. It affects just about everything they do UNTIL that point comes along when they realize they no longer want to allow their tragic flaw to control their life.
Certainly, baby steps toward outing the tragic flaw will show some kind of change depending on how you create those steps. A fairly easy way to know where you should end up INTERNALLY however, is to simply figure out what the opposite of the Protagonist’s tragic flaw is. Once you figure out what the opposite of that flaw is, and you LIKE IT enough to use it, you can now figure out ways to slowly but surely OUT the flaw.
To prepare for Friday
Complete the acting chart.
Read this excerpt from Robert McKee
Robert McKee’s CHARACTER DEPTH.* Contradictions in the Character*
Depth through Cast Design
CONTRADICTIONS IN THE CHARACTER
You create depth is by constructing contradictions in the character. For example, a character talks one way but BEHAVES another way. Or a character ACTS one way but at his/her core, that person’s True Character is in fact, something very different. On these points, McKee wrote: “Dimension means contradiction: either within deep character (guilt-ridden ambition) or between characterization and deep character (a charming thief). These contradictions must be consistent. It doesn’t add dimension to portray a guy as nice throughout a film, then in one scene have him kick a cat.”
The problem is that McKee only gives ONE EXAMPLE:“Consider Hamlet, the most complex character ever written. Hamlet isn’t three-dimensional, but ten, twelve, virtually uncountably dimensional. He seems spiritual until he’s blasphemous. To Ophelia he’s first loving and tender, then callous, even sadistic. He’s courageous, then cowardly. At times he’s cool and cautious, then impulsive and rash, as he stabs someone hiding behind a curtain without knowing who’s there. Hamlet is ruthless and compassionate, proud and self-pitying, witty and sad, weary and dynamic, lucid and confused, sane and mad. His is an innocent wordliness, a worldy innocence, a living contradiction of almost any human qualities we could imagine.”
DEPTH THROUGH CAST DESIGN
Here’s another angle in which we can focus on the multi-dimensions of a character. You have a protagonist who is basically the sun around which all of the other supporting characters rotate. But you have to carefully construct your cast design. You have to make sure that your supporting characters serve a storytelling function by having each one bring out very specific, very distinctly different dimensions out of your protag.
By doing this, we get to see ALL the different sides of your leading character, right?
So that, for example, your protag behaves:* optimistic and amusing toward Character A but morose and cynical toward Character B.* compassionate and fearless toward Character C but fearful and cruel toward Character D.
THIS IS WHAT I WANTWrite ONE, SHORT PARAGRAPH describing a character in To See the Stars with depth, fewer than 300 words (yes, that’s short to me). I want you to articulate in your paragraph the CONTRADICTIONS in that character and/or how that character is fully fleshed-out by the way he/she behaves DIFFERENTLY toward all the other characters. This can be as simple or as complicated as you want it to be. You can talk about one simple contradiction in a character or dive into all the multi-contradictions of a character like Hamlet.
Now, here’s an example of what I’m looking for.
This is something McKee wrote in a review of an adaptation of Cyrano de Bergerac:“Cyrano is an interesting character for sure full of contradictions - on the one hand fearless of nothing and on the other terrified of rejection. He will openly mock his own nose, declare that he is proud of his great appendage, and yet, his hopeless insecurity about said nose keeps him from declaring his love to Roxanne. He is self-involved and yet selfless as he sacrifices his own happiness in order to give his love that which her heart desires most. In the play, he talks to Le Bret about refusing to be morally tainted or compromised (sadly missing here) and then Cyrano allows himself to become entangled in a great big deceptive lie to his most beloved object of desire. All the while, apart from the occasional duel, he fights for the pride of the Gascons, he fights for France, he fights a hundred men for Ligniere, he fights for everyone within reach but himself.”
Read this excerpt from Robert McKee
Robert McKee’s CHARACTER DEPTH.* Contradictions in the Character*
Depth through Cast Design
CONTRADICTIONS IN THE CHARACTER
You create depth is by constructing contradictions in the character. For example, a character talks one way but BEHAVES another way. Or a character ACTS one way but at his/her core, that person’s True Character is in fact, something very different. On these points, McKee wrote: “Dimension means contradiction: either within deep character (guilt-ridden ambition) or between characterization and deep character (a charming thief). These contradictions must be consistent. It doesn’t add dimension to portray a guy as nice throughout a film, then in one scene have him kick a cat.”
The problem is that McKee only gives ONE EXAMPLE:“Consider Hamlet, the most complex character ever written. Hamlet isn’t three-dimensional, but ten, twelve, virtually uncountably dimensional. He seems spiritual until he’s blasphemous. To Ophelia he’s first loving and tender, then callous, even sadistic. He’s courageous, then cowardly. At times he’s cool and cautious, then impulsive and rash, as he stabs someone hiding behind a curtain without knowing who’s there. Hamlet is ruthless and compassionate, proud and self-pitying, witty and sad, weary and dynamic, lucid and confused, sane and mad. His is an innocent wordliness, a worldy innocence, a living contradiction of almost any human qualities we could imagine.”
DEPTH THROUGH CAST DESIGN
Here’s another angle in which we can focus on the multi-dimensions of a character. You have a protagonist who is basically the sun around which all of the other supporting characters rotate. But you have to carefully construct your cast design. You have to make sure that your supporting characters serve a storytelling function by having each one bring out very specific, very distinctly different dimensions out of your protag.
By doing this, we get to see ALL the different sides of your leading character, right?
So that, for example, your protag behaves:* optimistic and amusing toward Character A but morose and cynical toward Character B.* compassionate and fearless toward Character C but fearful and cruel toward Character D.
THIS IS WHAT I WANTWrite ONE, SHORT PARAGRAPH describing a character in To See the Stars with depth, fewer than 300 words (yes, that’s short to me). I want you to articulate in your paragraph the CONTRADICTIONS in that character and/or how that character is fully fleshed-out by the way he/she behaves DIFFERENTLY toward all the other characters. This can be as simple or as complicated as you want it to be. You can talk about one simple contradiction in a character or dive into all the multi-contradictions of a character like Hamlet.
Now, here’s an example of what I’m looking for.
This is something McKee wrote in a review of an adaptation of Cyrano de Bergerac:“Cyrano is an interesting character for sure full of contradictions - on the one hand fearless of nothing and on the other terrified of rejection. He will openly mock his own nose, declare that he is proud of his great appendage, and yet, his hopeless insecurity about said nose keeps him from declaring his love to Roxanne. He is self-involved and yet selfless as he sacrifices his own happiness in order to give his love that which her heart desires most. In the play, he talks to Le Bret about refusing to be morally tainted or compromised (sadly missing here) and then Cyrano allows himself to become entangled in a great big deceptive lie to his most beloved object of desire. All the while, apart from the occasional duel, he fights for the pride of the Gascons, he fights for France, he fights a hundred men for Ligniere, he fights for everyone within reach but himself.”
Tuesday's Rehearsal
"Acting is a matter of giving away secrets." Ellen Barkin
Dylan and Keri's notes
Dylan and Keri's notes
- Great job, Lenore and Joe at the beginning
- Nathan, it is hot. If you are in the background, you can see actors in front of you. IF they are fanning themselves with a hat, find something else to do.
- During Clara's monologue, people did not freeze at the same time.
- Brandon, work on the dance - arms back. Chavez and Nathan, same thing. You MUST Draw back and have BIG MOVEMENTS. THis judge is a children's play judge and will EXPECT good dancing.
- Matron - SHUT UP?
- Anya, hit curtain during second union scene, society girls.
- Take all jewelry off.
- Zack - accent only on Stolle's and the vendor scene.
- Roger's watch chain needs to be fixed
- Zack, be louder!
- Gilrls did not react to society girls calling judge names.
JP
- Anya, react more to what Roth is saying when he says a pair of hands.
- Ruth - enunciate mother's life
- Joe and Anya, slow lines when you are in the Union scene
- Bridget, work on jumping on Stolle's back.
- Clara, get up slowly in the jail after thug scene.
- Ruth, good job on accent.
- Shutup?
- All men, tuck in shirts.
- Zack, difficulty understanding you. Couch thinks that will change with the accent limited to Stolle. We want to make that distinction that you are different characters.
- Brandon, pants?
- Clara is the only one reacting to cold in tombs.
- Roger, your walking is the same as fruit vendor and judge.
Border
- Vendors, remember different walks and mannerisms.
- "marry a millionaire" this is a joke, so laugh
- "jobs back" Don't drop the last of the line
- adjourn next to Clara
- It is still hot in first union scene.
- Anya, most of them worse grat job
- Chavez, shove Anya with leg
- Bridget, see Margaret first before you say your line
- Wait for me - great
- Shake out umbrellas, hats, coats
- Brandon, shirt and pants
- murmur in union scene
- It is raining after the union scene
- Violet, gloves
- Street walkers, use cane and Anya was the only one who was furious
- Judge, talk to society
- HATE coughin
- press lips to head
- A new life - good
- Don't anticipate Clara falling, Anya
- Scarf around people in tomb
- Shelby, scratching was good in tombs
- Zack, careful upstage
Couch
- Take all tags out of costumes
- If we get sacked - Ruth interrupt
- Brandon, ENUNCIATE first line
- Zack, your vendor can be Irish
- Zack, do this line. You’re still just factory girls! And immigrants too, most of ya!
- Roth, good job
- "To grasp the full significance of life is the actor's duty, to interpret it is his problem, and to express it his dedication." Marlon Brando Tell me what this means.
- Use the cane to point at girls. I think that will make us hate you more
- Alina - research making the cross so we do not offend anyone. Almost hide the movement
- 1st union scene, Nathan, Zack, or Brandon - look back and interact more with each other on exits
- Cohen, use regular voice so that the judge understands you ae different people.
- Lannon, good dialect
- Shut up?????????
- Roger union man - good biting dime
- Brandon, say Children line TO CLARA
- Molly, gloves
- Brandon, pants
- Roth, use cane (street walker) and smile when the judge can't see you as you are heading back to your place after speaking about the girls.
- Judge - enunciate what ever
- Violet -extending the hand was good.
- Zack, jailer vest
- Roth, make sure you wear the cap at the end.
- Dance, Joe move with deliberation in a tip toey movement with eyes on Alinda at all times.
- Julie, please bring iron jawed angels to school tomorrow and let us borrow it. If someone has my IRON JAwED ANGELS, please return it.
- Let's look at the ending and maybe rework Joe coming in. WHISTLE Look directly at Anya. Say it slowly, but loud - an announcement. The owners want to settle! then, walk downstage to Anya. Take her face in your hands, say - They’re offering wages of six dollars a week, THEN LOOK AT EVERYONE ELSE WITH EXCITEMENT for ten hours a day… and overtime, if you work longer! I wanted different reactions from people, and we are not getting a variety. By tomorrow at 8:15AM, give me a sheet of paper with your reaction written on it. This is for EVERYONE on stage.
- Rehearsal is Thursday at 6:30. Please suggest scenes that we need to rework. We will rework the last one. We will go over the entire play - set up, strike, show in record time, we hope.
- Remember, you do the best job you can, draw the audience into the world and make them believe that they understand the people who live in your world, and that is enough. I am proud of your hard work and dedication. Love you guys!
Sunday, March 29, 2009
Sunday’s public performance, March 29, 2009
To Do:
Flannel on top of strike signs.
Chavez, I need to tear up your new jacket.
Distress shawls for TOMBS.
Ruth, watch women and poor
Vendors, when asking society woman if they want to buy anything, tip hats to them
Brandon, louder
Roth, be more abrasive start off lowkey and hit your height when the coughing bothers you. Everyone react to Roth, negatively if that is your character, but you have to react in some way.
Margaret, your lines seem rehearsed. Say them differently.
Anya, take your hat, lose the purse.
Roger, laugh louder in the first union scene.
Lannon, great job with the accent – look at toilet
Joe, gotta have an accent.
Eyetie is pronounced IIIII TIIIII. In Far and away
Bridget on Stolle – Thugs need to react more
Brandon, in the dance scene, all movements MUST be big. Rehearse with Alina on Monday and I will work with you.
TRANSITIONS – Move in diagonals.
Joe, told her. Hit the d on told.
2nd Union scene, Roger, have a muffler, gloves, etc. The shirt should be unbuttoned in the second scene so that we can see the layers.
Cohen, sounded Southern.
Men in all scenes except for Roger need to dirty hands.
Roger as the thug, you need an accent.
After the rain, look at the sky, women, not all at once and see that you do not need your shawls.
“Patched clothes” move more downstage.
“I know that if I can't move people, then I have no business being an actor.”-- Alan Arkin In the comments, write what this means to you.
Violet, do not hesitate with your lines. Step on them.
Julie and Alina, recognize others and you may go to them before assuming your position on the platform. Can either of you come in URS and cross CSR
All actresses, including Clara, fade in the cheeks.
Society girls, Lenore, bring in the cape with the idea that you are donating it. Then you do not have to take your coat off.
MURMUR before the hearing, so it sounds as though the judge has been talking.
Roth, use the cane more – p oint it at the girls.
Chavez, watch the word “either.”
Judge, deeper voice
ESQUIRE, then look proud of yourself.
Judge, keep your feet still.
Windbag…… murmur, then gavel and dead silence.
Remove prisoners, MURMUR louder.
Murmur after the hearing.
In the tomb, Clara and girls help Rosie to a reclining place.
“I regard the theatre as the greatest of all art forms, the most immediate way in which a human being can share with another the sense of what it is to be a human being.”Oscar Wilde Interpret this in the blog comment.
Roth, given me and Rosie….. hit your chest with the doll.
DISTRESS Shawls
Roth – Remember your power and gain momentum when saying that the girls are trying to take it away. Then almost crumple when you say Rosie may come back again.
DREAM
Joe, walk deliberately to your place with eyes locked on Anya. Roth, your eyes are locked on Anya.
FIRE IS HOT.
TOMB
It is hard getting up. The cold is in your bones. You haven’t had any movement. You are exhausted and starving. YOU ARE WEAK. Move that way.
Bridget to the audience after Clara’s death.
Girls, remember you have been in the tombs and cannot move. Help each other. THIS IS IMPORTANT.
Joe, take all tags out of your jacket.
On “And died on the picket line,” let’s try Julie with that line. Move down front.
Ms. Border has said this, but We need to see ANGUISHED faces/ TRIUMPHANT faces, nevertheless. WE NEED TO SEE EXPReSSION.
Tomorrow night: Rehearsal is at 7PM. Tuesday it is at 8. Thursday night we will go over the play once if we do it under 40; if not, we will do it again. Friday morning, be here at 7:30. Our official rehearsal is Friday morning at 8AM.
PLEASE TELL YOUR PARENTS. THIS IS A CHANGE FROM PREVIOUS TIMES & IS A DISTRICT DECISION:
Friday, the directors' meeting is at 1PM.
The first play begins at 2PM. Have your parents there by 2:45.
The order of performance is as follows:
1. Post
2. Shallowater
3. Roosevelt
4. Denver City
YOU MAY NOT LEAVE BEFORE CRITIQUES.
Love you guys. Rehearse your accents. Think about your characters.
Flannel on top of strike signs.
Chavez, I need to tear up your new jacket.
Distress shawls for TOMBS.
Ruth, watch women and poor
Vendors, when asking society woman if they want to buy anything, tip hats to them
Brandon, louder
Roth, be more abrasive start off lowkey and hit your height when the coughing bothers you. Everyone react to Roth, negatively if that is your character, but you have to react in some way.
Margaret, your lines seem rehearsed. Say them differently.
Anya, take your hat, lose the purse.
Roger, laugh louder in the first union scene.
Lannon, great job with the accent – look at toilet
Joe, gotta have an accent.
Eyetie is pronounced IIIII TIIIII. In Far and away
Bridget on Stolle – Thugs need to react more
Brandon, in the dance scene, all movements MUST be big. Rehearse with Alina on Monday and I will work with you.
TRANSITIONS – Move in diagonals.
Joe, told her. Hit the d on told.
2nd Union scene, Roger, have a muffler, gloves, etc. The shirt should be unbuttoned in the second scene so that we can see the layers.
Cohen, sounded Southern.
Men in all scenes except for Roger need to dirty hands.
Roger as the thug, you need an accent.
After the rain, look at the sky, women, not all at once and see that you do not need your shawls.
“Patched clothes” move more downstage.
“I know that if I can't move people, then I have no business being an actor.”-- Alan Arkin In the comments, write what this means to you.
Violet, do not hesitate with your lines. Step on them.
Julie and Alina, recognize others and you may go to them before assuming your position on the platform. Can either of you come in URS and cross CSR
All actresses, including Clara, fade in the cheeks.
Society girls, Lenore, bring in the cape with the idea that you are donating it. Then you do not have to take your coat off.
MURMUR before the hearing, so it sounds as though the judge has been talking.
Roth, use the cane more – p oint it at the girls.
Chavez, watch the word “either.”
Judge, deeper voice
ESQUIRE, then look proud of yourself.
Judge, keep your feet still.
Windbag…… murmur, then gavel and dead silence.
Remove prisoners, MURMUR louder.
Murmur after the hearing.
In the tomb, Clara and girls help Rosie to a reclining place.
“I regard the theatre as the greatest of all art forms, the most immediate way in which a human being can share with another the sense of what it is to be a human being.”Oscar Wilde Interpret this in the blog comment.
Roth, given me and Rosie….. hit your chest with the doll.
DISTRESS Shawls
Roth – Remember your power and gain momentum when saying that the girls are trying to take it away. Then almost crumple when you say Rosie may come back again.
DREAM
Joe, walk deliberately to your place with eyes locked on Anya. Roth, your eyes are locked on Anya.
FIRE IS HOT.
TOMB
It is hard getting up. The cold is in your bones. You haven’t had any movement. You are exhausted and starving. YOU ARE WEAK. Move that way.
Bridget to the audience after Clara’s death.
Girls, remember you have been in the tombs and cannot move. Help each other. THIS IS IMPORTANT.
Joe, take all tags out of your jacket.
On “And died on the picket line,” let’s try Julie with that line. Move down front.
Ms. Border has said this, but We need to see ANGUISHED faces/ TRIUMPHANT faces, nevertheless. WE NEED TO SEE EXPReSSION.
Tomorrow night: Rehearsal is at 7PM. Tuesday it is at 8. Thursday night we will go over the play once if we do it under 40; if not, we will do it again. Friday morning, be here at 7:30. Our official rehearsal is Friday morning at 8AM.
PLEASE TELL YOUR PARENTS. THIS IS A CHANGE FROM PREVIOUS TIMES & IS A DISTRICT DECISION:
Friday, the directors' meeting is at 1PM.
The first play begins at 2PM. Have your parents there by 2:45.
The order of performance is as follows:
1. Post
2. Shallowater
3. Roosevelt
4. Denver City
YOU MAY NOT LEAVE BEFORE CRITIQUES.
Love you guys. Rehearse your accents. Think about your characters.
Judge's critiques
Opening was good.
Technical aspects – good
Good transitions
Liked dancing
Good accents
Women played the environment well
Drawn into the world and cared about the people
Judge felt characters with no names need distinct personalities
Guys playing teamsters are not low class enough
Union scene – men are not belligerent enough. Attitude is needed
Lenore and Violet – more in terms of shock when appearing at the strike site. Shocked that they do not want your help
Court scene. Judge more arrogant
Needs more presence
Tombs – girls struggle to dance
End is too sudden ?????? talk about this tomorrow
Cohen, pompous indignation at end
Build the end more – see tomorrow
Thugs more menacing. Embrace thugery. Be more surprised when Bridget jumps on his back
Anya – get purse off. Use hat as a distraction
Ruth –accent
Roth – hat? – use a cap
Roth, more of a struggle with letting emotion out.
Joe, listen at all times
Lenore, use round tones. Be elegant
Patrick, lower class
Technical aspects – good
Good transitions
Liked dancing
Good accents
Women played the environment well
Drawn into the world and cared about the people
Judge felt characters with no names need distinct personalities
Guys playing teamsters are not low class enough
Union scene – men are not belligerent enough. Attitude is needed
Lenore and Violet – more in terms of shock when appearing at the strike site. Shocked that they do not want your help
Court scene. Judge more arrogant
Needs more presence
Tombs – girls struggle to dance
End is too sudden ?????? talk about this tomorrow
Cohen, pompous indignation at end
Build the end more – see tomorrow
Thugs more menacing. Embrace thugery. Be more surprised when Bridget jumps on his back
Anya – get purse off. Use hat as a distraction
Ruth –accent
Roth – hat? – use a cap
Roth, more of a struggle with letting emotion out.
Joe, listen at all times
Lenore, use round tones. Be elegant
Patrick, lower class
District Contest
Friday, April 3, 2009
The order of performance was determined with all district directors present at a meeting in August. The shows that have advanced from zone contests will perform in the following order:
Post (2) Romeo and Juliet
Shallowater (1) To See The Stars
Roosevelt (2) Wit
Denver City (1) The Runner Stumbles
The schedule for the day will be:
8:00 am Shallowater rehearsal
9:15 am Post rehearsal
10:30 am Roosevelt rehearsal
11:45 am Denver City rehearsal
1:00 pm Directors’ Meeting in the choir room just off stage left
1:50 pm Set Post
2:00 pm “Romeo and Juliet”
2:50 pm “To See the Stars”
3:40 pm “Wit”
4:30 pm “The Runner Stumbles”
6:00 pm Awards presentation
6:15 pm Critiques begin
Critiques will be delivered to non-advancing shows first, followed by the advancing shows. Distance from Shallowater will determine the order after the decisions are made by the critic. Distances are approximately: Post-50 miles; Shallowater-na; Roosevelt-30miles; Denver City-80 miles.
If you have any questions regarding the contest, please contact Gary Davis, contest manager at:
(806) 592-5950 office
(806) 592-9559 home
(806) 592-1130 cell
gary.davis@dcisd.org
The order of performance was determined with all district directors present at a meeting in August. The shows that have advanced from zone contests will perform in the following order:
Post (2) Romeo and Juliet
Shallowater (1) To See The Stars
Roosevelt (2) Wit
Denver City (1) The Runner Stumbles
The schedule for the day will be:
8:00 am Shallowater rehearsal
9:15 am Post rehearsal
10:30 am Roosevelt rehearsal
11:45 am Denver City rehearsal
1:00 pm Directors’ Meeting in the choir room just off stage left
1:50 pm Set Post
2:00 pm “Romeo and Juliet”
2:50 pm “To See the Stars”
3:40 pm “Wit”
4:30 pm “The Runner Stumbles”
6:00 pm Awards presentation
6:15 pm Critiques begin
Critiques will be delivered to non-advancing shows first, followed by the advancing shows. Distance from Shallowater will determine the order after the decisions are made by the critic. Distances are approximately: Post-50 miles; Shallowater-na; Roosevelt-30miles; Denver City-80 miles.
If you have any questions regarding the contest, please contact Gary Davis, contest manager at:
(806) 592-5950 office
(806) 592-9559 home
(806) 592-1130 cell
gary.davis@dcisd.org
Monday, March 23, 2009
OAP rehearsal is at 8PM Tuesday night. The official rehearsal time is Wednesday from 7-8PM. Contest is Thursday.
Remember to THINK about the play, the people who made such a difference in all of our lives.
“Thinking is easy, acting is difficult, and to put one's thoughts into action is the most difficult thing in the world.”
Remember to THINK about the play, the people who made such a difference in all of our lives.
“Thinking is easy, acting is difficult, and to put one's thoughts into action is the most difficult thing in the world.”
Contests
Zone contest
March 26
Zone 1 Shallowater Judge -Susan Loughran
Directors’ Meeting at 12 noon
First play begins at 1PM
Littlefield will practice on March 25 at 2:30
Abernathy will practice on March 25 at 4:45
Shallowater will practice at 7Pm on March 25.
Denver City will practice on the morning of March 26 at 10:30.
District Contest Judge - Deb Shaw
April 3 at Shallowater
Directors’ Meeting at 12 noon
First play begins at 1PM
The order of plays for zone is as follows:
Order of performance
Zone 1
Abernathy
Shallowater
Denver City
Littlefield
I know that Wednesday evening performance is a problem. However, with the new contest manager, we have to have that time to set our stage. He returns to Denver City following our rehearsal.
March 26
Zone 1 Shallowater Judge -Susan Loughran
Directors’ Meeting at 12 noon
First play begins at 1PM
Littlefield will practice on March 25 at 2:30
Abernathy will practice on March 25 at 4:45
Shallowater will practice at 7Pm on March 25.
Denver City will practice on the morning of March 26 at 10:30.
District Contest Judge - Deb Shaw
April 3 at Shallowater
Directors’ Meeting at 12 noon
First play begins at 1PM
The order of plays for zone is as follows:
Order of performance
Zone 1
Abernathy
Shallowater
Denver City
Littlefield
I know that Wednesday evening performance is a problem. However, with the new contest manager, we have to have that time to set our stage. He returns to Denver City following our rehearsal.
Wednesday, March 11, 2009
IMPORTANT
It is almost C Day (Competition)
We have rehearsals for the following days at the end of spring-break.
Friday, March 20 9AM until 2PM. (Keri’s birthday – bring money for lunch)
Saturday, March 21 –We will go from 8-10AM and from 4PM until 9PM.
Sunday, March 22 – Public performance $5.00 for adults and $3.00 for students and children
Monday, March 23 -6:30-9:30;
Tuesday, March 24 -6:30 in my room until the 1A people have left. We will stay until 9:30;
Wednesday Morning March 25, after softball practice until 8:30.
Contest is Thursday, March 26.
Have a safe and fun spring break. See you guys on Friday, March 20.
We have rehearsals for the following days at the end of spring-break.
Friday, March 20 9AM until 2PM. (Keri’s birthday – bring money for lunch)
Saturday, March 21 –We will go from 8-10AM and from 4PM until 9PM.
Sunday, March 22 – Public performance $5.00 for adults and $3.00 for students and children
Monday, March 23 -6:30-9:30;
Tuesday, March 24 -6:30 in my room until the 1A people have left. We will stay until 9:30;
Wednesday Morning March 25, after softball practice until 8:30.
Contest is Thursday, March 26.
Have a safe and fun spring break. See you guys on Friday, March 20.
Monday, March 9, 2009
Jay Brown's and everyone else's critiques - Monday
Jay Brown’s & everyone’s critiques
· Ruth, louder at the beginning
· During monologues, be solid. Know who you are. Grab something to define your character.
· First four lines - women must be stronger. Do something physical.
· Women must be physical and strong in the beginning. I don’t know about angrier in the beginning with the first four lines. I think… proud…. We accomplished something no one else could, and the world can be changed by a small group of people.
· Strengthen accents.
· Extend and strengthen accents; be physical and strong. Create the atmosphere.
· Women, be angrier. How do they feel – needs to be clearer
· How do the men feel about the women? Think about this because most of it depends who your characters are at the beginning.
· Roth, “You girls…” to Bridget
· Don’t forget the rain. It makes your feet cold, wring your shawls and end of your skirts out.
· Transitions must have purpose, so move as you would in real life.
· Need to know who Nathan, Brandon, and Lannon are.
· Light focusing on the fight. Pop pop instead of slow fades. . Stronger reaction from girls. Bridget, jump on Stolle’s back. Stolle, grope BIGGER.
· Pump up Fine’s been paid.
· Colder in Cohen’s meeting, men.
· Seconds, should be delivered differently and with excitement
· Keep chanting through transition to next scene.
· Society women, a hanky. See the difference with shoulders back. See the aristocratic manners throughout.
· Lenore, move toward Anya when you tell her about your experience.
· Judge, more pompous.
· Roth, play with cane more.
· Tombs stink. Reblock this scene. We need to see the society girls’ reactions to the stinky tomb.
· Bigger tomb singing. Focus on Clara. No crate. Let Clara join in the singing. Don’t lift Clara tenderly.
· Characters, add gestures, movements that show who you are and how unique you are.
· Build the scene, end it, and go on to the next scene.
· The third person from the left is as important as the lead.
· Roth’s first time on stage – monologue gives the audience insight into his character.
· Clean up ballet
· Judge, push through
· More gestures, Roth
· 9 more nights – desperate
· Joe and Anya, more left stage.
· Bridget, accent is off
· Violet, louder
· Where is the mink?
· Esquire
· Sit up straight in monologue, Roth.
· Ruth, warm the shawl, then put on Clara
· Reblock tombs scene
· 4 sec. of quiet as Anya stirs,then everyone dances
· Screaming is the signal for Zack to pick up Clara
· Before Joe makes the announcement, Zack whistle. Joe pretends to whistle.
· Must hear to see the stars.
· At the end with Joe’s announcement, Anya run up to him. Joe twirls her around.
· Stolle and Cohen are too much alike. You hold your mouth the same way. Vocally, you are different.
· Organize your PROPS and COSTUMES before the play on left or right stage. No one else is responsible for your things.
· Roth needs a larger shirt.
· Ruth, louder at the beginning
· During monologues, be solid. Know who you are. Grab something to define your character.
· First four lines - women must be stronger. Do something physical.
· Women must be physical and strong in the beginning. I don’t know about angrier in the beginning with the first four lines. I think… proud…. We accomplished something no one else could, and the world can be changed by a small group of people.
· Strengthen accents.
· Extend and strengthen accents; be physical and strong. Create the atmosphere.
· Women, be angrier. How do they feel – needs to be clearer
· How do the men feel about the women? Think about this because most of it depends who your characters are at the beginning.
· Roth, “You girls…” to Bridget
· Don’t forget the rain. It makes your feet cold, wring your shawls and end of your skirts out.
· Transitions must have purpose, so move as you would in real life.
· Need to know who Nathan, Brandon, and Lannon are.
· Light focusing on the fight. Pop pop instead of slow fades. . Stronger reaction from girls. Bridget, jump on Stolle’s back. Stolle, grope BIGGER.
· Pump up Fine’s been paid.
· Colder in Cohen’s meeting, men.
· Seconds, should be delivered differently and with excitement
· Keep chanting through transition to next scene.
· Society women, a hanky. See the difference with shoulders back. See the aristocratic manners throughout.
· Lenore, move toward Anya when you tell her about your experience.
· Judge, more pompous.
· Roth, play with cane more.
· Tombs stink. Reblock this scene. We need to see the society girls’ reactions to the stinky tomb.
· Bigger tomb singing. Focus on Clara. No crate. Let Clara join in the singing. Don’t lift Clara tenderly.
· Characters, add gestures, movements that show who you are and how unique you are.
· Build the scene, end it, and go on to the next scene.
· The third person from the left is as important as the lead.
· Roth’s first time on stage – monologue gives the audience insight into his character.
· Clean up ballet
· Judge, push through
· More gestures, Roth
· 9 more nights – desperate
· Joe and Anya, more left stage.
· Bridget, accent is off
· Violet, louder
· Where is the mink?
· Esquire
· Sit up straight in monologue, Roth.
· Ruth, warm the shawl, then put on Clara
· Reblock tombs scene
· 4 sec. of quiet as Anya stirs,then everyone dances
· Screaming is the signal for Zack to pick up Clara
· Before Joe makes the announcement, Zack whistle. Joe pretends to whistle.
· Must hear to see the stars.
· At the end with Joe’s announcement, Anya run up to him. Joe twirls her around.
· Stolle and Cohen are too much alike. You hold your mouth the same way. Vocally, you are different.
· Organize your PROPS and COSTUMES before the play on left or right stage. No one else is responsible for your things.
· Roth needs a larger shirt.
Sunday, March 8, 2009
SUNDAY's REHEARSAL March 15
Critiques Sunday, March 08, 2009
Bring a lunch tomorrow.
Mendi – 1st time
Good job selling, Roger
$10. fro six – anya
Go out on strike - more laughing from men
Joe, pigheaded – more reaction and hold her back
Give me a sign – say toward audience
Good laugh, Rog
Matron, come out more
Joe, Jacket and scarf after jail scene
Roger –Cooper Union –point with upstage hand
Rog – good showing cold
Bridget – only one out of meeting showing it was raining
Murmuring was too fake
Trial, come down more center
Public nuisance
4th wall – Everyone
Nor eason to put you in jail – out
Liked Roth left stage
Good face in tombs
Judge, get out earlier stand firm
Light on Roth
Mendi – 2nd time
Shirtwaist -say out
Bridget fanned Clara – good job
Ruth, good change in face – You’re a dreamer
Nathan, good laughing and giving paper back
Clara – good hands in monologue. ALL IMMIGRANTS – remember you are used to using your hands, so use your hands to show what you are talking about . Thinking – point to head or temples, NYC point out
Nathan and clara in jail – good
Bridget – RUsso
Bridget, have apurse in union
Slap Cohen in chest with Strike paper – Cohen, wad and throw.
Violet, take of behind
Dream dance was better
Need to figure out a way for girls to have backs to audience. After getting out of jail, all girls face back who are named - all others face toward audience.
Much better second time.
More notes
BRANDON, enunciate. Hit all consonants hard – exaggerate them
Work on making seconds different.
Kara and Alli,
Stolle, good chest garbage
Good jail scene – Ruth and Bridget
Roger, point with other hand
Lenore, pull hat back.
Roth, good monologue
Lines missed
Brandon, pg. 4
Anya, 6,17,29, 19
Bridget 15, 22, 32
Stolle, 16
Joe, 17, 29
Roger, 21, 23, 38
Roth, 24
Ruth 26
Kylee, 26
Get’s
Roger, Kylee, Johnny, Julie
Couch’s
Kalyn and Kenzi – jobs – take the white off of Julie’s shawl.
Need gloves.
We need orange in Lenore’s hat
Black gloves for society women
Remember to wear the mink.
Chin up society women – Better job, second time
Chavez, slow down still.
Roth, louder and enunciate. Better 2nd time
Dirty immigrants was better 2nd, but still needs to sound more repugnant
Anya, good job with kerchief and apron. It might be easier to take off kerchief when you say – I’m tired…..
Lannon, good job
Joe and Union man Roger, great job.
Roger, excellent job being believable.
I love the arm wrestling, but slow it down. Really, a good idea
Alli and Kara, First time, we were at 8:30 when Joe tells Anya she is a dreamer.
Joe, much better on entrances.
A & K, we were at 13:45 rich husband first time.
Shelbi, need a shawl in the rain.
Cohen, good job – Just who is Anya Rosen
Roger, throw the hat with left hand
A & K, we were at 20:02 with society women
Stolle, missed Esquire twice
We need hat pins for Molly and Shelbi
A & K – first time through we were at 26:13 when judge says Defendants rise
Joe, we need to see more realization of what is in store for the women when the judge says Blackwell’s Island
Remember, we need to see the leg in the tombs.
IT is COLD in the tombs
SHIvER
Society girls, take off overskirts.
Dancing girls, move more to right stage so you are not blocking Anya and Clara
Watch the fire, it can catch you and burn you up. Move it more downstage, but use the hem of your dress to move it if it needs to be moved. IT is hot.
A & K – Strikers released first time -33:56
Roth, fix the belt.
Even if we lose, quicker.
Say girls’ names differently each time.
2nd time A & K, I think I would use the times during the second show.
Roth, tip hat to girls on entrance. Remember NYC is out there somewhere.
Good job – dirty immigranty
ANya and all girls, use more gestures
A & K – 2ned time – 4:51 “I heard all my life.”
Cap on Joe in first scene. Tip to ANya and introduce yourself.
2nd time 7:47 – Scrub other people’s clothes
10:05 – Look it up
12:20 – So you tried it on your own.
Matron, great job.
Bridget, look at the matron over your right shoulder
14:07 – Different life – Joe
15;07 – County Monahan
Bridget – RUUUUUSo
Tomorrow, all girls wear hose – white or black
Anya and Joe shake hands following getting out of jail. Anya extends her hand first
20:23 society girls’ entrance
STAND UP, don’t lean, judge. Take off hat at the beginning of the hearing.
ESQUIRE
Judge, stand up straight.
Violet – Step on lines – Then we’ll give you….
26:48 – Defendants please rise
Roth, take hat off at one point in your monologue. Keep your head up.
Sit up straight, Roth,
Don’t keep moving the fire, girls.
Need blankets in the tombs.
Girls move right during scene so we can see Clara and Anya
34:36 – Strikers released.
You are colder at the end.
Brandon, you need a cap as the news boy
38:49
Bring a lunch tomorrow.
Mendi – 1st time
Good job selling, Roger
$10. fro six – anya
Go out on strike - more laughing from men
Joe, pigheaded – more reaction and hold her back
Give me a sign – say toward audience
Good laugh, Rog
Matron, come out more
Joe, Jacket and scarf after jail scene
Roger –Cooper Union –point with upstage hand
Rog – good showing cold
Bridget – only one out of meeting showing it was raining
Murmuring was too fake
Trial, come down more center
Public nuisance
4th wall – Everyone
Nor eason to put you in jail – out
Liked Roth left stage
Good face in tombs
Judge, get out earlier stand firm
Light on Roth
Mendi – 2nd time
Shirtwaist -say out
Bridget fanned Clara – good job
Ruth, good change in face – You’re a dreamer
Nathan, good laughing and giving paper back
Clara – good hands in monologue. ALL IMMIGRANTS – remember you are used to using your hands, so use your hands to show what you are talking about . Thinking – point to head or temples, NYC point out
Nathan and clara in jail – good
Bridget – RUsso
Bridget, have apurse in union
Slap Cohen in chest with Strike paper – Cohen, wad and throw.
Violet, take of behind
Dream dance was better
Need to figure out a way for girls to have backs to audience. After getting out of jail, all girls face back who are named - all others face toward audience.
Much better second time.
More notes
BRANDON, enunciate. Hit all consonants hard – exaggerate them
Work on making seconds different.
Kara and Alli,
Stolle, good chest garbage
Good jail scene – Ruth and Bridget
Roger, point with other hand
Lenore, pull hat back.
Roth, good monologue
Lines missed
Brandon, pg. 4
Anya, 6,17,29, 19
Bridget 15, 22, 32
Stolle, 16
Joe, 17, 29
Roger, 21, 23, 38
Roth, 24
Ruth 26
Kylee, 26
Get’s
Roger, Kylee, Johnny, Julie
Couch’s
Kalyn and Kenzi – jobs – take the white off of Julie’s shawl.
Need gloves.
We need orange in Lenore’s hat
Black gloves for society women
Remember to wear the mink.
Chin up society women – Better job, second time
Chavez, slow down still.
Roth, louder and enunciate. Better 2nd time
Dirty immigrants was better 2nd, but still needs to sound more repugnant
Anya, good job with kerchief and apron. It might be easier to take off kerchief when you say – I’m tired…..
Lannon, good job
Joe and Union man Roger, great job.
Roger, excellent job being believable.
I love the arm wrestling, but slow it down. Really, a good idea
Alli and Kara, First time, we were at 8:30 when Joe tells Anya she is a dreamer.
Joe, much better on entrances.
A & K, we were at 13:45 rich husband first time.
Shelbi, need a shawl in the rain.
Cohen, good job – Just who is Anya Rosen
Roger, throw the hat with left hand
A & K, we were at 20:02 with society women
Stolle, missed Esquire twice
We need hat pins for Molly and Shelbi
A & K – first time through we were at 26:13 when judge says Defendants rise
Joe, we need to see more realization of what is in store for the women when the judge says Blackwell’s Island
Remember, we need to see the leg in the tombs.
IT is COLD in the tombs
SHIvER
Society girls, take off overskirts.
Dancing girls, move more to right stage so you are not blocking Anya and Clara
Watch the fire, it can catch you and burn you up. Move it more downstage, but use the hem of your dress to move it if it needs to be moved. IT is hot.
A & K – Strikers released first time -33:56
Roth, fix the belt.
Even if we lose, quicker.
Say girls’ names differently each time.
2nd time A & K, I think I would use the times during the second show.
Roth, tip hat to girls on entrance. Remember NYC is out there somewhere.
Good job – dirty immigranty
ANya and all girls, use more gestures
A & K – 2ned time – 4:51 “I heard all my life.”
Cap on Joe in first scene. Tip to ANya and introduce yourself.
2nd time 7:47 – Scrub other people’s clothes
10:05 – Look it up
12:20 – So you tried it on your own.
Matron, great job.
Bridget, look at the matron over your right shoulder
14:07 – Different life – Joe
15;07 – County Monahan
Bridget – RUUUUUSo
Tomorrow, all girls wear hose – white or black
Anya and Joe shake hands following getting out of jail. Anya extends her hand first
20:23 society girls’ entrance
STAND UP, don’t lean, judge. Take off hat at the beginning of the hearing.
ESQUIRE
Judge, stand up straight.
Violet – Step on lines – Then we’ll give you….
26:48 – Defendants please rise
Roth, take hat off at one point in your monologue. Keep your head up.
Sit up straight, Roth,
Don’t keep moving the fire, girls.
Need blankets in the tombs.
Girls move right during scene so we can see Clara and Anya
34:36 – Strikers released.
You are colder at the end.
Brandon, you need a cap as the news boy
38:49
Friday, March 6, 2009
Revised Rehearsal Schedule
Rehearsal Schedule – From now on, do not ask me when rehearsal is over. If you don’t want to be here, stay home. I will tell you if you are leaving earlier than planned.
Next week
Sunday, March 8 – rehearsal 2-4:30; Clinic on Monday (Bring your lunch and eat in my room) – 10:30-2:30; Monday -6:30-9:30; Tuesday - 6:30-9:30; Wednesday morning after softball.
Friday, March 20 9AM until 2PM.
Saturday, March 21 –We will go from 8-10AM and from 4PM until 9PM.
Sunday, March 22 – Public performance
Monday, March 23 -6:30-9:30; Tuesday, March 24 -6:30 in my room until the 1A people have left. We will stay until 9:30; Wednesday Morning after softball practice until 8:30. Contest is Thursday.
***** We have not rehearsed setting up yet.
Think about what you can do to make your character/s better. Think what you can do to make the play better whether it is offering constructive criticism, helping with costumes, painting, etc. We only get one chance March 26.
Next week
Sunday, March 8 – rehearsal 2-4:30; Clinic on Monday (Bring your lunch and eat in my room) – 10:30-2:30; Monday -6:30-9:30; Tuesday - 6:30-9:30; Wednesday morning after softball.
Friday, March 20 9AM until 2PM.
Saturday, March 21 –We will go from 8-10AM and from 4PM until 9PM.
Sunday, March 22 – Public performance
Monday, March 23 -6:30-9:30; Tuesday, March 24 -6:30 in my room until the 1A people have left. We will stay until 9:30; Wednesday Morning after softball practice until 8:30. Contest is Thursday.
***** We have not rehearsed setting up yet.
Think about what you can do to make your character/s better. Think what you can do to make the play better whether it is offering constructive criticism, helping with costumes, painting, etc. We only get one chance March 26.
Thursday, March 5, 2009
- Things we need
Roth vest – dark brown
Different shirt for stick man
Distress aprons, barrels, broom, boxes and baskets
Fix Velcro or something for doll.
Kara’s critiques
Nathan, do not say your “Let’s get em Stolle,” where we can hear you. It is supposed to be a murmur.
Sit up straight.
BIG MEAN FACES
Men react when she says she might as well be back in Ireland.
Good reactions after judge announces punishment
Love Roth on Left stage
BETTER KISS, you guys! – Ask Kara which kiss she is referring to
Stage business – we have to have it. All the judges are talking about Meisner, and our fourth judge is a Meisner expert. You have to have constant movement on lines and gestures.
Clara, good tombs scene
Bridget, do the nose flick thing when you say Mighty Johansen
Chavez and Zack, decide when you are getting Clara and do that.
Joe – GET yourself a real paycheck
Remember to hang up costumes after Kylee and I get them listed
Roth, your sister told us she didn’t have any family.
Rehearsal Schedule – From now on, do not ask me when rehearsal is over. If you don’t want to be here, stay home. I will tell you if you are leaving earlier than planned.
Next week
Sunday, March 8 – rehearsal 2-4:30; Clinic on Monday (Bring your lunch and eat in my room) – 10:30-2:30; Monday -6:30-9:30; Tuesday - 6:30-9:30; Wednesday morning after softball.
Friday, March 20 (Think about this and we will vote what time)
Saturday, March 21 – Plan on staying all day. Get here by 9AM, and we will leave that evening. We will go into town to eat together for lunch.
Sunday, March 22 – Public performance
Monday, March 23 -6:30-9:30; Tuesday, March 24 -6:30 in my room until the 1A people have left. We will stay until 9:30; Wednesday Morning after softball practice until 8:30. Contest is Thursday.
***** We have not rehearsed setting up yet.
Think about what you can do to make your character/s better. Think what you can do to make the play better whether it is offering constructive criticism, helping with costumes, painting, etc. We only get one chance March 26.
David Steven's replacement
We will have a clinic Monday here with Jay Brown. I chose him because of his music theatre background. We go on at 12 and end at 2. I will get you out of class at 11. Bring your lunch. I know it is not as much fun as eating out, but time is crunching.
I have listed the credits of Mr. Adair. He is knowledgeable about Meisner - which is truth in acting. He will be hard on diction. As I find more about him, I will post it.
Aaron Adair, (Southeastern Oklahoma State )
Actor with 30 years in theatre; studied at the Neighborhood Playhouse in New York (Sanford Meisner Approach); Certified to teach the Meisner Approach by the Neighborhood Playhouse. Extensive background in Musical theatre. Research in acting and Shakespearean Studies. Gradutate and undergraduate work in Oklahoma, Texas and California. Taught high school, community college and university levels in theatre and film in Texas and Colorado.
I have listed the credits of Mr. Adair. He is knowledgeable about Meisner - which is truth in acting. He will be hard on diction. As I find more about him, I will post it.
Aaron Adair, (Southeastern Oklahoma State )
Actor with 30 years in theatre; studied at the Neighborhood Playhouse in New York (Sanford Meisner Approach); Certified to teach the Meisner Approach by the Neighborhood Playhouse. Extensive background in Musical theatre. Research in acting and Shakespearean Studies. Gradutate and undergraduate work in Oklahoma, Texas and California. Taught high school, community college and university levels in theatre and film in Texas and Colorado.
Wednesday, March 4, 2009
SNYDER!
We can't go to Snyder Monday because by the time I got back to Newt to tell him we could, someone had booked it. Johnny, when do you go to tennis? If you are not gone Thursday, we may still have a shot at Perry. Right now, he is willing to do anything to see us.
Tuesday, March 3, 2009
More thoughts
- Newt called and said he has an opening at Snyder Monday, the 9th. We need to let him know asap, so check your schedules. This will help us, particularly if we cannot go to Perry's clinic because of basketball playoffs (we are glad they are so successful).
- Something to keep up - Society girls, keep taking a beat while you think how you can prove to Judge Powell, you should be treated as the strikers.
- Roth, can you move left stage to give your first monologue? It was pointed out to me that we do not have any monologues DSL. Look over your shoulder so that no one overhears you or sees you with Rosie's doll. Also, in your last series of sentences, move more left stage. If you can sit DSL, and walk and talk - I know I have told you never to do that, but you are that good an actor that you can do this. Then sit on the bench and be more conversational. Before the end - reach out to one of the women strikers as a peace offering and be rebuffed. Let's try that at the beginning of rehearsal on Thursday.
- Love you guys!
After speaking to Kara, Molly, etc.
- The fight/dance scene - The movement needs to reflect the music. It crescendos to the final BAM. The movements should crescendo to the final BAM. Keri and ALina, work on this for Thursday.
- The ballet scene - the leg up doesn't work. It doesn't fit the period and the length of the dress hides the leg. See Kara and Alli for changes.
- As I said in the previous blog, I want Clara to have a coughing fit at the end of the jail scene - the nine more days results in the episode. Soooooo, not to be predictable. Let's keep Ruth running toward the end of the stage. I liked the way it worked during public performance.
- Following Clara's death and before Joe's entrance, there needs to be a light change and music signifying time passing. Do we have this in place? Also, the girls need to have different attitudes toward Joe. Some excited - hoping for news... others sad. But DIFFERENT
- Nathan, in your newsboy lines add and change, Pictures inside.... Thugs swingin at strikers ... girls in tombs.
- So far, that's it.
Thursday evening, we will do a speed through. Then, we will time the play. Hopefully, we will have it under 40. Things to think about.
- The original play has the girls saying the first four lines in the dark. Then, the village scene. What do you think?
- IF we do have more time, after Roth says, "And don't forget what I said," exiting into the factory. Anya says: Every morning we walk up those rickety stairs. We sit at those machines. Backs bent, heads down. Bridget says, "Mouths shut." Ruth, "Maybe we're all cowards." Then Anya says, "Maybe that's because we haven't given ourselves the chance to be anything else." I'm tired of waking up.....
- Before the thugs show up, the girls are excited - giddy with excitement about the strike. We need a contrast here - happiness/excitement vs. fear when the thugs come. There is not enough fear when they show up.
- In the jail, when Clara says, "Nine more nights...." "Clara's words end in a coughing spasm." Girls are kneeling and concerned about Clara when the matron comes in.
- In the hearing scene, after Roth says, "Mr. Jonathan Stolle," I want Stolle to say,"Esquire." It was in the script. I don't know how I missed it.
- In the tombs scene, Anya, fall on your knees - looking out at God when you say "But I thought I knew. Watch the girls with wonder as they begin dancing.
- Joe, cut "But it's only a chance, Anya." It doesn't make sense.
- Roth, say at the end. I know what they're fightin for....justice beat fairness beat and a place in this world. EVERYONE MAKE NOTE OF THIS Because it affects the chanting.
Please let me know when tennis is over on Thursday, so we can make plans. ALINA, HAPPY BIRTHDAY!!!!!!!!!!!!
Monday, March 2, 2009
Monday, March 2
- Bottles and gloves
- At the beginning, Chavez and Zack, stand differently.
- No heads down in the beginning. Freeze in a motion
- Bridget, faster with your line. Speak up in the middle of the hubbub
- Slower on lines, Chavez.
- Brandon, enunciate.
- Clara, step on pay envelope. Vary rate
- Anya, center stage - yes, you were, but I didn't want you to forget.
- Men, It's hot! Men didn't react
- Zack, Brandon, or Nathan, look back at Anya.
- Drop purse. Joe, attempt to get it, then Anya brushes you out of the way.
- Clear off streets - 10 minutes
- 9 more nights - tear our hearts out - you cannot endure 9 more nights.
- COLD AFTER JAIL. Women did not react.
- You've got a chance. Bridget, you are hopeful
- Cohen, use hands
- Ruth, sit by Teresa, then see that Clara is by herself and move to sit by her.
- Cohen, REFUSE
- Don't go wastin' it. 19 minutes
- Brandon, enunciate line about children
- Trial, great job of stage work - Joe and Bridget
- Silence - 24-25 minutes
- Lannon - Wouldn't let - Enunciate
- Scream - 30 minutes
- Worst of it - Ruth, we can't hear you
- STAGE BUSINESS IN TOMBS
- Take what you get - Get up angrier
- Music down in Clara's speech
- Ruth, great job with Clara's shawl.
- Red light off Julie
- Newsboys freeze when the girl strikers are speaking and moving. Freeze with the judge.
- Alina is right. Julie, freeze with the boys.
- Stage business in tombs
- Stolle, don't come in until your line when the men are frozen.
Alli and Kara's notes
- Better on yours
- Chavez, Immigrant - N WORD
- Roth, say "Wherever I like" dirty and slow
- Agnes, you need a shawl during cold scenes
- Can someone freeze looking cold!
- Freeze with mouths open
- Cohen, look annoyed when girls cheer after welcome.
- It's cold in union meeting - Brandon had sleeves rolled up and Teresa had shawl around neck.
- Joe, better diction
- Lenore and Violet need to enter sooner.
- Lenore, don't sigh when talking - ask Kara. Sighing is poison on stage
- Roth, Stolle, Brandon, be cold when society girls are talking to factory girls
- Good job, cold and shaky Clara
- Before dying, Clara, Gasp and strain with head up
- Stay in the story, everyone. Ask Kara
- Good job taking hats off indoors.
- Heard added words when murmuring
- Volet was blocked when insulting judge
- Lenore, good reaction when judge makes decision
- \Bridget, good job during Roth monologue
- Great crazy girl
- Anya, be careful about reaching too much for Roth. It looked like you didn't want to kiss Joe.
- Work on kiss
- Figure out Ruth tomb situation - ask K & A. If you have read this much, write "Only when I share his thoughts, his hopes, his dreams will I be permitted to slide into the skin of my character."
- Bridget was blocked and could not see her reaction when Clara died
- Joe, good job seeing Clara
- Joe - wanted jew to keep fighting
- Joe, good dad scene
- Anya, be creful about blocking your face when you wipe it up your shawl?
- Julie, look at starve in fresh air. You added some.
- Study cuts
- all dancers need to see ALli's video. Be slower and BIGGER during slow movements - faster and sharper during fast movements. You are getting sloppy.
Sunday's performance, March 1
Congratulations on a job well done!
- You stepped on lines at the beginning, but it was too fast. Remember that you win or lose your audience in the first five minutes.
- GETS. Everyone concentrate on diction.
- When the society girls say the first line, be sure that you have stepped on the previous line. Anya says,"! And they make six dollars a week!" Immediately, say,"A few days...." Ruth will step on the line and say,"Maybe we could...." Do not lose momentum. Violet, remember that you are in sympathy, but you are doubtful that women can win. Society women, be looking at the striker scene longer and jump right in after Anya's line.
- Anya, give your monologue DCS, and it will be easier to get to the first union meeting.
- In Lannon's scene, Brandon, Zack, and Nathan, exit in different areas. Also, one of you look back at the ones left in the meeting and shake your head.
- Joe, keep the beat when you say "and you're telling me.
- Thugs be as rough as you were yesterday, but no rougher. Women, the struggle was good, especially the deep breathing.
- The rain was great. Be as affected by the weather in each scene as you were in the rain scene.
- Cooper Union - 2 words. Shelbi, don't go to Cohen's scene. Be a society woman with Violet and be in the background watching the women return to the strike scene. That way you will be into the scene and Bridget can deliver her first line quickly.
- Brandon, step on the line previous to your's.
- Bridget, move your monologue DCS, more to the left.
- Roger, as the striker, your anger was evident. Keep it at this level.
- Joe, keep watching Anya throughout the play.
- Interaction among men is better in all scenes. We need more.
- Society women scene, Clara, nod to the society women, when you say "They're asking for a chance."
- Roth, be careful that you lose the fourth wall when you are in the background. Do not look out into the audience. Also, remember that you want power. We need to see that from the beginning to the end.... that you are constantly torn between wanting power and wanting to do the right thing.
- Previous to the hearing scene, Julie, Alina, Zack, Brandon, Nathan, and Jaxson, continue coming out as before. Roth, have a newspaper and show it to Nathan and say your line.
- Joe and Roth, be louder throughout the play.
- Lenore and Violet, lower voices with insults.
- In the hearing scene, let Stolle grab the coats and hats.
- Joe, take the bench off after the hearing scene.
- Crazy woman, point at Clara once, then withdraw into yourself when no one pays attention to you.
- Ruth was the best at reacting and listening. Everyone come up to her level.
- Get.
- We could not see Joe see Clara.
- Keep the sadness and try to cry,Joe, when you talk about your father.
- Clara, struggle for breath. Physically, move your upper body up, gasp for air, then collapse.
- Anya - I can't speak... step on lines.
- Julie and Alina, move slowly as everyone else is. Brent, keep the red light off them.
- Roger, keep your head up in the last scene. You and Jaxson both need to keep your heads up.
- I have changed this so it is not so abrupt.
Girls - Justice! Fairness! 2 - Judge - We’re into February now, and the girls are still at it.
Stolle - Micks marchin with Eyeties! Rich marchin with the poor.
Girls - Justice! Fairness! 3 - Judge -Go home… get married!
Stolle -We beat ‘em, and they’re still at it!
Girls - Justice! Fairness!4 - Roth, don't back up.
- Roth -Rosie walked the picket line. She got sent to the Tombs. She’d been stuck in a cell with PAUSE Anya Rosen, Lenore Van Meer, Violet Vandercort, Bridget Feeney, Ruth Stein, Clara.
Girls - Justice! Fairness! 2 - Roth -The warden said she wasn’t in the Tombs no more. “So where’s Rosie?
Potters Field. Your sister told us she didn’t have any family. BEAT I know what they’re fighting for.
Roth look at the girls and join in, resigned. - Girls -Justice! Fairness! 3
Tonight we have practice from 6:30- 8. We will rehearse the last part, then go through the entire play. Alli and Kara will retape the stage. Tonight we will rehearse setting and striking. Thursday, we will rehearse late - 6:30-9PM. We will run through the play twice, timed and set and strike. If we have the costumes before Sunday, we will have a paid public performance. We will have rehearsal on Sunday, Monday, and if we are still not in the playoffs, we will go to Tulia to be with Perry. It will be a LATE night.
In my reading this week, the stage director, Sir Tyrone Guthrie, used to speak to the students and referred to his lectures as "pie-jaw." In his native Ireland, "pie-jaw" was the expression given to the "good advice" that grandmothers used to give to children. Consider each critique given as "pie-jaw" whether it is from me or someone else. Theatre is expected to reveal Universe and awaken the spirit. Somewhere during the course of the performance, the spectator experiences the "Great Aha!" where he sees the actors onstage, and the character within is illuminated, awakened, enlightened, elevated, and changed. Magic is performed. This is what we are shooting for. Everyone helps in this process - whether it is Dylan with a suggestion for Roth and the newspaper, or whether it is Brent showing us where to focus as an audience member. Everyone is important, and I cannot tell you how important every person is. Understudies, be watching everything that goes on because you will be left with the legacy when the seniors leave. Love you guys! Thanks for including me yesterday.
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