Notes 2:6-2:10 and note for everyone

Team,

Please arrive as early as possible to be ready to go tonight w props belts swords, hats, etc--we will have a quick meeting,

Love these scenes overall.

Big note to everyone - next week is tech, so this is our last week to really hone small character details.  Please go big and bold tonight from scenes to transitions - if you are unsure, let's talk.

On transitions, please move with character purpose between scenes:

Example:
Moving in Cardinal and King set pieces has to be formal, proper looking.
Moving in bar set pieces - less formal.

In some cases, I told you how to transition in character--example, I want Chris W to transition into Scene 7/8 in Guard clothes.  I want JT and Taylor to move the table US in Sc. 7 w cloaks/capes and tonight I will give more notes as I see transitions happening.   If you are unsure, make a choice of character when all else fails.  I need to see something from you.

Also, please review notes from Saturday and today--these will also post on the wall in the hallway outside garza

2:6 –

Paul – can you give a french accent?

Darty – after Constance leaves – x more DSR away from Ragan up on platform to create distance

Milady – first line, “good evenin”g from far SL, couple steps, next line “you look like your waiting for someone”, stand (about mid way on upper platform), then start cross down on “I would sacrifice a great deal to be that one”---make sure it hits before you x behind ium.

Darty on your line—do I know you move SL towards Milady (on the rail still, but to get a closer look)

Milady - when you cross behind cole moving off platform, position one step SL on rail from where you usually start, then line, “ oh by the way I was impressed…” then cross to him on your lines as usual…

Milady – pause ½ beat before you begin your rant about Miss Bonacieux…physical show a build up before lines—anger, betrayal, LOSING all at once…it’s a dramatic launch.

Milady as you try to escape, turn back a beat sooner—don’t pause, just stop and turn against wall almost, so we can see Cole’s lines on a profile versus his back turns…this forces him to turn towards audience or you on a profile more.

2:7 – liked these scenes a lot!  This is the starting of the arc, so I am picking on little details more.

Love la Rochelle—practice this preshow to be sure your timing and slides, jumps are fast,s nappy..urgent

Milady sit in chair as Cardinal crosses to give you documents—not as early as you are doing.  This allows for better levels on the lines when Cardinal is upset.  It’s as if you are taking a seat at the table to discuss, but Cardinal does not.

Cardinal – let’s inject that lisp and wig line more sarchasm…make fun of Spanish????

Milady – on lisp line, I think I want a laugh there—it’s the cardinal being cheeky and you find that funny that he speaks about Spain that way…I do think your humor can partially be about him as well..but make it bigger…it might help the audience catch up as well…lets discuss if needed

Athos – appear later—on Milady’s lines about giving cardinal anything..

Milady/Cardinal /Athos– do not let milady get as far before you begin your lines about her owing you anything..stop her one beat after she turns, so she can take another step and stop…I need her to not get close to Athos on stage left…we can work this out…Athos—as milady makes her step to SL on that—take one step back so we barely see you…

Athos – excellent dramatic pauses—you really drive the intensity on moved the earth for you.

Milady – Mercy with more british—it comes out Texan..let;s talk about that pronunciation.

Milady – drop document as you extend your hand to hand it to Athos to create that moment gun grab move (drop as he is about to grab).

Milady/Athos –Milady the kick of gun would cause you to flinch your body bigger….Athos, show  a little more movement that indicates something happened to you possibly—just a tad more.  Still hold each other, but adjust bodies on the gun shot.

Porthos/Aramis – ENT quicker just as he begins to fall to chair.

2:9 – pace was better….good.  let’s push it more tonight

Abbess – Bigger  reaction to drink interruptions..take your time and play it

Milady – make yourself at home even more as you walk in—wear gloves tonight…let’s see how that plays too.  Remember purpose of a cross to CS is to look around.  You can subtly make a peek SR and US.  Remember the child catcher in chitty. 

Abbess – you’re a funny woman—play it more like a gossipy linda richman type…let’s discuss..you have

Abbess – slipped through fingers..give it some change it tone—dramatic, exciting, like a detective novel—make it funny.  Same for the line—ooops I should not have said that—maybe the alcohol is going to your head.

Milady – let’s see a pause button—screeching halt on the assassination lines from Abbess—let’s see you react to that more out to audience—maybe a small turn away, then coming back with an over the top that’s quiet all right —maybe “oh shXT he really did it” or “I cannot believe this woman is telling me this”  something is there—let’s discuss.

Abbess – bigger reaction to constance being queen in waiting…and you not knowing—maybe a bigger buddy up to her

Milady – excellent on meeting Constance—love the look/tone/reaction!

Milady – as you Constance crosses SR of you to take a seat, loved the stare down and watching her as she passes…stay put…hold ground and do not move—your move DSL takes away from the purpose there…keep planted and work USR and around table from there

Constance – take your hand off after a couple beats when you begin discussing queen, “I was loyal to queen”…go a little bit concerning or down tone on that.

Milady – let’s talk audience viewing/blocking angle on constance’s line  I know wed be friends when we met.  I will show you a drawing of how I need you to take a more US approach back to er to not close off SR audience.

Milady/Sabine

I've worked out a loop for the death stab in 2:9 but you will need to practice the timing w David so that the stab occurs on the final note of the song. Essentially, one you are in position he will release the loop to play the last 4 bars of the song and you will have to time the stab to the end of the music.