Wuzzup Wonder Weasels?!

SO, I was thinking that since I was the one to suggest the masks in the Song/Wooing scene, that I would be the one to head up their creation. I don't want to overload anyone, and Brian is doing a great job with costumes. If it doesn't put a bee in anyone's bonnet, I'm gonna start making the masks this week so we have them for next rehearsal.

Love, with hugs and kisses (especially to Silvia, *wink wink*)

Proteus

Publicity

Hello,

I've been concerned that we won't be able to bring a very large crowd to either performance. I'd like to see if we can bring in some more people. While I'm insanely busy until the 7th, I'd like to throw this out there, and hopefully some folks can get the ball rolling till I have time again. First of all, do we want posters/fliers? This might be a good chance for people in both casts to work together. I'm sure we have some artists and/or graphic designers milling in our midst. Do we want to take publicity photos, and/or send out press releases? Programs also might be a nice touch. Do we want seperate programs for each show? Notes from the Directors? Thanks to any specific people that have helped us on our way?

I'd like for both casts to show off their hard work. We need to let people know. :-)

I'd suggest that anyone who wants to be involved comment here, and e-mail each other from there to set up meetings.

Jessi

5.4

With the prospect of rehearsing the second half of the show today, I am reminded of the fact that the end of 5.4 still feels awkward for me. Fortunately the wonder weasels will be devoting an hour to it in our out of class rehearsal tomorrow. However, I do not want to miss the opportunity to note my concerns before we go in with Colleen.

I like A.J.s idea that Proteus is still lying at the end- not because I want to make him the bad guy, but because I find it very difficult to turn on a dime as Sylvia in order to immediately reconcile with him. I think Valentine is trying to force the reconciliation the same way he is trying to reconcile two parts of his psyche that are at war with each other. Sylvia knows that Proteus is a knave (pronounced ka-nAv), and has been hissing at him since he arrived in Milan. She probably has her own insecurities and suspicions about his emotional hold over Valentine, but she does have proof of his treacherous nature from Sebastian's accounts of Julia, and the fact that Proteus tries to woo her once Valentine is out of Milan. Valentine, meanwhile, is not aware of the fact that Proteus reported his elopement to the Duke, and only has the example of an attempted rape to Sylvia to show that Proteus is a jerk - apparently attempted rape isn't going to ruin a solid friendship here. Maybe Valentine is the one going through post traumatic shock and trying to pretend that everything is ok. Regardless of which, I still need to reconcile the turn from shock to happy ending.

I don't believe that Sylvia will voluntarily offer her hand to Proteus at the end. I think it makes more sense that Valentine is trying to guide her hand and give it to Proteus trying to tie it to the previous scene. I think that Sylvia may be ready to accept the happy ending, simply because her whole experience in the woods has been f#@%ed up, and she's trying to find some normalcy. But I don't think that she is particularly happy or ready to communicate with the rest of the group onstage because she doesn't say anything for the remainder of the play. If she did it might echo Kevin Smith's Chasing Amy where Alyssa responds to Holden's proposal of a menage a trois with "I love you Holden, but I'm not your whore," and then she'd leave the stage, find the delinquent Eglamour, beat him up, steal his clothes, abscond to Firenze, and throw her lot in with the Medici.

Cast A Outside Rehearsals and Schedule Elongation

I'm almost inexpressibly relieved and happy with Matt Davies' and Colleen Kelly's plan to extend rehearsal on April 4 and April 11! I think we can really use the extra time, so I'm so glad we're doing this.

I personally also intend to get on board with rehearsing a bit outside the regular class time: principally for the scene in Act 2 with me and Silvia, and possibly a few others with Proteus. And I'll see how today goes for the second half. I know you already said this sounds like a good idea, Rachel, so I'll be in touch!

I'm getting excited about this!

CAST B Housekeeping Concerns

Hey there Cast B, I tried to cut and paste my email to you guys onto this blog but for some reason it wouldn't paste. If you are in Cast B and are like "What email?", go check your email because I'm sure it is there. Basically, I would like to have an after rehearsal meeting of Cast B to coordinate efforts a little more effectively than on the blog because it seems like people post without exactly reading and commenting on their fellow student's concerned postings. The fact of the matter is that we have 3 weeks to get up and running and there is still much to do and much to coordinate. I know everyone is busy, but it is imperative that we are on the same page. I hope you all feel of my concern.

First year musical group

I'm not sure if this is the best forum for this question, but I will post it here anyway. Soon, I'll send out an email because that seems to be the best way to get everyone on the same page.

Anyway, I (and I know Liz is with me on this) was really hoping that we could (as two casts) could get together and maybe put together some music. We haven't really figured out if we will be doing music other than the two versions of who is Silvia, but we should be working on that as well. I think working on the songs as a full group of whoever is interested regardless of cast could only be beneficial. However, working on other songs as well, especially if you have specific ideas (which I know some people do), could be not only fun, but beneficial. I think the more we start working together not only on our acting skills but our musical ones, the better. We have a lot of musical talent in both casts, and I think it would be wonderful to showcase it, if not for this show, sometime in the future, and getting together a first year "band" would be amazing!

So, in short, anyone interested in being involved in a first year musical group in which our first project would be to work on our Silvia songs and possible songs for interlude music, please contact me ASAP. (For the purposes of time and effort my email is rentfroe9012@mbc.edu).

Thanks!

Visiting UK actors on April 1.

Hi casts,

I would strongly urge all of you to carve out the time to attend this workshop next Friday between 10 and noon in Masonic by two colleagues from the UK. In such an isolated community, the program needs to exploit every opportunity to expose you to alternative professional practices. Alison, Tim and myself are Associate Directors of AFTLS, an actor-managed company formed by Patrick Stewart that has toured five-man shows around the states for more than forty years. Tim and Alison -- a husband and wife team -- have enormous experience, and I will especially prepare them to deal with some of the concerns you raise in rehearsal. So, please take advantage of them and come prepared to play.

Many thanks,

Matt

*********************************************************************************

Alison Skilbeck is an actor whose long and busy career includes performing Shakespeare all over the US for AFTLS (Actors From the London Stage), of which she is an Associate Director. She was Paulina et al in The Winter's Tale, and Rosalind et al in As you Like It. She has appeared in theatre throughout the UK, in the West End and in Europe. Career highlights include five years with Sir Alan Ayckbourn's Scarborough company, where she appeared in premieres of six of his plays; performing Pinter in Morocco, Beckett in Edinburgh, and now her solo show 'Are There More of You' (which she also wrote) in the UK regions and on the Edinburgh Fringe. She was made a Fellow of the Guildhall School in London for her work there in the '80s, but for the past twenty years most of her directing and teaching has been at RADA (The Royal Academy of Dramatic Art), where she is an Associate Director, specializing in Shakespeare. Her latest production there was 'Antony and Cleopatra' last December. She is also a member of the RADA Admissions Panel and coaches the third year students for their final Agents' presentation.

Tim Hardy is an actor-director who has worked extensively with the major classical companies following his training at RADA. Productions at the RSC include Sir Peter Hall’s Henry V and Peter Brook’s Marat/Sade. Numerous West End credits include Lysistrata and The Spartan at the Old Vic and the Wyndhams, Hostpur and Henry V at the Roundhouse, as well as Petruchio at the Open Space for Charles Marrowitz. Tim has traveled the world as both an actor and a director, appearing throughout America for AFTLS (for which he is also an Associate Director), in Hong Kong, Norway and Greece, and for the English speaking theaters of Vienna and Frankfurt. Aside from touring his one-man show, The Trials of Galileo, across the States, Tim has mounted Shakespeare productions on various campuses, including Wesleyan, Notre Dame and Michigan Tech, and has just finished a stint as artist-in-residence at Butler University in Indianapolis. Having joined the RADA faculty in 1994, he is currently a member of their Admissions Panel.

Can o' Worms

O.K. I know this is going to spark debate between the Protei, but away we go!

There has been much debate about the sincerity of Proteus at the end of the show. I personally think that, to use an academic phrase, he is lying out of his ass. Now I'm not just saying that to be inflammatory, but because I have some textual back up. Throughout the play, Proteus has no trouble lying to everyone. He even comes up with some pretty elaborate cons for the Duke, but whenever he gets suddenly caught doing something he shouldn't, he can't think. His speech, which is usually flowing and chock full of metaphor, becomes clipped and to the point in lying. In Act 1, Scene 3 (Manchester 0), he is caught reading the letter that Julia gave him. When his dad asks him what it is, he responds with a very straightforward lie. He doesn't have the time to concoct a flowery trick, so he says the first thing he can think of (which we use for comedic effect). When his dad asks him to show him the letter, he starts, again rather clipped but builds into a more elaborate lie, which could be argued is the inciting event of the play. Likewise, in Act 5, Scene 4 (Liverpool 2), when he is caught assaulting Silvia, the first thing he says is "Valentine!" and that's all he can manage. Not flowery or in any way intelligent, but after Valentine has spoken, he comes back with a line that starts clipped but (like in 1.3) builds to a more elaborate apology. Only after Julia is revealed and he is now completely caught in his deceit that he comes up with his "were man but constant..." line. At that point he is supposedly reformed, but he seems to be going back to his old ways of verbal gymnastics. It reminds me of the end of A Clockwork Orange, how Alex (supposedly reformed) gives that one last wink to the camera that he is back to his old ways.

Let the discussion begin!

Scheduling Magic

Well, I've been spending this week getting things together to schedule rehearsals for the One-Eyed Wonder Weasels, and Matt asked me to share my thoughts with all!

Apparently, Google calendar changed their parameters, but I've made due with what I have. Essentially, I began by getting everyone's schedules and creating a shared calendar on google so everyone could see when everyone else was busy/available (that may be the most difficult aspect, as you'll have to force everyone to it). Then, using my scheduling acumen, I prepared some proposed rehearsal times and finalized it. I tried to focus on scenes most apparent to what we would be working on, while also keeping in mind scenes that may have fallen a little by the wayside in the original blocking rehearsals. Next week will be a little smoother (with more notice for all rehearsing peeps), but by having a single person coordinating everyone's schedules, there is a little less wrangling and hand wringing over time and people concerns.

Just a cursory glance, but if anyone in Cast A wishes to undertake the scheduling conundrum and needs some help, just give me a buzz.

Hyfrydol

Going off Michael's suggestion to use the Welsh tune Hyfrydol, I've recorded and uploaded the song for easy access:

HYFRYDOL.mp3

Michael, I thought you might be a tenor, so I recorded it in my low range, hoping that works for both you and Monica. Let me know if you need it in a different key!

Working with Prof. Kelly

Just as A.J. has spouted the praises of Prof. Davies, so must I for Prof. Kelly. We did the exact same sections as A.J. and I really got a lot of mileage about thinking about each moment. Too often I as an actor need that outside person slowing me down to think about each line and each moment and the movement from one to another. Too often I get comfortable with an assumed connective tendancy and don't consider other stronger possibilities. Too often I need a director. Paraphrasing ASC style helps me consider moments slowly, but again, I will often allow myself to relax into one reading and not explore on my own.
I hate to once again engage A.J. in discussion, but I must. I think it's interesting that you stated that Proteus raises questions first "then he goes to think on what he's just said, and comes back with his answers". This does not seem to align with the beginning of the 2.6 monologue where he is still clearly questioning his intentions and what to do. In fact it takes Proteus 3/4 of that second monologue before he iterates "I will forget that Julia is alive,/ Remembering that my love for her is dead". This does not create the easy binary that you have suggested; rather for me, it indicates the tensions and the complexity of his consideration. There is no easy answer and he must firmly convince himself of his rightness. I do admit that throughout BOTH speeches he has a alacrity in his propensity to love Sylvia, but he does not answer his questions until he has a solution. I guess we may say he has potential answers, but the finality of that word answer does not satisfy me in characterizing 2.6. Again, to A.J. I'm glad that we constantly have discussions though no one else on the blog seems to want to do so...

I might have an idea

Can we, The One Eyed Wonder Weasels, meet about for about ten minutes before class on Monday? I have an idea for our Milan intro. Also, I'll have a typed up/itemized idea of costumes and the points at which they can be changed. I'm going to volunteer to help with Jarom's changes but we might need another hand to make the Duke of Milan, who would need to look like he runs Milan, transform into the wise but not swift Speed.

Comments from the peanut gallery

First of all, I know there are several very quick costume changes in this play. Since we're in the process of gathering costumes, maybe now is a good time to figure out who needs help, and when, just to get into the habit. The same also applies to paging any curtains.

Second, if anyone's looking for the Arden, there's one backstage at the Blackfriar's. Just a reminder for everyone to be careful about making sure we're leaving everything as we found it for the ASC actors :-)

Third, for the moonwalk, cast B folks, did we want to enlist cast A? It seems like we're having problems rushing people on and offstage, and I don't think cast A would mind showing off in their best attire... I personally like the idea. What do ya'll think?

Cast A Letters

Hey, I got so much better rope... the stuff I have been looking for last week but have only come up with the slight stuff you saw. Anyway, I'm working on that and I'm working on the patch for Jamie's bandit (any wanna go to a fabric store soon, so i can get backing for that?). I even got a roll of paper (albeit blue paper) for Launce's list. So the next thing to figure out is Letters.

I can make letters of any type, I just need to know if we want white paper, browned paper, or lined paper? do we want letters in envelopes or do we want them folded and sealed?

Do we want them all to be the same? Or are some different from another?


Let's figure it out so I can get on it.

Cast B Props

I think I am part of Cast B...

Anyway, I was wondering if anyone was working on a props list? Maybe we could use this post to create an all encompassing props list to see about getting what we need together for our dress rehearsal or possibly our rehearsal before then.

Stuff like the various notes that are handed from person to person etc.

I know we have a rope ladder now (thanks Brian) and other things we are already rehearsng with, but stuff like that still would be beneficial to list too.

My goal with this is to see if we can get a collaborative effort together in getting the props we need.

Where you are coming from and where you are going...

I wanted to note this a while ago, but forgot since then. While working with JP, he asked the question "Where are you coming from and where are you going?" With all the scansion, character traits, inflections, blocking, etc. it's hard to remember the simple things, but it is those simple things that can bring out the purpose sometimes better than anything else. So, rather than some miraculous discovery, I am passing along the reminder to remember where you are going and where you are coming from and see what comes of that.

Meeting with Prof. Davies

My post is genius to Angelina's. I wanted to sing the praises of working with Prof. Davies. I mean this with no brown-nosing intended, but rather to encourage anyone who hasn't yet, to meet up with him. Working with him on my soliloquies helped me figure out exactly why Proteus has two long speeches in such a short time span. The first speech is the raising of his questions and doubts, then he goes to think on what he's just said, and comes back with his answers. Prof. Davies also had me do an exercise where I had to pick the two most important words in each line and hit those words (the 1st most important got the harder stress, 2nd got the lesser stress). I've been going through the speeches and the whole script doing that, so hopefully I won't be as all over the place with my emphasis, now. Again, I urge you to meet with him if you haven't but said you would. It's well worth the 15-30 minutes.

Scene work

This isn't going to stir up much discussion, I know, but I just wanted to share how helpful it was to work on my scene with Dan (aka Speed) today. We really took the time to explore our jokes, and get a flow going. I'm much happier with this scene now. I hope I can say the same next week, when we work our second scene together.

Warm-Ups in Tyson

Hello all! I've confirmed with Jay that we can use Tyson from 1:00-1:30 for warm-ups on March 28th, and April 4th, 11th, and 18th. Feel free to go down to Tyson after 1:00pm to drop off your things and warm up before class. Hopefully this will keep traffic down in the lobby, too. Thank you!

Rhythm and Syncopation

Working with the cane or props in general I've discovered how such objects establish a certain beat for the character. I would like to be able to syncopate the tapping of Antonio's cane with Proteus' aside and later in my final speech, but I am finding this difficult. How can I work the sycopation in and make the nature of it seem natural and not drown out the words being said?

Also, in an attempt to differentiate my three characters I'm trying to develop different tempos in my walk. I think it's something to ponder for everyone if you have not yet. What is your characters rhythm?

Plush Giraffes and Other Late Night Meanderings...

Can't sleep, so I thought I'd post some stuff that's been rustling around since Monday's rehearsal.

I was thinking about the progression of Valentine as a character throughout the play, and I'm thinking that TGV is as much about the growing up of Valentine as anything else. He starts out as the kid leaving home, still afraid of love and the problems associated with it (watching Proteus' difficulties probably don't help). Then, he's the useless, naive lover in 2.1, the somewhat emboldened lover (with an extra helping of jealousy and potential violence) in 2.4, the resolute (though eventually idiotic) lover/hero figure in the first part of 3.1, the despondent and woebegone young man in the 2nd part of 3.1 and 4.1 and, finally, the man that reclaims his life and puts down the Duke in the final scene. The refusal to grow up by both Proteus and Valentine seem to cause the action of the play - Proteus by not analyzing his commitments or friendships, Valentine for not being bold enough to be honest with the Duke (likely wouldn't be greatly effective, but at least wouldn't incur a banishment). So, what I'm really saying is that AJ and I should sing the Toys'R'Us theme before the show. (Hence the plush giraffe title) (Haha.)

Matt was talking on Monday about AJ possibly working some underlying anger at Valentine into the delivery of lines in 1.1. I was thinking that it would be very effective to have touches of anger on both sides. While Proteus would feel upset and betrayed by Valentine leaving home, I think Valentine, too, would have reason to be mad at Proteus. Though Val has continually tried to talk Proteus out of love with Julia, he's turned him down, and now, it is resulting in their separation. I think we see that in Val finally exploding when he says, "Love is your master, for he masters you/and he that is so yoked by a fool/methinks should not be chronicled for wise". Though he calms quickly (especially with the cuts), Val obviously harbors some resentment for Proteus being stuck at home.

Morpheus calls me, so farewell for now, dear readers. The Laurence Fishburne one, that is. Matrix reference. Haha. #sarcasm

Warm ups heads up!

It isn't official yet, but Kim Maurice is working on our behalf to reserve the Tyson room from 1 to 1:30 pm on Mondays for the purposes of warm-ups.

Thanks to Kim, Jamie, and others for making the warm-ups become a more solid idea.

I will be in Tyson starting at 1 pm to help lead warm-ups. I would love if others would join me in leading as I am no expert in group warm-ups.

Of course, warm-ups are not a required part of this course, but... I'll be there if anyone wants to join me.

Cast A Discussion Group?

Hello all!

Just wanted to say I really enjoyed today's rehearsal. For all you fellow Cast A-ers out there, the beginning discussion was particularly insightful Hearing where you all are in the process was very helpful to me and brought up a lot of thoughts and ideas for my dealing with Julia. I'd love to talk more about it. I found myself thinking really hard about the Julia-Silvia relationship. They are so very different. I see Julia as this sort of frantic, over dramatic, very young girl and Silvia seems so much more poised and collected. Then they meet. I started thinking about what this meeting does to Julia; how it changes her. Weirdly, I'd given this relationship very little thought. And that is just one of many things today's little rap session brought up for me.

If anybody is interested, I'd like to suggest some sort of informal gathering to continue the discussion. I know we're all busy, but I think it would be a great way to continue building, not only our individual characters, but to build some cast unity in terms of understanding where we all are in the process and helping each other out with stumbling blocks. Even if not everybody is interested, I am sure we could get together a group and carve out an hour or two to sit and chat.

Let me know if anybody would like to do this!

Cast B Costumes

So if it is possible I would like to nail down costumes as quickly as possible; since the closer to the end it gets, the crazier things are going to be for all of us. Also as Matt pointed out we should get into rehearsal stuff as quickly as we can.

I'm going to re-watch La Dolce Vita, 8 1/2, and Nine on Wednesday for ideas for the Milan moodscape.

I'd like to have everyone's input and ideas. My hope is that by our next Monday rehearsal we all know exactly what we are wearing and when. And we may need to help each other out for costumes, due to no budget. So if you have an idea that your character would wear something that you don't have go ahead and say your idea anyway. We can as a group figure out if we have something that can work.

Okay, you all know your characters better than me, and you've seen my ideas. Give me feedback, let's help each other out, and lets get this done.

Also, if you have an idea like keeping the entire show in the style of a Fellini film, Iconic Italian filmmaker, or as modern as can be, yell it out.

Costumes and Warm-ups

I'm glad we seem to be moving toward group warm-ups. I'll definitely be at the Blackfriars a little early to take part in them.

Also, artistically speaking, I'm not a very visual person, and I've never designed anything in my life. I don't know where to begin with regard to costumes; all I can think of so far is that after my exile, I'll be wearing something different than when I was in Milan/in the court.

But if anybody has any ideas, I'd love to hear them...

Costumes

Hi!

So, I spent some time going through my closet and found that possibly the simplest and easiest costume changes for me would be to start with basic blacks and a base shirt and then add layers for each character. What are others doing? Is everyone bringing costumes today? Do we have a set date for a full costume & prop run?

Who is Sylvia? Cast A Option

Hey guys,

So I've been worrying over the Who is Sylvia section for Cast A as we still haven't figured out a great way to do it. I have a possible solution. For whatever reason, the words keep running through my head to a tune from the Episcopal Hymnal, after some research this morning, I found out that it is a Welsh tune called HYFRYDOL. It's very recognizable as a tune, but also has this nice airy sort of tone. Also, because of the way it is written, it lends itself to the awkward construction of this poem, which for me was the major stumbling block in finding music. I have found sheet music for it, and I think if we arrange it some probably for guitar and if Kim's willing for accordian than we are set. I'm more than happy to share how I would sound it out, but for now you can search You Tube to hear it (do note we can alter tempo as a few videos I watched were slow...) And I'm embedding the sheet music below:

Break is going to make this hard.

I went home over break, which meant I got to see my family for the first time since coming here, but also meant that I didn't get much work done. So now I feel like I am sluggishly trying to get my mind back into this play. So I am gearing myself up and with renewed zeal I am ready to attack the play. I know i am supposed to be working on some costume and prop piece for some of A Cast, what is everyone else doing? Secondly, I am still at a loss to account for the Who is silvia. I can sing whatever people want. but I just don't know what to do yet and I'm not musically inclined enough to pick out a song to fit. So, lets figure some of that out. Send any thoughts on it my way.

Responses mostly

I'm all in favor of doing warmups, and I will be at Blackfriars a half hour early to look at sketches that Brian might have, and if there is any space available, be ready to stretch...that being said, we may just be waiting in the lobby, which might not be the best place for warming up, but still we can run lines.

Secondly, I think that the ending is still problematic, and that all three actors playing Proteus, Valentine, and Sylvia need to figure out a way to make the weird reconciliation/offering Sylvia as a commodity to the would be rapist plausible if we are set on a traditional "happy ending" - the most awkward thing for me right now is the idea that Sylvia is willingly giving her hand to Proteus - regardless of the almost-but-not-quite molestation scenario, she just said "I do detest false perjured Proteus"... I think she still detests him somewhat....however, that is not what we are covering tomorrow.

If we find space I'd be happy to lead warm ups tomorrow, but if somebody else wants to do it I have no qualms of yielding leadership to them. I think that if people are planning on wearing certain shoes during the performance for their costume they should be working in them by now. If you want to stretch, I suggest comfortable clothing you can move in.

A Few Things....

1. I really like the idea of warm-ups. Would someone be willing to lead Cast B (one-eyed wonder weasels) in them?
2. Would it be possible to watch the other cast before the performance or even final rehearsal? I feel like I'm missing out and want to know what's happening with others.
and 3. (This one is probably the most important and I should have put it first but I didn't and am now to lazy to copy and paste, so instead I'm posting this parenthetical diatribe) Is there anyway for the directors to see the half of the show that they DIDN'T direct? I think it would be super helpful if they could see what we are doing with the part they weren't involved in. I feel like this would help make the show more unified because then the directors could see what happens with the parts they didn't direct and maybe add more or change the half they did to make the whole show come together. Just a thought.

Response to Jamie

I too like the idea of warm-ups. With a tight schedule, maybe we could meet slightly earlier for those of us that can.

And as far as performances go, would it be at all possible to have the performances two seperate nights? I have the suspicion that a daytime audience will get fewer audience members, and I think would help people (I know it would help me) focus on my own game, instead of dividing my attention between my own pre-show nerves and the other show, and won't be able to give the other cast the attention they deserve. I suspect more audience will come to two seperate nights of performance, rather than one long day. I may be perfectly wrong, however. And I also get it if the Blackfriar's isn't ours for both nights.

ALSO:

Are we having any sort of publicity? Posters? Anything to invite the local community?

sketches

I'll be at rehearsals about a half an hour early,this week, with some basic costuming sketches/idea boards for cast b. Come, if you have time, and give me some feedback, and keep in mind these are just some ideas to try and get the ball rolling toward some concrete ideas.

Warm-ups? Fight Call?

Since we have finished the blocking portion of rehearsal I thought maybe we can do group warm-ups before rehearsal to build cast unity. Just a suggestion. The other matter I have involves the bandit scenes that will need further rehearsal if we plan, as we have, to use rapiers. I don't know if we will be able to set up outside rehearsals, but I do believe those scenes will need some major thought.

I would also like to learn how to appear like an amatuer swordsman. I realize that for stage in order to look bad at fighting you have to be very good with the weapon. I have very little experience working with the rapier, but am willing to work on it enough for the performance. I would also like to put out there that I would love to write a pre-show speech. Another matter on when the performances show also came up. For the benefit of an audience can we have some hours separating each casts performance?

Woo! Spring Break!

Hey, anyone in either cast, if any of you are here in S-Town over spring break and want to get together and run lines for the show, I'm here and more than willing to join in. I think we should try to get together at some point and attempt to speed through the lines.

In response to Jonanthan...

Here's a tidbit from Wikipedia (yay!) which I like, and it helped me see what seems to be a very possessive, unloving act in a different context:

..."All that was mine in Silvia I give to thee" (5.4.83). Many critics (such as Stanley Wells for example) interpret this to mean that Valentine is indeed handing Silvia over to her would-be rapist, but another school of thought suggests that Valentine simply means "I will love you [Proteus] with as much love as I love Silvia," thus reconciling the dichotomy of friendship and love as depicted elsewhere in the play.

^{Is the other cast treating the ending differently? I think it would be interesting and worthwhile to see what happens if we give each show a different ending in regard to this line.}

CAST B

I've already posted this week but I just had a brilliant idea (actually not that brilliant but fun). I've decided we should rename our cast from Cast B--because I always, ALWAYS, forget what cast I'm in to something more fun.
Here are my suggestions thus far:

Car Ramrod (because I wrote it on the paper!)
The One Eyed Wonder Weasels and Their Two Balls (dirty, but hilarious)
Fern Gully (because we're not assholes)
Scooty Puff Jr. (Thank you Futurama)

What suggestions do you guys have?

Language of Ownership and Other Thoughts

Rachel mentioned the other day that the last scene of the play still feels really awkward and wrong to her - which makes sense; it'd be pretty disturbing if it felt all fine and dandy. But it made me think about how it's not just the obvious things - the attempted rape, Valentine's "offer" - that make it so icky.

It's also the language of ownership as applied to the women which dominates even - especially - the "happy" part of the resolution. Thurio describes Silvia as "mine" - and part of Valentine's words against him dare him to "take possession of her." When he gives up and the Duke then bestows her on Valentine, he thanks the Duke for this "gift."

I realize that not all of this is necessarily disturbing - the way we express marriage with language always to some degree turns on language of ownership, i.e. that spouses belong to each other. But I really do feel that this play's finale takes it too far, or perhaps in the wrong direction, as basically all the men treat Silvia as if she is either theirs to give (Valentine, Duke) or an object to compete for (Thurio, Valentine).