Sammie Davis:
-Excellent, confident slate and great transition to first beat
-Great dynamics
-Really good physical shift! I was very impressed. Your gestures were subtle and very suggestive
-You seemed emotionally invested in the piece.
-Your point of focus was confusing at first
Miku Kodaka:
-Slate was rushed, and first beat was confusing
-No eye contact at first
-Great physicality and emotional tension
-Your diction is definitely improving
Rossana De Leon:
-Great use of facial expressions
-Seemed forced and "monologue-y"
-I couldn't see a distinct physical characterization
Allie Boettcher:
-Slate was a little too intense
-Good physical shift
-Unclear focus
-Dynamic inflection
Jessica Christman:
-Awkward transition from slate to monologue
-Great characters (mom and dad)
-Seemed a little monologue-y, not honest
-Great use of space
Danny Andrews:
-Interesting physical choice (diagonal in chair)
-A little too fast
-Lower your vocal pitch - levels!!!
-Nice extended button
Bronte D'Acquisto:
-Great transition
-Good focus
-Great physicality
-Your vocal pattern was a bit repetitive
-Try not being so angry the whole time - subtlety!
Anna Krieg:
-Vocal pattern very repetitive
-Seemed dishonest
-Great at the end
-Try to end on a serious note
Hayley Greenbauer:
-Transition between slate and start of monologue was way too long
-Great vocal inflection
-Great point of focus
-Seemed a bit short
Sean O'Hara:
-Slate seemed unrehearsed and uncertain
-Stop squinting and open your eyes/face!
-Unconnected gestures
-Not believable
-Spasmodic characterization worked
Kalei Boyer:
-Strong character voice
-Remember that you're playing a character - Mrs. Clackett - within the monologue!
-Good vocal performance
Gabriel Cornejo:
-Slate seemed uncertain
-Great use of space
-Too much silence
-2nd half way better than first
-Believable
Morgan Craig:
-Excellent moments ("WHO THE FUCK?!", etc.)
-Great dynamics/levels
-Great character
-Try actually walking out at the end
Jeremy Davies:
-A little too deadpan at times
-Really commit to the gloves story
-Hand off of your belly!
-Good pacing
Vi Phan:
-Your volume needs a lot of work
-Great character voice!
-Really funny
Aeriel Colbert:
-Hilarious!
-Interesting physical choice
-Work on your diction
-Great arc
Ariele Alon:
-Move your point of focus to center
-Be more panicked
-More energy
-Too one-note
Nadia Nowak-Leight:
-You seemed like you were in a commercial
-Good physicality
-Repetitive
-Phony
-Good point of focus
Friday, March 25, 2011
Thursday, March 24, 2011
Play Synopsis: Glengarry Glen Ross
I decided to start my weekly reading of plays off with David Mamet's Glengarry Glen Ross. I had read and seen some of Mamet's work before, and I love his distinctive style of dialogue and gritty, difficult characters. Since Glengarry Glen Ross is considered by many to be Mamet's best work, I was excited to read the play and see what all the fuss is about. While I found the plot a bit disappointing, the characteristic "Mamet-speak" used by the characters was top-notch and made the play extremely compelling to read.
The play begins with put-upon real estate salesman Shelly Levene desperately exhorting his office manager John Williamson to give him the "Glengarry leads," a list of names of potential clients for the sale of expensive properties. When Williamson demands cash in advance, Levene is unable to produce the money and leaves empty-handed.
In the next scene, two salesman from the same company, Dave Moss and George Aaronow, are discussing their recent struggles to maintain the office's sales quota. Moss hatches a plot which would require Aaronow to burglarize the office, steal sales leads, and sell the leads to a competing company. Aaronow wants no part of the plan, but Moss intimidates him into agreement.
Meanwhile, the company's best salesman, the charismatic and ruthless Rick Roma, is delivering a long and spectacular monologue to an enraptured customer named James Lingk. Roma's manipulative sales tactics leave Lingk hypnotized into purchasing some undesirable real estate.
Act II opens in the office after the burglary has been discovered. A police detective, Baylen, is interrogating the office's employees to finger the perpetrator of the crime. Roma storms in, furious after hearing of the robbery because he fears that the proof of his sale to Lingk has been lost; this would prevent him from exceeding the sales threshold to win a Cadillac in the company's sales competition. However, he is reassured by Williamson that the sale was closed the night before. Minutes later, Levene bursts excitedly into the office and triumphantly explains that he has made a large and lucrative sale to a couple named Bruce and Harriet Nyborg. Soon, Lingk walks into the office, begging to speak with Roma about the previous day's sale. Roma pretends that Levene is a doctor named Ray Morton, whom Roma must rush to the airport post-haste. Roma nearly manages to escape out of the door when Lingk exclaims that his wife has demanded that he cancel the sale. Roma unsuccessfully tries to hoodwink Lingk into believing that he can cancel the sale later. Roma is called into the other room to interview with Baylen, and Williamson explain to Lingk that, contrary to Roma's assertions, his contract has already been processed by the bank. Roma, furious, storms off to his interrogation. When Levene insults Williamson for making something up, Williamson asks Levene how he knows that the contract had not actually been delivered. The only way Levene could have known this is if he himself perpetrated the robbery. Levene confesses that he and Moss planned and executed the break-in. Levene frantically begs Williamson not to fire him, trying to use his recent Nyborg sale as leverage, but Williamson explains that the Nyborgs are notorious deadbeats whose check certainly will not clear. Roma then exits the interview with Baylen and explains that he and Levene are now business partners - meaning that Roma now keeps 100% of his own commissions and 50% of Levene's as well.
The play begins with put-upon real estate salesman Shelly Levene desperately exhorting his office manager John Williamson to give him the "Glengarry leads," a list of names of potential clients for the sale of expensive properties. When Williamson demands cash in advance, Levene is unable to produce the money and leaves empty-handed.
In the next scene, two salesman from the same company, Dave Moss and George Aaronow, are discussing their recent struggles to maintain the office's sales quota. Moss hatches a plot which would require Aaronow to burglarize the office, steal sales leads, and sell the leads to a competing company. Aaronow wants no part of the plan, but Moss intimidates him into agreement.
Meanwhile, the company's best salesman, the charismatic and ruthless Rick Roma, is delivering a long and spectacular monologue to an enraptured customer named James Lingk. Roma's manipulative sales tactics leave Lingk hypnotized into purchasing some undesirable real estate.
Act II opens in the office after the burglary has been discovered. A police detective, Baylen, is interrogating the office's employees to finger the perpetrator of the crime. Roma storms in, furious after hearing of the robbery because he fears that the proof of his sale to Lingk has been lost; this would prevent him from exceeding the sales threshold to win a Cadillac in the company's sales competition. However, he is reassured by Williamson that the sale was closed the night before. Minutes later, Levene bursts excitedly into the office and triumphantly explains that he has made a large and lucrative sale to a couple named Bruce and Harriet Nyborg. Soon, Lingk walks into the office, begging to speak with Roma about the previous day's sale. Roma pretends that Levene is a doctor named Ray Morton, whom Roma must rush to the airport post-haste. Roma nearly manages to escape out of the door when Lingk exclaims that his wife has demanded that he cancel the sale. Roma unsuccessfully tries to hoodwink Lingk into believing that he can cancel the sale later. Roma is called into the other room to interview with Baylen, and Williamson explain to Lingk that, contrary to Roma's assertions, his contract has already been processed by the bank. Roma, furious, storms off to his interrogation. When Levene insults Williamson for making something up, Williamson asks Levene how he knows that the contract had not actually been delivered. The only way Levene could have known this is if he himself perpetrated the robbery. Levene confesses that he and Moss planned and executed the break-in. Levene frantically begs Williamson not to fire him, trying to use his recent Nyborg sale as leverage, but Williamson explains that the Nyborgs are notorious deadbeats whose check certainly will not clear. Roma then exits the interview with Baylen and explains that he and Levene are now business partners - meaning that Roma now keeps 100% of his own commissions and 50% of Levene's as well.
Wednesday, March 23, 2011
Symphony of Clouds, by Margaret Larlham
SDSU's Symphony of Clouds, an original piece written and directed by the department's own Margaret Larlham, is an amusing and educational glimpse into the early formative years of Wolfgang Amadeus Mozart's life. The show is intended for young audiences, and attempts to teach children about this influential artist in an engaging and interactive manner. While the show did not resonate powerfully for me personally, as I already knew most of the information presented and am above the age of eight years old, I was still impressed by the show's visual presentation and innovative treatment of Mozart's music.
The set was pretty, if not spectacular. The costumes, however, were quite stunning, and helped to establish the whimsically historical world of the play. The music of the play was, of course, immaculate; the show managed to present Mozart's music in a way which was educational but still emphasized the beauty and timelessness of his compositions.
From an actor's perspective, the show was forgettable. David Armstrong offered a strong performance as Mozart's stuffy but loving father. Sunny Smith's dual performance as the Empress and as Mozart's mother was commendable, as her over-the-top German accent and animated characterization made her perfect for a children's play. However, Jon Wat's performance as the boy Mozart was flat and forgettable. His energy level stayed consistently lacking, and his childlike affectations seemed forced and overly-calculated. Overall, the show served its purpose as children's infotainment, but college-age audiences are not likely to remember the show.
The set was pretty, if not spectacular. The costumes, however, were quite stunning, and helped to establish the whimsically historical world of the play. The music of the play was, of course, immaculate; the show managed to present Mozart's music in a way which was educational but still emphasized the beauty and timelessness of his compositions.
From an actor's perspective, the show was forgettable. David Armstrong offered a strong performance as Mozart's stuffy but loving father. Sunny Smith's dual performance as the Empress and as Mozart's mother was commendable, as her over-the-top German accent and animated characterization made her perfect for a children's play. However, Jon Wat's performance as the boy Mozart was flat and forgettable. His energy level stayed consistently lacking, and his childlike affectations seemed forced and overly-calculated. Overall, the show served its purpose as children's infotainment, but college-age audiences are not likely to remember the show.
Eurydice, by Sarah Ruhl
SDSU's production of Eurydice was stirring from the perspective of an audience member and impressive from the point of view of an actor. Sarah Ruhl's interpretation of the Greek myth of Orpheus and Eurydice is whimsical and permeated by a magical atmosphere, but at its core it is a tragic, yet hopeful, tale about the relationship between a girl and her father.
The actors in the production discharged their roles ably and with a clear understanding of the spirit and intent of the play. Sophie Ethridge played the titular role brilliantly; she captured Eurydice's naiveté and youthfulness through her effervescent physical presence; however, she truly shined during the play's emotionally tense and tragic moments, projecting the fragility and sadness of the character in a natural and evocative manner.
Shane Blackburn, as Eurydice's Father, was extremely endearing. His outward jolliness was underscored by an inner sadness and sense of loss. His most powerful moments came when he performed his various acts of paternal selflessness for Eurydice. In particular, his stoic and methodical approach to building the room out of string highlighted his fatherly presence and made for a very touching moment.
The real champion of the show, though, from an acting perspective, was Chris Wollman. In typical form, he made every moment rhapsodically memorable through his knack for characterization. His Nasty Interesting Stranger was disturbingly sinister, and his Lord of the Underworld, in contrast, was humorously over-the-top. His performance definitely stands as the memorable centerpiece to a similarly memorable show.
The actors in the production discharged their roles ably and with a clear understanding of the spirit and intent of the play. Sophie Ethridge played the titular role brilliantly; she captured Eurydice's naiveté and youthfulness through her effervescent physical presence; however, she truly shined during the play's emotionally tense and tragic moments, projecting the fragility and sadness of the character in a natural and evocative manner.
Shane Blackburn, as Eurydice's Father, was extremely endearing. His outward jolliness was underscored by an inner sadness and sense of loss. His most powerful moments came when he performed his various acts of paternal selflessness for Eurydice. In particular, his stoic and methodical approach to building the room out of string highlighted his fatherly presence and made for a very touching moment.
The real champion of the show, though, from an acting perspective, was Chris Wollman. In typical form, he made every moment rhapsodically memorable through his knack for characterization. His Nasty Interesting Stranger was disturbingly sinister, and his Lord of the Underworld, in contrast, was humorously over-the-top. His performance definitely stands as the memorable centerpiece to a similarly memorable show.
Tuesday, March 22, 2011
My thoughts on this class so far...
The fact that I am beginning this journal four days before its due date should indicate to you right away my approach to this class. Here is a brief collection of musings about my experience up to this point in Peter Cirino's Acting II class:
- Like most acting classes I have taken, I have viewed this class as an opportunity to practice acting and to challenge myself as an actor by trying new techniques and unfamiliar approaches to my craft. Also like previous acting classes, I have resented the volume of written work expected from us by the teacher. While I certainly appreciate the value of reading and attending plays with an analytical and critical eye, I believe that actually being made to write about it takes away precious time that could be used for practicing scenes and memorizing monologues. This resentment, coupled with my characteristic lack of personal organization, has caused me to fall desperately behind on my journal. Let it be known that I have been analyzing plays and productions all semester, and that I simply have not bothered to write down my observations as was asked of me.
- I definitely believe that this class will offer me many opportunities for improvement as an actor. While I am still struggling to understand the "outside-in" approach to acting advocated by Peter Cirino (make a statue, then adapt the spirit of your monologue and your character to encompass the statue's physicality), I believe that any approach which emphasizes physicality will prove helpful to me. I am an extremely verbal actor, focusing heavily on the vocal nuances and deeper psychological motivations behind a character's words; however, I tend not to be conscious of what I'm doing with my hands and body at any given point onstage. This causes me to default to my natural physicality, which, as my fellow students in Acting II witnessed today, involves a lot of unmotivated gesticulating with my hands. Peter's approach to acting, which emphasizes being conscious of one's physicality at all times, may prove invaluable in helping me to grow as a physical actor.
- There are a few things which I hope to gain from this class:
- A more active control over my physical presence onstage and my ability to physically inhabit a character convincingly.
- A restoration of my own self-confidence. Though in high school I had no shortage of self-esteem or belief in my abilities as an actor, in college I have found myself racked with self-doubt and insecurity. By the end of this class, I hope to have grown measurably as an actor to the extent that I will feel the same pride in myself as an actor that I did when I took the final bow of my high-school acting career.
- A greater knowledge of how to get started in the acting business. As of right now I have at best a vague idea of what I need to do to actually launch a career in acting. By practicing the process of auditioning and by asking many questions, I hope to leave this class with a concrete plan of action in regards to becoming a working actor.
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