Notes from Saturday...

Gang,

I saw a lot on Saturday we/I liked.  Good moments!   Thank you for staying over.

Below are very detailed notes and a bit raw.  I can talk to each of you about, but please incorporate ALL tomorrow and Tuesday.   If you have questions/concerns, let's talk

Please know that I like what I am seeing from everyone, and this will help and go a long way to making a good show great.   I think we are in a good place and we will get at least 2 more runs before tech and 8+  hours of good cleaning work in too, so we should see a big dial turn up this week and be in perfect positions to clean and lock up during tech w 2 runs and 2-3 cleaning days of tech, etc.

Tomorrow Schedule

Fight calls - 545pm Milady/Sabine, 630pm 3M/Debris/Rochefort
715pm: Run 2:6-2:10
830-1030 - Fight Cleans Jonny TBD.  Stage cleaning 1:4/1:5, 2:1 Q/K sequence, 2:3, 2:4,2:10
Athos - can you come early on Tuesday to work Monologue? - 6pm

Notes from Saturday

ACT I

Sc 1

good fight sequence.   Be aware if you knock the table around something may fall—either of you can pick it up in character.

Cole – on first cross to stage off stairs, show more alert, more threat from father

Chris – on how did you do that father, it like a magic trick, laugh big on that line,

Chris/Cole – second disarm, work on handing word back cleanly.

Chris – On Misdirection move  stance, make it bigger to one full beat.

Chris  - on “As I predict” look at Cole in the eyes—not at audience. 

Cole – on “did you leave home at my age…” you are seeking his validation of you and your departure—show eager intent, it should be a question with doubt on the back end operative words:   apprehension, high anxiety,

Chris – laugh big when Cole says, “Unless he starts it first”, bigger exasperation w children objective on that line.  Tone change on here you are going to need this..

Cole – Great audience sword thrust after father gives you is sword!  Keep that DS so the sword crosses the 4^th wall.

Cole, after father says, “now a few parting gifts”, show bigger reaction to the $ father gives you.   It’s big money for your father.  This helps set up the horse jokes.

Chris/Cole – great they say, they say moments…

Chris  - Project more

-Chris on your lines:

“Promise me you will never sell her”  - at Darty/mother

 “I want to hear that…. “ out ds

Beat

SHE…died standing on her feet eating oats” look back to Darty/mother

Chris –buttercup lines on exit -  keep your eye on Darty and mother as you say the buttercup lines…, but end of line, look over and acknowledge buttercup.  Kiss good bye? 

Chris/Cole Great – ancient name dartagnan moment as you grabbed ear

Sherry – great job staying under control and not upstaging, but playing the concerned mom.

Chris/Sherry – keep the head turns together – best so far, just one slip

Morgan 0 cross or gesture to buttercup on your line, “might as well get buttercup to protect me..”

David – Neigh after Morgan’s line

Cole – remember you do not have to stand in one place after “there” let’s figure out a small cross on Brioche

Morgan/Cole – I have a slight blocking change to uncork the delay in getting off stage..let’s discuss Monday.  But, it involves, Cole crossing to Table on “Brioche” ( go bigger.more sarcasm on this too) and Morgan continues with her lines about Planchet, as he crosses and starts to fill his bag.  Morgan’s lines “would you cheer up” and the sword spin now happen stage left of Darty who is at the table w a loaded bag on his shoulder, Morgan then crosses SR on now grab my bag…..  This will allow Cole to grab bag and take buttercup…it would also  uncork Cole from SL . 

Morgan – love the Hya stance after the spin.

Sc. 2 – overall loved it!

Cardinal – you might have to go bigger on lines…I have you up and back, so let’s go bigger, bolder, show more disgust on I really hate them.

Athos – make sure cap is lower to Aramis can grab

Aramis – deliver your line as you grab the cap—SL of Athos, then Porthos can grab and then you cross SR.

Bring Columns more DS..we will spike.

Athos – excellent projection and love the bold/big on your lines

Rochefort/Guards – see if you can come running in between the building and scrim as it opens and keep looking up. 

Guards – look more alert, ready to fight, so your giggling like school girls over the sign on card’s back hits bigger.

Sc. 3 – good work.

Sean – great facials on the fight

Pace – attack lines in this scene. Work on shaving unnecessary pauses…

Sherry – did you fluff Rochefort ?  Rochefort react to the fluff….sorry missed it so just being sure.

Milady – good use of all your armor and vulnerable…good contempt for rochefort.

Milady – I know you are still working with the knife,  but don’t broadcast the knife pull too early..work with rochefort on timing.   It’s a costume ting, but let’s see if we can time it.  The pocket will be in the same place as discussed in costuming.  We will dbl check on this.

Rochefort—do not move into Milady on the letter until you see the knife coming—anticipate more.

Rochefort – go aggressively at letter drop…

Milady/Jonny: Milady work w Jonny on head hit

Morgan – bring out Dart’s bag he left with in Scene 1 w a sausage stick or bread sticking out— worn across your side..

Sc. 4/Sc 5 – we will work this Scene Monday. We are going to attack this pace much more on Monday…here are some ideas/changes.

Kiara and Stephanie -  cross through from SR to USL…past porthos and Aramis on Treville’s line “Aramis get up here..”

Jordan/Justin , let Darty in after his line at treville door, then you make your way out.

Cole acknowledge both a bit awkwardly – this is a big moment as  you are meeting the head of the guard and musketeers.  Then Move DSR after musk get out and do not take a seat.—stand by Chair

Cameron – ENT SL to  your puppet location.  I will have you enter after the Porthos/Darty bump.  This will give you less time, but give me another cross.

Sherry -  cross from  SL to SR to sell fruit to Rochefort in same place and go off stage after he refuses to pay.  Spot him as he enters and make it more DS and meet between SR and CS and show more anger at Rochefort not paying.  You will play this angle to with constance.  I may add another vendor bump…possibly….stay tuned.  Jokes are best 3x.

Ben – let’s play w your not paying Sherry for a beat—instead peel banana and give her the peel then dismiss her, then Cross USL faster as you eat the banana

Cole –urgency in physical and voice to catch the man w the patch w Athos – can we bring the section after country boy more DS—

Cole/Justin – bring the second part DS more after country boy…so Justin angle more DSR on your departure a bit and come back to DSC more…split difference between US Wall and DS proscenium.

Cast – adding Taylor, JT, Jonathon, another sherry  on a cross in this scene crossing through between Porthos and Athos moments.

Portos/Adelle/Cole– enter USL on stairs and immediately cross DS after Athos to Darty line – “you’re gonna need it” I believe this will push the pace more and close gap between the Milady pass US and his bump to you.  .  This also may cause the bump to happen a little more in motion—which is what I want, less stand and deliver lines.  You can move during lines and make a slight turn towards SR and this will ensure timing is quicker.  This means you may have to begin your line just before you cross behind Chris Wisdom in the cardinal train.   We will time it out, but bottom-line: I want this to be an in motion moment that takes place somewhere between CS and SL.

Eden, Cardinal, Chris, etc – you will cross immediately as Athos leaves Stage with Darty following so Darty has to move out w more urgency.

Sherry – you will enter immediately as chris wisdom heads off stage—come from DSR for this moment  so you can avoid the traffic and go right to Darty and offer him fruit—he will see you and ask directions.  Milady will cross on her lines as usual, so this will all happen much faster and in motion more.

Sherry – sell more with intent to Cole and Rochefort --- ie make eye contact immediately as you enter w Fruit same as bread w Constance

Cameron – you will come up from SL to USC near the same location to setup…

Porthos – attack your lines more with Cole—faster pace, less pause so when you pause to move him downstage or to impress adele, it feels a different emphasis.  Example: Forty crowns needs to be a more abrupt demand to impress the lady—work that line w urgent, demand—as if you expect it, but it’s to impress again.

Darty – attack your lines more w Jared, shave pauses more and make it bigger find similar capes along rive…

Aramis – general note—big bold and beautiful.   less frantic on the anger/stomps—more deliberate throughout show—maybe add a fist punch in there too w Cole. Slow it down.  Watch your posture.

Let’s discuss.

Jonathon – watch where you set on your ENT.  not as far out on SL.   also, deliver your line lines with far more urgent pace and intent immediately upon entering stage—I am even okay if you start your line in motion, but make sure we see you delivering line—I just need it to increase pace and urgency…remember, you have been chasing her so your adrenaline is pumping and you are far more urgent. 

Darty – far more urgency and pace—you are definitely having a bad day, so urgency is important, but this is what your father spoke of in his advice/speech to you—honor, stand up, help for weak and this is the counter/answer to just lamented about in your monologue—is this what it is all about?  YES, it is..finally it’s not your ego getting into trouble, this is a real musketeer moment…this is you finally fighting for something real, tangible and a woman in distress not just picking fights over sneezes, bumps and capes!  Make this an ARC for you on the Jonathon and Rochefort threat.  You got this moment, but more pace and physical posturing…Pull back Sword and stand up as if you surprised yourself! Then, give Rochefort on moment and draw your sword to him as a threat.

General note for you: Watch slumping shoulders—posture upright—only shoulder down moment is after Aramis moment…you always keep your shoulders up and chin up… 

Constance/Darty – loved the scene overall.  Good movements, intent, etc.  great choices.  Watch pace on lines between the moments.  Example, Let’s shave the pauses a bit: Darty/Constance abbreviated lines where we can shave pauses…
“it was nothing, I must go now…will you be safe, I haven’t far to go, and this item that you carry….pace through these w less pausing so we can go for the big tender moments will the slower pace following (the love lines).

Constance/Darty – cheat out more

Sc. 6

Nice work Queen! 

Queen – make cardinal wait as you sip wine, and respond “Cardinal”

Queen – “It’s understandable” should be at Cardinal—change the tone/pace to more intent that he is sarcasm directed at cardinal think “you idiot”

Queen wait til King crosses off stage to watch him down a hallway…you turned your head early when he was at the table.

Sc. 7

Nice Drunkard Chris—

Athos – love your stage presence.

Darty – one beat earlier on entrance.  Let Athos sit and one swipe of his sword before you enter.

Porthos –  ENT on Top Stair, as you pass under clothes line “Athos is that you old boy”

Porthos – stay slightly US of Athos on your lines on pumps.  Let’s make a bigger moment out of “tyrannized by a pair of pumps

Aramis, stay SL of Porthos as you enter, as he says his line about tyrannized by a pair of pumps X behind Athos and begin to get a  closer look at Darty…creates the illusion that you are checking him out and just realizing who he is as Porthos figures it out.

3M – lines after My God, it’s him, have to fly fast.  Porthos – close the gap, push faster pace/cut big pause… “Is this a joke young man”

3M – On “He’s very polite” big agreement after from Athos and Aramis.

Darty – If you’re ready, deliver than line a bit earlier before you set up..almost a politeness…maybe as you begin a cross—let’s work w it.  Then you set up and begin fight quicker.

Aramis – Well Done! Bigger over the top…bring it and drag it out…you are needling Athos w that line and impressed

Porthos – Very Nice split up—maybe a beat between

Love the golf claps…

overall - great acting on everyone - it was really good stuff!

Aramis/Porthos – big laughs during fight—let’s discuss and pull back if too much

Overall – the fight is starting to take shape everyone w lines in this scene—we have to be reacting quicker and attacking and showing more urgency and intent in lines..more pace.

Rochefort – Halt from Top Stair, then Enter

All Guards – Can we see a file in more, so chris, JT, Paul, Rochefort come down stairs like you did, Taylor chris and Jonathon maybe come in upstairs as rochefort crosses down.  I need a threat of all 7 or 8 to be seen at first…then Chris W, Taylor Jonathan make their way down for the fights after counting by 3M…let’s work that out…

Rochefort – lines leading up to fight, need to come w more urgency and pace.

Rochefort and Guards stay US near clothes line at start and  advance on Athos line—“Rochefort it’s Athos, if you turn…”  So your line, Dueling it is and the arrest, takes place US of Athos

3M and Darty – again, counting lines down to Dartagnan’s “we are ready for ya” have to fly fast and snappy..work out pace on that—Anticipate line more and look at each other as you throw those lines out.

Aramis – “I intend to die this time” – make it more ominous and then a beat, then step up on the barrel…then rather than face treville.  Almost, “well, let’s do this thing feeling”

Rochefort – Let’s get him boys much faster…no pause after that’s the man we want.

Aramis – Morgan – Darty – do your best to face up when delivering lines….cheat out if possible…fight safety is priority, but work these moments so your faces are up and out if possible.

Porthos – bigger, bold and beautiful on your lines…

End of Fight – 3M react to Darty taking on Rochefort, maybe Athos pulls his sword and Darty backs him off..let’s see this Monday

Morgan, you sneak in behind Aramis and Porthos and react to darty fighting—worried for his safety…when he gets disarmed, step DS behind still and pull your sword and close your eyes…then poke away DS or SR…

1:8

Everyone learn the song – the instrumental is on the blog.  Let’s sing it together, like a party at a bar :-0

Darty – bigger on “do you find that funny sir”

Porthos – great yellow horse lines and bring me a wench like the pace

Sabine – should we have you leave Aramis alone and come back?  Let’s discuss this. Sitting there is hard for you…

Darty – “sounds like you had a bad experience” that should be an uncomfortable joke tone.

Darty – line “that’s not far from where I am from” eager to please intent, very similar to the prefight line w Athos – you get excited as you have another thing in common and he completely runs over you and ignores you which takes you down ..

Athos – let’s work on monologue, I liked your choices, pace dragged at start…I still want it to feel upbeat a bit, not jolly, but definitely do not want Darty to expect what is coming..same for audience..let’s slow down on the man rushed to help her (as if it is replaying in your mind and you become clearly shaken, upset, angry—tone change, objective change here)…

Darty – My god  - big….maybe drag it and then attack the next line what happened to her brother is your need to avenge coming out.  That is your intent there and also it’s a wild story—deep and dark and it angers you.

Darty – in the beginning, you are bit upbeat about his story---when he gives you “she was branded”  your line “NO” has to be over the top  as if you did not expect that!

Athos – let’s see if the knife will stick—I liked it

Darty – And what happened of the man who hanged her  - more eager intent about this fact…as if there is more…

Porthos – let’s see you get up and really take that line up and to the whole bar—I liked it, but felt it was lost…let’s see what happens w lighting too.

Porthos – can you help here.

Morgan – great drunk girl work—

Aramis – also excellent finish w Morgan falling over.

Aramis – go how…..old are you—it’s as if you know the answer, but need validation and to hear it…

Aramis/Sabine – let’s work on the faint…need more of a trust fall..

Sc. 9

King – as you cross—giggle enough for audience to hear you, Pause at the painting and tilt your head as if you are trying to examine if this is supposed to be Cardinal

King – For dueling – out  DS in a pose. Yes of course…a very serious offense – make this campy serious and break it out from rest of lines…patronize him more.

King. Love your absolutely –

King, keep laugh up until knock…

Cardinal – love your choke

Rochefort – I love the squealing you make and great sell.

Cardinal – I love how you drop him on Darty, he’s outside.  Let’s play w this and make it more of a physical adjustment, come to attention w more physicality and more abrupt.

Rochefort/Darty/Jonny – let’s work on hits..I want them varied and not equal in intensity.

Darty  - try to get up more – sell it more on welcome to my humble abode.

Cardinal – love your whisper to darty

Rochefort –great stage work in your creepy moving around cardinal adjustments

Darty – great job looking up.

Sophie do not pause on cross  on I believe you,,,take it DS to SR of Painting and turn back w painting on your left to talk about uncle…one more from And that’s all I know.  I want the audience to see your mind working.

Debris – need to give your line—I missed it or did not hear it….”Yes your grace” be in the room behind Darty so we can see you.

Sophie –  good – standing,  you know what the say – standing, then move on ”waste not” and drop cape and pull wig off on “want not”  - we will work w costumes to be sure it drops easier.

I want the cape and wig flying off in motion before you reach the chair and turn.

Cardinal, “It seems a few are all right, but whole village is out of the question”…I think this needs some creepy different tone from I have too many children…this goes to what a jerk cardinal is….and I think it would be creepy funny..let’s play w this tomorrow.

Rochefort and Milady – let’s have you go USR between mid scrim and red scrim on your exits.

Cardinal – let’s move you X stage SR on “I have a master piece to finish” and pick up the paint brush and palette…and clean up the mouth. Cardinal, from there you will exit USL between scrim before chairs and painting are removed.

1:10

Debris – I like the sauce, but let’s not touch darty – that is creepy funny but maybe a bit too much instead keep it the same.

Rochefort – interrupt Debris right at the end of his lines – I liked that the first time you ran it.

Athos – come in playing more of an old man.

Rochefort. On “like them villains in the story books, turn to Porthos who just popped out and give him a look of behave as you continue w thereby giving him time to come up with a plan you are back out or talking to Debris..so you wonder w your eyes to the villain…

Darty – take off rope, etc and when Porthos hits debris – come w your line to get to Sabine..

Aramis – the villains – it’s another way of saying, those BXstards…say it w that intent.

Sc. 11

Cameron – liked your British, but we cannot hear you…cheat out more and you have to go big…use the motivation of deep concern that this person seems she is not what is appears—your sense are up on her..you know something is not right.

I love ending—it was smooth on everyone’s part.

Sabine – your line—let’s put a little more upbeat to it…less down..not cheery, but more positive.

Act II

Sc. 1 – Montage – we will work through

King – remember to stay put until Cardinal heads to you and ten your unbelievable 2^nd time begins the clothes coming off…

Paul – maybe we have someone put the throne on for you, so you can gather his clothes?

King and Cardinal – great job…let’s go more Inspector Clouseau on it….Cardinal is puppeteer and you are the puppet…

King – cut down pause on My birthday is next week—I like 1 beat, but then Ding, I know!!!!!!  So, make that more of an AHHHHHHHHHHAAAA and cut pause. To ½ beat.

King – keep the high pitch for the bigger moments…Liked your tone first act, keep it there and only use to show your emotional down turns or anger. And keep it minimal..works well.  Everyone agreed it sounded really good.

Cardinal – I like everything you are doing—can we play this seen even more over the top for you in that regards….it’s a little more than any other scene, because you are manipulating him in fact, this is the first time we the audience gets to see your work, so over the top sells it more..show your funny contempt for him and that you are just so over him, bigger rolls and bigger tone shifts on for example, that’s brilliant, sire”

Queen – let’s work your scene here…I need you to show more favorableness to Darty because Constance has told you about him and he is going to help you..almost relief and thanks.

Also, When you turn to leave, keep back to USR as you lift him and thank him

Queen, show a bit more urgency—maybe let your guard down a bit in your chamber..still maintain coolness, but definitely more urgency ere..

And, Please: be careful is a big line..I want that to be seen by audience….it’s your sincerity here that sells it.

Let’s uncork this a bit.

Darty – show more musketeer vibe here that you are here to help—bigger, shoulders back, etc.

2:2 – Loved it. 

Cardinal – when Milady makes it clear she wants the whole necklace – your intent on your next line in response is to belittle her—make her seem like you are the brains—that is why I am me and you are you!

Milady Cardinal – do not forget the custom officers line…;-)

2:3  -

Overall good job…let’s move the beginning along faster…

Kiara after serving, go to bar and pull up a bag and start packing…

Darty make sure you grab Porthos glass and put it down hard…need a motivation for his line—are you mad.

Musketeers – cock your guns on “II must have been confused”

Kiara – go down behind bar  after Darty line “I did send you  a bottle”…and start crawling around bar and out SL…. You slowly come up  after “this woman here….”  Stand and deliver line I Must have been confused,  and turn to EXT when you hear guns cock you stop and darty approaches you.

Then let scene continue from there as we have been doing..except Kiara you cough, reach down and pull up your bag and fall over on bar w bag…

We will walk through this.

End of 2.3 – we will work tomorrow.

2:4

We need to work this…

Jonathan – need more accent  - get those lines locked..

2:5 –we will continue to work

Queen – when you and cardinal are exchanging lines you play this like a game that you are in on w 

Cardinal..make this bigger and sneaky smiles…you and the Cardinal have much to gain and lose from this game…so you both agree to a tie in this instance…he keeps secret and you continue to put up in exchange..this is your intent, so your lines should read this way….

Aramis/Sabine your dance scenes looks good/funny…remember adjustments – more slow tango into dance and bigger laughs at the end of Aramis lines.

Time that here’s the father line, so he begins sneaking away as you say it so you can pull him back in…Sabine – you show coolness…Aramis – you show worry, fear, panic, but play along…let’s contrast…

2:6 – I like what I saw—anxious to see fight.