The time to get serious passed a long time ago. We do not have the time to repeatedly tell seasoned actors to focus. You set examples for the entire cast and crew. I reread this and it was harsh. So, I thought I would say that I do love you guys, just a little disappointed. BUT, I have never had to yell before, so I am counting my blessings.
For the critiques - they were lengthy - too lengthy for this time in the season. I will write the ones that are the most needed. We have three public performances and eight rehearsals left. Contest is in four weeks. On Sunday, I will look at scripts. I expect to see GESTURES written in and your speeches color coded. On entrances in exits, I expect to see where you are coming from and where you are going to. Just simple words will work. This is for the understudies as well. Kara and Alli, write in simple costume additions or deletions by each character's entrance. A lot of work, I know. See if you can divide the script up and get Mica, Garrett, and Keri to help. Alli and Kara, work it out.
1. DICTION - you have to make this a priority.
2. TIME - One second over and we are disqualified. So, you must end one scene and immediately begin the next.
3. Bridget, come in earlier on your first line. The audience "gets" that we have a village scene. We also need the voices to be loud enough in that scene that Bridget's line does not seem contrived. We need to see Bridget's struggle, then decisive action to speak.
4. Actors, remember what Newt said. Show us what you are thinking. If you are reminiscing about life in the old country or life in New York, use gestures to mold the experience for the audience. Speaking of gestures, these are immigrants. As they were learning the language, they were often misunderstood and had to revert to "sign language" to show the person to whom they were speaking what they meant. Travelers still use this when they go to foreign countries. If you use the word, think, gesture. These were survival skills that became habits. It will make your character real.
5. Anya, step on lines _I'm tired
6. A few days - Violet, step on lines. Say this as though it is true, but you are sad of the reality of it. You want the girls to succeed but feel that they will not.
7. Clara - point to the front of the factory. On your dialogue, be faster on some lines so that every line is not slow. Gesture to your temple when you say think. Point to your heart when what you say is passionate, etc. Kara and I agree on this. Clara, you maintain "being very sick" throughout the play. We need to see you becoming progressively worse.
8. More murmuring before Lannon's scene. Remember that it is hot.
9. Do not hit the curtains.
10. Roger, as the thug, bring your foot back further. We need to see tension in the slow motion kick. The kick looks authentic. The movement up to the kick does not.
11. Roth, look at lines.
12. Jail. Shelbi, move further DCR on the platform. You disappear behind Ruth.
13. Matron, move further right so that you are not behind the pylon.
14. Joe, tell the story M & M. Show us where it is with your hands.
15. Rain was good.The heat, snow and wind should be on this caliber.Some men need to block the light in the trash can, start the fire. Warm hands over it. The fire should begin in this transition and leave the fire on until the end of the play. Warm hands and backsides on the fire.
16.It is cold in the Cohen scene. Cohen, use more gestures. Get us to hate you. Keep giving exaggerated sarcastic looks toward the women.
17. Women, we need to feel your frustration, so more tears. When I get real mad at a guy, I cry and I hate myself for doing it. Especially with authority figures.
18. Brandon, have a newspaper going into Cohen's but don't let it get wet.
19. Step on lines in the society women's scene.
20. Court scene. Step on lines, Violet. Watch bride of dracula voices, all women.
21. Tombs,Crazy woman, put the fire out.
22. Shorter dance. Clara, cough and fight for air. This needs to be dramatic and almost as loud as the women dancing. STRUGGLE with breath and when you die - a blood capsule.
23. Violet and Lenore, stand watching Clara's exit.
24. Remember, as soon as one scene ends, another begins. Anya's stars line ends with the beginning of the Strike line right stage. Julie as striker woman, don't enter during the women's freeze. Enter during their movement.
Border's notes
1. Bridget interrupt the village scene.
2. Shirtwaist girls. Voices need to be LOUD so that Roth can say "angry voices" and it makes sense
3. Violet's jobs back should be more sympathetic.
4. Word from me, Mr. Roth. All need to react BIG
4. Faster transition between Anya's monologue and union scene.
4. Union scene. We NEED to see men change their mind. Remember to vary voices.
5. Arm wrestling was great.
6. Shelbi, move onto the 4 X4 during jail scene - just move more downstage right.
7. Zack, remember the umbrella. Roger, slow down.
8. Male workers, emphasize male
9. During Roth's monologue, the girls need to move slower. Joe, move as well.
10. More disheveled in tombs, girls with shirtails out.
11. Roth, buy a paper and show the judge the news in anger.
All students' notes
1. Brandon, you must enunciate. "You're still just factory girls."
1. All peddlers need to be as loud as Zack selling fish.
1. STUDY CUTS
1. Mr. Sears and Roebuck, Alina
1. Brandon, exit left stage.
1. Step on LINES
1. Yer, Zack, Chavez, Jaxson, Julie, Johnny. Jew/Chew - Lizzie, Kayla, Roger, Emily. Yerself Johnny, Julie. Or not ER UNION, not SUNION - Zack - such SHelby, work on not sounding TEXAN
2. Anya - but who? Louder
2. Men in background, slow motion. It is cold when women get out of jail.
2. IN FREEZES, we NEED EXagerated FACIAL EXPRESSIONS. During Freezes, NO ONE moves.
3. Alina, when raining, cover strike papers.(Thanks, Josh)
3. Before thugs entrance, women are in a semicircle.
3. Zack, cannot understand first thug line.ENUNCIATE.
3. IMMIGRANT is the N WOrd
3. Bridget, use nose flick in monologue.
4. Violet, lower voice when insulting judge.Pivot when insulting the judge.
5. Violet, a few days, step on Anya's line.
6. Joe, couldn't walk for months - we need to see you see this.
6. see more of Teresa's rosary
6. EVERYONE use hand gestures
6. Lana has a good suggestion - In union scenes, look at watches. I will buy one or two more, particularly for Roger and Zack.
7. Ruth, go crazy on the thug's back.
7. Bridget, RUSSO
8. Cohen, don't flip a coin. Money was precious. It was a good idea. think of another mannerism
9. When society girls come in, it is COLDER
10. Lenore, you're ill - more sympathetic.
11. Bridget, Ruth, Anya, Trial up front. Vary levels
12. Judge, Really not honestly Child of immigrants, not daughter
13.Violet, lower voice.
14. Lenore, something inside they can't break not that
15. Remember BEFORE Roth's speech, LOOK it UP, all backs upstage with girls turning one by one
16. At the end, Violet MUST be DSC beside the striking girls to the left of Alina.
Please comment after you have read this blog. If not, I will be calling people. It is important we make these changes by SUNDAY
Friday, February 27, 2009
Wednesday, February 25, 2009
Critiques from Newt in Snyder
Critiques – Everyone’s – February 25, 2009
Border
1. Lizzie, good stopping for society
2. Good showing it is hot, girls. Boys, where were you?
3. Ice cream cone – girls are in a semi circle everytime
4. Clara, wait to put on banner after monologue
5. Boys, umbrellas following Bridget’s speech
6. Cohen’s meeting – loved it.
7. Brandon, remember it is cold
8. More reaction to children of immigrants
9. Judge, good job. Don’t look out
10. Roth, more with sentence
11. Roth, great job with monologue. Don’t walk off until it is done.
12. Bridget, arms with Anya. Loved it.
13. Disheveled look was good in tomb
14. For the first time – Clara say twice
15. Judge, compromise – feet planted – look out
16. Nathan, feet planted – not wobbly
17. Work on 2324. Roger
Newton Critique
1. Cannot understand or hear Brandon.
2. Just children and people like us – talk out with motivation to go or look downstage. Open up
3. Roth, slow down in dialogue – I might just have to let you go.
4. Miss. V – beggin – louder – ask Alli Few days on the picket line must be louder.
5. Clara, losing my job – more gestures
6. Anya, loved monologue and stage picture
7. Union meeting – banner of union symbol. Refigure blocking. Shut out the women
8. Good stage business in Joe/Anya
9. First freeze was good. Second was hard to understand with Clara’s monologue.
10. Clara, address the OAP judge during the monologue – use more gestures – clarity
11. After the fight scene, lost all the dialogue.
12. All of the immigrants will need to use more gestures.
13. Don’t lose dialogue, Anya, in choke scene
14. Lenore, don’t be so casual in fight movement.
15. Roth, drag Margaret downstage
16. Bridget and Anya, switch in fight scene
17. Roth, show change in character “this is your last chance” get Margaret’s necklace or shawl
18. Bloody strike breaker – Kayla, grab shoulder – I missed this. Get Matron a stick.
19. Bridget’s monologue – find opposites
20. 2nd union meeting –Cohen, change your attitude – Remember what Newton said – speak to the men and ignore the women, except when you are insulting them.
21. Bridget needs more contrast – opposites again. He said this in the Cohen scene.
22. That’s what we all want – say it downstage.
23. I second it – watch guttural tone
24. Picket line – society women
25. I don’t’ remember what he said about – get along with ya.
26. Girls are going to trial – use Ruth and Anya and Bridget as the transition.
27. I absolutely swear – to Roth
28. Extenuating circumstances – bring society girls downstage
29. Roth, too fast. Play the victim
30. Work on the dream dance and slow down the anticipation for the kiss.
31. Clara’s death – tops of heads. Need to see Ruth’s.
32. Everyone, find opposites in characters. Not all doom and gloom
33. Zack, vary character voices – slow down dialogue and add gestures
34. Don’t confuse speed with urgency
35. Nathan I second it.
36. Are you slumming – watch semi circle. Stand where he put you.
37. Newspaper selling scene – Someone needs to be reading a newspaper.
38. Court transition. Ruth runs downstage, other girls bring her back.
39. 100% swear (smugly to Roth). Roth struggles in court scene.
40. Bring society women downstage, Judge.
41. For the first time – real hunger.
42. Show us the show, don’t’ tell us.
This was jumbled, but I hope that you remember enough from yesterday’s clinic to fill in the spaces.
Kenzi’s notes from Newton’s clinic
1. Cannot understand/hear Brandon
2. Roger, open up
3. Roth, slow down
4. Violet, be loud
5. Change Union meeting blocking
6. Nathan, address Lannon
7. Clara, look at the OAP judge during the monologue
8. Agnes, more scared of being hit.
9. Roth, rip the necklace or shawl off Margaret
10. Happiness and humor needed in play
11. Zack be different in all characters.
12. Society girls scene – open up – Violet talk to Lenore
13. Transition to hearing scene
14. Ruth, downstage prior to hearing scene
15. Stolle, don’t overplay. Look at Roth and smile.
16. Roth – play the victim
17. Judge downstage with society women
18. Roth, emotion in monologue. The doll is all you have left of Rosie
19. In death scene, remember where he placed you. Lenore and Violet stare after Clara. Comfort each other
20. Nathan and Brandon enunciate. Everyone else needs to too.
21. Gesture and turn when Roth says your name.
Mine
1. In August, men, take off hats, wipe brow, inside of collar. We need to know you are in the same place as the girls.
2. Green, green, gold line at the beginning
3. Men, talk in the back. At the END of Bridget’s monologue, bring out umbrellas, and keep them out until in the meeting. Shake out your clothes, umbrellas, etc.
4. Everyone in society girl scene. IT IS COLD!
5. It is COLD in the TOMBS!
Mine from Newt’s.
1. Roger open up and speak to audience on first line.
2. Louder Lenore
3. Clara, more gestures connected with body parts – all immigrants – “think” point to temple, etc.
4. Lost Anya’s line being choked.
5. Move Margaret downstage following fight scene
6. EVERYONE – more contrasts in dialogue. Find the humor.
7. The play should be a roller coaster with the end not defined at the beginning.
8. Audition: Everything an Actor Needs to Know to Get the Part (Paperback) by Michael Shurtleff This is the book that Newt spoke of.
9. Zack, but everyone, gestures give the space between words and slows you down.
10. We have been talking about not hating the boys, but it really is the reaction of the girls that makes us hate them. How do you react to each other?
11. Roth, we need to see the struggle within him. We need to isolate you and see the change. See Joe during the hearing scene and think about what he stands for vs. what you stand for.
12. Judge, back to the audience when society girls are insulting you.
13. Ma Told us… them – hit each word of your memory and when talking of the girls – gesture at them.
14. Death of Clara, Bridget turns around Ruth
15. Girls, when Roth says your names, turn the same way. Turn toward your right. LONG REHEARSAL THURSDAY – 6:30-9:30. We will go over cuts, critiques, then speed through and work through the play
16. Joe, speak to Lannon earlier with gestures. Lannon, you might throw your hat. Say the opening together, then Joe presses hand to Lannon’s chest to say the rest. If you have read this, comment, email me -ccouch@shallowaterisd.net, write a note and stick it in my box, call my extension -2239 or my cell 470-9940/
Love you guys!
Border
1. Lizzie, good stopping for society
2. Good showing it is hot, girls. Boys, where were you?
3. Ice cream cone – girls are in a semi circle everytime
4. Clara, wait to put on banner after monologue
5. Boys, umbrellas following Bridget’s speech
6. Cohen’s meeting – loved it.
7. Brandon, remember it is cold
8. More reaction to children of immigrants
9. Judge, good job. Don’t look out
10. Roth, more with sentence
11. Roth, great job with monologue. Don’t walk off until it is done.
12. Bridget, arms with Anya. Loved it.
13. Disheveled look was good in tomb
14. For the first time – Clara say twice
15. Judge, compromise – feet planted – look out
16. Nathan, feet planted – not wobbly
17. Work on 2324. Roger
Newton Critique
1. Cannot understand or hear Brandon.
2. Just children and people like us – talk out with motivation to go or look downstage. Open up
3. Roth, slow down in dialogue – I might just have to let you go.
4. Miss. V – beggin – louder – ask Alli Few days on the picket line must be louder.
5. Clara, losing my job – more gestures
6. Anya, loved monologue and stage picture
7. Union meeting – banner of union symbol. Refigure blocking. Shut out the women
8. Good stage business in Joe/Anya
9. First freeze was good. Second was hard to understand with Clara’s monologue.
10. Clara, address the OAP judge during the monologue – use more gestures – clarity
11. After the fight scene, lost all the dialogue.
12. All of the immigrants will need to use more gestures.
13. Don’t lose dialogue, Anya, in choke scene
14. Lenore, don’t be so casual in fight movement.
15. Roth, drag Margaret downstage
16. Bridget and Anya, switch in fight scene
17. Roth, show change in character “this is your last chance” get Margaret’s necklace or shawl
18. Bloody strike breaker – Kayla, grab shoulder – I missed this. Get Matron a stick.
19. Bridget’s monologue – find opposites
20. 2nd union meeting –Cohen, change your attitude – Remember what Newton said – speak to the men and ignore the women, except when you are insulting them.
21. Bridget needs more contrast – opposites again. He said this in the Cohen scene.
22. That’s what we all want – say it downstage.
23. I second it – watch guttural tone
24. Picket line – society women
25. I don’t’ remember what he said about – get along with ya.
26. Girls are going to trial – use Ruth and Anya and Bridget as the transition.
27. I absolutely swear – to Roth
28. Extenuating circumstances – bring society girls downstage
29. Roth, too fast. Play the victim
30. Work on the dream dance and slow down the anticipation for the kiss.
31. Clara’s death – tops of heads. Need to see Ruth’s.
32. Everyone, find opposites in characters. Not all doom and gloom
33. Zack, vary character voices – slow down dialogue and add gestures
34. Don’t confuse speed with urgency
35. Nathan I second it.
36. Are you slumming – watch semi circle. Stand where he put you.
37. Newspaper selling scene – Someone needs to be reading a newspaper.
38. Court transition. Ruth runs downstage, other girls bring her back.
39. 100% swear (smugly to Roth). Roth struggles in court scene.
40. Bring society women downstage, Judge.
41. For the first time – real hunger.
42. Show us the show, don’t’ tell us.
This was jumbled, but I hope that you remember enough from yesterday’s clinic to fill in the spaces.
Kenzi’s notes from Newton’s clinic
1. Cannot understand/hear Brandon
2. Roger, open up
3. Roth, slow down
4. Violet, be loud
5. Change Union meeting blocking
6. Nathan, address Lannon
7. Clara, look at the OAP judge during the monologue
8. Agnes, more scared of being hit.
9. Roth, rip the necklace or shawl off Margaret
10. Happiness and humor needed in play
11. Zack be different in all characters.
12. Society girls scene – open up – Violet talk to Lenore
13. Transition to hearing scene
14. Ruth, downstage prior to hearing scene
15. Stolle, don’t overplay. Look at Roth and smile.
16. Roth – play the victim
17. Judge downstage with society women
18. Roth, emotion in monologue. The doll is all you have left of Rosie
19. In death scene, remember where he placed you. Lenore and Violet stare after Clara. Comfort each other
20. Nathan and Brandon enunciate. Everyone else needs to too.
21. Gesture and turn when Roth says your name.
Mine
1. In August, men, take off hats, wipe brow, inside of collar. We need to know you are in the same place as the girls.
2. Green, green, gold line at the beginning
3. Men, talk in the back. At the END of Bridget’s monologue, bring out umbrellas, and keep them out until in the meeting. Shake out your clothes, umbrellas, etc.
4. Everyone in society girl scene. IT IS COLD!
5. It is COLD in the TOMBS!
Mine from Newt’s.
1. Roger open up and speak to audience on first line.
2. Louder Lenore
3. Clara, more gestures connected with body parts – all immigrants – “think” point to temple, etc.
4. Lost Anya’s line being choked.
5. Move Margaret downstage following fight scene
6. EVERYONE – more contrasts in dialogue. Find the humor.
7. The play should be a roller coaster with the end not defined at the beginning.
8. Audition: Everything an Actor Needs to Know to Get the Part (Paperback) by Michael Shurtleff This is the book that Newt spoke of.
9. Zack, but everyone, gestures give the space between words and slows you down.
10. We have been talking about not hating the boys, but it really is the reaction of the girls that makes us hate them. How do you react to each other?
11. Roth, we need to see the struggle within him. We need to isolate you and see the change. See Joe during the hearing scene and think about what he stands for vs. what you stand for.
12. Judge, back to the audience when society girls are insulting you.
13. Ma Told us… them – hit each word of your memory and when talking of the girls – gesture at them.
14. Death of Clara, Bridget turns around Ruth
15. Girls, when Roth says your names, turn the same way. Turn toward your right. LONG REHEARSAL THURSDAY – 6:30-9:30. We will go over cuts, critiques, then speed through and work through the play
16. Joe, speak to Lannon earlier with gestures. Lannon, you might throw your hat. Say the opening together, then Joe presses hand to Lannon’s chest to say the rest. If you have read this, comment, email me -ccouch@shallowaterisd.net, write a note and stick it in my box, call my extension -2239 or my cell 470-9940/
Love you guys!
Tuesday, February 24, 2009
Ideas for Tuesday
If you cannot comment, email me ccouch@shallowaterisd.net Call me 470-9940
Kara’s critiques & mine plus cutting
1. Roth, direct “Dirty Immigrant” to Teresa.
2. Anya, your lines about Papa. Let us see the hurt,weakness, and emotion – cry.
3. Murmur, - people noises – laugh, sneeze, sigh, etc. Kylee’s idea
4. Women, have strike signs and banners on before Clara’s monologue, so we can see the silhouette. The script does say “ad lib” comments. So, yes, Clara, you can say French words. These words can be varied here.
5. Fight scene. Script says men can “ad lib” cat calls. Use Eytie, Mick, Do these at the same time. We need to rehearse this. Girls cannot ad lib.
6. Brandon – hey, Eytie, and do kissing noises
7. Chavez – Mick, come to papa, you potato eater!
8. Roger – Dirty Strikers
9. Nathan – Let’s show ‘em, Stolle!
10. Stolle – Little Duro – ask Alina
11. Cut Agnes’ line – You didn’t say we’d be takin jobs away from other girls!
12. Roth, put your hands on Margaret in a lustful way.
13. Joe, laugh, think it is humorous when you say – I told her I was your lawyer. See the humor in law student.
14. When Joe and Anya are talking after the jail scene and during Bridget’s monologue, women should raise strike signs in the back. At the end of Bridget’s speech, it begins to rain.
15. Cohen, be big at the beginning and slowly start losing your cool. There should be vocally varied statements in your dialogue. 30,000 girls in 600 shirtwaist factories. This should be astounding and everyone should murmur.
Man 2 Also standing, page 41 How can these girls know what they want? They’re just children!
16. Man 2 (Brandon) Say the first line as if you are perplexed. The second – look at them – and say it as if you are a 40 year old man looking at girls 13-18 years of age.
17. Looking at the script, after Anya says” If we call an industry-wide strike… if we can hold out…. It’s not just the shirtwaist girls who’ll win, it’s all of you! , people should shout – Justice – fairness until Joe quiets them down with a good humored grin.He likes their enthusiasm, but the other men do not . Nathan and Brandon and Lannon may be the exceptions. When do you change your mind? It needs to be at varied times. After the last second, the crowd breaks out in shouts of enthusiasm – some shout justice fairness. Nathan should go to one of the girls and shake hands.
18. It is December following Cohen’s meeting.
19. Society girl scene – some girls take flyers to mother, married woman, boyfriend and old man if we have time.
20. During the court scene, be sure to murmur as appropriate following lines of dialogue.
21. Remember that these lines are said en mass following the streetwalker line.
Woman 1 Liar!
Bridget That’s a lie!
Man 5 (Brandon) You filthy liar!
Teresa You have no right to say that!
Violet Liar!
Lenore How dare you say that?
Judge Order! I will have order!
22. Roth, cut about 3 -4 sentences in your monologue.
Bridget It’s the dreams that make it hard. You think you are in one place and when you wake, you’re in another! I keep dreamin I’m back in County Monohan, and everythin is green.
Ruth The worst of it is the dreams.
Violet The food’s the worst of it. The moldy bread.
Ruth The way your stomach twists in knots.
Clara Clara struggles to speak through her cough. Violet goes to her, stroking her hair, comforting her. The cold is the worst of it.
Bridget Five of us… one bucket for a toilet!
Violet CUT
Lenore Page 63 The rats are the worst of it.
Lenore CUT
Clara Remember the girl who was with us, those first days?
Violet She hardly said a word.
Clara She had the white lung, too. Remember?
Bridget She’ll be in potter’s field now.
Bridget She’ll be fair quiet now,
Clara I promised I wouldn’t forget her. Now I’m asking you, all of you, promise you won’t forget us!
Anya Quickly goes to Clara, kneeling in front of her cot You’re going to be fine, Clara! Once you can feel the sun again!
Clara Without self pity… only stating a fact I’m never going to get out of here.
Anya It is almost as if the very bones and muscles holding her up are crumbling Clara, I’m sorry you’re in here. That’s the worst of it for me. Lying on that bed every night. Knowing you’re getting sicker every day.
Ruth When we win the strike, you can make it all right!
Anya Take what you get and keep your mouth shut. People were right. But I thought I knew. WILDLY. But now… I don’t know why we even tried.
Anya All I ever gave you were dreams
Bridget It’s dreams brought me to America, Anya… that sent me to the picket line!
Anya Dreams aren’t enough.
Bridget Kneels beside Anya Dreams are what you go on, when there’s nothing else left.
Ruth hesitantly I had the dream of the New World… I have it still.
Bridget Standing CUT
Bridget Page 65 They’re waitin for the sound of our tears! But I say we give them the sound of our singin!
Bridget begins stamping her feet, pounding on the walls, clapping. With a sudden bold move, Violet joins her in making noise, shouting out her words with defiance
Violet I sing the song of a society girl! Who came to the east side for an adventure! Who stayed to prove she can do it!
Ruth and Lenore join in the noisemaking, and even Clara, as she lies on the cot, claps her hands. On her knees, Anya watches.
Bridget My mother and her mother before her, sang the song of the potato! But I sing the song of the shirtwaist and a finer, better song it is altogether!
Ruth With increasing bravery and feeling CUT
Bridget Indicating Ruth I sing the song of Ruth Stein and her new land!
Ruth Let them hear our song all over the Tombs!
Violet Page 66 I sing the song of the cold and the rats and the gristle and the smell!
Bridget I sing the songs of the overflowin bucket!
Ruth I sing of the jail! And the thugs!
Bridget And the judge and Mr. Mighty Johannsen
Violet and Bridget link arms and do a jig step. Then, as the noise continues, Lenore speaks beating out the rhythm of her words with her fist.
Lenore My parents told me if I supported the strike, I couldn’t come home again. That first night here, I wanted to beg them to take me back. I made it through that night. And I’ve made it through every night since!
Violet Let’s sing the songs of the nights!
Lenore And the mornings! I know there’s something inside they can’t break! Not the Tombs – not my parents! Every morning, I get stronger!
Ruth I sing the song of – possibilities!
Bridget Of new chances!
Violet CUT
Clara The girls cluster around Clara’s cot as she struggles to speak, still making their noise but dropping the volume so they can hear her.
Page 67 For the first time in my life, I stood up and I did something… and I was scared… and I did it anyway! And I got strong! I sing the song of strength! As she lies back down on the cot. I ….. sing the song of strength.
Anya A beat. Then Anya stands, filled with new strength. She joins the girls in making noise and now the noise does become music, the girls moving to it for a beat or two. Page 68
In a Fremder Schott,, cue 21 Are you watching, Clara? We’re dancing…. In the tombs!
Anya She reaches out her hands to Clara. Sing with us, Clara!
Anya But there is no response. Anya touches her. Clara? Clara!
The music stops, the girls stopping their noise and movement, as they look at Clara. A beat. With slow, firm movements, Anya begins again to make noise, but this sound is definite, deliberate, insistent, it’s a powerful rhythm that builds and builds. Girls join in one by one.
Anya Page 69 I sing the song of …. Clara!
Anya I sing my mother’s song and my sisters’ song. I sing for all the daughters. I sing of our strength ….. and our dreams!
The noise crescendos. Blackout
23. Joe, “Wanted Jew to keep fighting.
24. Newsboys, slow down. Brandon, do not say the first line. Go right to Cohen’s ““For the first time in my comfortably sheltered upper west side life, I saw real hunger on the faces of my fellow Americans in the richest city in the world!”
25. Pass out flyers to the mother, the pregnant woman, others if time allows.
26. Nathan, good job walking around as a newsboy.
27. Kylee’s idea – she will buy newspapers from newsboys in order to move right stage.
28. 2-3-2-4
29. We still need more levels with signs.
30. Roth, Thank, not think
31. Violet, good job!
32. Study lines even if you think you know them. We’re missing little words, but little words count.
33. Boys, no laughing
34. Stolle, better at being lustful
35. Can everyone Google images of winter in New York to see how cold and snowy it is? August can be quite hot and humid. September continues to be a warm month in New York City, but many of the summer crowds have left and evenings can be a bit cooler as the month wears on. October(65 degrees) in New York. New York City weather in November can be chilly, but snow is unlikely (54-40 during the day). December 41-32 during the day with snow and rain. January is typically the coolest month in New York City. Being in a city full of tall buildings can make the wind feel colder and stronger than normal(36-26 during the day). February is one of the coldest months with rain and snow.
36. Good job, Bridget, Wringing out shawl
37. Boys, take hats off indoors
38. Everyone is slurring the word “Union”. It sounds like sunion.
39. Good job spitting in union man’s hat, Bridget
40. Lannon, Kara likes your spiffy umbrella thing
41. Clara needs the gloves instead of others.
42. Ruth, good job being cold
43. Men need to be cold as well.
44. Great job, Brandon!
45. Murmur!
46. Immigrants is an insult! REACT
47. Awesome STOLLE,
48. We’re not were, Lenore
49. If you have read this far, tell Stolle you love him.
50. When Violet winked, only Bridget reacted.
51. Bridget was heard over everyone when Violet insults the judge.
52. Bailiffs are firm, not rough, so girls don’t struggle as hard
53. Roth, bigger arm movements during your monologue.
54.
Judge We’re into February now and they’re still at it!
Girls off Justice! Fairness!
Stolle Micks marchin with Eyeties! Rich marchin with the poor.
Judge CUT
Girls Justice! Fairness!
Judge Yelling out the window Go home… get married!
Girls Justice! Fairness!
Stolle We beat ‘em and haul ‘em off to jail, and they’re still at it!
Girls Justice! Fairness!
Stolle It almost makes a man afraid.
Girls Justice! Fairness!
Judge Page 76 There’s no possible way those girls can win.
A beat, as they realize what the Judge has just said.
Girls Justice! Fairness! Justice! Fairness!
Roth Steps away from the window To the judge The factories will close down before those girls give up! Because those girls are made of the same stuff Martin Roth is.
Girls Justice! Fairness!
Roth Yelling it out Justice! Fairness!
Roth He crosses to the men, who became increasingly alarmed at his manner and words. 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!
Roth Page 77 The warden said she wasn’t in the Tombs no more. “So where’s Rosie?
Roth Right to the men. He stands on platform UCS Potters Field. That’s what the warden told me. Your sister told us she didn’t have any family. BEAT I know what they’re fighting for.
Roth and girls Justice! Fairness!
55.
Kara’s critiques & mine plus cutting
1. Roth, direct “Dirty Immigrant” to Teresa.
2. Anya, your lines about Papa. Let us see the hurt,weakness, and emotion – cry.
3. Murmur, - people noises – laugh, sneeze, sigh, etc. Kylee’s idea
4. Women, have strike signs and banners on before Clara’s monologue, so we can see the silhouette. The script does say “ad lib” comments. So, yes, Clara, you can say French words. These words can be varied here.
5. Fight scene. Script says men can “ad lib” cat calls. Use Eytie, Mick, Do these at the same time. We need to rehearse this. Girls cannot ad lib.
6. Brandon – hey, Eytie, and do kissing noises
7. Chavez – Mick, come to papa, you potato eater!
8. Roger – Dirty Strikers
9. Nathan – Let’s show ‘em, Stolle!
10. Stolle – Little Duro – ask Alina
11. Cut Agnes’ line – You didn’t say we’d be takin jobs away from other girls!
12. Roth, put your hands on Margaret in a lustful way.
13. Joe, laugh, think it is humorous when you say – I told her I was your lawyer. See the humor in law student.
14. When Joe and Anya are talking after the jail scene and during Bridget’s monologue, women should raise strike signs in the back. At the end of Bridget’s speech, it begins to rain.
15. Cohen, be big at the beginning and slowly start losing your cool. There should be vocally varied statements in your dialogue. 30,000 girls in 600 shirtwaist factories. This should be astounding and everyone should murmur.
Man 2 Also standing, page 41 How can these girls know what they want? They’re just children!
16. Man 2 (Brandon) Say the first line as if you are perplexed. The second – look at them – and say it as if you are a 40 year old man looking at girls 13-18 years of age.
17. Looking at the script, after Anya says” If we call an industry-wide strike… if we can hold out…. It’s not just the shirtwaist girls who’ll win, it’s all of you! , people should shout – Justice – fairness until Joe quiets them down with a good humored grin.He likes their enthusiasm, but the other men do not . Nathan and Brandon and Lannon may be the exceptions. When do you change your mind? It needs to be at varied times. After the last second, the crowd breaks out in shouts of enthusiasm – some shout justice fairness. Nathan should go to one of the girls and shake hands.
18. It is December following Cohen’s meeting.
19. Society girl scene – some girls take flyers to mother, married woman, boyfriend and old man if we have time.
20. During the court scene, be sure to murmur as appropriate following lines of dialogue.
21. Remember that these lines are said en mass following the streetwalker line.
Woman 1 Liar!
Bridget That’s a lie!
Man 5 (Brandon) You filthy liar!
Teresa You have no right to say that!
Violet Liar!
Lenore How dare you say that?
Judge Order! I will have order!
22. Roth, cut about 3 -4 sentences in your monologue.
Bridget It’s the dreams that make it hard. You think you are in one place and when you wake, you’re in another! I keep dreamin I’m back in County Monohan, and everythin is green.
Ruth The worst of it is the dreams.
Violet The food’s the worst of it. The moldy bread.
Ruth The way your stomach twists in knots.
Clara Clara struggles to speak through her cough. Violet goes to her, stroking her hair, comforting her. The cold is the worst of it.
Bridget Five of us… one bucket for a toilet!
Violet CUT
Lenore Page 63 The rats are the worst of it.
Lenore CUT
Clara Remember the girl who was with us, those first days?
Violet She hardly said a word.
Clara She had the white lung, too. Remember?
Bridget She’ll be in potter’s field now.
Bridget She’ll be fair quiet now,
Clara I promised I wouldn’t forget her. Now I’m asking you, all of you, promise you won’t forget us!
Anya Quickly goes to Clara, kneeling in front of her cot You’re going to be fine, Clara! Once you can feel the sun again!
Clara Without self pity… only stating a fact I’m never going to get out of here.
Anya It is almost as if the very bones and muscles holding her up are crumbling Clara, I’m sorry you’re in here. That’s the worst of it for me. Lying on that bed every night. Knowing you’re getting sicker every day.
Ruth When we win the strike, you can make it all right!
Anya Take what you get and keep your mouth shut. People were right. But I thought I knew. WILDLY. But now… I don’t know why we even tried.
Anya All I ever gave you were dreams
Bridget It’s dreams brought me to America, Anya… that sent me to the picket line!
Anya Dreams aren’t enough.
Bridget Kneels beside Anya Dreams are what you go on, when there’s nothing else left.
Ruth hesitantly I had the dream of the New World… I have it still.
Bridget Standing CUT
Bridget Page 65 They’re waitin for the sound of our tears! But I say we give them the sound of our singin!
Bridget begins stamping her feet, pounding on the walls, clapping. With a sudden bold move, Violet joins her in making noise, shouting out her words with defiance
Violet I sing the song of a society girl! Who came to the east side for an adventure! Who stayed to prove she can do it!
Ruth and Lenore join in the noisemaking, and even Clara, as she lies on the cot, claps her hands. On her knees, Anya watches.
Bridget My mother and her mother before her, sang the song of the potato! But I sing the song of the shirtwaist and a finer, better song it is altogether!
Ruth With increasing bravery and feeling CUT
Bridget Indicating Ruth I sing the song of Ruth Stein and her new land!
Ruth Let them hear our song all over the Tombs!
Violet Page 66 I sing the song of the cold and the rats and the gristle and the smell!
Bridget I sing the songs of the overflowin bucket!
Ruth I sing of the jail! And the thugs!
Bridget And the judge and Mr. Mighty Johannsen
Violet and Bridget link arms and do a jig step. Then, as the noise continues, Lenore speaks beating out the rhythm of her words with her fist.
Lenore My parents told me if I supported the strike, I couldn’t come home again. That first night here, I wanted to beg them to take me back. I made it through that night. And I’ve made it through every night since!
Violet Let’s sing the songs of the nights!
Lenore And the mornings! I know there’s something inside they can’t break! Not the Tombs – not my parents! Every morning, I get stronger!
Ruth I sing the song of – possibilities!
Bridget Of new chances!
Violet CUT
Clara The girls cluster around Clara’s cot as she struggles to speak, still making their noise but dropping the volume so they can hear her.
Page 67 For the first time in my life, I stood up and I did something… and I was scared… and I did it anyway! And I got strong! I sing the song of strength! As she lies back down on the cot. I ….. sing the song of strength.
Anya A beat. Then Anya stands, filled with new strength. She joins the girls in making noise and now the noise does become music, the girls moving to it for a beat or two. Page 68
In a Fremder Schott,, cue 21 Are you watching, Clara? We’re dancing…. In the tombs!
Anya She reaches out her hands to Clara. Sing with us, Clara!
Anya But there is no response. Anya touches her. Clara? Clara!
The music stops, the girls stopping their noise and movement, as they look at Clara. A beat. With slow, firm movements, Anya begins again to make noise, but this sound is definite, deliberate, insistent, it’s a powerful rhythm that builds and builds. Girls join in one by one.
Anya Page 69 I sing the song of …. Clara!
Anya I sing my mother’s song and my sisters’ song. I sing for all the daughters. I sing of our strength ….. and our dreams!
The noise crescendos. Blackout
23. Joe, “Wanted Jew to keep fighting.
24. Newsboys, slow down. Brandon, do not say the first line. Go right to Cohen’s ““For the first time in my comfortably sheltered upper west side life, I saw real hunger on the faces of my fellow Americans in the richest city in the world!”
25. Pass out flyers to the mother, the pregnant woman, others if time allows.
26. Nathan, good job walking around as a newsboy.
27. Kylee’s idea – she will buy newspapers from newsboys in order to move right stage.
28. 2-3-2-4
29. We still need more levels with signs.
30. Roth, Thank, not think
31. Violet, good job!
32. Study lines even if you think you know them. We’re missing little words, but little words count.
33. Boys, no laughing
34. Stolle, better at being lustful
35. Can everyone Google images of winter in New York to see how cold and snowy it is? August can be quite hot and humid. September continues to be a warm month in New York City, but many of the summer crowds have left and evenings can be a bit cooler as the month wears on. October(65 degrees) in New York. New York City weather in November can be chilly, but snow is unlikely (54-40 during the day). December 41-32 during the day with snow and rain. January is typically the coolest month in New York City. Being in a city full of tall buildings can make the wind feel colder and stronger than normal(36-26 during the day). February is one of the coldest months with rain and snow.
36. Good job, Bridget, Wringing out shawl
37. Boys, take hats off indoors
38. Everyone is slurring the word “Union”. It sounds like sunion.
39. Good job spitting in union man’s hat, Bridget
40. Lannon, Kara likes your spiffy umbrella thing
41. Clara needs the gloves instead of others.
42. Ruth, good job being cold
43. Men need to be cold as well.
44. Great job, Brandon!
45. Murmur!
46. Immigrants is an insult! REACT
47. Awesome STOLLE,
48. We’re not were, Lenore
49. If you have read this far, tell Stolle you love him.
50. When Violet winked, only Bridget reacted.
51. Bridget was heard over everyone when Violet insults the judge.
52. Bailiffs are firm, not rough, so girls don’t struggle as hard
53. Roth, bigger arm movements during your monologue.
54.
Judge We’re into February now and they’re still at it!
Girls off Justice! Fairness!
Stolle Micks marchin with Eyeties! Rich marchin with the poor.
Judge CUT
Girls Justice! Fairness!
Judge Yelling out the window Go home… get married!
Girls Justice! Fairness!
Stolle We beat ‘em and haul ‘em off to jail, and they’re still at it!
Girls Justice! Fairness!
Stolle It almost makes a man afraid.
Girls Justice! Fairness!
Judge Page 76 There’s no possible way those girls can win.
A beat, as they realize what the Judge has just said.
Girls Justice! Fairness! Justice! Fairness!
Roth Steps away from the window To the judge The factories will close down before those girls give up! Because those girls are made of the same stuff Martin Roth is.
Girls Justice! Fairness!
Roth Yelling it out Justice! Fairness!
Roth He crosses to the men, who became increasingly alarmed at his manner and words. 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!
Roth Page 77 The warden said she wasn’t in the Tombs no more. “So where’s Rosie?
Roth Right to the men. He stands on platform UCS Potters Field. That’s what the warden told me. Your sister told us she didn’t have any family. BEAT I know what they’re fighting for.
Roth and girls Justice! Fairness!
55.
Monday, February 23, 2009
CUT THESE LINES. IF YOU HAVE A QUESTION, SEE ME.
Roth
Dropping his hold on Anya, he turns on Teresa.
Isn’t that right, Teresa? CUT
Agnes You didn’t say we’d be takin jobs away from other girls!
Factory Owner The weather is on our side.
Violet unscrupulous
Roth
Roth, Decide which of these lines you want to cut. We need about three-4 sentences cut.Sixth floor of a tenement. No heat, no runnin water. No light. No air. That’s where Martin Roth comes from. Just like the girls in the factory. My father died when I was nine. One day Ma told us she couldn’t go on feedin everyone. Rosie had her doll. PAUSE No heat at the orphanage neither. No runnin water, no light. Air so thick with kids’ snot, you could see it. I hate the sound of coughin. It takes me right back. No place in this world for Martin Roth and his sister. Rosie was the one person in this whole world I could count on. I went to see Ma once. You never shoulda give me and Rosie away. She didn’t shed a tear, I did what I had to. She had a new husband … a bunch of new brats. When I heard they needed a boss man at Johannsen’s, I knew I could keep those girls in line. Because I’m one of them. Doin what I have to. Just like Ma. That’s when Rosie left me. She said as long as I was a factory boss, she didn’t ever want to see me. Those girls. …They’re tryin to take my power away. Take my place! But I won’t let em. But maybe…. When this is over…. Rosie will see me again.
Violet raw potatoes
Ruth That’s the worst of it.
Bridget And they don’t even let us empty it every day!
Violet The smell seeps right into your skin.
Lenore I can feel them, watching me, waiting.
Lenore They crawl over your face and arms
Anya WILDLY I was always the smartest! I always knew the answers.
Bridget Then let’s sing of your dream!
Ruth I sing the song of Sarah! God told her to go out of her land, the land of her birth, to a new place! And she did… and she made it hers!
Bridget of Sarah
Lenore I told them I didn’t care! But I’ve made it through every night since!
Lenore Because each time I wake up, I sing the song of strength!
Violet Of a new life!
Anya We’re singing!
All
Clara!
A newsboY Society girls accuse police of colluding with sweatshop owners to persecute girl victims!
Coleman BE COHEN During my investigation of this strike, McAlister Coleman, reporter, New York Sun!
A newsboY Society girls donate money to pay off strikers’ jail fines!
Judge The snow’s a foot deep
Stolle Eyeties marchin with Jews!
Judge I don’t understand it!
Judge Leave this city in peace!
Stolle bully ‘em
Judge I throw them into the Tombs, and they starve and puke, and when they get out, they go right back on the picket line!
Judge It’s David against Goliath!
Roth She’d been stuck in a cell with five other girls. .
Roth
Dropping his hold on Anya, he turns on Teresa.
Isn’t that right, Teresa? CUT
Agnes You didn’t say we’d be takin jobs away from other girls!
Factory Owner The weather is on our side.
Violet unscrupulous
Roth
Roth, Decide which of these lines you want to cut. We need about three-4 sentences cut.Sixth floor of a tenement. No heat, no runnin water. No light. No air. That’s where Martin Roth comes from. Just like the girls in the factory. My father died when I was nine. One day Ma told us she couldn’t go on feedin everyone. Rosie had her doll. PAUSE No heat at the orphanage neither. No runnin water, no light. Air so thick with kids’ snot, you could see it. I hate the sound of coughin. It takes me right back. No place in this world for Martin Roth and his sister. Rosie was the one person in this whole world I could count on. I went to see Ma once. You never shoulda give me and Rosie away. She didn’t shed a tear, I did what I had to. She had a new husband … a bunch of new brats. When I heard they needed a boss man at Johannsen’s, I knew I could keep those girls in line. Because I’m one of them. Doin what I have to. Just like Ma. That’s when Rosie left me. She said as long as I was a factory boss, she didn’t ever want to see me. Those girls. …They’re tryin to take my power away. Take my place! But I won’t let em. But maybe…. When this is over…. Rosie will see me again.
Violet raw potatoes
Ruth That’s the worst of it.
Bridget And they don’t even let us empty it every day!
Violet The smell seeps right into your skin.
Lenore I can feel them, watching me, waiting.
Lenore They crawl over your face and arms
Anya WILDLY I was always the smartest! I always knew the answers.
Bridget Then let’s sing of your dream!
Ruth I sing the song of Sarah! God told her to go out of her land, the land of her birth, to a new place! And she did… and she made it hers!
Bridget of Sarah
Lenore I told them I didn’t care! But I’ve made it through every night since!
Lenore Because each time I wake up, I sing the song of strength!
Violet Of a new life!
Anya We’re singing!
All
Clara!
A newsboY Society girls accuse police of colluding with sweatshop owners to persecute girl victims!
Coleman BE COHEN During my investigation of this strike, McAlister Coleman, reporter, New York Sun!
A newsboY Society girls donate money to pay off strikers’ jail fines!
Judge The snow’s a foot deep
Stolle Eyeties marchin with Jews!
Judge I don’t understand it!
Judge Leave this city in peace!
Stolle bully ‘em
Judge I throw them into the Tombs, and they starve and puke, and when they get out, they go right back on the picket line!
Judge It’s David against Goliath!
Roth She’d been stuck in a cell with five other girls. .
Kara's critiques
Monday Night - I am writing the critiques, then in another blog, writing the cuts. PLEASE Please, look at the lines cut.
Kara’s critiques
Joe, “Wanted Jew to keep fighting.
Murmur, - people noises – laugh, sneeze, sigh, etc. Kylee’s idea
Newsboys, slow down. Brandon, we will cut some of your first newsboy line
Nathan, good job walking around as a newsboy.
Kylee’s idea – she will buy newspapers from newsboys in order to move right stage.
2-3-2-4
We still need more levels with signs.
Roth, Thank, not think
Violet, good job!
Study lines even if you think you know them. We’re missing little words, but little words count.
Boys, no laughing
Stolle, better at being lustful
Can everyone Google images of winter in New York to see how cold and snowy it is?
Good job, Bridget, Wringing out shawl
Boys, take hats off indoors
Everyone is slurring the word “Union”. It sounds like sunion.
Good job spitting in union man’s hat, Bridget
Lannon, Kara likes your spiffy umbrella thing
Clara needs the gloves instead of others.
Ruth, good job being cold
Men need to be cold as well.
Great job, Brandon!
Murmur!
Immigrants is an insult! REACT
Awesome STOLLE,
We’re not were, Lenore
If you have read this far, tell Stolle you love him.
When Violet winked, only Bridget reacted.
Bridget was heard over everyone when Violet insults the judge.
Bailiffs are firm, not rough, so girls don’t struggle as hard
Roth, bigger arm movements during your monologue.
CUTS ARE IN NEXT BLOG.
Kara’s critiques
Joe, “Wanted Jew to keep fighting.
Murmur, - people noises – laugh, sneeze, sigh, etc. Kylee’s idea
Newsboys, slow down. Brandon, we will cut some of your first newsboy line
Nathan, good job walking around as a newsboy.
Kylee’s idea – she will buy newspapers from newsboys in order to move right stage.
2-3-2-4
We still need more levels with signs.
Roth, Thank, not think
Violet, good job!
Study lines even if you think you know them. We’re missing little words, but little words count.
Boys, no laughing
Stolle, better at being lustful
Can everyone Google images of winter in New York to see how cold and snowy it is?
Good job, Bridget, Wringing out shawl
Boys, take hats off indoors
Everyone is slurring the word “Union”. It sounds like sunion.
Good job spitting in union man’s hat, Bridget
Lannon, Kara likes your spiffy umbrella thing
Clara needs the gloves instead of others.
Ruth, good job being cold
Men need to be cold as well.
Great job, Brandon!
Murmur!
Immigrants is an insult! REACT
Awesome STOLLE,
We’re not were, Lenore
If you have read this far, tell Stolle you love him.
When Violet winked, only Bridget reacted.
Bridget was heard over everyone when Violet insults the judge.
Bailiffs are firm, not rough, so girls don’t struggle as hard
Roth, bigger arm movements during your monologue.
CUTS ARE IN NEXT BLOG.
Sunday, February 22, 2009
Sunday's critiques
Items we need by Monday's rehearsal
Vest for Roth
rag shoes for crazy woman
Wind/rain sound effects
Dirty crazy woman's blanket
Meat for Zack to sell - research this Dylan
More costumes for different characters. Paint sticks and signs.
Costume addition for Justin. Shawl for Zack and dif hat with hair.
Hat on Alina
Joel needs hat and shirt
paint the back of signs
safety pin Shelbi's pantaloons
2 small spray things
Titanic, Norma Rae, Newsies
Sandbags
Purses for girls with sewing supplies, kerchiefs, and aprons.
Vest for Roth
rag shoes for crazy woman
Wind/rain sound effects
Dirty crazy woman's blanket
Meat for Zack to sell - research this Dylan
More costumes for different characters. Paint sticks and signs.
Costume addition for Justin. Shawl for Zack and dif hat with hair.
Hat on Alina
Joel needs hat and shirt
paint the back of signs
safety pin Shelbi's pantaloons
2 small spray things
Titanic, Norma Rae, Newsies
Sandbags
Purses for girls with sewing supplies, kerchiefs, and aprons.
- August at the beginning
- Everyone, hit verbs in sentences.
- At the beginning, Zack and Justin - everyone stage business. Be bigger on stage - all guys at the beginning. You look frozen.
- Street people louder
- Bridget, say your line quicker.
- Ruth has a stern frozen look.
- Anytime anyone is talking, LOOK AT THEM
- Roth, no hands behind the back. Come in if possible and we will look for a vest.
- Murmur after Anya first mentions STRIKE
- Margaret was the only one showing the effects of the heat.
- I don't know who suggested it, but look at your scripts and see which parts are during certain times of the year.
- Society girls, pull hats back.
- Teresa with the rosary - great job
- Anya, your purse should be with you all the time.
- More murmuring in Lannon's meeting.
- People, show weariness in Lannon's meeting. Be frustrated and in a hurry to leave.
- Joe, watch "yer."
- Could not understand Stolle
- Stolle was not lustful.
- Anya, Thug Roger, Bridget, need to be slow, no in dancing - Kara & Alli
- Roger, kick Anya sooner.
- Josh, more rough with Teresa
- Cohen, slow down. Be bigger on the welcome
- Cohen, be snottier and look down on Anya - just who is...Just who is Anya Rosen? sarcastic
- Anya, more emotion out of Lannon's meeting - frustration and tears, a weakness.
- React to Anya's spitting
- Joe, great job!
- Oct/November is when Lannon's meeting takes place
- Josh, Push with strength during the dance and we need to work on it and your attitude toward women.
- Strike signs are up during Joe and Anya's discussion and during Bridget's monologue.
- Shake off umbrellas.
- More murmuring during Cohen's meeting.
- We need expression in the faces ALL the time.
- Cohen, work on your character. Think about what you are saying. You Do not like the women.
- Cohen, hit REFUSE
- Could not hear Lannon - You're not a part of this union
- Josh, step on Roger's lines - This is ridiculous.
- Men murmur during Anya's speech. We need to see expressions.
- People missed their entrances following Cohen's meeting.
- "Seconds" need to sound differently
- Everyone needs to react and notice the society girls. It is extremely COLD in this scene.
- Molly, great job. Be louder and look more confident.
- Justin, talk out.
- Bridget, watch how your are saying Justice. If you can't, say something else.
- Society girls, wear hats. Just having different clothes isn't enought. Chins up, shoulders back. Have more authority.
- Lenore, you're ill, more concern.
- Factory Owner - No one's business. It was not believable. The weather is on our side - sneer. Needs a jacket.
- Old man Zack, change voice, posture, etc. as old man
- Judge, hit the verbs. Have more authority. Shoulders back, chest out. Really expect, not honestly
- Men, take caps off during hearing scene.
- Roth sounds Texan
- Girls, look at Stolle and hate him. React when you discover he is Roth's witness
- Anya and Judge, look over lines.
- Society girls, react to everything being said. Work on insults so that we can hear them.
- Murmur more during the hearing.
- Judge, when do you get mad?
- Two months - MURMUR
- Blackwell's ISLAND - lose it
- Bailiff, don't push society girls.
- LINES!!!!!!!!!!! WHat happened?
- Anya, say "Clara, I'm sorry..." walking over to Clara
- Anya, don't say the Russian word.
- Bridget, sound more flirty - Mr. Mighty Johansen.
- Roth, don't lean during monologue.
- Bridget and crazy woman, great interaction.
- Violet, dance with fruit.
- In the tomb scene, LOOK at the person talking and REACT
- Stage business in tombs - think about the warden making the women work.
- Remember possibilities, new chances, etc.
- Crazy woman, let's fix rag shoes.
- Anya, going in and out of accent.
- Roger, for more is not in the script.
- Everyone's signs were on the same level except for Molly's. Vary those.
- Ruth, win strike - don't speak to the stage.
- Dream of a new world, Bridget, turn the other direction.
- Keri and Lana, let's choreograph the banging dance.
- Don't anticipate Clara's death.
- Joe, not so much hesitation
- Ruth, cry on the floor toward the audience.
- Tombs, Roth, stand close to the judge.
- In this scene, REACT to whomever is speaking.
- Newsboys, work on acting like newsboys.
- If you have read this far, in your comments, write "Only 13 more rehearsals if we are lucky." If you cannot get on line, email Ms. Couch -ccouch@shallowaterisd.net or call my extension -2239 OR put a note in my box in the office. YOu can also give your note to Ms. Smith if you see her and do not see me.
- Justin, straighten your posture.
- Josh, when shaking newspaper, don't have it in front of your mouth.
- Reporter, down left on bench
- Bigger, strike woman, starve in fresh air.
- Rehearse this last scene first Monday night. We need to move slowly or everyone freeze.
- Roth, use both hands to gesture. WHere is the doll? Don't back up.
- Freeze with mouths open - 2324
- More emotion at the end.
- STEP ON LINES
- Girls, we don't love you and Guys, we don't hate you.
- WORK on this. 32 days until contest. 13 rehearsals.
Friday, February 20, 2009
Emily and Molly writing to Mercati
This is in reference to Emily - Bridget's comments about Mercati's analysis.
Wow, this is too much for me to take in right now. But I will be getting back to you and the other student who e-mailed me(Molly). You have described perfectly, how the actor needs to get into the character's head. Hopefully, the playwright gives you some clues. IWhen I was writing my play on Jesse James' mother I started listening to blue grass and making things like chitlins and black eyed peas. For quite a while I was Mamaw, as her sons called her. Cynthia
Wow, this is too much for me to take in right now. But I will be getting back to you and the other student who e-mailed me(Molly). You have described perfectly, how the actor needs to get into the character's head. Hopefully, the playwright gives you some clues. IWhen I was writing my play on Jesse James' mother I started listening to blue grass and making things like chitlins and black eyed peas. For quite a while I was Mamaw, as her sons called her. Cynthia
Uta Hagen
Women, before Sunday, I want you to take a cold shower. Stay in it at least five minutes. Close your eyes. Think about all the sensations, the cold, the smell, what you want to do, but can't. Use this to recreate the rainy weather before Cohen's meeting.
Acting Techniques from the Masters
Handout Dr. Mary Shuttler’s University of Northern Colorado
Uta Hagen OBJECT EXERCISES
1) Basic Object Exercise
Recreate 2 minutes of your life. Pinpoint physical and psychological sensations.
Recreate as if it’s happening for the first time. result:discipline and tests selection and patience.
2) 3 Entrances
What did I JUST do, what am I doing right NOW, what’s the first thing I want?
3) Immediacy
Fight to prevent anticipation to it’s happening now. Hunt for something you lost or mislaid; high stakes. ex. key missing and no one has an extra. Give full attention to the search
4) 4th Wall
Telephone call based on 2 minute exercise. Pick a real call; see objects (primary and secondary.
Rehearse 10 times; no need for exact words.
5) Endowment
Since can’t always be real, get a cool cup of water and believe it’s hot, steaming coffee.
Find 3 tangible objects to endow with physical properties which would otherwise control
you. Must belong to a complete and logical set of circumstances. Use a variety; not all “taste” for ex. How you handle each object tells a story. Still use the 4 th wall.
6) Talking to Self
To gain control over circumstances. Talk to self when make lists, bored, compliment self, say what you should have said out loud. Decide physical task; contact inner and outer objects, then verbalize.
7) Outdoors
Use sense memory to create your outdoors. exercise: bench and briefcase at subway; waiting;
Flip inner and outer; primary to secondary objects.
8) Conditioning Forces
Many circumstances cause behavior. Set up simple exercise and change the conditions.
ex. getting ready for a party but you can’t wake your sis.
9) History
Pick a character from a play; log all about time, place... then play character doing a simple task.
10) Character Action
Put 2 characters from a or 2 different plays from around the same time into a different event.
Am I killing you guys?
Acting Techniques from the Masters
Handout Dr. Mary Shuttler’s University of Northern Colorado
Uta Hagen OBJECT EXERCISES
1) Basic Object Exercise
Recreate 2 minutes of your life. Pinpoint physical and psychological sensations.
Recreate as if it’s happening for the first time. result:discipline and tests selection and patience.
2) 3 Entrances
What did I JUST do, what am I doing right NOW, what’s the first thing I want?
3) Immediacy
Fight to prevent anticipation to it’s happening now. Hunt for something you lost or mislaid; high stakes. ex. key missing and no one has an extra. Give full attention to the search
4) 4th Wall
Telephone call based on 2 minute exercise. Pick a real call; see objects (primary and secondary.
Rehearse 10 times; no need for exact words.
5) Endowment
Since can’t always be real, get a cool cup of water and believe it’s hot, steaming coffee.
Find 3 tangible objects to endow with physical properties which would otherwise control
you. Must belong to a complete and logical set of circumstances. Use a variety; not all “taste” for ex. How you handle each object tells a story. Still use the 4 th wall.
6) Talking to Self
To gain control over circumstances. Talk to self when make lists, bored, compliment self, say what you should have said out loud. Decide physical task; contact inner and outer objects, then verbalize.
7) Outdoors
Use sense memory to create your outdoors. exercise: bench and briefcase at subway; waiting;
Flip inner and outer; primary to secondary objects.
8) Conditioning Forces
Many circumstances cause behavior. Set up simple exercise and change the conditions.
ex. getting ready for a party but you can’t wake your sis.
9) History
Pick a character from a play; log all about time, place... then play character doing a simple task.
10) Character Action
Put 2 characters from a or 2 different plays from around the same time into a different event.
Am I killing you guys?
A Better Sense Memory Explanation
Method Acting Reference
Sense Memory
Sense memory is re-living sensations that were experienced through the five senses. Strasberg stressed the term re-living and not just remembering. The difference lies between knowing something and truly recreating it. That difference is substantiated by psychology.
You have heard of psychosomatic illnesses and hypochondria. The mind can manifest symptoms and responses from simply believing the body is sick. This true even if the body is not sick. Sense memory exercises are designed to train you to be able to elicit a response from your body by concentrating on stimuli associated with an experience.
Sense memory is using your memory of real objects to create sensory objects on stage. You need a great deal on concentration to create a sensory object. When you can create a sensory object, you can invoke a �real� response. You will be re-living a sensory experience and not demonstrating an experience. From this stimulus that you know isn't real, suddenly all the other false things become real and you start behaving truthfully. The audience will believe the performance is real because the actor believes it is real. Sense memory creates great truth performance, which is the actors �ability to experience�.
For example, do you know the smell of movie theatre popcorn? When you think of it, do you recall the last movie you saw in the theatre? Does the memory of the smell help trigger other memories? By concentration on the smell, can you recall other aspects of your trip to the theatre? Does concentrating on the smell remind you of the sights and sounds of the theatre? Do the sense memories you recall help you remember the movie, the date and other details? You have recalled the sense memory of the smell of popcorn to re-live the experience of going to the movies.
Smell is the sense most closely associated with memory. It has been shown that smell helps triggers memory recall. Smells become associated with vivid memories.
You must concentrate on the sensory object and it�s stimuli. Do not concentrate on trying to elicit an emotion. Through practice you will learn what sensory objects produce the desired emotional response. Then you must simple devote your focus to produce the sensory object without regard for the emotion. The emotional response will follow naturally.
Again, the choice of the sensory object for a scene is up to you. Ideally, you should choose an object that you have practiced with and you know will provide the appropiate emotional response. If possible, make your choice relevant to the scene as well. The more sensory objects you have practiced, and the more scenes you work, the more skilled you will become. Dozens of scenes are waiting for you to use at www.actingscenes.com. You can download them instantly.
Sense Memory
Sense memory is re-living sensations that were experienced through the five senses. Strasberg stressed the term re-living and not just remembering. The difference lies between knowing something and truly recreating it. That difference is substantiated by psychology.
You have heard of psychosomatic illnesses and hypochondria. The mind can manifest symptoms and responses from simply believing the body is sick. This true even if the body is not sick. Sense memory exercises are designed to train you to be able to elicit a response from your body by concentrating on stimuli associated with an experience.
Sense memory is using your memory of real objects to create sensory objects on stage. You need a great deal on concentration to create a sensory object. When you can create a sensory object, you can invoke a �real� response. You will be re-living a sensory experience and not demonstrating an experience. From this stimulus that you know isn't real, suddenly all the other false things become real and you start behaving truthfully. The audience will believe the performance is real because the actor believes it is real. Sense memory creates great truth performance, which is the actors �ability to experience�.
For example, do you know the smell of movie theatre popcorn? When you think of it, do you recall the last movie you saw in the theatre? Does the memory of the smell help trigger other memories? By concentration on the smell, can you recall other aspects of your trip to the theatre? Does concentrating on the smell remind you of the sights and sounds of the theatre? Do the sense memories you recall help you remember the movie, the date and other details? You have recalled the sense memory of the smell of popcorn to re-live the experience of going to the movies.
Smell is the sense most closely associated with memory. It has been shown that smell helps triggers memory recall. Smells become associated with vivid memories.
You must concentrate on the sensory object and it�s stimuli. Do not concentrate on trying to elicit an emotion. Through practice you will learn what sensory objects produce the desired emotional response. Then you must simple devote your focus to produce the sensory object without regard for the emotion. The emotional response will follow naturally.
Again, the choice of the sensory object for a scene is up to you. Ideally, you should choose an object that you have practiced with and you know will provide the appropiate emotional response. If possible, make your choice relevant to the scene as well. The more sensory objects you have practiced, and the more scenes you work, the more skilled you will become. Dozens of scenes are waiting for you to use at www.actingscenes.com. You can download them instantly.
Sanford Meisner - Method Acting
Sanford Meisner was an influential acting teacher/director who followed Stanislovsky. I was trying to find acting exercises to help you deliver the lines with more believability. The cold shower exercise as well as the animal exercise are both tools that we can use for To See the Stars. Read through this and see if you can apply it to your role.
Method Acting - Practical Excercises for the Actor
By: Brian Timoney
Method Acting TipsThe Method has become synonymous with many great actors such as Daniel Day Lewis, Sean Penn, Forest Whitaker, Al Pacino, Meryl Streep, and Marlon Brando to name but a few. But what is the Method? And what has made it so successful?Below are practical exercises from the technique that clarify some of the tools used by Method actors.
1. Develop Your ConcentrationA high level of concentration is essential to enable top quality acting. Concentration triggers your belief, impulses and imagination.Concentration is not abstract. Often you will hear teachers or directors telling actors to concentrate and focus, but on what? You have to concentrate on something real and something specific this evokes real thought. Not phony or pretend thinking, but real thought.The first exercise we tackle in the Method to build concentration and belief in what we are doing on stage, is the Sense Memory exercise.
2. Sense Memory ExerciseIt is understood that we perceive the world through our senses. We see, we hear, we smell, we touch, we taste. This is what stimulates us as human beings. It's also understood that the memory of these senses can affect us. We have all felt hungry and thought of our favorite food and started to salivate, or heard a song that has reminded us of a relationship we once had. Our memories are strongly linked to our senses.To develop your concentration and sense memory, begin with a simple exercise.The Breakfast Drink - Recall what you drink first thing in the morning in intricate detail. Close your eyes and recreate in your mind's eye the room that you have the drink in - really see it, smell it, touch it, hear it. Then bring your attention to the drink and slowly start to drink, really concentrating on the senses. Try this for 15-20 minutes. Then choose a monologue you have learned by heart and start to say the lines whilst thinking about the drink. The drink is the main focus of concentration the lines are secondary.You must ensure that you are truly focused on the drink. Test this by continually asking sense questions internally to yourself, such as ‘How hot or cold is it? What is the cup made of? How does it taste?', whilst saying the lines at the same time. Tricky I know, but it will have a significant effect on the believability of the lines. The reason for this is that the experience of the drink is real to you - you believe in the drink. This belief starts to transcend into the words of the character.
3. Overall Sensation ExerciseIn the same way as the breakfast drink, try an overall sensation sense memory. Ok, this part can be a bit uncomfortable, but take a cold shower….for real. Then later try and recreate in your mind's eye that event. Use all your senses to relive the cold shower. Once you have done this for 15-20 mins, try saying the lines from a monologue whilst recreating the experience of the cold shower. This will have quite an impact on your senses and will impact the way that you say the lines significantly.
4. Personal Object ExerciseOk, you are probably getting the hang of this concept by now. This time, identify a personal object from your own life that has significant meaning to you. Take the object and really focus on it. Investigate it from a sense point of view. How does it look, smell, taste, feel and sound? Whilst doing this, start to say the lines from a monologue. Do nothing more other than investigate the object in intricate detail and say the lines. The memory of the object will impact the way that you say the lines of the character.
5. The Animal ExerciseThis exercise is relatively famous within the technique. It requires you to humanize an animal's physicality to recreate a new physicality for a character. If you look at Marlon Brando's performance in the ‘Godfather', he plays a bulldog or in ‘A Street Car Named Desire' you can see that he plays an ape.Pick a wild animal that you think could have similarities to your character. Go to the zoo and study the animal physically. Study how they move, eat and sleep, in detail. Then at home, physically recreate to the best of your ability, the animal. Once you have done this for awhile, stand up and humanise the animal. How would it walk and move if it were human?
Article Source: http://www.articlenorth.com
Author: Brian Timoney www.themethodcentre.co.uk email:info@themethodcentre.co.uk Brian is an experienced actor, director and teacher of the Method. He established The Method Centre in London, an actors studio in the UK focused on the Method.
Method Acting - Practical Excercises for the Actor
By: Brian Timoney
Method Acting TipsThe Method has become synonymous with many great actors such as Daniel Day Lewis, Sean Penn, Forest Whitaker, Al Pacino, Meryl Streep, and Marlon Brando to name but a few. But what is the Method? And what has made it so successful?Below are practical exercises from the technique that clarify some of the tools used by Method actors.
1. Develop Your ConcentrationA high level of concentration is essential to enable top quality acting. Concentration triggers your belief, impulses and imagination.Concentration is not abstract. Often you will hear teachers or directors telling actors to concentrate and focus, but on what? You have to concentrate on something real and something specific this evokes real thought. Not phony or pretend thinking, but real thought.The first exercise we tackle in the Method to build concentration and belief in what we are doing on stage, is the Sense Memory exercise.
2. Sense Memory ExerciseIt is understood that we perceive the world through our senses. We see, we hear, we smell, we touch, we taste. This is what stimulates us as human beings. It's also understood that the memory of these senses can affect us. We have all felt hungry and thought of our favorite food and started to salivate, or heard a song that has reminded us of a relationship we once had. Our memories are strongly linked to our senses.To develop your concentration and sense memory, begin with a simple exercise.The Breakfast Drink - Recall what you drink first thing in the morning in intricate detail. Close your eyes and recreate in your mind's eye the room that you have the drink in - really see it, smell it, touch it, hear it. Then bring your attention to the drink and slowly start to drink, really concentrating on the senses. Try this for 15-20 minutes. Then choose a monologue you have learned by heart and start to say the lines whilst thinking about the drink. The drink is the main focus of concentration the lines are secondary.You must ensure that you are truly focused on the drink. Test this by continually asking sense questions internally to yourself, such as ‘How hot or cold is it? What is the cup made of? How does it taste?', whilst saying the lines at the same time. Tricky I know, but it will have a significant effect on the believability of the lines. The reason for this is that the experience of the drink is real to you - you believe in the drink. This belief starts to transcend into the words of the character.
3. Overall Sensation ExerciseIn the same way as the breakfast drink, try an overall sensation sense memory. Ok, this part can be a bit uncomfortable, but take a cold shower….for real. Then later try and recreate in your mind's eye that event. Use all your senses to relive the cold shower. Once you have done this for 15-20 mins, try saying the lines from a monologue whilst recreating the experience of the cold shower. This will have quite an impact on your senses and will impact the way that you say the lines significantly.
4. Personal Object ExerciseOk, you are probably getting the hang of this concept by now. This time, identify a personal object from your own life that has significant meaning to you. Take the object and really focus on it. Investigate it from a sense point of view. How does it look, smell, taste, feel and sound? Whilst doing this, start to say the lines from a monologue. Do nothing more other than investigate the object in intricate detail and say the lines. The memory of the object will impact the way that you say the lines of the character.
5. The Animal ExerciseThis exercise is relatively famous within the technique. It requires you to humanize an animal's physicality to recreate a new physicality for a character. If you look at Marlon Brando's performance in the ‘Godfather', he plays a bulldog or in ‘A Street Car Named Desire' you can see that he plays an ape.Pick a wild animal that you think could have similarities to your character. Go to the zoo and study the animal physically. Study how they move, eat and sleep, in detail. Then at home, physically recreate to the best of your ability, the animal. Once you have done this for awhile, stand up and humanise the animal. How would it walk and move if it were human?
Article Source: http://www.articlenorth.com
Author: Brian Timoney www.themethodcentre.co.uk email:info@themethodcentre.co.uk Brian is an experienced actor, director and teacher of the Method. He established The Method Centre in London, an actors studio in the UK focused on the Method.
Thursday, February 19, 2009
Ms. Mercati wrote back again.
I do think brainstorming with the guys, letting them talk and feel out their characters, and remember they need someone to put down to feel better about their low place in life, would help.And also to emphasize the poverty and sadness they live in, and see no way out but obeying the bosses.Hope this helps.My growing up was so different. My high school was the last school to be integrated in Chicago and those were hard, horrible times, guns, the whole bit, white guys blocking the entrances, black girlsbeing harassed, people yelling at teenagers just trying to get into school. It just all stems out of ignorance.Cindy
I do think brainstorming with the guys, letting them talk and feel out their characters, and remember they need someone to put down to feel better about their low place in life, would help.And also to emphasize the poverty and sadness they live in, and see no way out but obeying the bosses.Hope this helps.My growing up was so different. My high school was the last school to be integrated in Chicago and those were hard, horrible times, guns, the whole bit, white guys blocking the entrances, black girlsbeing harassed, people yelling at teenagers just trying to get into school. It just all stems out of ignorance.Cindy
Cynthia Mercati and Rehearsal Thursday Night
I wrote Ms. Mercati and told her we were struggling with hating the guys and loving the women. Read Kayla's comments. This is the advice she has given us.
Playwrights love to talk about their characters.Maybe you have done this, but I usually create a backstory for my characters, much as I do for the characters in my plays. I think the guys need to think of the world their characters inhabit. It is a LONG way from equal rights, correct language and all that modern stuff. In those days you were pretty much on your own and you needed some group to hang with for protection, namely working for the boss as a thug. They're poor, with no education and very little chance for advancement in any way - their advancement will come through advancing through the ranks as criminals.They are trapped, and they hate the women for stepping outside of their wretched life and doing something about it.And of course, they don't think of themselves as thugs. I always tell my writing students you have to find some kind of empathy for your character - even Hitler didn't get up in the morning and say, Hey, I think I'll rally be bad today. You don't have to like your character but you have to find a way to get under their skin, find out what motivates them.Also, it was a terribly corrupt time, everyone took bribes, kickbacks, you name it. I am first generation American. My father was born in Italy and I remember so clearly the day he told me about the Mafia and how it was the salvation of the Italians. They couldn't read nor write English, and there was no one to defend them in any court. We lived in Chicago. Even in his 70's, he still had a residual hatred for the Irish because, as he said, they could speak English which gave them an advantage over the Italians, and in those days, Italian weren't even considered "white." My mother was Russian, a White Russian, meaning her family had fought for the Czar, and when the neighbors heard my mom was to marry an Italian, the whole Russian enclave was in an uproar.These guys are doing what they need to do to survive. Had circumstances been different, if they'd had a bit of education, lived in a better neighborhood, they would have turned out differently.To this very day, and it drives my liberal friends crazy, I cannot condemn the Mafia, because as my father said, we could only look to our own for protection. In Chicago, as I believe in NY also, the Irish became the cops and the firefighters and the Italians were the ones they were chasing.Can your guys think of themselves that way? I mean, these guys are tough, but have reason to be so. They grew up poor, with no hope, no help, they had to use what they had, their fists and their spirit.Godfather II gives a good example of this.So when your back is against the wall, you know no decent place is going to hire you, you do what you have to do to survive. And if it means whacking girls, you do it. As for the corrupt officials, they were corrupt in a way that we can't even fathom. You took bribes, you cozied up the slimy rich people, all to keep living. And if as a corrupt official, and you had a good thing going, you didn't rock the boat.I hope some of this helps.The guys need to get out of themselves and maybe brainstorm together, with you perhaps helping them. Who are they? Maybe someone's father is dead and he has to support his mother and brothers and sisters, being the oldest son, and all he knows how to do is fight. Maybe one of them sees the beautiful things in the window and knows he'll NEVER make enough legitimately to own some of those things. His only chance is to work themselves up the ladder, from thug, to bag man, to something higher in the order, bodyguard maybe.My cousin married the son of Sam Giancana's bodyguard - you might not know the name, but he was mob boss in Chicago, before he got whacked. My cousin's children were actually driven to school every day out of fear that someone might kidnap them or worse.Yes, they're mean to the girls, but they're being paid to do so, AND, everybody wants someone to lookdown on. The thugs are at the bottom of the heap, but as long as the girls are underneath them, they're not quite at the bottom.I still react defensively to jokes about Dagos, Wops, Guineas - when I moved to Iowa, people didn't even know a Guinea, as in sandwich, was an offensive name to Italians.So, they need to think, Their backs are to the wall, they need money and this is the only way they know how to get it.I couldn't watch The Sopranos, because it hit too close to home, but Good Fellas gives a good example of life as a thug.Have the guys think what would they do, what would they do - they live in a tenement, it smells, they have one bathroom for a zillion people, it's dirty. Their mother is in the flat, waiting for money from her son to wangle some food out of the street vendors, they have sisters they love, and actually can separate their sisters from the girls they push around. Their father is dead, and everywhere they look, are desperate people looking to them for help. You could get pretty angry and pretty crazy. My father was so poor, it haunted him all his days. On his deathbed he was still talking about the wretched way he grew up, even though he became quite successful and sent me to college. (Being a good Italian girl I was supposed to go college - the first one in my family to do so, but not use anything I learned, just get married.)I think cities like NY and Chicago and Philly have this loud culture because of all the flamboyant nationalities they settled there, Italian, Irish, Jewish, etc. The guys need to get in that mind set.Out in the country, at least here in Iowa, we have the stoic Germans and placid Scandinavians.But these thugs and Italians, too, we don't know from farming.And of course, think what a threat a bunch of intelligent girls was to these guys,Cindy
Her email address is mercatiwriter@aol.com Please write her with questions, especially about your characters.
Notes from Kara and Alli
Playwrights love to talk about their characters.Maybe you have done this, but I usually create a backstory for my characters, much as I do for the characters in my plays. I think the guys need to think of the world their characters inhabit. It is a LONG way from equal rights, correct language and all that modern stuff. In those days you were pretty much on your own and you needed some group to hang with for protection, namely working for the boss as a thug. They're poor, with no education and very little chance for advancement in any way - their advancement will come through advancing through the ranks as criminals.They are trapped, and they hate the women for stepping outside of their wretched life and doing something about it.And of course, they don't think of themselves as thugs. I always tell my writing students you have to find some kind of empathy for your character - even Hitler didn't get up in the morning and say, Hey, I think I'll rally be bad today. You don't have to like your character but you have to find a way to get under their skin, find out what motivates them.Also, it was a terribly corrupt time, everyone took bribes, kickbacks, you name it. I am first generation American. My father was born in Italy and I remember so clearly the day he told me about the Mafia and how it was the salvation of the Italians. They couldn't read nor write English, and there was no one to defend them in any court. We lived in Chicago. Even in his 70's, he still had a residual hatred for the Irish because, as he said, they could speak English which gave them an advantage over the Italians, and in those days, Italian weren't even considered "white." My mother was Russian, a White Russian, meaning her family had fought for the Czar, and when the neighbors heard my mom was to marry an Italian, the whole Russian enclave was in an uproar.These guys are doing what they need to do to survive. Had circumstances been different, if they'd had a bit of education, lived in a better neighborhood, they would have turned out differently.To this very day, and it drives my liberal friends crazy, I cannot condemn the Mafia, because as my father said, we could only look to our own for protection. In Chicago, as I believe in NY also, the Irish became the cops and the firefighters and the Italians were the ones they were chasing.Can your guys think of themselves that way? I mean, these guys are tough, but have reason to be so. They grew up poor, with no hope, no help, they had to use what they had, their fists and their spirit.Godfather II gives a good example of this.So when your back is against the wall, you know no decent place is going to hire you, you do what you have to do to survive. And if it means whacking girls, you do it. As for the corrupt officials, they were corrupt in a way that we can't even fathom. You took bribes, you cozied up the slimy rich people, all to keep living. And if as a corrupt official, and you had a good thing going, you didn't rock the boat.I hope some of this helps.The guys need to get out of themselves and maybe brainstorm together, with you perhaps helping them. Who are they? Maybe someone's father is dead and he has to support his mother and brothers and sisters, being the oldest son, and all he knows how to do is fight. Maybe one of them sees the beautiful things in the window and knows he'll NEVER make enough legitimately to own some of those things. His only chance is to work themselves up the ladder, from thug, to bag man, to something higher in the order, bodyguard maybe.My cousin married the son of Sam Giancana's bodyguard - you might not know the name, but he was mob boss in Chicago, before he got whacked. My cousin's children were actually driven to school every day out of fear that someone might kidnap them or worse.Yes, they're mean to the girls, but they're being paid to do so, AND, everybody wants someone to lookdown on. The thugs are at the bottom of the heap, but as long as the girls are underneath them, they're not quite at the bottom.I still react defensively to jokes about Dagos, Wops, Guineas - when I moved to Iowa, people didn't even know a Guinea, as in sandwich, was an offensive name to Italians.So, they need to think, Their backs are to the wall, they need money and this is the only way they know how to get it.I couldn't watch The Sopranos, because it hit too close to home, but Good Fellas gives a good example of life as a thug.Have the guys think what would they do, what would they do - they live in a tenement, it smells, they have one bathroom for a zillion people, it's dirty. Their mother is in the flat, waiting for money from her son to wangle some food out of the street vendors, they have sisters they love, and actually can separate their sisters from the girls they push around. Their father is dead, and everywhere they look, are desperate people looking to them for help. You could get pretty angry and pretty crazy. My father was so poor, it haunted him all his days. On his deathbed he was still talking about the wretched way he grew up, even though he became quite successful and sent me to college. (Being a good Italian girl I was supposed to go college - the first one in my family to do so, but not use anything I learned, just get married.)I think cities like NY and Chicago and Philly have this loud culture because of all the flamboyant nationalities they settled there, Italian, Irish, Jewish, etc. The guys need to get in that mind set.Out in the country, at least here in Iowa, we have the stoic Germans and placid Scandinavians.But these thugs and Italians, too, we don't know from farming.And of course, think what a threat a bunch of intelligent girls was to these guys,Cindy
Her email address is mercatiwriter@aol.com Please write her with questions, especially about your characters.
Notes from Kara and Alli
- Anya, carry your purse to do your monologue, so that you can immediately cross to the Lannon scene.
- Lannon - Say what "you" got to say. not JEWS
- Can't understand Stolle as the thug.
- Bridget sounds Russian or something during the striking scene.
- Thugs, push one another around more.
- Girls, shield against the rain with shawls on the way to meeting after Bridget's monologue.
- Molly rules - She leads. She doesn't follow!
We made a lot of progress tonight. Thanks for sticking with us. We missed you Ladies so much!
"FIND IN YOURSELF THOSE HUMAN THINGS WHICH ARE UNIVERSAL."- SANFORD MEISNER
Cuts
Ruth, that line establishes that you are Jewish. It is my favorite Bible story because Sarah was such a devout Christian as well as daughter in law. I probably think about her everytime I am with my mother in law. Crazy? The judge, in all fairness, will not have that in his/her experience. Greg and I talked about the play last night. He said it drug in two places - the society girls' scene and the jail scene with the pots and pans. Look at these two areas. The society girls' scene needs oomph, not cutting. However, the tomb scene's pot dancing could be cut some. Think about other areas that can be cut. We will tighten the play up with transitions. This is a cool website. Use it to create character emotions for your character or for the play. http://www.wordle.net/create
Tuesday, February 17, 2009
February 17
"Character cannot be developed in ease and quiet. Only through experience of trial and suffering can the soul be strengthened, ambition inspired, and success achieved."Character in this quote is two-fold. Think about your characters and their lives - the good and bad experiences.
We are not sure when the game will be over, so no rehearsal tonight. We will rehearse in the mornings when we miss a night rehearsal. Be prepared because both teams are going to advance. What time are other practices? Let me know.
Tomorrow, be in my room no later than 8:30 with a lunch. We will have meals for the rest of the clinics. We will do makeup IN THE BUS. I do not want to use Tulia's dressing rooms because it is too chaotic with our stuff and theirs. Wear costumes on the bus. Be in character ON THE BUS. If you play several characters, be in character in the one that is hardest for you to portray. We will do character extension exercises on the way down there.
Jaxson, if you can get the DVD, we can watch it. Everyone, remind Jaxson.
Love you guys!
We are not sure when the game will be over, so no rehearsal tonight. We will rehearse in the mornings when we miss a night rehearsal. Be prepared because both teams are going to advance. What time are other practices? Let me know.
Tomorrow, be in my room no later than 8:30 with a lunch. We will have meals for the rest of the clinics. We will do makeup IN THE BUS. I do not want to use Tulia's dressing rooms because it is too chaotic with our stuff and theirs. Wear costumes on the bus. Be in character ON THE BUS. If you play several characters, be in character in the one that is hardest for you to portray. We will do character extension exercises on the way down there.
Jaxson, if you can get the DVD, we can watch it. Everyone, remind Jaxson.
Love you guys!
Sunday, February 15, 2009
Sunday, February 15
Remember to come by my room, check posts, or check with others about rehearsal Monday night.
Remember to write a letter for Alina. Speak of the contributions she has made for our school.
Thank Ms. Elston for her work today - also Jaxson for transferring tape to DVD.
We go to Tulia Wednesday. I want you to be at the best level possible
From Kara and Alli
1. Josh, First line sounded rehearsed.
2. Step on lines in the first scene.
3. Roth, vary tones more. Watch giving lines to the cyc.
4. Anya, raise arm during first meeting
Evryone, watch "yer" for your.
5. Anya, good job wiping head. Everyone needs to follow.
6. Roger and Zack, good job being mean to girls.
7. Everyone of the thugs should be as mean.
8. Study your lines even if you think you know them.
9. Joe, use a lower voice.
10. Pat attention to the weather.
11. ANya, good job warming hands.
12. Roth, freeze.
13. People are sounding Texan
14. Good job, Judge.
15. Don't add words to the script.
16. Chavez - Jew
17. Stolle, be a pig in the hearing scene.
18. Julie needs a hanky as Rosie
19. Good job, Roth
20. Zack, remember to take Rosie off.
21. Good job banging bowls.
Keri
1. Zack, left stage few words about giving money to strikers.
2. Judge, some lines seemed rehearsed.
3. Ladies, remember that you need to sit up straight - Bridget and Ruth
4. Shelbi, sneeze sounded good even if it was an accident, maybe you can fake a sneeze.
5. During th epot banging, if you are going to bang that loudly, be louder on lines.
6. Clara's death scene - Great job Anya
7. Kalyn, when Joe is talking to Anya, while they are talking in the tombs, you need to be doing something.
8. Josh, during the strike scene, you were not believable.
Mine
1. Light people, good job with Justin and Brent missing.
2. Be sure light and music start simultaneously with opening of curtain.
3. 4 women at the beginning, keep moving after you have spoken, so the audience doesn't think you are supposed to be frozen and are moving.
4. STEP ON LINES
5. Roth, "you girls:" directed at Bridget. Don't bend. It weakens your character. You and Roger improve visibly each rehearsal.
6. Justin, talk to people in the scenes.
7. Bridget and Anya, good job.
8.Chavez, be meaner to Shebi when she takes the sign. Everyone should react when she says she would rather pick up a strike sign, especially those right stage.
9. Roger, in the fight dance, keep upstage foot forward.
10. Thugs, when exiting, go out different exits, and talk to each other leaving.
11. EVERYONE, DO NOT hit curtain.
12. Take your hands off me, turn left.
13. Joe and ANya, - Anya, move more downstage so that Joe is not speaking upstage.
14. It is raining before and during Cohen's meeting.
15. Cohen, think what you are saying as you are saying it. The lines are powerful. Vary feelings and tone.
16. Teresa, look at Clara. Everyone in the three meeting scenes, turn in and speak to the person behind you - this is Justin, Teresa, Bridget, etc.
17. Women, warm your hands in the Cohen scene.
18. Josh and Justin switch places.
19. Roger, great job as union member.
20. Cohen, react to the ignorant man line
21. MURMURING MUST BE LOUD
22. Don't hit curtain, Alina and Shelbi
23. People with lines, enter at different times before the society women come out. You are watching the scene. Come in as early as possible.
24. Step on lines, during society girls scene.
25. Going to trial, murmur. Murmur in hearing.
26. Judge great job
27. ROth, use upstage hand to gestrue.
28. Bridget, turn dif way when speaking to Julie.
29. Murmur after society girls disrupt hearing.
30. Murmur after two months.
31. Tombs move brown bench on end and out o fthe way. We do not use it after Cohen meeting.
32. Roth's monologue - good job - very natural
33. Josh, work on crazy dance. Let Alina show you.
34. Lines in the tomb. Think about the things you hate. We need to see that in your faces.
35. Girls need to be different.
36. Sound of Singin - to GOD not upstage.
37. Joe, move out more so we can see you see Clara.
38. Chavez, hold girls back if Zack is removing Clara.
39. Josh, newsboy, move right stage.
40. Stage business, Emily turn more to the audience. Move the bench if it is not working.
41. Judge, Stolle talking to each other at the beginning and at the end.
42. EVERYONE, Hit your verbs. Those are the most im portant words in each line of dialogue. If you have read this far, tell me for an A.
42. I will get Roth a cane.
43. Roth, don't back up during last speeches.
44. Lannon, get out sooner, when Joe comes out.
45. Keep light on the people at the end.
At the next rehearsal, we will do a speed through. It was 47:47.
Love you guys. Great job today!
Sometimes we allow fear to be an obstacle preventing us from reaching our goals. The only way to get beyond a fear is to march straight through it. Otherwise, you will either create a terribly long, circuitous route around it, or you will let your fear totally block your life path. If you hide from your fears, you are hiding from new opportunity that might be waiting for you. So stare down your fears and get back to your life.
Remember to write a letter for Alina. Speak of the contributions she has made for our school.
Thank Ms. Elston for her work today - also Jaxson for transferring tape to DVD.
We go to Tulia Wednesday. I want you to be at the best level possible
From Kara and Alli
1. Josh, First line sounded rehearsed.
2. Step on lines in the first scene.
3. Roth, vary tones more. Watch giving lines to the cyc.
4. Anya, raise arm during first meeting
Evryone, watch "yer" for your.
5. Anya, good job wiping head. Everyone needs to follow.
6. Roger and Zack, good job being mean to girls.
7. Everyone of the thugs should be as mean.
8. Study your lines even if you think you know them.
9. Joe, use a lower voice.
10. Pat attention to the weather.
11. ANya, good job warming hands.
12. Roth, freeze.
13. People are sounding Texan
14. Good job, Judge.
15. Don't add words to the script.
16. Chavez - Jew
17. Stolle, be a pig in the hearing scene.
18. Julie needs a hanky as Rosie
19. Good job, Roth
20. Zack, remember to take Rosie off.
21. Good job banging bowls.
Keri
1. Zack, left stage few words about giving money to strikers.
2. Judge, some lines seemed rehearsed.
3. Ladies, remember that you need to sit up straight - Bridget and Ruth
4. Shelbi, sneeze sounded good even if it was an accident, maybe you can fake a sneeze.
5. During th epot banging, if you are going to bang that loudly, be louder on lines.
6. Clara's death scene - Great job Anya
7. Kalyn, when Joe is talking to Anya, while they are talking in the tombs, you need to be doing something.
8. Josh, during the strike scene, you were not believable.
Mine
1. Light people, good job with Justin and Brent missing.
2. Be sure light and music start simultaneously with opening of curtain.
3. 4 women at the beginning, keep moving after you have spoken, so the audience doesn't think you are supposed to be frozen and are moving.
4. STEP ON LINES
5. Roth, "you girls:" directed at Bridget. Don't bend. It weakens your character. You and Roger improve visibly each rehearsal.
6. Justin, talk to people in the scenes.
7. Bridget and Anya, good job.
8.Chavez, be meaner to Shebi when she takes the sign. Everyone should react when she says she would rather pick up a strike sign, especially those right stage.
9. Roger, in the fight dance, keep upstage foot forward.
10. Thugs, when exiting, go out different exits, and talk to each other leaving.
11. EVERYONE, DO NOT hit curtain.
12. Take your hands off me, turn left.
13. Joe and ANya, - Anya, move more downstage so that Joe is not speaking upstage.
14. It is raining before and during Cohen's meeting.
15. Cohen, think what you are saying as you are saying it. The lines are powerful. Vary feelings and tone.
16. Teresa, look at Clara. Everyone in the three meeting scenes, turn in and speak to the person behind you - this is Justin, Teresa, Bridget, etc.
17. Women, warm your hands in the Cohen scene.
18. Josh and Justin switch places.
19. Roger, great job as union member.
20. Cohen, react to the ignorant man line
21. MURMURING MUST BE LOUD
22. Don't hit curtain, Alina and Shelbi
23. People with lines, enter at different times before the society women come out. You are watching the scene. Come in as early as possible.
24. Step on lines, during society girls scene.
25. Going to trial, murmur. Murmur in hearing.
26. Judge great job
27. ROth, use upstage hand to gestrue.
28. Bridget, turn dif way when speaking to Julie.
29. Murmur after society girls disrupt hearing.
30. Murmur after two months.
31. Tombs move brown bench on end and out o fthe way. We do not use it after Cohen meeting.
32. Roth's monologue - good job - very natural
33. Josh, work on crazy dance. Let Alina show you.
34. Lines in the tomb. Think about the things you hate. We need to see that in your faces.
35. Girls need to be different.
36. Sound of Singin - to GOD not upstage.
37. Joe, move out more so we can see you see Clara.
38. Chavez, hold girls back if Zack is removing Clara.
39. Josh, newsboy, move right stage.
40. Stage business, Emily turn more to the audience. Move the bench if it is not working.
41. Judge, Stolle talking to each other at the beginning and at the end.
42. EVERYONE, Hit your verbs. Those are the most im portant words in each line of dialogue. If you have read this far, tell me for an A.
42. I will get Roth a cane.
43. Roth, don't back up during last speeches.
44. Lannon, get out sooner, when Joe comes out.
45. Keep light on the people at the end.
At the next rehearsal, we will do a speed through. It was 47:47.
Love you guys. Great job today!
Sometimes we allow fear to be an obstacle preventing us from reaching our goals. The only way to get beyond a fear is to march straight through it. Otherwise, you will either create a terribly long, circuitous route around it, or you will let your fear totally block your life path. If you hide from your fears, you are hiding from new opportunity that might be waiting for you. So stare down your fears and get back to your life.
Friday, February 13, 2009
Cynthia Mercati
Cynthia Mercati said,"Always my primary motivation is to tell a good story, keep the audience entertained, and slip in a few words about my eternal theme—never give up! I've been writing since I could write—my mother says before I could write, I drew pictures and told stories out loud—and my theme never seems to vary. It's always about the little person fighting back against overwhelming odds [who], because of a lively determination and energetic perseverance, always prevails—be it in baseball, World War II, or coming to America.
Valentines Day
I tried to figure out what to do for you guys. It is Valentine’s weekend. It is Friday the Thirteenth – a conundrum of days. I ran across this quote.
"A pearl is a beautiful thing that is produced by an injured life. It is the tear [that results] from the injury of the oyster. The treasure of our being in this world is also produced by an injured life, Jesus Christ(to my way of thinking – I am not touting religion, but reflecting on world beliefs). (Think about yourselves) If we had not been wounded, if we had not been injured, then we will not produce the pearl." Stephan Hoeller We become better people because of life’s challenges.
We have all had sorrows, disappointments – some of us to a greater degree than others. This goes along with our play. Had it not been for people as these characters based on truth, our world would be so much different. As actors, search within your selves for the truth you can bring to the stage.
As team players, our ensemble, be grateful for the blessings that we each have – regardless of the economy, the drama, the political climate. Compile a list of blessings that you have – add to the list when you think about it.
This is my Valentine’s gift to you – reflection. I also have a token for you to carry with you – a button with a heart. To See the Stars has such heart. We are such a close family, and that is the first blessing I am adding to my list.
Love you guys. Go to your lockers and pick up your hearts.
"A pearl is a beautiful thing that is produced by an injured life. It is the tear [that results] from the injury of the oyster. The treasure of our being in this world is also produced by an injured life, Jesus Christ(to my way of thinking – I am not touting religion, but reflecting on world beliefs). (Think about yourselves) If we had not been wounded, if we had not been injured, then we will not produce the pearl." Stephan Hoeller We become better people because of life’s challenges.
We have all had sorrows, disappointments – some of us to a greater degree than others. This goes along with our play. Had it not been for people as these characters based on truth, our world would be so much different. As actors, search within your selves for the truth you can bring to the stage.
As team players, our ensemble, be grateful for the blessings that we each have – regardless of the economy, the drama, the political climate. Compile a list of blessings that you have – add to the list when you think about it.
This is my Valentine’s gift to you – reflection. I also have a token for you to carry with you – a button with a heart. To See the Stars has such heart. We are such a close family, and that is the first blessing I am adding to my list.
Love you guys. Go to your lockers and pick up your hearts.
Thursday, February 12, 2009
Critique February 12
Items we need:
Sandbags
Briefcase
Cane
Parasols
Something to cover the clamp - Dylan look this up.
1. Everyone is still too stiff on stage. The opening is going to make or break us. We must believe it is a street in New York.
2. Everyone should be as individualized as Clara is - but in their own culture
3. The area between the sidewalk and street was dirt. The street was paved bricks. At the beginning of the play it is humid and hot - August. We need to see temperatures.
4. Alli and Kara can hear random conversations. Ask them to elaborate.
5. In the village scene, not everyone is looking at people's wares.
6. Pay attention to each other.
7. Roth, vary your vocals.
8.Tonight was useful if you observed the movie. Watch movies and see how actors become a living breathing individual.
We need to be on stage by 11:05, so we will leave Shallowater at 9AM. We will return by 2:30 or so. Bring your lunch. We can keep it cool in the bus. We perform at an awkward time.
Festival Feb 18th - Tulia
Floydada- 9:00-11:00 set up at 8:50 9:00-11:00
Shallowater- set up time 11:05 11:15-1:00
Canyon- set up time 1:05 1:15-3:15
Tulia- 3:30-5:30
Clinician is Dr. Kerry Moore
Festival - February 25 - Snyder
Leave Shallowater at 5:30AM. We are on stage at 9AM. We will be home by 2PM.
Clinician - Ray Newton
Festival - March 13th - Tulia
Tulia- 8:45-10:45
Shallowater-11:00-1:00 set- up at 10-:35
Farwell-1:15-3:30 set-up at 1:05
Happy- 3:45-5:45 set up at 3:35
Plainview- set up time 6:00-8:00 set up time 5:50
Perry Crafton is the critic judge.
Some of these times may change, but not by much.
Rest. Stay well. Love you, Guys!
Sandbags
Briefcase
Cane
Parasols
Something to cover the clamp - Dylan look this up.
1. Everyone is still too stiff on stage. The opening is going to make or break us. We must believe it is a street in New York.
2. Everyone should be as individualized as Clara is - but in their own culture
3. The area between the sidewalk and street was dirt. The street was paved bricks. At the beginning of the play it is humid and hot - August. We need to see temperatures.
4. Alli and Kara can hear random conversations. Ask them to elaborate.
5. In the village scene, not everyone is looking at people's wares.
6. Pay attention to each other.
7. Roth, vary your vocals.
8.Tonight was useful if you observed the movie. Watch movies and see how actors become a living breathing individual.
We need to be on stage by 11:05, so we will leave Shallowater at 9AM. We will return by 2:30 or so. Bring your lunch. We can keep it cool in the bus. We perform at an awkward time.
Festival Feb 18th - Tulia
Floydada- 9:00-11:00 set up at 8:50 9:00-11:00
Shallowater- set up time 11:05 11:15-1:00
Canyon- set up time 1:05 1:15-3:15
Tulia- 3:30-5:30
Clinician is Dr. Kerry Moore
Festival - February 25 - Snyder
Leave Shallowater at 5:30AM. We are on stage at 9AM. We will be home by 2PM.
Clinician - Ray Newton
Festival - March 13th - Tulia
Tulia- 8:45-10:45
Shallowater-11:00-1:00 set- up at 10-:35
Farwell-1:15-3:30 set-up at 1:05
Happy- 3:45-5:45 set up at 3:35
Plainview- set up time 6:00-8:00 set up time 5:50
Perry Crafton is the critic judge.
Some of these times may change, but not by much.
Rest. Stay well. Love you, Guys!
PROBLEMS
First, look at Kayla's comment. Everytime each of you can create another layer to your character, it makes the production better.
THE PROBLEM - Monday night the girls have a playoff game. Tuesday night the boys play. We need to find another day NEXT WEEK to rehearse. We can rehearse after church on Wednesday night, but that leaves Kylee, Kara, and Kayla returning late (We have a lot of K people in our group) . Lizzie and Keri have church late on Wednesday. I don't know about Saturday. We could rehearse longer on Sunday and Thursday. Think about this and get back to me.
THE PROBLEM - Monday night the girls have a playoff game. Tuesday night the boys play. We need to find another day NEXT WEEK to rehearse. We can rehearse after church on Wednesday night, but that leaves Kylee, Kara, and Kayla returning late (We have a lot of K people in our group) . Lizzie and Keri have church late on Wednesday. I don't know about Saturday. We could rehearse longer on Sunday and Thursday. Think about this and get back to me.
Wednesday, February 11, 2009
Emily's comment
Emily is absolutely correct. Everyone should see how he/she reacts to the weather. When it is cold, step outside and imagine standing for at least 12 hours in the cold with little to eat.
Wednesday, February 11
For Anya,
I have been thinking about Anya. Be carefree at the beginning, laughing at villagers, etc. until Bridget gives her line. Let us see you thinking. We need to get you into Lannon’s meeting early enough that we can see the indecision on your face. After the meeting, let us see tears of frustration. How do you feel about your father? Do you remember him with humor – he was always on your case or do you see him as a disciplinarian – and you miss a relationship with him. I think we need to see the indecision all the time. It nearly overtakes you in the tombs.
As to your handbag. You are a seamstress. You would probably have spools of thread, oil, scissors, etc. Find the spools that Kayla used in Midsummer. You might also have a knife/knitting needles because the streets were tough and you do not have a male protector. You need a handkerchief… perhaps a glass bottle of pills – I am trying to think of things that would make noise. An assortment of bottles with things to fix your machine when it breaks.
For everyone, Ms. Mercati is willing to answer SOME questions. Do not write novels. You may make comments about the play, ask questions, ask for insight into your character. Think before you start writing as she is a busy writer. We are truly fortunate that we have the opportunity to speak to her.
Mercatiwriter@aol.com
LOVE you guys! Be on stage in costume on TIME. 6:30PM tomorrow
My favorite quote is "Dreams are what you go on when there's nothin' else left."
I have been thinking about Anya. Be carefree at the beginning, laughing at villagers, etc. until Bridget gives her line. Let us see you thinking. We need to get you into Lannon’s meeting early enough that we can see the indecision on your face. After the meeting, let us see tears of frustration. How do you feel about your father? Do you remember him with humor – he was always on your case or do you see him as a disciplinarian – and you miss a relationship with him. I think we need to see the indecision all the time. It nearly overtakes you in the tombs.
As to your handbag. You are a seamstress. You would probably have spools of thread, oil, scissors, etc. Find the spools that Kayla used in Midsummer. You might also have a knife/knitting needles because the streets were tough and you do not have a male protector. You need a handkerchief… perhaps a glass bottle of pills – I am trying to think of things that would make noise. An assortment of bottles with things to fix your machine when it breaks.
For everyone, Ms. Mercati is willing to answer SOME questions. Do not write novels. You may make comments about the play, ask questions, ask for insight into your character. Think before you start writing as she is a busy writer. We are truly fortunate that we have the opportunity to speak to her.
Mercatiwriter@aol.com
LOVE you guys! Be on stage in costume on TIME. 6:30PM tomorrow
My favorite quote is "Dreams are what you go on when there's nothin' else left."
Monday, February 9, 2009
Monday, February 9
Great rehearsal!
- Watch Gangs of New York.
- Stolle, time to move on..... Enunciate
- We need a new chamber pot.
- Alina, you could hit Josh when he is grabbing you and taking you away.
- Roth, last chance. Emphasize chance.
- Everyone, hit verbs stronger than other words.
- Joe, have a decent lfe not live?
- Joe, ask Alli - he was picketing his factory
- Judge, step on line - SILENCE
- "Are you saying?" judge, not are you telling me.
- We need more murmuring - better today.
- What, not whatever, judge
- Judge scene, girls have lines you can say.
- Glue food to platters for dream scene
- Ruth, you said land with two syllables. Remember, lower vocally and you are Jewish, not Texan
- Longer, not extra, Joe.
- Thanks to Alli for keeping us in line.
- Shelbi and Emily, thanks for coming to rehearsal sick.
- Kayla, good that you just sucked it up!
- Every great dream begins with a dreamer. Always remember, you have within you the strength, the patience, and the passion to reach for the stars to change the world.
- Love you guys!
Monday, February 9
I was so proud of you guys this weekend. On Friday and Saturday, you took the clinic seriously. Yesterday, you got to work to get the job done. The repetition yesterday would have discouraged less-driven theatre people.
- We still have some glitches. I agree with Freida that each person needs to be more of an individual and have his/her mannerisms that are unique to that person's culture. This is probably the most important obstacle we need to overcome right now.
- What is your favorite To See the Stars quote? We need to get to work on shirts now.
- Again, thank you all for being so committed to this project.
Ms. C.
Saturday, February 7, 2009
Freida’s Second Critique
We need a public performance on March 1 at 1PM. See if you can work this in your schedule that day. It is important to me.
Props needed
Coats/shawls in meeting scene
Glove, muffs, hats, parasols, heels – society
Paper boy – bags
Pregnant belly
Crates
Purses – girls
Real food
Newspapers
Factory girls putting on aprons, scarves around some heads.
I combined Freida's, mine, Ms. Border's, and Alli and Kara's comments.
Props needed
Coats/shawls in meeting scene
Glove, muffs, hats, parasols, heels – society
Paper boy – bags
Pregnant belly
Crates
Purses – girls
Real food
Newspapers
Factory girls putting on aprons, scarves around some heads.
I combined Freida's, mine, Ms. Border's, and Alli and Kara's comments.
- Opening – see silhouettes and hear music as the curtain is opening.
- 4 women, step out in unison - a long step.
- There is a clump of people center stage during the meet and greet. Louder village people. Meet and greet.
- Society girls walk through, noses in the air. Stop DSL and sit on bench. Research what they would do in a park, a town that is different.
- After the shirtwaist girls have their scene, all villagers stay on and move furniture into the next scene in character.
- Josh, JUST. This is for everyone. GET as well
- Everyone is too stiff. Have good posture, but be flexible. Stage business as girls are moving and speaking. fix hair, put on a shawl, an apron.
- Roth, color your script - red for louder, anger, shorter; yellow for everyday; blue for slow, sad, etc.
- Roth, think about each line. What are you saying? What is meaningful?
- Margaret, bigger with arms.
- DO NOT MESS WITH COSTUMES!
- Society women, PLEASE research movies, go to the Internet, learn all about their lives and what makes it different from the villagers. When you are around regular people, pretend like they smell, not in a rude way, that it is unpleasant to be around them.
- Factory girls are standing in a line - Move Margaret up so that she will not be upstaged. Margaret, great job. I could see the fear in your face.Move DSL so that you and Ruth and Teresa are not on the same plane.
- Anya - speech - Girls BEAT Don't discuss. Need levels. See your dad talking to you in your eyes.
- Lannon, much better job. Work on mannerisms that set you apart.
- PIG*****
- Guys, see Joe go to Anya and murmur loudly.
- Look at Joe as he leaves.
- Joe, don't run to catch her.
- Joe, good job seeing your changing attitude toward Anya.
- Why were we arrested? Could not hear that.
- Josh - Alina - fight dance - ask Alli and Kara.
- Sit up straight. Good posture needed for everyone.
- Violet, louder.
- Pan banging was great. Do it more with more enthusiasm.
- "Get married..." **** BEAT Anya, and lower vocal to answer
- Joe, turn and turn back. Can't grasp it.
- Clara was powerful today.
- Thugs, better entrance. We need to be thuggier. JP, you are too stiff as the thug.
- Girls, react when the thugs get them.
- Sounds are important in this play - within the subtext of everything the author has written.
- Make yourselves real on stage.
- Men, tip hats and take them off in the buildings. - hearing, union meetings, etc.
- Freeze faces. Scowl, thugs. Rehearse this Sunday.
- The fight scene - quick and slow must be more of a contrast. The quick should be faster and the slow - bigger.
- Roger, good smile. Work on bigger arm movements.
- Video the dance scene.
- Careful pushing girls in jail.
- Loud shoving.
- In the jail, all girls are on the same level. MOVE. When Joe comes in, Bridget, jump up and be ready to fight because you think it is another strike breaker.
- Bridget, sit on bench and think about Ms. Vanderbilt. see the expression when Joe says obituaries. Joe, see the girls first, the surroundings, the dirt, the urine on the floor, and we have to feel your heart going out to them. Put your cap to your chest and BEAT. Ruth, cheat toward the audience, so that everyone is not looking straight ahead toward CS.
- More spirit, Bridget. Increase the intensity so that - WIll you wait for me sounds as good as Not on your life.
- Need a feeling of rain and cold going to Cohen's meeting.
- Whisper going to Cohen's meeting. Women, pick up belongings, move strike signs so no one will steal them.
- Joe - of course - step out.
- Joe, touch Anya... I move.... support her.
- There should be more individual reactions in Cohen's meeting, and if we can get Violet in another outfit - shawl, hat, we need her in the scene as well.
- When the seconds are going on, how does Cohen feel? Cohen needs a different accent.
- Society women, practice walking with a book on your heads. Watch My Fair Lady, Pride and Prejudice. Wear heels on Sunday. Lenore, pick up coat and glance back at Clara once more.
- Boyfriend's line needs to be deeper. All people in this segment need to be doing stage business.
- Alina, we need crazy clothes and a new pregnant piece for you.
- Group needs busy work and say the lines from the heart.
- The hearing - a different attitude from each person on stage. How does each one feel about the hearing, the justice system, etc. Use improvisation. Roth, tell Stolle to move the bench. Need 3 benches right stage.
- As Cohen, use more character - forceful, but more refined than Stolle.
- Joe, better at the hearing today************
- When the society girls enter, murmur from everyone. In the hearing scene and union scene, more people turn toward the person behind him/her so that the audience can see you. Society girls move around left instead of right going to the judge.
- Violet, both hands on Anya's in court.
- Some need to react to 2 months. All need to react to Blackwell's Island.
- Crazies, crawl/slither out, so that you are a surprise to the audience.
- Roth, color your script. My father died. sit. No place in the world... look at judge.
- Roth, doll in hand. Let us see the reaction of your sister's face with the feelings in your face.
- Dance, Clara - twice cartwheel.
- It's a dream - Roth, dance movements on exit.
- Lost energy after ballet. Have stage business. Rehearse Sunday.
- React bigger, Ladies, when Anya gives up.
- More thoughts with lines - moldy bread.... etc.
- Singing, Lenore and Violet, remember that you are still society girls. Sit straight, shoulders back, chins up.
- Clara - "for, cough, This is the women's signal to stop talking/singing and be aware of Clara. We need some girls on Clara's left.
- Clara's death.... amazing. Anya, you don't want to let her go. Ruth, hold her.
- Surprise to see Joe in the tombs. React to him. He might have good news. He needs to bring in food. Share the food with the weaker girls first. When Joe enters, everyone needs to enter in character left stage.
- If you have read this far, explain this. To be a star, you must shine your own light, follow your own path, and don't worry about the darkness, for that is when the stars shine brightest. Light on the judge -
- Joe, good - father said.Great Anya and Joe when she touches you.
- News guys in back. Josh L Stage and let's try Nathan in that part Sunday, JP.
- Reporter, work on this. Let's put you LCS.
- Judge, GET married. Stole sitting on bench DLS.
- Roth, better
- Roth - not in tombs - slower
- Joe, has --- pay to audience. When Joe delivers his last lines, we need a cheer, hugging, etc.
Glenda Jackson: Acting is not about dressing up. Acting is about stripping bare. The whole essence of learning lines is to forget them so you can make them sound like you thought of them that instant.- At end, freeze in different positions and one beat then lights out.
- Be ready for Sunday. Isn't this a great way to work?
Love you guys!
Friday, February 6, 2009
Freida's First Critique
- Color your scripts.
- The play begins in August and ends in February. We HAVE to see the change in weather, attitudes, etc.
- Lights and music transition good.
- At the beginning, lights on and music on. Allow audience to see silhouettes until all stage lights are turned on.
- 4 girls with opening lines. Do not hit each word with the same intensity. Step out, and say the lines with expression in voice, body and expression. Characters move after Clara's last word - might.
- Clara, establish part of the illness at the beginning. Remember that it has to increase as the story progresses.
- Village people, don't wait for each other. Step on lines. Greet one another. It is too staged. These are people you see everyday.
- Crowd scenes need human murmuring.
- We will think about putting those lines back into the play. Think about this and we will do this on Sunday.
- We need laughter more often. Bridget and Teresa at the beginning offer that. Find other places as well.
- Bridget, be more spirited throughout.
- Margaret, let us see the tension and hopelessness your character faces. You believe you are doing what is right to keep yourself and your friends alive.
- Townspeople react with murmuring during conversation.
- Shirtwaist girls, be proud when the villager asks what a shirtwaist is.
- Villagers, laugh good naturedly during the conversation you overhear among the girls.
- Remember, these are real people; this is a real town.
- Roth, shoulders back, chin up. Speak up and out. Bring shoulders in when speaking about Rosie so we can see what is in your heart.
- When Roth enters, we need to see how the girls feel about him.
- All people.... different accents - different gestures. Research your characters.
- Roth, levels - vocally - under your breath and threatening - "I can hire another like you...."
- Anya, be more into your character.
- Roth - keep coughing experience in your memory. All react... the threat could be toward me. everyone needs to have a different attitude about Roth's character.
- How does each person feel about each other, especially Clara?
- Roth - under your breath - Don't forget what I said.
- Anya, bigger build up to STRIKE. All lines from the beginning lead up to Anya's STRIKE.
- How do the girls feel about Margaret and the bodies should reflect this?
- Anya - win over the group with your message of 10 hours a week - $6. per week. Girls must react differently - apprehensive, hopeful, etc.
- Margaret - I'm too scared. Must hear this.
- Clara - your best line - "If you ask me to...." Let us see Anya's power and influence.
- All actors, make sure that you are always conscious about your blocking. Don't be in a straight line.
- Weights inside the pylon. I will try to fix this today.
- Lannon, stronger when saying "I declare this meeting..." Anya, why aren't you more timid, we need to see the weaker side of Anya during this meeting.
- JP, good - come on - adjourn
- Joe, see you want to help her out before you say the line through actions.
- Lannon, no pity on Anya, be stronger, shoulders back, and chin up.
- Anya, only men have jobs. Hit all the words in these lines.
- Guys, react to Anya in Lannon meeting, but not cartoonlike.
- Lannon, meeting adjourned. Stonger and smile. Must be a slap in the face to Anya.
- Joe, We need to see the caring side of Joe's character. We need to see Joe's concern.
- When we can see both sides of the character, it shows good acting.
- Anya, react to him. Glance at him as though he may be different.
- Painful - You don't know anything about us.
- We need to see Joe, the jerk after her line and with his last line.
- Joe, no hands in pocket.
- All men, no hands in pockets.
- "That's why women get married." Anya's anger needs to build with this line.
- Joe, caring, again.
- Joe, You're a dreamer - must see he believes the girls cannot succeed.
- Clara, look up the symptoms of tuberculosis. Mucus.
- Clara, pretend you are somehwere else. Close eyes, dreamlike.
- Justice, fairness. Everyone needs different ways of saying these words. The slogans must vary by inidividuals and in the group.
- Thugs, dirty. Don't stand up straight. You may have injuries. Be thuglike. Weasel, rat, fox. Lurk behind the pylons. Be menacing.
- Stolle, don't care how you get the job done. Be evil. No glasses as Stolle.
- Dance-fight. Use bigger gestures in the slow motion pieces.
- Girls, when Margaret makes a decision, we need to see reactions.
- I will work on the slides before tomorrow.
- Matron, good job.
- Gasp if accidents happen.
- Agnes and Sonia - be different from the society girls.
- Joe and Anya, too far right stage. Move center - downstage with girls and picket signs behind them.
- Joe, we need to see you remember Joe as a boy. We need to see the vulnerability. When does Anya realize he is the boy. We need to see that she knows.
- Bridget, remember more of "home" and Ma crying.
- Don't mess with costumes. The new costumes will be even more confining.
- Cohen, be more refined. Stoop shoulders as a thug. Everyone needs to react to Cohen's lines and the girls' lines.
- Bridget, lines to the audience about the money.
- Josh, use upstage hand.
- Society women, act with grace and dignity. Chin up and stronger. Research manners during this time.
- Roth, spit out and stronger.
- Judge. Last gavel is stronger. Start off in control with shoulders back, chin up and make us hate you. Color your script.
- All people in the judge hearing scene need to open bodies to the audience.
- Two society women need to come from the back.
- Crazy people, remain in the back and DO NOT upstage actors.
- Roth, color script. We need to see more variations. Use the doll, close eyes, practice touching the doll's hair. See the "sound of coughing memory" in his face. Must show your heart to the judge with -Ma, never should have given me and Rosie away. I won't let them - must be tough.
- Dream, don't anticipate the scream. Roth,enter, plant your feet and say your lines without bending over Anya. Say it from a distance.
- Violet, good job touching Clara.
- See Anya's changing to becoming weak in the face of the other girls. It scares them, etc.
- Crazies, we need to work on your costumes because we are not getting those from the costume shop.
- Clara's death - Joe - good job.
- Freeze, work on that.
- Joe, watch Texas accent.
- Newspaper people in back.
- Zack, I saw real hunger.
- JP, more personality selling papers.
- Freeze newsmen
- 3 guys on left stage. good.
- Roth, slow down
- What are we waiting for?
- Choreograph the end, we need to see strength in faces and bodies.
My additional notes -
- caps off or tipped when meeting women from the beginning through the end.
- Jail, need levels. Everyone is sitting but Joe.
- 9 more nights, cough
- Bridget, flirtier and more spirited.
- Kalynn, louder at all times.
- Speakers come out - stagger entrances. Begin when society girls enter. Roth, enter from USR.
- Tombs, bench on left of Clara.
- Rats, more feeling with that line. Look around, you have never been in a place like this, girls. None of you, even the immigrants. We need to see the revulsion.
- NOISEMAKING! I will SCREAM if I don't see you making noise and being excited. This gives you hope - takes you away from the dying, cold, It gives you a way to say XXXX to the government.
- Audible crying after Clara.
- NOISE makers after Clara is carried off. Remember that we are staggering the echoes and hitting the stuff.
- Fire behind girls. I will work on this.
- Coat and hat change as the newsman, Zack.
- Josh, bigger during the strike.
- More crowd reaction with Joe's news on his last entrance.
These are the only two times that we can have Freida. She is one of the best. Follow her leads. It will make us better. See you at 7:30 in the morning. Do not be late. We have to set the stage tomorrow because it has been struck.
Some of Stanislavsky's quotes.
The language of the body is the key that can unlock the soul.”
Konstantin Stanislavsky quote
“Do not try to push your way through to the front ranks of your profession; do not run after distinctions and rewards; but do your utmost to find an entry into the world of beauty.”
Konstantin Stanislavsky quote
“In the creative process there is the father, the author of the play; the mother, the actor pregnant with the part; and the child, the role to be born.”
Konstantin Stanislavsky quote
“Success is transient, evanescent. The real passion lies in the poignant acquisition of knowledge about all the shading and subtleties of the creative secrets.”
Konstantin Stanislavsky quote
“Love the art in yourself, not yourself in the art”
Konstantin Stanislavsky quote
The theatre is the art of reflecting life. (92)
An actor must not “play” passions and characters: he must act under the influence of the passions and in character. (33)
Stanislavsky
I know this is a lot to read, but if you have read this far, comment - Respond to this. «Remember this practical piece of advice: Never come into the theatre with mud on your feet. Leave your dust and dirt outside. Check your little worries, squabbles, petty difficulties with your outside clothing -- all the things that ruin your life and draw your attention away from your art -- at the door».
- What is acting?
Humphrey Bogart:Acting is experience with something sweet behind it.
Sir Charles Chaplin:Timing! My mother gave me that. I was born with it. I don't think you can teach a person to act. [Radio Times, March 1979]
Glenda Jackson: You'd think is something one would grow out of. But you grow into it. The more you do, the more you realize how painfully easy it is to be lousy and how very difficult to be good.[People, March 1985]
Vanessa Redgrave: I give myself to my parts as a lover. It's the only way.[Time, 17 March 1967]
Robert De Niro: One of the things about acting is it allows you to live other people's lives without having to pay the price. I've never been one of those actors who has touted myself as a fascinating human being. I had to decide early on whether I was to be an actor or a personality.
Lawrence Barrett, 19th Century American Actor: Acting is... forever carving a statue of snow.
Robert Redford: A lot of what acting is paying attention.
Jeff Goldblum: Acting is nothing more or less than playing. The idea is to humanize life.
Glenda Jackson: Acting is not about dressing up. Acting is about stripping bare. The whole essence of learning lines is to forget them so you can make them sound like you thought of them that instant.
Acting advice
Constantin Stanislavski: All action in theatre must have inner justification, be logical, coherent, and real.
Marlon Brando: Acting in general, is something most people think they're incapable of but they do it from morning to night. The subtlest acting I've ever seen is by ordinary people trying to show they feel something they don't or trying to hide something. It's something everyone learns at an early age.[Newsweek, 13 March 1972]
Gerard Depardieu: Concentration does not mean inhibition. One can and should be attentive yet appear nonchalant.[Cyrano de Bergerac, publicity release, 1990]
Gene Hackman: Honesty isn't enough for me. That becomes very boring. If you can convince people what you're doing is real and it's also bigger than life-that's exciting.[Show, 1972]
Jeremy Irons: You think, you don't just speak. The lines come off the thoughts.[American Film magazine]
John Gielgud: One mustn't allow acting to be like stockbroker -- you must not take it just as a means of earning a living, to go down every day to do a job of work. The big thing is to combine punctuality, efficiency, good nature, obedience, intelligence, and concentration with an unawareness of what is going to happen next, thus keeping yourself available for excitement.
What is Talent?
Anthony Quinn: Having talent is like having blue eyes. You don't admire a man for the color of his eyes. I admire a man for what he does with his talent.[Sunday Express, 1960]
Michael Caine: I'm a skilled professional actor. Whether or not I've any talent is beside the point.[Film yearbook, 1985]
Stella Adler: It's not enough to have talent, you have to have a talent for your talent.
Uta Hagen: Talent is an amalgam of high sensitivity; easy vulnerability; high sensory equipment (seeing, hearing, touching, smelling, tasting intensely); a vivid imagination as well as a grip on reality; the desire to communicate one's own experience and sensations, to make one's self heard and seen.
Role analysis in 7 steps
1. Read the play for the first time.
2. Do some basic reading and research on the playwright and on the era in which the play was originally written and produced.
3. Read the play for the second time and focus on your role.
4. Analyze the structure and the content of the play.
5. The 3 W. Ask yourself and answer these questions about your role:Who am I?Where am I?What do I want?
6. Visualize your character's physical appearance.
7. Fill in all character activity not provided in the text. (Where does he go when he exits? What he was doing before entering the stage?) This is subtext - what the lines do not say.
I love you guys, and I am so excited about this journey in life.
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