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