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!
Tuesday, October 27, 2015
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
Wednesday, October 21, 2015
Costume List (reminder)
Please bring your clothing pieces if you have them to tomorrow's rehearsal and/or Friday's work call. Bring them in a paper or plastic bag with your full name and character name written on the front. And please keep your eyes open for clothing pieces for your fellow cast members and bring it in. Thank you!
*Also, please note that if there is nothing listed underneath your character name on the costume list, the styling team does not have anything for you to bring in at the moment.
-Olivia Balkam
*Also, please note that if there is nothing listed underneath your character name on the costume list, the styling team does not have anything for you to bring in at the moment.
-Olivia Balkam
Costume List
Cast Costume List
Please bring your clothing pieces if you have them to tomorrow's rehearsal and/or Friday's tech call. Keep your eyes open for clothing pieces that you may have for your fellow cast members and bring them in as well. Thank you!
Antigone:
-Zoe Stuckless
Nurse/Chorus:
-Gwyneth Bushman
Haemon:
-Quinland Thompson
Ismene:
-Maggie Conroy
Creon:
-Wolf Morgan-Steiner
Crisp white shirt
Black Dress pants
white undershirt
skinny black tie
Nice black shoes
Eurydice/Chorus:
-Sofia Vilches
black flats
Guards/Chorus:
-Aiden Sivers-Boyce
-Elijah Moon
-Mattie Richardson
Crisp white shirt
Black Dress pants
white undershirt
skinny black tie
nice black shoe
Messenger/Chorus:
-Andrew Foran
Page/Chorus:
-Diego Millan
crisp white shirt
White undershirt
Chorus:
-Zoe Bennett
-Kendall Berry
-Grace Dills
-Grace Dotson
-Lucy Grissom
-Amelia Levine
-Bryce Snyder
-Sofia Solares
-Julia Taylor
*Please note that if you do not have anything listed underneath your character name, the styling team does not have anything for you to bring in as of now.
Tuesday, October 20, 2015
Tech Calls - Week of 10/18
Here are the work calls this week, as we get this show ready to open:
-Wednesday, 10/21: No formal calls...as I get things ready to roll for the end run, I've decided to take the 21st and prep all of the things we need to get done.
-Thursday, 10/22 - 200pm to 500pm
-Friday, 10/23 - 900pm to 400pm
Be dressed to work and ready to get things done! See you then...
j.
-Wednesday, 10/21: No formal calls...as I get things ready to roll for the end run, I've decided to take the 21st and prep all of the things we need to get done.
-Thursday, 10/22 - 200pm to 500pm
-Friday, 10/23 - 900pm to 400pm
Be dressed to work and ready to get things done! See you then...
j.
Sunday, October 18, 2015
Schedule October 19-30
I apologize for some odd times but I want to honor the Conference dates (no school) and also I have some work training going late this week!
Tuesday October 20th: All Called 3:30-5:30PM
Finish blocking pages 39-43, pages 60-71
Wednesday October 21st: All Called 10:00AM-Noon
Finish blocking & review pages 39-43, Pages 60-71
Thursday October 22nd: All Called 11:30AM-1:30PM
Review all (Off book)
Monday October 26th: All Called 3:30-6:00PM
Tuesday October 27th: All Called 3:30-6:00PM
Wednesday October 28th: All Called 3:30-6:00PM
Thursday October 29th All Called ***6:15-8:15PM
Friday October 30th: Please hold TBD for daytime rehearsal with No School Day
Tuesday October 20th: All Called 3:30-5:30PM
Finish blocking pages 39-43, pages 60-71
Wednesday October 21st: All Called 10:00AM-Noon
Finish blocking & review pages 39-43, Pages 60-71
Thursday October 22nd: All Called 11:30AM-1:30PM
Review all (Off book)
Monday October 26th: All Called 3:30-6:00PM
Tuesday October 27th: All Called 3:30-6:00PM
Wednesday October 28th: All Called 3:30-6:00PM
Thursday October 29th All Called ***6:15-8:15PM
Friday October 30th: Please hold TBD for daytime rehearsal with No School Day
Saturday, October 17, 2015
Thursday, October 15, 2015
Rehearsal updates
Hello everyone! Thank you for your patience, commitment and fun at rehearsals.
Off book by next Wednesday (even scenes not yet blocked)
Check schedules for daytime rehearsals on Wednesday and Thursday and tell your awesome Stage Manager ASAP if they are an issue!
Thanks! Clara
Off book by next Wednesday (even scenes not yet blocked)
Check schedules for daytime rehearsals on Wednesday and Thursday and tell your awesome Stage Manager ASAP if they are an issue!
Thanks! Clara
Sunday, October 11, 2015
Reminder for October 12-16
Monday October 12th:
3:30-5:30PM Antigone, Ismene, Haemon, Nurse Called Only
Tuesday October 13th:
4:00-6:00PM Antigone & Creon Only
Wednesday October 14th:
5:15-7:30PM Run All Blocked & Choreographed for Review (As Off Book as Possible!)
**If we have time Block 39-43 Antigone, 3 Guards, Creon, Page
Thursday October 15th
4:30-6:30PM ALL Called to Pick up any Blocking we have missed
Run Choral/Full Ensemble
thanks!! Clara
3:30-5:30PM Antigone, Ismene, Haemon, Nurse Called Only
Tuesday October 13th:
4:00-6:00PM Antigone & Creon Only
Wednesday October 14th:
5:15-7:30PM Run All Blocked & Choreographed for Review (As Off Book as Possible!)
**If we have time Block 39-43 Antigone, 3 Guards, Creon, Page
Thursday October 15th
4:30-6:30PM ALL Called to Pick up any Blocking we have missed
Run Choral/Full Ensemble
thanks!! Clara
Tuesday, October 6, 2015
Work Call - 10/10
For those (SW)2 enthusiasts who enjoy getting their hands dirty, we're hosting our first work party of the year this Saturday, October 10th. If you've a little time between 1200pm and 500pm, we'd love to have you...no experience necessary!
We'll be in the auditorium, so swing in through the stage entrance!
j.
Monday, October 5, 2015
Sunday, October 4, 2015
Rehearsal Schedule October 5-9 & October 12-14
Hello!
I hope Ashland was a wonderful burst of creative energy and I can't wait to hear all your experiences.
We are missing a few of our key players this week so we will focus A LOT on Chorus work, chorus interactions in Scenes, and Creon and the Guards/Page.
Monday October 5th:
4:30-6:30PM All Called --Finish Prologue, Work Interjection on Page 37-38, Work interactions in Antigone/Nurse, A/Ismene, A/Haemon scenes
Tuesday October 6th:
4:30-6:30PM All Called--Continue work on Chorus within Play, Block Messenger Monologue, Chorus and Creon end Page 69-end
Wednesday October 7th:
4:00-5:00PM All Called--Run all Choral Chunks, Messenger Monologue, Page 69-End
5:00-6:00PM Block Guards/Creon/Page Only Page 33-36
**Some changes may happen in this next week if we move quicker than anticipated with Blocking and filling in Antigone/Haemon--
Monday October 12th:
3:30-5:30PM Antigone, Ismene, Haemon, Nurse Called Only
Tuesday October 13th:
4:00-6:00PM Antigone & Creon Only
Wednesday October 14th:
5:15-7:30PM Run All Blocked & Choreographed for Review (As Off Book as Possible!)
**If we have time Block 39-43 Antigone, 3 Guards, Creon, Page
Thanks!! Clara
I hope Ashland was a wonderful burst of creative energy and I can't wait to hear all your experiences.
We are missing a few of our key players this week so we will focus A LOT on Chorus work, chorus interactions in Scenes, and Creon and the Guards/Page.
Monday October 5th:
4:30-6:30PM All Called --Finish Prologue, Work Interjection on Page 37-38, Work interactions in Antigone/Nurse, A/Ismene, A/Haemon scenes
Tuesday October 6th:
4:30-6:30PM All Called--Continue work on Chorus within Play, Block Messenger Monologue, Chorus and Creon end Page 69-end
Wednesday October 7th:
4:00-5:00PM All Called--Run all Choral Chunks, Messenger Monologue, Page 69-End
5:00-6:00PM Block Guards/Creon/Page Only Page 33-36
**Some changes may happen in this next week if we move quicker than anticipated with Blocking and filling in Antigone/Haemon--
Monday October 12th:
3:30-5:30PM Antigone, Ismene, Haemon, Nurse Called Only
Tuesday October 13th:
4:00-6:00PM Antigone & Creon Only
Wednesday October 14th:
5:15-7:30PM Run All Blocked & Choreographed for Review (As Off Book as Possible!)
**If we have time Block 39-43 Antigone, 3 Guards, Creon, Page
Thanks!! Clara
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