February 8

Everyone	·         WEDNESDAY!!!!!!!!!!!!!!!!!!!!!!!!! Bring me your $6.50 if you ordered a lunch for Wednesday. ·         Since this is the second time we have done the show, it seemed too choppy – with the music.  I’ll fix it so that we go from one scene to the next with some music, but with banjo strumming instead. ·         Let’s reblock the beginning so that people will be in the right places at the ending.  Both scenes need to be almost duplicates except for the dead people. ·         Jack’s “dripping” is the cue to break the freeze.  Sing Humpty Dumpty jazzier and happier the second time – like you are off to a party. ·         Step on lines.  Step on scenes – transitions need to be faster. ·         Stop the Humpty Dumpty song as soon as the editor begins speaking.  ·         The first crowd scene needs to be more realistic.  You did that better after we went through the show. ·         Funeral scene – Freeze on the beautiful beautiful river. Freeze differently than the people around you .  Hum during this.   People who have lines – step up and say your lines and freeze. ·         The first and second speech/crowd scenes did not seem realistic.  There should be more ambient (people noises) sounds. ·         Make the audience feel part of the show.  TO do that – your feelings must be evident in your voices, faces, and bodies. ·         In crowd scenes, turn to the person behind you and make a remark or look at the person behind you and agree or disagree.  Look at others – not just in your group. ·         We need to see why Paige is on crutches.   We need to see Willie pay more attention to her in the back and make an effort to USE her when you are talking about the hospital.  This is pivotal because we cut out the part about Jack’s paralyzed son – that’s why he wanted the hospital, but he also wants a legacy. ·         There cannot be any noise backstage. ·         Slow motion at the end must be better and polished. When you unfreeze there should be more chaos and panic ·         After the Upton Bar B Que -  - Willie and a few are behind the scrim, and we see them as Sadie says  - Willie kept his word……Willie campaigns in slow motion behind the scrim through the editor’s speech, then it fades quietly. ·         Vary voices. ·         Between the funeral scene and transition – laugh loudly. ·         Do not clap during any crowd scenes until we tell you to clap. ·         Before the job offer, crowd needs to be around Willie USL. ·         Understand what your purpose is for entering and exiting scenes. ·         It was 52 minutes.   ·         All transitions need to be faster. ·         In crowd scenes, be different.  Do not stand in a semi circle. ·         BE QUIET – people who are setting up for the next scene.  No one should notice you. ·         Do not smile in the funeral scene. ·         Watch straight lines. ·         Women must be different. ·         Don’t back up. ·         Don’t block the light on faces, especially the ones on the 4 X 8. ·         Too many pregnant pauses. ·         Stop elephant stopping. ·         LEVELS
Mother	·         You sound memorized in your first lines.  These lines need to be spoken to Jack and needs to be heartfelt. ·         The words at the end are hard to say.  He was your father – During this time, - this was a big deal – still a big deal when a best friend has an affair with the best friend’s wife and an illegitimate child is the result.  ·         During Anne & Jack’s scene, fix your scene. Take your stuff out after your scene. ·         Lower your voice.
Men – the office men – including Sadie, Anne, Hugh, Jack, Adam	·         Don’t watch another scene.  Each scene is separate.  Jack is the only onlooker. ·         React with Hugh’s resignation.  This is a big blow. ·         React to Anne coming in and not seeing Jack. ·         Anne CANNOT SEE Jack. ·         We must see a type of celebration among the people when Adam accepts the offer.  Jack, how do you feel?
Music	·         Music needs to fade out.  I will change the music & work with Jacob. ·         Cut the Star Spangled Banner clip ·         Music was too loud several times.
Lights	·         Blue wash when Willie carries Sadie out.
Willie	·         Voices need to mean something. When you say that line, make the audience feel what you are feeling. ·         Come back BEAT move ·         Bring blue prints in – looking at them. ·         Tiny – stay out from under foot .  Can you grasp that ?  Make it degrading.  Hit the T on foot. ·         Mangled a dozen scholars – heartbroken and mad. ·         Lucy’s leaving me –  not believable.
Willie and Lucy need an umbrella.	·
Tiny	·         Use a deeper voice and work on the finger thing. ·         Put white folks out of work – diction.
Willie and Lucy	·         In the back, turn towards anywhere but audience and make us believe you are in love.
Tiny & Sugar Boy	·         Forget the banner.
Jack	·         You need to change your personality when you are with different people.  – Example – you are different with your teachers than you are with your friends.  All conversations were similar. ·         We need to see your decision to leave the redneck scene. ·         Rehearse in dress shoes.  Let me know what size you wear.  They will help you walk with more power. ·         Be shocked when your mother tells you that Irwin was your dad.  Can you trust anyone? ·         Make it personal when you say that you lost both fathers. ·         At the end, plant your feet and talk to the audience.  Go around the body. ·         What are you talking about – say it differently. ·         The traditional remedy – hit all consonants in that speech. ·         Going to movies – hit all consonants. ·         The conditions she earned her living –hit consonants. ·         He never touched the stuff – diction.
Anne	·         Leave with the sheet after that scene.  Hugh will put it out.  Take your towel out.   ·         Don’t forget to take the scrapbook out.  There are boxes in the back.  Ask Elijah where they are and put your stuff in a box. ·         I quit making plans – diction. ·         I’ve seen your father – work on this.  Why do you tell him this?  Seems like a line you memorized. ·         Remember that you are three different ages in the show.
Sadie and Tiny	·         Don’t talk upstage about the $6,000,000
Editor	·         Your body language needs to match you vocally.  We need to feel that you are in charge.
Jack & Editor	·         Audience needs to feel the editor is in charge.
Elijah	·         Great vocally & great physically.
Sugar Boy	·         Help the audience understand what your purpose is in the show.  When you and Tiny interact in that one scene – it showed purpose but we need it in all scenes.  We need some kind of stage business.  Read a newspaper until we have the guns so you can clean them. ·         Be sure there is a chair out for Hugh White.
Tiny and Hugh	·         After Anne and Jack’s scene in the office, take the bench Go from your left to CS. ·         When It is Lily’s scene, enter right to Judge’s house. Put table & decanter out. ·         When Judge is killing himself, vacate judge’s house.  Move everything.  Stay out of the light.
Tiny, Hugh, Sugar Boy, Sadie	·         Right before the last scene – move the table with typewriter and chairs that are in the way of the last scene.
Hugh	·         Your reaction with Jeffers Construction was wonderful ·         Beginning of Mother scene – take bench out.  Go from your right to centerstage.  There are marks where to put the bench. ·         When Willie says I will do these things so help me God, Put bench & Sheet with leaves out. Go from your right to CS. ·         DO NOT DO THIS - When Sadie talks about two timing, take the sheet out and put the short plant and towel out. Go from left to right.  Kadyn can take the sheet out and  bring the towel in. ·         Byram White is guilty – diction.
Rednecks & Jack	·         Your redneckieish needs to be apparent in your body as well as vocally.  The scene was way too slow.  Interrupt each other.  Jack, how do you feel about them.  Do you find humor in that they are uneducated and very racial as well as bias & don’t care. ·         React when Jack reads the quote to be put in the paper. ·         We should be able to “get” a vibe about how you feel about each other. ·         This scene was SLOW!!!!!!!!!!!!!!!!  Step on lines.   ·         Vary the way you sit, stand, move, etc.  The sheriff is the only person who is different.
Lucy	·         Lucy, you need stage business.  Busy yourself with getting drinks, etc.  You can speak as you are handing the tea around.  Just use the weird looking vase thing for the tea.  It is period. Not the pitcher. ·         Take your stuff out after your scene. ·         Hold Willie’s hand or his head when he dies and CRY!!!!!!!!!!!!! ·         Remember at the end that you thought you had lost him, but you lose him forever at the end.  ·         Take off the apron when Jack comes in. ·         What can you think of to do at the end instead of just standing there?  Maybe wipe eyes with a handkerchief because he loves you again.
Dolph	·         Slow down and hit consonants. ·         He gets biggity – consonants.
Sadie, Jack, Willie scenes	·         Plant your feet.  Don’t talk and walk.  Lines are too important in this scene and the walking weakens your characters. ·         Jack – think of your advice for Willie as if it is spontaneous. SELL it to Willie.  Willie, when he gives you the advice – be eager to improve. ·         You’ve been framed – Everyone is embarrassed.  Jack cannot meet Willie’s eyes.  Then Willie looks away embarrassed.  ·         Romance needs work
Lights	·         What happened to the lights on the ladder?
Sadie	·         Don’t walk & talk so much. Plant your feet and talk. ·         With what emotion do you say sap when you are center stage?  Affection? Disgust? ·         Take chair away after first scene ·         Change the phone. ·         No typing when actors are speaking. ·         Triple plated – hit all consonants. ·         Just so it isn’t a habit – slow down. I’ll kill him first – slow down. ·         Show that you are attracted to Willie. ·         Damn you – meaner – Why do you feel that way? ·         Lucy’s a fool – not believable.
Lilly	·         Be already in your seat when Jack enters, but you still need to enter into the scene in character.
Jack and Lilly	·         Jack, you can’t believe there is evidence.  Your surprise must be genuine.  Then, how do you feel about it?
Adam and Jack	·         We need to see some kind of a brotherhood between you two.  What is something that you always do that is just between you two – like a high five, but you can’t do that.  ·         It looks like you planned to sit down after you leave Willie’s office.  One of you stand with foot on bench.  The other can sit.
Adam, Jack, and Anne	·         Beer instead of alcohol.   Anne, when Adam and Jack are sitting there – take the scrapbook and sit between them – edging out Adam.  Or Adam can try to sit between you and Jack.  Figure this out>   We need humor about this time in the play.
Jack and Anne	·         We need to see the history behind you two.  More sharing jokes, repeated gestures – even with the one where she is uncovering the furniture, we need a sense of love and appreciation for each other.
Mother & Jack	·         We need affection. There should be more tenderness in this scene. ·         Give Mom the letter and let her snatch it away.
Hugh	·         You need to cheat out toward the audience.  Be sure that you pull up a chair and do not use the stool.  Yes I liked it needs to refer to – yes, I liked taxing the corporations, but I don’t like dishonesty. ·         After Lucy and Willie’s scene, move the bar around. Do this so that no one knows you are doing it.
Hugh	·         After Sadie says – Willie kept his word……without the help of the party machine - Take bench out for Adam Anne, Jack scene. Go from your left on stage to do this.  Exit left. Don’t draw attention to it.
To do	·         Fix cracks around side ·         Work on transitions for tomorrow.