Freida's critique

Freida’s Critique

Lights	From the bar scene on, gradually make the lights darker. Loved side lights. Light on Moe with the flask in the Lee and Moe scene.
Music	Start He Loves She Loves BEFORE Rose’s line about Funny Face
Quinn, Frank, Rian	Rehearse the dance a lot so that you will be more comfortable with dancing. Keep your head up. Frank, good job listening. As Rian, do not push bush.
Robertson	Keep your head up.  React to Clarence.  Plant your feet. Listen and react. Stay on stage the entire time. When you walk and talk, it does not work. Fix the pocket or let me fix it. Use your hat to talk.  Put your jacket over your shoulder. Take your hat off when inside. Robertson, I don’t know  what Freida meant. Your hat covers your face.
Lights and sound are great	Entrances and exits were great with sound and music.
Clarence Banks Kapush	Good reaction. Act with disbelief when you talk about being in LA Back off of Kapush in welfare scene.
The Baum family	Great job
Maid Maria / Diana/Ms. Graham	Great job. Keep the drunken character.  Almost miss the chair.
Fanny	Believable
Moe and Rose	We need to see your bodies age as the play progresses.  We need to see a physical change.  Begin to  do the things that you used to do then don’t. Fake flowers magic trick – move more left stage so that Lee is not blocking. See aging
Moe	Get  See the boarder work on those two lines. Put water in flask. It sounds empty and it doesn’t look like you are drinking.
Grandpa	Keep your head up.  Be harder to get along with – harder to get used to change.
Dancers	Polish this.
Robertson & Rosman	These are key lines.  Market – cash in.  Rosman must react.
Irene	Plant your feet and be more powerful. More emotional - cookin
Rose and Grandpa	Too rushed.
Quinn and Robertson	Both have happy feet. Listen to each other.  Stress how can there be an America. We will cut some You were better with Ms. Graham.
Miss Fowler	More confidence and have more authority in your role.
Moe and Lee	Need more from Moe.  It should be hard to say, hard to ask for money. Lee be surprised.
Bar scene	When Robertson says They start believing  - everyone freezes and stay frozen until after Irene’s line.
Everyone	If you wear white after the bar scene, we need to change it. Please look at the blog that told who was shabby and who was not. We need more people downstage.   Remember what Freida suggested. Cut marathon dancers. Slow motion in back all the time except the bank scene. When Irene is on stage, we need people walking. Ty, Hannah A and Abbey are ragged people. We need about four others to walk past them.  Interact with each other. If you have read this far, tell me what you can do specifically to make this a better show. You have been asked this before, so give me a new answer. Text or reply on blog. After the welfare scene, it was very loud exiting and loud backstage. At the end, when the clock is ticking, enter and keep entering as the music plays. End with Lee’s last line.
Sidney, Franny, Doris	Good job!
Lee and Rose	Great together Unison lines - rehearse
Grandpa and Rose	Need more of a relationship.
Lee	Mississippi speech.  Vary tempo – anger has a smell.
Sidney & Doris	Good job.
Welfare office	People noises.  Moe age a lot here Fight scene great. React more to fall. React to Moe giving a dime for milk. Kapush watch overacting. Irene – watch pacing. Solidarity – look at lines.
Sidney	As cab driver- change look.
Moe Lee Rian Abbey	See – Lee face the audience,, be more in shock.
Lee and Edie	I’m lonely – arms around Edie.  At the end, Edie, be into yourself –arms around yourself Edie, We are seeing too much of your back.  Stay on floor with the book at first. Let Lee move down to you.  Lee, put your clothes to the left of Edie so that we can see her face as she picks them up to throw.  Emotion has to build to throwing the clothes at Lee.
Women’s group	Age cards. More relationship with grandpa and women.
Rose	Take time – work on the monologue.  Cover your ears.
Moe and Rose	Start to go to answer the door. Rose gestures or puts out her hand to stop him.
Moe	Country can’t (goes down)