The State of the Drama Nation

The State of the Drama Nation 2008 “Lend Me a Tenor”


In case you haven’t heard, we have added a Saturday matinee to our “Lend Me a Tenor” production. It will occur at 2:00 p.m., and obviously, we need to start publicizing that. Regardless, here is the standard State of the Drama Nation post. Please read each section carefully.


ACTING

Rather than discuss acting in general, I would like to discuss each character individually. However, there are three areas in which all characters need to work. If nothing else, realize that all of these are significant issues.

1. Pace
2. Consistency
3. Volume

There are portions of this show that just start to drag. I have some video files from Saturday, and believe me, when you watch, you’ll agree. In terms of consistency, many of you are in and out of character. Finally, VOLUME is an issue for almost all of you, but I’ll address that below.

TITO

Here’s the thing, you have truly made steady progress during the course of this entire production. Furthermore, you’re a really good listener, and that will serve you well later in your career. Now, to take this character where he needs to go, I need you to ponder and respond to the following challenges:

1. Consistently move your body in a manner that is representative of a middle-aged, overweight, Italian, opera singer.
2. Avoid the improvisation and attempts to be “cute” with this character. This occurred frequently in the second run yesterday. Tito Merelli would never mock his wife. Merelli is not a follower; he does what he wants. Tito is never small, cute or clever. He’s a womanizing, spoiled, big bag of wind. I don’t want him to be “cute.” It doesn’t fit.
4. Furthermore, I still don’t see you being stressed out or worn out enough in the second act of this play. He was comatose, woke up, dressed for a show, was accosted by the police, struck an officer, ran back to his hotel, was accosted by multiple women, chased, etc. He should seem much more exasperated in the second act. By the time we make it to Maria’s return. He should look like a desperate man. I haven’t seen that.



MARIAS

I continue to be slightly befuddled by the Marias. Both of you have the character, but neither of you have managed to maintain that character for an entire production. Yesterday, Mandy and I worked on it in the morning, and I felt like we made some progress. Kelechi seemed way out of it yesterday, so I can’t make judgments on that. Either way, this is what I need from you:

1. A clear understanding through your portrayal that you treat Tito like a child. The constant “take you pills” is a great example. She’s not asking him to take his pills; she’s telling him! She’s a nag.

2. Secondarily, I need that bedroom scene where she says she’s leaving to be more touching. I need to see that you’ve truly reached the end of your rope, and that you’re leaving because of the way he treats you, and more importantly, because he’s always cheating on you. THEN, when you find Maggie in the closet, instead of anger being the only reaction, we have a feeling of being HURT added to the equation.

3. Finally, I still believe it’s possible, but will I ever hear the SHUT A YOU FACE the way it’s designed to be. It needs to be more Italian.

4. Speaking of being more Italian, I wish you girls would be a bit more expressive with your arms. Italians talk with their hands. Don’t be afraid to use them. Maria is supposed to be a “donkey on the edge.”

MAX

OK…here’s the thing about you as an actor Matt that I don’t know how to break. We talk about lines, I know you understand how to say them, we practice them, and then, you go back to saying them the way you always have. Obviously, this isn’t true for all lines. However, there are places in this play where you say certain lines that do nothing to add to the character. Here are some quick examples:

1. In the sequence with Saunders where you are “filling in the blanks” right before Saunders goes down to get Tito and Maria, you continue to answer Saunders questions as if you totally remember the answers to all his questions.

2. When Tito wants to kill himself, you still refuse to maintain a sense of being motherly. Basically, you are supposed to become Maria at that point. Now, for the record, neither Maria has established that motherly quality entirely. However, it’s there.

3. Almost every single singing moment is an issue. It’s not an issue because of your voice; it’s an issue because you make NO ATTEMPT to act during these sequences. You don’t have to sing well. It would be nice, but it’s not necessary. You do need to act well at all times.

4. The lines when you’re in the bedroom talking to Saunders about being too scared to do the part. That sequence doesn’t strike me as being realistic in any way, shape, or form. It’s all in the covert actions. When does he first become so nervous? That’s the question.



Please remember, I have more actions and blocking for you and Tito. I’m giving you one more chance to do the duet together, and if it’s not good, then, I’m going to have no choice but to run the music with the voice track with you guys.

Matt, please don’t think that I’m suggesting that you’re not trying, and please don’t believe that I’m suggesting that you’re not doing well. You have done a great deal for this production, as usual, but I also know that you want to be better than good. I’m just trying to tell you how.

SAUNDERS

Yesterday, in the first run, I didn’t think Jacob could be much worse. In the second run, I didn’t know if he could be much better. That was an amazing difference. Honestly, if you ever get the lines right, I’m certain that you’ll pull this off. However, here are the traits and qualities of both Jason and Jacob that still must be addressed:

1. Both of you lack the ability to pace and move side to side like a nervous business manager. Both of you move and gesture in a far too relaxed way. This guy has consumed so much caffeine that it could take years for him to calm himself.

2. You’re both missing that Mr. Krabs love of money concept. It’s very unclear as to the motivations of this character. It’s all about money and reputation. All he knows and understands is money. He sees only himself and how things affect him. If you don’t make that abundantly obvious, I’m going to like this guy, and I’m certain I shouldn’t. Note: It’s not about being mean and hateful though. Look at Mr. Krabs…do you hate him?

3. Finally, your relationship with the Bellboy needs to develop. That character represents the only person you can actually bully and get away with. Even your bullying of Max is fairly ineffective. However, the Bellboy represents the one person you think you can dominate. For the record, I don’t think you manage to do it, but that’s OK!


MAGGIES

Well, both of you have the right idea in almost every sense of the word. I keep telling you that you have to maintain the girlish quality in her. She wants to be a woman, but in reality, she’s a girl. Also, remember, your father is Saunders, and in that first scene, we see that you are able to bully him. HOWEVER, in the same sense that your father wants his way all the time, you’re no different. I wouldn’t call the character “spoiled”, but I would call her sneaky and determined. Here are three parts to work on:

1. The coverts in the second act are still an issue. Maintain your coverts even when you’re not comfortable.

2. Be assertive with Saunders at all times. You obviously know how to talk to your own father. Rotate between the “Daddy’s Girl” image and the “Defiant Child” routine.

3. Ponder your actions after Max hides in the bathroom after the chase. By the way, what ever happened to Matt jumping over the bed? Anyway, it seems to me that from that point forward, Maggie matures and becomes a woman. It’s not what happened moments before; it’s how she responds to the realization she has been used. OK?

4. Finally and most importantly, the very first scene of this play is a place where both of you need to do a better job. The line with the “bells” is critical, and it gets lost. Be sillier in this scene. Portray her as a bit of a giddy girl who’s in love with this opera singer. It’s the Elvis thing! Why were girls screaming at the sight of Elvis? Why would anyone scream? Why do girls think stars have something that an average person doesn’t have? Keep the pace of this scene moving.


DIANAS

I like my Dianas. Both of you bring something unique to the character, and in many ways, you play her in a very similar fashion. I’m not sure how much Ari was paying attention when I was addressing Jackie in the last scene yesterday, so here’s a recap of what I need you to focus upon:

1. In that last scene when Max hides in the bathroom, you are supposed to be a contrast to Maggie. While she’s upset and broken-hearted, you’re like, “Oh well. It has happened before, and I’m sure it will happen again.” Don’t act mad at Max, except in the part where you’re pounding on the door. Ironically, neither of you do that part exceptionally well. You need to be sweet, you need to be sweeter….wait…….MAX! OPEN THE DOOR AND GIVE ME….! Get it?

2. Make 100% certain that you clearly and obviously state the fact that Tito can really help your career. This line, which evades me in phrasing, occurs in the first scene in which you appear. “You know what he could do for me Max. One call from Tito Merelli….” That line really will undo some of the awkwardness of the later scene. It’s that, or I have to make some cuts.

3. Finally, both of you, but especially Jackie, need to maintain your volume throughout this play. I don’t know what it is about the character that makes her quiet, but we really MUST improve our volume.


JULIAS

At any given time, either one of you has done this part well for a time. At no time has either of you maintained it throughout the play. Yesterday, Cheyenne was doing a good job, and I came backstage and told her. What did she do? She came out in the next scene, and it was like a totally different character. Here’s what I’m after….

1. The walk you two are using is great, but at times, I think it’s limiting your ability to express yourself with your hands. Keep the walk, but remember to use your arms as well. OK? Be more demonstrative.

2. In the flirtatious scene, you’re not being assertive enough. He gets pinned against that wall, and it seems like you run out of things to do. Be creative. You are not shy by any means. You’re an old flirt; act like one!

3. Finally, I would like to see the two of you work on your relationship with Saunders a bit. Saunders is someone you work with on a daily basis, but he’s not someone you take seriously. You see Saunders as a big bag of wind who can be ignored. The more he gets upset; the more you ignore him and do what you want.

4. Also, there has to be a larger amount of sophistication in this character’s voice patterns. She is very similar to a character in “An Ideal Husband.” She needs to be a bit outlandish. She’s the head of the Opera Guild! Make her more sophisticated please.

The BELLBOYS

I love the Bellboys. I really do. Both of you are so much fun to watch. It’s ironic because both of you are so apathetic about doing this. Everyone will love you in this play. Everyone already does. Have fun with this will you. Is your life filled with so much fun that you just can’t stand the thought of having fun for a week more??? Here’s what I need:

1. Yes, you know it’s coming…..ANGLES!!!!! Both of you have to be conscious of them.

2. Windows….in many of these scenes, the Bellboy becomes a character who observes a lot. Don’t get lost in these scenes. Find your windows.

3. Keep the Bellboy moving. He shouldn’t be slow. He’s a caffeine addict
too! He’s hyper, and he probably never sleeps. Don’t be slow in
movement. Notice, I didn’t say speak faster! I said be quick in motion.

WE HAVE MADE PROGRESS. WE HAVE MUCH MORE TO DO!


The final comment I have concerning acting is a reminder that this is a farce. In a farce, we exaggerate reality. We make no attempt to be funny. It’s all BATMAN. Trust me….Jacob figured that out yesterday.


LIGHTS and SOUND

OK….I’ll take all the blame for the constant lighting changes. Sadly, there are more coming. Let me have it. Lights are fluid. They require constant changes, fluctuations, adjustments, etc. Roll with those changes. Don’t let it stress you out.

Last night after rehearsal, we moved some more lights, and we angled others. This will obviously cause issues that we’ll need to deal with. However, since you wanted to be techies….it just gives you more work to do. That should make you happy.

As for sound, we should recognize that at some point tomorrow, we absolutely MUST set sound levels for each of your effects. I am going to visit the projection booth in the next couple of rehearsals, and I will spend the entire rehearsal there. You need to understand what it will be like running tech with me breathing down your neck.

Finally, this PowerPoint still isn’t finished properly. Someone MUST make this thing work tomorrow. Jacob, why do you keep missing the cue for the translation? We need to build a blinder for the computer, and you need to move closer to the wall. Do that in the morning.


COSTUMES

It appears that everything is in place. I don’t have much to say here except that I’m not crazy about Ari’s dress in Act II. I don’t have an alternative or a solution. I’m just expressing my feeling about it.

Also, I wish Dan looked much fatter. This would be helpful in a variety of ways. Foremost, when he is “dead”, it would create a better effect, and it would create a “buffer” for Saunders attacks.


MAKEUP and HAIR

The girls who had their hair finished on Saturday looked great. However, we didn’t even do anything with the guys. I should identify the fact that men in this time period slicked their hair, specifically when they attended a formal affair. Have we discussed this? I would like to see it. What do you need?

I am still without clarity on who exactly is going to help apply this makeup, but tomorrow is the day for me to see certain concepts. I need to see the old age makeup on Julia. I need to see Tito’s makeup prior to black face. Finally, and most importantly, I want to know what we’re going to use to get Matt’s face clean in a short amount of time. Answers please.

ART

I’m not going to say much here, except…….ALORA NEEDS HELP! There is still a large amount of painting to be done. The hallway still needs to be painted. See the construction note below.


CONSTRUCTION

We need the closet finished, the facing on the bathroom faced, and finally, a door reattached, Then, if my illustrious Drama I’s can finish that complex bookcase, I have a project for them involving concessions. Oh…I have no idea when you’re going to work on any of this. What we have done so far is excellent. However, we must finish quickly.


CONCESSIONS

Mandy assures me that all is well. I obviously haven’t found bow ties yet, but I have thoughts on all of this. Talk to me tomorrow. I’ll have your check-in desk. I promise. Call.

PUBLICITY

OK…we have some pressure again. I need to know whether or not we submitted the morning announcements to the office? I need someone to start promoting the matinee. Can we reduce the price of the matinee to help get folks there, or do you think it won’t matter? What about ticket sales, ushering, etc. I NEED SOME ANSWERS HERE!!!!

PROPS

We’ve done good work here. I don’t know of anything we need other than a Chianti bottle. Didn’t someone say they had one? Otherwise, I’m looking for some small pieces of furniture, preferably white. Doe anyone have anything like that at home we can borrow? Thanks girls.

FINALLY

To all of the Drama I’s, I’ll be watching and searching for audiences for you this week. Just be patient and flexible. I need stage crew help for the one-acts, so Josh should be prepared to roll. We need to coordinate efforts this week, and it will become imperative that all of your materials do not become entangled with other plays.

On that note, I have moved all of the One-Acts’ materials out of the storage closet on side stage, and now, they are located in the auditorium. I will bring a clothing rack out of the prop room for you tomorrow. Furthermore, I’ll be explaining the placement of everything else tomorrow and Tuesday.