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2/17 - Act 3 Run

(Start 4:36 – 5:28)
-       T: great articulation at top of scene – hold it.
-       T “what” after acted out little jesus line (A) – don’t let it be lost.
-       K – when you hear the click of the holster, look up at him – you’ve consistently missed this moment.
-       A – your face looked worn when you were reading the stories
-       A – “why odes there have to be people like you” – good whisper, but more supported, articulate
-       K “could you beat me up” – more urgent, then settle.
-       A – longer beat before “you killed your parents?”
-       A – questions to K about parents, inquisitive, curious, you are contrasting your expereiences with K
-       A – bring box up onto bed, put in your lap to sort through instead of back to audience.
-       A – longer beat after “they will not get away with it”, find your beats, volume levels at start.
-       “Little kids” – A – fourth wall is diminished, this is your dream.
-       K “and who…” – the voice sounds false in this moment, it can be accusatory without being performed
-       T – “already murdered him of course” – give A a beat after to get up and laugh.
-       A & T – wonderful dynamic.
-       T – leaning on desk during “commandante” speech is flawless.
-       K – good guilt whenever you are mentioned killing kids
-       T – projection/articulation got beter
-       A – if you are being blocked by Tupolski, move yourself
-       T – or was she dead” – don’t raise pen until you get an answer from K, great to direct to A
-       T – sit on desk was great.
-       T – click on “I (click click) am a detective” – wonderful.
-       T That pen is your wand!
-       T – take beat to think up “maybe its ahead of its time”
-       K great reactions to T’s story.
-       T “the world is beneath him” take that moment for yourself
-       T – great story. Great.
-       T – watch posture when you lean forward, don’t hunch too much.
-       T _ hang on – vicious, ferocious, he TOOK YOUR PEN. Push from stomach voice.
-       T – watch downstage arm blocking you when you tower over Kat.
-       T – you cross behind K after “shooting in head in 20” you looked at his head like you were assessing your shot…great.
-       T – don’t make eye contact with Kat when you’re explaining why you like the Pillowman story. Take your time.
-       “son drowned.”
-       T – bring box up to you sitting, or don’t lost yourself so much in box.
-       K – do you do it out of the blue – great stumbling through this. Really good work in this scene with your focus.
-       A – remember to rotate hips out for hair pull
-       K – great reaction to Maria, especially when T catches you being happy.
-       T – “commandante” point to camera is great.
-       K – wait a beat before saying “I never knew about any of this before today”
-       A – sitting “you’re witness”
-       A – great moment after “thank you”. This is a big moment for you
-       T – we lost “burn” with trash smash.
-       T – love the bucket lean.
-       K – “ariel”
-       K – hand tension
-       K – good lean on table.
-       A – stage whisper work
-       A – can you find a moment to replace electrodes to clear the stage.
-       A – T lies and lies and puts K through more than he needs to. Is this a partial reason saving the stories? Why why why
-       A – I love the passing of the jacket.
-       K – take in Ariel being onstage with you.
-       K – let’s work final monologue.
-       “in a cold prison cell”
-       A – listening to Michal?

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