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.