Critiques from District - April 1, 2011
David Stevens’ and mine
Rehearsal Saturday evening at 8PM. Rehearse your accents. If you have lost your accent tape, see me or text me. Sunday’s rehearsal will be long. If you need to leave early for church, let me know. Love you guys! REMARKABLE performance! Even if we had not advanced, I was SO HAPPY because you invested everything you had and created the world of Atlantic City. I am going to ask that you keep working and improving you role in this journey. We will face more difficult competitors as we travel, so we have to keep improving.
Saturday evening, we will concentrate on the trial scene. Sunday, we will go through the play with the changes. We need to see the moments and still be under 40. READ all the critique and see what you can add.
Everyone • Great intensity at the beginning.
• ACCENTS were not consistent – he stressed that this might be a determining factor with whether we advance. CONCENTRATE on this.
• HATS need to go on the hatrack. We will put an additional 4X4 behind it to hold other hats if we run out of space. PLEASE use the hatrack- no hats on tables or underneath chairs.
• Good job of playing the moments.
• Be careful not to push characters for laughs or be overly dramatic. One critic judge I had said – don’t play sadness- feel sadness or tragedy and let it come out from your soul to be displayed to the audience. That must be true for comedy. Be so invested in your character that he does funny things without realizing they are funny. That is just the way he/she is.
• I want to see newspaper reading in the middle of USC .
• Be confident – crystal clear – in your character. Once you have decided how your character is – commit to it fully 110%. A great example we have is how Randall and Michelle commit to the dance. They are energetic, have fun, and they don’t worry about how the audience sees them.
• Watch angry voices that they do not become ”warbly” – out of control is what I think he meant.
• Ensemble was wonderful!
• Trial people, make a bigger deal of reacting to the scales and the sharpening of the knife.
• Trial scene – beginning was good, but ending was not strong. EVERYONE, think what you can do to make this stronger. How do we build intensity from Portia’s entrance to bear your bosom to Portia’s Jew. Reaching the solution should take more time and build in intensity.
• There needs to be more fear and craziness in the trial scene.
• Build up to the baptism.
• Let’s work more on atmosphere. I felt it when Lorenzo goes to Jessica’s house – from all the men. Jared, wear your jacket in this scene. Everyone make use of the weather.
Antonio But therefore go – he loved the moment
Michelle and Randall Loved the spontaneity of the dance
Sponge line – he loved Randall’s actions.
Nerissa Work on the character to be strong physically. You might rework your character sketch. For this to have been your third performance – you have been so successful.
Arragon Don’t be aggressive – make big choices. Again, become that character with all the eccentricities and make people laugh because that is what you are. Don’t lose the air kiss. You have come such a long way – great job. Not a direct address to audience. Remind me to reblock this. Casket men in an angle.
Shylock Real beard? Hmm. We will have to spend a lot of time to make this work.
Tiredness – cannot remember what he said, but we can see your character make the journey and to me, it is realistic for you to be more confident and full of energy at the beginning and gradually become more tired. No black panels.
I am a Jew – toward S & S
Speak no more – lower and measured.
Make a bigger deal out of the scale and sharpening the knife. Look at Antonio
Think about the flesh.
Show relief when you are not condemned to die.
Build up to I am content – struggle to say it.
I am a Jew – pleading for forgiveness.
Moroccan Loved your energy – work on not pushing too hard. Let the character create the humor without knowing he is funny.
Portia Make the slap meaningful. Move away from the Moroccan.
Lower voice in trial scene.
Launcelot Vocally make it big. Work on diction and vocally variety. Loved your character.
Savannah Look at the line “Fortune …crossed” line. If luck is with me, you will no longer have a daughter.
Be thoughtful and take a moment. We have the time. Be more excited about Lorenzo when you are on the ladder.
Casket men Great job. Don’t change a thing. BUT enter behind Shylock’s house.
Moroccan men Someone catch the skull. Do not make it bigger. Stay the same.
Portia and Bassanio Great job being lin love
Gratiano Great job throughout. He loved the delivery about your wife.
Bassanio Live in the moment of discovering that Portia’s picture in the casket.
Lorenzo Need to see your face with the letter.
Antonio and Shylock Slap was great.
Antonio Don’t overreact to pain and fear. Internalize it and let it come out as emotion. Be in the character. Don’t play sad. Fight to live. We need to see you make your decision to relent and accept your fate.
Greater relief when Portia discovers the solution.
Portia and all in the trial scene except for Jessica and hannah When you laugh – make it real. Not playacting a laugh
DUKE Great job! So proud of you! Measure your last words.
Lane Light on Nerissa and Gratiano USC during Bassanio’s casket scene.
Mica, Lane, & Cole Coordinate lightning and thunder. We need lightning with Lorenzo’s entrance and after Bassanio’s casket scene.
Friday, April 1, 2011
Wednesday, March 23, 2011
Monday Night's Performance
To do
Fix morroccan music (first time)
Fix Hannah’s aproon
• We are excited that Conner is playing the Duke. You have big footsteps to fill. We are also glad that Chris will take the journey with us.
• On Thursday, leave your cell phones in my room before coming into the auditorium. NO CELLS BACKSTAGE. How can you focus and be in character when you are texting? If I catch you, it will be taken up and given to Mr. Johnson/Freeman because this is a class.
• Salerio, need you louder and clearer at beginning
• What harm a wind – louder Salarino.
• In Sooth – no pause – but the line was better
• Fawning publican needs to be louder and Christian line.
• Shylock, better at not being in profile.
• Hannah, Mark, Chavez, and Zack – instead of walking RS, Mark, why don’t you go get a glass and drink it while you are thinking of your next line. Do this after “spurn thee too.” This will act as if it is calming you down. Hannah, fix the drink so he does not have to go all the way back to the inside of the café. DO NOT GO FAR RIGHT STAGE
• Savannah, Daughter lost needs to lift.
• Carson, wait until Shylock comes in to hide. Wait until he exits to come out. Do not come out when he is there.
• Hayden – lift hat back in Moroccan scene – or hand it to a guy and slick your hair back slowly.
• EVERYONE – DO NOT MOUTH OTHER”S WORDS. This is prompting and we can be disqualified. I will ask Blake to watch for that exclusively Thursday.
• Shylock, take your hat off in the house – cannot see your face.
• Lane, put a dim light on Shylock when Launcelot hands him the letter. More light.
• Louder, Zack in house. Hit consonants
• Antonio, move downstage further in your wind scene. Lane, take lights off Jessica and Lorenzo quickly.Also take lights off the café. Lorenzo and Jessica, cross in front of the house to exit.
• More thunder in Antonio’s scene. Cole, more lightning in this scene.
• In arragon scene, Michelle – yell your line towards the audience – lower and use diction.
• Faster – Arragon scene. Let’s work on it. Woo needs to be hit hard and it needs to lift. It was better Monday night, but be impatient and that will make it faster. Be looking at the caskets and begin as soon as Portia says her line. Hit looke fairer. Immediately go to the next chest. Hit all bold words. The line with “What’s here? Is great.
Arragon “ Who chooses me must give and hazard all he has…” You shall looke fairer ere I hazard.
Arragon What says the golden chest? Ha! Let me see! I will not choose what many men desire because I will not jumpe with common SPIRITS
Arragon “Who chooses me( silver) shall get as much as he deserves.” I deserve the very best . Give me a key NO DANCE
Arragon What’s here? The portrait of a blinking idiot presenting me a schedule! Did I deserve no more than a fool’s head? Don’t I deserve the very best?
• Shylock, put black panels up.
• Salerio, Salarino, and Shylock scene. Move the red tables as you exit. Conner Dipprey, go out and sit in the center stage table and when the next scene starts, move it out. You will have to help move the café scene. Last night was the BEST that you have done it. IT WAS SEAMLESS.
• Shylock – heart speech more to the audience.
• Bassanio’s casket scene move this way left stage.
• Chavez, keep your head up in the casket scene. I am still not happy with the way this scene is going. Hayden, Jared, Graham and Savannah – make more commotion coming in. Graham and Savannah, at first stand on the 4 X 4, then move down so that you can be in the group. There must be a sense of urgency.
• In casket scene, 6000 ducats react
• Jail scene, we need to redo this. I want Mark to cross down with the last lines.
• Beware fangs needs to be louder.
• In trial scene 6,000 ducats - react
• I stand for the law, Conner walk to Zack
• Murmur coming into the trial scene. Expressions were better, but you need to say different things each time it is time for the crowd to speak.
• Duke, work on your lines. You are a politician. Be bigger than life. Think of Al Sharpton.
• Too many sitting in trial scene.
• Trial scene was so much better. Jerod, Hayden, Ty, Carson, Graham, Connor, Randall, Chavez – outstanding talking to each other
• All women, sit like women, keep knees together.
• Change the murmuring. Duke turn toward Shylock.
• Shylock turn toward audience when Hayden calls you a dog.
• EVERYONE, head up and do not bend from the waist.
• Slave speech was phenomenal
• During Molly’s mercy speech, we need to see Shylock’s and Duke’s face.
• Molly, we need more time before you say tarry. The suspense does not have time to build. Mark and Zack, work with her.
• Carson, go get the pitcher for Mark.
• Duke – last line needs to be measured and said with authority.
• Trial scene
o Great job, Hayden going to Chavez
o Carson great job – reacting to Shylock in trial scene.
o SOCKS! Black or brown – girls included. Not Hannah and Savannah
o Molly – your best
o Give me judgment to judge and more to audience – cheat out.
o Mark reluctantly take off shirt.
o TY GREAT job crying
o Randall – angrier with wife line.
o HEADS UP, everyone. NO BENDING FROM THE WAIST.
o Hayden, christening
o All in all – a wonderful performance. Everyone improved.
Fix morroccan music (first time)
Fix Hannah’s aproon
• We are excited that Conner is playing the Duke. You have big footsteps to fill. We are also glad that Chris will take the journey with us.
• On Thursday, leave your cell phones in my room before coming into the auditorium. NO CELLS BACKSTAGE. How can you focus and be in character when you are texting? If I catch you, it will be taken up and given to Mr. Johnson/Freeman because this is a class.
• Salerio, need you louder and clearer at beginning
• What harm a wind – louder Salarino.
• In Sooth – no pause – but the line was better
• Fawning publican needs to be louder and Christian line.
• Shylock, better at not being in profile.
• Hannah, Mark, Chavez, and Zack – instead of walking RS, Mark, why don’t you go get a glass and drink it while you are thinking of your next line. Do this after “spurn thee too.” This will act as if it is calming you down. Hannah, fix the drink so he does not have to go all the way back to the inside of the café. DO NOT GO FAR RIGHT STAGE
• Savannah, Daughter lost needs to lift.
• Carson, wait until Shylock comes in to hide. Wait until he exits to come out. Do not come out when he is there.
• Hayden – lift hat back in Moroccan scene – or hand it to a guy and slick your hair back slowly.
• EVERYONE – DO NOT MOUTH OTHER”S WORDS. This is prompting and we can be disqualified. I will ask Blake to watch for that exclusively Thursday.
• Shylock, take your hat off in the house – cannot see your face.
• Lane, put a dim light on Shylock when Launcelot hands him the letter. More light.
• Louder, Zack in house. Hit consonants
• Antonio, move downstage further in your wind scene. Lane, take lights off Jessica and Lorenzo quickly.Also take lights off the café. Lorenzo and Jessica, cross in front of the house to exit.
• More thunder in Antonio’s scene. Cole, more lightning in this scene.
• In arragon scene, Michelle – yell your line towards the audience – lower and use diction.
• Faster – Arragon scene. Let’s work on it. Woo needs to be hit hard and it needs to lift. It was better Monday night, but be impatient and that will make it faster. Be looking at the caskets and begin as soon as Portia says her line. Hit looke fairer. Immediately go to the next chest. Hit all bold words. The line with “What’s here? Is great.
Arragon “ Who chooses me must give and hazard all he has…” You shall looke fairer ere I hazard.
Arragon What says the golden chest? Ha! Let me see! I will not choose what many men desire because I will not jumpe with common SPIRITS
Arragon “Who chooses me( silver) shall get as much as he deserves.” I deserve the very best . Give me a key NO DANCE
Arragon What’s here? The portrait of a blinking idiot presenting me a schedule! Did I deserve no more than a fool’s head? Don’t I deserve the very best?
• Shylock, put black panels up.
• Salerio, Salarino, and Shylock scene. Move the red tables as you exit. Conner Dipprey, go out and sit in the center stage table and when the next scene starts, move it out. You will have to help move the café scene. Last night was the BEST that you have done it. IT WAS SEAMLESS.
• Shylock – heart speech more to the audience.
• Bassanio’s casket scene move this way left stage.
• Chavez, keep your head up in the casket scene. I am still not happy with the way this scene is going. Hayden, Jared, Graham and Savannah – make more commotion coming in. Graham and Savannah, at first stand on the 4 X 4, then move down so that you can be in the group. There must be a sense of urgency.
• In casket scene, 6000 ducats react
• Jail scene, we need to redo this. I want Mark to cross down with the last lines.
• Beware fangs needs to be louder.
• In trial scene 6,000 ducats - react
• I stand for the law, Conner walk to Zack
• Murmur coming into the trial scene. Expressions were better, but you need to say different things each time it is time for the crowd to speak.
• Duke, work on your lines. You are a politician. Be bigger than life. Think of Al Sharpton.
• Too many sitting in trial scene.
• Trial scene was so much better. Jerod, Hayden, Ty, Carson, Graham, Connor, Randall, Chavez – outstanding talking to each other
• All women, sit like women, keep knees together.
• Change the murmuring. Duke turn toward Shylock.
• Shylock turn toward audience when Hayden calls you a dog.
• EVERYONE, head up and do not bend from the waist.
• Slave speech was phenomenal
• During Molly’s mercy speech, we need to see Shylock’s and Duke’s face.
• Molly, we need more time before you say tarry. The suspense does not have time to build. Mark and Zack, work with her.
• Carson, go get the pitcher for Mark.
• Duke – last line needs to be measured and said with authority.
• Trial scene
o Great job, Hayden going to Chavez
o Carson great job – reacting to Shylock in trial scene.
o SOCKS! Black or brown – girls included. Not Hannah and Savannah
o Molly – your best
o Give me judgment to judge and more to audience – cheat out.
o Mark reluctantly take off shirt.
o TY GREAT job crying
o Randall – angrier with wife line.
o HEADS UP, everyone. NO BENDING FROM THE WAIST.
o Hayden, christening
o All in all – a wonderful performance. Everyone improved.
Sunday, March 20, 2011
MARCH 20 PERFORMANCE
Performance Sunday, March 20, 2011
• Overall, an improved performance. I can see daylight. We have to improve each rehearsal.
• Connor and Carson were standing the same at the beginning. One person change.
• Let’s put Portia and Nerissa in the opening slow mo. That way people understand that Portia and Bassanio might have met even though he is not present on stage.
• Hayden – ague and the lines following – don’t whisper. I understand varying your vocals, and as actors, you all have to do that. Just lost the line. Maybe if you would say it to the audience more as if you are thinking aloud.
• EVERYONE should vary vocally.
• Jared – I know no pause
• Randall, speak toward the audience, hit consonants. Loved the energy, but could not understand thelines.
• Antonio and Bassanio – loved the Portia moment.
• Mark, Shylock, Bassanio, move your chairs back – scoot them toward the table before you exit. Hannah, take their glasses and wipe off the table.
• By my troth – louder Could not understand all lines in this scene, Portia.
• Café people, acknowledge Hannah. Use hand signals for a drink. BE sure to pay her before you leave. Hold up your glass if you need a refill.
• We need more newspapers open at the café scene. Discuss what is happening.
• EVERYONE must be louder. Cooper’s acoustics are terrible. Get used to it now.
• Cole and Lane, lights off Ty and Chris more in the café scene.
• Chris and Ty, great reactions to the argument. We need to see more of it. SO, Bassanio, Mark, and Shylock, do not move so far right stage.
• Shylock, remember we do not need to see your profile. Pound of flesh – we need to see your face.
• In the Launcelot scene, I could not understand Bassanio.
• Moroccan men – great levels. Keep it up. Love facial expressions on all men. They are all different.
• Following the last Salerio, Salarino, Shylock scene, start moving tables offstage. Salerio and Salarino take your glasses and bottle offstage. Take the least visual cross when moving chairs. Hannah, go behind the café to the left of it and pick up the chair to move it on top of the other. MEN, HELP HER OUT transforming café to jail.
• In the Bassanio casket scene. WE NEED more of an entrance when the men come in. We do not need to understand words, but we MUST hear chaos as you are coming in. We MUST have a sense of urgency. Everyone react when they come in. You are worried – Michelle, Molly, Randall, and Chavez. Why are they coming in so quickly and loudly? What is the problem?
• We have added in lines for Portia and Nerissa so the audience will understand that they are going to be men. If you have read this far, text me 470-9940 or email me ccouch@shallowaterisd.net.
PORTIA Come on, Nerissa; I have work in hand
That you yet know not of: we'll see our husbands
Before they think of us.
NERISSA Shall they see us? 60
PORTIA They shall, Nerissa;
I'll hold thee any wager,
When we are both accoutred like young men,
I'll prove the prettier fellow of the two, 65
And wear my dagger with the braver grace,
and turn two mincing steps
Into a manly stride,
70
I have within my mind
A thousand raw tricks of these bragging Jacks,
Which I will practise.
NERISSA Why, shall we turn to men? 80
PORTIA Laugh
[Exeunt]
• Duke, use the cane as an accessory – like you are full of yourself. The limping does not work. Zack, may we borrow a cane? Duke,
Look at your lines. You are putting more pauses in them that are required. Duke - move around the room. Talk to different people. Be close to Portia and Nerissa. Then say your line about them being here. Duke on the mercy line, go to Shylock.
• Hannah, great job in trial scene. But be Bigger.
• Mark and Chavez – great job on your discussion. Randall, love you on the step. We can see your emotion. Great job – Hayden, coming in to the court scene. He acts coming in. He went to Ty, and they both acted. The trial scene was better, but we need more. You are a community of people who have known each other for years. I am not getting that. The only strangers are Portia and Nerissa.
• Men, when women come into a building, hold a chair out for them (Graham). Wait until Hannah is seated, or better yet, pull out a chair for her.
• Overall, an improved performance. I can see daylight. We have to improve each rehearsal.
• Connor and Carson were standing the same at the beginning. One person change.
• Let’s put Portia and Nerissa in the opening slow mo. That way people understand that Portia and Bassanio might have met even though he is not present on stage.
• Hayden – ague and the lines following – don’t whisper. I understand varying your vocals, and as actors, you all have to do that. Just lost the line. Maybe if you would say it to the audience more as if you are thinking aloud.
• EVERYONE should vary vocally.
• Jared – I know no pause
• Randall, speak toward the audience, hit consonants. Loved the energy, but could not understand thelines.
• Antonio and Bassanio – loved the Portia moment.
• Mark, Shylock, Bassanio, move your chairs back – scoot them toward the table before you exit. Hannah, take their glasses and wipe off the table.
• By my troth – louder Could not understand all lines in this scene, Portia.
• Café people, acknowledge Hannah. Use hand signals for a drink. BE sure to pay her before you leave. Hold up your glass if you need a refill.
• We need more newspapers open at the café scene. Discuss what is happening.
• EVERYONE must be louder. Cooper’s acoustics are terrible. Get used to it now.
• Cole and Lane, lights off Ty and Chris more in the café scene.
• Chris and Ty, great reactions to the argument. We need to see more of it. SO, Bassanio, Mark, and Shylock, do not move so far right stage.
• Shylock, remember we do not need to see your profile. Pound of flesh – we need to see your face.
• In the Launcelot scene, I could not understand Bassanio.
• Moroccan men – great levels. Keep it up. Love facial expressions on all men. They are all different.
• Following the last Salerio, Salarino, Shylock scene, start moving tables offstage. Salerio and Salarino take your glasses and bottle offstage. Take the least visual cross when moving chairs. Hannah, go behind the café to the left of it and pick up the chair to move it on top of the other. MEN, HELP HER OUT transforming café to jail.
• In the Bassanio casket scene. WE NEED more of an entrance when the men come in. We do not need to understand words, but we MUST hear chaos as you are coming in. We MUST have a sense of urgency. Everyone react when they come in. You are worried – Michelle, Molly, Randall, and Chavez. Why are they coming in so quickly and loudly? What is the problem?
• We have added in lines for Portia and Nerissa so the audience will understand that they are going to be men. If you have read this far, text me 470-9940 or email me ccouch@shallowaterisd.net.
PORTIA Come on, Nerissa; I have work in hand
That you yet know not of: we'll see our husbands
Before they think of us.
NERISSA Shall they see us? 60
PORTIA They shall, Nerissa;
I'll hold thee any wager,
When we are both accoutred like young men,
I'll prove the prettier fellow of the two, 65
And wear my dagger with the braver grace,
and turn two mincing steps
Into a manly stride,
70
I have within my mind
A thousand raw tricks of these bragging Jacks,
Which I will practise.
NERISSA Why, shall we turn to men? 80
PORTIA Laugh
[Exeunt]
• Duke, use the cane as an accessory – like you are full of yourself. The limping does not work. Zack, may we borrow a cane? Duke,
Look at your lines. You are putting more pauses in them that are required. Duke - move around the room. Talk to different people. Be close to Portia and Nerissa. Then say your line about them being here. Duke on the mercy line, go to Shylock.
• Hannah, great job in trial scene. But be Bigger.
• Mark and Chavez – great job on your discussion. Randall, love you on the step. We can see your emotion. Great job – Hayden, coming in to the court scene. He acts coming in. He went to Ty, and they both acted. The trial scene was better, but we need more. You are a community of people who have known each other for years. I am not getting that. The only strangers are Portia and Nerissa.
• Men, when women come into a building, hold a chair out for them (Graham). Wait until Hannah is seated, or better yet, pull out a chair for her.
Friday, March 11, 2011
March 11
CRITIQUES AND NOTES FOR THE WEEKS BEFORE CONTEST
• Rehearsal Friday, March 18 at 1:00. Rehearsal Saturday, March 19 at 8PM. Baseball boys may return home with parents –Biera
• Sunday – private performance for parents -3:00 Passes will be handed out to families for one public performance.
• Monday – Performance for middle school -2:45. Public performance 7:30PM
• March 28 Public performance 7:30; March 27 Public performance at 3PM
Jim Rambo’s critique + mine
Everyone Three judges have asked students to go back to the script and look at dialogue. ONLY IF there is a period or a colon does the actor pause. A series of commas means to speed up with each phrase/clause gaining momentum. End each sentence with a lift. Hit consonants. Look at words that are bold faced and stress them. If three judges have said this, then obviously we need to do this before competition. If the judge cannot understand us at the “get go,” we will not advance.
Music Fade out music of first song.
EVERYONE Step on lines throughout the show. Without doing this, it seems as if you are just repeating lines.
EVERYONE – I have pasted the first scene so that EVERYONE could look at the dialogue and see what to do with commas, periods, etc.
Antonio In soothI know not why I am so sad,It wearies me(lift “me”): PAUSE you say it wearies you(lift “you”):; And such a want-wit sadnesse makes of mee(lift “me”):, NO PAUSE , BUT FASTER That I have much ado to know myselfe(lift “myself”):. CUE2 Fog Horn has ocean and sea gulls
Salarino Your minde is tossing on the Ocean where your Argosies saile. NO PAUSES. LIFT SAILE.
Salerio Believe me Sir, had I such venture forth, NO PAUSE, BUT A RAPIDLY INTENSE PROGRESSION TO THE END OF THE SENTENCE.
the better part of my affections, would be with my hopes abroad(LIFT “ABROAD”. PAUSE I should be still plucking the grasse to know where sits the winde(lift “WIND”):.
Salarino ANTONIO, My winde cooling my broth would blow me to an Ague (fever), NO PAUSEwhen I what harme a winde too great at sea might do. AGUE AND DO ARE SUPPOSED TO RHYME. LIFT “DO”
Salerio But tell me SALARINO, I know, Antonio is sad to thinke upon his merchandise. NO PAUSE, BUT EACH PHRASE AFTER THE COMMA SHOULD BE SAID SWIFTER AND MORE INTENSELY. (lift “MERCHANDISE”):
Antonio Believe me NO PAUSE no. Be argumentative
Salarino Why then you are in love. (lift “LOVE”):
Antonio Fie, Fie!
Salarino Not in love either? Then let us say you are sad because you are not merry. (lift “MERRY”):
Salerio Fare ye well. PAUSE We leave you now with better company. (lift “COMPANY”):
Salarino Good morrow. (lift “MORROW”):
Gratiano You looke not well, Antonio(lift “ANTONIO”):; PAUSE You have too much respect upon the world(lift “WORLD”):: PAUSE They lose it that doe buy it with much care: (lift “CARE”): CUE 3 Fog Horn
Antonio I hold the world but as the world, Gratiano; NO PAUSE A stage, where every man must play a part, NO PAUSE and mine a sad one.
Gratiano Fare ye well awhile, NO PAUSEI’ll end my exhortation after dinner. (lift “DINNER”): LAUGH
Bassanio Gratiano speakes an infinite deale of nothing, NO PAUSE more than any man in all Venice. (lift “VENICE”): Antonio laughs without humor.
Antonio Well:
Bassanio ‘Tis not unknowne to you, Antonio how much I have disabled mine estate. LIFT ESTATE NO PAUSE EXCEPT AT THE END OF THE SENTENCE To you Antonio I owe the most in money, and in love, and from your love I have a warranty to unburden all my plots and purposes, how to get cleare of all the debts I owe. LIFT OWE – THERE ARE COMMAS – NO PAUSE, BUT EACH PHRASE SHOULD BE SAID FASTER AND MORE INTENSELY.
Antonio I pray you,NO PAUSE good Bassanio Let me know it; PAUSE be assur’d my purse, NO PAUSE lie all unlock’d to your occasions. (lift “OCCASIONS”):
Bassanio COMMAS = INCREASE PACE WITH COMMAS In Belmont is a lady richly left, and she is faire, sometimes from her eyes I did receive faire speechless messages: PAUSE Her name is Portia, NO PAUSE the four windes blow in from every coast renown’d suitors. PAUSEO my Antonio, had I but the meanes to hold a rival place with one of them, that I should questionlesse be fortunate! (lift “FORTUNATE”):
Antonio Bassanio, NO PAUSE Thou know’st that all my fortunes are at sea, NO PAUSE therefore goe forth try what my credit can in Venice doe: (lift “DOE”):
Antonio You have the first line. Please look at pauses and eliminate them if there is not a period or colon.
Rambo – Your first line slows down the first scene. Watch “gravelly” voice. Use a natural voice, but in a lower timbre.
Salarino and Salerio Watch pauses in first lines.
Italian men Entrance needs to be louder. I can’t figure out why you have changed.
Gratiano and Antonio Lift chins in first meeting. Gratiano, love the energy, but we need to understand your lines.
Bassanio EARLOCKS!
Hannah APRON – we don’t see enough busy work.
Shylock Stand erect. Line with “forfeiture” needs to be directed more to audience.
Jessica I want to see the script with the long vowels colored, the one syllable words circled. Watch pauses
Cole Strobe needs to be shorter for lightning and erratic in timing.
Shylock and Jessica WE MUST SEE THE RELATIONSHIP. THEN WE MUST SEE THE REACTION WHEN SHYLOCK SEES JESSiCA HUG LAUNCELOT. This MUST be a CONTRAST.
First Casket Scene Watch screaming – we need a diverse sound from each person. We need the chance to see the skull. Perhaps each person needs to hold it briefly toward the audience then throw it. Somehow we need to see the skull.
Gratiano Love newes in faith – toward the audience and more distinct
Jessica Take the suitcase with you, not the casket.
Lane We need to see more of a light on Shylock . Shylock, make this more dramatic.
Mica Wind BEFORE Antonio comes out.
Italian men, Jessica and Antonio Bassanio and Gratiano, move more center stage to speak to Salerio and Lorenzo as Jessica comes out. Jessica and Lorenzo, take a little more time before the hugging, kissing. Antonio, more of a dramatic entrance. You have been searching for them. Bring Bassanio downstage.
Portia Difficult time hearing and understanding you today.
EVERYONE STEP ON LINES THROUGHOUT THE SHOW
Portia and Nerissa Could not hear you or understand you at the beginning. Arragon MUST come out early. Nerissa, run downstage, try to stop Arragon from messing with the caskets. Then your line to PORTIA as you are trying to keep Arragon from messing with the caskets – not pushy, but slyly.
Arragon scene STEP ON LINES. This needs to be bigger. We will use bothTy and Chris and decide who will be Arragon on contest.
Salerio , Salarino, Shylock STEP ON LINES
Shylock – you barely contain your anger
If the devil be her judge – attacking – be meaner
Bassanio Casket scene All Italian men and girls THIS WAS SLOW>>>>>Step on lines. BIGGER REACTIONS TO Bassanio’s ENTRANCE. Lorenzo and Italian men’s entrance MUST BE BIGGER. IT HAS BEEN RAINING. YOU ARE EXHAUSTED. YOU ARE AFRAID THAT YOU MIGHT BE TOO LATE TO GET THE LETTER TO BASSANIO. THIS ENTRANCE MUST BE LOUD AND URGENT. Gratiano, go to Salerio and discuss the letter and Antonio’s problem. THE ENTIRE MOOD OF THIS SCENE MUST CHANGE DRASTICALLY. Portia -LOUDER ON 6000 DUCATS. THINK BEFORE YOU SAY IT. HUG before Bassanio leaves.
Salerio, Salarino When bumping Shylock, turn toward audience. We have to see you listening to Shylock in jail scene.
Antonio Remember, you are being detained. You are not on your knees. You may cross downstage to speak to the audience. Watch gruffness in voice.
EVERYONE Stagger entrance into court scene . Come in in character. PEOPLE NOISES. YOU are worried. TALK
STEP ON LINES. If you have read this far, text me -806-470-9940 – test grade.
PEOPLE NOISES
Shylock DICTION. Sit up straight.
Portia GREAT “precedent” scene.
Nerissa We need to see you more frantic, looking through book. Take off the hat. Ah OH, put it back on
Antonio Beseech to judge
PORTIA Louder
Salarino Christening
RAMBO’s NOTES
EVERYONE SHAKESPEARE LESSON – Words come first, then characterization and emotion
Play the lines with a question – lift the last word in each sentence. LOOK AT THE WORDS. IF THE LINES RHYME, make them rhyme. Pay attention to commas, periods, colons. Emphasize the words at the END of phrases/sentences.
TEXT is not clear – Work on diction.
CULTURAL GESTURES AND PEOPLE NOISES – VARY these. Not all man hugs. Some pinching cheeks with flat hands on either sides. Patting the back. Hand shakes. NOT ALL EHHHHs
DO NOT BEND FROM WAISTS. USE THE LEGS, ENTIRE BODY TO ACT. Rambo was right. Watch your balance on your feet. You have to look STABLE as actors.
We are moving the table off stage until the trial scene. We will figure out a better way to move the pylons, perhaps a slick cloth underneath them.
We will leave tables out.
We have to play the TENSION throughout. Determine what tension is needed in each scene – different type of tension in casket scenes vs. scenes with more drama.
OPENING and CLOSING – not enough TENSION in bodies. Start with the music. Go to tense then release. Lighting accommodates and music initiates. EVERYONE MUST BE BIGGER (EXCEPT HAYDEN) Be bigger than he is.
Transitions – We need for people to lead the audience’s eye to the next transition. Nerissa, you are the man crazy one.
MOVE IN DIFFERENT WAYS EACH TIME YOU ARE ON STAGE> IF YOU SHAKE HANDS WITH MEN IN ONE SCENE, CLAP A BACK, OR A MAN HUG NEXT TIME.
Tie in relationships.
FEET - He was right. Again, feet do not need to be wider than your shoulders. Women, work wearing high heels so you look stable.
Act from the feet up. Do not bend at the waist. Keep chins up. Move your body from shoulders down.
Trim out 10% of gestures. 2nd judge who has told us that.
When you have a line in the café or any place on stage. Cross, stop, and speak – pick up something. Have two goals in mind. One to get to your object. Two to say your line.
Move the character from the gut.
Transitions. Keep acting. Keep the audience interested.
There is not enough emphasis on the last word in lines and not enough lift. Don’t attack the first of a sentence. This applies to everyone.
Court scene – be people coming in. Steal looks at Shylock, Antonio, and Jessica. Play to the audience who do not know what the ending is.
Reblock court scene.
Hannah, we must see you , and you need to have more expression on your face.
Show more emotion and tension in the court scene.
Trial – play the scene as if he is going to go through with the knife. If you have read this far, text me how you are going to do this. If you are crew, give suggestions. 806-470-9940.
More tension in the trial scene and be more focused. We don’t know when Shylock is going to use his knife. Hold the audience in suspense. Don’t play to the end of the play.
Shylock’s arm needs to appear superman strong.
Everyone needs to WANT to be part of the trial.
BLACK SOCKS.
Shylock Prideful, erect.
Don’t be afraid to make the last line echo.
Play up your disgust with Christians. Use your height as a presence. Antonio is the enemy.
Equal pound of flesh – measured and lift flesh up
Prick us – Hit all action verbs strong. Lift US
My daughter – lift daughter.
Remind me about the stipple above beard.
BOND – play it each time for the audience.
Mica , Cole, Lane Wait a beat after Shylock’s last word before blacking and sounding out.
Antonio You are handling the text too harshly. Tonality is harsh. You need more vocal variety in voice. Too slow with first line. You are attacking the first words of the sentence instead of concentrating on the ends of sentences with a lift.
Too gruff with “my purse”
Raise to a present sum. Sum needs to lift. Don’t attack the beginning of the sentence.
Stop using your stage right hand making a fist.
You are as disgusted with Shylock as he is with you. I think that wrestling with Bassanio in the entrance weakens your character. Walk across. See Shylock. Stand, discuss with Bassanio, and we need to see your decision to speak to Shylock.
Be more of a business man, task oriented, business like. More of a playboy when you are with your friends.
PUSH – Jew
Shall become a Christian. Clarify this more – measured speech. When do you decide to give Lorenzo money and baptize Shylock? We need to see it.
Salarino
Salerio More bigotry
Vary physical movements
Bassanio Tune the audience’s ear into your dialect. Not so heavy at the beginning. HIT Consonants and last word of sentences.
Casket scenes Use the casket bearer’s blocking as ways to create new blocking for people in the scene.
Portia & Nerissa Lift end of phrases.
Lower register. Vary vocals.
INITiAL CASKET SCENE PEOPLE We need Le Bon, Duke of Saxony’s nephew back out. PEOPLE NEED TO CHARLESTON. I will come up with steps. Perhaps Chris’s sister can help just the people who dance .
Portia Lottery of my destiny – lift destiny.
She may learn – lift learn
Feet power – don’t lose your center of gravity.
Jessica Again, I want to see your script – color long vowels and make a conscious effort not to make them too long. One syllable words should not be made into two syllables. Ms. Kuehler said to watch the word letter. Ask her.
Do it in secret – lift secret. Play more to the audience.
Jessica and Shylock We need to see more contrasts in your relationship. Make a point to connect eyes. Be on the same plane at some time. “Fair displays of love” Love must lift.
Gratiano and Salarino and Salerio Choose varied ways to greet each other.
Arragon You need a specific way to enter and exit.
Bassanio Don’t back up
More emotional during the trial scene. It appeared contrived.
Gratiano Emphasize too
Salarino Don’t use the finger?
Duke To Chris Speak more to the audience and with more emotion. Campaign as you come into the courtroom.
Connor Bring Duke’s table downstage.
BE READY FOR FRIDAY, March 18th. I think we will have $ for dinner that night, so I will bring a van to rehearsal, so we can stop and have dinner. We will stay until you are good. On Saturday, we will do it again.
• Rehearsal Friday, March 18 at 1:00. Rehearsal Saturday, March 19 at 8PM. Baseball boys may return home with parents –Biera
• Sunday – private performance for parents -3:00 Passes will be handed out to families for one public performance.
• Monday – Performance for middle school -2:45. Public performance 7:30PM
• March 28 Public performance 7:30; March 27 Public performance at 3PM
Jim Rambo’s critique + mine
Everyone Three judges have asked students to go back to the script and look at dialogue. ONLY IF there is a period or a colon does the actor pause. A series of commas means to speed up with each phrase/clause gaining momentum. End each sentence with a lift. Hit consonants. Look at words that are bold faced and stress them. If three judges have said this, then obviously we need to do this before competition. If the judge cannot understand us at the “get go,” we will not advance.
Music Fade out music of first song.
EVERYONE Step on lines throughout the show. Without doing this, it seems as if you are just repeating lines.
EVERYONE – I have pasted the first scene so that EVERYONE could look at the dialogue and see what to do with commas, periods, etc.
Antonio In soothI know not why I am so sad,It wearies me(lift “me”): PAUSE you say it wearies you(lift “you”):; And such a want-wit sadnesse makes of mee(lift “me”):, NO PAUSE , BUT FASTER That I have much ado to know myselfe(lift “myself”):. CUE2 Fog Horn has ocean and sea gulls
Salarino Your minde is tossing on the Ocean where your Argosies saile. NO PAUSES. LIFT SAILE.
Salerio Believe me Sir, had I such venture forth, NO PAUSE, BUT A RAPIDLY INTENSE PROGRESSION TO THE END OF THE SENTENCE.
the better part of my affections, would be with my hopes abroad(LIFT “ABROAD”. PAUSE I should be still plucking the grasse to know where sits the winde(lift “WIND”):.
Salarino ANTONIO, My winde cooling my broth would blow me to an Ague (fever), NO PAUSEwhen I what harme a winde too great at sea might do. AGUE AND DO ARE SUPPOSED TO RHYME. LIFT “DO”
Salerio But tell me SALARINO, I know, Antonio is sad to thinke upon his merchandise. NO PAUSE, BUT EACH PHRASE AFTER THE COMMA SHOULD BE SAID SWIFTER AND MORE INTENSELY. (lift “MERCHANDISE”):
Antonio Believe me NO PAUSE no. Be argumentative
Salarino Why then you are in love. (lift “LOVE”):
Antonio Fie, Fie!
Salarino Not in love either? Then let us say you are sad because you are not merry. (lift “MERRY”):
Salerio Fare ye well. PAUSE We leave you now with better company. (lift “COMPANY”):
Salarino Good morrow. (lift “MORROW”):
Gratiano You looke not well, Antonio(lift “ANTONIO”):; PAUSE You have too much respect upon the world(lift “WORLD”):: PAUSE They lose it that doe buy it with much care: (lift “CARE”): CUE 3 Fog Horn
Antonio I hold the world but as the world, Gratiano; NO PAUSE A stage, where every man must play a part, NO PAUSE and mine a sad one.
Gratiano Fare ye well awhile, NO PAUSEI’ll end my exhortation after dinner. (lift “DINNER”): LAUGH
Bassanio Gratiano speakes an infinite deale of nothing, NO PAUSE more than any man in all Venice. (lift “VENICE”): Antonio laughs without humor.
Antonio Well:
Bassanio ‘Tis not unknowne to you, Antonio how much I have disabled mine estate. LIFT ESTATE NO PAUSE EXCEPT AT THE END OF THE SENTENCE To you Antonio I owe the most in money, and in love, and from your love I have a warranty to unburden all my plots and purposes, how to get cleare of all the debts I owe. LIFT OWE – THERE ARE COMMAS – NO PAUSE, BUT EACH PHRASE SHOULD BE SAID FASTER AND MORE INTENSELY.
Antonio I pray you,NO PAUSE good Bassanio Let me know it; PAUSE be assur’d my purse, NO PAUSE lie all unlock’d to your occasions. (lift “OCCASIONS”):
Bassanio COMMAS = INCREASE PACE WITH COMMAS In Belmont is a lady richly left, and she is faire, sometimes from her eyes I did receive faire speechless messages: PAUSE Her name is Portia, NO PAUSE the four windes blow in from every coast renown’d suitors. PAUSEO my Antonio, had I but the meanes to hold a rival place with one of them, that I should questionlesse be fortunate! (lift “FORTUNATE”):
Antonio Bassanio, NO PAUSE Thou know’st that all my fortunes are at sea, NO PAUSE therefore goe forth try what my credit can in Venice doe: (lift “DOE”):
Antonio You have the first line. Please look at pauses and eliminate them if there is not a period or colon.
Rambo – Your first line slows down the first scene. Watch “gravelly” voice. Use a natural voice, but in a lower timbre.
Salarino and Salerio Watch pauses in first lines.
Italian men Entrance needs to be louder. I can’t figure out why you have changed.
Gratiano and Antonio Lift chins in first meeting. Gratiano, love the energy, but we need to understand your lines.
Bassanio EARLOCKS!
Hannah APRON – we don’t see enough busy work.
Shylock Stand erect. Line with “forfeiture” needs to be directed more to audience.
Jessica I want to see the script with the long vowels colored, the one syllable words circled. Watch pauses
Cole Strobe needs to be shorter for lightning and erratic in timing.
Shylock and Jessica WE MUST SEE THE RELATIONSHIP. THEN WE MUST SEE THE REACTION WHEN SHYLOCK SEES JESSiCA HUG LAUNCELOT. This MUST be a CONTRAST.
First Casket Scene Watch screaming – we need a diverse sound from each person. We need the chance to see the skull. Perhaps each person needs to hold it briefly toward the audience then throw it. Somehow we need to see the skull.
Gratiano Love newes in faith – toward the audience and more distinct
Jessica Take the suitcase with you, not the casket.
Lane We need to see more of a light on Shylock . Shylock, make this more dramatic.
Mica Wind BEFORE Antonio comes out.
Italian men, Jessica and Antonio Bassanio and Gratiano, move more center stage to speak to Salerio and Lorenzo as Jessica comes out. Jessica and Lorenzo, take a little more time before the hugging, kissing. Antonio, more of a dramatic entrance. You have been searching for them. Bring Bassanio downstage.
Portia Difficult time hearing and understanding you today.
EVERYONE STEP ON LINES THROUGHOUT THE SHOW
Portia and Nerissa Could not hear you or understand you at the beginning. Arragon MUST come out early. Nerissa, run downstage, try to stop Arragon from messing with the caskets. Then your line to PORTIA as you are trying to keep Arragon from messing with the caskets – not pushy, but slyly.
Arragon scene STEP ON LINES. This needs to be bigger. We will use bothTy and Chris and decide who will be Arragon on contest.
Salerio , Salarino, Shylock STEP ON LINES
Shylock – you barely contain your anger
If the devil be her judge – attacking – be meaner
Bassanio Casket scene All Italian men and girls THIS WAS SLOW>>>>>Step on lines. BIGGER REACTIONS TO Bassanio’s ENTRANCE. Lorenzo and Italian men’s entrance MUST BE BIGGER. IT HAS BEEN RAINING. YOU ARE EXHAUSTED. YOU ARE AFRAID THAT YOU MIGHT BE TOO LATE TO GET THE LETTER TO BASSANIO. THIS ENTRANCE MUST BE LOUD AND URGENT. Gratiano, go to Salerio and discuss the letter and Antonio’s problem. THE ENTIRE MOOD OF THIS SCENE MUST CHANGE DRASTICALLY. Portia -LOUDER ON 6000 DUCATS. THINK BEFORE YOU SAY IT. HUG before Bassanio leaves.
Salerio, Salarino When bumping Shylock, turn toward audience. We have to see you listening to Shylock in jail scene.
Antonio Remember, you are being detained. You are not on your knees. You may cross downstage to speak to the audience. Watch gruffness in voice.
EVERYONE Stagger entrance into court scene . Come in in character. PEOPLE NOISES. YOU are worried. TALK
STEP ON LINES. If you have read this far, text me -806-470-9940 – test grade.
PEOPLE NOISES
Shylock DICTION. Sit up straight.
Portia GREAT “precedent” scene.
Nerissa We need to see you more frantic, looking through book. Take off the hat. Ah OH, put it back on
Antonio Beseech to judge
PORTIA Louder
Salarino Christening
RAMBO’s NOTES
EVERYONE SHAKESPEARE LESSON – Words come first, then characterization and emotion
Play the lines with a question – lift the last word in each sentence. LOOK AT THE WORDS. IF THE LINES RHYME, make them rhyme. Pay attention to commas, periods, colons. Emphasize the words at the END of phrases/sentences.
TEXT is not clear – Work on diction.
CULTURAL GESTURES AND PEOPLE NOISES – VARY these. Not all man hugs. Some pinching cheeks with flat hands on either sides. Patting the back. Hand shakes. NOT ALL EHHHHs
DO NOT BEND FROM WAISTS. USE THE LEGS, ENTIRE BODY TO ACT. Rambo was right. Watch your balance on your feet. You have to look STABLE as actors.
We are moving the table off stage until the trial scene. We will figure out a better way to move the pylons, perhaps a slick cloth underneath them.
We will leave tables out.
We have to play the TENSION throughout. Determine what tension is needed in each scene – different type of tension in casket scenes vs. scenes with more drama.
OPENING and CLOSING – not enough TENSION in bodies. Start with the music. Go to tense then release. Lighting accommodates and music initiates. EVERYONE MUST BE BIGGER (EXCEPT HAYDEN) Be bigger than he is.
Transitions – We need for people to lead the audience’s eye to the next transition. Nerissa, you are the man crazy one.
MOVE IN DIFFERENT WAYS EACH TIME YOU ARE ON STAGE> IF YOU SHAKE HANDS WITH MEN IN ONE SCENE, CLAP A BACK, OR A MAN HUG NEXT TIME.
Tie in relationships.
FEET - He was right. Again, feet do not need to be wider than your shoulders. Women, work wearing high heels so you look stable.
Act from the feet up. Do not bend at the waist. Keep chins up. Move your body from shoulders down.
Trim out 10% of gestures. 2nd judge who has told us that.
When you have a line in the café or any place on stage. Cross, stop, and speak – pick up something. Have two goals in mind. One to get to your object. Two to say your line.
Move the character from the gut.
Transitions. Keep acting. Keep the audience interested.
There is not enough emphasis on the last word in lines and not enough lift. Don’t attack the first of a sentence. This applies to everyone.
Court scene – be people coming in. Steal looks at Shylock, Antonio, and Jessica. Play to the audience who do not know what the ending is.
Reblock court scene.
Hannah, we must see you , and you need to have more expression on your face.
Show more emotion and tension in the court scene.
Trial – play the scene as if he is going to go through with the knife. If you have read this far, text me how you are going to do this. If you are crew, give suggestions. 806-470-9940.
More tension in the trial scene and be more focused. We don’t know when Shylock is going to use his knife. Hold the audience in suspense. Don’t play to the end of the play.
Shylock’s arm needs to appear superman strong.
Everyone needs to WANT to be part of the trial.
BLACK SOCKS.
Shylock Prideful, erect.
Don’t be afraid to make the last line echo.
Play up your disgust with Christians. Use your height as a presence. Antonio is the enemy.
Equal pound of flesh – measured and lift flesh up
Prick us – Hit all action verbs strong. Lift US
My daughter – lift daughter.
Remind me about the stipple above beard.
BOND – play it each time for the audience.
Mica , Cole, Lane Wait a beat after Shylock’s last word before blacking and sounding out.
Antonio You are handling the text too harshly. Tonality is harsh. You need more vocal variety in voice. Too slow with first line. You are attacking the first words of the sentence instead of concentrating on the ends of sentences with a lift.
Too gruff with “my purse”
Raise to a present sum. Sum needs to lift. Don’t attack the beginning of the sentence.
Stop using your stage right hand making a fist.
You are as disgusted with Shylock as he is with you. I think that wrestling with Bassanio in the entrance weakens your character. Walk across. See Shylock. Stand, discuss with Bassanio, and we need to see your decision to speak to Shylock.
Be more of a business man, task oriented, business like. More of a playboy when you are with your friends.
PUSH – Jew
Shall become a Christian. Clarify this more – measured speech. When do you decide to give Lorenzo money and baptize Shylock? We need to see it.
Salarino
Salerio More bigotry
Vary physical movements
Bassanio Tune the audience’s ear into your dialect. Not so heavy at the beginning. HIT Consonants and last word of sentences.
Casket scenes Use the casket bearer’s blocking as ways to create new blocking for people in the scene.
Portia & Nerissa Lift end of phrases.
Lower register. Vary vocals.
INITiAL CASKET SCENE PEOPLE We need Le Bon, Duke of Saxony’s nephew back out. PEOPLE NEED TO CHARLESTON. I will come up with steps. Perhaps Chris’s sister can help just the people who dance .
Portia Lottery of my destiny – lift destiny.
She may learn – lift learn
Feet power – don’t lose your center of gravity.
Jessica Again, I want to see your script – color long vowels and make a conscious effort not to make them too long. One syllable words should not be made into two syllables. Ms. Kuehler said to watch the word letter. Ask her.
Do it in secret – lift secret. Play more to the audience.
Jessica and Shylock We need to see more contrasts in your relationship. Make a point to connect eyes. Be on the same plane at some time. “Fair displays of love” Love must lift.
Gratiano and Salarino and Salerio Choose varied ways to greet each other.
Arragon You need a specific way to enter and exit.
Bassanio Don’t back up
More emotional during the trial scene. It appeared contrived.
Gratiano Emphasize too
Salarino Don’t use the finger?
Duke To Chris Speak more to the audience and with more emotion. Campaign as you come into the courtroom.
Connor Bring Duke’s table downstage.
BE READY FOR FRIDAY, March 18th. I think we will have $ for dinner that night, so I will bring a van to rehearsal, so we can stop and have dinner. We will stay until you are good. On Saturday, we will do it again.
Thursday, March 3, 2011
Bob Chanda - Tulia March 2
Bob Chanda’s Critique and mine March 3, 2011
Mine first
• Mica, I know I told you the music was ok, but the first tune was not loud enough.
• Opening and the first scene has to grab the audience.
• Carson, don’t close your eyes – and you lost the vocal variety you had yesterday, but made up for it by being a great guard. Rehearse your vocals.
• I am right LOATHE – Shylock stay seated until you have said this sentence. You are saying you don’t want to go, so sit for a sec.
• Hannah & Mica , We will have rain and thunder in the café scene before the Lorenzo scene. Hannah, run out, put the tables on top of each other. Remember it is raining so put a dishtowel over your head. The rain was unexpected. After Antonio’s scene with the umbrellas, the sun comes out with the café scene, so come back out – wipe the tables and put the chairs and table back out. Wring out the rag. BE EVIDENT in the scene. I want you on stage all the time because you have such an expressive face. Do not stay in the wings.
• Chris – magnificent job as Arragon. You were amazing.
• Shylock, we need to milk the scene when you find out Jessica is gone. Then when you cross to the café scene, almost do it at a run – an attack.
• Carson, magnificent in jail and trial scene.
• Molly – look at the speech with precedent.
• Chris and Molly – great job with the book.
Chanda
• Even though actors were gone, Chanda gave suggestions when you return, so it was not a mistake of the alternate, it is a suggestion for you.
• For sooth I know not why I am so sad – said to S & S without a pause in the sentence or a pause before.
• Need to see the bond between Antonio and Bassanio. We should see a light going off in your face, Antonio.
• Everyone – be as natural as possible.
• There was a diction problem today. Hit consonants, end of words, and do not drop the end of sentences.
• Shylock, remember the religious prejudice.
• Bassanio – diction
• Antonio, we need to see the moment you decide to give money.
• Bassanio, justify why you need to ask for money through dialogue. It should be difficult to ask for money.
• Shylock, your whole life you and your family have been spit on; your religion has been defiled. You despise Christians. Put back in “I hate him for he is a Christian.” It should be restrained anger. Being a usurer is the only occupation Jews were allowed to have.
• Antonio, your whole life you have despised Jews because they charge interest on loans. You believe it should be Christian charity.
• EVERYONE, instead of using Shylock during the trial scene, we need to use Jew.
• Shylock, in Launcelot/Jessica scene, we need to see the anger when you see Launcelot, a Christian, hugging your daughter. You believe that all the Christians in Atlantic City have conspired to take your daughter and money away.
• Jessica, we need to see you stay a little longer in your house. We need to see the decision to leave. The stealing must be a BIG deal.
• Shylock, initially you are joking when you offer the pound of flesh.
• The Jessica/Lorenzo scene needs to be more passionate. As I said in the earlier critique – yesterday’s, I want you to have lunch or a drink in the café prior to your scene at Shylock’s house.
• Portia, rail against your father’s will. You are angry.
• Portia and Nerissa, we need to see the decision that you are going to be men.
• Shylock, what is the end of the game in your Jewish speech? You are justifying what you are going to do.
• Everyone, let your body and your frame of mind move your body. – Chanda
• EVERYONE – no backs to the audience. Do not speak upstage.
• Casket scenes should be full of tension. Bassanio’s – take your hat off. Give it to Gratiano. Take your handkerchief out. Wipe your head. Arragon and Moroccan – figure it out. Should be different.
• Bassanio – reading the letter. He reads the first part, then crosses DCS and makes people noises, puts it down, brings it back up. Portia crosses to him.
• Shylock, everything that has happened to you, your family, your people culminates in the jail scene.
• The trial scene should revolve around Shylock. We need to see his face and Antonio’s face.
• All the Christians believe that Shylock will cave in and are surprised when he won’t. Bassanio is sure he will take the money because what have we always heard about Jews? There must be heat in this scene and it needs to build.
• Why does Shylock insist on the pound of flesh? This is one time the law is on Shylock’s side. He has been treated unfairly all his life and generations before him. He is adamant – NO.
• Mercy speech – She is making an impassioned plea. It must be heartfelt and she needs to convince him
• When Bassanio says to curb this devil, he is doing it out of desperation. Bassanio, be invested in this.
• We need to see Antonio make the decision why he is willing to die.
• The audience needs to see the personal story behind all the characters.
• Portia, we need to see the moment you see an escape. Nerissa points out to you what you had forgotten. We must have a palpable feeling from the audience when they know there is no help.
• Shylock, we need to see the gradual progression that everything is going to be taken from you. What does it mean in – I am content.
• We need to see Portia and Nerissa decide to be men.
• Shylock, when you are converted, we need to see the anguish that you have nothing – no money – no family and you will be an outcast within your Jewish family. The audience must go on this journey with you. The ending must pull us through.
• In the ending, obviously Antonio, Salarino, Salerio, Gratiano, Balthazar and Bassanio are ecstatic. This must be over the top. The Duke is satisfied and on to the next crisis (perhaps smug). Portia is thoughtful. Jessica is heartbroken. Lorenzo is worried about his wife. Hannah is joyous. Ty is praying. Carson is doing his job, but smiles. Nerissa is happy because Gratiano is happy.
Mine first
• Mica, I know I told you the music was ok, but the first tune was not loud enough.
• Opening and the first scene has to grab the audience.
• Carson, don’t close your eyes – and you lost the vocal variety you had yesterday, but made up for it by being a great guard. Rehearse your vocals.
• I am right LOATHE – Shylock stay seated until you have said this sentence. You are saying you don’t want to go, so sit for a sec.
• Hannah & Mica , We will have rain and thunder in the café scene before the Lorenzo scene. Hannah, run out, put the tables on top of each other. Remember it is raining so put a dishtowel over your head. The rain was unexpected. After Antonio’s scene with the umbrellas, the sun comes out with the café scene, so come back out – wipe the tables and put the chairs and table back out. Wring out the rag. BE EVIDENT in the scene. I want you on stage all the time because you have such an expressive face. Do not stay in the wings.
• Chris – magnificent job as Arragon. You were amazing.
• Shylock, we need to milk the scene when you find out Jessica is gone. Then when you cross to the café scene, almost do it at a run – an attack.
• Carson, magnificent in jail and trial scene.
• Molly – look at the speech with precedent.
• Chris and Molly – great job with the book.
Chanda
• Even though actors were gone, Chanda gave suggestions when you return, so it was not a mistake of the alternate, it is a suggestion for you.
• For sooth I know not why I am so sad – said to S & S without a pause in the sentence or a pause before.
• Need to see the bond between Antonio and Bassanio. We should see a light going off in your face, Antonio.
• Everyone – be as natural as possible.
• There was a diction problem today. Hit consonants, end of words, and do not drop the end of sentences.
• Shylock, remember the religious prejudice.
• Bassanio – diction
• Antonio, we need to see the moment you decide to give money.
• Bassanio, justify why you need to ask for money through dialogue. It should be difficult to ask for money.
• Shylock, your whole life you and your family have been spit on; your religion has been defiled. You despise Christians. Put back in “I hate him for he is a Christian.” It should be restrained anger. Being a usurer is the only occupation Jews were allowed to have.
• Antonio, your whole life you have despised Jews because they charge interest on loans. You believe it should be Christian charity.
• EVERYONE, instead of using Shylock during the trial scene, we need to use Jew.
• Shylock, in Launcelot/Jessica scene, we need to see the anger when you see Launcelot, a Christian, hugging your daughter. You believe that all the Christians in Atlantic City have conspired to take your daughter and money away.
• Jessica, we need to see you stay a little longer in your house. We need to see the decision to leave. The stealing must be a BIG deal.
• Shylock, initially you are joking when you offer the pound of flesh.
• The Jessica/Lorenzo scene needs to be more passionate. As I said in the earlier critique – yesterday’s, I want you to have lunch or a drink in the café prior to your scene at Shylock’s house.
• Portia, rail against your father’s will. You are angry.
• Portia and Nerissa, we need to see the decision that you are going to be men.
• Shylock, what is the end of the game in your Jewish speech? You are justifying what you are going to do.
• Everyone, let your body and your frame of mind move your body. – Chanda
• EVERYONE – no backs to the audience. Do not speak upstage.
• Casket scenes should be full of tension. Bassanio’s – take your hat off. Give it to Gratiano. Take your handkerchief out. Wipe your head. Arragon and Moroccan – figure it out. Should be different.
• Bassanio – reading the letter. He reads the first part, then crosses DCS and makes people noises, puts it down, brings it back up. Portia crosses to him.
• Shylock, everything that has happened to you, your family, your people culminates in the jail scene.
• The trial scene should revolve around Shylock. We need to see his face and Antonio’s face.
• All the Christians believe that Shylock will cave in and are surprised when he won’t. Bassanio is sure he will take the money because what have we always heard about Jews? There must be heat in this scene and it needs to build.
• Why does Shylock insist on the pound of flesh? This is one time the law is on Shylock’s side. He has been treated unfairly all his life and generations before him. He is adamant – NO.
• Mercy speech – She is making an impassioned plea. It must be heartfelt and she needs to convince him
• When Bassanio says to curb this devil, he is doing it out of desperation. Bassanio, be invested in this.
• We need to see Antonio make the decision why he is willing to die.
• The audience needs to see the personal story behind all the characters.
• Portia, we need to see the moment you see an escape. Nerissa points out to you what you had forgotten. We must have a palpable feeling from the audience when they know there is no help.
• Shylock, we need to see the gradual progression that everything is going to be taken from you. What does it mean in – I am content.
• We need to see Portia and Nerissa decide to be men.
• Shylock, when you are converted, we need to see the anguish that you have nothing – no money – no family and you will be an outcast within your Jewish family. The audience must go on this journey with you. The ending must pull us through.
• In the ending, obviously Antonio, Salarino, Salerio, Gratiano, Balthazar and Bassanio are ecstatic. This must be over the top. The Duke is satisfied and on to the next crisis (perhaps smug). Portia is thoughtful. Jessica is heartbroken. Lorenzo is worried about his wife. Hannah is joyous. Ty is praying. Carson is doing his job, but smiles. Nerissa is happy because Gratiano is happy.
Wednesday, March 2, 2011
Performance at Cooper, March 2
COOPER Performance with Bill Gelber March 2, 2011 MY NOTES
Remember, that if I tell you that you need to be louder, it is Cooper, and you will need to remember this at contest.
Music Fade out at the beginning.
Remind me to take sea gulls out.
Shylock Stay out until Antonio says sooth
One pound of flesh – measured and emphasized
Exit stage left and hit Salarino
Yarmulke on top of the head – between you and God. It was a little more on the top of your neck.
EVERYONE Step on lines. In other words, say your line just as the other person has finished is.
Where are the men in the café? If you are not on stage, be in the café.
All men wear dark socks
All men use handkerchiefs – IT IS HOT – NEAR THE BEACH. THERE ARE FLIES, ETC.
Let’s have Lorenzo and Jessica in the café scene prior to the escape scene. Jessica, look hesitant to drink, but do. Be secretive.
UMBRELLAS!!!!!!!!!!!!! RAIN!!!!!!!!!!!!!!!! WEATHER!!!!!!!!!!!!!!!!!!!!
NO ZIPPER TIES!!!!!!!!!!!!!!!!!!!!!!!!!!
IN THE TRIAL – as well as throughout the show, ACT and REACT. WE MUST SEE EXPRESSIONS.
STEP ON LINES
PEOPLE NOISES in Portia’s first scene, in the Moroccan’s, in the Arragon’s, in Bassanio’s casket scene, going into the café each time, meeting Lorenzo at Jessica’s, and especially entering the trial scene.
DARK SOCKS, MEN!
Gratiano Keep the energy – more diction.
In the trial with the “wife line” say this to Shylock. Do not let anyone block you.
Antonio Step on lines. Well – no pause
When you are supposed to write, write with pen and paper.
LOUDER
Exact Penalty – you nailed it.
Louder in the “umbrella” scene.
STEP ON LINES – So please, ….. in the trial scene.
Shylock and Antonio Do you want to change this to Antonio wearing a suit? I don’t want it in the café because we will not have time to change the scene to the courtroom. Think about and discuss this.
Hannah Hand out menus, refill glasses, dust, sweep. Stay out and listen.
Bassanio and Antonio When Bassanio speaks of Portia, Antonio should act like he knows how hot she is, laugh knowingly. Punch him in the side. Do a guy thing.
Dancers
Chris Come out first and dance USC behind Portia. Enter immediately. We have to see the Charleston. Casket men enter asap. Portia, since your father has just died, come out and tell Nerissa to get rid of the dancers. At first Nerissa is as excited as all the other dancers.
Antonio, Shylock, Bassanio The tall table is in the way of all the scenes following yours. Is it possible to move it extreme stage right.
Handshake at beginning needs to be horizontal so no one is looking upstage.
Salarino
Moroccan Louder and bigger on crying.
Launcelot Great job. Keep variety in your voice.
Bassanio & Gratiano Pen and paper
Jessica and Shylock Jessica, be working in the house prior to your scene. Dusting, sweeping, etc. Bring your father a cup to drink out of. Write your letters or come out of the back with letters in your hand.
Neither one of you change the way you are doing the scene. If anything, I would say to go to more extremes. Shylock – loving and angry. Jessica – loving and fear, then hope for Lorenzo.
Jessica – “…..straight.” beat then leave.
Balthasar, the Duke as a commoner, Salerio as someone else, Gratiano & Antonio in disguise Great job in Moroccan scene. Be even bigger. At one time, we were thinking about some kind of harmony. Refresh my memory.
Casket men Come in the same order. Think of something funny to do. Move DSC and kneel with your backs to the audience. Kneel in an angle.
Arragon LOVED The entrance. Check out Toy Story 3. Be BIGGER LOUDER, CLOSE YOUR EYES! Have Hannah open the casket. DICTION!
Start out inspecting the caskets and saying your lines before Portia comes in.
Thank you so much for moving props out of the way! STEP ON LINES.
Portia & Nerissa Nerissa, be frantic when Arragon is in the casket room.
Both of you need to be louder. STEP ON LINES.
Bassanio, Portia, Gratiano, Nerissa, Salerio, Salarino, Lorenzo, Jessica. The first part of the casket scene is BORING until the other come. Gratiano, you are the clown.You also need to be louder. Do something funny. STEP ON LINES. Bassanio and Portia are extremely nervous. Bassanio, when you touch the gold one, Portia – nearly die. We might consider Portia singing the lead song out of tune. When the others come in, it must be interrupting Gratiano’s “In faith, my Lord.” (hand on heart) We must hear as much noise as we do in the Moroccan scene, but angry, hopeless. Lorenzo and Jessica, both of you are nervous because it is Jessica’s father who is responsible. Salarino is just angry. Salerio – trying to calm people down and come up with a game plan. Bassanio, make people noises as you are reading the letter (Your facial expressions were good today). Portia, look at Bassanio closely – especially as he reads, then even try to look over his shoulder. Salerio, cannot understand your lines. Louder, Lorenzo. STEP ON LINES, EVERYONE. We need people noises in this scene.
Salerio and Salarino Going to Antonio after the casket scene. Salerio try to reason with Salarino. Salarino, your objective is to reach Antonio and see exactly what the situation is.
Duke Wonderful job! Now be bigger. When you first speak to Shylock, speak, then move back to the table so that Shylock doesn’t have to speak to you USL. Stress the words that are boldfaced more – I think We never stress pronouns, but always stress verbs. We need to see more of you “glad handing” your constituents. Politicians used to do more of it – face to face with constituents. We might give away cigars – cards. Your grandparents are probably not that old, but they may remember something from the 40’s.
“Thou” in the trial scene – have more authority.
Portia Make the “mercy” speech more personal. When you say “GOD” look up to God.
Portia, Thou DIEST
Nerissa You are still not BIG enough, still too fast, and we need you to be louder. Rehearse in front of the mirror and see if you have expression and if your body has expression.
Salarino “christening” sounded weird today.
Bill Gelber’s Critiques that we may use
EVERYONE Beginning – Young Jew, sit up more so that the audience can see your yarmulke.
Shylock We had a donation, and I ordered a beard. Grow out your mustache.
I will buy you another book. Keep it in the briefcase so my husband does not steal it.
I am LOATHE to go.
Lorenzo Add I know the hand.
Arragon and Moroccan More dramatic picking the wrong casket..MORE TENSION
Moroccan, smell of it, shake it, etc. Arragon, have your eyes closed when Hannah opens it.
Bassanio & buddies More dramatic picking right casket. MORE TENSION
We need to see you figuring out the puzzle.
Antonio In sooth – coming in from the fight.
In jail scene, you are going to jail. Think about this.
Gratiano Too cute to have your hat on. PLEASE DO NOT GET THE BIG HEAD.
Portia I will look at adding more lines.
See your relief when Bassanio chooses the right casket.
EVERYONE Talk to people on stage.
Antonio and Shylock Both agree as businessmen to the bond. Antonio, be ready to come to the café, then when you see it is the Jew, change your mind. Not so much pulling away. We may change it back.
Portia Tell Nerissa to tell the dancers to leave.
Mercy speech – try to convince Shylock.
Shylock, Salerio, Salarino After discovering Jessica gone, cross directly to the café ready to attack. Salarino is ready to get it over with. Salerio, hold him back. Then both of you decide to WARN Antonio. Salarino – I’m sure you’re not going to take his flesh.
Remember you are trying to rub in his defeat when you speak to Shylock in the trial.
Salarino, Salerio, Lorenzo, Jessica, Portia, Nerissa, Gratiano, Bassanio When you come in – storming – to give Bassanio the letter, we need to layer more clothes on you. Any of you men have a top coat that might belong to someone in your family – a trenchcoat because it is still summer. We need UMBRELLAS. The storm has contaminated Belmont. WE need to see relief when Portia offers more money.
Salarino No pause – impenetrable cur
Antonio Sharpening on shoe?
Bassanio See your relief when you choose the right casket.
Remember, that if I tell you that you need to be louder, it is Cooper, and you will need to remember this at contest.
Music Fade out at the beginning.
Remind me to take sea gulls out.
Shylock Stay out until Antonio says sooth
One pound of flesh – measured and emphasized
Exit stage left and hit Salarino
Yarmulke on top of the head – between you and God. It was a little more on the top of your neck.
EVERYONE Step on lines. In other words, say your line just as the other person has finished is.
Where are the men in the café? If you are not on stage, be in the café.
All men wear dark socks
All men use handkerchiefs – IT IS HOT – NEAR THE BEACH. THERE ARE FLIES, ETC.
Let’s have Lorenzo and Jessica in the café scene prior to the escape scene. Jessica, look hesitant to drink, but do. Be secretive.
UMBRELLAS!!!!!!!!!!!!! RAIN!!!!!!!!!!!!!!!! WEATHER!!!!!!!!!!!!!!!!!!!!
NO ZIPPER TIES!!!!!!!!!!!!!!!!!!!!!!!!!!
IN THE TRIAL – as well as throughout the show, ACT and REACT. WE MUST SEE EXPRESSIONS.
STEP ON LINES
PEOPLE NOISES in Portia’s first scene, in the Moroccan’s, in the Arragon’s, in Bassanio’s casket scene, going into the café each time, meeting Lorenzo at Jessica’s, and especially entering the trial scene.
DARK SOCKS, MEN!
Gratiano Keep the energy – more diction.
In the trial with the “wife line” say this to Shylock. Do not let anyone block you.
Antonio Step on lines. Well – no pause
When you are supposed to write, write with pen and paper.
LOUDER
Exact Penalty – you nailed it.
Louder in the “umbrella” scene.
STEP ON LINES – So please, ….. in the trial scene.
Shylock and Antonio Do you want to change this to Antonio wearing a suit? I don’t want it in the café because we will not have time to change the scene to the courtroom. Think about and discuss this.
Hannah Hand out menus, refill glasses, dust, sweep. Stay out and listen.
Bassanio and Antonio When Bassanio speaks of Portia, Antonio should act like he knows how hot she is, laugh knowingly. Punch him in the side. Do a guy thing.
Dancers
Chris Come out first and dance USC behind Portia. Enter immediately. We have to see the Charleston. Casket men enter asap. Portia, since your father has just died, come out and tell Nerissa to get rid of the dancers. At first Nerissa is as excited as all the other dancers.
Antonio, Shylock, Bassanio The tall table is in the way of all the scenes following yours. Is it possible to move it extreme stage right.
Handshake at beginning needs to be horizontal so no one is looking upstage.
Salarino
Moroccan Louder and bigger on crying.
Launcelot Great job. Keep variety in your voice.
Bassanio & Gratiano Pen and paper
Jessica and Shylock Jessica, be working in the house prior to your scene. Dusting, sweeping, etc. Bring your father a cup to drink out of. Write your letters or come out of the back with letters in your hand.
Neither one of you change the way you are doing the scene. If anything, I would say to go to more extremes. Shylock – loving and angry. Jessica – loving and fear, then hope for Lorenzo.
Jessica – “…..straight.” beat then leave.
Balthasar, the Duke as a commoner, Salerio as someone else, Gratiano & Antonio in disguise Great job in Moroccan scene. Be even bigger. At one time, we were thinking about some kind of harmony. Refresh my memory.
Casket men Come in the same order. Think of something funny to do. Move DSC and kneel with your backs to the audience. Kneel in an angle.
Arragon LOVED The entrance. Check out Toy Story 3. Be BIGGER LOUDER, CLOSE YOUR EYES! Have Hannah open the casket. DICTION!
Start out inspecting the caskets and saying your lines before Portia comes in.
Thank you so much for moving props out of the way! STEP ON LINES.
Portia & Nerissa Nerissa, be frantic when Arragon is in the casket room.
Both of you need to be louder. STEP ON LINES.
Bassanio, Portia, Gratiano, Nerissa, Salerio, Salarino, Lorenzo, Jessica. The first part of the casket scene is BORING until the other come. Gratiano, you are the clown.You also need to be louder. Do something funny. STEP ON LINES. Bassanio and Portia are extremely nervous. Bassanio, when you touch the gold one, Portia – nearly die. We might consider Portia singing the lead song out of tune. When the others come in, it must be interrupting Gratiano’s “In faith, my Lord.” (hand on heart) We must hear as much noise as we do in the Moroccan scene, but angry, hopeless. Lorenzo and Jessica, both of you are nervous because it is Jessica’s father who is responsible. Salarino is just angry. Salerio – trying to calm people down and come up with a game plan. Bassanio, make people noises as you are reading the letter (Your facial expressions were good today). Portia, look at Bassanio closely – especially as he reads, then even try to look over his shoulder. Salerio, cannot understand your lines. Louder, Lorenzo. STEP ON LINES, EVERYONE. We need people noises in this scene.
Salerio and Salarino Going to Antonio after the casket scene. Salerio try to reason with Salarino. Salarino, your objective is to reach Antonio and see exactly what the situation is.
Duke Wonderful job! Now be bigger. When you first speak to Shylock, speak, then move back to the table so that Shylock doesn’t have to speak to you USL. Stress the words that are boldfaced more – I think We never stress pronouns, but always stress verbs. We need to see more of you “glad handing” your constituents. Politicians used to do more of it – face to face with constituents. We might give away cigars – cards. Your grandparents are probably not that old, but they may remember something from the 40’s.
“Thou” in the trial scene – have more authority.
Portia Make the “mercy” speech more personal. When you say “GOD” look up to God.
Portia, Thou DIEST
Nerissa You are still not BIG enough, still too fast, and we need you to be louder. Rehearse in front of the mirror and see if you have expression and if your body has expression.
Salarino “christening” sounded weird today.
Bill Gelber’s Critiques that we may use
EVERYONE Beginning – Young Jew, sit up more so that the audience can see your yarmulke.
Shylock We had a donation, and I ordered a beard. Grow out your mustache.
I will buy you another book. Keep it in the briefcase so my husband does not steal it.
I am LOATHE to go.
Lorenzo Add I know the hand.
Arragon and Moroccan More dramatic picking the wrong casket..MORE TENSION
Moroccan, smell of it, shake it, etc. Arragon, have your eyes closed when Hannah opens it.
Bassanio & buddies More dramatic picking right casket. MORE TENSION
We need to see you figuring out the puzzle.
Antonio In sooth – coming in from the fight.
In jail scene, you are going to jail. Think about this.
Gratiano Too cute to have your hat on. PLEASE DO NOT GET THE BIG HEAD.
Portia I will look at adding more lines.
See your relief when Bassanio chooses the right casket.
EVERYONE Talk to people on stage.
Antonio and Shylock Both agree as businessmen to the bond. Antonio, be ready to come to the café, then when you see it is the Jew, change your mind. Not so much pulling away. We may change it back.
Portia Tell Nerissa to tell the dancers to leave.
Mercy speech – try to convince Shylock.
Shylock, Salerio, Salarino After discovering Jessica gone, cross directly to the café ready to attack. Salarino is ready to get it over with. Salerio, hold him back. Then both of you decide to WARN Antonio. Salarino – I’m sure you’re not going to take his flesh.
Remember you are trying to rub in his defeat when you speak to Shylock in the trial.
Salarino, Salerio, Lorenzo, Jessica, Portia, Nerissa, Gratiano, Bassanio When you come in – storming – to give Bassanio the letter, we need to layer more clothes on you. Any of you men have a top coat that might belong to someone in your family – a trenchcoat because it is still summer. We need UMBRELLAS. The storm has contaminated Belmont. WE need to see relief when Portia offers more money.
Salarino No pause – impenetrable cur
Antonio Sharpening on shoe?
Bassanio See your relief when you choose the right casket.
Tuesday, March 1, 2011
February 28
Critiques February 28, 2011 READ THE NEW SCRIPT, and if you can find more to cut, let me know. We put some of Lorenzo and Jessica’s scene back in.
Antonio Spit needs to be horizontal. Start In sooth as you are crossing to table. Move it if it is not working for you.
Salerio Great job in first scene. Louder on the cross. “Merchant” at the end of your sentence needs to be stressed.
Gratiano Great entrance, but I could not understand you. The lines are important, but so is the energy. Your last line is We will talk and laugh later, so laugh after it.
Who knows “credit can” needs to be louder
Casket people Come in at the same time with the person closer to right stage coming in first. The last casket person could not be seen.
Ty Move the table to the right before the dance scene.
Dancers Move DSL – way left or we might try usc in slow motion.
Bassanio Remember you are a Casanova
Thanks for thinking and moving the tables.
Antonio, Bassanio & Shylock scene Antonio and Bassanio – keep your heads up.
8 minutes Seal the bond We were at 10.
Moroccan MEN and Portia and Nerissa We need levels. Connor, come around the bench and kneel looking up. There were 8 people on stage standing until Mark kneeled.
This is in both Moroccan scenes.
Launcelot & Bassanio, Men and Hannah We need men at the table. Hannah, you should always be present unless you are in another scene.
Launcelot, be louder and vary your voice. Use inflection.
Sidelights Sidelights need to fade in and out. Greg will work on placement tonight.
Jessica and Lorenzo We will work on your scene. I love you both in the courtroom scene. You are extremely believable. Be sure that you can see the judge.
Arragon Keep your head up, especially in Arragon scene. LAUGH.
16 minutes
EVERYONE Who chooses me. We were at 20. The play is DRAGGING. One way to solve this is to step on lines. No pauses between lines.
Carson and Connor Move the caskets before people move in the scene. I know it is a thankless job, but Zack and Chavez did it their freshmen year.
Portia/Bassanio scene
Gratiano, Nerissa, Lorenzo, Jessica, Salerio, Salarino This scene puts me to sleep. Bassanio, you are the suave man – a ladies man. However, you need to appear extremely nervous because making the wrong choice means that you will be a monk for the rest of your life. Gratiano, you are the clown. Lorenzo, you are concerned about how they will treat Jessica. Jessica, you are almost afraid. These are the same guys who have chased you down the street. Salerio and Salarino are both extremely concerned about Antonio. Everyone is standing. Gratiano and Salarino are the only ones in this scene with facial expressions. We need LEVELS. You cannot move a café chair out or it will still be on stage in the jail scene.
Salerio Lines.
Duke You might look over your character sketch again. You are Antonio’s buddy. You are an aristocrat. You would not hit Shylock. You are beyond that. However, you want everyone to know that you are in charge. You need more inflection in your voice. We also need for you to cheat more toward the audience. Look at your lines and hit boldfaced words. Love the accent.
25 minutes
Everyone Impeach the justice of the state. You were at 30.
EVERYONE Look at the script. I have eliminated all cut lines. Be familiar with it or we are spinning our wheels.
Antonio Beseech the court This should be directed toward the Duke
Everyone Move the trial scene out more. Adjust your position just as you would in real life. If you were at a concert and you could not see something that was extremely important in the front, you would crane your heads to see. You might stand up.
Portia The “mercy “ speech should be directed at Shylock. YOU HAVE TO LEARN YOUR LINES.
EVERYONE YOU CANNOT PROMPT ANYONE ON STAGE. THIS IS A DISQUALIFICATiON.
EVERYONE Because of the way I had blocked the trial scene, Hayden was blocked. In character, he moved to left stage so we could see what Salarino was thinking – he was frustrated. Everyone needs to be like him. Act like ordinary people. The world has not been created yet.
Antonio & jailers Sunday, we said we would leave Mark in the chair. I looked up last night and he had the mop handle around his arms.
Antonio, jailers, & Shylock Move more down stage. This means someone needs to move the chair down more. Shylock may need to get on his knees to cut Mark’s chest.
Portia Watch pacing in the last minutes of the trial scene. It is a little too much.
Jessica Go down toward your father. See info below. If he spills a drop of human blood, according to Jewish law, he is damned forever. A part of you still loves him.
EVERYONE Michelle and the crew CANNOT keep up with your props. At the beginning of this, we had 3 ropes. Now we have one. I have been spending my money to fund this because some people cannot keep up with their props/costumes,etc. If we lose any of the rental costumes, we have to pay double the rental. We rented from Houston for 2300. I have another 3-400 rented from the costume shop. Take responsibility for your things.
Judaism puts a supreme value on the protection of human life, for the human being is understood as having been created in the image of God ("let us create humanity in our image"). We are expected to stop crimes, rescue people from natural disasters, and intervene in life-threatening circumstances. Virtually any action is permissible -- except for murder of innocents, idolatry and adultery/incest -- to save a human being from death. Life is priceless, and the life of one person is considered no less valuable than the life of another -- regardless of their prognosis for survival. Indeed we are commanded to take action to prevent the death of others:
The reason Adam was created alone in the world is to teach you that whoever destroys a single soul, Scripture imputes it to him as though he had destroyed the entire world; and whoever keeps alive a single soul, Scripture imputes it to him as though he had preserved the entire world. Babylonian Talmud
Neither shall you stand idly by the blood of your neighbor. Leviticus 19:16
By this prohibition [Leviticus 19:16] we are forbidden to neglect to save a life of a person whom we see in danger of death and destruction and whom it is in our power to save: as for instance if a person is drowning, and we are good swimmers and can save him; or if a heathen is trying to kill someone, and we are in a position to thwart his intention...
Read the analysis about the characters in Merchant of venice. This is the previous post.
Antonio Spit needs to be horizontal. Start In sooth as you are crossing to table. Move it if it is not working for you.
Salerio Great job in first scene. Louder on the cross. “Merchant” at the end of your sentence needs to be stressed.
Gratiano Great entrance, but I could not understand you. The lines are important, but so is the energy. Your last line is We will talk and laugh later, so laugh after it.
Who knows “credit can” needs to be louder
Casket people Come in at the same time with the person closer to right stage coming in first. The last casket person could not be seen.
Ty Move the table to the right before the dance scene.
Dancers Move DSL – way left or we might try usc in slow motion.
Bassanio Remember you are a Casanova
Thanks for thinking and moving the tables.
Antonio, Bassanio & Shylock scene Antonio and Bassanio – keep your heads up.
8 minutes Seal the bond We were at 10.
Moroccan MEN and Portia and Nerissa We need levels. Connor, come around the bench and kneel looking up. There were 8 people on stage standing until Mark kneeled.
This is in both Moroccan scenes.
Launcelot & Bassanio, Men and Hannah We need men at the table. Hannah, you should always be present unless you are in another scene.
Launcelot, be louder and vary your voice. Use inflection.
Sidelights Sidelights need to fade in and out. Greg will work on placement tonight.
Jessica and Lorenzo We will work on your scene. I love you both in the courtroom scene. You are extremely believable. Be sure that you can see the judge.
Arragon Keep your head up, especially in Arragon scene. LAUGH.
16 minutes
EVERYONE Who chooses me. We were at 20. The play is DRAGGING. One way to solve this is to step on lines. No pauses between lines.
Carson and Connor Move the caskets before people move in the scene. I know it is a thankless job, but Zack and Chavez did it their freshmen year.
Portia/Bassanio scene
Gratiano, Nerissa, Lorenzo, Jessica, Salerio, Salarino This scene puts me to sleep. Bassanio, you are the suave man – a ladies man. However, you need to appear extremely nervous because making the wrong choice means that you will be a monk for the rest of your life. Gratiano, you are the clown. Lorenzo, you are concerned about how they will treat Jessica. Jessica, you are almost afraid. These are the same guys who have chased you down the street. Salerio and Salarino are both extremely concerned about Antonio. Everyone is standing. Gratiano and Salarino are the only ones in this scene with facial expressions. We need LEVELS. You cannot move a café chair out or it will still be on stage in the jail scene.
Salerio Lines.
Duke You might look over your character sketch again. You are Antonio’s buddy. You are an aristocrat. You would not hit Shylock. You are beyond that. However, you want everyone to know that you are in charge. You need more inflection in your voice. We also need for you to cheat more toward the audience. Look at your lines and hit boldfaced words. Love the accent.
25 minutes
Everyone Impeach the justice of the state. You were at 30.
EVERYONE Look at the script. I have eliminated all cut lines. Be familiar with it or we are spinning our wheels.
Antonio Beseech the court This should be directed toward the Duke
Everyone Move the trial scene out more. Adjust your position just as you would in real life. If you were at a concert and you could not see something that was extremely important in the front, you would crane your heads to see. You might stand up.
Portia The “mercy “ speech should be directed at Shylock. YOU HAVE TO LEARN YOUR LINES.
EVERYONE YOU CANNOT PROMPT ANYONE ON STAGE. THIS IS A DISQUALIFICATiON.
EVERYONE Because of the way I had blocked the trial scene, Hayden was blocked. In character, he moved to left stage so we could see what Salarino was thinking – he was frustrated. Everyone needs to be like him. Act like ordinary people. The world has not been created yet.
Antonio & jailers Sunday, we said we would leave Mark in the chair. I looked up last night and he had the mop handle around his arms.
Antonio, jailers, & Shylock Move more down stage. This means someone needs to move the chair down more. Shylock may need to get on his knees to cut Mark’s chest.
Portia Watch pacing in the last minutes of the trial scene. It is a little too much.
Jessica Go down toward your father. See info below. If he spills a drop of human blood, according to Jewish law, he is damned forever. A part of you still loves him.
EVERYONE Michelle and the crew CANNOT keep up with your props. At the beginning of this, we had 3 ropes. Now we have one. I have been spending my money to fund this because some people cannot keep up with their props/costumes,etc. If we lose any of the rental costumes, we have to pay double the rental. We rented from Houston for 2300. I have another 3-400 rented from the costume shop. Take responsibility for your things.
Judaism puts a supreme value on the protection of human life, for the human being is understood as having been created in the image of God ("let us create humanity in our image"). We are expected to stop crimes, rescue people from natural disasters, and intervene in life-threatening circumstances. Virtually any action is permissible -- except for murder of innocents, idolatry and adultery/incest -- to save a human being from death. Life is priceless, and the life of one person is considered no less valuable than the life of another -- regardless of their prognosis for survival. Indeed we are commanded to take action to prevent the death of others:
The reason Adam was created alone in the world is to teach you that whoever destroys a single soul, Scripture imputes it to him as though he had destroyed the entire world; and whoever keeps alive a single soul, Scripture imputes it to him as though he had preserved the entire world. Babylonian Talmud
Neither shall you stand idly by the blood of your neighbor. Leviticus 19:16
By this prohibition [Leviticus 19:16] we are forbidden to neglect to save a life of a person whom we see in danger of death and destruction and whom it is in our power to save: as for instance if a person is drowning, and we are good swimmers and can save him; or if a heathen is trying to kill someone, and we are in a position to thwart his intention...
Read the analysis about the characters in Merchant of venice. This is the previous post.
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