Hi all: Nick, you treat the parentheses in the script pretty much as if they are commas. They can be asides, which leads me to an important idea. I like the idea that the original performances of the plays did not pretend that the audience was invisible. The fourth wall idea did not come along until the late 19th century or so. I love the idea of having as many asides, or speaking directly to the audience, as possible. I believe we should go for it and talk right to them, crossing down, if necessary, to fully engage, nearly as if th action onstage stops and we can talk to them during a freeze. We won't freeze, though.
A few more script things: page 30, Toby, Act II Sc.5 cut the line "How now, my metal if India." I meant to leave it out and inadvertently kept it in. It doesn't really work with our "surveillance" idear.
Also, Patricia, Maria's line is sort of weird if we move: "I know this letter..." to later, but I think
we can make it work. For all of these revisions, everyone, I am completely open to suggestions.
For everyone, we are trying to make the scenes aroung Olivia's house generally relolve around three areas: the veranda or "front porch" and the area surrounding it, her "day room" , which we will depict with a single appropriate sofa, and the beach near her house, on which will occur the fight between Viola and Aguecheek. A few of the scenes will take place on the street, while others will occur in the sidewalk cafe. Josh, our lighting designer, has a cool photo of a high end outdoor coffee shop that has helped us in the feeling we want for those scenes. The Antonio/Sebastian scenes occur on a beach. The hospital scene is accomplished with a gurney that is wheeled in Down left and includes a privacy curtain, sort of like an E.R. partitioned area. Much of the look of the play will be accomplished through bold lighting choices. The set is minimal and cool. I think you'll like it.
The music that is sung by Feste will be of Chris's composition. The pre-show and intermission will be songs pertinent to the play from all eras, but especially from the 90s to the present. We will record Chris doing covers of these songs.
Thanks for those of you who have recently sent bios. If you did not include a picture, try to get one, if possible. Thanks everyone, Hugh
Wednesday, June 25, 2008
Nicholas Zaharias
Nicholas is a recent graduate of the University of Utah's Actor Training Program. He has been in several productions during his time at the university and else where around the Salt Lake valley. Other role include: Javert in Les Mis, Leonardo in Blood Wedding, Eddie in Hurly Burly, Big Julie in Guys and Doll's, Orestes in Elektra, as well as several other multi-part roles in other plays. He has most recently been nominated for the Irene Ryan accomplished actor award in the spring of 08 and also the fall of 06 for his roles in Blood Wedding and Elektra. Nicholas plans to move to California this coming fall to pursue his acting career in L.A.. As well as finish up his Mechanical Engineering degree.
Tuesday, June 24, 2008
minor script revisions
Hey everyone: You know, in a "normal" situation, we would have started rehearsal last night. I am completely excited to see you all and start talking in person. I am going to try to make a lot of post entries here over the next two weeks. I hope you'll all read and add input. No question is off limits. Be brave if necessary, or if you find anything cool about anything, let us all know. We had a great production meeting last friday and things are going great. I wish I had a set drawing to show you, suffice it to say that it involves the corner of Olivia's house and porch on stage right and the cafe, which consists of two tables, a counter and a free-standing set of plantation blinds/shutters with the menu of the cafe on one side. This space will convert quickly into the surveillance room by switching the blinds and putting the tables together. There will be a laptop on the table and a monitor on the counter during the cafe and both will be used as surv. monitors during the "spy" moments. Some other cool elements will be the use of phones to communicate and finding the perfect way to receive the "letter" on a Blackberry, which we will see Maria write on the computer from the surv. room. I promise it will work and be cool.
There are a few script mistakes and changes I have adjusted. The goal is to be off-book when we start. I am going have you hold your scripts the first two times through the show so you can make staging notations and such. Our very short rehearsal schedule necessitates the off-book status. There are quite a few adjustments to the stage directions in italics but I will not include them here. I will refer to the changes in the script by Act/Scene and also page number. Their are 76 total pages.
Act I
Sc.2:
*page 3, Doctor replace "twas fresh in murmur" with "he confides in me".
*p.4, we will use term: "assistant" for Viola, rather than butler.
Sc.3:
*p.4, breaking my italics rule, Maria will be discovered with Toby entering.
*p.4, I wonder about calling Maria a chambermaid in our modern world. Maybe "assistant" as well. Ideas?
*p.7, Jason, can you moonwalk?
Sc.5:
*p.9, Maria and Feste cut lines starting with Maria's "Make that good" to and including her "saying was born, of 'I fear no colors'."
*p.11, Malvolio add, after "takes delight in such a barren rascal" the lines: "Look you now, he's out of his guard already. Unless you laugh and minister occasion to him, he is gagged."
*p.13, After Malvolio's "and he speaks very shrewishly" Olivia calls on her phone, saying: "Maria come: we'll once mor hear Orsino's embassy." Malvolio does not exit; rather, he waits with Olivia. I think it would be fun for Olivia to sit, finding the guitar or ukelele left by Feste, and pluck a note or two. It would be good if she can play or if she can't play so no panic necessary Amanda. Then, we see Maria and Viola at the edge of the stage. A line is then added for Malvolio. He says: "Madam." Olivia then says: "Let him approach".
*p.15, Heidi and I talked about the lack of her including the name of Orsino in her first words to Olivia alone, but I think I like it played as in the script with Olivia interrupting Viola's words, "Most sweet lady," with her "A comfortable doctrine." Yes? We will play with it.
Act II
Sc.1
*p.20, Antonio cut the dumb idea about having you insert, "Count Orsino". At one point it supported an idea I had, but no longer does.
Sc.3
*p.23, I know I talked to Chris about it but maybe not Joel. The song "Farewell dear heart...." will be a rap. We'll invent it later.
*p.25, Maria, Malvolio won't be bearded. We can change "beard" to "hair" if you'd like. No need, really, but it is an option. Through this whole letter thing, which we want to pull off by way of email and blackberry receiving it, it is possible that we change a few terms here and there. I would rather only do it if absolutely necessary and know that it is a fun challenge to not change them and make it work. Be aware, thought, that I don't object to changing a few things here and there. The biggest challenge will be when you and later, Olivia, refer to your "hands" when you talk about handwriting. Something to think about.
Sc.5
p.31, Maria, in order for you to be able to write the letter on the computer in the surv. room we will move part of one of your lines until later in this scene. Move "I know this letter will make a contemplative idiot of him. Lie thou there." and cut the word "for" before "here comes the trout..." Move the "idiot" line to page 33 after Andrew says: "for many do call me a fool." You will say the line, then push send on the line, "Lie thou there."
Act III
Sc.1
p.37, Feste line to read "I will construe to her whence you come..."
Sc.2
p.43, Andrew, cut the words "I saw't in the orchard"
Sc.4
p.45, Patricia, I have noted that the line "He's coming madam:" shouldn't be indented for verse structure. I think that line is supposed to be prose.
ALL FIGHTERS: for the most part, the fights will be fist fights. We sort of lose a little of the stakes involved in dueling but it is 2008. Joel, our resident certified stage combat specialist, has agreed to help with the fights. We could perhaps have the battle between Toby and Sebastian involve some broken bottles or something.
Act V
p.58, Feste change "my lady" to "Olivia" after "I am not sent to you by..."
p.61, change "barricadoes" to "barricades"
p.65, Orsino change line to "Will you let the lady know I am here to speak."
p.65, Fabian should say Clown's line: "Marry sir, I will." since he is the employee in our version.
p.70, Toby, change line back to "Surgeon" I had changed it to Doctor.
p.74, Malvolio change a few words in this line: "Speak from it if you can, in hand, or phrase: Or say, "tis not your word, nor your invention:" Also, return "lesser" people back to the original "lighter" people.
ALL: we will all sing the last verse of the last song, starting with "A great while ago..."
Thanks everyone. Love, Hugh
There are a few script mistakes and changes I have adjusted. The goal is to be off-book when we start. I am going have you hold your scripts the first two times through the show so you can make staging notations and such. Our very short rehearsal schedule necessitates the off-book status. There are quite a few adjustments to the stage directions in italics but I will not include them here. I will refer to the changes in the script by Act/Scene and also page number. Their are 76 total pages.
Act I
Sc.2:
*page 3, Doctor replace "twas fresh in murmur" with "he confides in me".
*p.4, we will use term: "assistant" for Viola, rather than butler.
Sc.3:
*p.4, breaking my italics rule, Maria will be discovered with Toby entering.
*p.4, I wonder about calling Maria a chambermaid in our modern world. Maybe "assistant" as well. Ideas?
*p.7, Jason, can you moonwalk?
Sc.5:
*p.9, Maria and Feste cut lines starting with Maria's "Make that good" to and including her "saying was born, of 'I fear no colors'."
*p.11, Malvolio add, after "takes delight in such a barren rascal" the lines: "Look you now, he's out of his guard already. Unless you laugh and minister occasion to him, he is gagged."
*p.13, After Malvolio's "and he speaks very shrewishly" Olivia calls on her phone, saying: "Maria come: we'll once mor hear Orsino's embassy." Malvolio does not exit; rather, he waits with Olivia. I think it would be fun for Olivia to sit, finding the guitar or ukelele left by Feste, and pluck a note or two. It would be good if she can play or if she can't play so no panic necessary Amanda. Then, we see Maria and Viola at the edge of the stage. A line is then added for Malvolio. He says: "Madam." Olivia then says: "Let him approach".
*p.15, Heidi and I talked about the lack of her including the name of Orsino in her first words to Olivia alone, but I think I like it played as in the script with Olivia interrupting Viola's words, "Most sweet lady," with her "A comfortable doctrine." Yes? We will play with it.
Act II
Sc.1
*p.20, Antonio cut the dumb idea about having you insert, "Count Orsino". At one point it supported an idea I had, but no longer does.
Sc.3
*p.23, I know I talked to Chris about it but maybe not Joel. The song "Farewell dear heart...." will be a rap. We'll invent it later.
*p.25, Maria, Malvolio won't be bearded. We can change "beard" to "hair" if you'd like. No need, really, but it is an option. Through this whole letter thing, which we want to pull off by way of email and blackberry receiving it, it is possible that we change a few terms here and there. I would rather only do it if absolutely necessary and know that it is a fun challenge to not change them and make it work. Be aware, thought, that I don't object to changing a few things here and there. The biggest challenge will be when you and later, Olivia, refer to your "hands" when you talk about handwriting. Something to think about.
Sc.5
p.31, Maria, in order for you to be able to write the letter on the computer in the surv. room we will move part of one of your lines until later in this scene. Move "I know this letter will make a contemplative idiot of him. Lie thou there." and cut the word "for" before "here comes the trout..." Move the "idiot" line to page 33 after Andrew says: "for many do call me a fool." You will say the line, then push send on the line, "Lie thou there."
Act III
Sc.1
p.37, Feste line to read "I will construe to her whence you come..."
Sc.2
p.43, Andrew, cut the words "I saw't in the orchard"
Sc.4
p.45, Patricia, I have noted that the line "He's coming madam:" shouldn't be indented for verse structure. I think that line is supposed to be prose.
ALL FIGHTERS: for the most part, the fights will be fist fights. We sort of lose a little of the stakes involved in dueling but it is 2008. Joel, our resident certified stage combat specialist, has agreed to help with the fights. We could perhaps have the battle between Toby and Sebastian involve some broken bottles or something.
Act V
p.58, Feste change "my lady" to "Olivia" after "I am not sent to you by..."
p.61, change "barricadoes" to "barricades"
p.65, Orsino change line to "Will you let the lady know I am here to speak."
p.65, Fabian should say Clown's line: "Marry sir, I will." since he is the employee in our version.
p.70, Toby, change line back to "Surgeon" I had changed it to Doctor.
p.74, Malvolio change a few words in this line: "Speak from it if you can, in hand, or phrase: Or say, "tis not your word, nor your invention:" Also, return "lesser" people back to the original "lighter" people.
ALL: we will all sing the last verse of the last song, starting with "A great while ago..."
Thanks everyone. Love, Hugh
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