March 8 & 9

Friday and Saturday

Everyone	·         Men are overacting the women – We have had three clinicians say this. ·         Articulation – two of our three judges are BIG on this. The third judge is a mystery. ·         Adjust to blocking. The people in the back must do this. The people in the front have no idea that they are blocking you. ·         Clean up the train scene. ·         Freezing is not precise. NO EYE MOVEMENT – NO SHAKY BODY PARTS. ·         Every movement must be motivated. This means every turn, walk, etc. ·         Remember that each space must be looked at in view of our show.  We must adapt to each new space. ·         The next judge is big on period and style.  This means creating the world of 1938-1946.  No modern movements.  No “whatevers” – Girls in corsets.  People looking hungry, desperate, etc. ·         Pace is too fast in the scene where Billy shows back up after Nate has been hurt. ·         Fight scene with Nate must be more believable.  The gate – at the Frenship clinic – Hayden put on a stocking cap and was part of the gate.  Anywhere we can add deep voices in this scene, we need to. ·         Both Dr. Williams and Mr. Davis have stressed that Buchannan, our lead judge, is big on internalization – showing thought processes and feelings honestly. ·         As Mr. Davis said, “You must be committed to your character down to your shoe laces.” ·         We must have “Take my breath away moments” for the audience. ·         Weather must be worked on.  I will do this tonight. ·         Start rehearsing with water in whiskey bottles. ·         Slow mo with boys in voting. ·         Hit the bricks – song must be strong.  They sang to give each other courage. Carry signs. Loud so that Hilton and Kelly hear it vaguely outside.  WE HAVE TIME. ·         We need lightning and weather during the Billy –walking around is driving me crazy. ·         In the strike scenes and handing out pamphlet scenes, Graham is the only one left stage. I’ve asked you to fix this several times, so do it. ·         If you cough or sneeze on stage, use your hand or handkerchief.  Coughing in the crack of the elbow is a modern thing. ·         Celebrate the train backing up faster. ·         We need people in the mill before the vote scene. We need women handing out pamphlets before the vote scene. ·         We need people striking after the vote scene. You need to show wear and tear by the end of the show. ·         Keep the energy up after the train scene. ·         Louder when hammers hit. ·         Don’t rush lines. Hit consonants ·         Look through your lines and mark key lines and words that must be strengthened. ·         Hits must be in sync. POLISH   POLISH  POLISH!  Fine tune this show.
Hannah	·         Move behind Reg – Ach, Dearie ·         You are in charge of directing the people in the show. In the welfare scene, be angry that they would have fired you.  Be fiery. Have more energy at the beginning so that your breaking down is honest in the mortgage scene. ·         Lower your voice.  Watch strong women shows. ·         Crying didn’t work – Re think this ·         Move the chair to your left before the Nate climbing the wall scene. ·         Alice wants to solve the problems.  Step into quarrels. You are in charge of the ladies, in charge of the food, the flyers, etc. ·         Show your independence and how you think you are equal to the men. ·         We CHANGED things – proud of this.
Poor girls	We need to layer – aprons, sweaters, etc. HEAD SCARVES AND APRONS
Billy	·         Internalize some of the feelings.  Don’t get in Hilton’s face. ·         Pause before – did you ever think…..Crying on the chest was good. Let’s try to duplicate it.  I saw the Master – DON’T WATCH IT – NAKED PEOPLE – BUT – there are several scenes where Joaquin Phoenix cried, and Philip Seymour Hoffman comforted him on his chest.  It is very effective on two planes 1. High school actors find it difficult to show vulnerability and emotion with another male actor 2. It gives both actors another dimension.
Frank	·         Lead into the anger.  Let it build and your line about shifts starting is your motivation to get out and avoid a confrontation. ·         Radio scene – we need to see a shift and struggle
Carson	·         Listen more to Kelly as the show goes on. ·         Kelly gains your respect by the middle of the show. Figure out when it is. Be hurt when you ask her if she has gone over to the other side. ·         Frustrated. Loosen tie, roll up shirt sleeves, wipe brow with handkerchief. You should start to unravel physically when it is apparent that Hilton is  unraveling.
Women	·         Variety of reactions during fight scenes. ·         The guys are constantly fighting.  What are your roles in the show.  Stand up to the guys.  The strike is just as important to them. ·         We must see your eagerness for the strike in the beginning, but do you ever lose hope. Recognize Alice’s place and experience.  She must speak out boldly and when she speaks, women listen. At some point during the play when Olive is out there, someone take Olive to meet Alice. ·         See the way ALL of the women manipulate the guys.
Frank and Reg	·         Build to the emotion and commit to the hug.
Billy and Reg	·         You are telling the story about the kids – so look into the “yonder”
Nate	·         Come in quicker and with more urgency about the work scene.
Men	·         More disappointment – audible and physically when you don’t get a job. ·         Dr. Williams had a hard time hearing you with the shovels and the dialogue in the mill scene. ·         Help Billy get dressed. ·         We must see the contrast between Reg and the other guys.  Reg may be the only sensible one on stage.  How did he become a leader?
Reg	·         Stand on two foot step instead of the trunk or crate. ·         You must be powerful.  Control and guide the men. You are always aware that the strike’s success depends on whether you can control the men.
Olive	·         Your job is to persuade. The sound of your voice – we need to see you searching for a way to convince him. Olive is a manipulator. Hilton must see your worth to him. ·         Take pride in the concept of SCABS. The acronym was your idea. ·         Use a lower register.  ·         Board of directors should be slower.  ·         Find physical, emotional, and mental ways to make Hilton listen. ·         The only way you know Frank or Hilton are listening to you is if they are looking at you.
Olive and Hilton	·         Your first meeting you were both on the same plane. ·         We must see the light dawn on Hilton that if he doesn’t change, he will lose his position.
Marie	·         Your strongest asset is to charm men. Do this at the get go with everyone?  How do the women feel about you? ·         We need to see Marie manipulating the men from the beginning. ·         Flirt with everyone.  Be pushy – especially with Vinnie. ·         You need a watch! ·         Capiche to the front of Louis
Rose	·         We must see the strength in you.
Louis	·         Work harder with Marie trying to get her to see your side of the problem. ·         The first argument is the biggest so stress that.
Crew	·         Make sure the pylons are staggered, not stair steps and not on the same planes.