AYLI, rehearsal 30: 1.1–3.2

Finding Clark.

Here we go. As is usual with these things, it took nearly an hour and a half to run the first half of the show.

1.1 (OPENING)

Good start to the show. (Charles, learn lines.) The energy between Orlando and Oliver is exemplary and needs to filter out to every other scene. Yes, anger and arguments are easier to rev up, but even scenes of reverie and relaxation (e.g., 2.1, 2.5, et al.) can be taut.

1.2 (WRESTLING)

I’m beginning to question some of the wrestling choreography: when Charles has Orlando’s arm pinned behind his back, why doesn’t he just break the boy’s arm and then snap his neck? He has come into this match to kill Orlando—why doesn’t he? Ugh. More work is required.

Now that we have the set pieces, the problem of STRAIGHT LINES has become more evident. I must be more vigilant in stamping it out.

I’m also seeing a tendency to play every scene DC, which is because I told the actors not to worry about blocking until the set was built. We’ll fix that, too.

1.3 (BANISHMENT)

Nothing wrong with this scene. It will help when Rosalind and Frederick bring their confrontation further down, away from the arcs.

2.1 (OLD DUKE)

We began assigning set changes. I have some measure of regret that I didn’t shoot for an actual set crew, but I reasoned that these were even more bodies I’d have to drum up. As it is, this scene looks a little bare with only the Duke and two attendants.

Gentlemen, before I forget: don’t hold the drums the entire scene.

Amiens/First Lord’s recounting of JAKE-wess and the deer needs tightening up.

2.2 (GONE GIRLS)

Nothing wrong with this scene. And we don’t have to move the scenery.

2.3 (ORLANDO FLEES)

Nothing wrong with this scene.

2.4 ( ARDEN ARRIVAL)

Nothing wrong with this scene.

2.5 (GREENWOOD TREE)

This scene, on the other hand…

The song is nowhere near ready for an audience to enjoy it. A lot more work is required.

Also, let’s work on pulling everyone in tighter; people don’t party with each other 12 feet apart.

2.6 (ADAM FAINTS)

I may have gotten Adam to be not funny. (It is hard to know how he is supposed to react to Orlando’s jollying: too tired to care? willing to make an effort for the young master? faking it?)

2.7 (SEVEN AGES)

It turns out we had never actually blocked this scene in its entirety. I made some adjustments after the runthrough; we’ll see how it goes next time.

3.1 (OLIVER’S ASS)

Nothing wrong with this scene.

3.2 (THE BIG SCENE)

We made it through p. 64 or so, which was our goal. Some niggling problems, but they will get solved. Or else.