Jaell: You have really taken a lot of initiative for our project and have generated a lot of ideas about the play as a whole as well as details and individual characters. Also, thanks for being proactive when it comes to organizing the group schedules and setting up meetings. You have really helped people stay on track.
Andrew: As the director, Andrew you have been very willing to listen to everyone's ideas and input. Thank you for having a larger vision and taking others input before you make the final decision.
Denise: Thank you for helping to stay on track during our meeting. You had good and helpful suggestions without getting side tracked or getting too caught up in little details at this point.
Allison: You really generated good ideas about how to convey the mood of our scene, especially with your music suggestions and blocking ideas.
Sean: thank you for bring a lot of energy to the group. I think your enthusiasm about the play will really help us convey this lighthearted and silly production effectively for our audience, in addition to the deeper messages of the play.
Clurman: The Spine. I think the spine of our play is people's obsession with analyzing. Everything has to have a reason, there is a cause, a solution, a treatment, a cure for everything and if there is not a constant cycle of cause and effect than something is wrong. Everything must keep moving; nothing can sit still or just be. Analysis - everything must be figured out.
Schechner: The Environment. Well, I haven't seen the space we are using yet, but I think we will be running more along the lines of traditional theatre -- i.e. not a found environment. I think the environment that we create should reflect/reiterate the complex web of connections between the characters. This will both reinforce the dynamics for the actors as well as for the audience. The idea of multiple and local focuses might be especially helpful for our play.
Bogart: Entering. I have never been good about being decisive and taking a stand, making the decision. However, I realize it is time to leap. Since there will be no suspense for the audience – they will know all, know who is who and doing what – the tension must come from the characters lack of knowledge. They should act as though they are holding back, and taking it in all seriousness; the comedy will follow without trying to be funny. I don’t know if this is really the idea of entering, but that’s all I’ve got at this point.
Jones: The Physical. One thing that strikes me about this play is that it is about mind games and social rolls. I think the physical aspects of the performance should reinforce this. Not to try to over complicate the set, but I think the surprises of the text must not be hinted to by the set. The scene will appear as simple, straightforward, but when it is put into action, there are unexpected twists. For example, with the pool idea, I think it has to be subtle so that there is not one big glaring element present throughout the whole play, waiting to be used – the audience must not think about it until it comes into play.