Rehearsal #3 Notes

First of all, I apologize if you felt that last night's rehearsal had you running in circles. When I originally read the play, I really felt that Pat's blocking was going to work, but it just had too much static action to keep the audience's interest through that much dialogue. I promise that tonight's rehearsal will be better organized. :-)

A couple of things for everyone to work on from last night...

When anyone is telling their "secret" and you're all gathered around that person, make your movement towards them snappy, especially if you have to travel any distance to get close. Your character wants to make sure they don't miss a word of what's about to be said. For those of you who may end up on the upstage side of someone else listening, I'd like to see you try to elbow your way in so that you can try to get even closer.

Also, when the "secret-teller" leans down to deliver the secret, make sure you lean down at least as much as that person does so that when they stand back up it makes them stick out like a gopher popping out of a hole. A few of you were just doing a little lean, but it should really be an exaggerated move, almost to the point of being bent completely over at the waist. I'd rather you bend too far and have me pull you back up a bit than the other way around.

Third, remember that the short lines delivered in the middle of George's stories in that scene have either one of two emotions: anticipation (think: sooo??? or aaannnddd???) or frustration (think: enough! get on with it already!!). Make sure one of those emotions (or both, if you like) is clearly noticeable in both your vocal delivery and mannerisms when you read those lines.

Finally, when Chelsey enters the scene (p44) and says that she thought you were all leaving, Margaret's next line is, "Leaving?" At that point, I want everyone to look around at everyone else for a nervous second, and then everyone should have an immediate vocal and physical reaction to those two lines. It can be nonchalant, or nervous or incredulous, but should clearly indicate to the audience that all of you have decided to try to find the money. Physically you should have a noticeable change of position - move to the closest seat, turn to someone nearby to deliver your vocal reponse, etc. I want this to be a quick second of nervous silence, followed by 1-2 seconds of pseudo-chaos as you each realize everyone else has the same idea. The scene then recomposes itself with Mamie Jo's next line, and we go from there.

I really like what we've accomplished so far, and I know tonight will be even better!

Remember that Karen Burns will be at rehearsal tonight and may call some of you out of rehearsal to look at clothing options. Please remember to bring the sizing information that I posted in the blog yesterday.

Tracy