Week of Feb 6

Allison & Hannah A	Watch sitting the same way in the opening scene.
Fowler/Grace	Work on sympathetic facial expressions in the last scene. Watch posture.
Doris	Don’t rush. Work on moving hands for the Ganz girl – ask a guy.  Give a little more attitude with the robe. Not too much because you are respectful.
Lee & Moe	Figure out how to change quickly.
Moe and Rose	Exit quicker on first scene. Don’t wait to watch dancers. Maybe that will help Moe. In the end scene – Moe says you aren’t cryin are you?  Rose needs to cry. Leaving out the bathroom scene doesn’t work.  Rose, do you want the women to freeze so that you can say that?
Alyssa	Hand Moe his clothes as he exits. Moe, walk directly across stage to bar scene.
Moe	Make sure Bush passes you before you do the Butler line.  No, I won’t let him in the house. Beat, then move. Be careful not to let the end of the sentence fade out. Don’t rush, remember to leave some space on the phone to make it seem like someone is talking to you – “bars” Usta – hit that so that you give Toland something to work off of. Use the flask. You need a double breasted coat in the later scenes.
Irene	Deeper voice   Great interaction in welfare scene.
Savannah	React to Graham getting in your way in the welfare scene. Diana, enter sooner and walk through back to the bar.
Grace/Fowler	When getting milk, go past the curtains, then return about two beats later. React to
Edie	Watch – “party”
Fanny	Step on lines, flip through bills. Stress tile and grand piano and do a people noise.  Be bigger with gestures. Take his hat off. Tongue cut out – BIGGER reaction.
Grandpa	Don’t rush.   Very – work on that word.  ENUNCIATE. This goes for everyone.
Lights	Lights on Rose and Irene while bar scene is going on. Bring light up on Moe center stage.
Robertson & Music	Talk over the music. Fade the music in.
Miss Fowler	Stand more like an assistant. Probably be good to do a character sketch for both characters.  Reactions are good. Make them bigger.
Light & Sound	BE QUIET
Music	I made the early music for Quinn longer.  No music for Sidney before and after his singing.  Then as soon as he stops, there is a little bit of the original song – see script.  The clock song is integrated into the
EVERYONE	Enunciate. We need more people in UR with bank strikers and more people in the back when Lee is on the Mississippi We need different levels in Upstage scenes. Need more people noises in Hooverville and bank scene.  We need to see marathon dancers. We will cut Rosman/Robertson scene. I want to be at 40 minutes for Freida’s critique.   Go from Moe’s “Okay that’s good. “ to the bar scene.  Moe, put your clothes you are going to wear after the bar scene stage left.  Alyssa, have Moe’s vest ready to put on with a different hat as he rushes from R stage to L stage. ‘ Hats off in building Transitions – people in front and people in back moving differently. In last scene, page 32, cut from Fanny: Rose Dear Come upstairs to Grandpa’s the stores they own. Cut some of Edie and Lee’s scenes. Wear Hats and all accessories tonight, Sunday, and Monday. No late entrances. We need more bank people. We need to set the stage for the welfare office scene. Need people in the back during Edie’s scene.
Quinn	You are getting so much better separating Quinn and Rian.   As Quinn -Tell the story. Use your hands.  Don’t back up.
Lee	Cawlum = column
Rose	Don’t rush
Women in last scene	More people noises. Step on lines and study script
Doris	React  more to Rose’s line and say it more to the audience.  I could tell you have been working on expressions in the Sidney Doris scene.
Rose and Moe	Step on lines in your last scene. Try to pull us in and let us feel your sadness and loss.
Robertson	Watch hands in pockets. Watch happy feet.
Needs	Irene badge Milk bottle Abbey forms and clipboards Ecru paper
Banks & others	Sign on bar. Newspapers
Lindsey	Great job as Edie.