What Have You Learned, Dorothy, Thanks, & Fin

I usually wrap these up with a brief acknowledgement of what I've learned through the experience, followed by "Thank You"s, and a final sign-off.

First, here's what I'm taking away from all of this as a director:

• Again, you can't do everything. You did pretty good delegating, but continue to divest your responsibilities to those you know you can count on. Just because you can handle extra, producer-like responsibilities when you direct doesn't mean you should.
• For those who offer to assist, ALWAYS keep tabs on their availability, and ALWAYS have a back-up resource. And if someone becomes unavailable, remember that you too have those situations: don't discount them the next time around, and they won't discount you.
• A clear, concise schedule is ALWAYS welcome.
• Continue to refine the balance between giving notes (after opening) and letting things lay.
• Working closely with Arryck's team, and coordinating the effort always works well. More CAT and main stage shows should work this closely.
• A strong ensemble cast is always better than a few, great people in key roles.
• Your instincts were right to NEVER act (even in a cameo) in a show you direct. The director's job is to maintain the big picture, and that's just not possible when you're on stage.

Okay, now for the big list of thanks! Sorry in advance for the "bulleted" approach:

• Thanks to the cast: John, Linda, Jack, Mark, Howard, Helene, Aaron, Jerry, Tami, Leland, and Jeff. It was a pleasure. I look forward to working with any and all of you again, either directing you, or as a peer on stage.
• Thanks to the crew: Jenn, Shawn, Amanda, Brittney, Mike, Meaghan, Jeff (again), Mary, Rita, Angie, Aaron (again), John (again), Cameron, and Arryck. Also thanks to the extended crew from Angel Street who helped make things very smooth: Janine, Shawn Lanz, David Banuelos, and Chris. You all made it look effortless, which we all know was not the case.
• Thanks to everyone else involved at CPT who helped make the show great, including Celeste, Dick, John, Gary, Jack, and Lucien. Special thanks to Mark Grisez for helping with the deposit on the prop weapons. Also thanks to our great volunteers who ensure our patrons have the best experience possible.

I guess that's pretty much it. I've submitted ten candidates for directing for CPT's 2008 season. I'll be working with Mark Fagundes' wife, Erin, designing the set for Conejo Players Children's Theatre late summer 2007 production of Once On This Island, and I'll be teaming up with Meaghan Quilop again for lights. I'm also trying to make time on the schedule in the fall to audition for Shawn Lanz' CPT main stage production of You Can't Take It With You. Shawn always has a knack for putting together a GREAT ensemble cast, and this show in particular is ripe for his touch. I'm also exploring directing opportunities elsewhere, but my focus over the next year will be primarily family.

Thanks again, everyone.

Weekend Three and Moving Forward

I wrestled ALL week with whether or not to give notes on last weekend's performances. There were some significant issues that SHOULD be corrected, along with some minor issues that COULD be corrected. In the end, I kept coming back to the same resolution.

We have a good show. Everything that happened last weekend that could be improved should be improved, but you don't need me to tell you what those things are, because they are ALL things I've given notes on before. I'm not giving up, I just think that the more I try to muck with things that are probably not going to change anyway, the greater the chance that we lose some of the REALLY GREAT stuff that is going exceptionally right.

So THAT is what I'm going to focus on in this set of notes, so that we can complete this journey together on a positive note. It has been an exceptionally rewarding experience, and I want us to finish it together and in sync.

Jeff - Thanks so much for everything you've done and everything you do to keep this show moving forward. From Narracott to follow spot (heh heh heh!), there's a very subtle but important grease you add to the wheels of our bus. Thanks!

Leland - You follow your instincts but you are also a very disciplined performer. Enjoy this performance as a final swan song of Tony Marston.

Tami - Continue to give us those great, scary little glimmers of darkness that Ethel has, but keep it understated. Enjoy living in her skin one last time.

Jerry - Send the General off with a fitting salute. Continue to keep the wonderful dignity you bring to the role. Enjoy Mac's final slow descent into dementia. Don't forget to play off of Vera, as she is your greatest possibility of assistance for Mac. Look for the answers to it all in her eyes, and allow yourself to get angry when the answers aren't there.

Helene - Keep up the great work. Keep it fresh and allow Vera's words to wound you so that you can build the defenses back up.

Aaron - I'm going to miss working with you, my friend. Keep up the solid, inspired performance, and enjoy experiencing all of the great ups and downs Rogers goes through before falling to pieces (bwahahaha).

Howard - Understated. Understated. Understated. You are at your absolute best when you aren't "playing" crazy. Especially at the end. Your best delivery, even though the lines weren't solid yet, was on opening Saturday. You rattled through the oppressive final monologue as though it were a deposition briefing, and you played it low. Do that once more. You don't have to yell to get your point across. Subtle. Creepy but calm. Skate along just below the radar and Wargrave's plan will work out perfectly.

Mark - It has been an extreme pleasure watching you develop and refine this character. I hope it was as rewarding to do as it is to watch. Thank you for growing with the role without changing the arc of your character or of the story. Tap in a LITTLE BIT into the true mania that bubbles under the surface. We've been close to seeing it. Let just a little slip out this time and surprise us. You know where it will work best, I think.

Jack - You've had this guy locked in tight for months now. On this final performance, give him just a LITTLE more probability of totally loosing it. Make the other characters (like Armstrong) have a reason to suspect you. Make their characters work for it by making opportunities for the other actors. You do that well. Trust that they will take those opportunities and run with them. And thanks for all of your hard work.

John - Great stuff man. I hope this was fun and interesting for you, because it's just great to see how malleable you are as an actor. I love it. Once it's just you and Vera, keep it real. Forget the mechanics of HOW you need to do something I blocked you into; go for the WHY Lombard is where he is and does what he does. Relax. You (John) have got it under control. Now make us believe that you (Lombard) have lost it all.

Linda - You've got it all down. You're solid. I love everything up until the darkness scene. In rehearsal, early on, in the darkness, Vera was petrified, like a possum too scared to move. What has happened though, is that it's regressed to comfort, and that comfort carries on into the next scene, but it can't. If you're comfortable, there's something wrong, as there are five dead bodies in there, and you're calmly stuffing your face. Then, when Blore gets whacked, you've got no where to go. The interaction with Lombard about having to get out of the house doesn't work. Also, don't forget, Blore is lying dead outside, so when you go out there, imagine you see him. Let it all build up to the utter breakdown that is impending. Let it take you away. Enjoy it and don't be afraid to give up a lot of control this final time.

Jenn - Thanks for running this whole ship. Keep everyone on their toes and don't allow them (or yourself) to get sloppy. Keep this final performance clean, and let's give them everything they need to knock it out of the park.

Shawn - Everything is great. Thanks for keeping it all on track up in the booth, and for helping Amanda get it all down as well. It's great. Let's keep it nailed down for this last show. I can't imagine having done it without you.

Brittney - Thanks for all of your hard work as well. I know you're doing a great job because I've had essentially ZERO notes for you, but your efforts are GREATLY appreciated. I'm proud to have you on the staff, and it's great you get to support your folks. We really love you guys!

That will be it. I'll post one or two follow-ups after this, but nothing major. See you this weekend!

- Sean

Notes - Second Weekend

Okay.

One of the things that kills me about the Saturday show is that there were about 100 people who didn't see us at our best, namely several people whose opinion I value greatly. It disappoints me because ALL of the mistakes were avoidable. For most of them, we're not going to get a second chance to show them what a great show this is. That's VERY frustrating.

Sunday was a real eye-opener for me. The show started out great, but lost steam after the first scene of Act 1, and REALLY belly-flopped in Act 2. Yeah, there were some GREAT parts, but what became blatantly obvious is that there is a SERIOUS problem with consistency among most people involved.

Here are the notes. We'll talk before this Saturday's show, but I want you to think SERIOUSLY about these. They are mostly notes that have been given before (VERY FRUSTRATING), which should NEVER be the case.

Jeff - Pick up the volume in the beginning. A few lines were lost.

Tami - Wow. Thank you. The energy was very good, and you brushed just up against the "too much" end of the spectrum. Don't go quite that far, but it was VERY solid. I LOVE the interactions between you and Rogers, but don't go too far.

Linda - I love what you're doing, but I can't hear you many times. Louder. Project. Please.

John - Surprisingly, I couldn't hear you several times, particularly in the second act.

All - The air conditioning is a new aspect to be reckoned with. It is adding even more "white noise" to the theatre, and will likely be a problem for the rest of the run. Speak LOUDER.

Helene - Please project more. When you're sitting DL, cheat your face out more to sneak a bit more volume out. When you speak directly SR or upstage, we can't hear you.

Mark - Can't hear about 80% of what you say. More volume. Be careful/mindful of your upstage lines. Either say them louder or cheat out to deliver them. The air conditioning is killing you.

Shawn - Louder on the speaking part of the gramophone. There is a TON of exposition there that the audience can't hear. With the air conditioning, it was still too soft on Sunday.

Jack - Blore's playing of the "Davis" role is drifting too far into the laughable. There's a subtlety there that Blore, as a detective, still maintains, even though he's not as good at is as some people. I saw Jack playing two distinct characters: Davis and then Blore. They should both be Blore. For example, you're "trying" to fumble the Brazil lines. Don't let that happen. Blore's NOT an idiot, and you as an actor cannot ever believe that, or he's no fun to watch.

Leland - Your "Good." reaction to Emily's "I have nothing to say." was NOT what we rehearsed. It was self-indulgent and played for laughs rather than what we established from the very beginning: the honest, off-the-cuff response of a self-centered fop. You looked at her, added a beat, then sneered a long, nasty "Goooood." Do it the way we rehearsed, please.

Leland - The kissy face to Emily is fine, but it's getting too big.

Leland - Despite what you felt, the "drunkenness" didn't seem peak too early. It was fine. If you felt like it did, ease into it a bit more, but it wasn't bad.

Leland - The vomit scene works fine without the bag. Thanks for adapting. Looks good.

Jack - I just want to say thank you for keeping your delivery consistent, yet fresh. For example, your "Actually, he choked, vomited on Mr. Lombard, and then died..." has been consistently GREAT and has never gotten bigger than it should. Keep it up and continue to keep it understated.

Howard - Pull it back. Please. You're tipping your hand too early. He's back in Dandy-land. The GREAT, solid performance you gave last week has turned back into a series of mannerisms that point, unmistakeably at the notion that it is Wargrave. In particular "EXACTLY!" at the end 1-2 is TOO big again. Pull it back and don't let it slide ever again.

Aaron - Yesterday was a REALLY good show for you. Please keep up the great work. Solid.

Howard - When you give the can of nuts back to Blore, what was with that slapstick reaction to them being taken away? Don't do that. It looks ridiculous.

Jerry - Several key plot points were lost along with the missing lines on Sunday. Run them again with Linda before Saturday's show, please.

All - Rediscovering the role doesn't mean REINTERPRETING your role to suit your mood that performance.

Jack - Wow. That was a total beef on the "Lizzie Bordon" line. Whatever caused it, let's figure a way to avoid it in the future.

Howard & Helene - The coffee lines at the beginning of 2-1 are WAY too big. Howard, you're making a bit too much of the "Allow me, Miss Claythorne..." and the "Just cooling it for you..." These should be delivered more like asides. Focus the energy more on the more plot-centric lines where the action is with Vera's reveal that it's Armstrong she suspects. Helene, too much with the "Bitter!" lines. Everyone gets it. They need to be more subtle.

Howard - A bit more subtle on the "I'll take it up..." for Armstrong's coffee. As with the previous note, it's too obvious.

Howard & Armstrong - Too long of a conversation in the hallway. It should be a QUICK aside, not a treatise on sociopathic criminology. Wargrave needs to get off stage to whack Rogers. Armstrong can still linger afterwards in the hallway and listen to the Blore and Lombard conversation.

Howard - You came back in WAY too early. Not enough time to have whacked Rogers. You should come in ONLY just before Armstrong says "We must get out of here!", followed by your "The one thing we must NOT do..." as you walk into the room.

Jenn - If you're going to be on stage changing things in front of an audience between scenes, I need you to wear dark-colored clothing and act professionally. You look like you're bored/confused/tired, and light-colored clothes draw attention to that. If you MUST be seen by the audience, make yourself as unobtrusive as possible, and move with a purpose.

Jenn & Aaron - We need to have a fresh rag/towel on the bar for Lombard to use to wipe off excess blood after Blore's death.

Shawn & Amanda - Please, get control of that dimmer for the dark scene. I know it's not the best design for that spotlight, but it's what we've got. Keep the spot steady.

Jack, Mark, Linda, John, Howard - The "dark" scene was REALLY good. You're handling the candles and other props EXPERTLY! Thanks!

Jack, Linda, Mark - Several important lines got lost in the "dark" scene. Project.

Howard - Where did half of the final monologue go? Too many important lines lost.

Howard - You're "acting" crazy again in the end. You start pulling your hair and looking wildly left and right. Stop it, and get back to the legitimate work you did last week.

Howard - FACE DOWN LEFT IN YOUR MONOLOGUE, PLEASE! It was obvious that you saw Lombard, and it killed the scene.

John - You're working into the final few lines really well. They're becoming more natural. Don't let them grow too much.

Linda & John - It's okay to hit him harder after the "Oh, wait..." in the end.

Linda & John - House Left can't enjoy your exit lines. Find a way to either cheat out or deliver them slightly differently.

Linda - Now that Lombard's not making a move on Vera, you're going to need to take the "Let's just go find the boat, Philip..." a little more dryly. Start it turned away from him, if you need, and then do a slow burn/turn to him to deliver it slightly more frustrated.

See you on Saturday to discuss.

- Sean

First Weekend - DONE!

Congratulations, all, on a great opening weekend. Both performances had their highs points, but Sunday's show seemed (to me) to gel better than Saturday: the performances were more consistent, the tech was almost rock solid, and the audience responded resoundingly in the positive.

Before the question gets asked, let me just say that I don't like changes to a show, once it's opened. It unleashes more potential for harm than good, usually. So let's please keep things locked down as they have been for the past week. It's a good show. There's no need to "fix" it, because it's in no way broken.

That being said, I remind you all to continue to stay fresh in your delivery. Rediscover each moment as your character approaches it again for the first time. Jerry mentioned to me an acting class that he and Howard are taking together up at Theatre 150 in Ojai, in which one of the key tenets of the method is to observe your character's surroundings and react accordingly.

A good example of this is when Aaron (as Rogers) responds differently/appropriately to other characters as his cue lines get altered. Another character might say "Have you seen Mr. and Mrs. Owen?" to which Aaron will respond "No, I don't expect to see them until tomorrow morning...". Another time through, the same character might say "Do you know where Mr. and Mrs. Owen are?" to which Aaron will respond "No. They're not expected until tomorrow morning." The differences are subtle, but well handled in the context of change.

So, while I'd prefer line-based changes did not occur, we're human, and we don't do this for a living, so I understand. Likewise, I can appreciate when actors work diligently to adapt and get themselves back on track.

Good job again. Thanks, all!

- Sean

Tech Week - Wednesday Notes

REVISED FROM EARLIER, PRE-MATURE POST

Wow! It finally all came together! Thanks everyone for your hard work and dedication last night. Your focus was perfect, and you all brought your best work to the table.

Tonight is our speed-through line rehearsal at Aaron Van Etten's (Rogers) house. You should have gotten directions from him last night. Otherwise, check the contact sheet and feel free to give him a call.

The notes are about 90% technical (for both cast and crew). The character work was superb, and I'll try to make sure I highlight the great work that each of you did last night.

All - DON'T REACH THROUGH THE WINDOWS ON THE FRENCH DOORS. Use the handles. We have handles on both the front and back. Every person in the cast (except for Jeff Schaver) grabbed through the "panes" of glass to use the frame as a handle. Please stop doing this. It breaks the illusion. The reason we don't have glass or Plexiglas on stage is that it causes light reflections that are too difficult to abate, so PLEASE stop doing this.

All - The costume changes HAVE to be done more quickly, particularly between 1-1 and 1-2, and between 2-2 and 2-3. The break between 2-1 and 2-2 should have NO delay, yet it was almost 90 seconds.

Shawn & Jenn - We'll get to the point where the costume changes are happening much more quickly, so be prepared to start fading out the inter-scene lights and music sooner. Shawn, take your cue to fade and go from Jenn, unless she can't see (like when MacKenzie is ready).

Howard & Jenn & Shawn - We shouldn't be able to see Wargrave take the soldiers off the mantle. Let's make sure that either a) he's in the dark to get them or b) Jenn gets them.

Howard & Jenn - Howard, can you find a time to inconspicuously take the two soldiers before Rogers & Emily are killed? If not, Jenn, we'll need to start 2-1 with only five soldiers in place.

Shawn - Help Amanda find a way to steady her spot light. It jitters too much and doesn't move fluidly. Also, ask her to be sure to carefully dim down her spotlight before she switches to a new character, and then carefully dim up. She's doing a great job, and I'm proud of her for taking on the task.

Shawn - Don't forget to restart Lower Deck, Disc 1, Track 2 at the top of 2-2 (the dark scene). It cut off abruptly five minutes into the scene.

Jeff - Good work. Thanks for all of your help and for doing Narracott for us. It's great to have you with us.

Leland - Your interactions with the other guests are good, but let's back off on the kissy face to Emily. It's a little too indulgent. Instead, go ahead and have a few more facial (not too big) reactions to what people are saying.

Leland - Okay to get just a little more drunk.

Leland & Mike & Jenn - What happened to the vomit last night? It looked like the hose may have gotten kinked. I looked at it afterwards, and I'm concerned that the hose might come loose from the stopper some performance and create a big wet spot on Marston too soon.

Tami - Good energy, but let's tone it back a bit. The nervous energy is appropriate, but you're way above everyone else. Dial it back and continue to connect with Aaron. Remember two weeks ago when you found a few "dark" spots. They weren't cartoony or over-blown, and I don't want you to drift into a characterization of Ethel. Dial it back and connect.

Tami - The faint sequence and subsequent scene was PERFECT! Thank you.

Jerry - Several folks noticed your note cards. I don't mind if you use them, but they can't be obvious, which they were last night.

Jerry & Linda - Jerry, you need to slowly advance on Vera to give her a reason to keep the chair between you and her. Linda, if he's not advancing on you, it's okay to stand your ground against him. Thank you for moving the way you were blocked, but now let's move because your character needs to instead. This is a tricky scene, I know, but you've done it well as recently as last week.

Aaron - Great! Great! Thank you for keeping your head on straight (as an actor), and for being consistently great in your character work.

Emily - The work is great, but we've drifted a bit too far into the "bitchy for bitchiness sake" territory. Re-infuse the vulnerability you had last week and earlier, but don't let the pendulum swing too far that direction. Also, don't lose the intensity of your voice (as an actor). I want to be able to hear you, but I need a bit more vulnerability brought back.

Mark - The outward manifestations of Armstrong's mental issues are getting a bit confusing. I think the direction I gave you previously on the stuttering was incorrect. Let's simplify it more and make it less real. The ironic part is that someone last night commented that it was great that I could make use of an actor with a speech impediment. That was not the effect I was going for, so let's pull it back to more of a "stage" stutter. I was wrong. Now, let's also use it at least ONCE more, when Armstrong is highly stressed. Also, let's make the physical ticks SLIGHTLY more obvious. I'm VERY happy about your character work. Your energy and responses are great. This comment is merely fine tuning.

Mark & John - "I may be dead wrong...", Armstrong's chuckle, and his "Sorry.", please pace this out according to audience response last night a bit more. Here are the five, distinct beats to this scene...

• Lombard - I may be dead wrong... hey, get it? Dead wrong?
• (Audience groans/chuckles and Armstrong laughs over them, inappropriately.)
• (Lombard looks at Armstrong and audience laughs a bit more at the embarrassment.)
• Armstrong - (Pause) Sorry.
• (Audience chuckles a bit more.)

Jack - Your work is consistently great, but resist the temptation to "gild the lily". You're funny to watch, so there's no need to beef up what you're doing any more than where we've had it for the past several weeks. Stay fresh. Keep it honest. Don't mug or chew the scenery.

Howard - Excellent work, but there are some new mannerisms that have crept into your final monologue that are a over-used and which are not working. We know you're crazy, but we don't need you to grab your face and hair over and over again to prove that. Too much there. The semi-seductive use of the noose on Vera's back is too much. You used it three times last night and by the third, it was tedious. You've got a great HIGH energy, and you've incorporated some low end energy, but not enough. The pacing is perfect: I like the rapid-fire delivery of most of those lines, but don't make too much of them. The audience was laughing at the "...small animals..." and "...slaughterhouse..." lines because they were cartoony and not character-driven. If you get a chance, watch a few minutes of "Silence of the Lambs" in the interview scenes between Lechter and Starling. What Hopkins does exceptionally well is play the low end. It's often creepier to talk to someone as an equal, respectfully, even though your prey is bound and gagged on the floor. Another good bit of source material is in the end of "se7en" when Kevin Spacey is taunting Brad Pitt's character. I want you to work a bit harder at doing much less. Is that confusing? Another thing, your focus is too often directed to howling at the heavens above to justify. Instead of pleading with the gods for approval, take the opposite tack and explain to Vera why you've done it all. The smaller and more matter-of-fact it is, the creepier. Some high end energy is fine ("...members of the jury..." "Silence in the court!" "I must have my hanging...") but give us a lot more of the low end.

Howard - Good at tying up Vera, gagging her, and hovering over her. Good death, also.

John - A little too much time fumbling with the gun. Wait a little longer to get up, and try to get the blank loaded less obtrusively and further up stage.

Linda - Before you "fall" down behind the table, give us a LITTLE, fake thump of your foot to suggest maybe that you've tripped. Just drag your foot a bit and then tap it lightly before going down.

Linda & John - The shooting of Lombard by Vera was good.

Shawn - The final gramophone in 2-3 is a little too loud. Take it down a notch. Also, wait just a second more before cuing it. Give Vera a bit more of a chance to relax at the bar for a half a second.

Linda - Your character work was VERY good last night. We need a bit more of a character progression from the start of the show to the finish. Previously, you've grown more and more bold/saucy/disgusted, and that worked well. What also worked was when your feelings towards Lombard matured and developed. I need you to bring all of these back and give us more of a character arc over the course of the show. For instance, the monologue about Petey was GREAT. You invested a lot of good emotion into it, and it paid off. But in your interactions with others, it wasn't there as much as it could have been. The MacKenzie interactions should be with the BOTH of you. Figure out why you're really continuing to sit there and listen to him. The interactions with Emily are better, but they can come forward even more. I need you to bubble up even more emotion in your interactions.

All - There has to be much more at stake. People are dying around you, and it seems inevitable that you as a character will be killed as well. Let it scare you, please.

Thanks!

- Sean

Tech Week - Tuesday Notes

Thanks again for your hard work last night. Huge improvement in picking up lines. Thanks!

Here are the notes:

Tami - Great energy for a sick chick! Great recovery on the guest list.

Jeff & Leland - Thanks for your help reading Blore.

Jerry - No need to thump your cane on the stairs. We can accept that he's coming from the front hall.

Mark - On "Marston's death...", cheat down stage so we can hear you. Do this whenever possible.

All - At the end of EVERY scene, FREEZE as lights come down. DON'T MOVE until lights are OUT. Howard, you did this a bunch, particularly at the very end (please stay dead). Let's preserve the "picture" of the previous scene a bit for them. This does NOT apply to Vera and Lombard in the final scene, though.

Helene - I can't tell, are you wearing stockings? I'd prefer if you were, only because Emily is such a prude.

John - As Rogers comes down the stairs, when you've got the nuts and are walking over to Blore, look at Rogers to see how he's doing. I think Lombard likes Rogers, and ignoring him doesn't look right.

Howard - Louder on the rattling of the nuts in the can. We can't hear it.

Jerry - Check your lines in the second half of the scene with Vera. One of them went wacky.

Jerry - I like the sitting, but at the VERY end of it, I do need you to stand and come towards her on "...oval shaped face..." that part worked fine the other night.

Helene - "It is YOU who should be caring for YOUR soul, Miss Claythorne." Not "her soul". I know it's grammatically correct, but it sounds like Vera should be caring for Betty Taylor's soul.

Howard - "Exactly!" at end of scene is getting too big again. You're tipping your hat too early when you do that.

All - Remember to put your used props on the big table (or back into the cabinet) when your done so that Jenn can find them.

Howard - The injecting Emily bit was better, but make it still a bit quicker, and don't jump up in surprise (or twirl around like a girly man) when you're done. Again, it was tipping the hat too soon.

John - Give a smidge more space between the first "Who" and "Whom". It need just a little more breathing room to seem like it's not an actor's mistake, but rather a character bit.

Howard - Don't go upstairs when you give Armstrong the coffee. Rogers is downstairs, out back. Also, don't come in from upstairs when you return. My previous note was to talk to Armstrong in the LOWER hallway, not the upstairs hallway. Sorry if it was confusing.

John - Make sure we get a rag on the bar for you to wipe blood off after Blore bites it.

John - Quieter when you're going down to see who's body it is. You've got a strong voice. Do it at half volume and face upstage.

Linda - Wait MUCH longer before you say "I can't hear you, Philip." That's still weird. He needs to have time to have walked further down the hill. Wait and watch, then say the line.

John - DON'T POINT THE GUN AT THE AUDIENCE. Even though it's a rubber gun, it freaks people out. PLEASE make sure that the muzzle is either at the stage, or just keep it pointed SR.

Howard - VERY GOOD final monologue. Now, make sure you give yourself a few "low" points, vocally and energy-wise so that it's not just one big scream fest. Do not slow it down though, only take the volume down a bit. Keep refining it.


- Sean

Tech Week - Monday Notes

First of all, thanks for your patience. Tech is not fun, and I'm sorry if it was painful, but we're out of the woods. Tonight, let's focus on getting back to the GREAT work we did over the previous two weeks and let this tech stuff just happen around us. Keep your head in the game.

Here are the notes from last night:

All - PICK UP THE PACE, PLEASE! There are HUGE pauses between lines and cues are not being picked up on. Please, put your characters on as neatly and completely as you have put on your costumes. Respond to the other characters through your own. The responses are mechanical, so they need DESPERATELY to be re-humanized.

Aaron - On the outside chance that we might have a substitute Mrs. Rogers, carry a spare guest list with you.

Linda - Can we have you take off your hat sooner without messing up your hair? As secretary, you would not have your hat on to greet guests. There (I believe) is a mirror on the upstage side of the fireplace you could use if you needed, but let's move it.

All - If you use the seltzer bottle, practice with it at least once tonight before we begin.

Howard - For fun, let's put your hat on the newel post on the banister rather than the coat rack.

Aaron - Good recovery on Wargrave's hat. Good thinking. Thank you.

Jack - Find the bell on the bar sooner, probably even before Armstrong announces he's going to leave. We're waiting too long for it, and it's killing the bit.

Aaron - Good instincts to wait for the bell before starting down (up, then down) the back stairs.

All - Don't "pre-climb" the stairs at all. The back bottom step is technically the "top" step of the stairs, so don't step until your character is coming all the way down the stairs. Treat those back first steps as though they are the TOP of the staircase. I need to hear all seven of the steps tread upon.

Jack & Aaron - When did we flip sides on the Blore & Rogers scene? Rogers should be SL. I don't mind it being in the room, but I need Blore to SR, blocking the exit, essentially. Having Rogers trapped above the sofa doesn't look right, as Aaron's instinct to fidget is EXACTLY correct. Please flip this back.

Linda - You were very detached in your responses to Emily in 1-1, and you seemed to amble about the room aimlessly. Re-focus your interactions with her. Let her words affect you. It's the moving around the room tidying up that shows how Vera deals with it.

Jenn - Let's make sure we have a good mix of books on the UCR bookshelf. Too top-heavy.

Howard - Just a smidge sooner coming down the stairs so that you are in view by the time Vera says "Yes, I heard you, and so did he..." Don't pre-climb the stairs.

Leland - The "BIG" pedal in the middle. Don't loose it. It's demeaning to Armstrong and very important.

Aaron - I will be shortening the sound cue for the record player a bit, but you MUST exit sooner to turn on the music. The flurry of trying to exit is getting to be a bit too much. If you need to go out the main hall, fine. If you need to trim another lesser bit, fine.

Aaron & Jack - Jack leave room for Rogers to go further into the hall as he tells you off. Aaron, go ahead and step into the hall before turning back to Blore and saying "And yes, Detective..." Do it as one fluid movement rather than a bunch of short disconnected bits.

Jack - We can go a bit smaller on the sliding door gag. Don't wait. Just do it.

All - There is ZERO tension in the scene after the voice has accused you. I need to see a LOT more nervous tension. Everyone is TOO relaxed. Rediscover that nervous energy, PLEASE.

Jerry - Do not leave the stage before the blackout at the end of 1-1. It's very distracting to have MacKenzie run off before the end of the scene. You'll have to get changed within the allotted time. Also, you may not permanently store your costume change stuff there. With the blood and other stuff happening there, you'll need to set and then strike your items before you begin and then after you're done. Sorry.

Jenn - We need to mask the OFF LEFT safety light. It does need to be on, but it needs to be masked so it doesn't throw on the scrim.

Jenn - We need to mask the rear STAGE LEFT crossover door.

All - Get in places on stage during blackouts when you're done. Don't wait for a places cue.

Jenn - We need to have the scrim tightened.

Jenn - We need to paint and grain the table and doors.

Jenn - We need handles and draperies for the doors.

Jenn - We need to mount the rhyme over the fireplace.

Jenn - We need to write out the changeover lists (one for AS to ATTWN, and one for ATTWN to AS).

All - Who killed the lines in the beginning of 1-2? Fix it.

Jack - Mickey. Not a ROOFY.

Aaron & Jenn - Make sure that onions and cherries are struck before 1-2.

Jenn - Make sure olives are there, and only 4 or 5 for Jack to eat. Rinse with bottled water EVERY NIGHT before each show and drain so they're only as wet as they need to be.

John - Work a bit harder to open the can of nuts. Let's mime a bit more elbow grease going into it.

Jerry & Linda - Work this scene. Neither of you were listening to the other.

Jerry - Quicker on the uptake after Vera asks "Louie?" Too long to respond.

Jerry - Vera had nothing to fear from MacKenzie last night. There was no reason for her to even stay in the room. Go back to where you were a week ago.

Linda & John - When Vera leaves in disgust, your goal MUST be to leave the room. Lombard, your goal is to stop her. It was VERY weak last night. Go back to where you were a week or two ago.

Aaron & Helene - Check the timing of the "Breakfast is... ...ready." lines. Didn't work.

Jack - Sooner on the delivery of the "...little Hemmingway?" line. Too detached from what was happening.

Jerry & John - MacKenzie, when you die and fall, don't jump into Lombard's arms. If you're dead, your arms wouldn't move. If you can't fall without moving, then stay seated and slump against the wall and only drop the cane. This needs to be fixed tonight before we start.

All - Practice your stage exits during the blackouts.

All - LOUDER. If you are directed to speak up stage, you MUST increase volume with that, or cheat more down stage to compensate. This affects Mark, Linda, and Helene most, but it happened with everyone.

Aaron - Remind me that we need a new raincoat for Rogers. The Members Only jacket is ridiculous.

Howard - You gave it away last night when you pulled out the syringe. Quicker. It's too long right now and we OBVIOUSLY saw the syringe.

Howard - No laugh in response to Blore's "...could anyone swim to shore?" Doesn't work. Something smaller, perhaps, but not a laugh of that size.

John - When Wargrave goes up to Emily, step directly in front of them (CL) to cover, right around "...soaked to the bone..."

John - Put down your coffee cup and go up stage to look at Emily or out the window before Vera clears the coffee tray. The bit doesn't make sense, because you can anticipate that she's clearing it. Killing the visual bit.

Jenn - Strike note from Emily after she dies.

Jenn - Three (not two) soldiers on mantle at top of 2-3.

John - No boots in 2-3. Go with your regular shoes. Too long to change and not worth the pay-off.

Linda - If you see a note on the floor, pick it up sooner.

Jenn - The note is in the side of the cushion of the brown chair.

John - Smaller on the bit to loosen up Blore after his "...I already told you, Lombard..."

John - Pedestal. Not virtuous perch.

Linda - Don't forget the "If there was one..." after Lombard's "...all in the same boat..."

Linda & John - Work the lines after Blore's death. Vera's "I can't hear you over the waves..." is coming too soon. Wait until Lombard is further off stage and actually SAYS something that you can't hear before saying it. Not working.

Howard - When in doubt, stand OVER Vera.

Howard - Painfully long. I'm thinking of taking out the scissors on that speech. Sell it or we'll cut it. Faster. More excited.

Howard - Keep the noose as taught as possible without hurting Linda.

Howard - Always keep a hand or foot on Vera. If I were her, I'd have knocked you over already and run for it.

John - Blank in your LEFT front pocket. Gun in LEFT hand, reach for blank with RIGHT hand and load it. Then transfer gun to RIGHT hand to fire.

John - Make a bigger deal on the "Don't move!" to Vera. We have to think that you're trying to keep her safe from something, not that you're going to deliver a funny line. Relax a bit to set up the "I wanna remember you..." line.

John & Linda - Speed through the final lines several times tonight. Not quite where they should be.

John - Too big on the "OW" after Vera hits you. Just power through it. I don't see real pain. I see mock pain with a silly face.

Linda - Sooner on the "Oh, wait..." lines.