Unity

I was very glad to see how well the cast supported each other this afternoon. Everyone was very focused, and somehow we figured out how to get someone on book most of the time. No one vanished (as far as I know) for long periods of time, if they weren't onstage, but simply ran their lines or watched the show.

Because of the nature of this blog, I've noticed it's taken the form of something like our REN 510 discussion board. People post questions... but I haven't seen a lot of answers. Is there some method for getting everyone on the same page, costume-wise? Is there a prop list?

Another observation I've had about this production (and other projects here at MBC) is that many of our costumes tend to be furnished from our own wardrobes. I don't have a very diverse wardrobe, and this limits my own choices. Perhaps there is a way to make other choices, such as the Wits' collection, more available or accessible? Are there other resources we have?

Time to cook the bacon!

I'm interested to see how all this jazz goes down later today. Having finally become confident in my lines this weekend, hopefully I won't fail miserably.

As I was working back over my lines from 5.4, I was thinking about the role reversal between the Duke and Valentine. I enjoy the Return of the King-style multiple endings, but I think we need to play up the differences in each section to really highlight it. I think after the Duke and Thurio are brought in, Valentine is essentially threatening them the whole time. I'm not positive how to play that without it somewhat overbearing the scene, but I think it's important to show the change in power to explain the Duke's miraculous reversal of opinion. Especially considering the last time he saw me, I was whipped with a rope ladder.

Run-Through

I must admit I'm a little worried about the run-through. Most of us believe that the first half of our play is a completely different tone to the second half. I'm still confused on the unity of the play and have no clue exactly where the world of the play resides, traditional or modern. I'm excited about playing multiple roles, but so far have not received any acting advice on how to differentiate my body or maybe change the energy in my body and voice to achieve a different character quickly. I took this class in hopes of getting acting advice...so it would be great to get some!

Sylvia and Sebastian

I know that sometimes "thees" and "thous" can be used to convey status rather than how emotionally close two characters are onstage - particularly with the upper class and their servants. I think that when Sylvia meets Sebastian/Julia, however, her switch from "you" and "your" to "thou", "thee", and "thy" is about creating an emotional understanding between the two females in the scene. The only time where her "thee" seems like it is condescending is when she says "I pray thee let me look on that again?" when Julia hands her the wrong letter and then takes it away. Sylvia could be forceful in her order, or she could be so curious about the contents of the letter that she loses her sense of formality. She immediately picks it up however when she says "I will not look upon your master's lines" when she tears the letter - only then she drops it as soon as Julia/Sebastian says that Julia "thanks" her. The thee/thou really are these little windows of discovery into the relationship of the two women. Sylvia jumps from formality, to curiosity, to affection with a page in a span of two minutes. For me, this means that Sylvia is kind, in spite of all her hissing at Proteus, and the accounts of her rudeness to Thurio. Also, where Julia is concerned, she would make a good friend, or sister. It reminds me of "Meet Me In St. Louis" when the Smith girls finally meet Lucille Ballard, the sophisticated bell from New York - where they plan to sabotage her evening, they are suddenly stopped by the fact that she is kind to them.

Launce Un-Leashed

Today I worked with JP and the leash and it was really helpful. We, along with the help of AJ, were able to figure out some really funny bits. It's interesting how just a few very simple movements can help to make the leash look like it actually holds a dog. I'm still working on making all of the movements realistic, obviously, but I feel like it's starting to come together. I hope I feel the same way during rehearsal tomorrow.
I guess to point of this post is to sort of allow me to think about how holding the leash feels (I don't think 'feels' is exactly the right word, but I can't think of a better one at the moment). I realized today, with the help of JP, that making the movements realistic is all in the wrist--at least for the small things. Having Crab look around or walk forward is a movement in the wrist. Having Crab get away from me or when I stop noticing him is when the rest of the arm gets involved.
Does anyone else use any sort of "props" in this show? Are you having difficulties or making discoveries with them?

Cast B Costume discussion

Hey all in Cast B (not those losers in Cast A. Psh, who want's to be an A cast anyways?)

So, I was having the beginnings of thoughts about the costuming for our whole cast. I've seen a few posts about the costuming for specific characters, but I think we should come together and figure something out as a cast. We need some kind of unifying structure to the costuming. I remember us talking about modern dress back when we were with Matt, but then this week I saw Katy rehearsing the Duke/Valentine "Rope Scene" (not to be confused with the Proteus/Silvia "Rape Scene"...one letter, big difference.) and the one thing that made me stop in my tracks and scratch my head was the fact that Valentine was in a bright red magician's cape. For whatever reason, this completely shocked my senses of what our show looks like.

One idea for what could unify us, if we have anachronistic elements, such as capes and swords, would be colors. Color in costuming is a huge signifier for the audience. Like almost every time I see Romeo and Juliet (even the Gnome version), inevitably one house is always in one color and the other in the opposite (Red/Blue is the most common). It's almost like the entire household shops at the same single color store. In real life, that kind of uniformity would seem ridiculous, but on stage it reads so well. Imagine if Proteus (since it's me, and I think about myself a lot, obviously. Wouldn't you too?) every time he switches personalities, also switches the colors of his shirt. While everyone else has their colors, and stays true to them, Proteus continually shifts his colors, like a chameleon, to suit his environment.

Let me know your ideas :)

Thurio the Quiet

Just felt like sharing this tidbit. Thurio never directly talks to Silvia on-stage. I know sometimes a man can be shy but not even a "Hello" or a "My lady"... Silvia is one exquisite hottie to have tongue tied this poor bloke for the entirety of the play.

Costumes

So, I've been mulling several things.

First of all, with the addition of the role of the bandit, I feel like I have a lot more freedom with my other two characters. With a third character to contrast them against, I feel like I don't need to make Antonio and Eglamour as drastically different. That, and they are each coming into their own.

Second of all, while I have a direction for costuming for Antonio, I don't have one for Eglamour or the bandits. So, my fellow outlaws, what are we wearing?

And third of all, do we have a budget for any costumes and props?

Enter Launce

Angelina's previous post talked about the bizarre final exit of Launce. While commenting on her post, I realized that this sort of disappearing exit is perfect for Launce, because he appears for the first time on stage in much the same way. He just sort of appears in his own scene, with no previous characters even mentioning his existence. I know the introduction mentions how Launce might have been a character that was written in later, and it's these sorts of appearances and disappearance that give credence to this idea.
Launce is such an isolated character. So much of what he does is alone (or alone with Crab). I'm not sure that Launce was or was not written into the script later. I'm not even sure it matters either way.

Seeking acting advice

So I have an acting question for everyone out there. What do you do when there is a day and the lines just won't come to you? I ask since my mind ker-splat last Monday. I haven't acted in a full production since '04, I know I'm showing my age a bit with that, but I'm curious if anyone has come up with any techniques or what have you for when you mind won't spit out what you have already put in there.

Relationships, Oy Vey

So. Thanks to Angelina's brilliant post about Launce's exit, I started to consider the problem of relationships in this play from a performative point. Of course to say this play is about relationships is a given and obvious thematic fact, even the title indicates that (Two Gentleman of Verona implies not only relationship between two people, inferring the duality of the narrative, but also the relationship of person to place, indicating further the travel of the play). But as one considers the relationships, I think you have to remember that we have less than nothing to go on.

Consider: one of the play's main issues is the intense friendship between the "Two Gentlemen" of the title. Yet when do we see them on stage together? That's right: 4 times. The beginning when Valentine is trying to leave, Proteus' arrival at Milan and subsequent beginning of his betrayal, after the betrayal briefly as Valentine is banished, and then after the attempted rape when Valentine rescues Silvia (wonderfully just as Proteus claims he had just done... ahh the wonderful layers!). The problem, especially from Proteus' acting viewpoint is that the friendship is only in tact in ONE scene, and that scene is fraught with tension because Valentine wants to leave. This problem makes our jobs as the actors more important, and while it leaves us more flexibility, it also hinders us with lack of text.

Consider all of the relationships in this play. I would love to hear from you. All of them seem based on intense amounts of off stage action and VERY LITTLE presented for the audience.

Julia and Proteus have 2 scenes together as Julia and Proteus, one more if you count her in disguise as Sebastian, yet from Proteus' viewpoint that doesn't count. The one major scene where they promise fidelity is intensely short and almost pointless plot wise. It's a nice transition scene, but doesn't really offer much. It does allow the audience to see this couple together before they are torn asunder. So there's something, but again, not a lot of on stage time or dialogue to work off of for the relationship.

Proteus and Launce: As Angelina pointed out, Proteus shows himself to be a harsh master especially in the end of their last scene. This whole post erupted out of my reaction that no that's not true, Proteus is just being mercurial as always and is very frustrated that his orders were not executed to his desire. YET I began to argue and say when do we see Proteus kindly treating his boy Launce? The first time I acted with Angelina was two weeks ago for a brief bit after Valentine is banished, and I wasn't being kind. I think in the whole play I speak a total of 8 lines to her... only 8 lines for a signifcant relationship for both of the characters within the world of the play. And nothing to back my sense of their relationship, only beating and yelling at the servant.

So, back to the beginning. This is a play about relationships, right? Maybe not. Perhaps I may posit that this is a play about un-relationships, about the lack of them, about the breaking of them. This play may comically arrive at the notion that as humans we can never know another's heart or mind, no matter how hard we strive. On a theatrical level, Shakespeare has given us a text that works against our need as actors to create relationships. The play constantly removes information that should be vital; the play refuses to give us (audience and actors) the satisfaction of really knowing what these relationships are like. Instead, what we are left with, especially as audience members, is an imagined relationship. A relationship that does not exist in text or in acting, but one that your mind has created between the two people on stage. While this is technically always true of theatre, consider, as Adam Smith did in The Theory of Moral Sentiments, the extent to which this is true in life. If we never can know another's mind, what do we have access to? Our own and our imagination. Within that imaginative power, lies our sympathy and our feeling that we can understand someone else. In the end, you understand yourself alone, as your mind puts you in others' situations and concocts what they may feel.

So relationships, or lack thereof. That's Proteus' downfall and complication. As a final gesture, check this out:
http://www.youtube.com/watch?v=wapCTd5fS2Y
It's Tracy Chapman's song "Telling Stories". The lyrics are below, the link is to the video on YouTube.... enjoy.

"Telling Stories"
There is fiction in the space between
The lines on your page of memories
Write it down but it doesn't mean
You're not just telling stories

There is fiction in the space between
You and reality
You will do and say anything
To make your everyday life
Seem less mundane
There is fiction in the space between
You and me

There's a science fiction in the space between
You and me
A fabrication of a grand scheme
Where I am the scary monster
I eat the city and as I leave the scene
In my spaceship I am laughing
In your remembrance of your bad dream
There's no one but you standing

Leave the pity and the blame
For the ones who do not speak
You write the words to get respect and compassion
And for posterity
You write the words and make believe
There is truth in the space between

There is fiction in the space between
You and everybody
Give us all what we need
Give us one more sad sordid story
But in the fiction of the space between
Sometimes a lie is the best thing
Sometimes a lie is the best thing

Who is Sylvia

I am LOVING playing Sylvia! The more I delve into her ...the more I fall in love with her as a character. That being said...here are some choices I have made for Sylvia!

1) When it comes to physicality...I plan on having Sylvia lead with her chest. My choice for this is based on the text. First, Sylvia is very much a lover. Valentine is who she lives for, she wears her heart on her sleeve. Therefore, I want her to lead with her heart. Also, as staged in the beginning...Valentine has a flirtatious side to her as well....and honestly...my best asset are my boobs so I might as well use it...because Sylvia would! So...in short...Sylvia...physically...lead with her chest/heart.

2) I was baffled on costumes but thanks to Monica and Michael...I now have ideas (thank you Monica and Michael). There is a lot of text from both Proteus and Valentines that make celestial comparisons to Sylvia...therefore, I plan on finding something with celestial colors to help with that. I am excited to start thrift store shopping for costume pieces! :)

On a side note...I am still in exploration for a "Sylvia" song for Cast A. I am enjoying reliving my youth by listening to Backstreet Boys, *N Sync, and New Kids on the Block. Unfortunatley...I haven't found anything yet...but don't worry...I have not given up!!

Exit Lance

In preparing for Monday's rehearsal, I was going over the last section of text I have as Lance and discovered something a little funny.

Lance tells Proteus how he botched the entire dog-delivery plan, and Proteus responds with "Go, get thee hence, and find my dog again,/Or ne'ver return again into my sight."

And we never see Lance again. Does Lance take him at his word and never return, because he can't find Proteus' dog? Or has Lance finally had it, and seeks employment else where?

I'd like to think that Lance ends up back at wherever they are staying, waiting like a good servant for his master to come home. His whole proceeding monologue to this exchange with Proteus is about how he sacrifices himself for his servant, Crab, and it is brilliant that this dialogue follows after, exposing Proteus for the unloving master he is.

Love, Fire, and other elements

Hello!

In both of Lucetta's scenes, Love is associated with a burning desire, and to Lucetta, Love will burn out of control (as Lucetta fears for Julia), or it must be extinguished. The particular lines to which I refer to are:

Lucetta

Fire that's closest kept burns most of all (1.2.30)

Julia

Didst thou but know the inly touch of love

Thou wouldst as soon go kindle fire with snow

As seek to quench the fire of love with words.

Lucetta

I do not seek to quench your love's hot fire,

But qualify the fire's extreme rage,

Lest it should burn above the bounds of reason.

Julia

The more thou damm'st it up, the more it burns (2.7.18-24)

Proteus has some similar remarks about Love bearing the properties of fire:

Proteus

Thus have I shunn'd the fire for fear of burning,

And drench'd me in the sea, where I am drown'd.

and

Proteus

That I did love, for now my love is thaw'd;
Which, like a waxen image, 'gainst a fire,
Bears no impression of the thing it was.

Methinks my zeal to Valentine is cold,
And that I love him not as I was wont.

I think the contrast between Julia's hot, passionate desire and Proteus's "thaw'd" love is notable. Likewise, Proteus views Silvia as the flame that melts his former love, which is to say... he tries to fight fire with fire, and we know that is a perilous path. Curiously, Proteus also views his friendship with Valentine as "cold" - as before, their friendship was alive, hot, and they fed each other, like two flames.

This has me thinking a lot about the earthly elements and their properties, and how we might work fire / earth / water / wind and their different states into what we're doing.

Duke

This weak impress of love is as a figure
Trenched in ice, which with an hour's heat
Dissolves to water and doth lose his form.
A little time will melt her frozen thoughts
And worthless Valentine shall be forgot.

I think there are ample opportunities here to explore these elements and their contrasts through character as well as costuming. Since we're all on our own for costumes it seems, perhaps we can start talking about color coordination, or working some of these images in to props or programs or .... ?

Outlaw swords

Do any of the bandits need swords? I need to get in contact with the lovely Southerington to get some to use for our production since we do not have access to the ASC swords.

Kim (Maurice), Jamie, and I are using swords... last I checked.

GREAT EXERCISE for ensuring clarity, power, and comprehension

I want to share with you all the exercise that Prof. Davies had me do when we met to rehearse/explore Valentine's "What light is light, if Silvia be not seen" monologue in 3.1.

This exercise helps ensure clarity, power, and specificity in your delivery/acting and therefore comprehension for your audience...

STRESS EXERCISE

1. Find a chunk of your lines that you want to explore thoroughly to ensure verbal precision and power.

2. Look at the first line in that section/speech. Pick what you think is the most important word in that line; this word is the line's "primary stress." Pick what you think is the second-most important word in that line; this word is the line's "secondary stress." Many lines will definitely have a tertiary stress, but for this exercise, with few exceptions, force yourself to pick the two most important words in that line.

3. Speak the line aloud - emphasizing the primary stress word most and the secondary stress the second most - to see if the meaning of the action/antithesis/argument of the line is impeccably clear. (I think it's best if you have someone else to listen to you, as I had Prof. Davies; not having tried this exercise on my own, I'm not sure if/how well it will work just listening to yourself.)

4. If the meaning is not any clearer, change the word(s) you're emphasizing for the primary stress, secondary stress, or maybe even both. Try it again out loud. Repeat until successful.

5. Move on to the next line and do the same thing. You get the idea.

As we all know, much of the energy of Shakespeare's lines comes from antitheses, which are literally almost everywhere in Shakespeare. With this exercise, you can take a chunk of text that you might otherwise be tempted to just breeze through - thereby sacrificing its specificity and power - and really make the argument/antitheses/motion of the speech's meaning verbally palpable.

(NOTE: Prof. Davies did admit that sometimes you may not be able to pick just two: for instance, in the speech we rehearsed, Valentine's line, "Fostered, illumined, cherished, kept alive." He said that we had been sticking to the exercise so closely and conservatively that we'd earned a few extra stresses for that line.)

To cut or not to cut that is my question

I've had to take a surprisingly new direction for Eglamour as I guess we are going with a modernized take with the play. I like how in 4.2 the mood of the play is getting darker and how in 4.3 Eglamour enforces that shift. His character, to me, is the image of how Proteus should be had his love, Julia, really died.

As part of my admiration for this character I'd like to petition to keep these lines in 5.3:

1 Outlaw: Where is the gentleman that was with her?
3 Outlaw: Being nimble-footed, he hath out run us.

I'd like the audience to know what happened to Eglamour so he's not just some random character that enters the play. In an earlier post I had a gag idea for Eglamour in 5.1, but with the new direction I think I'm going to try something more subtle. I might just need a retractable knife. I also had the idea that he'd have a map on him. As he goes to lead her off into the woods by exiting one direction he realizes that it's the wrong way, scrutinizes the map, and then heads the right direction.

As for playing the outlaws I know our group is going for preppy, country club sophisticates. If anyone has any costuming ideas for this I'd love to hear it! I'm thinking of sporting khakis, polo shirt, and an over the shoulder sweater with an embroidered skull.

Shall and Will

For those of you who ever say shall or will, this link may help in understanding the proper context for it. I was saying one of the dukes lines that had both in it and I wondered as to the difference. I looked this up online via The Free Dictionary and found some historical usages to assist in my understanding.

enjoy -

http://encyclopedia.thefreedictionary.com/Shall+and+will

Scanning Names

4.2 Thurio says "Who? Silvia?" In this shared line Proteus replies, "Ay, Silvia - for your sake."

In order to keep this shared line in iambic pentameter, the first Silvia scans as three syllables while the second Silvia scans as only two.

I have noticed that Thurio also can be scanned as two or three syllables to fit the meter. I wondered how many people had noticed this and if anyone else thought it was interesting.

In the case of Silvia in 4.2, I think that it could be fun to play up (slightly) the shift of eliding or not eliding the I-A in Silvia, since Proteus and Thurio seem to be having some slight tensions with one another concerning Silvia, at the top of that scene.

Other peoples choices or thought about scanning names?

Performance date

Awhile ago, I recall that some people were concerned about doing both casts' performances back-to-back for various reasons.

I guess this is mostly a question for our directors, but is the plan still to do both performances together on April 18? I ask because my parents have expressed a desire to come see our productions, and my dad has already fixed his work schedule so that they can be here on that date. So I hope the plan stays the same. In any case, it will obviously be best if this matter is settled way in advance. As far as I know, it is indeed already set in stone, but I wanted to be sure.

Musical banditry

Hello double casts,

Following a directors' meeting yesterday evening, we plan to divide the casts somewhat differently for the first hour of Monday's class. Can everyone meet in the theater? I will then take both the Proteus, Valentine, Speed and Silvia actors down to the rehearsal room to work on the Silvia song; the rest will remain in bandit country with Colleen.

Bandits should wear clothing suitable for a physical workshop. Musicians are welcome to bring an instrument if they wish. I leave it to you to decide whether to use original or contemporary music, pre-written or to be composed; just come with your bodies tuned, and thoughts about the song.

We might be inclined to take some acting journals shortly, so be prepared. Also, some of you are not posting. Be aware that I'm keeping tabs on what is a requirement. Finally, off books, ladies and gentlemen, off books.

See you Monday,

Matt

Musical Interludes?

I know we talked about this at the beginning of class and decided against musical interluding. However, I can't help thinking about Shakespeare without thinking of music anymore. There is music in the play itself. In fact, it is coming up this week! Does anybody have any thoughts about the Silvia song?

Also, does anybody think it might be fun to throw together two or three songs to play between the two shows? Just as a little breather? I think it would be fun, but that is just because I love to play music. Even if we don't end up playing anything, what songs, if any, have made you think of Two Gents? My top picks so far have been With or Without You by U2 and Old Letters by Company of Theives. I'd love to hear what you all are thinking!

Thee, Thou, You, Your's and Other Addresses

I have been caught up recently in the addressing of characters within this play.

For the Duke, I have not yet come across a point where he refers to Proteus as "Sir", like Speed or others do. The Duke shares such respectful addresses to Valentine and others so far in our rehearsing of the play. I'm not sure exactly why yet but I'm interested in what conclusions i can form as our rehearsals progress. Anyone find anything similar?

When it comes to thee vs. you, I hit a cool little discovery today while rehearsing with Prof. Kelly and Bobby. When the Duke knows of Valentine's plot to steal Rapunzel from her tower, he strings him along to verify the discovery and delay the plan. According to John Basil and many others, the use of thee vs. you denotes stage directions and degree of formality. Ignoring the stage directions side of the word choice, I looked at the Duke's using of thee and thou towards Valentine in this scene and read not only a lack of formality, but saw that he was trying to make him feel extremely comfortable and casual, eventually leading Valentine's guard coming down for the sweet Temple of Doom move of ripping his live heart out of his chest while he stands.

Fun stuff eh?

Now that we've had the directorial switch...

Now that we all have experienced the big directorial switch what do you guys think?

I would have to say, in all honesty, I'm not a fan. Not that I like one director's style over the other, because I'm learning lots with both, but I'm finding it more difficult than I thought it would be and more time consuming as well.

Because I am new to the directorial styles of Prof. Davies and Kelly it is taking me longer to get warmed up again to the point where I can feel safe exploring during rehearsal. I understand I should get over this if I intend to do more professional work (and I know I will in this instance as we work more together), but this is where I am right now. This is probably just me, but I seem to get caught up in the questions of "Am I meeting their expectations of where they think I should be?" and "How do I give both what they want and come up with a singular character?" (Granted, I'm playing Speed and the Duke, but hopefully you guys know what I mean.) This feeling is grouped with my experiences with our talented assistant directors as well. With four individuals working with us on scenes, that's 4 times the trust building we have to do in this short time we have.

Anyway, I'm not complaining, just voicing an opinion and explaining what I've learned in the experience so far.

Any thoughts?

The Wonderful, the DASH-ing, Eglamour

All I know about this character is that he's fair and can run like Forest Gump. I'm inclined to comedy, always, so I would like to come out in full woodsman gear in 5.1 as an eager chauffeur and protector to Silvia for when she enters the woods. I, however, don't know how far to go with this character. It is a small role as like Antonio. How far am I allotted to go with these characters? Also, is anyone reading these blogs. I've asked questions with no replies.
I was wondering if I could be provided weaponry for Eglamour and what exactly are the thoughts on costuming? Are we allowed to come up with our own costuming ideas, or do we need to get them approved? Also, I was very saddened to hear that we are not doing a pre-show as I would've loved to write and work on an opening.

Burbage Break

So, this is not about Proteus, but it is something funny that I've noticed. During Romeo and Juliet rehearsals somebody mentioned that Romeo isn't in the 4th act at all because Shakespeare had written in a break for Richard Burbage, and that you can always tell who he played because they aren't on stage for the 4th act of their respective plays. So knowing that I went through the 4th act of our play and lo and behold, Valentine has been banished and meets up with the bandits right at the beginning of the 4th act and isn't heard from again till act 5. So Bobby/Jonathan, you have the Burbage part. There isn't much of a relevance to acting process or anything, just a fun observation.

??

I'm in the same boat as Angelina about tomorrow... What's up? Anybody have a clue?

Also, are we supposed to provide our own costumes? And has a decision been made about whether we'll have more than one performance date, or if we'll have intermissions?

I recall that any notion of a preshow was cut, but is there room for others who would like to work on music to do so? Are there other production tasks we can work on, such as a poster or program? I'd be down for that!

Circuits

So, I went to Circuits on Friday and was the only person who showed up. This was my first time going. So, Thadd spent most of the time that we were stretching, telling me the origins of Circuits and his personal goals for what each person in the program will use Circuits for. And then he asked me what characters I am playing this semester. When I said Thurio, we began to discuss the physicality of the character. We discussed bowing and other physical gestures the character might use. He suggested that I figure out an arrangement of motions used in, lets say, greeting the Duke. He encouraged me to practice them, trying to turn them into smooth motions. So that they look like movements Thurio has been doing all his life by the time I put them on stage.

I had never before thought of how to develop the physicality of the character. These are all thing, I have been thinking about since Friday. And just because I have now had these thoughts, does not mean that I necessarily know what how to act on them. So, I'll be trying things out.

In the mean time, I will continue to go to Circuits. I hope to see you all there (though if I don't, that means more one on one time with Thadd, which feels a little like having a personal trainer ^_^).

Switching directors

Hey casts.

Does anyone have any idea what exactly we'll be doing tomorrow with the switching of directors? Are we going to show them what we've got, or keep moving on with blocking?

Thanks from a confused Launce.