Judges, Griffis, Couch

Shraeder’s and Adami’s notes with Griffis’s and Couch’s
Focus on the narrative.  There is a strong story here.  Actors, change vocal variety –explore the musicality of your voices.  Don’t just “play” on one or two notes. 
As directors, we need to find moments to slow the action down so we can allow moments to register.  Show cannot be one tempo.  ARTICULATION WAS A PROBLEM.
Take some time to establish relationships.  SLOW the show down during crucial moments. Need more variety of mood (lots of yelling)
There were some moments when listeners’ focus was right but did not give VISUAL PHYSICAL reactions.
The author’s intent of one of the main themes was coming to terms with the thought of growing older and possibly becoming irrelevant could have been clearer in Kilroy’s journey.  Jonah, we told you how to “see” your character and now we need to add more confusion and bittersweetness to it.
This week we cannot make a lot of changes.  However, after Saturday, we will be making changes to the play so be prepared.
REAGAN- We didn’t have lights on Gutman with each one of his lines.  We have to have that. Also, on the gypsy – know you cannot predict how the light will be when you can’t turn it on to test it on stage.   Let’s set that light during the official rehearsal – the exact placement of it and tighten the screw so that it cannot be manipulated or changed for performance.
STEP ON LINES - EVERYONE
Block 1: Light on Gutman & each time he speaks

- Tucker keep your diction, animation and projection, but instead of talking to the audience, share your story with them. Tell this story like you would in a small group making eye contact with people in each part of the group.

- Amy you must be old! React huge when Ashlynn hisses.  This would startle you and we must see it.

CUT – You’re not so young…. Gone dry!

Block 2: Light on Gutman & each time he speaks

Gutman = My guests – make sure the audience understands your place in the show. Stress this. A prop -an old fashioned hotel key – or a menu type prop that says – guest list.
- Mac be sure you show the audience how exhausted all of this ugliness makes you when you are asking about gunshots 
- Street people your actions are great! You must fall silent when Gutman talks. He is setting our story and the audience is missing it.
- Kadyn you must be quiet while dying when there is action in the hotel. We are looking at you too much here instead of hearing the action.
- We need to establish the power of Gutman here. There needs to be a dominant/submissive relationship built between Sam and Mac. We need to make sure audience knows Sam is in charge here. Mac, laugh uncomfortably as people do when they don’t know what else to do.  Your survival depends on Gutman.
- Crowd:-our entire focus must be On Mac and Sam until "hermano" is spoken. Do NOT do any motion or sound that could take away attention from those two.
- Sam we need you to project your voice from your diaphragm. Your abs should hurt after a performance. Your voice is naturally loud, now project it to the back row with precise diction.
- Gypsy, we meet you for the first time in the first announcement here. Vary the way you say this. Be dramatic. Look up when you say moon.  Watch yelling throughout the show. Stage whisper at times.
- crowd be quiet when Sam says clown line.
Block 3: Light on Gutman & each time he speaks
- Jonah react bigger when officer says, "no hay western union." He just went back to Spanish after he spoke English to you in the line before.
- Jonah vary your voice as you tell us your past story. This needs to be the best story you've ever told. Sometimes this seems like lines in a play. RE READ THE CRITIQUE FROM ONE OF OUR JUDGES.  WE HAVE TO SEE THE TOLL OF LOSING YOUR VIRILITY AS WELL AS NOT BEING THE CHAMP YOU ONCE WERE. CHANGE OF MOOD –I’ve got a heart….baby. My real true woman…..kill me.

Kilroy	What is this country?  I was so glad to get off that rotten tub that I didn’t ask nothing of no one except my pay. (He jerks out his wallet.) Ha Ha!
Officer	Ha Ha!
Kilroy	Ha Ha!
Officer	(Making it sound like a death rattle)  Ha ha ha ha ha (He turns and starts into the cantina.  Kilroy grabs his arm)
Officer	What do you want?

Block 4: Light on Gutman & each time he speaks
- Kylie focus on diction when you are the loan shark. Every word and syllable must be clear. It seemed like you were rushing.
Kilroy – Passionate – I never hit a low blow – fixers never got to me – not shouting, but stating with fervor that you were an upstanding fighter.
Baron – the name of the Camino is not unreal (you crazy guy, can’t you see you are stuck in a weird world)
Block 5: Light on Gutman & each time he speaks
-Jonah you must make the audience love you here.
-Mac full drama. Emphasize the line "stiff".  You are frightened someone will over hear you giving advice to Kilroy about the unspeakable.
- M&J don't predict each other's lines here. Listen and react.
- Jonah we must hear your line,"How does he get off of it?"
Casanova – (Clandestine - Narrow steep way - WIND
Block 6: Light on Gutman & each time he speaks
- Jonah pause after Sam says, "Are you jobless?" It should sink in before you say vagrancy line.
- Say "I've been shanghaied," with exhausted desperation, not anger.
Block 7: Light on Gutman & each time he speaks
- Make us feel the relationship between cass and Kilroy more.
Evan do flip as script says between Mulligans leaving and Camillas line
Casanova- Yes I know the Morris Code – closer and more secretive. What will happen if Gutman or his guards see you speaking to Kilroy?
Marguerite, find the missing purse quicker.
Cassanova – be proud and tall – I am Jacques Casanova! With a flourish.
- Sydney at some point, try to take the letter from Mac's pocket. If he won't look at it, you will.
- Mac don't turn your back to audience when you kneel down. The judge on left stage side cannot see you.
Marguerite – look at lines you dropped in this block – Marguerite, you must take better care of yourself.  Rest. Peace.
Rest in peace is that final bit of advice they care on gravestones, and I’m not ready for it!  Are you?
More whispered – terra incognita.
Block 9: Light on Gutman & each time he speaks
-Great Action, but let’s take down the volume a little if you don't have a scripted line.
Marguerite -He wants to keep me here.  He’s lying about it.  Frantically get someone to listen.
Block 11: Light on Gutman & each time he speaks –
Kadyn touch yourself more on the well.
Block 12: Light on Gutman & each time he speaks
Jonah and Maky, you need to listen and react to each other's lines here. You predict the others line here almost every time. Say this differently so you are not stuck in a patterned rut.
- Jonah huge reaction when she says, "the street cleaners are waiting for you." Maky, watch sing song cadence.
Block 13: Light on Gutman & each time he speaks
-Jonah look more sad when you read the letter. Your friend is now broke and homeless and you are about to tell him that.
Block 14: Light on Gutman & each time he speaks
- Jonah start out stronger when you fight the street cleaners, then fade quickly when you make contact with them. We need more vocals.  Be like a vinyl record that is slowly changing speeds from high to slow.
Block 15: Light on Gutman & each time he speaks
-Ashlynn, la madrecita is old! You seemed too young! These are moving words that you are speaking. Put some heart and tears in this.
Block 16 – Use your blue ribbon in this final scene, Quixote.