Thursday, 29 December 2011

The Journey

With six entrances, two characters and 62 scenes learning the blocking of the play is a difficult job. One way in which I decided to do this was to create this list of my entrances and exits through out the play. So this is my journey.

ACT ONE

Scene One, wait at B for entrance in scene two.
Enter after - 
“DR SMITH: Out! Out, out! This is not a shelter for vagrants! Out with you!”
Have LOG.
Walk around and talk with people and buy things, become silent when OTIS speaks.
When BELL RINGS walk to and exit from A2.
                 
Scene Twelve, wait at D for entrance at the end of the scene.
(Melissa is playing on the harpsichord at waterside.)
Enter after –
“OTIS: Meshak! Get here before I brake your bones!”
Have CHAIRS and TRAY OF TEA ready.
Set chairs for the drawing room. Exit and get the tray of tea, stand with tray until the scene ends, exit D.

Scene Twenty, wait at C2 for entrance in the middle of scene.
(Isobel and Melissa talk of the ball, Thomas enters)
Enter after –
“ISOBEL: Guests! Let’s go and watch.”
Have TRAY OF CUPS.
Enter and stand with cups, let people take them from the tray. When Miss Price and Mrs Lynch re-enter COLLECT THE CUPS from the guests. Take them off at C2. Take CHAIRS OFF and then stand until the dance. When music plays get ready for the DANCE and then go through it twice. Once we are done exit A2. Wait until Claymore and Miss Price go back inside and Mrs Lynch says: “Good evening, Sir.” Enter A2 and stand until the scene ends and then reset the CHAIRS for the drawing room. Exit B.  

Scene Twenty-Nine, wait at B for entrance at the end of the scene.
(Mellissa has her dream)
Enter after –
“MELLISSA: Alexander…”
No Props.
Enter and take chairs off at Mrs Lynch’s order.  Exit B.

Scene Thirty-Two, wait at B for entrance at the end of the scene.
(Children playing and they find the skulls)
Enter after –
Mrs Milcote enters the house.
Have SHOVEL AND CLOTH.
Enter and pick the boxes and up and take them off B. Do this until they are all gone.

Scene Thirty-Three, wait at A for entrance at the end of the scene.
(Mr Claymore speaks to the Ashbrook’s)
Enter after –
“CLAYMORE: …I’ll hang him anyway, confession or no confession.”
Have OTIS and NOOSE ready.
Pull Otis through the doors and hold him, after Otis says, “…Pay me to do their dirty work!” Drag him off through the doors. Then put a bag on Toby’s head and get the noose in position ready to be put around his neck.

ACT TWO

Scene Six, wait at B for entrance in the middle of the scene.
(Aaron and Mr Ledbury walking around my house)
Enter after –
“THOMAS: Now then – In Gloucester docks, so I… Perhaps not.”
Have CUPS ready for next scene.
Walk on and perform scene, remember the ‘MOMENT’ on the last line. Show other characters off A1.

Scene Seven, wait at A1 for entrance at the end of the scene.
(Gaddarn talking to Toby)
Enter after –
“GADDARN: …Now get out there and serve. And smile, Toby Gaddarn.”
Have CUPS.
Enter and put the cups down, set the chair and then pour the drinks. Hand one to Thomas and sit. Make sure the scene is alive and not too slow. At the end of the scene replace the cups on the table and walk straight into the scene in front of us. Clap along to Gaddarn’s toast, when it has finished walk to the choir and share a LOOK with Gaddarn. When Toby says “I don’t like surprises anymore” ensure you are near Thomas. Move to the centre of the stage and go through lines after Toby says, “I’m not allowed to speak to people.” After lines rejoin the crowds ‘chatting’, at the end of the scene exit C1.

Scene Seventeen, Wait at B for entrance at the end of the scene.
(Gaddarn puts girls in the passage)
Enter after –
“OTIS: Run, run, Toby Gaddarn.”
No props.
Enter and look around the house. Make sure I have my back to D, as each person enters hug etc. Share a significant LOOK with Melissa. At the end of the scene exit through B and RUN to A (The double doors). Walk the length of the stage and do the Waterside scene with Melissa. When Isobel enters follow her off through the double doors at A.

Scene Twenty-One, wait at D for entrance in the middle of the scene.
(Melissa talks to Thomas about the whereabouts of Aaron.)
Enter after –
“THOMAS: Are you alright, Melissa?”
No props.
Enter frantically and turn to Mellissa. Share a MOMENT, turn in to the next scene as people enter from B. Be sure to use the space and keep moving. Play scene, at the end move and kneel in front of Melissa and take her hand. Exit through B.

Scene Twenty-Four, wait at C1 for entrance at the end of the scene.
(Mrs Lynch tells Otis that he has been found out)
Enter after –
‘When TOBY gets to the middle of the stage’
No props.
Run to the middle and do the scene, follow Toby off C2, when others enter and are a quarter of the way across the stage run on and meet them in the middle from C2. Say lines and lunge for Aaron and fight Otis, go to Aaron and then see Thomas take a knife for you and as you tend to him take a blow to the head. Come round after Otis says, “You mad bitch, I hope you rot in hell.” Exit B.


Scene Twenty-Seven, wait at C2 for entrance at the end of the scene.
(Meshak jumps of the ship.)
Enter after –
“ANGEL: Come now, Meshak. Come to me.”
No props.
Enter and take the bench with Peter to the middle of the stage, place it at a slight diagonal. Then pace in front of A. Do lines with Melissa and go to the choir, get stopped and turned. Have loving moments with Aaron and hug him, Melissa and Toby. When Aaron asks to let him go, do so and follow him. Count the choir in, black out. 

Sunday, 18 December 2011

Alexander and his Music

Music is one the key elements to Alexander as a character, he runs away from home for eight years for it and then develops a career around it. 

I decided to research the type of music that was around at the time, including his idle, Handel. Here is one of the pieces in the play which I listened to, it is still a very famous piece of music and yet one rarely hears it from a full chorus and orchestra.



The period in which the play is set is a time of great change, the period of popular Baroque music is moving towards an era now named the classical period. Mozart, Beethoven and Haydn all came in the second half of the 18th Century and changed the face of the musical world. Alexander's musical taste would have been transforming throughout his life, however the great composer of the time, Handel, remained. Christianity was in fashion at the time and music was largely joyful, this is reflected in the text and the obsession Alex has with finding his joy.

The period is also a time in which orchestra's are beginning to take shape, they are starting to gain more and more instruments all working perfectly with one another. This allows composers to have greater freedom and opportunity to really experiment and come up with, what are now deemed the greatest pieces of music ever written.

Understanding the state of music in this period and the types that most people were listening to and Alexander would have been playing and singing helped me grasp his passion. I now know what he loves so much and although personally I am not a naturally talented musician who has Synesthesia (when some one sees colours when they listen to music) I am able to use this knowledge to try and picture it.