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Jarod was out, so the wonderful reports and their “normal” formatting is missing. There were many actors who were out due to prior commitments so three actors showed and did scene work. Initially, Keppler showed before all others and ran monologues with Zoldessy.

This is one of the critical times as Keppler is just at the point where she is getting off-book, which is theater parlance for “she’s memorized it and is not using the script anymore.” This moment is when actors really start to take ownership of the character and the words, more expressive possibilities emerge, and both the actor and the director start finding nuances in the words/script that can be used. There are also shifts within the text between ideas (“beats” in theater and playwright parlance) that require changes in momentum, shifts in energy levels, allow for different directions in blocking and movement, and so on. So, the long and short of it is that Zoldessy and Keppler worked for a good hour on the opening monologue.

I listened and watched, and then puttered around playing with the video mixer which I thought would have the capacity to send two different channels to two different outputs (tvs). It did not. The Edirol V-4 that we’re using only sends one signal to all outputs; you can select different signals, but then that is the only signal being pushed out. This has implications for whether or not we can show two different images on the tvs at the same time. We can do that, but it now is going to be more involved.

After discovering that, I began clearing the cameras and tripods and wires and tvs out of the space, as Parson’s Fire Dance is going to be rehearsing in the same space we’ve been using. This adds time to our setup and prep and tear down, but must be done.

The rest of the time I sat and enjoyed watching Regnier and Metrisin and Keppler having it out as Father, Mother, and Daughter. Regnier’s outbursts are quite convincing and intimidating. Michael is quite a fine actor, and I’ve seen him in numerous concon productions including as Dodge in Buried Child and the Oculist in Jenkin’s Dark Ride.

Rehearsal Report

Date: 2/11/2011
Start Time: 6:30
Break: 8:15 – 8:25
End: 9:00

Summary:
-With the absences, we walked through the scenes and reviewed blocking, pages 1-28 with those who attended in detailed fashion.

Director/Playwright:
-All off on Monday!

Props:
-For the Doc’s short scene, we added a stethoscope to the prop scene, and we have since decided to do away with it.

-Originally it was determined to have 3 chairs on each side for the company while they are not in scene. We would like to make that 4 per side, making that a total of 9 chairs including Aisa’s rolling chair in her workspace. And remember, 2 of the chairs that will be moved to the center platform on multiple occasions must be as close to a 90-degree angle as possible to hold the plywood.

-Does the dressmaker’s form roll? We are under the impression that it is indeed on wheels.

-Add a screwdriver to the props list.

Costume:
-For the father (Michael Regnier), he will need a robe with two ample pockets to fit a beer can and a newspaper in each. Also for Michael, his Doctor’s coat should also have two pockets for his head mirror and videocassette.

-Add a hat for Father character and Guard character and Frau Holda character. Brian is not concerned about what kind of hats, details to follow…

Set:
-The 3 tables needed at Aisa’s workspace have to be very small. We’ll place the typewriter table diagonally USL. Ideally, the typewriter and dollhouse tables will be small enough to just fit the objects. The sewing machine table can be slightly larger to accommodate small sewing props.

Misc:
-Changed Sunday’s meeting time from noon to 1pm. Debbie will come in first, then Michael and Lynna will follow at 2pm. Debbie will work all monologues, then the three will work any scenes that concern them all.

Sunday, Feb 13th 1 pm
Review Debbie, Michael, and Lynna’s scenes only. Jim, Sharmon, and Laura will be absent. John is excused.