At first, I was nervous this show was going to be too much for us to take on. I was nervous about the amount of energy needed to pull it off and all the scene changes, props etc. I wasn't sure if we were ready for such a big production, however I was completely wrong. This was by far the best musical we have done at CA and it showcased the insane amount of talent we have here. Everyone had a moment to shine and in the end we came together as an intense and strong ensemble. The dancing, singing and acting was at a whole new level. There were crazy laughs and also a balance of tenderness and emotion, which all together creates a great musical! The hard work really paid off.
Tomika was a lot like many characters I have played before, however I have never been so shy which was new. Many people were surprised by how I was able to contrast my true personality so drastically. Also, I think the music was challenging but also within my range enough to allow me to feel comfortable really going after the performance. I am pleased with my performance and glad I was able to do something different. I also liked how Tomika had a large character development throughout the show, I got to finally let loose at the end and I had so much fun. I also think I improved a lot with my dancing this year! I think the training helped me a lot, just the little bit of technique changed the whole way I move. If I could change one thing it would be to committed more to moving my arms during 'Amazing Grace'. I know it seems small and petty, but it is always the little things that bother me.
I think the comedic aspect of all the other characters in the show really worked well for our cast, the actors we had pulled off the comedic timing and style perfectly and everyone said how hilarious it was. The energy was so high and the set/scene changes went so smooth. Everything worked out so well. Audiences really loved the production and it got amazing reviews all around campus. I think this is because the story is so entertaining. It kept the audience engaged, the music was fun and everyone was on the edge of their seat. The production truly set a new standard for theater here at CA and I could not be more proud to have been apart of the show.
My favorite part of this experience is probably how I got to be a leader more towards the end of the production. I think helping the other kids in the classroom get their energy up not only made the scenes better, but kept me on my toes to constantly be high energy and alert. I am going to miss all the seniors and I can't believe I only have one more musical at CA?!?!?! What!?!?
Monday, February 27, 2017
Scene Progress
As of now, we believe our script is in good shape. We made a few updates to make the violence and aggression of the abuse scene to seem more natural. Kathleen and I have done a good job thus far of incorporating natural, conversational dialogue into our script. It flows well and seems truthful. The next step for us is putting the scripts into our bodies. Of course we need to run the science and begin to memorize, however the script seems too much in our heads right now. I think we need to do some more character development and study to understand their individual intentions.
I think a good idea would be to use Uta Hagen's verb attachment to our dialogue. I need to go into the words and begin to create my own subtext. I think my next step needs to be using a lot of text study within KK itself and then transferring that into my acting. I think I need more variety in my acting, such as more of a balance within anger, regret and longing. Uta Hagen teaches the process of acting humans and this is scene where that is important. Capturing the couple's sadness and regret is going to be very integral in the scene's success.
Something I overlooked during the first draft was Lili's desperation for Guy to go back to how he was. She loves him and wants more than anything for him to work hard for her. She wants to feel wanted and desired, she is tired of feeling alone in her home. She also is angry beyond her own comprehension. She doesn't understand why Guy isn't in love with her anymore, she is mad he can't keep a job. All of this is important to adding truth and contrast in our scene. To do this I want to analyze each line and attach reasoning for Lili's thoughts. For example, rather than constantly being angry, Lili can be regretful. I also believe in general we need to slow down. I think the lines themselves are fine, but the scenes rush. We need to identify moments of anticipation, silence and staring. This is something Kathleen and I need to work on together.
Lastly, we need to work together as a team to find ways to highlight each other. Kathleen and I need to find places to add moments of silence and longing. We need to also solidify the tech aspects and set. Where to place the blackouts and spots will put us into the world of our characters. The radio is a piece I am a little nervous about, both the throwing of it and the sound. I think Kathleen and I need to get more comfortable with each other to yell and touch each other easier. She needs to be more aggressive with me and I need to be less harsh. In total, we got good comments on our chemistry so I am excited to explore that more as we continue the scene. Our script and volume got good feedback, so the smaller things went well.
I think a good idea would be to use Uta Hagen's verb attachment to our dialogue. I need to go into the words and begin to create my own subtext. I think my next step needs to be using a lot of text study within KK itself and then transferring that into my acting. I think I need more variety in my acting, such as more of a balance within anger, regret and longing. Uta Hagen teaches the process of acting humans and this is scene where that is important. Capturing the couple's sadness and regret is going to be very integral in the scene's success.
Something I overlooked during the first draft was Lili's desperation for Guy to go back to how he was. She loves him and wants more than anything for him to work hard for her. She wants to feel wanted and desired, she is tired of feeling alone in her home. She also is angry beyond her own comprehension. She doesn't understand why Guy isn't in love with her anymore, she is mad he can't keep a job. All of this is important to adding truth and contrast in our scene. To do this I want to analyze each line and attach reasoning for Lili's thoughts. For example, rather than constantly being angry, Lili can be regretful. I also believe in general we need to slow down. I think the lines themselves are fine, but the scenes rush. We need to identify moments of anticipation, silence and staring. This is something Kathleen and I need to work on together.
Lastly, we need to work together as a team to find ways to highlight each other. Kathleen and I need to find places to add moments of silence and longing. We need to also solidify the tech aspects and set. Where to place the blackouts and spots will put us into the world of our characters. The radio is a piece I am a little nervous about, both the throwing of it and the sound. I think Kathleen and I need to get more comfortable with each other to yell and touch each other easier. She needs to be more aggressive with me and I need to be less harsh. In total, we got good comments on our chemistry so I am excited to explore that more as we continue the scene. Our script and volume got good feedback, so the smaller things went well.
Monday, February 13, 2017
Final Script, Costumes, Props
Costumes:
Lili: long floral skirt, simple top, scarfs
Guy: oversized dress shirt, ‘peasant’ pants
Props:
- blanket baby
- bed
- box with blankets for baby
- pillows
- radio
- table
Scene 1
Scene begins with Guy and Lili in bed, the stage is in darkness
Lili
(Assertive, not angry)
Please, Guy, not tonight—
Guy
What? What do you mean?
Lili
We can't, I’m not feeling well…
Lights come up just enough to see , but not bright as they don't have electricity.
Guy
Should we call for the neighbors, do you need a doctor?
Lili
No. It's not necessary
Guy
Then why can't I—
Lili
I-I’m with child, I haven't bled. I was sick before you woke this morning, and last week as well, I know it's true.
Guy
Are you sure? What do you mean by “sick”?
Lili
My stomach, I haven’t been able to keep down breakfast in days. And my head, it aches every time I look at the sun. Simply walking pains me.
Guy
Alright, when do you suspect it will come?
Lili
Perhaps during harvest. Thankfully, you’ll be working, and we will have food.
Guy
That's fine.
Awkward silence
Lili
Are you not pleased?
Guy
No, I am, it’s good news.
Guy reaches to embrace her. Lili suddenly pulls away from him in pain.
Lili
I’m sorry, I...feel unwell.
She turns away, trying not to heave. More awkward silence follows.
Lili
(Hesitant) I think I'll be alright, let’s just rest for tonight.
Guy
(Stares at his wife while mostly preoccupied with worry about their finances) Okay.
Lili
Good-night, my love.
Guy
Mm, you too.
Lights fade to black
Scene 2
Lili stands over a crib, quietly humming a lullaby with the child in her arms. She places the baby in the crib and walks over to bed where Guy is already lying down, awake.
Lili
Goodnight Little Guy, sleep well. We need to do all we can to give him more than we had.
Guy
What do you mean? He just an infant, what more could need besides what he already has?
Lili
We need to think ahead, education is expensive, we need to put aside money now. Can you talk to Mr. Assad about getting more work?
Guy
I am already asking for more work than all the other men, I can't ask for anything more.
Lili
Guy, it can't hurt to ask.
Guy
No, it's not worth the risk to seem so needy all the time.
Lili
Guy, put aside your pride for once and think about our home, our baby. I am telling you to ask tomorrow.
awkward silence no. 3, Lili gets up in frustration to check on the child
Guy
Did we wake the child? (Heavy sigh) Perhaps you’re right, I will ask Mr. Assad for extra work tomorrow.
Lili
Thank you, it’d be so wonderful to have any extra money.
Guy
However, it's very unlikely. We shouldn't plan for anymore than what we have now.
Lili puts the baby down and returns to bed.
Lili
Well, we will know by tomorrow.
Guy
Don't get your get hopes up, Lili, we can't afford anymore disappointment.
Lili
What do you mean disappointment?
Awkward silence, the two look away from each other, Guy looks back at Lili however she is still turned the other way.
Lili
(Impatient) What do you mea-
Guy
(shouting) Lili, that's enough.
The baby wakes up and starts wailing (sound) Lili stares at Guy, stunned by his aggression, then shakes her head in disbelief. She walks towards the baby and the scene fades to black as Lili cradles the bay and sings to it. Guy stands on the other side of the stage looking away. As the lights fade, Guy stands with a single spotlight on him. His face shows regret and frustration.
Scene 3
Scene opens in the bedroom, with the baby box moved offstage before the lights go up. The pair are listening to a radio, arguing between music and sleeping. Lili is humming to the song and Guy is prepared for bed. The song ends just as the lights settle in. The music quietly plays in the background of the scene.
Guy:
Lili, we should sleep now.
Lili
Just one more song, I've a had long day. The music helps me to relax.
Guy
(under his breath) You've had a long day?
Lili hears him, music still plays in the background. Lili slowly turns towards him.
Lili
Yes. I did.
Guy
I meant no offense. I just.. I worked all day. I need to sleep. I can’t sleep when the radio is on.
Lili
I spent my day raising our son, taking care of the home. Just as I do everyday...alone—
Guy
(somewhat cutting her off) I know.
Lili
(Snappy. A little sassy) Do you really?
Guy
(Sighs) Yes. Please, let's just sleep… Please.
Lili
One more song.
Lili turns up the music and closes her eyes. She slowly waltzes by herself. Guy leaves the room, obviously displeased. Lili doesn’t react to his frustration. The lights fade to black. The music stays on during the blackout for a few seconds, then fades.
Scene 4
The lights fade up quickly. Lili storms in while Guy trails behind her, clearly peeved by her yelling.
Lili
(On the verge of tears) I can not believe you did that! He bled. That was too far.
Lili runs to the bed and sits down, sobbing into her hands. Guy tries to apologize and touch her shoulder, and she violently pushes him away in her anger.
Lili
(Yelling) DO NOT touch me!!!!
Guy
Lili, he needs to learn. It's what our parents did to us! Why should he be raised any different?
Lili
When we had this child we promised to never be like our parents. We promised to give him more. We wanted to give him the future they couldn’t.
Guy
I just-
Lili
We want to give him a future, not hit him.
Guy
Please sto-
Lili
I mean, what does violence really teach him? What does hitting him tell him about compassion or love.
Guy
Stop-
The tension builds until they are both talking over each other. Finally-
Guy
Grabs Lili by the shoulders and aggressively throttles her, her crying stops.
BE QUIET!
Lili stares at Guy in shock, before sobbing even harder. She turns away from him.
Guy
(With strong regret) Lili...
Lili
No.
Guy
(Stuttering in disbelief) I..I didn't.. I didn't mean it. I don't know. I just got so-
Lili turns back towards him and looks him in the eye.
Lili
How dare you. (Whimpering) You are not the man I married.
Guy
Lili.. I’m.. I’m sorry.
Lili
You are...angry. You're aggressive. You aren't there for your son. You aren't there for me. You don't support the family. We’re hungry, tired. Your son barely knows you. (Moment of silence) I can't… I don't love you anymore.
Guy
(Suddenly angry again)
You're not perfect yourself, so you shouldn’t expect me to be.
Lili
Excuse me? Everything I do is for our son. We both promised a better life for him, just because he has more opportunities than you-
Guy
(Cuts her off)
Don't you dare accuse me of jealousy.
Lili
(Yelling) You know it’s true-
Guy
(Yells over her)
I said, be quiet, Lili!
Lili
(Staring at him) You've probably woken him up again. (Leaves quickly)
Lights fade and a spotlight stays on Guy. The spotlight slowly fades as he stares in Lili’s direction.
End scene
Scene 5
Lili and Guy are together in the house. Lili is tidying up the bedroom while Guy
tries to make small talk.
Guy
I bought some flowers from the women down the street. I left them on the table.
Lili doesn't respond, she is clearly ignoring him. She doesn't look his way.
Guy
Tries again
I talked to Mr. Assad about getting a day off next week to spend time with you and Little Guy.
Lili
(Curtly)
You shouldn't, we need the money.
Guy
I just thought it would be good-
Lili
It wouldn't be. You need to work.
Guy
Alright. Would you like me to buy some vegetables after work for dinner tonight?
Lili
No, I will go.
Guy sits in silence, clearly upset. A few moments go by.
Guy
Do you love me anymore?
Lili looks at him, looks into his eyes, then turns away. She leaves the room and stops just before the door. She hesitates to respond but ends up leaving in silence. Guy sits alone.
Guy gets up and tries to tidy the room, but doesn’t really accomplish anything. The lights fade out.
End Scene.
Thursday, February 9, 2017
Stage models due + description of set
The set for this scene is very minimal. The whole piece takes place in the bedroom right before Lili and Guy go to sleep. The set needs to not draw any focus- dark furniture, everything simple. I really want the focus of the audience to remain on the characters. Each scene I want as little change to the set to reflect how static the relationship between the pair truly is. Even though years pass through each scene, the arguments and worries of the characters are the same, therefore it is imperative for the set to be the same.
What we have planned is all black walls, we're in the black box so this should be easy. Center stage will be mats, blankets, pillows. It will not be a bed, to show that the family is in poverty, however it will be obvious this is where they sleep. In one scene a box for the child is necessary. Lili always sleeps stage right and Guy stage left. The baby's box will be placed stage right. Guy is distant from him child, he does not believe he is a good father, having the box on the opposite side of the room will show it. Right next to the baby will be a small table/nightstand with a radio on it. This radio keeps Lili sane, however Guy hates it. Again, having it on the other side of the room is important. The box and radio will have to be far enough stage right where we can put a spotlight on it and have the bed in darkness. This is important as in one of the scenes Lili stands by the radio as the lights fade and only she can be seen. In total, the set is fairly simple and will force us as actors to fill the space. We can't rely on props or set, we have to keep people interested through our acting. It will be a challenge but ultimately will set us up for success.
What we have planned is all black walls, we're in the black box so this should be easy. Center stage will be mats, blankets, pillows. It will not be a bed, to show that the family is in poverty, however it will be obvious this is where they sleep. In one scene a box for the child is necessary. Lili always sleeps stage right and Guy stage left. The baby's box will be placed stage right. Guy is distant from him child, he does not believe he is a good father, having the box on the opposite side of the room will show it. Right next to the baby will be a small table/nightstand with a radio on it. This radio keeps Lili sane, however Guy hates it. Again, having it on the other side of the room is important. The box and radio will have to be far enough stage right where we can put a spotlight on it and have the bed in darkness. This is important as in one of the scenes Lili stands by the radio as the lights fade and only she can be seen. In total, the set is fairly simple and will force us as actors to fill the space. We can't rely on props or set, we have to keep people interested through our acting. It will be a challenge but ultimately will set us up for success.
Thursday, February 2, 2017
Scene Work Progress
Scene 1
Scene begins with Guy and Lili in bed, the stage is in darkness
Lili
(Assertive, not angry)
Please, Guy, not tonight—
Guy
What? What do you mean?
Lili
We can't, I’m not feeling well…
Lights come up just enough to see , but not bright as they don't have electricity.
Guy
Should we call for the neighbors, do you need a doctor?
Lili
No. It's not necessary
Guy
Then why can't I—
Lili
I-I’m with child, I haven't bled. I was sick before you woke this morning, and last week as well, I know it's true.
Guy
Are you sure? What do you mean by “sick”?
Lili
My stomach, I haven’t been able to keep down breakfast in days. And my head, it aches every time I look at the sun. Simply walking pains me.
Guy
Alright, when do you suspect it will come?
Lili
Perhaps during harvest. Thankfully, you’ll be working, and we will have food.
Guy
That's fine.
Awkward silence
Lili
Are you not pleased?
Guy
No, I am, it’s good news.
Guy reaches to embrace her. Lili suddenly pulls away from him in pain.
Lili
I’m sorry, I...feel unwell.
She turns away, trying not to heave. More awkward silence follows.
Lili
(Hesitant) I think I'll be alright, let’s just rest for tonight.
Guy
(Stares at his wife while mostly preoccupied with worry about their finances) Okay.
Lili
Good-night, my love.
Guy
Mm, you too.
Lights fade to black
Scene begins with Guy and Lili in bed, the stage is in darkness
Lili
(Assertive, not angry)
Please, Guy, not tonight—
Guy
What? What do you mean?
Lili
We can't, I’m not feeling well…
Lights come up just enough to see , but not bright as they don't have electricity.
Guy
Should we call for the neighbors, do you need a doctor?
Lili
No. It's not necessary
Guy
Then why can't I—
Lili
I-I’m with child, I haven't bled. I was sick before you woke this morning, and last week as well, I know it's true.
Guy
Are you sure? What do you mean by “sick”?
Lili
My stomach, I haven’t been able to keep down breakfast in days. And my head, it aches every time I look at the sun. Simply walking pains me.
Guy
Alright, when do you suspect it will come?
Lili
Perhaps during harvest. Thankfully, you’ll be working, and we will have food.
Guy
That's fine.
Awkward silence
Lili
Are you not pleased?
Guy
No, I am, it’s good news.
Guy reaches to embrace her. Lili suddenly pulls away from him in pain.
Lili
I’m sorry, I...feel unwell.
She turns away, trying not to heave. More awkward silence follows.
Lili
(Hesitant) I think I'll be alright, let’s just rest for tonight.
Guy
(Stares at his wife while mostly preoccupied with worry about their finances) Okay.
Lili
Good-night, my love.
Guy
Mm, you too.
Lights fade to black
Wednesday, February 1, 2017
Character Study
I am playing Lili from A Wall Of Fire Rising. The whole scene will be a collection of short vignettes that illustrate the deterioration of Guy and Lili's relationship. Their son is not a part of the scene, therefore the main focus remains spotlighted on gender roles, sexual disfunction and tension, and a loss of love. The scenes take place over a span of 10(ish) years by beginning when Lili discovered her pregnancy and ends when Guy kills himself. Lili is in her late 20s and is pretty, however not gorgeous. She represents the average mother. She dresses modestly, wears her hair back and does not wear any jewelry.
Lili is contastly conflicted. She wants to be the perfect housewife, but as Guy becomes more internally inferior, she feels the need to become more outwardly aggressive. She forces herself to become more powerful, and confronting. Although she has a lot on her mind, she holds everything in. She never talks about things, she internalizes everything and takes her broken relationship as a personal dig to her own humanity. She is beyond sad that she has lost a strong husband, but even more sad that she lost love. She was in love with Guy, but not anymore. This motivates all her scenes, she always has things to say but never does. She is uncomfortable with silence but usually has nothing meaningful to fill it with. She rambles and talks quickly to avoid talking about real problems.
Eventually, Lili gives up on Guy and puts all her energy into her son. The only thing keeping her going is the idea of her son's success. However, her loss of romantic love is slowly destroying her. Due to this, she walks very heavy, but also with purpose. She knows what she must do for her son so she works very hard to provide for him. She resents her husband for burdening her with all the household and child care responsibilities. She holds a lot of anger and this further hinders their relationship. Along with the anger and sadness, she also holds her own fears and insecurities. She worries that she isn't enough, and in the back of her mind also wonders if she is the reason Guy can't rise up to the occasion. She talks very slowly, but still aggressively. Lili knows what she must do, but constantly questions what she did to destroy her home and marriage. She pretends to blame everything on Guy, but in reality feels it may be her fault.
Lili is contastly conflicted. She wants to be the perfect housewife, but as Guy becomes more internally inferior, she feels the need to become more outwardly aggressive. She forces herself to become more powerful, and confronting. Although she has a lot on her mind, she holds everything in. She never talks about things, she internalizes everything and takes her broken relationship as a personal dig to her own humanity. She is beyond sad that she has lost a strong husband, but even more sad that she lost love. She was in love with Guy, but not anymore. This motivates all her scenes, she always has things to say but never does. She is uncomfortable with silence but usually has nothing meaningful to fill it with. She rambles and talks quickly to avoid talking about real problems.
Eventually, Lili gives up on Guy and puts all her energy into her son. The only thing keeping her going is the idea of her son's success. However, her loss of romantic love is slowly destroying her. Due to this, she walks very heavy, but also with purpose. She knows what she must do for her son so she works very hard to provide for him. She resents her husband for burdening her with all the household and child care responsibilities. She holds a lot of anger and this further hinders their relationship. Along with the anger and sadness, she also holds her own fears and insecurities. She worries that she isn't enough, and in the back of her mind also wonders if she is the reason Guy can't rise up to the occasion. She talks very slowly, but still aggressively. Lili knows what she must do, but constantly questions what she did to destroy her home and marriage. She pretends to blame everything on Guy, but in reality feels it may be her fault.
Class Script Ideas/Notes
- Guy is conflicted when he finds out about the baby, he knows the child will prove to himself and Lily that he is not a strong, masculine figurehead.
- Lili hopes that the child will prove Guy is the man she married, she puts all her hope in this baby
- Lili starts out as subservient and easily bends to her husband, she wants to be supportive when her nature makes her a little more commanding than him
- Something where the baby literally interrupts their embrace, foreshadowing their eventual mental separation
- Next scene is right after the baby is born (maybe a flour child)
- Lili hopes that the child will prove Guy is the man she married, she puts all her hope in this baby
- Lili starts out as subservient and easily bends to her husband, she wants to be supportive when her nature makes her a little more commanding than him
- Something where the baby literally interrupts their embrace, foreshadowing their eventual mental separation
- Next scene is right after the baby is born (maybe a flour child)
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