ATTWN - Director's Blog

What Have You Learned, Dorothy, Thanks, & Fin

2007-06-11T09:29:00.000-07:00

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

2007-05-11T09:37:00.000-07:00

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

2007-04-30T09:41:00.000-07:00

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!

2007-04-23T08:31:00.000-07:00

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

2007-04-19T10:20:00.000-07:00

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

2007-04-18T12:34:00.000-07:00

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

2007-04-17T09:32:00.000-07:00

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

2007-04-13T12:39:00.000-07:00

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

2007-04-04T12:38:00.000-07:00

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

2007-04-02T11:54:00.000-07:00

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

2007-04-02T10:25:00.000-07:00

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

2007-04-01T09:00:00.000-07:00

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

For the weekend...

2007-03-30T09:59:00.000-07:00

This weekend will have the following schedule, for those paying attention:

Saturday, 3/31/2007

10AM to 5PM - Set construction

Finish pillars
Finish fireplace
Upper flat on sliding doors
Baseboard, wainscoating, chair rails, picture rails, and crown moulding
Window frames
Real book case
Fake book cases
Hang lighting instruments
Relocate power "squids" from house electric #2 to new house electric #3

7PM to 10PM - Run through rehearsal

NO LINES CALLED.
Props, some costumes used
Some more "action" photos taken

Sunday, 4/1/2007

10AM to 3PM - Set construction

Finish masking/taping
Finish incomplete items (probably window stuff)
Prep for painting

7PM to 10PM - Run through rehearsal

- Sean

Notes - Wed 3/28/2007

2007-03-29T08:35:00.000-07:00

We pulled off two run throughs of Act Two last night, both with their pros and cons, tilting nicely towards the pros in most cases.

This is a combination of notes from first and second run throughs.

Howard - Good delivery of "...are definitely... cleared!"

All - Pick up cue lines. Review Act 2 - Scene 1, as most lines were heavily paraphrased. Fair number of lines dropped. The lines that were there and not paraphrased were delivered VERY well; a lot of good work being done. Better second time through, but still spotty.

All - The pace picked up nicely once Wargrave entered to calm down Armstrong. Pace was more uniform in second time through.

All - 2-1 ran 15 minutes, but that was with line loss and truncation. It will probably swell to 20 minutes in the next few weeks and then shrink back down to 15 once timing is established. Same time, roughly for second run through. Still check lines before Saturday.

Mark - Good aside "Stop it! Stop it!" when Lombard and Blore are arguing. Good character work, but don't let it get any bigger than it was the first time. Second was a hair too big.

Mark - Good work at the bar before, "No, drink." Keep it going, but cheat it out a bit so that we can see it. Perfect the second time through.

Mark - Wow! Good choices during the admission speech. Nice work! Consistently good second time through.

Howard - Take "Gentlemen please!" a bit lower. Perfect second time through.

Howard - Good on "If we remain..." first time through, but lines went to hell second time through. Review.

John - Let Armstrong's laugh after dead wrong weird you out a bit. Don't go along with it. Give it a distinct pause so we can enjoy it's inappropriateness. Second time through was better, but pull the "...get it, 'DEAD WRONG'?" back a bit so that if Armstrong jumps the gun and laughs too soon, it won't get lost. Good second time waiting and reacting to Armstrong's "Sorry."

Mark - Wait for second half of Lombard's line "...get it, 'DEAD WRONG'?" before your uncomfortable laugh. The "Sorry." was perfect.

Sean & Mike - Need candle holders ASAP.

Howard - Don't jump on Lombard's "...definitely Class 4-F" line. Give it some breathing room. Worked fine second time through.

Mark - A slightly longer pause is needed after Blore is spun around for searching by Lombard. Give us a second longer of "deer in the headlights" look. It was great second time through.

Linda - "Where's Dr. Armstrong..." lines (in 2-2) need review. Don't skip.

Mark - PERFECT on your pronouncement of Wargrave's death. Nice difference from others. Good second time as well.

John - Don't anticipate Vera's throwing the candle at you. Didn't notice second time through due to distraction.

John - Good opening on 2-3, "Three little soldier boys..." first time through. Second was a little too sloppy, energy-wise. The first time had energy but exuded weariness. You've just eaten, so your body HAS energy, but you're still slightly in "carb' coma" land, with your body focusing on processing the food in your gut. Favor the way you did it first time through.

John - Check lines on page 71, around "Well, after you went nuts..." Some are getting lost. Similarly spotty second time through.

Jack - GREAT visual reasoning going on after "...waiting to take a crack..." that carries you through to "Come on! I wanna go after..." Good both times.

Linda - After Lombard's line to Blore, "But you think we're all in the same boat..." slip in a new line "If there was one...". Fairly good second time through, but practice it. What's funny is Vera is the one with the peculiar sense of humor more than Lombard, but he takes all the crap for it. She's TWICE as funny as him. Maybe that's why they get along so well.

John & Jack - Fix the "You know you didn't do it, and you don't think Vera..." lines. Muddy. Okay second time through, but start to be consistent on how you deliver them so there aren't as many surprises.

Linda & John - Too soon on "What?" after Lombard goes out to investigate. We worked it a bit second time through, but it could use some line shooting between the two of you.

John - Work on fixing your drink while waiting for Vera to monologue about Petey and Hugh. Better second time through.

Linda - Pick up lines a bit on your Petey and Hugh monologue. I know they're tough, but we can move through them a bit faster.

John - A little TOO much the first time through on the "natives" admission section. Okay second time through, but try to get back to the stiffer delivery that you had on Monday night. Less self-indulgent. The "I know. I always get such a kick..." was PERFECT, however.

John, Howard, Linda - We'll be changing Wargrave's final entrance...

After Vera shoots Lombard and screams, she still goes to the bar and pours a drink, setting gun on bar/buffet.
The music and "Ladies and gentlemen" record starts playing offstage again.
Vera freaks out, sets her drink down, grabs the gun and carefully crosses below coffee table and up towards USR exit where Lombard is lying.
Wargrave begins his laughter, lightly first, then louder as he enters UC from the main hall, he starts his lines now.
Vera turns CCW (down stage) and points gun UC to Wargrave. She delivers, "...psychopathic monster..." lines and then clicks empty gun. She pauses to look at it, realizing it's of no use to her now.
Wargrave laughs again.
Vera turns CCW (up stage) to the USR exit and starts to run (as usual).
Wargrave stops her.
Vera drops gun in doorway.
Wargrave binds her hands and gags her.
Monologue continues as originally blocked

Linda - Be careful with the gun when you drop it. Second time was under yours and Wargrave's feet. Second time almost clocked Lombard.

Howard - Move your hands less in final monologue. I want them to focus on your words and the rage/dementia that burns in your core. Good pacing both times. Don't move around so much. Second time was better, but still too much stepping about. Focus your moves and your energy. Don't use the word "drugs" when describing how you offed Emily Brent. "doped" is correct.

Howard - Don't lose "...the female of the species..." It's great. Good second time through, but you gave up a few other lines in the process.

Howard - Cheat DL, back towards Lombard after the lines about killing Blore, "...what an utterly buffoonish..." We might need to get Vera at an angle.

Linda - After Wargrave pushes you out of the chair, we'll need one of your squirms to get you positioned at more of an angle, with your head DCL and feet C. This will help angle Wargrave DL with his back to Lombard.

John & Linda - We'll be changing the ending a bit...

Lombard still stands, load a shell in the chamber and caps Wargrave. Wargrave still dies as gracefully as he has for the past three evenings.
Instead of coming down and sitting on the floor next to Vera, Lombard decides to sit on the table and look at her for a second.
Vera doesn't like this and lets him know it.
Eventually he helps untie her and everything continues as blocked.
THERE WILL BE SOME NEW LINES AT THE END.

John - Don't make such a big smoochy face at the end. Better second time through.

Still, great work. I can't wait for Saturday.

- Sean

Notes - Tue 3/27/2007

2007-03-28T12:53:00.000-07:00

These notes are from Tuesday night, for Act One only...

Linda - Put the portfolio down on the backing table when you come in. Don't take the letter out of it until later.

All - The pace (cue line pick-up AND tempo) was slow.

Linda - A bit louder, and pick up the cue on MacKenzie's entrance sooner.

Jack & Mark - Don't forget the "Only soda water, Doctor..." lines.

Aaron - When Ethel starts cleaning your suit by picking lint off, reciprocate and tidy up something for her, like her hat, or something. See where that goes.

Linda - Your business at the bar/buffet is good when Emily is talking to you. Continue to tidy up other parts of the room (sofa cushions, backing table, mantle, etc.) while you banter with Emily, much as a secretary would do.

All - I need much more murmuring and chatter after the record player and up through when Mrs. Rogers comes too after fainting.

Jerry - First "Preposterous!" line was good.

Leland - "Burster Buckley" was hilarious. Don't do it again.

Jack - Your take on the "Actually he choked..." line was perfect. Keep that.

Leland - Don't flop when they roll you over. Dead bodies move like sandbags, not mannequins. Make Lombard and Blore roll you over, and don't assist at all... aka, it was too big.

All - Act 1 - Scene 1 was 45 minutes. Our target is 30-35 minutes.

Jack - Sit in center chair before Armstrong comes in to tell us Mrs. Rogers is dead. Vera has a bit where she sits next to him to comfort and listen to him, and that makes him uncomfortable which then drives his need to rise and pace during the next several lines. Somehow, you're now on the couch rather than in the chair.

Mark - Don't draw out the "Well, it's a possible theory..." lines. The hesitation in delivery is what causes Emily to stomp on your lines routinely. Pick up the pace.

Helene - Give Armstrong some breathing room in the "Well, it's a possible theory..." section. Don't be so quick to deliver the "Call it, if you prefer, an Act of God!" line.

Howard & John - Careful when you grab the can of nuts. A REAL can would have a very sharp edge at the top, so people would treat them more carefully.

John - Good realization on "My god, a warning!" Thanks for taking that note so well.

Jack, John, & Mark - Check your lines on page 44, near Blore's "Oh well, you've probably never been..." These keep getting messed up and stomped on.

Thanks everyone. Act Two tonight. No need for Tami, Leland, or Jerry.

- Sean

Notes - Mon 3/26/2007

2007-03-26T23:08:00.000-07:00

Here are notes for Monday evening.

First of all, great job, everyone. It was much better than Sunday night. Thanks to Deidre Parmenter for calling lines in Jenn's absence. It was a tremendous help.

Tami - "Is that Jimmy's boat?" point a bit more down and UL. The house is up on a cliff and the water is further down than that.

Sean - Don't forget motorboat sound.

John - Don't forget your luggage when you come in.

Linda - Your "This is exciting line!" was good.

Leland - Good adjustment when Vera moves your hand to Lombard. Thanks for taking the note. It works much better now.

Jerry - Check the specific words on "I practically live at the Brentwood Lodge...", as they weren't quite right.

Jack - "I'm here twice a year..." check the lines. "Twice a month" is too frequent to fly in 1941.

Mark - Check the lines for how fast "Some young idiot..." went past you. Is it 80 mph?

Mark - Go out onto the balcony and look at the ocean for a bit, then turn UR to see Lombard out in front of the house, then leave. Don't do it from inside the house.

Tami - "...leave these dirty glasses for me..." check to make sure that's right. I think you said "...dishes..." There are no dishes there.

Sean - Need ocean waves sound effects.

Linda - Find more to do with yourself when speaking with or listening to Emily talk about "...youth..." Check the bar, straighten, etc. Don't just stand there and take her abuse.

Mark - When Mrs. Rogers starts to faint again ("...like a judgement...") tend to her more seriously. Stay near her.

Jerry - Be a bit more manic/scared on your first (and only first) "Preposterous!"

Howard - Before Emily starts talking to Davis/Blore, make sure you're facing Armstrong, DR, so that the "What was that, Ms. Brent?" is more like you heard something interesting rather than you're annoyed at her for interrupting.

Howard - After you've shown your "...decoy letter..." to the group, take the stack of letters you've accumulated and put them on the backing table behind the sofa, right before "And NOW you, Mr. Lombard..."

John - When Wargrave responds to Rogers line "I was instructed to." by saying "By whom?", let this be the first time you get confused between "Who" and "Whom"... not a BIG moment, just a small bit that lingers with you until your "By who... whom?" later. I think Lombard prides himself in his grammar, and this little bit is a nice way to confuse him and question his prowess.

Howard - When Armstrong asks, "But did you know Seton, I mean, personally?" don't say "Yes" because you didn't know him, in fact, you say so about two lines later... "I knew nothing of Seton prior..." There is neither a "Yes" nor "No" response to Armstrong's question in your line, but if you do want to respond, "No" is the correct ad-lib.

John - After Rogers snaps at Blore... "...and why not, I'd like to know?" and Blore bangs his arm against the door, let's alter your line to "What about you, BILL?" rather than "What about you, Detective?" I think that will work a bit better.

Mark - Good experimentation with the stammer. Continue to let it roll around in your mouth a bit, but it's headed in the right direction.

John - GOOD response to Armstrong's stammer on "I... protest." Very good. Don't make it any bigger than it was last night.

Aaron - Go ahead with the clearing of Marston's glass, as we talked about last night, but make sure you turn upstage for just a second to give it a possibility to poison it.

Leland - Give Rogers a half a second before realizing he's cleared the glass, and then call to get it back. Not TOO big, though.

Jack - Take the "Actually he choked, vomited on..." line just a bit quicker. The sarcasm is fine, but it's taking just a bit too long, timing-wise. I want to maximize the punch on that one, and dragging it out will kill it.

Jack - On your line, "What's the use, man?" to Armstrong, don't ad lib "...man...". Use "Doc" if you need to.

Jack, John, Howard - When Blore says to Armstrong "Didn't give her too many, did you?", Lombard and Wargrave should both immediately say their respective "Come on, Blore!" and "Detective, you are WAY out of line..." lines, right on top of Blore's "All right! All right, I'm just saying...". Lombard should still hold onto his "Hey, are those nuts?" line until AFTER the hubbub dies down.

John - Good rummaging for the opener off stage. Make sure the opener is set off SR and not on the bar/buffet.

John - On your "My God! Warning!" make that a little quieter, more of a forehead slapper (not literally), sort of a "How could I have missed that?" take on it.

John & Jack - I think Lombard has a "What do you think, Blore?" line, followed by a "Nah!" response from Blore that got lost last night.

Linda - When the General says, "For the end, of course!" turn to him, slightly unnerved.

Jerry - GREAT transition on "I thought she was taking a motherly interest..." to "...damned fool..." VERY nice! Continue finding those high and low extremes and enjoy the emotional transitions between them as the audience watches them wash over you. That's what great theatre is all about.

Linda & Helene - Pick up the pace a bit (cues, not speed) around the time Vera says "Oh, don't you start, too!" through most of the Betty Taylor admission speech by Emily.

Sean - Add Jerry's wife to the crew list for costumes.

John - When entering from the balcony after looking for Armstrong & Blore, give us a little murmur of "Oh, there you are...": not big, just an acknowledgement that you've been out trying to find them after your "shower".

Aaron - Go a bit further out on the balcony when telling the General that breakfast is ready. Just a bit.

All - Change ALL references to Union Pacific to Southern Pacific. Mike McCauley informed me that Union Pacific didn't really exist in California until the mid-1970's. This will affect lines from Wargrave, Vera, and possibly Lombard.

Aaron - Let's try putting Emily's coffee cup on the backing table before you lean over and talk to Vera. Then get it when you leave. Holding for that whole time looks like you DO have coffee.

Howard - "Of the ten people on this island, three are definitely... cleared..." pause before the "cleared" part a bit while you search for a "polite" way to say it, glancing around. It will help pace the rest of your speech which is a little too fast right now. You're at the height of your control, so you're not the least bit hurried to speak.

Howard & Mark - After Wargrave starts to take coffee up, Armstrong should meet him at the bottom of the steps, briefly, then Armstrong can continue in for "Yes, I'd like to know that as well..." and Wargrave can go whack Rogers.

John - Dont' forget to slap the bar/buffet before "Five little soldier..." at the top of the scene.

All - Remember that you have candles in holders with you for the scene in the dark (2-2). I'll try to get these to you ASAP, but try to remember tonight.

Mark - Find a way to wind up right at the bar, tempted to take a drink right as Lombard asks, "Was it nerves that killed her, Doctor?" so that your, "No, drink." has that much more weight to it. You're face to face with your demons. Let them either taunt or repel you for the next set of lines.

John & Mark - When Lombard says, "I may be dead wrong... hah, get it, dead wrong?" let's let a little more of Armstrong's quirkiness slip, and have him let out a nervous, scary little "Hah!", stopping Lombard in his tracks to pause (ever so slightly) before continuing on with Blore. Armstrong can then even give a little, "Sorry." if appropriate. I want to see Lombard question Armstrong's sanity a bit, and break up the pace. Armstrong can then react however he sees fit.

Mark & Jack - Armstrong should take a moment to stare Blore in the face when Wargrave tells you to help Lombard frisk him and Blore suddenly turns around. Make it more of a terrifying thing for him. Don't wave it off like you have been; make it a deliberate flight scenario where you are refusing to confront the person you suspect. Blore should work that superiority just a bit, but not too much.

Mark - Let's make the proclamation that Wargrave is "...dead! Shot through the head." completely the opposite of the other dead pronouncements. Armstrong KNOWS that Wargrave isn't dead, so this time, he has no problem saying it, so it CAN be more theatrical.

John - Let's try to take the "Three little soldier boys..." a bit more weary and methodical, less excited. You're REALLY tired of this nursery rhyme. Let us see that. The audience should get a nice chuckle at this one. Timing-wise, you'll probably want to pause right before "...waiting for the blow..." part to give the audience a second to react, and then pausing a bit between each line. Don't rush it. The audience LOVES to think along with characters, completing their thoughts for them.

Jack - After, "What, and walk into an ambush?" let the thought of smoking out Armstrong start to wash through your brain. You definitely DON'T want to walk into an ambush, and the best way to do that (after you figure it out) is to "...go look for the bastard..." That will make more sense as to why you go from chicken to blood hound in a matter of seconds. That will work you up enough gradually so that we believe the energy you have when Lombard says, "Whoa! Down, boy!" And once you have that energy, don't let it dissipate QUITE so quickly.

Linda, John, & Jack - After Lombard says to Blore, "...but you think we're all in the same boat?", Linda, throw in a little, "If there was one!" before the next line from either Blore or Lombard.

Linda - Look around the room a bit more nervously, imagining eyes peeking out through holes at you during "...in this room, watching..." You need to be a little more scared/crazy here to give Lombard a reason to say the "Stop it, Vera!" thing.

John & Linda - Brush up on the lines after Blore's death. They need help.

Linda - REALLY scavenge the bar, the backing table, and then the fireplace/mantle for something to use as a weapon against Lombard, once you believe he's the killer.

John - Give Vera a few more seconds alone in the room to realize it's just you and her left. Your "Armstrong's body..." line is off stage, not on. You don't enter until "So now we know where we are..."

Howard - Your final monologue is coming along nicely, but I need it down pat as soon as possible. There's more that I want to work on with you for it, and we can't do that if you're tentative on lines, and definitely not if you're holding a piece of paper.

Howard - "...while he was picking up sticks, for God's sake!" Don't ad lib on that one. Keep it simple. You're the one who planned the sticks part, so you're proud of it, not annoyed or disgusted. Save the disgusted part for the Blore lines, which are funnier/creepier.

Howard - Refrain from glancing DR during the final monologue. You look so much DR that it would be impossible for you NOT to see Lombard out of your peripheral vision. Cheat DL if you have to so that we believe that you never hear or see him, and only face straight out at the VERY end for "...my hanging! My hanging!" before getting capped.

Howard - The death was pretty good. Continue to treat it like a real loss of blood pressure and motor control. Good!

Thanks everyone for the good work!

- Sean

Notes - Sun 3/25/2007

2007-03-26T13:38:00.000-07:00

This run-through wasn't a particularly great one. The move to 5:30 PM from 7:00 PM confused at least four people, and missing Jack was a big, BIG hiccough. See the previous Blog entry for the remaining schedule. Please see me tonight with ALL remaining conflicts, even if you've told them to Jenn or I previously.

Given that, here's the notes:

Jeff - We can bring up the speed on reading off the list of items. You've got a good handle on the "bottom" end of things, so now let's find something that's a bit faster but that still shows Narracott's easy-going pace.

Tami - VERY GOOD focus on the other characters. Thanks for taking the previous note and running with it.

Leland - Entrance is much better, thank you. Don't stumble quite as much when Vera redirects your hand kiss to Lombard: less feet and body, more attention and focus.

Helene - Very good entrance!

Jerry - Let's make sure we get your cane prop here for you to use.

Howard - When you hand your "luggage" keys to Rogers, physically pick out the luggage key specifically to give to Rogers, handing it to him by the key, rather than just the whole ring.

Mark - Wait a bit longer to enter with Narracott. That will give them a second to clear the stairs. Go ahead into the room and Blore will follow in after a beat.

Mark - Make sure we get you a medical bag as an additional luggage prop.

Jack - Wait for Rogers, Wargrave, and MacKenzie to clear the stairs before coming down and seeing Armstrong.

Aaron- Take Armstrong's bags up with you if you can when you escort Wargrave and MacKenzie up.

Tami - Good entrance on "Oh, there you are!" Thanks for taking the note well! Good focus on him, and darkening up the dialog in points. Also continue to work off of Rogers.

Aaron - Now that Mrs. Rogers is focusing her lines more on you, you'll need to focus your lines on her just a bit more: less theatrical and more realistic. Example: "Don't know that I do either..." has been focused on the audience fairly consistently since we've been off book. Let's direct it back at Ethel.

Helene - Excellent character work last night, again, particularly in the second Vera & Emily scene. Emily is shaping up to be a very interesting person to watch on stage: a delightful blend of sinister and small vulnerabilities.

Howard - Don't kiss Emily Brent's hand when introduced. I think a nod alone will suffice.

Helene - Don't let Wargrave kiss Emily's hand when introduced. I think Emily tolerates this man because he has earned his authority. Whatever they're talking about on the balcony is VERY serious stuff, not pleasantries.

Tami - Lurk in the small UR connector hallway before you faint. Faint IN that hallway where we can see you.

Tami - Start to faint again when you say "...a judgement..."

Howard - After you take the FIRST letter from Rogers, go DCL and face downstage. Do not cheat upstage to look at Rogers at all. Take all responses to Rogers facing down stage, not at him. Read and examine the letter. Don't even turn to look at him when he taps you on your left shoulder with the second letter. Hand the first letter to Blore who will be to your right, and take and read the second letter.

Aaron - Per the above note to Howard, make sure you pick up the pace on the lines after you hand Wargrave the letter. Don't expect to be speaking to him directly. Then, with the second letter, get his attention by standing UR of him slightly and tapping letter number two on his left shoulder.

Leland - "Some fancy name: OOL-rick...", not "UHL-ritch."

Helene - Fade off a bit more when you're climbing the stairs talking about the letter...

Howard - "...referred to you by Mrs. DAM-erst...", not "duh-MERST".

Leland - Very good interaction with Wargrave. Much better and more direct. Less chummy.

Leland - Good build on your inebriation: you're getting there more slowly, which is paced much better.

Howard - "...came to me in the MAIL..." I think this was an ad-lib, but it didn't work. Can't remember the exact context of the line.

Howard - "...or, by a SLIGHT stretch of fancy, UNKNOWN." Be careful with the lines. You've been saying "...or by ANY stretch of the fancy..." The latter doesn't make sense.

Mark - TERRIFIC on your post-mortem examinations! GREAT on having problems with pronouncing the victims as "dead," especially the one for Mrs. Rogers.

Mark - The stutter/stammer is totally appropriate for Armstrong, but err on the side of stammer rather than stutter. Example: on "I p-p-p-p-protest..." don't give us three staccato "P's" before the difficult word, but rather give us three silent, guttural hums, accompanied by mouthing, followed by a very quiet, controlled, almost apologetic "p" at the beginning of "protest". Feel free to try that on the other "mental" spots that Armstrong finds himself in.

All - Make sure you freeze in total discomfort, wide-eyed when Rogers enters the room after he's found out his wife has died. It should be as uncomfortable as possible.

Jerry - Excellent focus on Vera during the "confession" scene. The "She died of pneumonia..." line was a perfect, very touching delivery.

John - Exit via the front door, not the stairs after getting doused with water when you're going to find Armstrong and Blore. You know they're outside, not upstairs.

Helene - Good acerbic delivery on "Looking out for the boat, General?" and subsequent lines. Don't let yourself get into a position where you MIGHT be able to see the knife in MacKenzie's back. Don't go so far out on the balcony.

Helene - "It is you who should be caring for YOUR soul, Miss Claythorne." If the script says "HER" soul, it sounds wrong, like Vera should be caring for Betty Taylor's soul. Too confusing. Make it "...your soul..."

Helene - Wait for Vera to finish her lines to Rogers (about where everyone is) before continuing on with your bible verses.

Howard - "Exactly!" at end of scene is still a bit too theatrical. More serious, less showy.

Howard - "We must hold an INFORMAL hearing..." Thanks for following the notes and making it singular, but don't use the word "INDEPENDENT".

John - The final admission speech about the natives was PERFECT! Thanks for taking the direction.

Linda - Thanks for taking all the notes from the previous night. I'd like you to focus on being a bit more feisty most of the time, a notch or two up from the ingenue. You've done it more in previous rehearsals, but we've drifted back into "helpless ingenue" territory a bit, and it's not as interesting as some of the other direction you've had. Take a check every once in a while: if you think you're whining, you probably are. That's when lines like "And how far would that be, sport?" should help to keep you in line.

Thanks again everyone for your work!

- Sean

Remaining Schedule

2007-03-26T13:31:00.000-07:00

Below is the anticipated remaining schedule for the rest of the ATTWN rehearsal process. The Google calendar is correct, date and time-wise, but I don't yet have details on what we'll be doing entered into the description section:

Mon - 3/26 - Full Show Run Through 7:30 PM - 10:00 PM (EXPANSION, No Jenn)
Tue - 3/27 - COSTUME PARADE; Full Show Run Through 7:30 PM - 10:00 PM (EXPANSION, Jenn late)
Wed - 3/28 - PROPS INTEGRATION; Full Show Run Through 7:30 PM - 10:00 PM (EXPANSION, No Jenn, No Leland)
Thu - 3/29 - OFF
Fri - 3/30 - OFF
Sat - 3/31 - Full Show Run Through 7:00 PM - 10:00 PM (MAINSTAGE)
Sun - 4/1 - Full Show Run Through 7:00 PM - 10:00 PM (MAINSTAGE)
Mon - 4/2 - Full Show Run Through 7:30 PM - 10:00 PM (EXPANSION, No Jenn, No Helene)
Tue - 4/3 - Full Show Run Through 7:30 PM - 10:00 PM (EXPANSION, Jenn late)
Wed - 4/4 - Full Show Run Through 7:30 PM - 10:00 PM (EXPANSION, No Jenn)
Thu - 4/5 - OFF
Fri - 4/6 - OFF
Sat - 4/7 - OFF (Angel Street TECH)
Sun - 4/8 - OFF (Angel Street TECH)
Mon - 4/9 - Full Show Run Through 7:30 PM - 10:00 PM (EXPANSION, No Jenn)
Tue - 4/10 - Full Show Run Through 7:30 PM - 10:00 PM (EXPANSION, Jenn late)
Wed - 4/11 - OFF
Thu - 4/12 - ANGEL STREET PREVIEW PERFORMANCE 7:30 PM - 10:00 PM (Please come and support your repertory castmates!)
Fri - 4/13 - OFF
Sat - 4/14 - SET TOUCH UP & CHANGEOVER WORK 9:00 AM - 3:30 PM(MAINSTAGE)
Sun - 4/15 - TECH REHEARSAL 5:30 PM - 11:00 PM (MAINSTAGE)
Mon - 4/16 - DRESS REHEARSAL 7:00 PM - 11:00 PM (MAINSTAGE)
Tue - 4/17 - FINAL DRESS REHEARSAL 7:00 PM - 11:00 PM (MAINSTAGE)
Wed - 4/18 - PREVIEW PERFORMANCE, INVITATION ONLY 7:00 PM - 11:00 PM (MAINSTAGE)
Thu - 4/19 - Line Rehearsal 7:30 PM - 10:00 PM (OFF-SITE, TBD)
Fri - 4/20 - OFF
Sat - 4/21 - OPENING MATINEE 12:30 PM - 5:30 PM (MAINSTAGE)

- Sean

Notes - Wed 3/21/2006

2007-03-22T10:48:00.000-07:00

Good run-through, everyone. Thanks to Celeste, Aaron, and Jeremy for staying on book (and interpreting my "stacked lines" approach). Here are the notes from last night.

Tami - Make sure your focus is on Rogers and other characters when you speak. You naturally acknowledge the audience in your delivery, and I want to curb that just a bit for more realism in speaking.

Linda - Let's have a binder or portfolio with you with your letter of referral, train ticket stub, etc. to bring in and set on the backing table on your first entrance.

Linda - On "This is exciting!" make us believe it. It's an opportunity to build the audience's excitement of the show along with yours. Show it in your eyes and your energy at being in a new place.

Leland - When you first enter, come straight in and DC, then go SR, up behind the sofa and meet up with Vera C again to kiss her hand. The immediate detour SR when you enter doesn't look right.

John - Take most of your asides a bit lower. You've got a strong voice, so let's use it when we need it.

Leland - "Never touches alcohol?", lower, more of an aside.

Mark - Good reaction to Blore on "Are you a lawyer?". Good, character-driven motivation.

Jack - Good reaction to Armstrong on "Yes, I know." to his "I'm a neurologist."

Tami - Don't talk over Roger's "I won't contradict you there..." line when you enter saying "Oh, there you are!". Give it some breathing room, as the audience will laugh, and I want them to carry that love over to you in the next scene.

Tami - Let "I don't like him. Don't like any of them..." be a bit darker and more acidic. Let it creep out of your mouth. Have fun with it. Indulge your demons a bit.

Linda & Helene - Pick up pace in the Vera & Emily first scene. It's okay to start it off pleasant and breezy, but let it build to more of a confrontation more quickly. It's too casual right now.

Jack - When Marston is talking about his "208 mile" trip, realize that it's probably he who Armstrong was talking about earlier. Toss a glance at Armstrong to acknowledge what's coming up.

Leland - Don't get sloppy drunk so quickly. You're not a quick drunk. Let the confrontation between Marston and Armstrong be a bit meaner and not as sloppy drunk.

Leland - When you do confess to Wargrave about Buster Berkeley, don't touch him or even motion like you're going to do so. Remember the subtle respect that we talked about Marston having for Wargrave, and try working on this side of that line rather than the sloppy side. I don't think the "chummy" relationship will work with you and Wargrave. Straighten up when addressing him a bit, just like you had to do in the hearing where your license was suspended.

Aaron - Let "It's the God's truth!" be the height of your fear.

Jack - Allow Blore to be affected a bit more by the voice on the record. You're a little too confident right now. You can loosen up a bit once you get onto familiar turf, probably when you start investigating the letter from Rogers... "Underwood..." That gives you the ability to shake the earlier fright.

All - Nervousness makes people react, especially when talking, FASTER!

John - "I like the nudity touch." should be lower, more of an aside.

All - Everyone should murmur on Wargrave's line "...has made certain accusations..." No specific lines, but there MUST be a murmur there.

Jerry - Don't bang your cane on the ground to get Blore's attention. Leave that to Lombard.

John - Tap on the window panes behind the buffet to get Blore's attention when Wargrave says "Mr. Davis?"

Leland - No feet on the couch. Too casual for the time.

John - Lower on aside to Vera, "He's lying. I'll swear it!"

Jack - When you lean on the SL sliding door, you lose your balance and fall SL, with your left arm banging into the door frame. Not the right arm. Sorry if I mis-explained this (which I believe I did.)

Jack - When you're talking about the guy you put away, you get back into scared mode. I need a higher level of energy when you're talking about it to Lombard to cover Wargrave's poisoning of Marston's drink.

All - I need a bit more murmur and some general discomfort in the room after Marston dies.

Mark - For all deaths, take a bit more time to examine before pronouncing death. Find a consistent way of doing that, be it neck pulse, arm pulse, checking the eyes, etc. Also, make it hard for Armstrong to say "Dead". The audience will know what you're saying. It would be interesting if you never fully said it. Let's try that for a few rehearsals and see where it goes.

Jerry - Good pacing of your lines in Act 1 - Scene 2.

John & Howard - A bit quieter on the "Armstrong says Mrs. Rogers is dead..." aside.

John & Howard - Your "Come on Blore!" and "Detective, you are way out of line." should come earlier and on top of each other so that it makes it more believable when Blore says "All right! All right!..." John, keep your, "Hey are those nuts?" line where it was, after the Blore thing.

Howard - When you speak to Emily, don't add "young" to "My dear lady..." She is definitely not young, and it doesn't seem in character for Wargrave to engage in flattery.

John - Quieter when offering nuts to everyone. They don't all have to be spoken lines, necessarily. Use the nuts, offering, munching LOUDLY, everything, to allow you to slowly get annoyed with Blore, culminating in "Do you always talk like..." Don't use your hands at the end of that line "...pulp novel?" Cross your arms. The disdain you arrived at was good, but it popped up too quickly, let it build.

Aaron - Excellent entrance and delivery after Mrs. Rogers dies.

Mark - Stay on balcony looking out to the sea up until Blore taps on the window pane to ask you for "...something for the general" Don't move around too much.

John - Good pacing on the "...reason that Narracott's not here..." section; it really showed Lombard's reasoning skills well. Continue to do that. Things don't come "BANG!" to Lombard, they build up slowly and he ignores them for as long as he can, and then he allows himself to believe what he's been thinking all along. Find a way to externalize that a bit as you did in this scene last night.

Howard - "Hardly a good simile, Mr. Lombard." Don't loose the beginning of this line. It's important. It's not precious, but it's important, character-wise for Wargrave.

Helene - Don't stand and look for scrapbook too soon. Allow Wargrave to walk through the doors before you stand, otherwise it's too distracting.

Jerry - Don't be happy about Leslie dying of pneumonia. Playing it with a crazed smile is not working. It looks like you killed her, too, which you didn't. Let the words affect you more deeply.

Linda - Excellent responses to MacKenzie's lines, particularly your "Oh..." to his "I sent him to his death."

Jerry - Some of the lines with Vera are getting TOO big. Let's pull them back and just "say" them for a few rehearsals to tap back into the words and how they sound. There's a lot of blustering and such, and I want the audience to hear your story. "...have to carry the burden..." was good, as it was very sweet and simple.

Linda - The "Have a drink" scene is funky. Let's work that a bit. You're moving too much now, and you're over-compensating with your arms and body. You don't need to. Let's start out smaller, a bit meaner, and then let it build to seething anger.

John - Good responses to Vera's "Have a drink" and other lines, in that section. Works well. I believe you are trying to calm her down.

Helene - On your "Looking out for the boat, General?" make it quicker, more saccharine-laced, mock charm and concern, and then when you get back in, turn coat to the "His sin has found him out..." It will be a nice change-over, and a good character support for her disdain towards men.

Linda - Good to Emily on "You certainly didn't deny it..." It shows a LOT of really good character work you've done. Thank you.

Helene - When you get to the "Clean and willing..." let one of those descriptive words for Betty make you stammer/savor it a bit, just a small chink in the armor of what is GREAT work on the "tough" side of Emily.

Helene - Use your hands a bit less as Emily. Purposefully keep them on your lap, clasped, or something else. It will close her off from us a bit more. Too much with hands right now.

Linda - On the "What did you..." and "Certainly not..." lines, run them together a bit so that Emily is interjecting more over your lines. Broken apart, they seem like lines rather than a spoken idea.

John - When you enter after finding MacKenzie, cheat DSR a bit and hold your LEFT hand up with blood on it (like you're being sworn in) so that the audience can see it better. "One got left behind..."

Howard - During the final lines of 1-2 "...this clever and cunning...", stand still, make the lines more serious, not as theatrical. Focus your delivery on either Lombard or Blore. Turn away only once.

Howard - "We must hold an informal hearing..." singular, not plural.

Linda - Good quiet level when you say you think it was Armstrong. Good.

Linda & Howard - Howard should stay at buffet when Blore says "...Rogers wouldn't have the brains, or the money..." You and Linda have a bit of a moment looking at each other when Blore mentions "brains" as you both think he's a bit thick, and it supports Wargrave's final interaction with Vera "...can I just say for the record..." Howard can move AFTER that moment. Blore has a pause to sip his coffee that you can use for this beat.

Linda - "Yes, let us know if you stumble across..." should be lower in level, more of a mumble. It will be funny, but it's too big right now.

Howard - A bit smaller on the "...afraid of your gun..." aside to Blore after Lombard mentions it. It's gotten a bit too big, just a slight indication Blore's direction. Don't make the delivery quite so big.

Mark - Go ahead and stand on "We've got to get out of here!" Sitting doesn't work, and his manic energy is contradictory to the line. Then, after Wargrave "calms" you, let the subsequent lines serve as both an apology and a calming for you.

John - On both of your "Stop it! Stop it, Vera!" lines, make them softer, not as arresting. Calm her rather than trying to snap her out of it. It doesn't sound right the way it's currently happening.

John - Don't forget to slap the buffet and make it crash a bit BEFORE the "Five little soldier..." at the top of 2-2. There will be wind and rain sound effects that will quiet a bit. I need more than just your line to startle everyone.

John - "Abstract justice..." glance a bit at Wargrave. Do it again on "...stashed it somewhere..." You've already got Blore upset, now you want to dig at Wargrave a bit.

Howard - You will need some eye glasses that look a bit more period, something with thicker frames. If you have contacts, I'd recommend using those with either reading glasses, or lens-less ones from somewhere.

Sean - Don't forget a clock for the mantle or wall.

Mark - Stand still for the majority of the accusation of Blore. Move very little. It's distracting. You've gotten up some confidence, and I want to see it without deflating the focus as much.

Jack - Show disinterest, possibly to the point of falling asleep when you're on the DSR devan when Armstrong is accusing you again. Leaning with your head facing the ceiling, eyes closed will provide a nice picture, and supports Lombard's "Nothing. Go back to sleep, Blore..." line after it.

Jack & Mark - Chuckle with each other after Armstrong says "Hardly like a woman..." That will let Wargrave's "Doctor, you and I see women..." line snap you out of the laughter a bit.

Linda - On both the "What exactly did you find..." lines be a disbelief in what has happened. It's there for exposition, but we need a good reason for you to ask. Show us you really can't believe it and need to hear it again.

Jack - Don't chuckle at Lombard's "Rogers, four and a half..." line, when you all are trying to count the victims. Doesn't work.

Jack - "...beer in the kitchen..." not the fridge. If you want to say "icebox" or stick with "kitchen", that's fine, but not "fridge" Too modern.

John - Same note on "Stop it, Vera!" Calm her, don't try to snap her back to reality. Sounds like a bad film-noir line.

Sean - Need WAVES sounds for 2-3.

Linda - GREAT on Petey exposition lines.

John - Don't go so "soft" on your exposition lines about the men you "abandoned". Make them a bit more staccato, less like a therapy session with your shrink. Less whiny, more matter of fact. You don't like Vera anymore at this point, and the last thing you're going to do is wuss out on her.

John - Stay on your knees while Vera stands and points gun at you. Give a pause, then deliver "You clever little bitch..." then stand. Then, let the fact that she tricked you piss you off enough to forget that she could shoot you, which she does...

Linda - GREAT fear demonstrated while you're seated and when being "dominated" by Wargrave.

Howard - Point to your forehead on "Your lipstick, my dear..." THEN wipe it off and onto her lips/gag. We have to get that it was used as fake blood, so we have to give that bit to the audience.

Howard - We will need to work on your death. Grab the right side of your head, wobble, and collapse. It's not working currently.

That's it! Thanks everyone!

- Sean

Press Release - CPT "Next On The Boards"

2007-03-22T10:11:00.000-07:00

Conejo Afternoon Theatre presents
AND THEN THERE WERE NONE
by Agatha Christie

AND THEN THERE WERE NONE is easily Agatha Christie’s most popular work, having been spoofed, borrowed, and outright stolen in nearly every medium since it’s introduction in 1940 on the London stage as the politically incorrect TEN LITTLE NIGGERS, and later on Broadway as the equally offensive TEN LITTLE INDIANS. Along with literally hundreds of productions staged every year in the U.S. alone, the novelization is on the eighth grade English reading list of most American school districts.

Ten strangers are invited to a remote island by a mysterious host, bent on their sequential extermination according to the verses of a children’s nursery rhyme. As their numbers dwindle, suspicions turn toward one another, culminating in a classic Agatha Christie denoument. Presented here in repertory with Patrick Hamilton’s murder mystery ANGEL STREET (which was also introduced in London in 1940, previously titled GASLIGHT), the language and setting of AND THEN THERE WERE NONE have been Americanized, taking place off of the California central coast, near Cambria in August of 1941, just four months before America is attacked at Pearl Harbor. The island’s proximity to both Los Angeles and San Francisco provides a perfect blend of characters caught in the tension and mistrust of the pre-war era.

Performing Saturdays and Sundays, April 21 through May 12 at 2:00 PM with a 7:00 PM evening performance on Sunday, May 6, AND THEN THERE WERE NONE features a dynamic ensemble cast of both new and familiar faces. Conejo regulars Linda Schaver and John Eslick are featured in the pivotal roles of Vera Claythorn and Philip Lombard, joined by newcomer Jack Impellizzeri as Detective Blore. Joining them are the familiar Mark Fagundes as Dr. Armstrong, Aaron van Etten and Tami Keaton as Mr. and Mrs. Rogers, Jeff Schaver as Narracott, and Jerry Nehring as the haggard old war veteran, General MacKenzie. More new faces include Howard Leader as Judge Wargrave, Helene Benjamin as Ms. Emily Brent, and Leland Raymond at Tony Marston.

The production team features stage management by Jenn Corniuk, lighting by Meaghan Quilop, properties by Mike McCauley, costumes by the terrific trio of Mary Kay, Rita Wing, and Angie Russi, and production design and direction by Sean P. Harrington.

Thrilling and wickedly funny, AND THEN THERE WERE NONE lends itself well to repeat viewing. Once you know who the killer is, it’s often more fun watching them meticulously eliminate their victims one by one, completely unnoticed by the others. It promises to be a thoroughly entertaining way to spend a spring afternoon with the family.

Note: AND THEN THERE WERE NONE features live gunshots, flashing light effects, loud yelling with mildly harsh language, and some slightly suggestive content. Those with sensitive hearing or eyesight should be warned. Children under the age of thirteen should be accompanied by an adult. The show is not appropriate for very young children.

ATTWN Prop List

2007-03-21T15:22:00.000-07:00

The ATTWN Prop List (in no particular order):

Small wooden crate of groceries with the following contents (Narracott)
- Handwritten paper list of the following items
- Lemons - can be in a bag; they are referred to, not necessarily picked up
- Pickled Herring Tins - a small weighted box is fine; it would probably have 6 tins or so in it
- Crackers - same type of box or tin used in 2-2 by Blore; can be empty
- Milk bottles - empty is fine
- Eggs - small crate is fine; referred to, not necessarily picked up
- Tomatoes - can also be bagged; again, mentioned, not picked up
- Butter - can be a waxed box; referred to
Dusting rags (Rogers, Mrs. Rogers)
Leather or similar binder, expansion folder, or small portfolio (Vera)

Letter of referral - see bottom of page 23
Pen
Train ticket

Luggage (Vera)
Luggage (Lombard)
Feather duster (Mrs. Rogers)
Bar/Buffet contents
- Brass service bell
- Whiskey bottles - tea inside, CONSUMED
  - fresh paper seal/sticker each performance - CONSUMED
- Scotch bottles
- Gin bottles
- Vodka bottles
- Brandy bottles - tea inside, CONSUMED
- Soda bottle/spritzer - soda water inside; cartridges CONSUMED
- Jar of olives with pimentos - CONSUMED
- Jar container of maraschino cherries
- Jar of cocktail onions
- Tin of mixed nuts - should have lid that can be "opened" with old-style can opener; CONSUMED
- wooden toothpicks in container - partially CONSUMED each show
- 24 highball glasses - WASHED
- 6 shot glasses - WASHED
- 12 medium glass tumblers - WASHED
- 6 brandy snifters - WASHED
- ice bucket
- tongs
- small white napkins - paper-like is fine; CONSUMED
- 6 bar towels - WASHED
Guest list (Mrs. Rogers) - tri-fold, no envelope; use character names, except as indicated below:
- Fred Narracott not on list
- Use "Mr. Davis" in place of Blore
Luggage (Blore)
Luggage (Marston)
Luggage (MacKenzie)
Luggage (Emily)
Luggage (Wargrave)
Umbrella (Wargrave)
Newspapers
- Los Angeles Times - Friday, August 8, 1941 - THREE COPIES (Lombard, Armstrong, MacKenzie)
- San Francisco Chronicle (???) - same date as above - TWO COPIES (Rogers, Blore)
Luggage (Armstrong)
Medical bag (Armstrong) - never opened
Currency
- US dollar bills - make at least $20 worth of these (Blore)
- Coins for pockets (various)
Small ring of luggage keys (Wargrave)
Large scrapbook/memory book with pictures - (Emily)
Bible (Emily)
Phonograph record (Lombard) - probably a 78 rpm
Letter of referral (Rogers) - see page 22
Update letter from the Owens (Rogers) - see page 22
Letter of invitation (Emily) - see page 24
Letter of invitation (Wargrave) - see page 25
Handkerchief (Wargrave) - need probably 6; WASHED
Small stoppered bottle (Wargrave) - contains "cyanide"; WASHED
Vase with flowers and water (Vera) - WASHED
Box/Tin of cheese crackers (Blore) - CONSUMED
Zippo lighter, practical (Lombard)
Walking cane with dagger (MacKenzie) - Jerry Nehring already has this
Fake dagger for MacKenzie's back (Wargrave)
Wristwatch (Lombard) - John Eslick's own watch is fine
6 feet of rope with noose (Wargrave) - safety noose with SOFT nylon rope; should not close around neck
4 feet of rope for binding Vera's hands (Wargrave) - should be made easy to "tie" and remove
mouth gag for Vera (Wargrave) - should be easy to "tie" and remove; WASHED
hypodermic syringe (Wargrave) - brass/chrome and glass, but unbreakable
electric "candles" in holders - need five, plus two for back up; switch should be wired outside of holder to allow actor to activate; batteries might be CONSUMABLE
stage blood - CONSUMABLE

need small amount to smear on Lombard's hand when MacKenzie is killed; CONSUMABLE
- need device to smear Lombard's hand with blood, maybe a teaspoon full
need enough to splatter on Lombard when Blore is killed; CONSUMABLE
- need device to consistently splatter Lombard with about a cup of blood

black shower curtain, "oilsilk" (Wargrave)
scarlet lipstick (Wargrave) - CONSUMABLE
small bellows pump (Marston) - will wear under costume, filled with water/tea, and will press under arm with tube tied at right hand to "vomit" on Lombard; a Pilates ball inflator would be perfect
- "vomit" is CONSUMABLE
- pump is WASHED
Porcelain soldiers:
- 1 is broken each night - CONSUMABLE
- 1 is pre-broken
- 9 are used each night - these should be "ruggedized" in case they are knocked off accidentally
Can opener (Lombard)
Box of utensils (Lombard) - this can be a "crash box"; Lombard needs to search off-stage to find the opener and needs a sound to go with it
Sound effect door - this will be used whenever people enter the front door
Box of 12, short wax emergency candles (Blore, Vera) - Blore brings in whole box; Vera throws one at Armstrong; possible CONSUMABLE
Coffee tray

Coffee pot
Coffee - CONSUMABLE
Sugar cubes - CONSUMABLE
6 coffee cups - WASHED
6 coffee saucers - WASHED
6 teaspoons - WASHED

OPTION A - I'm coordinating the rental of the 38 revolver; if that doesn't come to fruition, see next option; 38 blanks CONSUMABLE
OPTION B - We'll need a starter's pistol and blanks - CONSUMABLE
Shoulder holster

Catch Up Post

2007-03-21T08:41:00.000-07:00

Sorry I've not posted in a while, nearly a month, but it's been busy. SHRL! came and went, and most of my attention was focused on that. Then we shifted into high gear getting the first part of the set up for the two mysteries.

First of all, the rehearsals are going very well. My only complaint is that I can't focus on the performances and take notes because I'm stuck on-book. Jack, Tami, and Jeff have all been great at helping me with this, but I really need Jenn more consistently. She's got evening conflicts with her job now, so I've got to figure out how to make the best of the situation.

The clock is ticking loudly now. Angel Street opens in about three and a half weeks. I need to get the "window wall" done this weekend so that I can focus on detailing the week after. Also on the schedule is to get the lighting instruments tested and rough hung for tech Easter Sunday. Lucky me, it's also Passover, so I'm going to have to coordinate that craftily.

My person doing music hasn't contacted me since our first tech meeting, so I assume they're out. Mike McCauley loaned me his big band era CD's, so I'll cull enough for house music. Then, if there's time, I'll weed through the other scores I've got for incidentals and background fill.

And speaking of Mike McCauley, I verified the proplist last night, so I'll send it to him today and try to get some items in my actors' hands in the next week.

- Sean

Tech Meeting & Costume Measurements

2007-02-19T11:03:00.000-08:00

Thanks to everyone who made it to the tech meeting on Saturday. We hashed out the costume details, discussed props, lights, sound, and other issues.

We'll be taking costume measurements on Tuesday and Wednesday, and actors should bring in ANYTHING they have from their personal wardrobes or costume inventories that we might be able to use.

Also, here's the Costume Information I emailed earlier today...

COSTUMES
Men, please bring in dress shirts, ties, suits, sport coats, hats, London Fog's or Mackinaw's, and dress shoes that you own or have access to that might be period appropriate (1941). ANYTHING you have that might work would be ideal, as the less we have to make or alter, the better.
Women, please bring in shoes, hats, shawls, capes, raincoats, purses, business suits, dresses, blouses, or skirts that would be period appropriate (again, 1941). We know that we will likely have to find dresses or suits for the ladies, but if you have ANYTHING, that would be great.
HAIR
Men, we will review some of the styles from that time and find a look appropriate for you. We'll discuss time frames for getting your hair cut, and whether or not you have a stylist who can adapt.
Women, we're going to try to avoid wigs. All three ladies have hair that will work fine for their characters, I believe, but we'll figure out what we need, styling-wise.
BASEWEAR
All actors are responsible for base undergarments for their characters, including t-shirts, dress socks or stockings, underwear (boxers, briefs, bras, etc.). Men will be responsible for dress shirts (as needed). Actors will also be responsible for ensuring that these items are cleaned and pressed as needed for each performance or dress rehearsal, up to and including providing multiples of those items as needed.
MAKE-UP
Actors will be responsible for providing their own make-up, although I don't anticipate that much will be needed. Men should probably use no more than a light powder or cream base with powder top coat to cut shine and define facial features as necessary (aka, men probably don't need makeup). Women will have period appropriate make-up. Vera will be the most made-up. Emily and Mrs. Rogers will have SOME character make-up.

- Sean

Act Two & Why I Blog

2007-02-13T08:25:00.000-08:00

So we're working on Act Two this week, clarifying the blocking that I've already included in my version of the script. No need for Tami or Leland or Jerry, as they're dead. They've ceased to be. They are ex-characters. They are pushing up daisies. They've passed on. They're six feet under. They are no more.

The second act has a GREAT deal of technical blocking that we will have to CAREFULLY practise. The second scene involves lit candles on stage, so we are coordinating with the Ventura County Fire Department's Fire Prevention Division. We'll likely need a "Fire Team" with a specific fire plan in the event that something happens with one of the candles. Preparation and preparedness is the key. We will be using firearms, firing three shots: one in 2-2, and two in 2-3. We've already started blocking in where and when the hard rubber prop will be used, and when it is exchanged with the "hot" gun. We'll have a blood splatter effect that will effect one of the cast members. And we have a tightly choreographed hanging/choking sequence that will require tremendous amount of care by the two actors involved.

Fun. Fun. Fun.

And the other question has come up: Why Do You Blog?

Well, it's a bit like a diary, in that I can transcribe ideas that are swimming in my head so that I might better act on them and ensure that they are carried out. But it's UNLIKE a diary in that it's open to all to read. That keeps me both honest and mindful of what my role as director is: to shape and guide the show towards an entertaining representation of the author's story. The blog also serves as a communication tool for those involved in the project, although I can't assume that all will read and comprehend it. This cast and crew, however, are very good about coming here when they need access to the vision of the show that I've set forth. I don't think it's presumptuous or ego maniacal, but it gives everyone access to the thoughts I've given to various components of the show. It allows me to answer questions once and not have to be impolite or stingy with my time.

So that's that. Hope it helps. Feel free to comment. I absolutely read them all.

- Sean

Wednesday Work

2007-02-09T15:05:00.000-08:00

Wednesday night's rehearsal went later than I'd have liked. I went through 1-2 and then went back to do 1-1 for those who had conflicts on Tuesday. Sorry about the late night everyone. It will be the exception, not the norm.

What's starting to happen is that the folks are starting to "breathe" their parts a bit. We've moved past line readings, and now that their brains are focused on "where" they need to be (as opposed to "why") they just let the lines loose, which is good. I encourage anyone at this phase of production to take a moment and reflect on how well the lines read when you're not thinking about them. That's a feeling you'll want to integrate back in, once this blocking is under your belt, and you start bending the words to fit the character you're developing. All too often, actors get used to/comfortable saying a line a particular way. It can't be that way. There can be phrases in your character's vernacular that come out frequently (cursing to Blore, "Killer" to Marston, the high-brow English of Wargrave, etc.), but it still has to be fresh, and you have to train your brain to allow your mouth to interpret it NATURALLY every single time.

Enough Acting 101.

I'm working on Saturday at 10:00 AM in the expansion on set stuff. As usual, those who are interested are always welcome.

- Sean