February 27 Rehearsal

Everyone 1. Most of this is a replay of Friday’s critiques, but I have changed some things.
Everyone 2. Tomorrow, we will only rehearse one hour from 6:30-7:30.
Everyone 3. We need a time for Emily to work with Randall, Baily, Savannah, and her partner.
Everyone 4. Opening is better. Remember how we did the beginning. We will not stop. Yes, you will be in costume. Make sure that the audience knows that Jews are the target.
5. Italian dialect is working. BUT, hit all consonants, especially at the end of words. Focus on bold faced words. Everyone who attended the clinic did better on dialect. We haven’t heard Hayden yet; however in the final scene, you were better.
6. We will have ties for all men – different colors.
7. Stereotype each person – for example, Bassanio – suave and slick; Antonio is older, but wants to hang out with the younger guys. He was a ladies’ man; Gratiano is a jokester. Salerio and Salarino are both ladies’ men, but Salarino is the hot head.
8. Arragon, you are the snob –
9. Moroccan, you are the ladies’ man also. You are also the jokester.
10. FIND YOUR OWN STEROTYPE and work toward it.
11. The set is changed. You will need to help move things around.
12. Transition 1 Café to Portia Portia transition – 20’s swing music. Ty, Chris, Carson, Connor, move furniture from café to the beat. Ty, move the red center table on top of the other red table. Chris & Connor, move the other three chairs close to Portia’s scene. The three people will be holding the caskets and exit USL after this scene. Portia is royalty. We need to see Randall visibly drunk before her line about sponges.
13. Transition 2 Portia to Shylock and Bassanio (you will not be entering from USL) to café. Chris and Connor, move the table back and rearrange chairs and table to DSCL. It will be marked.
14. Transition 3 Café to Portia. Bassanio, stay in the café and move your table and chairs more right stage. No people holding caskets in this scene because Moroccan says, “lead me to the caskets.”When the Moroccan and men are exiting SL, Bassanio, move the table back to where they were.
15. Transition 4 Portia to Café With Gratiano and Bassanio in the café, after this scene, move table back on top of table stage r.
16. Transition 5 Café to Shylock’s house Shylock, be reading the Talmud CS.
17. Transition 6 Shylock to Moroccan Connor and Carson, do not move the table, just put the caskets on it. Then following the scene, move the behind Shylock’s house.
18. Transition 7 Moroccan to Jessica’s house.
19. CUT SCENE 9
20. Transition 8 We see in a blue wash - Bassanio and Gratiano and Salarino are upstage in spot.Lorenzo and Salerio are DSL by 8’ pylon. Jessica is peering over the top. They act like they are saying the lines. We must hear thunder and rain to cover this up. 10 seconds then Salerio joins Gratiano and Bassanio. Jessica and Lorenzo exit USL.
21. Transition 9 CS. Antonio comes from out of the café through pylons earlier and is looking for men USL. Then goes DSC.
22.
Antonio 23. Antonio – depression is there and you must try to not be depressed. Remember your older and heavier demeanor. Brooklyn accent goes in and out.
Gratiano 24. Gratiano, you are the clown, jokester. Gratiano needs to be slick.
Bassanio & Portia 25. Bassanio, remember you are the sexy, suave lothario. Portia is the male version of you.

Jessica, 26. find long vowels, mark them, then shorten them. Circle one syllable words and make them one syllable.
Nerissa, 27. keep keys. Be a steward.
28. Arragon prince – your costume is in my trunk, but we need black pants.
29. Good fellas – all Italians watch it and the God Father. Lorenzo and Chris, watch gangs of New York. I have it.
30. We must show mood changes. Everything changes after Jessica leaves home. UMBRELLAS are a must. Everyone going into the trial scene must look as though they have come in out of a storm.
31. Portia and Nerissa, we need to shorten your scene where you decide to dress up like a man. Use the pose and vocalize it. When you are waiting to go to court, rehearse in slow motion your man walks. Baily, you don’t get it right. Portia keeps working with you.
32. Antonio – beseech scene – diction (Brooklyn accent) goes from heartbreak and confusion to panic, begging.
33. Shylock in contrast – more confident, calm, vindictive.
34. WHAT HAPPENED TO PEOPLE NOISES THROUGHOUT THE SHOW. DID YOU NOT DO THEM BECAUSE THE JV WERE NOT HERE?
35. Trial, Bassanio and Antonio, keep your heads up when you are speaking and comforting each other.
36. Portia – line with diest must be measured and stressed.
37. Portia – quality of mercy speech should be directed at Shylock and audience. We need to move Shylock downstage.
38. Portia – prepare your bosom, - then Antonio takes off tie and shirt.
39. Gratiano – he LOVED your delivery of the wife line.
40. SLO MOTION – 10 sec longer
41. The climax – slow motion – discovery of a loophole did not work today.
42. CHANGES to last script – first page where it says cut three lines, keep the first and cut the Salarino and Lorenzo lines.
a. Men stay in café scene whenever possible. Hannah, stay there working when not holding caskets.
b. Jessica, stay in house and clean or fix flowers in slow motion. Be writing two letters – one to Lorenzo and one to your father.
c. Carson is already waiting outside the restaurant –we cannot lose time. This is on page 4
d. Following Moroccan scene, some men who are not in the next scene, go back into the café.
e. Cut most of scene 10. In previous scene, asks his men to go with him – all but Antonio who remains in café scene. They go directly to Jessica’s house. We hear music and thunder. Spot is on them and they MUST improv the scene. Shylock immediately goes into his house, finds his LETTER, and says the lines after Antonio’s lines. Then Antonio leaves café and goes through doors usc to dsc in the RAIN. Salerio and Salarino return to café in the RAIN.
f. Move tables ONLY in last café scene. Salerio and Salarino take the tables, leave the chairs – move them right stage with one chair on top of another. Shylock moves one pylon. Chris moves another. Connor moves the smaller one. Hannah moves radio and leaves the bench there. I will glue stuff to shelves and Carson will move those.
g. CUT on page 10-Scene 16 – I never did repent…..
i. Cut Go, speed to Padua….. Balthazar does not come in.
ii. We go immediately to court scene. People are coming in out of the rain in different directions.
43.

Whoo Whoo

I can access the blog from home. I will cut and paste the critiques from Rick Garcia tonight.

February 6 Have a virus in my computer - emailed critiques to parents.

Thursday Night's Rehearsal February 3, 2011

Great job! On Sunday, we will begin where we left off.
NO SCRIPTS ON STAGE SUNDAY!
1. Randall, come get your accent tape.
2. Zack, slow down!
3. PEOPLE NOISES! Reread the script and see when you MURMUR!
4. DO NOT MESS WITH PROPS THAT ARE NOT YOURS!
5. People, react in courtroom!
6. Mark, LOUDER!
7. Conner, SAVE the light cues, sit in your seat, watch what is happening! Lights have to be perfect on the tenth.
8. Jared, Hannah, Baily - bigger motions in slow scene.
9. Fight scene, Chavez and Hayden be slower.

TO DO -
Fix shelves
Hangup pictures and curtains. Make them stationary.
Music underscoring for slow motion scene.