Ray Newberg's Tips

Everyone	·         What is the message of the show? ·         We have to see the ideas. ·         The audience must have a sense of pain. ·         Who is the story about?   ·         Physical Style – Commit to one and be consistent ·         Each person must carry out his/her own physicality.  For example, several characters have strong character choices, movement, habits, etc.  Therefore those of you who are just teens on stage will not look equal in the eyes of the judge or audience. ·         You must be thinking actors.  Stay in character. If you are doing people noises during the show, they must be that character’s murmurs, opinions. ·         Characters must have purpose and poise. Form matters. Sit and stand up straight (this was the 30’s), unless circumstances prevent you. ·         Must see all faces.   Keep hats on the back of your head. ·         People noises are important.  We saw that Saturday.  Plays were flat without them. ·         Open up to the audience – no profile speaking. ·         Where are the discovery moments?  Where your character discovers something about the plot, an actor, the conflict,etc.?  All scenes must have those. ·         Don’t anticipate. ·         We MUST see the Valleys and Mountains of the show.  Think about each scene. ·         There must be VISIBLE and AUDIBLE levels of emotion with each character in each scene. If you have read this, please text or comment on the blog (2 grades).  Using one of the suggestions in Ray Newberg's critique, tell me how you are going to instill "heart" in that scene. ·         Make a commitment to singing and dancing – no halfway effort. ·         We must see the relationships.  Find some humor in each scene and within your character. ·         We must have stage business for each character.  No one is doing too much.  SO, I want to see stuff on stage. I do not want people just sitting or staring. ·         Add layers to your character. ·         Don’t give your character away from the beginning. ·         The audience must see tensions mount. ·         Don’t lose volume.  The judge said that we have a dead space US. ·         We need more coughing, etc in the welfare scene. ·         You must be thinking actors. ·         BE FOCUSED ON WHAT YOU ARE DOING. ·         PUNCTUATE THE moments. Put one in each scene. ·         Build the tension in each scene. ·         Give your character a reason to fight. ·         Don’t yell.  Words are enough. ·         We need to see your emotions from the top of  your head to the bottom of your toes. Don’t be a shoulders up actor. ·         What are the issues that affect your character?  What has happened to that character to make him/her act this way?  What happened to the character that day (scene)?  How would you act if you were that character? ·         What are the relationships?  Where did you meet the other charactersf? What is your history.  You must know your character. ·         Must see internal moments. ·         Take time with memories. ·         Use knowing glances. ·         Each character must have something to feed off the others. ·         Work on dialects. ·         We need to see you think on stage. ·         Where and when does the chink in the armor begin to crack.
Moe	The hat definitely ages you.  But, take it off and rub your hair or press your temples so we can see your face.
Doris and Sidney	Don’t anticipate.  Ty, change the way that you act toward Doris. Try something new.
Robertson	You are a storyteller and you set the TONE for the show.  Make sure that you vary your tempo in speaking as well as vary vocally. What are you trying to tell the audience about the show? Start gently, set a somber tone. See your delivery differently. Choose different tactics to get your point across. We need to see you  think. You must be conversational.
Lee	You are a storyteller and you set the TONE for the show.  Make sure that you vary your tempo in speaking as well as vary vocally. What are you trying to tell the audience about the show? Start gently, set a somber tone. See your delivery differently. Choose different tactics to get your point across.
Rose	You are a storyteller and you set the TONE for the show.  Make sure that you vary your tempo in speaking as well as vary vocally. What are you trying to tell the audience about the show? Start gently, set a somber tone. See your delivery differently. Choose different tactics to get your point across.
Rose and Moe	No hitting.  Afraid we will get it wrong.  Build the tension. Moe plays solitaire. He ignores Rose.  Anger has to build.  Ignore her until she talks about Lee.
Music	Turn it up when no one is talking. You do a great job of underscoring.
Moe, Rose, Fanny, Irene	Use sign language to make the other character shut up  - rose and moe at the beginning – Fanny and Lucille in the women’s scene.
Lighting and Music	Newberg is a scenic director first.  So the lights and sound must be on the money.
Sidney and Page	Sidney – Sputter    both play with high and lower pitches – see Michelle and Allison.