Acting Outside The Script

In our project we have now finished the the script and did several run throughs. We have finished our dry blocking, and videoed our first draft. The staging is completed and we have collected most of the set pieces and props from the prop list. Most of the group had already memorized their lines, however some actors still had trouble, which greatly affected the scene as it made reacting, and expressing emotion difficult. All members of the group need to remember to project as the camera doesn’t pick up the sound very well. Also we haven’t considered the smaller camera angle which may require us to move the setting closer together.

The chemistry between the actors of Patrick and Mary Maloney is good, however the couple's relationship could still be portrayed better. One flaw we had today was that the actor who played Patrick did not have his lines memorized, leaving him stumble across stage his nose buried in his (pardon me, my) script (he had forgotten his). This made it difficult for both actors to portray the awkward relationship of the married couple. The actress playing Mary has to have more energy. She must seem enthusiastic about her husband coming home from work. She loves him above all and just wants him to be happy. This behavior bothers him. He is irritated by her attention and doesn’t care for her affection. In many ways he is the total jerk,especially when he leaves her and his unborn child for another women and the only thing he says to it is, “there shouldn’t be a problem… it wouldn’t be very good for my job.” The actress playing Mary needs to be more energetic and the actor playing Patrick needs to be more of a tactless jerk in order to stage the scene convincingly.

Stage Diagram Scene I and III

Our next step is to finalize the costuming practice our lines until we are completely memorized. Watching the video of our first draft gives us a good understanding of what we still need. The most important part now is to be off script so that we can run the sketch without our noses buried in paper, and with the right props and costumes. It is therefore also vital to collect all the props, set pieces and costumes that we need. In addition to having the lines fully memorized, we need to memorize all the blocking in detail. This skit requires many small actions, that are not mentioned in the scrip, and are thus easily forgotten, yet that are important aspects to the clarity of the sketch. One example is that Charlie needs to remember to enter with oven gloves, after exiting into the kitchen with the lamb. This is meant to indicate that she put the lamb into the oven. She also has to remember to wear the oven gloves when serving the lamb, as it would be hot, coming from the oven, and not wearing the gloves would be logical mistake.

Stage Diagram Scene II

I myself  have continue practicing my lines, and try to convey my funny, and not particularly intelligent character Bob to the audience convincingly. He must be portrayed over the top, and together with his partner Allan, he greatly adds to the energy of the skit. In the future I should act him as even more ridiculous. We should add more lines to the script for Bob and Allan, to give them more stage time, and allow them to make the skit more comedic. We also need to add more lines to clarify Patrick's role as a policeman, and Mary’s relationship to the policeman who come to investigate the murder, who are Patrick’s colleges. In addition the first full runthrough that we did today showed us that there are several awkward silences in our skit. This are parts that are narrated in the original short story and that we merely act out on stage. The result is an awkward silence during which an actor moves while the remaining actors on stage stare into space waiting until the action is over, their faces distorted in concentration as they try to recall their next line. Filling these blanks in our skit will allow us to make it more alive.

The other group is already completely memorized lines and blocking making their scene looks pretty solid. They all need to speak up more. Also I found their storyline a bit confusing, this may be because I could not understand them very well acoustically but I still think that they should clarify the script. Seeing their scene, and hearing their responses to ours showed me that we need to clarify our script as well.

Ohhhhhhh an Alien!!!

Comedy Night was a collection of student directed and student written comedy skits in addition to some dance numbers and songs, that were student led as well. Doing Track and Field in the spring, I was not meant to be in the play however when one of the actors got sick I stepped in on short notice and ended up being in two skits (the first and last number). In between those I was helping the stage crew which meant I was on headset and helping with scene changes, organizing props and making sure actors were ready to enter. It was very interesting for me to learn about all the tech and crew things that go on behind stage. Usually I am an actor so I never realized how much work it was to be a stage manager. It was also interesting to learn how the stage crew always knew when what to move where: Mrs Guarino who was in the both would let us know when it was time for a scene change, when the pit needed to play and when the lights had to come up or down. We then let her know when the scene change was over and the actors were ready.

    Many of the skits were open to improvisation which made them funny for the audience and the actors as they were different each time they were played. However this also created some confusing and messy situations. During the first performance an actress felt to sick to go on stage and we had to spontaneously replace her. Being on the headset, I heard about every mistake or problem and it was my job to help solve it.

    The last skit I was in was a song I sang with my sister. She is a senior and we have done more shows together than I can count on my fingers. This was my last chance to do something with her, so I was glad that we could do the song together. I was very nervous when performing it so that in both performances I struggled a bit with the second verse. Nevertheless I think it went well and it was a great challenge to learn to song in so little time.

    Overall I really enjoyed being in the play,even if it was only two weeks. The audience laughed a lot especially during the morning meeting skit. Also I enjoyed doing one more show with my sister. I am glad that I could help out and it made me happy that they asked me when they needed someone to step in.

...DATA PROGRESSING......DATA PROGRESSING......DATA PROGRESSING......

    I think our project is coming along fairly well. We made good progress in class, especially on Thursday as this was the day the entire group was in call. I was missing Tuesday and Friday due to being sick and having a chemistry exam. Nevertheless we have already made good progress. The group is working well together, we had no issues assigning parts.

The story Lamb To the Slaughter is fairly short and has fewer important roles. Also due to its shortness the character- besides the main character Mary Maloney - are not particularly deep. Therefore we have to add more specific characterizations for them. Even though this means more work in the progress for us it also gives us a sort of freedom in the adaptation as we can add, and change characterizations as we want and as it works with our casting. We already wrote a big part of the script based on the lines already in the story. We also already added some more dialogue that was indicated in the original story, but wasn’t specifically written out. We may add some more lines for the smaller parts in the story, that will give them more stage time and clarify their characters.

    Our next step is to start blocking the sketch. This will help us get a deeper understanding of the script and will allow us to further plan a staging diagram. Since for the spring show the stage is all black we have a nice neutral background we can work with well. Blocking we also let us get a better view of the amount of stage time and lines that each actor has. Thus we can determine whether or not to add more to the script. After having done some blocking we can also determine the time that the sketch takes, as so if it meets the requirements.

    I am looking forward to continue working with my group, which I believe is getting along very well. I am hoping to make this last project for the class a great one.

Babysteps

Character Development:

Mary Maloney

Mary Maloney has many dimensions to her. In the first seen with her husband, she has to stay calm and collected. However, at the same time she has to react to the husband wanting a divorce, which is her motivation for killing him. Therefore, I need to play her with a mixed sense of emotions and oblivion. When she kills her husband, she has to seem very calm, to the point where it is creepy. It is almost like she didn’t realize what she has actually done. I have to be close to the police officers, and talk to them like they are my close friends, because they knew Patrick (the husband) well. Therefore, they would be able to see through her if she was frantic and pancy. Instead, I have to be sad, but not to the point where they realize what she has done. She has to act as though she is not suspicious of the crime that she has committed. I have to be sweet and innocent, and then they will never know it was me.

Mary has close relationships with everyone that is on stage. So, she has to act calm and collected with everyone. She can’t act differently than she normally does, because they would see right through her lies. When playing her I have to have a middle ground for emotions.

Mary is a middle aged women who is pregnant with a child. She has to look worn down from all the work she has done around the house, but at the same time she is put together.  She looks like a typical housewife, and stay at home mom. She would wear a pink dress with a white apron and heels. The hair would be put up into a tight bun, it has to look very stereotypical.

Patrick Maloney

Middle aged man going through a minor mid-life crisis. His tone is kind of tired of Mary and the life he is living. He is unhappy with his life so I will play him with a resenting tone. To play him like this, I will walked slumped over and unhappy. I would also play him with a selfish undertone, as he seems pretty heartless in the story.

Jack Noonan

Is obviously a very kind man, is a friend of Mary's husband on the police force so Mary is the last person that they expect of the murder. He helps comfort Mary and so I would have to act him out as having concern for Mary, not suspicion. I would also have to play him as a man who is trying his best to find who this murderer is. I also have a personal relationship with the victim so I would have to seem even more invested in this case. I would show his on stage by coming in and being sad when I find out that Patrick is dead. And also by treating Mary with great respect and paying her my condolences for Patrick. I would also try to say no to Mary when she asks if anyone wants a drink or a piece of the lamb but after she begs for a short period of time I have no choice but to say yes. After all, somebody has just killed her husband in cold blood. It is very important that I show no suspicion of it being Mary because that is how my character seems to act in the story. My character is a detective and also in charge if the investigation so I must be pretty high up in the police force. With that being said, I must play my character has a hard-nose man who is very strict with the crew that he is at the house with. I also just had my close friend murdered so I would have to be kind of angry about that. I could show this on stage by being short with the other people investigating the scene with me.

           I'm thinking that could have a blue blazer and pants on because I am a detective. I would probably have a funny looking hat and a badge on, possibles a gun on my hip. I imagine my character as having a mustache and being in his mid 30’s. At the point when I reluctantly accept a drink and dinner, I finally relax. We start to discuss the murder weapon and the irony is that we are eating the murder weapon during that scene. We all must act completely oblivious and relaxed to mirror the story.

Bob

Bob is one of the policemen that come to investigate the murder of Patrick Maloney. Unlike Jack Noonan he was not particularly close to his former college, however he works hand in hand with Alan. The two of them are not particularly smart and often bicker. They are meant to be the funny sidekicks of the story.

I was thinking of acting Bob with a regular amount of stage presence, maybe a little more as he is overconfident, thinks he knows best and is the most important. For costuming I would go for nothing to difficult, especially since I will have to get changed. I do however think that it is important that Bob and Alan wear similar clothes.

Sam/Jane from the Grocery Store

Sam only appears very briefly in the sketch. She is working in the grocery store and knows Mary Maloney who comes to the store regularly. Sam is a kind lady in her middle ages. Calm and content with her life.

Staging First Draft:

Script:

LAMB TO THE SLAUGHTER by ROALD DAHL

Scene 1:

MARY is in the living room, she is pacing around the room. She seems anxious like she is waiting for something. The door opens.

MARY:    Hello, darling

PATRICK:    Hello

Mary takes Patrick’s coat from him and hangs it up. She brings 2 cups of alcohol, one for her and one for Patrick.

MARY:    Tired, darling?

PATRICK:    Yes [sighs] I'm thoroughly exhausted.

Patrick drinks the entire cup of alcohol and gets up to exit upstage into “ Kitchen”

MARY:  I'll get it! [jumping up]

PATRICK: Sit down.

Patrick enters from upstage with a cup and a bottle of alcohol. He pours it all the way to the top.

Mary sighs

MARY:     I think it's a shame that when someone's been a policeman as long as you have, he still has to walk around all day long [he doesn’t answer] Darling, If you're too tired to eat out tonight, as we had planned, I can fix you something. There's plenty of meat and stuff in the freezer. [she forces a smile, he doesn’t react] Anyway I’ll get you some bread and cheese."

PATRICK:    I don't want it.

[She moved uneasily in her chair]

MARY:     But you have to have supper. I can easily fix you something. I'd like to do it. We can have Lamb. Anything you want. Everything's in the freezer.

PATRICK:    Forget it

MARY:     But, darling, you have to eat! I'll do it anyway, and then you can have it or not, as you like. [stands up and places sewing on table]

PATRICK:     Sit down, Just for a minute, sit down. [pause] Go on, sit down.

[MARY sits watching him all the time with large, puzzled eyes, he  finishes his second drink stares into the glass]

Listen … I've got something to tell you

MARY:    What is it, darling? What's the matter?

Patrick stays motionless and does not make eye contact with Mary

PATRICK:     This is going to be a big shock to you, I'm afraid. But I've thought about it a good deal and I've decided that the only thing to do is to tell you immediately. [pauses]  I think that I need some time and distance to myself..

MARY:    That's fine dear are you thinking of a vacation for us?

PATRICK:    Yeahhh... more of a vacation for me.. Permanently

MARY:     What? ..What are you saying…? [In a sad voice]

PATRICK:    I'm a rolling stone Mary, that's just how it is.. I met a girl at the casino last Month we’re eloping

MARY:    I… I don't know what to say..Patrick. Please tell me this is a joke

PATRICK:     No, Mary.. I've simply outgrown you, I'll be packing my bags tonight.. I'll be gone by the morning.

MARY: Patrick..

PATRICK: I did us the favor of going to the town hall and getting the divorce papers..  [hands Mary the papers and Mary ignores them] So there it is. And I know it's a tough time to be telling you this, but there simply wasn't any other way. Of course, I'll give you money and see that you and the baby are taken care of. But there really shouldn't be any problem. I hope not, in any case. It wouldn't be very good for my job.

MARY stays silent for a minute, a look of confusion washes over her face. She gets up and acts as though nothing happened.

MARY:     I'll fix some supper [happy]

MARY exits upstage

PATRICK:    I've already told you.  Don't make supper for me. I'm going out.

PATRICK:    Well that was weird, well anyways I can't wait to Shelly tomorrow, she makes me forget all about this boring old witch. I don't know how I'm going to see the baby, but whatever the money should take care of that.

MARY comes behind PATRICK and swings a leg of lamb, she hits him with it and he falls to the ground dead.

MARY: I have a baby coming, he deserved it. I mean he wasn't going to take care of us with another girl around. What was he thinking? Another women in this child's life? No that can't happen, I'm the only mother. There is not going to be a stepmother or whatever other mother. It's me just me. [pauses]. Wait… I can't go to jail for this. Can I? He technically forced me to kill him. He was practically asking for it. I have to protect this baby, and I think I might have the perfect idea.

Practices to herself

MARY:    Hello, Sam [speaks loud and strangely] I want some potatoes, Sam. Yes, and perhaps a can of beans. [Not happy with how she sais it she tries again] Hello, Sam I want some potatoes, Sam. Yes, and perhaps a can of beans. [gives her reflection a nod, EXITS]

Scene 2- Grocery Store

[ENTER Sam and Mary]

MARY:    Hello, Sam [smiling]

SAM:        Good evening, Mrs. Maloney. How are you?

MARY:    I want some potatoes, please, Sam. Yes, and perhaps a can of beans, too. Patrick's decided he's tired and he doesn't want to eat out tonight. We usually go out on Thursdays, you know, and now I don't have any vegetables in the house.

SAM:        Then how about some meat, Mrs. Maloney?

MARY:    No, I've got meat, thanks, I've got a nice leg of lamb, from the freezer.

SAM:        Do you want these potatoes, Mrs. Maloney?

MARY:    Oh, yes, they'll be fine. Two pounds, please.

SAM:        Anything else? [pause] How about dessert? What are you going to give him for dessert?  How about a nice piece of cake? I know he likes cake.

MARY:    Perfect. He loves it.

[Sam brings stuff and puts it in bags]

MARY:    Thank you, Sam. Good night.

Blackout

[MARY enters the kitchen by the back door, quietly singing to herself]

MARY:    [calls out] Patrick! How are you, darling?

MARY  sees that Patrick is dead, she runs into the living room and drops the groceries on the ground.  She runs over to him and drops to her knees.

MARY goes over to the phone and dials a number

MARY:    Quick! Come quickly! Patrick's dead.

POLICE:     Who's speaking?

MARY:    Mrs. Maloney. Mrs. Patrick Maloney.

POLICE:    Do you mean that Patrick's dead?

MARY:     I think so, He's lying on the floor and I think he's dead. [crying]

POLICE:     We'll be there immediately.

Scene 3:

Sirens go off and a knock is heard at the door. MARY opens the door and four policemen walk through the door. They all crowded around the dead body.

MARY:     Is he dead? [crying]

JACK:        I'm afraid he is. What happened?

MARY:     I really loved him…..

ALLAN: There is evidence of trauma to the--

BOB: The frontal lobe!

ALLAN: There must be trauma to your frontal lobe.

Jack is pacing and MARY is sitting on the couch in front of him. BOB and ALLAN are fighting but you can't hear anything.

JACK: Dammit.

MARY: Who would have done such a terrible thing?

BOB: He was clearly shot

ALLAN: Thank god! You might be right for once!

Start to look for bullet wound.

MARY: What am I going to do with the child now?

JACK: You don't need to worry. You have all of us. [gestures to ALLAN and BOB]

BOB: We can't find the hole!

ALLAN: Well if you weren’t such a dumbass!

BOB: Well you find it then.

ALLAN: I just did.

BOB: That's not a hole.

ALLAN: You’re blind!

BOB: Idiot!

JACK walks over to BOB, ALLAN, AND PATRICK’s body.

JACK: You’re both idiots!

ALLAN and BOB: How?

JACK: It was obviously not a gun shot.  It's not a deep enough wound.  Blood doesn't automatically mean there is a gun wound.

MARY starts crying loudly.

JACK: Mary, calm down.  We will solve this.  Did you know that your oven is still on, and the meat is still inside?

MARY:    Oh, So it is! I'd better turn it off [EXITS returns shortly after in tears] Would you do me a favor? Here you all are, all good friends of Patrick's, and you're helping to catch the man who killed him. You must be very hungry by now because it's long past your supper time, and I know that Patrick would never forgive me if I let you stay in the house without offering you anything to eat. Why don't you eat up the lamb in the oven?

JACK:        I wouldn't dream of it.

MARY:    Please, personally, I couldn't eat a thing, but it'd be a favor to me if you ate it up. Then you can go on with your work

The detectives hesitate but eventually follow MARY off stage.

Black out

Scene 4:  Eating the Lamb

BOB: Have some more, Allan.

JACK: No, we'd better not finish it.

ALLAN: She wants us to finish it. She said we ought to eat it up.

JACK: That's a big bar the murderer must have used to hit poor Patrick. The doctor says the back of his head was broken to pieces.

ALLAN: That's why the weapon should be easy to find.

BOB: Exactly what I said.

JACK: Whoever did it, he can't carry a weapon that big around with him.

ALLAN: Personally, I think the weapon is somewhere near the house.

BOB: It's probably right under our noses. What do you think, Jack?

Blackout