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
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