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.

Tech Week Begins - Actor/Character Notes

Thanks for your patience everyone during this past week while I diverted focus to finishing the set and tech elements for Angel Street. As those of you who saw it at the Thursday night preview know, it's a fantastic show. It's a pleasure to share the CPT stage with Arryck and his cast and crew.

Now, my attention shifts to finishing the technical elements for ATTWN. For those who are counting, here are some rough numbers regarding the technical complexity of this show:

• over 100 props (more, if you count all the "expendables")
• over 20 sound cues, spread across 5 CDs, comprising nearly four hours of audio
• over 40 light cues (double that of Angel Street)
• over 20 costumes
• 11 cast members and 5 crew members

Given that, understand that I will continue to be distracted for the next several rehearsals. Go back over the previous notes posts and make sure that you're not falling back into any bad habits. Below, I have a few actor/character notes that I've put together to help keep you on track:

Linda - As with John, your journey has been fun to watch. We've tuned your portrayal of Vera to be a confident young woman who's been through a lot in her young life. As much as I tell John to back off the facial responses, I recommend that you find a few more: eye rolls, teeth gritting, staring agape at the responses of the other characters. Adding a few minor physical responses (not big) will round out your performance and will give the audience a visual cue to your character.

John - As mentioned before, I'm very happy where you've wound up with Lombard. His confidence and humor are a joy to watch on stage, complete with all of his foibles. Please remember to not fall back into "mugging" with your face to get a response from either the audience or the other characters. When in doubt, play it stone-faced. Use your gift sparingly there and it will be more special when we DO get to see it.

Jack - I like all of the different approaches you've tried, but I think we're solid on the ones you've been using for the past two weeks. Don't worry about cracking up your fellow actors, continue to play Blore to the hilt. It's their responsibility to react according to their character. Enjoy living in the skin of this guy. It's fun to watch Blore come to life. Keep up the good work.

Mark - Your character beats are solid, but don't let yourself (the actor) get bored within those beats. Continue to find a fresh way to tap into them and DON'T back off from what you've already discovered about Armstrong. Either due to the lateness of the rehearsals or some unexplained funk, the crispness of your performance has worn off. Rediscover it and infuse it with your natural intensity.

Howard - Your character work has been fine from day one, and Wargrave is exactly where we need him to be, character-wise. Technically, though, you need to nail down the lines, cues, detailed blocking, and consistency of the smaller bits you have. Vocally, I've noticed a bit of effeminacy creeping into the delivery of some of your lines, possibly due to their proximity to the British accent. Remember that Wargrave is NOT British. He's an educated American. There's a difference. Combine that with the fact that he's a self-made man, and it becomes obvious that you must stay away from drifting (vocally) into "Dandyland".

Helene - I'm very happy with where you've wound up with Emily. Stay the course and find ways to keep it fresh but consistent for yourself and your fellow actors. Not much to say other than "GREAT!"

Aaron - Please work hard to realign yourself with the cast. They have had time to experience some character growth in your absence, and it will take some deliberate focus to get back in line with them. I'll make sure to pay attention to you on Monday night to help you. Continue to focus on Mrs. Rogers when speaking to her, and resist the urge to "turn out" and deliver your lines to the audience rather than her.

Jerry - You had one of the best performances I've seen from you last week, both in terms of lines and character. Remember that and lock it in. Make sure you get with Linda each day before rehearsal to speed through your scene and give you the consistency with lines that is needed within MacKenzie's ramblings.

Tami - Fortunately, the bulk of your interaction is with Rogers, and since both you and he were gone, you're both at the same point, development-wise. But the absence will force you to realign yourself (as an actor) with the pace and energy of the others. Focus on doing that, and remember to keep the GREAT work you did two weeks ago. Don't fall back into the "cartoon" delivery that we had up until several weeks ago. Deliver your lines to the other characters, not the audience.

Leland - Remember the "respect" you have for Wargrave, and allow it to keep you in line up until the end. Give your character permission to get a little (small) sloppier at the end during your final speech, but make sure to toast the other characters, NOT the audience. Make sure to remember to "tune" the intensity of your voice for the main stage when we get there. You're still a little loud during some of your asides, but we'll see once we get on stage.

Jeff - Don't think too much about the role. You're fine, but don't let it work you up. Stay natural in your deliveries (lines and produce, ha ha).

That's it. Thanks in advance for your patience.

- Sean

Notes - Tue 4/3/2007

Very good run-through last night, even though we stopped early.

First, Sean's Notes:

Tami - Good intensity. Thank you for trying something new. Lock it in, as that's more of what I'm looking for. Nice.

Jack - Beginning entrance was a little off from other nights, but second entrance (with Armstrong) was back on track.

Howard - When talking to Rogers, lose the "Constance" if it trips you up (and it almost always does). It always comes out fine when you start to read your own "...decoy letter..."

Aaron - Take "Don't you have a dinner to fix..." facing SL, away from Mrs. Rogers so that she'll have something to react to on "What was that?"

Linda - Cue lines with first interaction with Emily were a bit sloppy last night, i.e "Ah, surely that depends on..." and "Disgusting?"

Linda - On "You don't like youth, I see..." let's have you further SR near fireplace tidying up so that Emily's "What did you say?" make more sense.

Leland - You asked me to watch your lines, and they are perfectly articulate. You're not mumbling or slurring at all. Nice job.

Leland - Just a hair quieter on the "Tastes like shit..." lines with Blore.

Jerry - "This fellow, Owen..." not "Owens". Their last name is singular, not plural.

Howard - Give us just a hint of annoyance whenever someone says "Mr. Unknown Owen." You worked long and hard to come up with "Mr. UNOwen", and now they're butchering it at every turn. Likewise, when someone gets it right, react slightly in the positive. Make it ONLY a hint and nothing more.

Jack - Your "What are you doing?" to Wargrave when he poisons Marston's drink was funny. Never do it again.

Aaron, John, & Linda - Lombard and Vera arrive on Jimmy's boat, not Narracott's. This was my mistake. Aaron, don't say the line "I think Miss Claythorn and Mr. Lombard rode across with him..." (or whatever). John & Linda, don't say the "Yes." line in response.

Howard - "We should leave this island immediately..." lines should be delivered to others. Not to Rogers. Although you initially address him, you're trying to build consensus in the group, not with Rogers.

Mark - Take a little more time investigating Marston. Last night was a little rushed and a little less believable.

Helene & Jack - If you're running short on time for the 1-1 to 1-2 change, feel free to enter late with your line "But a boat would always be able to...". Jack, if for any reason she's tardy, simply add "Ms. Brent thinks a boat would be able to land, but it would be smashed to pieces..." or something like that. It shouldn't be a problem, but just be ready to think on your feet.

Jack - Continue eating the olives until they're finished. I don't think the cyanide threat is enough to dissuade you from polishing them off. There will only be about a 1/4 jar anyway, and we'll rinse them and take the brine out and replace it with water for you.

John - Say "Come on Blore!" earlier, in direct response to Blore's "Didn't give her too many..." in unison with Wargrave's "You are way out of line...". Then, save the "Hey, are those nuts?" line until AFTER all of that hubbub.

Helene - The purple skirt is a little higher than I think Emily would wear, but I don't want to go through the trouble of changing it now. However, if you could refrain from crossing your legs, that would keep it a bit more modest, per Emily's character. Feet flat on the floor would be best, if possible.

Things got a bit silly after that, but we'll work on Act Two tonight.

I've decided NOT to add Jen's line notes. If you want to check in her script tonight or next Monday, feel free. But any blatant line loss I'll cover in main notes.

- Sean

State of the Production Address

Well, things are going well. We only have about seven rehearsals left, though, and those are spread out over the next three weeks.

I like the character work that's being done. I've addressed the few issues I have in the Notes sessions (I hope they are helpful), and everyone seems to respond well to them: very few repeat notes, which is great.

My focus will drift a bit to more technical things over the next week and a half. I will need to finish up the set and lights as soon as possible to make things as easy for myself and Arryck as possible. In addition to the base set for Angel Street, I have several additional set pieces I have to make for ATTWN (coffee table, divan, buffet, french doors, etc.).

Mike is coming along nicely on the props. I could use a few more of the practical items, particularly those items needed in the final scene, but all is going well. The costume ladies have already outdone themselves, and I'm very pleased with what has been shown to me.

I do need to get lights hung, per Meaghan's base plot, but I hope to do that tonight. I also have to get the "gas chandelier" finished and installed. We need two channels per fixture on that, as the flicker bulbs don't dim... and the dimmer bulbs don't flicker...

I'll pick up the guns this week along with the blanks. If I wait until Tuesday, then my "week" starts then, which will give me an extra day to return the props after May 12, when we're done. I'll also pick up some acrylic ice for the ice bucket.

After feedback from at least two people, the show is VERY watchable in it's current state. Aside from minor character breaks when people beef-up lines, everything is solid.

Thanks for everyone's hard work so far.

- Sean

Notes - Sun 4/1/2007

Thanks to Jeff Schaver for sticking around to read Blore and call lines for us, and to Jeremy for picking up mid-way through 1-1. Thanks!

REMINDER TO WEAR BLACK OR DARK CLOTHING (UPPER BODY) AND GROOM FOR HEADSHOTS FOR THE LOBBY TONIGHT!

Here are the notes from Sunday:

Scene 1-1, 44 minutes - On Target

Jeff - "Buttah" let's go ahead and keep the "r" on the end. If you want to try for a full accent, we can work on that, but alone, it sounds funky.

All - There will be a front hallway sound effect door that you MUST open and shut when you exit or enter. MAKE SURE TO USE IT! Remember that it is a large 3' x 7' oak door, so you will open it and close it SLOWLY. Take your time with it.

Jerry & Howard - The faster blocking on the "You seem to be in my chair..." stuff works much better.

Tami - Pull it back. The manic approach is reading as cartoony or vaudevillian when it is there in every line. Save the total whack-job mania for specific lines, like "Who do they think we are?" and "Who says? Why not?"

Tami - On second thought, what is missing is the sense that this woman might break down into an utter sobbing fit at any moment. The mania without a hint of repercussion is just wacky for wacky sake. She's wacky and loopy and manic because she's trying to hold it all together. It's her overwhelming inability to hold it all together and NOT let anyone see her cry or break down that causes her to faint.

Aaron - Given the above notes to Tami, allow her the latitude to work with this tonight. You HAVE seen her break down and lay in bed all day and cry. You know how to keep her sane(cooking, busy, focused). That will make this seem less artificial. Let us see in your face the potential repercussion if Ethel breaks down.

Howard - Wait just a second more before revealing yourself after coming back down stairs. Linger in the hallway before allowing Emily to see you and say "Judge Wargrave!"

John - Make sure you're on the SL side of the sofa before Marston comes over to argue with Armstrong.

Leland - Check the "...big pedal in the middle..." lines. They're funny. Don't kill them.

Helene & Howard - No voice outside on the balcony when talking. Too loud.

Howard - No chuckle in response to Rogers before "A very remarkable story!" Take it a bit smaller.

All - The people's name is Owen, not Owens. Unless you're saying something belongs to one of them ("...Mr. Owen's letter...") or the pair of them together ("...the Owens are not coming down..."). Never say Owens' (Owenses), please .

Howard - "Union Station" not "Southern Pacific Station". Union Station refers to the post-Civil War union of the states, not Union Pacific.

All - Every one of your "admission" speeches regarding your "victims" was great.

Scene 1-2, 30 minutes - On Target

Howard - Don't forget to exit to balcony before you have to re-enter and ask Lombard about Mrs. Rogers.

Howard - Don't pace on balcony during the MacKenzie & Vera scene.

Jerry - The "Don't talk to me that way..." lines to Vera at the end of your scene didn't work. Try them again tonight anew.

Helene - "...who should be caring for YOUR soul...". Again, "...her soul..." sounds like you're talking about Betty Taylor.

Howard - You're getting too theatrical again on "Exactly!" Keep it deadpan.

Scene 2-1, 12 minutes - On Target

John - I like the character you've developed. Your casual demeanor is GREAT, and your delivery is solid. Continue to find little moments to surprise yourself about the character and grow over the next three weeks. Don't force yourself to react to "stressful" situations: when Vera throws the candle, when you chase after Blore, etc... you don't have to lose control for the sake of the character. If a situation doesn't phase you (John), it might not phase Lombard either. Don't push it. Trust John's instincts.

Howard - Enter from the MAIN HALL (not the stairs) before "The one thing we must NOT do is..."

Scene 2-2, 12 minutes - On Target

All - Remember that you have candles and that is the ONLY light in the room. Hold them up to look at each other or when you respond to each other so they can see your face (unless you choose to DELIBERATELY keep your face dark).

Scene 2-3, 30 minutes - On Target

John - NEVER point a gun, even casually at the audience, PLEASE! If you must wave the gun casually, wave it UPSTAGE. If you need to turn it DOWNSTAGE from Vera, towards the bar/buffet, lower the muzzle to the floor. It REALLY bothers people, so don't do it. They HAVE to assume it's loaded. You want them to assume that, so DON'T EVER POINT IT AT THEM. Was that enough caps for one post?

Howard - "Doped her coffee..." not "Dope in her coffee..."

Howard - "Always more interesting to have a helpless female..." check that line and don't lose it!

John & Howard - Howard, anchor yourself over Vera right at the end of the "...easy to get Blore..." section of your monologue. John, don't move before that, but once you do move, pick up the pace so you're not scrambling at the end. That is not a situation I want to put you in with a firearm. Howard, if it doesn't happen, just carefully pull up on Vera's noose until it does happen. The gunshot doesn't HAVE to happen at the peak of your voice.

- Sean

Notes - Sat 3/31/2007

Hey everyone. Thanks for spending your Saturday night with us. I'd prefer we didn't have to, but being on the real set was certainly worth it. Jenn gave several line notes to me last night. It's not nit-picking, but rather trying to help you tune up your delivery better. Most of these notes were paraphrase errors. I added them only when I felt the original line was more important or clear than what you paraphrased or ad libbed.

Scene 1-1, 7:30 - 8:15, 45 minutes (target is 40)

All - Pick up the pace.

John - Take hat off before entering. Entry hall is fine.

Aaron - Mrs. Owen (singular).

Tami - Don’t forget to say “…in the morning…” during the “…loaves of bread…” section.

Jeff - “Two men arriving by car…” not “automobile.”

Aaron - “Mr. and Mrs. Owen won’t be up…” don’t forget the “Mr.” part.

Linda - A little louder on most of the “Mrs. Owen has been detained…” lines.

Helene - Good entrance. Nice business.

Helene - Mrs. Owen (singular).

Howard - A bit quicker on your entrance. Did someone kill your cue line?

Jerry - Pick up the “You seem to be in my spot…” lines. Too long and drawn out. The bit gets killed.

Howard - If “Mrs. Constance Callahan” is too much of a tongue twister, just make it “Mrs. Callahan.”

Jack - Good entrance and reaction to Armstrong.

All - Pick up the pace.

Aaron - Don’t step on the steps until bell rings. The US bottom stair is the “top” stair of the staircase.

Jack - There’s money and a wallet in the prop cabinet. Use it. We’ll make more…

Helene - Duck down as though your ear is against the crack. It will look better.

Linda - Continue with your business when speaking with Emily. Don’t stay at the bar/buffet. Don’t let her get to you.

Linda - Don’t go out of sight in hallway before “What do you object to about Mr. Lombard?”

John - Nice Chippendale's look.

Howard - Come down the stairs before “Ah, Judge Wargrave…” sooner.

Jack - Don’t forget to yank Marston towards the bar sooner.

Howard - After getting Rogers’ letter, face directly down stage. You should be just in front of the “edge” of the extension joint. Do NOT cheat USR to acknowledge Rogers.

Howard - Don’t say “…this Mr. Unknown…” too soon. You haven’t “figured” that out yet. It’s “Mr. Owen”.

Helene - Enter all the way to DL of Wargrave, not so far US of him when you say “Oh, I beg your pardon.”

Howard - When you start your “…decoy letter…” cross L a bit more, directly DS of chair. We need to clear MacKenzie a bit more.

Howard - Check paraphrasing, particularly during “…an apparently disembodied voice…”

All - Lines got better, mid 1-1. Sorry for the “sink or swim” approach, but it’s working well. Please continue to refrain from calling “line” if possible.

Jerry - Review lines in “Ceaser’s wife” paragraph. Too sloppy and drawn-out.

Rogers - React to Blore by ignoring him after “…nice little bit of inheritance…” turn to Emily Brent and take up your cause by looking at her.

Howard - Pace during your reaction to Blore’s “Lender” section. Too drawn out. Check cue lines as well.

All - Their last name is “Owen,” not “Owens”.

Mark - Pick up pace after stammer a bit.

Linda - A bit more melancholy during the Petey admission section.

Howard - Don’t wait so long to deliver “Don’t go Rogers…”

Howard - Don’t say “Rogers, we should leave the island tonight…” Don’t call him by name in that section.

Howard - We might need to cover you a bit more during breaking the solider. It might need to happen sooner.

Jerry - Don’t forget the first word “Dead?” on your Marston’s death line.

Howard - Take one more soldier with you when you exit during blackout.

Scene 1-2, 8:17 - 8:48, 31 minutes (target 25)

Jack - “Storm’s a bit chilly…” is that the line?

Linda - If you can, start to wear your heels so that it will affect the way you walk.

Howard - A bit less interested to Blore on “Do you really think so?” A bit more casual.

Sean - Need olives ASAP.

Howard - Let it bug you every time someone says “Mr. Unknown Owen”, particularly Blore. You’re proud of the “Mr. Unknown” part and they keep messing it up.

Mark - Good work.

Jack - Say, “…the guy who brought us over yesterday…”, not “…the gentleman…”

Helene - Don’t forget to play up the “Conscience!” line by pointing at Armstrong.

Helene - Give Armstrong a little breathing room during “…latent cardiac weakness…” before “Call it, if you prefer, an act of God!”

John & Jack - React a bit more somberly towards the entrance of Rogers.

John - “Overslept herself…” should be “Overslept himself, or HERSELF…”

Jack - GREAT energy after Rogers comes in and says there’s no boat.

Howard - “Yes, delightful fellows!” Please don’t drop it. It’s the “money” line for you.

John & Jack - Work the “…I suggest Lombard searches the house…” section for cues and lines.

Helene - Too soon to stand to look for the diary.

All - Quiet backstage whenever possible.

Howard - Stay facing out towards the ocean. Don’t pace so much when on balcony. Too distracting. Turn your head once or twice. Change position once at the most.

Jerry - Pick up cues a bit. A little too long on pickups for cues. Keep studying lines.

Linda & Jerry - Do a line shoot or two. Not quick enough.

Linda - Don’t turn your back on MacKenzie before “General!”

Linda - Don’t forget the “…climbing it from top to bottom to find a cold-blooded killer…” don’t forget the “cold blooded killer” part.

Linda - You go to bar after “I’m not your dear!” because you are considering a drink.

Linda - Don’t swallow “Bonnie and Clyde?” make it more distinct. Enjoy it. It will be funny.

Linda & Helene - Pick up cues at start of “Betty Taylor” section. A little too indulgent.

Helene - Check your Bible lines and cues.

Helene - Does your purple and silver dress have a blouse beneath. Too much chest showing for Emily.

Scene 2-1, 9:03 - 9:15, 12 minutes (target is 10)

Jack - “...middle-aged spinstah…” don’t bring on too much Brooklyn.

Sean - Fix the USR exit door, keeps opening.

Emily - Your head should be in the SR crook of the chair, looking out the window. A dead person wouldn't be able to stay vertical for that long.

Scene 2-2, 9:25 - 9:38, 13 minutes (target is 10)

Sean - Need candle holders ASAP.

Sean - Need shower curtain ASAP.

All - 2-2 pacing was really good.

John - “It’s not hard to guess WHOM Blore suspects…” play up the WHOM again with a slight glance at Wargrave.

Jack - “…now you SAY you've lost it…” not CLAIM.

John - “You mean I've stashed it, ready for the next time…” line was off.

Mark - “…I tell you, we’re all going to die, all but one…” not “…one of us…”

Mark - “I used to be a heavy drinker…” not “I was a drinker…”

Mark - “Quite a simple operation…” don’t drop “quite”.

Mark - “A big, solid, healthy woman…” not “healthy looking woman”.

Mark - “Her sister suspected.” no “…something…” at the end.

Mark - “After that, I gave up drink…” not “I gave up drink then.”

Mark - “One or two lucky breaks…” not “cases”.

Howard - “We can’t afford to quarrel…” not “argue”.

Jack - “There’s a whole box, still…” got lost or re-arranged.

Jack - “Storm’s dying down a little.” not a “little bit”.

Mark - “The murderer’s got everything…” not “killer’s got…”

Howard - Make sure your legs are out straight when dead. Don’t bend left knee.

Linda - Too close to the guys at the end, particularly Lombard. You need to have more room.

Jack - Keep USR door open.

Scene 2-3, 9:40 - 10:06, 26 minutes (target is 25).

Jack - “That’s all right, Miss Claythorne…” not “…okay…”

Linda - Don’t muddle the “…pickled herring…” lines. Too low, not clear enough.

All - Good pacing in early 2-3.

John - “Don’t forget there’s a madman…” not “homicidal maniac…”

John - “One shoe sitting perfectly on the cliff edge…” not “perched”. Have to get that word in there, don’t you?

John - “…to disregard the facts…” not “…all the facts…”. Check the rest of that line as well.

Jack - “You’re right, Lombard, sorry.” not, “Sorry Lombard, you’re right…”

Jack - “So we all went up and locked ourselves…” not “upstairs”.

John - “…someone walk past my door…” not “…footsteps outside my door…”

Jack - “But why the hell would Armstrong…” don’t forget the “but” and “hell”.

Linda - “Where do you think he is?” not “So, where is he?”

Linda - “I imagined all sorts…” not “I imagined I heard all sorts…”

John - Don’t lose the “I see.” before “Just curious.”

John- “Whoa, down boy!” not “Whoa, wait boy.”

Jack - “I’m alive, if that’s what you mean…” don’t swallow it, louder.

John - “…three soldier boys there…” not “…three little soldier boys up there…”

Jack - “Yes, that gun…” not “Yes, about that gun…”

John - “Oh come, Blore…” not “Come on, Blore…”

Jack - Don’t forget the “…and second, yes, I do…” not “…and second of all…”

Jack - Don’t lose the “That’s” in front of “…very ingenious…”

Jack - “Lombard, what about a bottle of beer?” not “Come on, let’s have a beer.”

John - “Yes, head crushed in…” otherwise we don’t know how Blore dies.

John - “Let me check it out first.” not “Let me check to see if it’s safe…”

John - “You’d better wait back in the house. I’ll go down and take a look.” Don’t lose the second line.

John - “It’s Armstrong: drowned. Washed up with the high tide.” not “…washed on the shore…” there’s no shore on the island.

John - “Quite neat.” not “Very neat.”

John & Linda - Check final lines.

Linda - Don’t lose “What? No!” after Lombard’s “…so you did drown that boy after all?”

Linda - Good monologue at end. But keep volume up.

Linda - Don’t lose second “couldn't” during “I couldn't, couldn't get to him…”

John - “Called it an accident…” not “drowning”.

Linda - “self-righteous” not “selfless”.

John - Pick up pace in your monologue, but good levels.

Howard - Don’t forget “It’s all come true!” beginning of line.

Howard - Don’t go too far R after chuckling, give her a sense that she MIGHT be able to get out through the USR hallway.

Howard - STOP MOVING! Stand over Vera whenever possible.

Howard - Practice lines on final monologue.

Howard - Not too much hands.

Howard - Thank you for cheating DL.

- Sean