Firstly, it is pretty disappointing that some people continue to miss rehearsals, especially when we only have two weeks left. You might think, "oh, I know my lines," or something like that, but that is only the start of a performance. If you are not at rehearsal, someone else is doing your blocking and the other actors are working with them, and you are not progressing and you are making it very difficult for the rest of us. SHOW UP, or you will have to be replaced.
On Monday, bring in any clothes that you think might be suitable for your character. If you don't know what a tunic is, ask me. We have a few pairs of boots. Value Village is a great place to find gear -- if the cost is an issue, bring your bill in and Ms. Kosar will reimburse you.
You need to be off book now. You can't really act, if you are looking for your part in the script.
Think of how you would react in the situations in the play. You need to think of REACTING to what is going on around you, not just waiting for your chance to speak.
We ran Acts 2 and 3. If you have scenes in these acts and weren't there, you need to be sure you don't miss any more rehearsals. In three weeks, the show will be over and then you can do whatever you like with your free time, but now you have a commitment to this show.
Scene 1: Fleance, laugh at your Dad's joke -- he's always talking about the weather!
Everyone, if you bump into someone in your scene somewhere other than the theatre, act it out. You can't practice enough!
DO NOT DROP YOUR VOICE. Some of you are acting greatly, but if no one can hear you, it doesn't matter!
Remember, you're a soldier, Macbeth. You need to try to pull yourself together. Don't give in to fear, even though you're terrified. Let us see both sides of it.
Great on "nature seems . . . "
"Horror" -- pronounce the end of words.
Scene 2: Figure out where you should be to make the next entrance. Plan ahead.
"surfeited" is pronounced "SERfitted"
Both listen at "hark"
When Macbeth yells, quash him. You are afraid someone will hear!
Lady Mac -- a bit of panic in this scene. What if Macbeth LOSES it completely?
Don't turn upstage!
"make us mad" -- he is mad!
great hand rubbing.
Spin stage for porter scene -- available witches.
Great with audience, Porter. That's going to work terrifically.
The joke about the English and French is that the English think the French are somewhat prone to STD's. The line "what are YOU?" -- use one last person from the audience before you stop "portering". "Requited" is pronounced reQUITE-ed. When they leave you, Porter, give the revolve a turn and then exit upstage.
Find low notes, Macduff, when you discover the body. Remember, you're a soldier, too. Everyone should be shocked that Macbeth killed the servants.
PROJECT! You must speak loudly enough to be heard.
Use words like "gore". You all need to be concerned about Lady Mac when she faints (except Macbeth).
Use words like "manly" and phrases like "then you were a man" or "I could play the woman". That's a theme of this production.
Think about DICTION. Clarity is VITAL.
Lady Mac and Mac, there is a dance here (not literally). When one is weak, the other tries to be strong. Let's see you support each other. I think they love each other a lot! We should see that. You should touch each other whenever you think about it.
At the banquet, lords, think about what it would be like to be at a dinner party when the host is acting like Macbeth. He clearly sees something but you don't see it. It's not funny -- he's in charge!!!! It's concerning, scary, shocking, worrying. Let's see that in your reactions. Act like you're not listening when Lady and Mac talk -- you are listening, but ACT like you're not.
Pick up cues at banquet. That will come when you KNOW YOUR LINES!!
Sit right down and lean on the platform for the table.
Listen to him after the banquet, Lady M., and try to comfort him. "You lack sleep". Macbeth, listen to your wife. You need to sleep. (But you can't.) Think about trying. It is stressful to think about lying there not sleeping, but you have to try. You'll go mad if you don't sleep. This is important for both of you.
Scene 5: Witches that were there, you were great. The scene looked really great. I wonder where the rest of you were!! Hecate -- that sounded and looked great. With a big speech like that, actors divide it into "beats". You move from intention to intention. Ask yourself what you want and that will change over the course of the speech. Each time your intention changes, think about what you want at that point. This is true of any long speech, actors.
Scene 6: This scene went well, but you could develop a more gossipy tone and really react. Mactavish, you want to be right, but Lennox, she always interrupts you -- you're used to it and you don't like it -- really try to quash her. How do you deal with people who interrupt you all the time? Do you get mad? Speak louder? McT: Make "holy King" and "warlike Siward" VERY DIFFERENT.
Everyone: Don't look at me in the audience. Make eye contact with the person to whom you're speaking. The audience can tell when you're not looking at the person you're on stage with.
Tomorrow, we are doing Act 4 and 5. We will start as soon as possible at the end of the school day. You need to be there.
Next week, we will run a long dress rehearsal (bring costume ideas to wear on stage -- black, red, grey, silver, white) on Wednesday as soon as classes are over (I think that's at one.) We will be incorporating light and sound. It will be slow. You need to be prepared to stay a long time. We will do notes at the end. You need to be there to hear the notes. We might have to do another run on Friday. Be prepared for that. It might take till after six. That is a long day. I will ask if we can have pizza afterward.
Don't miss any more rehearsals. If you know someone who has, tell them I am not pleased about it.
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