Assignment - remark on either Thursday's or Sunday's rehearsal

January 28, 2018

Everyone	Start with Tom and Mira Monday night at My dad’s dead on page 35. In class tomorrow start on page 24 Keep accent More vocals during bombs Not everyone needs to cough following bombing. At the beginning of show, don’t freeze – react to what is happening on the beach. Learn your lines People noises – can only hear Maky. More expression during Chamberlain’s speech.  SOME COUGH after bombings. Scene needs more energy when soldiers leave – farewell scene. React BIGGER to each other. All gunshots need to be louder Move in side leg curtains so slo mo people can get off stage easier.
sound	First machine needs to be louder at the beginning Fade siren in the photography scene. Music between picture scene and Judith and Frank’s scene needs to fade out more. Dance music needs to be lower when people are singing. What happened when music when Frank and Australian died.
Singing	Start together and commit.
Freezes	Pub vs. Judith’s home Viv and Australian talking When freezing your entire body must be frozen, then come out of it with a sound you started when you froze.
Couples	More flirty, charming, so the audience feels your loss because they love you.
Smuts	Hat is covering your face.  We will work on that.  Know it is too big.
Tom	Spitfire – not like It’s easy. You press a red button I bet she got it from little pieces Look, she’s waving at you Faster entrances When smelling body, make it more obvious. When yelling, don’t sound so manly
Sheila	Laugh bigger and more All your sentences sound the same in the monologue.  Write down what each one means to you. No talk of sex – louder.
Factory	EMOTION SINGING
Mrs. Briggs	Falling out of chair – too fake
Frank	Don’t say you know Look how they’re watching us Well, is wrong.  In addition to My dear JU….whole line is messed up Cannot understand lines at the beginning
Judith and Angie	16 line – make it happen at the same time, then laugh big.
Judith	Doesn’t have to be too passionate There’s something missing Remember what your dad I hate it Breathing when reading the letter.
Angie	And they have to do it or… They’ll look twisted That blood not her blood
Foreman Briggs	So it will require your full….. Work on meanness being more natural.
Joan	Not slappin together… I’ve made a few bombs
Bela Photographer	She’s just a bit…sorry Blocking spencer when he takes guard Louder – difficult to hear over people noises. During dead scene, just dig through moving but putting  bricks back.  Don’t stack them.
Viv	The war’s spoiled…. Let’s go…back there, Harris You moved as soon as you stopped singing – ask Emma
Soldier 1 Lionel spender	She pulled me to her. Really bad Don’t put your head down as dead person Plant your feet.  Don’t rock.
Australian 2	The city just glows I’ll look after  you You are indeed
Alister	Cheat out Make people noises with your family.
Tom & Angie	Periodically smell and wait a beat.
Dead girl	Don’t move after you die. Work on accent in monologue.
Needs	Pic of Brian’s dad in uniform or his dog tags. Hat for Frakker  & moustache Paint bucket in Judith’s house.

January 25

January 25 Critiques

Everyone	Work on accents Needs to flow Better transitions More breathing People noises More facial expressions and emotions Freeze Make sure all furniture is out of the way of following scenes. In Tipparery, all crates must be returned to corners. In bombings, we are going to change some of the blocking. More energy when parachute lands Slo mo more exaggerated Make sure we see sad soldier’s face in the light.  Mark it. Hats are blocking actors’ faces. Step on lines in factory scene. When dancing don’t stop with back to audience. Work on accents. War machine during tipperary scene – sweep about every third Mississippi Costumes must be zipped Get the right bomb Movements in slow mo need to be at same speed. We need to clean up confetti after each rehearsal Too many profiles Put the stools down Quiet on gray set Women’s shoes Need to hear you before we see you in all entrances. Hit verbs – work on this on Monday in class. Accents were lost Tipperary – we need more people left stage NO SORRYS when messing up. At the end, Kaytlyn and Maky switch places
SMUTS	Remember it is
Factory scene	Excited about this being your first job. Listen to each other
Dead scene	Girl and student trade places Step on lines – more emotion and expression.
Riley Taylor	Double check all clamps
Judith	Smile with shirt In front of crates instead of behind Cry sing at the end
Photographer Bela	Don’t sway Praying and Crying look fake – I’ll look at it today Enter sooner More annoying when taking pics
Soldier 1	Don’t talk so fast Down under – louder and slower
Tom, Sheila, 7 whoever helps	Table falling on Sheila – needs to work.
Freezes	In the back and forth scene of pub and Judith’s house, people who are not in the current scene, FREEZE
Tom	Don’t let your voice drop Smell body before seeing it Work on timing – doll scene – watch dead girl
Angie	More embarrassed by your parents at the beach Smell the body as well
Joan & Brian	Step on lines and step on lines in previous scene
Payton and Maky	React more in factory scenes. I don’t think you would dump parts on table in real factory – just put box down.
Alister	Louder Diction in first scene. More embarrassed with mom Because you are shy doesn’t mean that we shouldn’t hear you.  LOUDER
Dead girl	Work on coming out, accent and not so much as in the way of pauses.
Joan	More facial expressions when you get the letter.
soldiers	Look up how you are supposed to wear the uniform.  Ask Alee. HATS look crazy.
Tom and Angie	React when Eli screams Need to hear you before we see you in all entrances.
Dead girl	ACCENT Need to see you in dead scene
women	Emotions setting up factory scene
Foreman & Briggs	Don’t keep arms crossed all the time Clench fists, clench fists with arms crossed Point with a finger Flirt with Sheila LOUDER
Sheila and Foreman	We need some sexual tension between you both.
Sheila	All your one liners must be big and like you DON”T care.  Example sex laugh will Well bigger Monologue more conversational
Angie & soldier	Don’t freeze with back to us dancing
Lionel and soldiers	Show emotion on your face.
German and Australian	Practice jumping with parachute
Joan	More emotion – I KILLED a man She’ll come around – work on this. Hold on to Judith.
Frank and Judith	Face both sides of the auditorium Step on lines in previous scene.
Viv and soldier	Be flirtier
Viv	More facial expressions in tipperary.
Lights	Off Judith’s side when it is joan and son
Needs	Sweaters Wedding rings Sweaters jackets

Freida

January 22, 2018

Everyone	Whole show needs more ups and downs. Everyone needs a walk and gesture that’s specific to their character. Commit to the first song from the first note. Show must be established here. React more and listen Hit and emphasize verbs.  Every judge will want you to do this. Bring notebooks to rehearsal each time. When watching the parachute, everyone needs to be looking in the same direction. Several lost accents throughout the play. Work on running chaos, especially the first one. Be sure that the right side crates are returned to their spot before the dead come out. Freeze body, face and eyes More distorted faces in Tipperary scene. Everyone – go to the light.  Carly IS NOT GOING TO CATER TO ACTORS. People noises – grunts, sighs, BREATHING, giggles, moans, cries Everyone needs a master gesture, a different way to sit and walk. Tipperary – different yelling. Yellow on lightning bolts and they need to be set where they won’t fall over. Don’t STOMP on gray set. Good job protecting each other in first bomb scene, but NEED more vocals and it died too soon. MUST REACT TO Chamberlain’s first speech, Judith’s letter, and radio broadcast. It must be the first time. More breathing, louder breathing. Your breathing is different with each emotion. Establish different emotions in different scenes.  Use Body language. England richer line to audience and bigger arms – T Kuehler Keep body actions involved More emotions, breathing and vocals – everyone Make noises like real people Your lines must sound like they belong to you Commit to relationships.  Touch each other. Know the stories of your relationships. Think about your past so you are real on stage. No more silent movies. Be more involved with each other. Everyone, be curious about different bombing sites. Look at stuff. Stay in character off stage. Dead people – paint the picture. More vocals before it is your turn to speak so it isn’t choppy Can’t lose energy in transitions. Slow motion MUST show coordinated movements – weird faces – big movements Don’t rush last scene More ups and downs.
Factory women	More connection, more vocals.  Sing kit bag going into factory. React to radio. Judith – make it clear early on that you are not comfortable making bombs. Need motivation –via song – to pub as transition. Stocking lines on ALL women.
Judith and Frank	Don’t wait so long to come alive at the beginning. Judith, giggle when Frank messes with your neck. Frank – have to see you go back in time and imagine being young – exit sign. Don’t look back at Judith. You are in your own world. 3 connections to Frank’s earlier experience. Transitions are weak in and out of these scenes.
Sad soldier and War machine	Hold soldier up higher.  Neither ones stand in middle. Move as far back to the curtain as you can.  Be sure that the sad soldier is held higher. May need two to hold him. Must be evident in scenes marked.
Alister Smuts	More embarrassed about your parents. CHEAT out both times. Enter second time USL. Must be a different character, older, different walk, mannerisms,
Frank	Stand up straight.
Photographer Bela	Be more demanding & louder. Change the hand motions with every line.  The hair reminds me too much of Bela. Can you put it in a low bun? Change voice a little more. Watch Reginald Spender blocking you in dead scene.
Smuts, Joan and Judith	Exit was weird and Smut’s entrance was weird. Let’s work on this.
Frank and Brian	Emotions must change in the photographer scene – optimistic, joyous, ready for combat.
Sheila	Your lines in the monologue are all the same. Hit the verbs.  Write how you are going to say each line.
Australian soldier 1	Your accent was lost after the bar scene.
Mr. Briggs, foreman	LOUDER More emotion in face, voice and body in both characters. Table needs to rest on floor after factory scene.
Joan	Different hairstyle – look at the website Vintage Dancer. Maybe a little gray. More emotion with letter and killing German. More emotion. I KILLED a man
Viv and Sheila	Hair was too similar – look at the website Vintage Dancer.
Mira	Pigtails need to be high on head.
Dead girl, body	Lost accent
Soldier 1 and Viv	Dancing is too bouncy. Flirt Look into each others’ eyes Vocals.
Judith	Louder at the beginning – can’t hear you over bombs.Find the light in the factory. Move left. Watch repetitive gestures Move downstage with the letter.  They are stealing your children. Hesitate, voice trembles, swallow, pause, look at kids. Pick up knife so we can see it. More reaction to Tom and Doll
Makeup people	More blush on girls
Lights	Brighter in dead scene – not much.
Mira	Where are black shoes? Stay in light.
Angie	Watch hiding in house.
Soldier 2 & Angie Soldier 1 & Viv	Dance halfway then walk to spot.
Mrs. Briggs	Lift hat off front of your head.
Alee	Help Angie more.
Music	Bombing too loud in first scene. Gunshots too loud. 2nd announcement was late. First shots late – I’m in heaven – shoot.
MILITARY MEN	COATS MUST BE BUTTONED and worn CORRECTLY. Only exception – Soldier 2 and Angie.
Tom & Angie Tom and Mira	Happier in first scene. You NEVER get a chance to go to the beach. Talk and interact. DON”T STOMP on gray set.  Get into the light.  Carly is not budging. Be more involved with each other. More vocals.  Tom smells the body before he sees it. Tom, don’t talk to the floor. Mira, remember the doll has blood and other vile things on it. Be curious. Look – a body was too rehearsed.
Bela and Sheila	Had on same colored shirts in same scene.
Sheila	Well - BIGGER
Foreman	Move around more. Let’s try it. At factory.
Frakker	Great job !  Cheat out more. Enter USL Use right hand to extend when you are facing right stage.
Body Dead girl	Ashes, noise, flash, etc. don’t rush. Feel all these experiences. Lost accent.
Briggs family	Freida didn’t buy it during the paly. Everyone needs to match Mrs. Briggs energy. Talk to each other and be a family. Mr. Briggs and Alister more personality. Alister – vocals and be BIGGER. Commit to take guard. Everyone react to each other. Mr. Briggs, sigh, groan, etc. Mr. B. Have to see you make the decision to tell Mrs. B about Alister. Both be surprised when you see Alister. Alister, react when parents are talking about you. Mrs. Briggs – do exactly as you did picking up the bat and making the decision to follow.
Gentlys	We need to see a difference in your relationships in different scenes. Judith – emotional change when Frank enters Frank – more vocals when Judith’s talking. Call her Ju, not Judy or Judith. Don’t anticipate lines. Quiet suddenly is a family moment.
Joan and Brian	Stand differently. Joan, establish age.  Both interrupt each other’s lines. Brian – you’ve heard her say this a million times. You don’t want to listen to her talk and sing. Don’t look at her so much.  Let your anger build before – Dad never lied.  Build up to _Don’t tell me…goodbye. Both -Make each line different. Touch more.  Be loving toward each other.. Brian react when she says she won’t say goodbye. Interrupt each other