Taryn's Notes from Tuesday

Hey guys- i tried to add this to the blog but i had trouble signing in for some reason.
Do check it though as Kris has posted Becca Chapman's notes.

A few things from last night:

Kyle: "More than $25" was really good

Kathleen: For continuity we're saying the year "10-06" and not "one thousand six". Kyle says it first and then Kathleen should say it the same way.

Serena/Bennie: New Years Eve Scene- bottle looks very unsteady sitting on chair, looked like it was going to be knocked over a few times. Looking at the moon was much better- same eye level last night. Serena's champagne pour looks fake and so does Bennie's drink of the champagne.
I will try and get the door for you guys when you enter with Bennie carrying Serena... at least the nights i'm not in the light booth.
The scene with Serena yelling at Kyle looked really good. And the dynamic with you two was better like when he tried to get her to back off and everything...very natural. Also the "lead off stage" was better too. Less dragging.

The last monologue looked strange to me last night.
Felt like we're having Kathleen enter too soon because she walks on and just stands with her back turned for a while before she does anything. Also the light was very low on Kyle. Almost too low but that may have been a cue error.
.... Just my opinion. I may be way off base with these last comments.

Kris: What time are you getting to the theatre to do chalking on the walls? I may be able to come by and help. And i think Rebecca offered to help as well.

Anyway- reminder tonight-- we're going to go for 7:30 so please be there by 7. Tonight is Wednesday at the Square so there may be a little extra traffic/parking issues.

Tomorrow-Sat please be there by 6:30 for a 7:30 go time.

Thanks a lot and let me know if any of you need anything.

-Taryn

Notes from Tuesdays Rehearsal

My comments are haphazard at best as I’m watching the physical setup and lights and trying to catch your acting as well.  It’s all going very well and the pacing is humming along.    I feel very confident about what I see and want to emphasize to you that as a cast you are at a very good place.    THESE COMMENTS, UNFORTUNATELY, DEAL WITH PROBLEMS INSTEAD OF ALL THE FANTASTIC WORK YOU ARE DOING.  PLEASE DON’T FEEL LIKE I’M PICKING ON YOU…I THINK YOU ARE ALL WONDERFUL AND ARE TELLING THE STORY WELL.

Freeze the givens! Hit your marks; find your light, move your chairs and hold onto the last of your clothes, but keep listening and reacting to each other.  There were many small surprises in the nuance/interaction between many of you last night and that’s what keeps things fresh.  I really think warm-up games are great and Jon, I think you should run the first half of your monologue at break neck speed each night to get the “wrote” confidence in your head and any “line” readings out of your mind.

Kyle/Jon -

Remember “Keats” equals love and he is the ONLY poet, not the only Poet.

Keep consistent with “voicing” Zoe.  Check in with Britain if you need to hear her.  Especially on “He’s with me!”   Same on “Don’t sciences guys….” These are moments for levity, albeit, small, levity nonetheless. 

I brought “Keats” it’s like heroin is to the addict…

“Absolutely no idea what she meant” I think that’ could be a bit smug.  It focuses on your central differences and your fanatical obsession with the physical.  How condescending!  You talk down to her by faking the understanding.

“Unparalleled” that means something Jon…don’t run that over.   Remember to emphasize where Science/Kyle and Spirit/Zoe (of which the word means life) meet.

“Sherry” I told you that name is synonymous with “nasty” with me…don’t gloss over it.

“You have to go” Think Britain…I think you she would have an upward inflection on the “you” and on “go” with “go” have a bit less emphasis.  But this should belie a bit of Serena!

Again words like pretended and enraged mean something and need a little punch.

I know you are really being conscious of keeping it conversational and I applaud you because you’re successful, but make sure that key word get a bit more “jazz” for emphasis.

Remember to get your shoulders involved in the breathing.  Not to big…just more than I’m currently seeing.

I missed totally the line that Zoe went out one night and didn’t’ come home. Remember Jon that we are tricking the audience here.  You just had a fight with her in the monologue and now you say she left…is it for someone else?  That’s what we want the audience to think….don’t give her death away.  Review your choices to make sure we’re not giving “death” away…separation perhaps…but death should be a surprise to the audience.

Voicing of “You make a great me!” Think Britain...

Remember not to see the rocks in the last scene.  We need a better purse.

Jon – you tempered your “sexual healing” vibe last night…it wasn’t as happy.  It wasn’t bad, but I don’t want you to slide into melancholy.

You are the producer…you should have money coming out of your ears.  Have some in your pocket so you can give it to Britain.

Please review the second pull we discussed last night with Serena.  I love the WAY you spoke to her after she accosted you, but the way you opened your eyes seemed out of line with what’s happening. Let a second pull tug you back to reality.  Keep your shoulders in your breathing.

The final hug must be at center…pulling it left really screws with the picture…that said, the emotional work is beautiful and I don’t want to squelch that for placement…but…..

Once the hug it done, please pull DL of Bennie and Serena leaving them to themselves. Your pulling right last night, which I’ve never seen you do created a weird cluster buck spacing wise.  Pull DL.

Shawn/Bennie - 

I swear you are calling Serena something other than Serena at the “Kyle refused to speak to me” I can’t remember the name, but it’s something else.

Were you not in place for the phone ringing sequence?

We talked about finding your light.  During the “temper” speech with Becca your facial expressions were great, but not all the way in the center light.

Please go through the setup for Bennie’s apartment before we run tonight. It took a long time.

Shawn be careful on the “Beer” line. It was way too aggressive for you last night.  Serena shushes you and you take that cue to pull things back and take another strategy.  That’s the beer and a talk strategy.  You were seething.  Keep that in check it seemed out of context for your character.

The final hug must be at center…pulling it left really screws with the picture…that said, the emotional work is beautiful and I don’t want to squelch that for placement…but…..

Don’t pat Kyle when you leave, be more concerned with Serena at this point.

While Kyle is recuperation after the jail sequence, can you pull the “couch” chairs to the SR side to get them out of the picture?
Shawn “Zoe is Dead” I don’t like it when you pull your head down so we can’t see your face.  Either get on you knee and talk directly or cheat it out to us standing so we can see your face.  The sound of your voice was great…really nurturing during this.

Lights/Sound –

Honeymoon transition

Dark sliver in the center area…

Review Chair and Sofa setup during the monologue..the light is not following Jon

Review the movement of the chair with Serena and Kyle, Bennie DC moving out of the jail.  They should be in black while Bennie speaks DC

Please review the phone sequence with Jon and Shawn

Mute the stars during the poetry reading at the end of the first act.

Second Act – Britain should be in the dark when she enters DR .  Kyle and Bennie should be sharing the center special at this point…there was way too much light on the stage.

Taryn –

Would you be kind enough to review the light/sound notes with Justin and Sal?

Knocking was cool, but I’m not sure how long it should go on…You seem to have a strong opinion on how long it should last, will you set that with Britain/Becca before the show tonight?

I’ll bring a piece of cloth to cover the rocks

Please have Bennie and Serena review where their bottle and cups will be stored.

We need “girls” clothing for the rocks too!

Can you review this sequence with Justin and Sal – Britain should be in the dark when she enters DR .  Kyle and Bennie should be sharing the center special at this point…there was way too much light on the stage.

Would you review this with Shawn?  While Kyle is recuperation after the jail sequence, can you pull the “couch” chairs to the SR side to get them out of the picture?

Britain –

Be aware of you light.  I think when you are on the SL side of the chair; you need to pull right a bit so you’ll be lit well.  The chair was out of place too, which is my fault.

If you use that door, please make sure you close it when you leave.

Wendy dropped a green dress off to me last night and I’ll bring it tonight.

Does the “orbit” section I keep referring to each night not feel right to you?  I think the audience will enjoy watching you walk and I see you as spinning this yarn around Kyle.   Are you forgetting it or does it just not resonate for you.  I think it looks cool but if it doesn’t happen it’s not the end of the world.

Serena

Review the placement of props with Bennie for the wine and glasses

Please go through the setup for Bennie’s apartment before we run tonight. It took a long time.

Please review the second pull we discussed last night with Serena.  I love the WAY you spoke to her after she accosted you, but the way you opened your eyes seemed out of line with what’s happening. Let a second pull tug you back to reality.  Keep your shoulders in your breathing.

The final hug must be at center…pulling it left really screws with the picture…that said, the emotional work is beautiful and I don’t want to squelch that for placement…but…..

Becca Chapman's Observations from Tuesday's run

Hey Kris!

Again GREAT work to you and the cast! You should all be very proud! I will certainly spread the word! Below are my comments. 

Kyle's Monologue:

- Very Natural flow to the monologue!

- emphasize Zoe's name the first time he says it. (its the first time the audience hears it). 

- Through out the show I loved watching Kyle discover things and realize things. I think he just needs to take his time in the very beginning of the monologue and do the same thing. (i know you mentioned he is a little nervous in the beginning. he just needs to take his time and let those thoughts emerge like he does in the rest of the play).

- Just a suggestion: maybe have more of a realization that he does not remember what Zoe's major was...and be more ashamed about that in front of the audience. 

Other stuff:

- kyle: emphasize "dead" when he says "Zoe's dead" for the first time. 

- Bennie: really be surprised when Kyle says "fuck". 

-I missed when Kyle said he was with the prostitute in Act 2. When Bennie said 4 days I thought he was still talking about Zoe. We can talk about this tomorrow. It might have just been a ditz moment on my part. 

- I loved the Prostitute! I thought she was sassy but also maternal. An incredibly interesting choice!

-Bennie: Does very well when he develops his thoughts in the monologues. 

- Serena- one hell of an actress! :) 

Thanks so much for asking me to come see your work! I really enjoyed it! have a great run

Much love!

Becca :)

Who is John Klemmer

John Klemmer (born July 3, 1946) is an American jazz saxophonist, composer, song writer and arranger. ^[1]
He was born in Chicago, Illinois. He began playing guitar at age 5. His other early interests & ambitions were in graphics and visual art, writing, dance, puppetry, painting, sculpting and poetry. He studied at schools that include The Art Institute of Chicago. He began alto sax at age 11 touring with various local midwest "ghost big bands" [Les Elgart, Woody Herman] big bands & local jazz & rock small groups. Switching to tenor sax in high school he participated in the active small groups jazz scene as well as commercial small group & big band work while leading his own groups in the Chicago area & touring.

Who is Keith Jarrett

Keith Jarrett (born May 8, 1945, in Allentown, Pennsylvania) is an American pianist/composer who has performed in both jazz and classical music.
Jarrett started his career with Art Blakey, moving on to play with Charles Lloyd and Miles Davis. Since the early 1970s he has enjoyed a great deal of success in both jazz and classical music, as a group leader and a solo performer. His improvisations draw not only from the traditions of jazz, but from other genres as well, especially Western classical music, gospel, blues, and ethnic folk music.
In 2003, Jarrett received the Polar Music Prize, the first (and to this day only) recipient not to share the prize with a co-recipient,^[1] and in 2004 he received the Léonie Sonning Music Prize.
In 2008, he was inducted into the Down Beat Hall of Fame by the Down Beat 73rd Annual Jazz Readers' Poll.

Layla Lyrics

What will you do when you get lonely
No one waitin' by your side
You've been runnin', hidin' much too long
You know it's just your foolish pride

Layla, you got me on my knees
Layla, beggin', darlin', please
Layla, darling, won't you ease
My worried mind?

Tried to give you consolation
Your old man let you down
Like a fool, I fell in love with you
You turned my whole world upside down

Layla, you got me on my knees
Layla, beggin', darlin', please
Layla, darling, won't you ease
My worried mind?

Make the best of the situation
Before I finally go insane
Please, don't say, "We'll never find a way"
Tell me all my love's in vain

Layla, got me on my knees
Layla, beggin', darlin', please
Layla, darling, won't you ease
My worried mind? Yeah, yeah

Layla, got me on my knees
Layla, beggin', darlin', please
Layla, darling, won't you ease
My worried mind? Yeah, yeah

Layla, got me on my knees
Layla, beggin', darlin', please
Layla, darling, won't you ease
My worried mind?

Layla, got me on my knees
Layla, beggin', darlin', please
Layla, darling, won't you ease
My worried mind?
Less...

Information about the Green Flash

Green flashes and green rays are optical phenomena that occur shortly after sunset or before sunrise, when a green spot is visible, usually for no more than a second or two, above the sun, or a green ray shoots up from the sunset point. Green flashes are actually a group of phenomena stemming from different causes, and some are more common than others.^[1] Green flashes can be observed from any altitude(even from an aircraft). They are usually seen at an unobstructed horizon, such as over the ocean, but are possible over cloud tops and mountain tops as well. The green flash can also be observed from the Moon and bright planets at the horizon, including Venus and Jupiter.^[2][3]

Contents [hide] 1 Explanation 2 Types 2.1 Blue flashes 2.2 Green rim 3 In media 4 See also 5 References 6 External links

[edit]Explanation

The reason for a green flash lies in refraction of light (as in a prism) in the atmosphere: light moves more slowly in the lower, denser air than in the thinner air above, so sunlight rays follow paths that curve slightly, in the same direction as the curvature of the Earth. Higher frequency light (green/blue) curves more than lower frequency light (red/orange), so green/blue rays from the upper limb of the setting sun remain visible after the red rays are obstructed by the curvature of the earth.

Green flashes are enhanced by mirage, which increase the density gradient in the atmosphere, and therefore increase refraction. A green flash is more likely to be seen in clear air, when more of the light from the setting sun reaches the observer without being scattered. The blue light is preferentially scattered out of our line of sight and remaining light ends up looking green.

With slight magnification a green rim on the top limb of the solar disk can be seen on most clear-day sunsets. However the flash or ray effects require a stronger layering of the atmosphere and a mirage which serves to magnify the green for a fraction of a second to a couple of seconds.

[edit]Types

The green flash is actually a group of phenomena, some of which are listed below:^[1]

Type	Characteristics	Conditions	Best seen from...
Inferior-mirage flash	Joule's "last glimpse"; oval, flattened below. Lasts 1 or 2 seconds.	Surface warmer than the overlying air	Close to sea level
Mock-mirage flash	Indentations seem to "pinch off" a thin, pointy strip from the upper limb of the Sun. Lasts 1 or 2 seconds.	Atmospheric inversion layer below eye level; surface colder than air.	The higher the eye, the more likely; flash is most obvious when the eye is just above the inversion.
Sub-ductflash	Large upper part of an hourglass-shaped Sun turns green for up to 15 seconds.	Observer below a strongatmospheric inversion	In a narrow height interval just below a duct (can occur at any height)
Green ray	Green beam of light either shooting up or seen immediately after sundown. Usually few degrees long, lasting several seconds.	Hazy air and a bright green flash acting as a light source	sea level

The majority of flashes observed are inferior-mirage or mock-mirage ones, with the others constituting only 1% of reports. Some types not listed in the table above, such as the cloud-top flash (seen as the sun sinks into a coastal fog, or at distant cumulus clouds), are not understood.^[1]

[edit]Blue flashes

Very occasionally, the amount of blue light is sufficient to be visible as a "blue flash".^[4] The term should not be confused with the similar usage of blue flash referring to the blue light seen in nuclear criticality accidents.

[edit]Green rim

The upper rim is green while the lower one is red, as the sun sets behind theGolden Gate Bridge.

The green rim and flashes of a setting sun.

As an astronomical object sets or rises, the light it emits travels through the atmosphere, which works as a prism separating the light into different colors. The color of the upper limb of an astronomical object could go from green to blue to violet depending on the decrease in concentration of pollutants as they spread throughout an increasing volume of atmosphere.^[5] The lower limb of an astronomical object is always red.
A green rim is very thin, and is difficult or impossible to see with the naked eye. In usual conditions a green rim of an astronomical object gets fainter, when an astronomical object is very low above the horizon because of atmospheric reddening,^[6] but sometimes the conditions are right to see a green rim just above the horizon. The following quote describes probably the longest green rim, which at times could have been a green flash, observation. It was seen on and off for 35 long minutes by members of the Richard Evelyn Byrd party from the Little America exploration base in 1934. (Keep in mind that sunsets can really be slow, time-wise, events in polar regions.) Often a green rim changes to a green flash and back again during the same sunset. The image below is an illustration of what members of the Richard Evelyn Byrd party from the Little America exploration base may have seen.^[7][8]

There was a rush for the surface and as eyes turned southward, they saw a tiny but brilliant green spot where the last ray of the upper limb of the sun hung on the skyline. It lasted an appreciable length of time, several seconds at least, and no sooner disappeared than it flashed forth again. Altogether it remained on the horizon with short interruptions for thirty-five minutes.
When it disappeared momentarily it seemed to have been shut off by a tiny spurt, an inequality in the skyline caused by the barrier surface.
Even by moving the head up a few inches it would disappear and reappear again and after it had finally disappeared from view it could be recaptured by climbing up the first few steps of the antanea [sic] post.^{[cite this quote]}

To see green rim on and off for 35 minutes there had to be some mirage present.

There's an interesting situation with green rim observing. Green rim is present at every sunset, but it is too thin to be seen with the naked eye. The best time to observe a green rim is about 10 minutes before sunset.^[6] It is too early to use any magnification like binoculars or a telescopeto look right at the Sun. (Of course, a magnified image might be projected onto a sheet of paper for safe viewing.) When the sun gets closer to the horizon, the green rim is becoming fainter because of atmospheric reddening.^[6] According to the above it is probably correct to conclude that although a green rim is present during every sunset, a green flash is more rare because of the