FRIDAY RUN NOTES

Notes from last Friday's run with the Friday cast. Please leave a comment if you are in this cast to verify that you have read and understood your notes. Notes from today's run with the Saturday cast will be coming later this evening.

FRIDAY NOTES:
General: When you have trouble with remembering a line, it’s usually because you’re unsure of the MEANING of the line. Talk to me if you have any line questions (I welcome it, I promise, it’ my hobby!) and we can sort out the meaning and make it easier to remember.

p.1 ALL – in preshow keep faces up and eyes focused on target.
p.1 ALL – sharpen character walks, make them bigger than you think they shul be
p.2 ALL MEN – really hit any words in this first scene that have to do with study, thought or the mind
p.2 BIRON & FERDINAND – Slow down 10% in this scene. This should be the slowest/clearest scene
p.2 BIRON – Use your “As thus” and “As” to set up transitions, really hit these.
p.3 FERDINAND – Focus on plosive sounds, especially at ends of words.
p.3 BIRON – Clarify idea in the “Item, if any mn be seen to talk…” speech. Slow it for emphasis.
p.4. ALL – You’re disgusted after handshake sequence, just perplexed at how weird it was.
p. 4 FERDINAND – Losing sound at ends of sentences. Mark your punctuation and really use them
p. 4 DULL – Take a moment to show Ferdinand the letter before you start reading the title
p.4 DULL – Cut the whisper on “There’s villainy abroad”
p.5 COSTARD – In “manner & form following” be precise about ideas (what exactly are you saying?) and let that speed up the text.
p.5 FERDINAND – Use “Will you hear this letter with attention” to reprimand Costard
p.6 COSTARD – More joy on “wench”
p.6 FERDINAND – Move center with Costard on “But, sirrah, what say you to this?”
p.7 BIRON – Use your last line, starting “I’ll lay my head to any good man’s hat…” to get offstage, all off by “Come on”
p.10 BOYET – There is no punctuation between “sole inheritor” and “of all perfections,” it’s one idea.
p.10 BOYET – How do you feel when the Princess insults you with “needs not the painted flourish of your praise”?
P.10 ALL – Make sure that ALL the ladies on stage are looking at the guy being discussed at any given moment, shouldn’t be looking anywhere else during this sequence.
p.11 ROSALINE – Focus on plosive sounds, especially at ends of words.
p.11 BOYET - Hit the ideas “lodge you in the field” and “besiege his court”
p.11 FERDINAND & PRINCESS – Slow down your initial banter; really show off for one another
p.11 PRINCESS – Flirt and play with Ferdinand in this scene, don’t attack him. Fun, not angry.
p.13 FERDINAND &PRINCESS – In the Aquitaine debate, it’s more civil, less attacking. You hold your ground, but you are royalty.
p.15 ALL – Unsure what you’re saying here. Ladies have fun teasing Boyet (not attacking) and Boyet teasing back.
p.16 MOTH – Focus on you plosives, especially at the ends of words (such as the ‘d’ of ‘lead’)
p.17 COSTARD – Slow down and emphasize “that’s the Latin word”
p.18 BIRON – Hit “The princess comes to hunt here in the park” or we won’t understand Deer Lake.
p.18 COSTARD –Use “Gardon, O sweet gardon” speech to get you off, so you are going through door by “Gardon! Remuneration!”
p.19 BIRON – Exit Up Right
p.19 PRINCESS – Play with “O, thy letter, thy letter”
p.21 ALL – Review Deer Lake, it’s only funny when precise.
p. 21 LONGAVILLE – Scream or Moan when you get shot.
p. 21 HOLOFERNES – More ‘performance art’-like on the whole “The deer was, as you know…” speech
p.21 NATHANIEL – Build through your lists, such as “to Phobe, to Luna, to the moon”
p.24 FERDINAND – Enter somewhat ooner, on “Here comes one”
p.24 FERDINAND – What are you saying in your sonnet? Not following the ideas.
p.26 ALL – This is where lines started to fall apart. Will have fewer notes from this point onwards. Please make sure you have your text in this scene and the next.
p.26 –DUMAIN – Make sure we hear you finish reading the poem “forsworn for thee.” before moving on.
p.27 ALL – Respond as each new person pops out from their hiding place. Should get bigger response with each reveal.
p.27 BIRON – Push chalkboard straight right instead of swinging it open.
p.27 BIRON – “Transformed” has an additional syllable on the ‘ed ending.
p.27 ALL – Less ANGRY. Tease and torment the other guys, don’t actually attack them in this scene. Also, have fun (especially Biron) playing your false innocence. “Oh, I’d NEVER fall in love!”
p.28 BIRON – The word is “inconstancy” not “inconsistency”. The meaning is the same.
p.31 BIRON – Start exiting on “We will with some strange pastime” so all off by “with flowers”
p.31 NATHANIEL – Build with each repetition in your ladder speech “I praise God for you”
p.31 NATHANIEL – Really give a pause after “without heresy.” before your next idea “I did converse…”
p.32 HOLOFERNES – Both speeches at the top of this page are lists, so build through tem.
p.32 HOLOFERNES – What are you saying in your “The posterior of the day” speech?
p.33 ARMADO – Cut hug/lift
p35 BOYET – Really hit ideas “disguised” and “Russians” whenever said
p.35 ALL – After Boyet’s “Like Muscovites or Russians,” insert “RUSSIANS??” as a reply.
p.37 BOYET – You can afford to be louder and build more through this scene.
p.40 BOYET – Move onto platform on “Madam and pretty mistresses”
p.41 FERDINAND – Counter left, to benches, on Princess’ entrance.
p.44 BIRON – Slow down all speeches in this scene