Notes - 11/1 Crew Run

 

Hey y'all - 

Here are the notes for the Crew Run.  I'm sure you felt it...not our best work.  That said, I think you know I feel runs like this are necessary to bring our attention and work ethic back, focusing us on the work to be done.  Take the notes in, and if you've any questions, come find me!

Ian - Watch anticipating the doorbells...react

Orie - Check your angle on your entry position...make sure you can see a solid 1/3 of the audience

Savy - Beautiful entry...good beats, well established

Joeyy - Great energy...make sure to ground and grow your neurotics as the tension builds.  Don't start at an 8, 9, 10

All - Work to match Joeyy's stakes, energy, and intensity!

Elodie - Cut off the dog barks when Ian says 'Sit!' (pg. 12)

Ian - Save your 'Good Evening' to Scarlett/Plum until after the music cue

All - You're anticipating cues and jokes...watch out for this

Aspen - Wait until the cart crosses until you speak (pg. 14)

Ian - Wait until the second gong to continue your lines (pg, 15)

Marissa/Molly - Start the dining change AS they're crossing out of the lounge 

Marissa - Slow your entry...make it very deliberate until 'Dinner is served'

Guests - Take a beat to look at each other after Marissa's 'Dinner is served'...then bustle to your seats

SMs - Let's angle the table and respike for the dining room

Connor - Support your voice throughout...got low and quiet several times

Orie - Slow up 'Wadsworth, we've all had enough of this...'

All - Leave your spoons on the table, not the bowl...the bowls fit under the riser

Props - Fill the folder

Ian - Put the Confidential envelope and folder on the drinks cart rather than the floor

Savy - Push Connor when he slides over away from Aspen

All - Take a beat when Mustard crosses to the chair in order to watch in disbelief

All - Missed beats: 'Cut off his...you know', 'Naked Alibi', and 'In public, to kill'

Connor - Keep his fear and stakes genuine!

Corinna - Remember to keep your register as low as you can with good technique and comfort

All - Make the collective decision to sit after Boddy asks you to

Ian - Remember who gets what weapon...

All - Remember it's 'sting - weapon reveal'...be specific

Ian - Don't overplay the suave and sophisticated acknowledgement

All - Remember, it's 'Now - Scream - Gunshot - Scream - Lights - Final Scream'

Connor - Too loud (pg. 33)

SMs - Spike the study module

Orie - Check your rate of speech and diction when you get shout-y

Corinna - Hold the lead pipe in your looped-over hand and against your head

Cass - Wait to continue your lines until Ian stops hyperventilating

All - We'll fix the Boddy-to-the-study transition

All - Sustain your stakes and energy...you're all at risk!

Ian - Let the music play for a beat or two longer before taking the key to the door

Ian - Let's work the 'Eeny, Meeny, Miney...No' beats

Ian - Simplify the 'No one in their right mind would be alone...'

All - We'll solve the library/evidence problem

Cass - Make sure to see the 'Trap door' down the hall, not in the space

Cass - Orie has to go down the ladder first...we'll work

Ian - Overplaying your face, again (pg. 56)

Ian/Eden - You can't come back onstage until Cass makes it back to the lounge (pg. 58)

All - Beats are: Open door - Music - Cop looks around - Music drops - Guest speaks

Eden - Speak up...too quiet in lounge at least

All - Open the library farther

Molly - Can't crash to the floor on your strangulation...too close to the edge

Molly - You don't need to be up there during the group Billiard Room scene

Sebastian - Don't anticipate your cutoff...continue singing until you get shot

All - More bustle from the kitchen to the study (pg. 65)

Molly - Get your scream right during the monologue

All - 'Ze Cook!' line and beat were EXACTLY the timing we're after on these jokes!

Ian - Watch rushing your tempo past where we can understand you

Ian - Don't sit for the Canoe lines

Savy - Take a beat after 'Heaving Breaths' before your final line

Ian - Overplaying again...this time on the pun-oriented lines (pg. 71)

All - Don't move until Ian snaps to start a final rewind...just stare in disbelief

Ian - Make a more clear physical shift from Wadsworth to Boddy to go with your voice

Connor - Love the shuffling dodge of the bullet...clearly watch it, though, from gun past your body

Connor - When you hear the guests gasp at Ian stalking you, fully extend your hand with the pistol

Connor - Too close to Ian for final shot

All - Can't use the song...but it was fun!

Ian - Keep your improv focus on the fact he's dying...really focus on cliches and tropes we see when movie characters are dying

Curtain Call - Work your attacks...have fun and mean them, timing-wise, or we'll have to pull them.  Very slow and unfocused