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Speed-the-Plow by David Mamet: Casebook by Cristy Andrea Altamirano

MY THOUGHTS ON THE PLAY

Speed-the-Plow is actually one of the plays that I had the hardest times getting “into.” Mamet has this way of thrusting you into the world that is very disorienting. I had the same experience with Glengarry Glen Ross when I saw the student production this past fall. I was dizzied by the language, and almost put off. But, in reading Speed-the-Plow (as opposed to watching it live) I was able to reread the first few pages a couple of times, and slowly, to ease my way into the world. And, once I got there, it was great.

Unlike Glengarry Glen Ross, the world of Speed-the-Plow is innately interesting to me, because it deals with the entertainment industry. It deals with the issue of making art versus making money, and what that means in the context of the film making business. In the modern world, and the world contemporary to the writing of this play, money is valued over quality of art. The more money something can generate, the better: what matters is the ends, not the means at all. And, to this effect, the play touches on a lot of themes that interest me, such as tis idea of passion, and genuine people, and, ultimately, power. Thus, my favorite act is the second, when we see Karen worm her way into Gould’s core.

This worming could be done in a few different ways, from deliberate to naively, but the one that interests me most is one that walks on the fence. I want a Karen that knows the effect of her body, but that is unaware of the effect that her passion can have on another person. Her seduction, unbeknownst to her, is double pronged, and I think this surprises her as much as it surprises Gould, and that is what interests me. As people, we constantly surprise ourselves, and surprising oneself is infinitely more interesting that surprising another person.

STYLE OF THE PLAY

The style of this play is very realistic, and depicts a natural, albeit budding, relationship. The language of the text calls for a lot of repetition, and verbal fumbling around. But, it is a precise fumbling around, which will be a challenge. Each word, each stutter, is exactly chosen, and does not allow for actual fumbling around. The whole play is also difficult because it’s characters, true to real life, repeat themselves a lot. They think aloud, and thinking aloud often entails rambling. And yet, that same thing makes this text so wide open. The characters think aloud so much that the ground work of the characters can more easily go deeper. There is so much on the surface that even the slightest effort to give the character more color would be extremely effective.

There is so much in the text, and it is a blessing and a curse. It makes it easier to inhabit a character, but it may provide the actors a false sense of security. They may think, “Oh, I am speaking so much, there is no need to actually feel,” which would result in boring, flat, acting, But, there is so much that the actors are going to need to motivate. In an ideal world, each word would be loaded, but, there is almost no way that student actors could get to this in a believable way. I think my biggest challenge will be to stage the scene in a way that is not boring or contrived. Hopefully, I’ll be able to snag some actors that serve this purpose well.

QUESTIONS AND ANSWERS

Gould thinks Karen has done a great job on the report.

Where are we?

Gould’s home, in the Hollywood

Karen has made a connection with Gould through her book report

When are we?

Late 80s. Night time.

Gould has been disillusioned by the industry he works in

What is Karen doing?

She is giving her report on the Radiation book

Karen has reawakened something in Gould via her report and enthusiasm

What is Gould doing?

He is listening to Karen, really taking her in.

Gould is impassioned by the connection Karen has made with him

Why did Gould ask her to do the report?

To get her in his home.

Gould wants to help Karen in any way he can

Does he actually think she did a good job?

Yes.

Karen wants to make and help on the Radiation film

But, has he used this ploy on other women?

Yes, but he sincerely feels this way about Karen

Gould does not think that the radiation film will make any money, so he does not want to pitch it to the studio

Does he want to help her without any strings attached?

No, there are strings attached, but they are tenuously attached. Had he not been affected by Karen, then his help would only come after he got what he wants.

Karen insists that Gould will like the book, and think it worthy, if only he would read it

Why does Karen like the book?

She likes the book in part because it is the best thing she has ever read, but also because it could open the gate to success

Gould does not want to read the book, because he is interested in Karen, not the book

What does Karen think of art?

To Karen, art is the ultimate goal: everything should have some artistry to it.

The book is about the end of the world.

What does Gould think of art?

Gould once had a deeper appreciation for art, but years of using art to make money has hardened him a little

Is the book actually good?

No. It is a pretentious piece of garbage, but it is Karen’s first experience with something like this, so she doesn’t know any better, and naively thinks it’s amazing.

THEMES OF THE SCENE I CHOSE

Genuine people: Gould, jaded as he is, is surrounded by a whole slew of “Hollywood people.” He is surrounded by people that are constantly trying to get whatever they can out of him, and this has only been aggravated by his recent promotion. In an effort to counter this, and get what he wants, Gould has taken to start manipulating people too, and he continues this by trying to use Karen for his own purposes. But, as he tries to seduce her, he inevitably gets a glimpse into her soul, and he is entranced. Her “freshness” is new; it’s not just a ploy to get into her skirt. He is genuinely attracted to her fierce passion. Thus, in seeing and appreciating what is genuine in Karen, Gould is able to tap into his own genuine emotions. This theme, of being your most genuine among other genuine people, is the most interesting to me as I find it to be true in my own life. When people are genuine, and candid, that’s when I feel most myself. It becomes less a performance of who people think I am and more a release of who I actually am. And, I think this is what happens to Gould over the course of this act. We only get a glimpse of it in this scene, but nonetheless it is the driving force of the scene.

Intimacy: In line with the theme of genuine people, there is also the theme of intimacy. This whole scene is a back and forth, where Karen and Gould let each other in. Karen does this by giving Gould her passion, and Gould lets her passion affect him. Intimacy in such a superficial industry is something to be coveted. Most people don’t have time, or any desire, to let people into their own hearts. So, when Karen offers this intimacy, this closeness, so fearlessly to Gould, he is struck. He wants to share with her, and help her in any way possible, if only to get closer to her and her heart.

Power and Passion: Again, the industry that Gould works in is a cold one. One has to be ruthless in order to survive, and that’s what people around him do. They have no qualms about doing the dirty work in order to be successful. But when Karen comes along, he reminds her of something he has lost: passion. He is no longer fresh-faced, but he can certainly appreciate her naiveté, and it reminds him of a better time, when the art was more important that the money. In this way, passion has the ability to sway power: passion, when appropriately channeled, can manipulate anything, and thus becomes the ultimate power.

CHARACTER WORK

Karen

Karen is a young, fresh-faced secretary temporarily working for Gould. When she first started working for him, she had no illusions at all of what her job would be. She knew there wouldn‘t be any glamour, unless she really worked and looked for it. But, then Gould drops an opportunity in her lap: read a book that has been submitted to be considered for film production, and present a report to him. And, when she reads the book, she genuinely is moved by it. She becomes weak, via her love for the book and the fact that she can now be hurt, but is also immensely impassioned and strengthened, because she has something to fight for. This scene has her trying to begin that fight, but she is taken for a spin, because she assumes that Gould ever had any real interest in the radiation book. So, she begins by talking to him as if he is a coconspirator, but he emphasizes that he is interested in her, and not the book. Karen, however, is deft enough to use his interest in her for her, and the book’s, benefit.

Overall objective:Get Gould to pitch the Radiation book to the producers.

Action: “Seduce him” with her passion. Inspire positive feelings about the book. Try to make him empathize with her passion.

Obstacles: Gould is confined by the limits of what he thinks will make the company money and what won’t. Gould also does not see the value of the book, and only cares about her. So, Karen needs to use herself as a bridge between Gould and the book.

Gould

Gould is a jaded movie producer whose main goal has always been to be successful: and, success by his standards means having money. This single-mindedness mean that he has surrounded himself by yes men, with nary an original though among them. He is very used to getting what he wants, so he is immensely comfortable in betting that he can sleep with Karen before the week is out. But, when he is finally alone with her, he is thrown by her sincere passion. It’s something that entices him, and eventually allows him to give in to her.

Overall objective: to sleep with Karen?

Actions: Get close to Karen, physically. Bring her into his world, where he has ultimate power. Bring her into his home, and also onto the Prison film set.

Obstacles: Karen gets close to him emotionally, which is unexpected, but nice. He is thrown by her “naiveté” and “freshness.” Karen also wants more from him than what he though she did, so he has to cope with her added desires.

VISUAL INSPIRATION

KAREN

Initial: The initial concept for Karen was to have her very aware of the seduction she should be performing on Gould to get what she wants. This would manifest itself in her dressing more provocatively for her visit to Gould’s home. Nicolle was also being much more coquettish as Karen when we had these images in mind, looking coyly over her glasses as Robert/Gould spoke to her. We don’t get to much active seduction in this particular scene, however, so it makes sense to not get to this side of Karen yet.

Revised: The “new” Karen pulls back on the overt sexual appeal, and instead relies on Nicolle’s natural attractiveness. We now have Nicolle as a more naïve person, less aware of what is to come in the next few pages of the act from which this scene is pulled. Not having to play seduction overtly also allows Nicolle more power to play up sincerity, and passion for the radiation book. Thus, this would be reflected in how Karen would choose to dress for this late-night meeting with her boss. It would still allow her to play up her sensuality later, perhaps by letting her hair down, and taking off her cardigan when she needs to get serious about her dedication to the radiation film.

GOULD

Initial: Given that the scene occurs at night, and in Gould’s home, there is no actual reason why he would be in a full-out suit, even if he is a successful movie producer. But, he is still someone who would be well dressed, so I’ll have the actor playing Gould wear dress pants, and a blazer. For a hot second I had considered having Gould in a red-silk robe, ready for “bed,” but that would GREATLY change the dynamic between him and Karen. Though, it might be very funny to see Gould talking so earnestly about the radiation film, as he does later in the act, when Karen finally convinces him to go ahead with the radiation film and not the prison film. But, ultimately I just have him in a blazer.

SETTING

Exterior: The exterior of the world I envision for this scene incorporates modernity and a vaguely 1950s aesthetic with clean lines, whites and reds. I want it to have an easy, unaffected air that only money can buy. These images effectively convey what I want the actors to have in their mind’s eye, and I hope it slightly influences how they perceive themselves, and each other. Also, even though the script calls for an apartment, my actors and I decided that having a large house in their mind’s eye would help them cement Gould’s wealth more than just an apartment.

Interior

Initial: From this image I really like the area with the two seats. I think we have two identical seats in the rehearsal room that we could play with. This sort of tight space would innately force the two of them to interact a lot, and breed an intimacy, which I think is important. These particular colors are a bit too pale for my taste, though.

Revised: This type of interior would incorporate the intimacy of what originally wanted to convey, but also gives the actors more space to play with, and chase each other through. These colors are also more in line with what I would want on stage, as they are warm and inviting.

SOCIAL AND PSYCHOLOGICAL MOTIVATIONS

Karen: Karen is trying to bring the Radiation film to fruition. To that effect, she knows that she needs to convince. In the segment of the act that I chose, Karen still thinks she can do this simply by talking with him. So, she gives him her passion for the book. She is a bit put-off, however, when he starts to talk about the connection he feels she has made with her. She doesn’t want the focus to be their connection, so she tries to redirect him. She pushes the book, and her potential involvement, in order to entice Gould into pitching it to the studio.

Gould: Gould begins this scene at the bar, serving himself another drink. He watches Karen. As she ends her impassioned speech, he moves in for the kill. He emphasizes the connection she has made to him, and the way her passion and naiveté has affected him. He is willing to offer her a position on the prison film, as bait for what he really wants to do: sleep with her. Though he is later convinced in favor of the radiation film, the current scene does not have him so moved. He is moved by Karen though he is not moved about the book: he likes the fire, not the log. So, he tries to capture the fire. Only later in the act does he realize that to get the fire he must also take the log.

SCENE USED

Title: A Light in the Dark

I chose this title because of the initial visual conception I had when cutting this scene out of the full script. I had this very clear notion to start the scene in darkness, to slightly mirror what Karen says in her opening lines. So, when she says, “these are the Dark Ages,” this is referring not only to what she is reading, but also to the world that we are all existing in at that moment. Gould would then end this world when he says, “it’s about the end of the world.” I wanted that line to be buttoned by a blackout, to allude to the fact that with that decisive line, the world that we have been peeking into has actually ended.

However, the more I have worked with the script, the more I felt that bookending this scene is not the correct choice. It would make the scene too finite. Mamet’s writing is such a forward thrust, and very much lacking in demarcations for beginnings and ends, that I think it is inappropriate to force them upon the script via lights. But, I stayed with the title for another reason: Karen does become Gould’s light. He says how refreshing her passion is, and how he has missed it in his professional life. Though this is a ploy to seduce her, there is a very large grain of truth to it. He is also a light in the darkness for her. He provides this amazing opportunity, something she reaches out to in the dark.

Thus, while the title no longer pertains to the visual world we will live in during the presentation of this scene, it is still appropriate to the content of the scene.

SCORE

KAREN Using the following speech to reach out to Gould. Propel her feelings and emotional state towards him. She can just barely stay in her seat. Her words go at a quicker tempo, but everything she reads from the book is savored in her mouth, like chocolate. ….he says that these are the Dark Ages. They aren’t to come, the Dark Ages—they are now. We’re living them. (Reads:) “In the waning days . . . in the last days” . . . “Yes,” he says, it’s true, and you needn’t deny it . . . and I felt such fear, because, of course, he’s right. Then he says: “do not be afraid.” The story . . . when you, when you read it, the story itself. Down below the bridge, I’ll tell you: written with such love . . . Such love . . . God. A thing to be thankful for. Such love.

GOULD Approaching her slightly, placing bottle of wine in front of her, then walking back to bar. You’ve done a fantastic job.

KAREN I have?

GOULD Yes.

KAREN I have? Doing what?

GOULD On the book.

KAREN I . . . ?

GOULD Sincere, leaning back into the bar as he relishes in the next speech. In your report on the book. It means something, it means a lot, I want to tell you, if you want to “do” something out here. A freshness, you said a naïveté, but call it a “freshness,” and a capacity to get involved . . . I think that it’s fantastic. And, you know, you dream about making a connection; but I feel I’ve done it.

KAREN Confused. You’ve made a connection . . .

GOULD Yes. And you reached out to me.

KAREN I did . . .

GOULD You shared this thing with me.

KAREN Emphasizing strongly. . . . the book . . .

GOULD Enthusiastic now. You did it. Someone does something . . . totally .

KAREN . . . yes . . .

GOULD And you say “yes” . . . “That’s . . . that’s what I’ve been missing.”

KAREN . . . you’re saying . . .

GOULD Approaching her again, this time by walking near the longer couch and sitting on it. Now he is the one reaching out to her, trying to make her see how he feels. That’s what I’ve been missing. I’m saying, you come alive, and you see everyone’s been holding their breath in this town, twenty years, forever, I don’t know . . . and then . . .

KAREN Yes . . .

GOULD Inching his way towards her. So rare, someone shows, shows some enthusiasm . . . it becomes simple. You know what I mean . . .

KAREN Yes. I do.

GOULD N’I want to thank you.

KAREN Um . . . it’s nothing.

GOULD (Simultaneous with “nothing”): It’s something. No. Let, let, let, let me help you. Pouring her a cup of wine, sitting directly across from her. That’s what I want to do.

KAREN Sincere. I’m confused.

GOULD I’m saying I thank you; I want to do something for you.

KAREN No, no . . .

GOULD Headed back to the bar, excited to be finally be making a concrete proposition. And, whatever, I’m saying, if I can, that you would like to do, in, in the Studio, if you would like to do it, if I can help you with it, then I would like to help you.

KAREN Yes. Thank you. I absolutely do. Getting to her feet. You know what I want to do.

GOULD I . . . ?

KAREN I want to work on the film.

GOULD Alright. If we can. The Prison film . . . Preemptively raising his glass, in celebration. He sinks into his stool during the next speech, watching Karen but also trying to avoid her gaze now.

KAREN No. On this. On her feet, really chasing him down now. This film. The Radiation Film and I don’t care. I don’t care in what capacity, well, why should I, ‘cause I don’t have any skills . . . that’s presumptuous, sinking into her chair, but not stifling her excitement. of course in any way I could. But I’d just like it, it would be so important to me, to be there. To help. If you could just help me with that. And, seriously, I’ll get the coffee, I don’t care, but if you could do that for me, I would be . . .realizing what she has been doing, and taking Gould in for the first time.

GOULD Hmmmm.

KAREN I’ve put you on the spot.

GOULD Stilted, still stuck on the tool. No. Yes, a little.

KAREN I’m serious, I’d do anything . . .

GOULD Approaching Karen, and grabbing the book from her. Sits on the long couch with her, but as far from her as possible. Look . . . This was a “courtesy read.”

KAREN I know that, but . . . Grabbing the book back.

GOULD As I told you, the chances were, were astronomically slim that it would . . .

KAREN Of course, but you said, you, you wanted to investigate. . .

GOULD . . . yes . . .

KAREN . . . “because once in a while” . . .

GOULD . . . yes.

KAREN Desperate. And once in a while one finds a pearl . . .

GOULD Yes . . .

KAREN And this book . . . I’m telling you, when you read it . . .

GOULD Grabs the book back again. Karen, it’s about the End of the World.

KAREN Grabs book back for final time, in a dangerous desperation. That’s what I’m saying. That’s why it . . .

GOULD In frustration. It’s about the End of the World.

REHEARSAL LOG

FIRST REHEARSAL February 18th, 2014 15 Minutes Actress: Nicolle Allen

Plan: Discuss “Karen” with Nicolle. Run through Scene. Discuss more. Discuss initial ground-plan.

Actual Rehearsal/Notes: Discuss “Karen” and the events of Speed-the-Plow. Read through scene.

I still have not confirmed with my desired male actor whether or not he can make the dates for performances. I have a few leads as to who it could be, but, until I hear from Connor, I do not want to have serious conversations with anyone else yet. To that end, I have decided to just have a quick meeting with Nicolle, so she can start thinking about the play and start getting off book, as she has the bulk of the lines.

Nicolle gave a wonderful first read, and I am very excited to start working with her. She has a good instinct for reading plays, and she is already such a secretary-type in her day-to-day life. I do not think that Karen is much of a stretch, and is she is very much typecast, but I think that Nicolle is such a vibrant person that she should be able to bring a different edge to the normally complacent position/part.

We also discussed the planned setting for the scene. Since it’s such an intimate scene, I am leaning towards using two comfy chairs. But, we shall see.

Goals for next rehearsal: Find male actor!!! Ideally, rehearse with said Actor and Nicolle, but do whatever works. Get the scene on its feet!

SECOND REHEARSAL February 21st, 214 15 Minutes Actor: Robert Leverett

Plan: Discuss “Gould” with Robert. Run through scene. Discuss more. Notes for next time, and initial ground plan

Actual Rehearsal/Note: Discussed Gould. Discussed other events of Speed-the-Plow. Read through scene

Thank goodness for Robert. He is going to have to miss his class once, but he was happy to save my butt, since Connor will not be able to do the scene: he won’t be here this weekend to rehearse, and he also still does not know his schedule for the next two Mondays. I really wanted to work with him, but, the more I think about it, the more I accept that Connor would actually have been a better Fox, and Gould might have been a bit too sincere for the type of person Connor is.

I decided to meet with Robert separately, and give him some individual attention like I did with Nicolle. Nicolle’s schedule is also terrible today, so I’m better off meeting alone with him today before our first combined rehearsal tomorrow.

Robert’s initial read of the scene was, like Nicolle’s, very inspiring. He is a smart actor, and was very intimately attuned to the punctuation in the scene. He also brings a distinct awkwardness to Gould that I think will help move the scene along. This awkwardness makes Gould feel a bit more sincere, whereas I think overconfidence would have made him less believable. A too confident Gould would be too much like just a direct representation of what the film-making industry “is.” Awkwardness makes Gould vulnerable, and more susceptible to the bright new world that Karen is offering him.

Goals for next rehearsal: Get scene on feet. Work with both Robert and Nicolle.

THIRD REHEARSAL February 22nd, 2014 5 pm to 6 pm

Plan: Work through scene, on feet. Notes. Work notes. Run scene. Repeat as possible.

Actual Rehearsal/Notes:

The first run of this scene was quite good. Both Robert and Nicolle have remarkable instincts when on their feet. They sunk very naturally into their characters, and have a facility with this language that I was not expecting.

Robert in particular has a lot of great instincts, and gave me a lot to chew on. He was very mobile in this very first run, and was easily drawn to Nicolle, and I’m glad that physical through line will be so easy to work in. (I had a slight fear that he would recoil against the idea of becoming physically close to her, because he is so awkward as a person, but he isn’t, which is lovely.) He got to his feet a lot, and stood a lot without me having to ask him to.

Visually, though, I’m against his standing while she is sitting. He is such a looming presence that I feel it gives the scene an almost paternal tone.

I got Robert to sit on the table in between them, and though the sight lines are a bit, gross, I like the feel of it. His shoulders block a lot of Nicolle, as she is so slight, but I want to have her mirror this move when Robert goes back to his own seat. Work this in next time

He and Nicolle also had a moment when they fight over the book, which is interesting, but this first incarnation was more like a brother and sister fighting over the last chicken wing as opposed to two adults debating over the viability of a film.

Nicolle also brought a sincerity that works very well against Robert’s “awkwardness.” She’s on edge for the beginning of the scene, and frantically goes through the first lines. I like this, because it helps embody her love for the book while she is in this confined area.

Goals for next rehearsal: Run through Scene, retain work from this rehearsal. Look at the fight over the book. Work anything that comes up, and work in moments mentioned above

FOURTH REHEARSAL: First Staging February 24th, 2014 15 Minutes during Directing 1

Plan: Go through scene. Notes. Work notes. Run scene again.

Actual Rehearsal/Notes: Nicolle and Robert retained everything from our previous rehearsal, and were pretty off book as they ran lines before this rehearsal.

I had mentioned that I wanted to work out the book-fight sequence at the end of the scene, but it worked itself out after my last note: it no longer has Robert holding the book over Nicolle’s head in a taunting manner. The book-fight is now more natural, and less awkward than it was before, though I will try to work out the exact moments when the book shifts hands in order to give them the ability to be more consistent in their delivery of that beat.

Peter Hackett mentioned that wine might not be the most appropriate drink of choice for Gould. Certainly, Karen would be drinking wine, but I will not have Gould drinking whiskey on the rocks. This will also give Robert a more interesting prop to fiddle with.

There was also some real sightline issues that started to bother me, so I tried to add some more space between Karen and Gould. Peter later picked up on this and suggested that I rethink my environment to give Gould more of a gulf to bridge between himself and Karen.

I should slow down the prowl in general, and have it build up more. The more physical space in between the two, the more I can play with the power struggle in this scene.

There’s also a slight desire to take Karen in another direction. I had her be more aware of her seductive wiles, but Peter suggested that a more actually naïve Karen might work better. I almost agree, but I do want Karen to retain some actual, self-aware, power, because that becomes more interesting in this scene. To that effect, I think I will have her slow down her opening speech, and lavish the words more.

Goals for next rehearsal: Expand the setting. Increase the space between the two chairs, and then add a bar to the SR area.Give Robert a tumbler with fake ice, as well as a bottle of whiskey to play with at the bar. Work with Nicolle’s speed, and slow her down. Tease out more of her sincerity, and couple this with her innate passion.Remind them about costumes!

FIFTH REHEARSAL February 27th, 2014 15 Minutes Actress: Nicolle Allen

Plan: Discuss opening moment with new ideas. Run through. Notes. Run again

Actual Rehearsal/Notes: Unfortunately, the three of us will not be able to meet until tomorrow due to scheduling conflicts, but I was able to grab Nicolle for a few minutes to work out the opening speech. Tomorrow we will tackle the goals set out in the last set of rehearsal notes.

In order to give the first moment a bit more gravity, I had Nicolle slow down a little. In the first runs she was a bit frantic, but it was all in earnestness. I also told her to pretend that the Radiation book was actually the first proposal for the musical Sweeney Todd. She laughed, and went with it very well.

Goals for next rehearsal: Work out more with first moment: really vary between speeds. Perhaps talk a bit faster when she is talking as herself, but sink into the words that she is taking from the book.Incorporate this first moment into the rest of the scene, and see how it affects it.Remind Nicolle about the Sweeney Todd bit. Cover goals set out during after Monday’s rehearsal.

SIXTH REHEARSAL February 28th, 2014 1:45 – 2:30 pm

Plan: Discuss and set up new setting. Run through. Notes, work out new blocking. Run again

Actual Rehearsal/Notes: Robert and Nicolle were great at helping me set up the new play space. They both are very attuned to what sort of space would enable them to best give me what I want, and we were able to massage their needs into my concept of what I wanted the space to look like fairly quickly.

Nicolle retained everything from yesterday’s rehearsal, and we went over the first moment again. I told her to hasten her own words, but treat the words that she is reciting from the book as if they were pieces of delicious chocolate in her mouth.

In the process of running through the scene, Robert had a moment where, even though I had instructed him to move to the large couch before we started the run, he didn’t because Nicolle had moved there first. He didn’t move to the table because he felt, and I agree, that Gould wouldn’t move to the couch if Karen was already there. So, instead, he slumped against the bar. This inspired me to give him a stool, which gives him more to play with throughout the entire scene, so we’ll play more with moments at the bar at our rehearsal later today.

The dynamic of Robert and Nicolle chasing each other at different times also is working magnificently. The whole power play is much more evident in this bigger environment, and it is quite exciting. Slowing down his prowl gives the whole scene another dimension of tension that I appreciate a lot, and that I am excited to work further with.

Goals for next rehearsal: Run scene again. Smooth out blocking. Notes. Work notes.Run again.

SEVENTH REHEARSAL February 28th, 2014 5 to 6 pm

Plan: Run through. Notes, smooth it all out. Run again.

Actual Rehearsal/Notes: During dinner, Robert mentioned that the “Let, let, let, let” moment was tripping him up. This threw me for a loop, since I thought the moment had been going well prior to that, so I asked him to let me mull it over before rehearsal. Once we got back into the room, we started off with this moment. I suggested that he spill some wine as use that as a reason for the repetition. We ran that, without liquid, and he felt extremely uncomfortable with it. So, we ran out to get water and tea, for the wine bottle and bourbon bottle. The minute we had it, though, I hated it. It sloshed too much, and was way too messy, so we cut it and ran the moment “dryly” again. We worked on it some more, and I tried to help him through it, but in the end I truly preferred the way we had it before. Though, by that point we had worked on so many other options that Robert forgot what he had been doing originally. So, I helped him get to that again, we ran it, and then we ran the whole scene again.

We cleaned up the “chase” through line, and it is mainly Robert who is doing most of the movement. He has moments where he “tests the waters,” and the pulls back, only to get closer again. Robert has a magnificent facility with movement, and I enjoy watching him a great deal. Though there was a moment where Robert was too close to Nicolle. I’ll be sure to remind him of this, and to be a bit further away, before we run it again on Monday.

Working more in the larger space also has made the whole scene so much more interesting to watch, and there isn’t as big a sightline issue. (Robert still has a moment where he blocks Nicolle with his larger frame, but it’s not as bad as before.)

We also had a quick review of the sort of costuming they should have. Nicolle will dress in her normal clothing, and Robert will be slicker. Robert also took off his glasses, which I like much better. It allows us to watch his face more fully, and he also just seems more open. I often feel that glasses can make people innately seem more guarded. In an ideal world, Karen would not have glasses, I think, but with Nicolle, I think her glasses pull together the secretary aesthetic, and also lend her an air of bookishness on top of that. This is extremely helpful in the more outwardly innocent Karen that we have been dabbling with, and also makes sense with how obsessed she becomes with the radiation book.

Goals for next rehearsal: Refresh Robert and Nicolle with their through lines. Run scene again. Notes. Work any stray moments. Run for final time.

EIGHTH REHEARSAL: FINAL STAGING March 3rd, 2014 15 Minutes during Directing 1

Plan: Run through. Notes, smooth it all out. Work out moments. Run again.

Actual Rehearsal/Notes:

First Run

Nicolle’s first moment was living a little too much within herself. I want her to “project her world and feelings” more towards Robert, to have him really receive what she is saying

We worked this toward the end, at Peter’s suggestion. I had almost forgotten about it, but Peter pointed out that it would probably take more massaging than I gave it credit for, so we ran it a few times. We got it to a better place, but not exactly where I would have wanted it.

The wine bottle was in a precarious situation for a moment, so I just need Robert to be a bit more mindful

I want there to be less air during the “No, no..” sequence. There was some lag in this run, and it took me out of the moment a little.

Ran it a few times, and got it to a much better place.

Add some air to the “I’ve put you on the spot” moment, so that we have Nicolle really consider Robert, and what he is feeling

Worked it out and got it to a great place where Nicolle really connects to Robert

Overall though, a fantastic run. There were a lot of wonderful moments with Robert’s performance, and I feel that they both gave it their all. Robert kept all of the blocking we had discussed, and it looked so good on his feet.

Second Run

What happened.The moments we worked on were pretty perfectly executed, but everything else seemed to fall apart at the seams. Robert tripped up during the middle, and we couldn’t run it from the top because we didn’t have time. I wish he had been able to run it from the beginning, to help smooth things out.

Final Thoughts: I wish I had done a better job of positively reinforcing Robert’s performance. During the first run today, he had everything: he had the leaning on the bar, he stayed a bit further from Nicolle during the first couch moment, he appropriately dealt with the “let” moment. But, in not giving him positive feedback, we lost all of this in the second run. The movement in general remained all right, but there was an energy unfortunately lost. And, Robert, who needs a lot of positivity, flailed a lot more in the second run, and got tripped up with lines in a way that did not happen in the first run. I forgot to remind Robert to wear a white shirt and blazer, but I think his everyday clothing, like Nicolle, still works. It reads very casual, but still well-kempt. I also wish I had done more playing with Nicolle’s energy. I wouldn’t have made her drunk, but, giving her more buzz would have upped the ante, and made the whole vibe of the scene more interesting. I also wish I had tried to get her more out of her own skin: the initial run was so good, and in such a great place, that I didn’t play enough with her, or Robert, to move beyond that. That being said, I am still quite happy with the work we did. The first run was almost exactly what I wanted, and the energy was excellent. I also learned a lot from Nicolle and Robert, and my style of working with people I know. Compared to the actors for my first scene, I am much better friends with Nicolle and Robert, and while that worked out better in the short term, in the long term I think it led me to be a bit less cohesive, since they were doing so much of the brunt work. Looking ahead, I have a very clear conception of the type of work I need to put into a piece as a director, and how I can best achieve what I want.

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