Scott

February 22, 2017

Everyone	NO humming underscoring monologues- no humming at all. LISTEN TO EACH OTHER This will keep you from anticipation. People noises Opening dark –SING GOD SAVE THE QUEEN–– God Save the Queen segues into RED WASH WITH Fell Swoop while everyone is in slow motion. First Arthur and Polly exit. Two bar people exit. Lady H and Lord exit. Len exits. While this is happening. Gut girls begin line with Len exiting.  This should look natural so that it doesn’t look like – It’s my turn to exit. If we are going to say the hat is a turd, we have to have a hat on the ha track. Remember SMELL A fart face NO ONE LOOKS DOWN Feels rehearsed, especially in the first scene. LISTEN TO EACH OTHER. WHO SAYS I DON’T WANT = PAUSE BEFORE THE Accents to the END OF SENTENCES AND WORDS. Don’t be so involved in the accents that you lose the realism. No down inflection with sentences or words. The energy should CHANGE with each scene.  Look at the scenes and decide with actors what energy you should exhibit – has to be done outside of rehearsal. We have to have TENSION (Lou’s “fear”) whenever anything different happens in a scene – especially with upper class. Mob top on either Maggie or Ellen – I think Maggie because the curls would look natural hanging out underneath it.  I will begin making or looking for one. We MUST SEE TENSION IN BODIES.  You cannot act from waist up. Must see time passing in one liners’ scene and in the end. End of the play – we need to see the passage of time.  We need to see the tension in bodies.
SLOW MOTION ALL	At the beginning Scene 20 with Ellen’s lines.  In slow mo, maids direct Len, Jim, Harry moving brown gutting table chairs behind meat. Harry moves barrel and exchanges it with the lamp post. Maggie puts a white table cloth on bar with rose and vase and clean glasses. See if we need more time – adding this to Ellen’s speech D’you need any hands? No, I ain’t had any experience of factory work but I worked down the gutting sheds in Deptford.  I ain’t had a day off sick ever.  I’m a hard worker, honest, you only got to show me what to do, I’ll pick it up, I’m a fast learner.  Please take me on.  Give me a chance. BEAT Oh no, I wouldn’t have nothing to do with Trade Unions. With “Deptford”, Harry motions Jim and Len to take down the red carcass. Annie walks in with please take me on. Kate walks in with give me a chance. Polly walks in with Oh, no I wouldn’t – Priscilla is not there.
HARRY	Much stronger-meaner- with the women. Have different feelings about each one and treat them that way. Have a different objective with each one – abusive with one, humiliate another, sexual with Annie and perhaps another one; sarcastic with another? Noodle arms in the sarnies scene. Be all over Annie. I asked Lou about Scott’s conception of Harry.  Lou said as you know, I LOVED his character.  If anything… he could just take more time as he singles out the women for his demeaning. See tension in your body with last line with Ellen.  You are worried about shed closing and your quota.
Lady H	Hose?
Kate	You anticipated ride you like a gent
Eady	Don’t turn to the audience and hold bread up.
Maggie	Screeching during the rape scene.
Lady H Priscilla maids	Don’t distract going into the apron scene. Stay more in the back of the gutting shed.
Strikers	ARGH!!!!!!!!!!!!!!!!!
POLLY	Play with organs knickers
Annie	Watch Fantine in Les Miserables
Helena	What is the purpose of each visit.  Arrogant to softening.  Time for yourselves?  Make discoveries.  I have “no learning” written down and it either refers to you or the girls. Let me know. Bigger Lady H More excitement about your project. You showed exasperation on Wednesday with Polly, but I think moreso – even impatience or snapping at her. Have a different energy with Tartaden as contrasted to Arthur. IMPORTANT Jesus didn’t judge Chain for Annie?
Gut Girls	Sheepgutting sheds – REACT Listen to each other in each scene. This will keep you from anticipation. Rat catcher’s daughter needs energy and DICTION. Energy change when Priscilla and Lady H appear in knickers’ scene. More forceful in scene with fallen women. Falling – we need to see the motivation grow – think it is a BEAT then Maggie Laid off- Ellen get their attention – might say Listen more than once.  Listen BEAT line Bigger contrast among girls in apron scene.  Everyone must have different objectives. How do you feel about this?  Think Polly is okay – Kate work on being different from Annie and Polly.
Len	More flirty.  Moment – what a woman!
Ellen Annie	Ellen, more touched with Annie’s story.  Annie – watch tempo – fight against crying.  I fought him – angry.  How does Annie’s story change you.  Annie should be more stoic with ONE tear – fighting crying and maybe it’s Ellen that is moved to tears.
Ellen	See more levels at the end. Fight being the victim.  We need to see your heart.
Kate and Jim	Be over the top with roles of optimist and pessimist.
Priscilla	Diction – study your performance on Sunday on the blog. I’m afraid if we are spacey, you will be slower again. Need to see posture change with the bruise
Priscilla and Arthur	In private and public, you are extremely afraid of Arthur.  In public, we have to see Arthur controlling Priscilla physically(squeeze her elbow at Lady H’s )and emotionally. We need to see a bigger contrast in Priscilla when he is around. I spoke to Lou this morning.  Concerning Arthur, he says, Arthur is shouting too much.  The quiet/devious/unknown/unexpected/mystery/capable of SURPRISING eruption is far more dangerous and  interesting. See the tension in bodies – no more acting from waist up.  Hear choking and see eyes bug out.
spencer	Let’s work on the bruise
Edwin	Be a bigger jerk. after kissing H's hand, stand behind her and rub her shoulders.