Hello
everyone! Many of these notes are meant for everyone - some picky sort of
things. (I will put a person's name by a note that is specific - otherwise it's
just meant for everyone.) But really, you should be proud of yourselves that
that's all I have to make notes on - picky stuff. The show is doing really,
really well and hopefully if you can take these notes and put them to use for
your character, it will take our show to the "next level" - as the
saying goes.
Don't say your line if you're crossing behind someone else. Give a pause for a second and finish the line when you've gotten to the other side of the person or group.
Don't giggle if you drop a line. Very obvious to the audience. Stay in character and correct what you are trying to say in the way your character would. Everyone mis-speaks at times, so there's no reason your character might not mis-speak too. But you MUST always be your character on stage, so just pause, react in a way your character would (if they would) and continue.
A couple people I want to point out because they are being so true to their characters - and an example for everyone are Ellen and Lindsay. There certainly are more of you that are doing great with your characters too, but the reason I picked them out today is that they really struck me as totally being their characters on stage. I didn't see them - I saw their characters. As I thought about it more, I don't recall seeing them drop character ever. If you have a chance to watch them, please do - but not so you miss anything you have to do!
I think this is mostly for the Tiny Tappers - and therefore mom's to pass on: Watch the loud marching when you're singing. It's one of the first songs the whole group does. I think it's Don't Say No(???) when everyone really marches in - and it's only at the beginning of the song as you're coming in. Later in the song when you're marching, you don't have to sing, so then it's not so distracting. So try to keep your feet a bit more quite in the marching as you come in the first time.
Scene 3 when our riveters come on - you looked like you were tired - acting tired in a good way, like you had a long, hard day- very believable. Very nice.
This concerns everyone, but I'm going to use Hermione as an example. (Forgive me, I don't mean to pick on anyone.)When on stage, always commit fully to whatever you're going to do. A gesture, a cross, some business your character has to do, whatever. (Mopping the floor, running the sound booth, taking notes from your boss.....) You have to commit fully to saying all your lines, so commit fully to your actions as well. A half hearted gesture just doesn't read well to the audience. You don't become as believable for them. SO - Hermione - when you're waiting for the girls to come talk to you for the first time in that scene, commit to your actions. If you're ignoring them and pretending to get the attention of other "people on the street" that we/audience can't see to come buy a paper - commit to doing that. If you're rearranging your news-stand, commit to that. If you're listening in to what the girls are saying - commit to that.
Don't say your line if you're crossing behind someone else. Give a pause for a second and finish the line when you've gotten to the other side of the person or group.
Don't giggle if you drop a line. Very obvious to the audience. Stay in character and correct what you are trying to say in the way your character would. Everyone mis-speaks at times, so there's no reason your character might not mis-speak too. But you MUST always be your character on stage, so just pause, react in a way your character would (if they would) and continue.
A couple people I want to point out because they are being so true to their characters - and an example for everyone are Ellen and Lindsay. There certainly are more of you that are doing great with your characters too, but the reason I picked them out today is that they really struck me as totally being their characters on stage. I didn't see them - I saw their characters. As I thought about it more, I don't recall seeing them drop character ever. If you have a chance to watch them, please do - but not so you miss anything you have to do!
I think this is mostly for the Tiny Tappers - and therefore mom's to pass on: Watch the loud marching when you're singing. It's one of the first songs the whole group does. I think it's Don't Say No(???) when everyone really marches in - and it's only at the beginning of the song as you're coming in. Later in the song when you're marching, you don't have to sing, so then it's not so distracting. So try to keep your feet a bit more quite in the marching as you come in the first time.
Scene 3 when our riveters come on - you looked like you were tired - acting tired in a good way, like you had a long, hard day- very believable. Very nice.
This concerns everyone, but I'm going to use Hermione as an example. (Forgive me, I don't mean to pick on anyone.)When on stage, always commit fully to whatever you're going to do. A gesture, a cross, some business your character has to do, whatever. (Mopping the floor, running the sound booth, taking notes from your boss.....) You have to commit fully to saying all your lines, so commit fully to your actions as well. A half hearted gesture just doesn't read well to the audience. You don't become as believable for them. SO - Hermione - when you're waiting for the girls to come talk to you for the first time in that scene, commit to your actions. If you're ignoring them and pretending to get the attention of other "people on the street" that we/audience can't see to come buy a paper - commit to doing that. If you're rearranging your news-stand, commit to that. If you're listening in to what the girls are saying - commit to that.
One
of the riveters has a line about asking the foreman for overtime. Please stress
FOREman. Not foreMAN.
My next note on my notepad was: Good Covers!! Same scene as above - I think it was the riveters that had some lines go funny, but because you knew what was happening or what had to happen next, you could quickly think of how your character might say something similar and you went on. Nice job!
Same scene - Hermione - when one of the girls says something about "Those spies would like to know about the ships getting ready to sail" - give a bigger reaction. That's exactly the info you are looking for! And at the time, the girls aren't really paying much attention to you - they're trying to quiet her down - so that's a chance you could really play up.
Everyone - it was during this scene with Hermione and the riveters as you're getting into place behind the curtain, we could really hear feet clomping around. Tip toe into place - and no talking.
Scene 4 with Jitterbug song...I know it goes fast, but when everyone is taking a turn dancing in the middle, we need more reactions from the people who are on the sides - whoever isn't in the middle at the time. Right now, I can see you all thinking about who's next and so on.
Scene 5 - very picky note, but one of the Taylor sisters after introducing Angie to someone (Mrs. King???) uses Angie's first and last name. I like the whole bit about everyone trying to remember Lucy's name, but does she have a last name you can use here too? Since you used Angie's last name?? I told you this was a picky one.
Rebekah - enunciate. I don't recall anymore about my note here, but something to keep working on. (Sorry if I spelled your name wrong!)
Tallulah - you did much better getting your line out before your cross upstage with the Tiny Tappers. Keep it up. When on the platform with them - after their little dance - face out front with your line "prasing them" not to the girls. Called "cheating" - turning toward the audience to say the line and then face the person you're talking to after the line.
Then I have Nice Kitty. It must have been your reactions to waiting for the Tiny Tappers and Harmony Brothers. You're consistant in that period and it reads well. Keep it up.
Good reaction to Mrs. Wilcox - even though she wasn't there, you all still had good reactions to her lines. Keep it up.
Scene 9 - Buddy - If you have a chair that's difficult to sit backwards in, don't worry about doing that. People will be thinking of you being uncomfortable rather than hearing your lines. Make whatever chair you have work the best for you.
Same scene - Gov. Agents and Taylor Sisters - when Angie comes in - NO ONE LOOK AT HER! Today she came in and acted like she had not known you were talking. She slowly moved away and then listened in to your conversation. It read really well, Lindsay. But if you Agents move your heads to look at her, it will ruin it for the audience.
Everyone - just a general note about that issue in the above paragraph. Mrs. Stuewer and I had a short discussion today that we didn't share with you about asking the audience to "suspend their disbelief". A theatrical term, if you haven't heard if before. This is one point where we ARE asking the audience to suspend their disbelief - that the G-Men really didn't see Angie. Of course it's obvious to the audience that the Taylor sisters and G-Men really COULD see Angie - but the audience becomes "willing to suspend their disbelief". They know it's important to the storyline. For the most part in this play, we want our acting to be true to life - to relate to the real lives of our WWII Vets and others that lived through this time period. But there are perhaps a few times in the show, like this one, where we need to do something only for theatrical reasons that we're asking the audience to "suspend their disbelief". If you have any questions, ask me. Don't know if I put my words together well here.
Scene 9 still - the lines were fairly choppy - it went: line, pause, line pause, line pause. Please go through that scene so we can get it to go line, line, line, line.....
Scene 10-12 Valerie - Your line "Same as always" - along with your sister's actions all worked really nice - even your "improv" line. Good job - keep that stuff, girls!
When you girls go to "meet" the boys and have to "make room", don't ham it up too much.
Bailey - watch out when you're looking at the big poster Kilroy brings in. At the time, I was sitting in the front row and your entire body was blocked by the poster - cuz it's so big. That's when I ran to the middle (if you saw me do that). It was much better from back there, but still....if there are people in the front row, we don't want them to miss out.
Like I've said before (in reference to above paragraph still), if something "off" happens onstage, the audience will pick up on it and then that's what they look at until you can correct it. Like a hat or something dropped on the floor by mistake....they'll watch that until someone picks it up. They know it feels "out of place". Bailey - I know you'll find a good way to hand the big poster - just give it a little thought.
For the "extras" in scene 10-12: you're doing fine with what you're doing. Dont' do anything else bigger. Remember you have to freeze during their song, But my main note here was don't freeze in a wierd position. It can be hard to hold and you don't want the audience looking at you because you're wobbling. You can't watch the dancers and you cant scratch an itch. That's the hard part of being someone who has to freeze. Another time we're asking people to "suspend their disbelief" for us. Miss Conto and Miss Cary did a fine job with freezing there - you chose a safe pose you could hold and stayed that way all thru the song. Thank you.
Scene 13 - Lucy and Elizabeth Michael (sorry I don't always remember everyone's real name yet) Lucy stepped in at one point to shake hands with someone - that was fine, but then Elizabeth, take one step to your right to counter her move. (Sounds like chess!)
Kilroy / Sloan - you can't whisper a forgotten line to someone. The audience hears/knows and then it seems "silly". I don't recall what the exact line was, but you could even say things like, "I'm sure you're wondering/thinking..." Just to give you an idea of one way you can help cover for someone.
Lucy - get closer to the black curtains on the right before you yell your line about "come out here boys and girls". The 'boys and girls' you're talking to are the people off stage - not the ones at center stage. Start your cross a little earlier, perhaps - like you just got the idea that you should go get everyone and started crossing even before the other lines had finished. Time it out so you don't get to the black curtain too early, of course.
Everyone - when you answer Lucy there - don't everyone yell "Yahoo!" If you were all in a group - think of any example - a church group, a field trip with our group, you add some examples....do you think everyone in that group would yell "Yahoo!" all in unison at exactly the same time if your leader suddenly gave you a wonderful surprise? Say $100 just for being there? I don't think so. Think of some other way to cheer backstage. Just like you do when the Jukebox is brought on later in the show.
Scene 15 - I wrote "nice entrance" but then must have gotten distracted. I think it was the riveters coming on at the USO club. I remember that was nice. Keep it.
When you do the Rat-a-tat song - try to keep really Center, Center stage. Of course we're doing the whole play for the audience, but at this particular point we shouldn't have you "playing" to the audience. You're doing the song and dance for the Taylor sisters (plus others as they come in), so we don't want you too removed from them. This is one point we are not asking the audience to "suspend any disbelief" - so you should not be seperated from the Taylors. It's only a couple feet back from where you've been lately, so then you're in the same acting area as the Taylors. Plus if you're too close to the front of the stage, the view from the front row really isn't as nice of you. Not sure if I said that well enough to get my point across - ask me if you have questions. So, in order to get center-center, after Melba says "Watch" and the Taylor sisters go sit down, you can hustle up to CC - so your move to CC and the Taylors going to sit happens at the same time.
Scene 18 - Kitty - good job with the crying but getting lines out and running off.
Elizabeth - good job helping the messanger off stage.
Soldiers - when Kilroy is arrested - this note goes back to what I mentioned earlier about committing to your actions. As it's all happening, you cross behind some girls and end up up-stage-center. Christian I know has some lines here. Fully commit to your cross - get out from behind the girls. Your friend is being arrested! You wouldn't be holding back and just giving up when the MPs take him off. Make a strong cross to where Char has told you - only stopping because you realize "AARGH, we can't do anything to help him!" But we have to SEE you feel that way / come to that conclusion - and that's what makes you stop.
Right after this we go into Together We Must Stand. Sloan, you're setting the feeling really well at the beginning of the song. Just as with my notes to the riveters earlier, don't come too far downstage to sing. Stay Center-Center - we need you (Sloan AND the others 3 or 4 girls that join her) close to the rest of the cast so the audiences feels you connected to them. Again, even though we are giving the play to the audience - you're not singing this song to the audience, you're singing it to the other characters onstage - to bond everyone together, uplift them. So to have you too far away from them seperates you emotionally from them. At the end of the show when we sing America and Battle Hymn, we are singing to the audience but here we aren't. You girls will still be the focus of the song standing at CC just as Bailey and the girls are the focus when they sing their song "We'll Meet Again" from the band stand later in the play. Plus, when the rest of the cast joins you girls, currently you're backing up to get into your next place anyway - so this way you won't have to back up quite as much as you have been. Did that make sense?
Everyone - and please pass this onto any Tiny Tappers (moms or siblings) - Don't worry about fixing how someone else is standing. You can't be fixing them during one of our performances, so don't do it now - even if they're wrong.
Scene 20 - Mrs. King - really like how you said your line today "Not that, sorry to say" - about the war being over.
Also - don't be afraid to really blow that whistle! The other's lines will make more sense if you've really made some noise with it!
Christian - good covering lines (cuz we were missing people) - you knew what had to happen and you helped things continue - just don't ham it up too much.
Getting into place for Slap that Jukebox - you guys really turned it up and followed Mrs. Stuewer's directions - nice job. Please continue ALL the way until you start singing the song though. A number of people kind of dropped that excitement that was going so well as you were going to your place for the dance, and then just stood there waiting for the time to sing/dance. Continue to act/react with the person next to you til you suddenly break into song/dance.
Buddy - I really liked how you said your line about being "headquartered in the kitchen". Try to remember how you did it and keep it!
Government Agents - boys and girls - you're building well in the part where you realize that something's gone wrong if there are that many "spies" and Kilroy's been arrested, but keep going! The next step after your realization that something went wrong is to be really worried! We need to see you get to being really worried (emotionally) - not just thinking "hmm, what's going on".
Good entrance Angie - Top of p. 40
Meridian - I've alway liked the way you're doing your character. Just really hit me today, I guess. You know your character, you've stayed true to how you think she would feel and I like the way you deliver your lines. Keep it up!
Scene 25 - Angie - I love your meniacle (sp?) laugh. you make me laugh every time. Thanks for committing to it and sticking with it!
Hermione - much nicer strong crosses. You've thought about how to fit that into your lines - just keep going with it!
Professor - make sure you're making some kind of strong action to make the others sing so it doesn't seem that you're all just staring to sing for some odd reason.
Scene 26 - when Female Agents come in - I know you came in early today by mistake cuz we were missing people/lines. But it gave me an idea that might help you "burst in" better to arrest Hermione and the MPs: Start to sneak in when one of the MPs says something about "wrapping Kilroy in chains and throwing him off a pier" - but stay way back in the corner - really bunched up - then "jump" into the action with the line "That's what you think". If you have questions, ask me before practice on Thurs.
Scene 28 - After the song and the riveters come forward, EVERYONE looks really good. such a nice visual - we're allowed into a personal conversation with the girls, but can see a real "slice of everyday life" watching the others in the background. You've all kept that interresting to watch because you're all committed you what you're doing then. Keep it up! Thank you!
Good job Male Gov Agents - when the girls waved at you - and you're in your aprons - your reactions were great! Keep it!
Valerie - if Christian is too upstage of you for your line "where are you going" just put your arm thru his and gently have him take a step down to you so you don't feel like you have to turn upstage to talk to him.
Everyone - much better with the saying "hello" to people at home during the radio show. But then keep up the energy as you move into place for the next song. Even though you're not still talking to the "people at home", you need to keep the energy going into the song by "talking" to the person next to you as you move to your dance places. Just like with my note on moving into place with the Jitterbug song. If any questions, let me know.
Kitty - if the tiny tappers are late surrounding you, just act like you're trying to find a way to escape. Not like you're trying to get them to stop you. It's a fine line.
My next note on my notepad was: Good Covers!! Same scene as above - I think it was the riveters that had some lines go funny, but because you knew what was happening or what had to happen next, you could quickly think of how your character might say something similar and you went on. Nice job!
Same scene - Hermione - when one of the girls says something about "Those spies would like to know about the ships getting ready to sail" - give a bigger reaction. That's exactly the info you are looking for! And at the time, the girls aren't really paying much attention to you - they're trying to quiet her down - so that's a chance you could really play up.
Everyone - it was during this scene with Hermione and the riveters as you're getting into place behind the curtain, we could really hear feet clomping around. Tip toe into place - and no talking.
Scene 4 with Jitterbug song...I know it goes fast, but when everyone is taking a turn dancing in the middle, we need more reactions from the people who are on the sides - whoever isn't in the middle at the time. Right now, I can see you all thinking about who's next and so on.
Scene 5 - very picky note, but one of the Taylor sisters after introducing Angie to someone (Mrs. King???) uses Angie's first and last name. I like the whole bit about everyone trying to remember Lucy's name, but does she have a last name you can use here too? Since you used Angie's last name?? I told you this was a picky one.
Rebekah - enunciate. I don't recall anymore about my note here, but something to keep working on. (Sorry if I spelled your name wrong!)
Tallulah - you did much better getting your line out before your cross upstage with the Tiny Tappers. Keep it up. When on the platform with them - after their little dance - face out front with your line "prasing them" not to the girls. Called "cheating" - turning toward the audience to say the line and then face the person you're talking to after the line.
Then I have Nice Kitty. It must have been your reactions to waiting for the Tiny Tappers and Harmony Brothers. You're consistant in that period and it reads well. Keep it up.
Good reaction to Mrs. Wilcox - even though she wasn't there, you all still had good reactions to her lines. Keep it up.
Scene 9 - Buddy - If you have a chair that's difficult to sit backwards in, don't worry about doing that. People will be thinking of you being uncomfortable rather than hearing your lines. Make whatever chair you have work the best for you.
Same scene - Gov. Agents and Taylor Sisters - when Angie comes in - NO ONE LOOK AT HER! Today she came in and acted like she had not known you were talking. She slowly moved away and then listened in to your conversation. It read really well, Lindsay. But if you Agents move your heads to look at her, it will ruin it for the audience.
Everyone - just a general note about that issue in the above paragraph. Mrs. Stuewer and I had a short discussion today that we didn't share with you about asking the audience to "suspend their disbelief". A theatrical term, if you haven't heard if before. This is one point where we ARE asking the audience to suspend their disbelief - that the G-Men really didn't see Angie. Of course it's obvious to the audience that the Taylor sisters and G-Men really COULD see Angie - but the audience becomes "willing to suspend their disbelief". They know it's important to the storyline. For the most part in this play, we want our acting to be true to life - to relate to the real lives of our WWII Vets and others that lived through this time period. But there are perhaps a few times in the show, like this one, where we need to do something only for theatrical reasons that we're asking the audience to "suspend their disbelief". If you have any questions, ask me. Don't know if I put my words together well here.
Scene 9 still - the lines were fairly choppy - it went: line, pause, line pause, line pause. Please go through that scene so we can get it to go line, line, line, line.....
Scene 10-12 Valerie - Your line "Same as always" - along with your sister's actions all worked really nice - even your "improv" line. Good job - keep that stuff, girls!
When you girls go to "meet" the boys and have to "make room", don't ham it up too much.
Bailey - watch out when you're looking at the big poster Kilroy brings in. At the time, I was sitting in the front row and your entire body was blocked by the poster - cuz it's so big. That's when I ran to the middle (if you saw me do that). It was much better from back there, but still....if there are people in the front row, we don't want them to miss out.
Like I've said before (in reference to above paragraph still), if something "off" happens onstage, the audience will pick up on it and then that's what they look at until you can correct it. Like a hat or something dropped on the floor by mistake....they'll watch that until someone picks it up. They know it feels "out of place". Bailey - I know you'll find a good way to hand the big poster - just give it a little thought.
For the "extras" in scene 10-12: you're doing fine with what you're doing. Dont' do anything else bigger. Remember you have to freeze during their song, But my main note here was don't freeze in a wierd position. It can be hard to hold and you don't want the audience looking at you because you're wobbling. You can't watch the dancers and you cant scratch an itch. That's the hard part of being someone who has to freeze. Another time we're asking people to "suspend their disbelief" for us. Miss Conto and Miss Cary did a fine job with freezing there - you chose a safe pose you could hold and stayed that way all thru the song. Thank you.
Scene 13 - Lucy and Elizabeth Michael (sorry I don't always remember everyone's real name yet) Lucy stepped in at one point to shake hands with someone - that was fine, but then Elizabeth, take one step to your right to counter her move. (Sounds like chess!)
Kilroy / Sloan - you can't whisper a forgotten line to someone. The audience hears/knows and then it seems "silly". I don't recall what the exact line was, but you could even say things like, "I'm sure you're wondering/thinking..." Just to give you an idea of one way you can help cover for someone.
Lucy - get closer to the black curtains on the right before you yell your line about "come out here boys and girls". The 'boys and girls' you're talking to are the people off stage - not the ones at center stage. Start your cross a little earlier, perhaps - like you just got the idea that you should go get everyone and started crossing even before the other lines had finished. Time it out so you don't get to the black curtain too early, of course.
Everyone - when you answer Lucy there - don't everyone yell "Yahoo!" If you were all in a group - think of any example - a church group, a field trip with our group, you add some examples....do you think everyone in that group would yell "Yahoo!" all in unison at exactly the same time if your leader suddenly gave you a wonderful surprise? Say $100 just for being there? I don't think so. Think of some other way to cheer backstage. Just like you do when the Jukebox is brought on later in the show.
Scene 15 - I wrote "nice entrance" but then must have gotten distracted. I think it was the riveters coming on at the USO club. I remember that was nice. Keep it.
When you do the Rat-a-tat song - try to keep really Center, Center stage. Of course we're doing the whole play for the audience, but at this particular point we shouldn't have you "playing" to the audience. You're doing the song and dance for the Taylor sisters (plus others as they come in), so we don't want you too removed from them. This is one point we are not asking the audience to "suspend any disbelief" - so you should not be seperated from the Taylors. It's only a couple feet back from where you've been lately, so then you're in the same acting area as the Taylors. Plus if you're too close to the front of the stage, the view from the front row really isn't as nice of you. Not sure if I said that well enough to get my point across - ask me if you have questions. So, in order to get center-center, after Melba says "Watch" and the Taylor sisters go sit down, you can hustle up to CC - so your move to CC and the Taylors going to sit happens at the same time.
Scene 18 - Kitty - good job with the crying but getting lines out and running off.
Elizabeth - good job helping the messanger off stage.
Soldiers - when Kilroy is arrested - this note goes back to what I mentioned earlier about committing to your actions. As it's all happening, you cross behind some girls and end up up-stage-center. Christian I know has some lines here. Fully commit to your cross - get out from behind the girls. Your friend is being arrested! You wouldn't be holding back and just giving up when the MPs take him off. Make a strong cross to where Char has told you - only stopping because you realize "AARGH, we can't do anything to help him!" But we have to SEE you feel that way / come to that conclusion - and that's what makes you stop.
Right after this we go into Together We Must Stand. Sloan, you're setting the feeling really well at the beginning of the song. Just as with my notes to the riveters earlier, don't come too far downstage to sing. Stay Center-Center - we need you (Sloan AND the others 3 or 4 girls that join her) close to the rest of the cast so the audiences feels you connected to them. Again, even though we are giving the play to the audience - you're not singing this song to the audience, you're singing it to the other characters onstage - to bond everyone together, uplift them. So to have you too far away from them seperates you emotionally from them. At the end of the show when we sing America and Battle Hymn, we are singing to the audience but here we aren't. You girls will still be the focus of the song standing at CC just as Bailey and the girls are the focus when they sing their song "We'll Meet Again" from the band stand later in the play. Plus, when the rest of the cast joins you girls, currently you're backing up to get into your next place anyway - so this way you won't have to back up quite as much as you have been. Did that make sense?
Everyone - and please pass this onto any Tiny Tappers (moms or siblings) - Don't worry about fixing how someone else is standing. You can't be fixing them during one of our performances, so don't do it now - even if they're wrong.
Scene 20 - Mrs. King - really like how you said your line today "Not that, sorry to say" - about the war being over.
Also - don't be afraid to really blow that whistle! The other's lines will make more sense if you've really made some noise with it!
Christian - good covering lines (cuz we were missing people) - you knew what had to happen and you helped things continue - just don't ham it up too much.
Getting into place for Slap that Jukebox - you guys really turned it up and followed Mrs. Stuewer's directions - nice job. Please continue ALL the way until you start singing the song though. A number of people kind of dropped that excitement that was going so well as you were going to your place for the dance, and then just stood there waiting for the time to sing/dance. Continue to act/react with the person next to you til you suddenly break into song/dance.
Buddy - I really liked how you said your line about being "headquartered in the kitchen". Try to remember how you did it and keep it!
Government Agents - boys and girls - you're building well in the part where you realize that something's gone wrong if there are that many "spies" and Kilroy's been arrested, but keep going! The next step after your realization that something went wrong is to be really worried! We need to see you get to being really worried (emotionally) - not just thinking "hmm, what's going on".
Good entrance Angie - Top of p. 40
Meridian - I've alway liked the way you're doing your character. Just really hit me today, I guess. You know your character, you've stayed true to how you think she would feel and I like the way you deliver your lines. Keep it up!
Scene 25 - Angie - I love your meniacle (sp?) laugh. you make me laugh every time. Thanks for committing to it and sticking with it!
Hermione - much nicer strong crosses. You've thought about how to fit that into your lines - just keep going with it!
Professor - make sure you're making some kind of strong action to make the others sing so it doesn't seem that you're all just staring to sing for some odd reason.
Scene 26 - when Female Agents come in - I know you came in early today by mistake cuz we were missing people/lines. But it gave me an idea that might help you "burst in" better to arrest Hermione and the MPs: Start to sneak in when one of the MPs says something about "wrapping Kilroy in chains and throwing him off a pier" - but stay way back in the corner - really bunched up - then "jump" into the action with the line "That's what you think". If you have questions, ask me before practice on Thurs.
Scene 28 - After the song and the riveters come forward, EVERYONE looks really good. such a nice visual - we're allowed into a personal conversation with the girls, but can see a real "slice of everyday life" watching the others in the background. You've all kept that interresting to watch because you're all committed you what you're doing then. Keep it up! Thank you!
Good job Male Gov Agents - when the girls waved at you - and you're in your aprons - your reactions were great! Keep it!
Valerie - if Christian is too upstage of you for your line "where are you going" just put your arm thru his and gently have him take a step down to you so you don't feel like you have to turn upstage to talk to him.
Everyone - much better with the saying "hello" to people at home during the radio show. But then keep up the energy as you move into place for the next song. Even though you're not still talking to the "people at home", you need to keep the energy going into the song by "talking" to the person next to you as you move to your dance places. Just like with my note on moving into place with the Jitterbug song. If any questions, let me know.
Kitty - if the tiny tappers are late surrounding you, just act like you're trying to find a way to escape. Not like you're trying to get them to stop you. It's a fine line.
Whew!
That was a lot! If anyone has questions. let me know. Thank you all
for continuing to work SO hard. Keep it up - the goal is almost here!
8 comments:
I have read this!
Great suggestions, Sue! I'm really thankful for all of your theater experience. I'm learning all sorts of cool terms to boot!
I did take the Tiny Tappers aside yesterday, while Char was giving some directions to other individuals, and told them not to fix anyone. I think they understood.
~ JLG
Read it!
Emma has read this! :)
I was wondering do all my line need enunciated or particular one?
We Riveters might need someone to point out to us exactly where we should stand for "Rat-a-Tat." We keep migrating all over the stage. :)
Thank you very much, Mrs. Kluge! I'm so proud of all that everyone is putting into this show- you're all amazing!
thanks for the comments, I hope to get into character more and hopfully that will help too.
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