Congratulations on how far we have made it! You all should be so proud of yourselves! Here are a few reminders for tonight:
-Tonight's final cast/crew party will be at Maggie Conroy's house, the address is...
3217 SW Luradel St. Portland, OR
-The party is a POTLUCK. Please help provide if you can! And don't forget to thank the Conroys for hosting it!
-FIGHT CALL is at 6pm tonight (instead of 6:10)
-Stay healthy
-STRIKE is at 10am tomorrow morning
-Enjoy our last performance of Antigone and make it the best one yet!
Thanks!
-OB
Saturday, November 14, 2015
Tuesday, November 3, 2015
Notes from November 3rd
**Indicates repeated notes that are still not being addressed.
**All: Always and Always more volume and engage your mask arms out and to the sides
**All be aware of you new masks--where are the eyes on your new mask and when is it engaged up or down or to the sides--work with partners for this
**Run lifts with Kendall and Bryce to make them smooth, one solid move and safe
**For Bryce lift, pull him up on pomp and honors and Bryce drag our your line for movement
**Don't adjust masks and costumes on stage--if you must make it a choreographed, deliberate movement rather than actors adjusting and fixing onstage
**All pinning masks straps to your hair to help keep it upright
Gwyneth-hands on hips reads really well as Nurse for both Masks..use this!
**Guards--Arms--Triangle formation--slides into position
**Ismene--more back mask when you collapse into your chorus--show us the back mask while standing then fall into them
**Creon--Volume, Posture, Facial expression and energy, don't look down, use arms out to sides!!
Lucy-pin your mask to help
Maggie and Quin--ARMS!!
Antigone allow yourself to touch Haemon's mask when embracing you did it on Monday and it was beautiful
Haemon-adjust your mask lower on head
**Amelia/Bryce/Kendall--watch volume dropping and where you place your face when delivering lines
Haemon/Antigone--watch your volume dropping too low in intimate moments together
**All--lift Back mask directly to audience on Blinding eye motion, bigger & more deliberate blinding
**Gwyneth & Lucy-use your arms--larger and broader on slow motion exit
**"Have you tortured perhaps?" Bigger recoil away from Creon Haemon's chorus
**Creon--learn the "shoot...wave...wind" line so it can be done in one breath and full tempo to match chorus movement
Nurse & Antigone-try some of comforting scene with Antigone's back mask
Sofia S/Zoe/Julia/Amelia/Lucy-gorgeous storytelling throughout tonight
All--engage more with the story and support it as the Chorus
**All--must get "YES in my father's own voice" in our bodies and voices together as one
Eurydice- This was amazing, keep doing it! (Beautiful work Eurydice--go even further with trying to connect to Haemon & Creon, consider trying to find moments to speak and no one hears you (the role of the Silent Woman--why no one will hear her or listen to her)
**Haemon- When dying--use your right arm to balance your face/mask on to help :)
Lovely moment-Ismene on reentrance monologue-go further with that
Guard--salutes, arms out, pointing all help with engaging back mask--do more
All--page 37-38 pick up the tempo between lines, drive the story
Guards--really be gleeful and excited for the party and bonus so we have more of a comedic payoff with the line about nix on the wives
Guards--need to engage back mask so much more as they are very dark in the lights and therefore vanish quickly
Guards-much more precise exit past Diego, lines and angles like top of show
Mattie-awesome transformation of Guard into chorus character
All---remember to keep energy in your back mask and movements through fingers and neck rotations
Antigone-slow drags of feet on floor to express frustration-yes keep it!!
All-keep Sound Ques going throughout Creon/Antigone scene-breaths, scratches hisses
Amelia & Bryce walk with purpose to Juror's Box on page 48
YES/NO whispers---so haunting, keep it up!
CHORUS LEADERS: run Yes, in my father's own voice and the "Shoot--wave---wind" section
Bryce and Kendall: don't adjust costumes when you stand up as brothers
Page 54--pick up tempo of urgency in storytelling Creon
All guards join Amelia/Grace/Diego on foot stomps in Story sequence to keep it Loud and Strong--no room for timid foot stomps. During the army breaking into Thebes section
ALL--pick up tempo and urgency, drive towards the end
ALL: remove any jewelry, bracelets, nail polish not approved by costumes crew
Haemon/Creon: don't wait for Antigone's cries to finish before continuing fight, rather use them to motivate the anger and need for your confrontation
Guards--beautiful work in last scene offering letter and help
**Bigger and precise percussion on the entrance of Messenger--scare Antigone and the guards
**Remember someone is always watching you from the audience, so if you are onstage you are part of the story!!
Thanks, Clara
**All: Always and Always more volume and engage your mask arms out and to the sides
**All be aware of you new masks--where are the eyes on your new mask and when is it engaged up or down or to the sides--work with partners for this
**Run lifts with Kendall and Bryce to make them smooth, one solid move and safe
**For Bryce lift, pull him up on pomp and honors and Bryce drag our your line for movement
**Don't adjust masks and costumes on stage--if you must make it a choreographed, deliberate movement rather than actors adjusting and fixing onstage
**All pinning masks straps to your hair to help keep it upright
Gwyneth-hands on hips reads really well as Nurse for both Masks..use this!
**Guards--Arms--Triangle formation--slides into position
**Ismene--more back mask when you collapse into your chorus--show us the back mask while standing then fall into them
**Creon--Volume, Posture, Facial expression and energy, don't look down, use arms out to sides!!
Lucy-pin your mask to help
Maggie and Quin--ARMS!!
Antigone allow yourself to touch Haemon's mask when embracing you did it on Monday and it was beautiful
Haemon-adjust your mask lower on head
**Amelia/Bryce/Kendall--watch volume dropping and where you place your face when delivering lines
Haemon/Antigone--watch your volume dropping too low in intimate moments together
**All--lift Back mask directly to audience on Blinding eye motion, bigger & more deliberate blinding
**Gwyneth & Lucy-use your arms--larger and broader on slow motion exit
**"Have you tortured perhaps?" Bigger recoil away from Creon Haemon's chorus
**Creon--learn the "shoot...wave...wind" line so it can be done in one breath and full tempo to match chorus movement
Nurse & Antigone-try some of comforting scene with Antigone's back mask
Sofia S/Zoe/Julia/Amelia/Lucy-gorgeous storytelling throughout tonight
All--engage more with the story and support it as the Chorus
**All--must get "YES in my father's own voice" in our bodies and voices together as one
Eurydice- This was amazing, keep doing it! (Beautiful work Eurydice--go even further with trying to connect to Haemon & Creon, consider trying to find moments to speak and no one hears you (the role of the Silent Woman--why no one will hear her or listen to her)
**Haemon- When dying--use your right arm to balance your face/mask on to help :)
Lovely moment-Ismene on reentrance monologue-go further with that
Guard--salutes, arms out, pointing all help with engaging back mask--do more
All--page 37-38 pick up the tempo between lines, drive the story
Guards--really be gleeful and excited for the party and bonus so we have more of a comedic payoff with the line about nix on the wives
Guards--need to engage back mask so much more as they are very dark in the lights and therefore vanish quickly
Guards-much more precise exit past Diego, lines and angles like top of show
Mattie-awesome transformation of Guard into chorus character
All---remember to keep energy in your back mask and movements through fingers and neck rotations
Antigone-slow drags of feet on floor to express frustration-yes keep it!!
All-keep Sound Ques going throughout Creon/Antigone scene-breaths, scratches hisses
Amelia & Bryce walk with purpose to Juror's Box on page 48
YES/NO whispers---so haunting, keep it up!
CHORUS LEADERS: run Yes, in my father's own voice and the "Shoot--wave---wind" section
Bryce and Kendall: don't adjust costumes when you stand up as brothers
Page 54--pick up tempo of urgency in storytelling Creon
All guards join Amelia/Grace/Diego on foot stomps in Story sequence to keep it Loud and Strong--no room for timid foot stomps. During the army breaking into Thebes section
ALL--pick up tempo and urgency, drive towards the end
ALL: remove any jewelry, bracelets, nail polish not approved by costumes crew
Haemon/Creon: don't wait for Antigone's cries to finish before continuing fight, rather use them to motivate the anger and need for your confrontation
Guards--beautiful work in last scene offering letter and help
**Bigger and precise percussion on the entrance of Messenger--scare Antigone and the guards
**Remember someone is always watching you from the audience, so if you are onstage you are part of the story!!
Thanks, Clara
Notes from November 2nd
Beautiful work tonight and a huge thank you to all tech for the great work, focus, energy and the gorgeous results of your contributions are making one amazing show
All: Always and Always more volume and engage your mask arms out and to the sides
All be aware of you new masks--where are the eyes on your new mask and when is it engaged up or down or to the sides--work with partners for this
All--be very careful when you lay directly on your back mask
*Run lifts with Kendall and Bryce to make them smooth, one solid move and safe
All-interact more with each other's back masks and keep engaged onstage
Ismene's chorus on page 19 arms float out to sides rather than directly in front of you to engage back mask
Don't adjust masks and costumes on stage--if you must make it a choreographed, deliberate movement rather than actors adjusting and fixing onstage
Gwyneth as Jocasta--go even further with the voice--higher pitched, maybe an accent?
Gwyneth-quieter sobbing overall:)
Maggie-VOICE!! watch that volume and support it. Your very first line I couldn't hear at all and I was right next to you
All--trying pinning masks straps to your hair to help keep it upright
Antigone- use interesting sitting positions, legs out and arms out when listening to your nurse
Ismene--watch out for the noise your bracelet makes when offstage
Zoe (Antigone) please lift your "baby" arms up to put focus on the movement--ask me for clarification if needed
Antigone- consider when do you play into your vulnerability, when does it take you over, do you plan the entire conversation with Haemon, or do you change your tactics once you see him again?
Antigone-on lines about wearing Ismene's dress--all back mask to Haemon. I've asked for this before and the moment hasn't happened yet.
Haemon-try to touch Antigone more, reach for her hand, back mask to keep her tense and moving away
Ismene--why do you decided to come back and talk further about Polynieces--are you convincing yourself or Antigone?
Guards---use your arms!!!
Guards--watch your entrances--comic but careful and specific, you knocked Lucy over on your 1st entrance
Ismene--more back mask when you collapse into your chorus--show us the back mask while standing then fall into them
Creon--Volume, Posture, Facial expression and energy, don't look down, use arms out to sides!!
Grace/Grace/Diego/Bryce/Quin/Wolf--more arms out to sides and back mask awareness on top of page 37 Chorus interlude
Chorus--ARMS!!
Amelia/Bryce/Kendall--watch volume dropping and where you place your face when delivering lines
Guards--more arms out in triangle formations otherwise it looks too static and without purpose
Diego-tuck in shirt when acting as page, always double check your shirt
QUIET BACKSTAGE!
Creon- always focus on posture, kingly reactions, your presence onstage--when are you in power and when is your power questioned or attacked?
All--lift Back mask directly to audience on Blinding eye motion, bigger & more deliberate blinding
Gwyneth & Lucy-use your arms--larger and broader on slow motion exit
"Have you tortured perhaps?" Bigger recoil away from Creon Antigone's & Haemon's chorus
Yes to all the sounds, heart beats, and percussive movements---commit fully to it and make sure you painting the landscape of the scene and not drowning out the dialogue onstage
Creon--learn the "shoot...wave...wind" line so it can be done in one breath and full tempo to match chorus movement
Chorus--page 51-53 try repetitions of Yes or No whispered depending on how your character feels in the debate of Creon and Antigone
Antigone walk through the dead bodies rather than around them to join Creon back on top platform page 56-57
Antigone--dig more into the youth and surprise of hearing this other side of your brother's stories. Does Creon change you opinion, throw you off your path and goal or make you even stronger towards your goal. Are you more afraid of dying at the end of the scene or more prepared and confident in your approaching death
All--must get "YES in my father's own voice" in our bodies and voices together as one
Antigone--consider back mask posing on "The thing is catching" on the top platform above everyone
Beautiful work Eurydice--go even further with trying to connect to Haemon & Creon, consider trying to find moments to speak and no one hears you (the role of the Silent Woman--why no one will hear her or listen to her)
Guards--please be careful of Eurydice on your entrance---know that she is there and moving slowly so go around her
Mattie & Aiden--bigger arms on back mask 1st pose towards Antigone on "Was it you?"
No cell phones when you are offstage--stay focused on the show and story and committed to your fellow actors
Guards to help round out the emotions of your final scene --Mattie and Aiden why do you offer to help Antigone--what reaction does she pull out of you?
Elijah-why do you not offer anything, how do you feel about the letter writing?
Haemon- Die in one movement rather than several adjustments, use your right arm to balance your face/mask on to help :)
Creon's chorus--in your final line before the juror's box, move closer together and further upstage so you don't block the audience on those levels
Tech/Lucy/Gwyneth**Can we hide an extra chord to match Antigone's costume near the throne, so Lucy can grab that to use for the hanging pose of Antigone at end?
Thanks!! Clara
All: Always and Always more volume and engage your mask arms out and to the sides
All be aware of you new masks--where are the eyes on your new mask and when is it engaged up or down or to the sides--work with partners for this
All--be very careful when you lay directly on your back mask
*Run lifts with Kendall and Bryce to make them smooth, one solid move and safe
All-interact more with each other's back masks and keep engaged onstage
Ismene's chorus on page 19 arms float out to sides rather than directly in front of you to engage back mask
Don't adjust masks and costumes on stage--if you must make it a choreographed, deliberate movement rather than actors adjusting and fixing onstage
Gwyneth as Jocasta--go even further with the voice--higher pitched, maybe an accent?
Gwyneth-quieter sobbing overall:)
Maggie-VOICE!! watch that volume and support it. Your very first line I couldn't hear at all and I was right next to you
All--trying pinning masks straps to your hair to help keep it upright
Antigone- use interesting sitting positions, legs out and arms out when listening to your nurse
Ismene--watch out for the noise your bracelet makes when offstage
Zoe (Antigone) please lift your "baby" arms up to put focus on the movement--ask me for clarification if needed
Antigone- consider when do you play into your vulnerability, when does it take you over, do you plan the entire conversation with Haemon, or do you change your tactics once you see him again?
Antigone-on lines about wearing Ismene's dress--all back mask to Haemon. I've asked for this before and the moment hasn't happened yet.
Haemon-try to touch Antigone more, reach for her hand, back mask to keep her tense and moving away
Ismene--why do you decided to come back and talk further about Polynieces--are you convincing yourself or Antigone?
Guards---use your arms!!!
Guards--watch your entrances--comic but careful and specific, you knocked Lucy over on your 1st entrance
Ismene--more back mask when you collapse into your chorus--show us the back mask while standing then fall into them
Creon--Volume, Posture, Facial expression and energy, don't look down, use arms out to sides!!
Grace/Grace/Diego/Bryce/Quin/Wolf--more arms out to sides and back mask awareness on top of page 37 Chorus interlude
Chorus--ARMS!!
Amelia/Bryce/Kendall--watch volume dropping and where you place your face when delivering lines
Guards--more arms out in triangle formations otherwise it looks too static and without purpose
Diego-tuck in shirt when acting as page, always double check your shirt
QUIET BACKSTAGE!
Creon- always focus on posture, kingly reactions, your presence onstage--when are you in power and when is your power questioned or attacked?
All--lift Back mask directly to audience on Blinding eye motion, bigger & more deliberate blinding
Gwyneth & Lucy-use your arms--larger and broader on slow motion exit
"Have you tortured perhaps?" Bigger recoil away from Creon Antigone's & Haemon's chorus
Yes to all the sounds, heart beats, and percussive movements---commit fully to it and make sure you painting the landscape of the scene and not drowning out the dialogue onstage
Creon--learn the "shoot...wave...wind" line so it can be done in one breath and full tempo to match chorus movement
Chorus--page 51-53 try repetitions of Yes or No whispered depending on how your character feels in the debate of Creon and Antigone
Antigone walk through the dead bodies rather than around them to join Creon back on top platform page 56-57
Antigone--dig more into the youth and surprise of hearing this other side of your brother's stories. Does Creon change you opinion, throw you off your path and goal or make you even stronger towards your goal. Are you more afraid of dying at the end of the scene or more prepared and confident in your approaching death
All--must get "YES in my father's own voice" in our bodies and voices together as one
Antigone--consider back mask posing on "The thing is catching" on the top platform above everyone
Beautiful work Eurydice--go even further with trying to connect to Haemon & Creon, consider trying to find moments to speak and no one hears you (the role of the Silent Woman--why no one will hear her or listen to her)
Guards--please be careful of Eurydice on your entrance---know that she is there and moving slowly so go around her
Mattie & Aiden--bigger arms on back mask 1st pose towards Antigone on "Was it you?"
No cell phones when you are offstage--stay focused on the show and story and committed to your fellow actors
Guards to help round out the emotions of your final scene --Mattie and Aiden why do you offer to help Antigone--what reaction does she pull out of you?
Elijah-why do you not offer anything, how do you feel about the letter writing?
Haemon- Die in one movement rather than several adjustments, use your right arm to balance your face/mask on to help :)
Creon's chorus--in your final line before the juror's box, move closer together and further upstage so you don't block the audience on those levels
Tech/Lucy/Gwyneth**Can we hide an extra chord to match Antigone's costume near the throne, so Lucy can grab that to use for the hanging pose of Antigone at end?
Thanks!! Clara
Tuesday, October 27, 2015
Notes from 10/27
It is becoming a lovely show!! Congrats all:) Keep committing and keep working. We have a long way to go but it is improving!
All: find smoother/rounder dance poses in Prologue
All: bigger, more dynamic lean into watching Antigone/Haemon proposal
Nurse & Antigone keep some distance from each other once feet part is over
Gwyneth---hell's yes!! that was a fabulous Nurse tonight
Nurse-go even further and more contrast with the Jocasta voice and body work
Antigone page 20-keep distance from nurse during her story so we can see both of you
Lucy-can you kneel behind Nurse when join group rather than right next to her?
EVERYONE: Keep off angle of each other
Ismene: MORE VOLUME!! More power in your voice. Especially more volume page 24 speech
Ismene/Antigone--great sister relationship tonight, very lovely to watch the natural flow
Ismene/Antigone--both look out to exit #2 on line about Polynieces being well guarded on page 26 to help establish the location of the body
**Antigone--when you exit through #2---this is where you put dirt on hands for next entrance with guards
Page 26-Nurse and Antigone--go over this movement with me prior to rehearsal
Antigone/Haemon/Ismene/Creon-use your arms out to the sides to help enhance mask and costume rather that directly in front of you
Antigone--we need more back mask during Haemon scene--find that moment to give back mask and then Haemon connects with back mask
Haemon--posture!!!
Haemon's chorus--reach your arm out to exit #2 in back mask when Haemon exits on page 32
Antigone--come from BURYING him--must make that word clear. It is the first time we hear you say it--vital plot point
Ismene truly fall into your chorus-Ismene's chorus catch her on page 33 exit, grab for her and comfort her
Guards---awesome!! Like that every night! NOW GET OFF BOOK:)
Creon--watch your posture and shoulders
Creon--good instinct on shovel but please let people know you're throwing and make sure Props Crew is ok with you throwing it
Mattie--arms out to side in kneel pleading with Creon page 36
Chorus--BIGGER VOICES and purpose on interlude page 37-38
Haemon-learn page 37-38 movement
A's chorus: more drive in that final line on page 38Antigone is going to be able to be herself. Haunt us with that line
Guards: be careful with Antigone-precise and planned---PLEASE run that blocking
Creon and Guards: Keep space open never directly in line with Creon but scattered around him
Antigone play puzzled in first interaction with Creon page 43, don't know what he plans yet
Creon page 45 up and over the Chorus in terms of volume and power
CREON--Always more volume
Creon's chorus--figure out when turning back mask, what direction and how to do it together on page 51
Eurydice--use your hands when you stand on page 46, arms out
ALL: Sounds that worked: light scratching, breaths, moans, tones, heart beats!
Thanks!
All: find smoother/rounder dance poses in Prologue
All: bigger, more dynamic lean into watching Antigone/Haemon proposal
Nurse & Antigone keep some distance from each other once feet part is over
Gwyneth---hell's yes!! that was a fabulous Nurse tonight
Nurse-go even further and more contrast with the Jocasta voice and body work
Antigone page 20-keep distance from nurse during her story so we can see both of you
Lucy-can you kneel behind Nurse when join group rather than right next to her?
EVERYONE: Keep off angle of each other
Ismene: MORE VOLUME!! More power in your voice. Especially more volume page 24 speech
Ismene/Antigone--great sister relationship tonight, very lovely to watch the natural flow
Ismene/Antigone--both look out to exit #2 on line about Polynieces being well guarded on page 26 to help establish the location of the body
**Antigone--when you exit through #2---this is where you put dirt on hands for next entrance with guards
Page 26-Nurse and Antigone--go over this movement with me prior to rehearsal
Antigone/Haemon/Ismene/Creon-use your arms out to the sides to help enhance mask and costume rather that directly in front of you
Antigone--we need more back mask during Haemon scene--find that moment to give back mask and then Haemon connects with back mask
Haemon--posture!!!
Haemon's chorus--reach your arm out to exit #2 in back mask when Haemon exits on page 32
Antigone--come from BURYING him--must make that word clear. It is the first time we hear you say it--vital plot point
Ismene truly fall into your chorus-Ismene's chorus catch her on page 33 exit, grab for her and comfort her
Guards---awesome!! Like that every night! NOW GET OFF BOOK:)
Creon--watch your posture and shoulders
Creon--good instinct on shovel but please let people know you're throwing and make sure Props Crew is ok with you throwing it
Mattie--arms out to side in kneel pleading with Creon page 36
Chorus--BIGGER VOICES and purpose on interlude page 37-38
Haemon-learn page 37-38 movement
A's chorus: more drive in that final line on page 38Antigone is going to be able to be herself. Haunt us with that line
Guards: be careful with Antigone-precise and planned---PLEASE run that blocking
Creon and Guards: Keep space open never directly in line with Creon but scattered around him
Antigone play puzzled in first interaction with Creon page 43, don't know what he plans yet
Creon page 45 up and over the Chorus in terms of volume and power
CREON--Always more volume
Creon's chorus--figure out when turning back mask, what direction and how to do it together on page 51
Eurydice--use your hands when you stand on page 46, arms out
ALL: Sounds that worked: light scratching, breaths, moans, tones, heart beats!
Thanks!
Production Schedule Posted
Attention: All Cast and Crew Members -
To the right is the downloadable calendar for the remainder of our production process. Please confirm your availability for each of the remaining times and dates with your Stage Manager ASAP, whether Cast or Crew.
Here are a few additional details:
1) There are no Paint or Light sessions listed...those are going to be informal and as time allows for completion. Look here and the callboard for those opportunities.
2) Remember: Techs/Dresses/Strike are just as 'no conflicts accepted' as a Performance date. Know your calls!
3) Please be flexible...Though we strive to avoid it in every way, we occasionally have to roll with unforeseen changes to the calendar. We've been flexible with your schedules and needs...time to extend the same courtesy!
4) Take care of yourself and your needs! While we are understandably less than flexible during the remainder of this process, and it is intensive, your school, family, and health needs must be addressed and cared for...don't shortchange any of it! Be aware of scheduling and keep those lines of communication open!
j.
To the right is the downloadable calendar for the remainder of our production process. Please confirm your availability for each of the remaining times and dates with your Stage Manager ASAP, whether Cast or Crew.
Here are a few additional details:
1) There are no Paint or Light sessions listed...those are going to be informal and as time allows for completion. Look here and the callboard for those opportunities.
2) Remember: Techs/Dresses/Strike are just as 'no conflicts accepted' as a Performance date. Know your calls!
3) Please be flexible...Though we strive to avoid it in every way, we occasionally have to roll with unforeseen changes to the calendar. We've been flexible with your schedules and needs...time to extend the same courtesy!
4) Take care of yourself and your needs! While we are understandably less than flexible during the remainder of this process, and it is intensive, your school, family, and health needs must be addressed and cared for...don't shortchange any of it! Be aware of scheduling and keep those lines of communication open!
j.
Notes from 10/26
Thank you for your focus, ensemble work and energy tonight. We made great strides tonight and we are starting to have the outline of a show!
Please read through notes & try to apply for tomorrow's run through. If you have questions about something feel free to come ask questions or email questions (clarahillier@yahoo.com). Remember to head straight down to the Costume Room at 3:15 tomorrow so we can start as quickly as possible!
NOTES:
All: Use each side of the audience, not the juror's box, to act towards---remember to throw voices & bodies up the top row
All: Make movements precise and motivated in Prologue
Antigone/Nurse/Haemon/Creon/Amelia/Bryce/Kendall/Ismene/Elijah: you both tend to drop off ends of lines, complete words and throw ends of sentences up
Nurse: Follow the instinct to fix your dress, clean hair in your awkward response moments to Antigone--it was hilarious and we need more of it
All: Think about how you sit in the Juror's Box--tense, engaged, dismissive, where is your mask and how do you allow your bodies to sit?
Nurse: Use more of the platform upstage in scene with Antigone to keep distance and allow us to see both of your faces/masks
Nurse: Take on full posture and different vocal quality for when you're telling the Jocasta story of shaming the nurse on page 20-21
Antigone-find more opportunities to present your back mask, arms out/away from the body, more distance from everyone
Haemon-"Not to meet a lover?" Nurse's line, clear stand up, stand in neutral and exit
Maggie- We needs tons more volume, energy punching through, more dynamic
Bigger reactions when you hear rotting bodies
In Ismene monologue: Creon's chorus bigger hands in your marching, more menacing and militaristic in your movement page 24
Lucy- in Ismene monologue page 24 move further on stage as you're the only Antigone chorus member onstage now and very large reaction to the terror happening
When kneeling together, after that monologue-Ismeme/Antigone make sure you don't block each other, so angle off each other
Nurse and Antigone page 27, fully wrap yourself around her body so we can see front and back mask
Nurse: On the dog exchange--I loved your tense move away while sitting, can you find a spot to stand and walk away too?
Haemon-More youthful energy on your first entrance, you're the lover of the show and we need to feel that instantly
Haemon/Antigone--remember to stay angled, off each other shoulders, rather than standing directly face to face. When you don't this, you block each other
Haemon/Antigone: Antigone find more moments for back mask towards Haemon and Haemon react to that distance and try to find her front mask and make her look at you
Haemon/Antigone: Find a moment in sweet embrace where Haemon treasures the back mask and is kind towards it
Antigone: when explaining why you acted that way last night try using more back mask towards Haemon to open you up
Ismene-on 2nd entrance be more sleepwalker, distracted, terrified rather than low energy. drift slowly into the space with your entrance but your vocals should start immediately page 32
Creon- the instant you appear we must buy you are a KING
Guards--always play the clean precise comedy, the constant rotation rather than clumping up. The lines/diagonals are much funnier and easier to understand
Guard #1: Play the stalling game more on cross to Stage Right
Elijah: Must be clear...BURIED. you are the first one to mention this to Creon so we must hear it and understand it
Elijah: remember your props (SHOVEL!!)
Creon use your kingly posture wisely in the throne, watch out from bending and letting your shoulders collapse in due to your height--it loses your King status immediately
In reactions to the 3 guards, Creon you can use your back mask sometimes rather than turning attention to each guard
ALL: Chorus in the 2 page interlude after Creon/Guard scene---it must sound like one voice, so get rid of all those pauses---learn your cues, and really engage the audience--tell them the story! energize all movements--work in sync with your full chorus
Ismene's chorus page 38 you can tell the audience directly downstage by your hang out spot, include them
Creon and Antigone: "Don't annihilate me with those eyes"..wait for her to make the movement to motivate the line, be chilled by her eyes, Antigone--really stab back mask/arms at him
Creon: you must look through your giant scene with Antigone--find the nuance, tone, change of approach so your voice is less monotone. Use your tactics, make your chess moves and watch her responses
Page 45: Antigone show us how you feel about description and stories of your family
Page 45: All make blinding eyes section on back mask huge and deliberate
Creon & Antigone: you must keep us engaged and caring about these two characters. Antigone knows she will die, but she wants to be heard and respected. Creon must feel respect and order but that is threatened by the presence of Antigone.
Fix arm pull-work with Clara to fix this
***GUARDS--learn lines and your blocking:)
Creon's Chorus: move with purpose and dignity towards juror's box (represent the KING)
All chorus: Try vocalizing tomorrow to support Creon/Antigone scene--find rhythms and places to support the action
Whenever you move as a chorus--add vocals to it
Creon's chorus: Back mask and arms out and open on page 51
DRIVE IT Creon!!!!
We will block page 54-55 with the family (Bryce, Kendall, Gwyneth, Andrew, Diego)
Haemon: walk further in and offer arms to meet Antigone during the "Happiness" section
Ismene/Antigone Chorus: page 59---make that bow and pull back huge and dance like..it needs to read 100% more
Chorus: during Haemon's scene with Creon make yourselves a clear barrier between them and only allow Creon through
Haemon page 62 stress man on this line "Was that man you?" You have some great instincts for this scene, we just need to nuance your fear and anger more
Guards 2/3 find reason,timing to sit and turn back mask towards Antigone during the letter writing section
Chorus: Watch the guard scene and make yourselves the barrier/jail bars physically
Please read through notes & try to apply for tomorrow's run through. If you have questions about something feel free to come ask questions or email questions (clarahillier@yahoo.com). Remember to head straight down to the Costume Room at 3:15 tomorrow so we can start as quickly as possible!
NOTES:
All: Use each side of the audience, not the juror's box, to act towards---remember to throw voices & bodies up the top row
All: Make movements precise and motivated in Prologue
Antigone/Nurse/Haemon/Creon/Amelia/Bryce/Kendall/Ismene/Elijah: you both tend to drop off ends of lines, complete words and throw ends of sentences up
Nurse: Follow the instinct to fix your dress, clean hair in your awkward response moments to Antigone--it was hilarious and we need more of it
All: Think about how you sit in the Juror's Box--tense, engaged, dismissive, where is your mask and how do you allow your bodies to sit?
Nurse: Use more of the platform upstage in scene with Antigone to keep distance and allow us to see both of your faces/masks
Nurse: Take on full posture and different vocal quality for when you're telling the Jocasta story of shaming the nurse on page 20-21
Antigone-find more opportunities to present your back mask, arms out/away from the body, more distance from everyone
Haemon-"Not to meet a lover?" Nurse's line, clear stand up, stand in neutral and exit
Maggie- We needs tons more volume, energy punching through, more dynamic
Bigger reactions when you hear rotting bodies
In Ismene monologue: Creon's chorus bigger hands in your marching, more menacing and militaristic in your movement page 24
Lucy- in Ismene monologue page 24 move further on stage as you're the only Antigone chorus member onstage now and very large reaction to the terror happening
When kneeling together, after that monologue-Ismeme/Antigone make sure you don't block each other, so angle off each other
Nurse and Antigone page 27, fully wrap yourself around her body so we can see front and back mask
Nurse: On the dog exchange--I loved your tense move away while sitting, can you find a spot to stand and walk away too?
Haemon-More youthful energy on your first entrance, you're the lover of the show and we need to feel that instantly
Haemon/Antigone--remember to stay angled, off each other shoulders, rather than standing directly face to face. When you don't this, you block each other
Haemon/Antigone: Antigone find more moments for back mask towards Haemon and Haemon react to that distance and try to find her front mask and make her look at you
Haemon/Antigone: Find a moment in sweet embrace where Haemon treasures the back mask and is kind towards it
Antigone: when explaining why you acted that way last night try using more back mask towards Haemon to open you up
Ismene-on 2nd entrance be more sleepwalker, distracted, terrified rather than low energy. drift slowly into the space with your entrance but your vocals should start immediately page 32
Creon- the instant you appear we must buy you are a KING
Guards--always play the clean precise comedy, the constant rotation rather than clumping up. The lines/diagonals are much funnier and easier to understand
Guard #1: Play the stalling game more on cross to Stage Right
Elijah: Must be clear...BURIED. you are the first one to mention this to Creon so we must hear it and understand it
Elijah: remember your props (SHOVEL!!)
Creon use your kingly posture wisely in the throne, watch out from bending and letting your shoulders collapse in due to your height--it loses your King status immediately
In reactions to the 3 guards, Creon you can use your back mask sometimes rather than turning attention to each guard
ALL: Chorus in the 2 page interlude after Creon/Guard scene---it must sound like one voice, so get rid of all those pauses---learn your cues, and really engage the audience--tell them the story! energize all movements--work in sync with your full chorus
Ismene's chorus page 38 you can tell the audience directly downstage by your hang out spot, include them
Creon and Antigone: "Don't annihilate me with those eyes"..wait for her to make the movement to motivate the line, be chilled by her eyes, Antigone--really stab back mask/arms at him
Creon: you must look through your giant scene with Antigone--find the nuance, tone, change of approach so your voice is less monotone. Use your tactics, make your chess moves and watch her responses
Page 45: Antigone show us how you feel about description and stories of your family
Page 45: All make blinding eyes section on back mask huge and deliberate
Creon & Antigone: you must keep us engaged and caring about these two characters. Antigone knows she will die, but she wants to be heard and respected. Creon must feel respect and order but that is threatened by the presence of Antigone.
Fix arm pull-work with Clara to fix this
***GUARDS--learn lines and your blocking:)
Creon's Chorus: move with purpose and dignity towards juror's box (represent the KING)
All chorus: Try vocalizing tomorrow to support Creon/Antigone scene--find rhythms and places to support the action
Whenever you move as a chorus--add vocals to it
Creon's chorus: Back mask and arms out and open on page 51
DRIVE IT Creon!!!!
We will block page 54-55 with the family (Bryce, Kendall, Gwyneth, Andrew, Diego)
Haemon: walk further in and offer arms to meet Antigone during the "Happiness" section
Ismene/Antigone Chorus: page 59---make that bow and pull back huge and dance like..it needs to read 100% more
Chorus: during Haemon's scene with Creon make yourselves a clear barrier between them and only allow Creon through
Haemon page 62 stress man on this line "Was that man you?" You have some great instincts for this scene, we just need to nuance your fear and anger more
Guards 2/3 find reason,timing to sit and turn back mask towards Antigone during the letter writing section
Chorus: Watch the guard scene and make yourselves the barrier/jail bars physically
Sunday, October 25, 2015
Costume List Revision + Announcment
A few revisions from the last costume list have been made. Please give the articles of clothing in a bag with your name on it to either your stage management team or your styling crew tomorrow (Monday).
Antigone-
-Black 3/4 leggings
Ismene-
-Black flats
-Black crop top
Page-
-Black dress pants
-Blue button down
-Black dress shoes
Messenger-
-Khakis
-Brown dress shoes
-Dark polo
-Brown belt
All ladies wearing skirts-
-Spandex
****All chorus members will be called for 15 minutes after rehearsal tomorrow to try on your chorus costume. Thank you!
Chorus members called for costume fitting:
Zoe B
Kendall B
Grace Dills
Grace Dotson
Lucy G
Amelia L
Bryce S
Sofia S
Julia T
-OB
Antigone-
-Black 3/4 leggings
Ismene-
-Black flats
-Black crop top
Page-
-Black dress pants
-Blue button down
-Black dress shoes
Messenger-
-Khakis
-Brown dress shoes
-Dark polo
-Brown belt
All ladies wearing skirts-
-Spandex
****All chorus members will be called for 15 minutes after rehearsal tomorrow to try on your chorus costume. Thank you!
Chorus members called for costume fitting:
Zoe B
Kendall B
Grace Dills
Grace Dotson
Lucy G
Amelia L
Bryce S
Sofia S
Julia T
-OB
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