Week 10 & 11 - week commencing 24th November - Run through with Jo

The end is drawing near, we are performing at the end of next week! Which is crazy, it is very scary, and have a great deal of work to get done before then! This week there has been a big focus on tweaking and defining the entire piece. We performed a full through for Jo and she gave us some great feedback, which we will work on continuously until the performance. 

We collected all of our costume, from the costume department this week so we could work on transitions and changes into character on stage and off. We mainly wanted to rehearse the contrasting couple scene the most with costume, as this scene is very fast paced, and requires us to change very quickly in the view of the audience. Additionally we wanted to see whether we would need to alter any transitions because of the time it may take to change, which became very apparent in the transition from the work colleagues to Mildred and Barry part 2, as in the work colleagues scene, myself and Beth are wearing suits for this scene, so it will take a little longer to get out of these into Mildred and Barry's costumes so we are going to have Sally make a big deal out of introducing Mildred and Barry for a second time, with the use of the price is right theme tune and Sally introducing Mildred and Barry as if they have there own TV show. We made the decision not to have Mildred and Barry getting changed into character onstage, as it would take away from the introduction that Sally gives. 

Young couple domestic violence 

Additionally we worked on the young couple domestic violence scene, as it seems to be one seems that is not quite at that level yet. Cat has choreographed movement for this scene, that shows myself (Male) trying desperately to reach out to Cat (Female), but her movements respond quite abruptly pushing me away, until eventually she freaks out and pushes me completely away from her to the floor, then screaming and shouting for me to get out of her sight. I think this scene, will definitely provoke shock from the audience, as the scene before (the old couple puppets) is very endearing and uplifting, so to follow with this contrasting scene will make the audience feel on edge. Also we have decided we are going to wear black half face masks, to conceal any sort of reaction that may be displayed on our faces, I think this will make the scene that little bit more eerie and sinister, possibly making the audience feel confused. It took us a while to decide what track to use for this scene, as in some ways we wanted it to be quite silent in regards to us as actors, and the movements speaking for themselves. We decided upon Birdy - Fire and Rain, because we felt like it complimented the movements in which we display. 

This song reflects on relationships, that have their turbulent times, but through the struggle they always return to each others arms. Additionally this song delves into personal struggles in which individuals go through, in terms of depression and anxiety. 

Jo's Feedback 

• Do not rush the opening - There can be this element of the audience being sat down for a minute or 2 while Sally is wandering around the space doing her duties such as clearing up a messy table or handing out cake to the audience. Additionally it will work well if she really takes her time with her opening monologue to show how she is exploring what she is reflecting on (people). I almost see this monologue as a stream of consciousness in which the audience are lucky enough to be involved in, almost as if the audience have stepped into Sally's conscience. 
• There needs to be more clarity in the contrasting couples, as in when we move to the next couple, there needs to be this moment where Beth and I stop and address the each other as actors, perhaps just an acknowledging look before we sit down, so that the audience know this is us becoming a character after that point. 
• Staging - We still need to thinking about where we are performing at the moment, as Jo highlighted that in Mildred and Barry we are performing quite closed in, and just to each other, so it is a case of us literally facing out more which will draw the audience in more, and hopefully mean that all can see what is going on. Also we have made the decision that we will no longer have the audience on the stage, we want to have them pushed back, almost in the round but with no seats beyond where the bar is, as the audience will not be able to see anything. We think this will work better, as it will just open the space out more and it still means we still have this intimate feel, and the closeness to interact with the audience. 
  

As you can see we still a good amount of tables for the audience to sit at. We have chosen not to have the tables we are using to perform with on plinths, as it is unnecessary now, the audience will be able to see fully what is going on. 

• Puppets -  Jo highlighted that myself and Beth need to be more intimate with our puppets, and take more care with. In that at the end of the scene, we did not place them down with any care, and it lost the human feel to them by us doing this. So I think it will work better, if myself and Beth place them down very slowly and then by kissing them on their foreheads, to show the care we have for them. Additionally, Jo highlighted that we need to be looking at the puppets face as they moves things across the table to each other. 
• Shrek smelly man monologue - We had borrowed a fat suit from the costume department and we showed this to Jo, and she did not think that it worked as it came across to literal. She highlighted that it would be more ironic that Beth just stays as she is without the fat suit, because she is very slim. Less is more, Beth can make her seem fat with her physicality. Additionally Jo noted that us having myself and Sally chasing Beth around the stage with smelly objects to make her smell, does not need to be included, it just needs to be a case of Sally whispering into Beth's ear what she needs to reflect in this scene. I think this will make the audience wonder who Beth is playing and as she starts her monologue start to feel sorry for. Additionally I think revealing less works better, as then the audience can make their own assumptions. 
• Work colleagues - Richard's characterisation needs to be improved as it is not quite there yet. So this means I need to work on Richard's vocals, and the way in which he moves. I think most importantly I need to think about what Richard's intentions and attitudes towards Andy are. 
• Ex scene - This scene is an improvised scene between Sally and her Ex David, which involves David (Myself) making a shock reappearance in Sally's cafe after having left her pregnant 6 years ago. When he enters, Sally is very angry that he is there, they argue for a little while, but eventually decide upon the next day to reconcile properly, but when the next day arrives, David does not show. We have decided to end with this scene, as we start the piece with a very personal outlook from Sally, then throughout the play we explore other relationships, so we then end with Sally's own relationship. I think that highlights that the piece has come full circle ending this way. Additionally I think that the audience will feel a closeness to Sally in that she has revealed something so personal about her life. Jo highlighted that when I enter as David I need to make it clear whether I have entered the Cafe on purpose to see Sally or by accident. Obviously he has entered on purpose, so there needs to be this element of David's entrance that is strong, but with a slight nervousness at seeing Sally again. 
• Chavvy lads - We need to make them bigger,, we need to exaggerate our movements when we are introduced in the boxing match setting, as well as when we are rapping. Also we need to say our words bigger, as we say some really lewd and disgusting things, so if we speak them loud and in an exaggerated manner it will highlight that our characters have any trouble in saying these words, also it will highlight how they are attention seekers and like to cause trouble. 

The rest of the week will be a case of looking at this feedback in which Jo has given us, and working on it as much as possible. Additionally we need to run the piece as much as we can so that we know it inside out, and so that there are no issues with lines. 

Room bookings for next week

I bumped into Mark in the corridor so I booked rooms face to face rather than over email.

AC221 Monday 10_1 
Acg07 Tuesday 12-5
Wednesday AC207 12-5