Baggage; Dark Matter; Millenium; Every Bit; Coming Up;
Monologue
Notes for Baggage
Stage dimensions?
How long after the lights come up does the action commence?
Freeze-frame?
Blade – not too concerned by the ‘eagle and the bear’: do
you really believe it?
Gwen – ‘God’: more sarcastic
Blade – more natural movement: less contrived
Blade and Gwen – you need to listen to each other; react to
each other’s lines
Blade – why are you avoiding eye contact with Gwen?
This is a funny scene: try to eke the comedy out! These
siblings could be a real double-/triple-act!
Blade – don’t mistake your character’s docility for lack of
energy
Radley – “pissing your money up the wall”: funny!
Radley – “when did you last see a doctor”: make sure it’s in reference to your mum
Radley – distinction between each attempt to communicate
with your mother
Why does Blade hold Gwen back? It’s not like she’s about to
hit him! And then why stop?
Gwen – we need to see the moment of change as you begin to
forgive Radley
Radley – “I’m not
leaving”: definite, more defiant
Dark Matter
Paige – let the other person speak (on the phone)
Alex – more unsure
Paige – much less perturbed by his decision not to go:
you’re annoyed but not concerned that he’s going crazy just yet!
Paige – “are you saying you don’t like the way I am?”: more
offended, less quizzical
Alex – “pretending not to see the…”: needs to be less
‘prepared’
Bigger build-up and pause before I “shall I start”: is a
funny line!
Alex – get more frustrated by Paige’s unwillingness to play
along
Paige – what are you looking at?
Alex – point out ‘the bush’
The fight is far too contrived, as is the slap
Millennium
Gwen – you look terrified! George isn’t meant to be scary
Gwen – less ‘whimpery’ when talking about the Millennium;
more assertive. Your character is fairly strong-willed when she wants to be
George – don’t seem so unsure about the poem: it may even be
that character has learned it but requires the paper halfway through
Sean – careful of downward inflection: especially on the
“fucking…” line as it loses sense otherwise
Gwen – more fed up than pleading? “Exactly!!”
Antonio – diction!! I thought you said “rock and roll
analogy”, not “a fucking Roman orgy!
Antonio – why the contrived mime with the camera?
Antonio – “I told him not to double-drop!”: more assertive
Antonio – run away after “I shagged your sister”: you don’t
wanna wait around for George’s reaction!
George and Gwen – more pause between your last couple of
lines
Coming Up
Sean – needs to be more panicky, maybe fetching Antonio’s
coat or something?
Antonio – keep looking at Sean in constant disbelief
Sean – far too relaxed when sitting down
Sean – we need to see the internal struggle, your
character’s trying to be a good father despite hiding a big secret from his son
Antonio – be aware of how far away Sean is with regard to
how loud you have to shout to him (“keep your dressing gown on!”)
Sean – bigger pause after Samurai
Yannis – finger click “in accounts” is too obvious a
giveaway
Antonio – don’t just step back to let Yannis sit down unless
it makes sense: the blocking overall feels messy and stilted
Sean – don’t let Antonio upstage you
Sean – “short for...something”: longer pause as this echoes
the previous line
Sean – “he told me he was a policeman” then remember his card is in your pocket
Sean “I don’t think your mother would appreciate it. Do you?”
Every bit of my
Love
Radley – pause before “Ian Meade”
Yannis – “technical difficulties”: don’t use your pinkie!!
Yannis – “you and the Machine…”: stay away from Radley. Use
repetition.
Radley – “that is the most beautiful line…”: more dramatic
Catya – slower and more deliberate delivery all-round
Radley – when Yannis goes to say your finale line, act
annoyed that he’s clearly not listening to you
Nicole – “Oiling the machine”: don’t act offended by this
line
Nicole – check the script! Your character’s acting is meant
to be wooden
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