DINNER WITH FRIENDS

The blog has been reset now for DINNER WITH FRIENDS! 

The show's read through is this Thursday in the Little Theatre from 7-10pm. You're all welcome to come listen.

Thanks!

Happy tech!

This blog is up to date through the day before tech! I'm out of town this week, so it will not be updated further.

Break legs!!
~ Nicki
:)

Student matinee

The AYLI student matinee, Friday at 10am has been cancelled.

Tuesday's Schedule

Tuesday November 8

7-10pm

Work on Dance 

Run Act 1
ALL CALLED

- Production Meeting at 11am in Forman

Designer Run Through

Thursday November 3^rd:

All called; Designer Run

Upcoming Schedule

Thursday, October 27

7-10pm Act 2, Sc7

Friday, October 28

PRODUCTION MEETING ~12:30pm in make-up classroom CL 030

4-7pm    ACT II

ALL CALLED 

Sunday, October 30

~6-10pm ALL CALLED - Run Act I OFF BOOK

AS YOU LIKE IT!

Rehearsals have started! Thank you to all the designers who attended.

The next production meeting is Friday, October 21st at 12:30pm. 

The next rehearsal is Friday, October 21st from 4-7pm.

Upcoming Schedule

Friday, October 21  

4-7pm   ALL CALLED

Sunday, October 23

10-1pm  Act 2 Sc 1; Act 2 Sc 5

~10-11am Yunus, Ava, Samatha, Alyson

~11-12:25am Ava, Steph

~12:15-1 Steph

Monday, October 24

7-10pm  Act 1 Sc 2

~7-8:30pm Yunus, Andrew

~8:30-10pm Helena, Gabby, Patrick, Grace R, Esi, Andrew, Yunnus

Tuesday, October 25

7-10pm  Act 1 Sc 1; Act 1 Sc 3

Wednesday, October 26

7-10pm  Act 2 Sc 2; Act 2 Sc 3

Thursday, October 27

7-10pm   Act 2 Sc 6; Act 2 Sc 7

Friday, October 28

4-7pm    OFF BOOK ACT 1

~4-6pm Act 2 Sc 4

~6-7pm Act 3 Sc 1

Upcoming Schedule

Next Rehearsal/Call:

Wednesday 9.21 (7:30-10) Location: Forman

All called

Work pages 21- END

Thursday 9.22 (7:30-10) Location: Forman

All called

Work with Jessica at 8:30

Ship crew death scene

All villiger scenes

Friday 9.23 (5-7) Location: Forman

All called

Run show

Saturday (12-5) Location: Forman

All called

First day of tech

Thank You!

This Week's Schedule

The next production meeting will be held in the Makeup Classroom, Friday September 23rd at 3:30pm.


Tuesday 9.20 (7:30-10) Location: Forman

All called

First Undertaker scene

Patrick’s song- please bring a recording device

Work pages 3-20

Wednesday 9.21 (7:30-10) Location: Forman

All called

Work pages 21- END

Thursday 9.22 (7:30-10) Location: Forman

All called

Work with Jessica:

Ship crew death scene

All villiger scenes

Run show 

Friday 9.23 (5-7) Location: Forman

All called

Run show

Saturday (12-5) Location: Forman

All called

First day of tech

Reminders

Designer run through tonight at 7:30pm!!

Next production meeting tomorrow (Friday) at 3:30pm in the Make up Classroom!!

This Week's Schedule

Tuesday (9.13.16) 7:30-10
     Called: ALL CALLED
     Work List: pgs 17-19, 28, 32, 37, All  Creature Fights

           Full Run     Warm Up Leader- Ryan

Wednesday (9.14.16)  7:30-10

     Called: ALL CALLED
     Work List: pgs TBA

           Full Run     Warm Up Leader- Lauren

Thursday (9.15.16)  7:30-10
     Called: ALL CALLED
     Work List: DESIGNER RUN THROUGH!!!!!

     Warm Up Leader- Helena

Friday & Saturday's Rehearsal schedule TBA

Open Run Through

Designers have been invited to the Run Through on Saturday, 9/10. The run is scheduled to start at 10:10am.
Thank you!
~ Nicki

Audio & Scenic Meeting Notes

Date: 8.11.16                                                                                                               Time: 2:10

Attendance: Alan, Ricardo, Missy

General:

·         Alan has prepared scene by scene renderings to present and modify with Ricardo at this meeting. 

·         The lighting style that will be used is low angle side light. It is important that the lights and platforms are positioned perfectly to not have light bleed on the scrim.  Because of this platform placement may be slightly adjusted  but their size will stay the same. 

·         Alan has copied the scene renderings and given a set that has been reviewed to both Ricardo and Missy. 

·         Alan departs will not return from his vacation until August 19th, this meeting will reconvene after rehearsals start on the 23rd.

The Basic Elements:

·         Rear projection screen with black scrim hung down stage of it. There is 22' between Projector and screen

o   Imagery will be projected onto the RP screen by projector "#1" mounted on the up center right wall.

·         SL platform will be 16" high and have a step on the DS side that is 8" high. This step will cover 80% of the 16" platform beginning flush with the off stage edge. This entire unit may swivel to a more parallel angel to the audience than what is currently drawn. This would make more space for the center stage pathway.

o   There will be a gray Kabuki drop directly behind the 16" platform at the top of the show that will release on cue, and another (also hung directly behind the 1st drop) that will both fall to hang and release to the floor on cue(s).

o   The Kabuki drops will have imagery projected onto it by projector "#2" that will be mounted as far up stage left in the corner of the theater wall as humanly possible. The drop is to simulate the iceberg and projected images will be clouds. 

o   A small platform will be located SL behind the Kabuki drop(s) for the Creature to stand on. It should be between 24"-30" high and large enough for the Creature to be assembled upon it. 

·         SR platforms include a base level at 16," this base level will support a 7' (from stage deck) platform that is roughly 4'x4' wide identified as the Lookout. 

o   The Lookout will be flush with the back side of the 16" platform. (3 people should fit up on the 4x4 platforms) on the downstage side of this platform there will be a bi-fold flat 0that will open for the Laboratory scene for a lighting effect. 

o   There will be a steep staircase to access the Lookout platform that goes from 0'0" to 7'0." This item is already built and located in the shop. The stairs will not be mobile.

o    A 8" step unit will be located on the onstage/downstage side of the  16" platform and be flush with the center stage edge and only cover 80% of the 16"platform.

o    Currently a cot, table, and 2 chairs are the only furniture props mentioned to be on the SR  platform. 

·         There are 4 masking flats that are noted. 2 positioned stage left and stage right

·         There will be another (maybe) projector mounted house right to project onto the down center floor deck a water image.

·         The Creature may be utilizing the 'displaced voice' concept. If this is the case, all 3 members of the Creature will be wearing wireless microphones and voice will be routed to a speaker somewhere in the house. Alan is cautious about fully committing to this idea because of the concern of who will be running the equipment; in such a short tech period there will be a lot of potential challenges that need addressing.

The Scenes:

1.      Iceberg: pg 3, Kabuki drop is in, performers on SL platform

2.      Lookout: pg 3, on Lookout platform, clouds are projected over it

3.      Iceberg & Lookout: pg 4, combined scenes 1 and 2.

4.      Cabin: pg 5, Round portholes are projected over the SR platform with clouds moving past within. There is a cot on DS side of platform  in the cabin dressed in some way that shows aristocracy above the crew. Cot may be acting cubes or a real camp cot. Alan believes that RIC owns a camp cot and can put some thought to finding it. Ricardo is hesitantly leaning to acting cubes at this time. Would like to use the fur coat that Victor was wearing as a blanket or over the top of the blanket on the cot. 

5.      Cabin & Tree: pg 7, Actor goes up on Lookout when Victor talks about being lashed to a tree. there will be a vertical pipe mounted to the trailing with a light attached to symbolize the both the tree and the fly bridge beacon on a boat. Another pipe or piece of wood will be mounted to this vertical one but in a horizontal fashion with 2 lengths of hemp each tied into a noose, one fastened on each end. The performer will slip their hands into the nooses. (the rope for this should be substantial- not weak looking.) The performer may end up leaning on the vertical or horizontal pipes. For the lightning effect, there will be a light flash on the boy's face, thunder will be heard off right and there will also be the sound of wood breaking. The roll of the boy has not been casted at this time, whomever it will be needs to be nimble. 

6.      Clerval: pg7, Creature will be standing on mini platform SL in dim lighting. Creature will not be in the saddle yet but they are huddled together. Kabuki curtains are still in but will be cued to fall and the creature will be exposed but face will not be seen. Maybe this is accomplished by saturated magenta/green lighting or a veil from Charlotte? Could also use some lighting effect to have a silhouetting effect of the Creature. This would be a great place for the creature's voice to appear "displaced.",

a.       Cabin Cross Fade: pg 8, Walton stays on the ship, Victor stays where he is, Father comes in the center, Mother will reuse the cot from the Cabin but in a new location on DC next to the SR step.

7.       Home: pg 9 creature exits, servants enter setting up the home/bed from cabin DC next to SR step, flip blanket over for other side, Mother, Elizabeth, Father enter C, Walton watching from the cabin. 

8.      Lecture: pg 10, Waldman SL on Creature's mini platform.

9.      Lab: pg 10, SR platform, bi-fold flat opens by Victor. Lab coat is obtained & worn it should look more like a frock coat that is light in color. Victor will also need to take something off/ loose something too. A gurney (borrow from Trinity) is brought on to the lower level with all 3 actors for creature on it (arms and legs hanging off) they should be wearing gauze attire, straps from harness can be seen to 'hold creature together.' Animation effect will have music, flash of light, and  pulsing of light behind the bi-fold flat. Creature will assemble to full height and Victor will go and sit on Gurney. Elizabeth and mother will enter the scene, Spin the gurney around several times. Creature will cross into position by the bi-fold flat for a silhouette effect. Mother exits at this time and Elizabeth goes to SL platform. As Soon as Victor gets off the gurney, it is struck. 

10.  Victor's House: pg 11, Picture window with trees

11.  Funeral: pg 13, Coffin (borrow from Trinity) enters from UC stays DC. Priest crosses to the SL creature platform, Creature & Priest will swap. a Church like window will project onto RP. Possibly use a stained glass gobo. When Victor starts creating the cot will be returned to SR platform and the Cabin is reset. 

12.  Cabin: pg 14, same

13.  Victor's House: pg 14 Starts when Father enters, no cot needed. 

14.  Court: pg 15 Black ground with no projections, Justine enters C and crosses DC. Father & Elizabeth are SL

15.  Hanging: pg 16 Alpha climes up to Lookout ahead of Priest and Justine. Victor grabs at Priest but Alpha as Hangman is already there. Uses the noose ties from previous scene. 

...to be continued

The next meeting will be held after first rehearsal. The exact time and date of this meeting has not been determined yet because of flocculating schedules from all parties. 

Date: 8.10.16                                                                                                               Time: 10:40

Attendance: Alan, Ricardo, Missy, Sam

General:

·         The film that Ricardo has been casted in is behind schedule and he is concerned that they will move the shooting of his scenes to the first week of rehearsal. This is possible because of the improvisational directing that the film has, however he will keep us informed as soon as he knows more. 

·         Ricardo's mother's 90th birthday is August 27 and he will need to have an alternative plan for rehearsal that day (Saturday). This plan is being developed and he will know more of what he would like by the 23rd. 

·         All parties present are not having the best day: Ricardo left the house without his bag, Alan without his renderings and notated script, and Sam was delayed with slow moving public transportation hindered by the weather. 

·         Sam primarily sees his roll on this production as that of a music consultant due to his schedule and availability change from when the project was first introduced. 

·         When lines are noted CR in the script, all 3 characters (Alpha, Beta, and Gama) will say their lines in unison. There are moments where Victor's character may also join in. This however, is not for every instance. 

·         Ricardo always asks where does the experience start for the audience. He feels as though it needs to start before the play however does not want to give any stage magic away. Just enough tone to take them out of the world that we live in today.

·         At the top of the show, Victor and the Creature are seen huddled on the iceberg. Victor wanting to die and the Creature not allowing it. 

·         As the script currently stands the total running time without intermission is 92 minutes. Ricardo would like to get it to a realistic 85minutes or a hopeful 72 minutes. 

·         Ricardo does not want the audience to feel safe or secure for any part of the story. 

·         Alan needs to speak with the student who he would like to assign to the production as the Assistant Designer. This will be put on hold until classes start. 

·         Ricardo is ok if the audio technician is stationed in the house as long as that person conveys the same energy as the production. 

Audio: 

·         Ricardo has concern about balancing /atmosphere with the Creature's 200 year old story.

·         Scenes on the ice

o   have a minimalistic quality, snipits of the crew's modern music may be heard bouncing off the ice to make isolation that much more impactful.

o   ice should have both peaceful moments and others that bring dread of primal fear and desolation. There can also be an added layer of wind to this.

o   Sound of ice cracking should be scary and impactful. It will be difficult to find good quality ice cracking effects.

·         Crew in modern day stuck in the ice but listening to their own style of today's music. In a previous production House of Pain's "Jump Around" was used for this. For this production, something with a identifiable groove will work well- hip-hop.

·         Composer's and scores sampled:

o   John Luther Adams, In White Silence: (he is a composer who wrote music inspired by the elements in nature.) The piece is described to be moving in a logical manner. Ricardo would like to start with this and then move into something with more urgency. It would be ideal for the blackout after the 'emergency exit' speech before the show starts. 

o   Steve Reich's, Violin Phase: the piece has more urgency but doesn't feel unnatural. Potentially looking for something with "contemporary minimalism that has an industrial feel."  

o   Soundtrack from The Thing, also titled by Alan as the Ambient Track: has a sense of foreboding .

o   Charles Ives', The Unanswered Question: builds anticipation and has a sense of solitude

o   Henry Cowell's The Banshee: very creepy! the scrapings of the inside of a piano. Ricardo was very pleased with this selection.

o   Arvo Part's, Spiegel im Spiegel: very soft and loving. 

o   Iannis Xenakis: Metastasis: very suspenseful, may need to splice the chimes sooner into the timing and add more of the "block" sound- but ideal for the creation scene.

o   Beethoven's Schreckensfanfare: not exactly what Ricardo was looking for. Too classical.

·         Ricardo  is invested in the idea of a repeatable beat or block that can be manipulated for a quickening tempo at different moments of the show. It should feel as though it interrupts the musicality; feeling unnatural in that moment. This effect symbolizes the link between Victor and the Creature.

·         There should be 2 kinds of bells (or modern day horns) 1- there is a ship sailing on the ice with low visibility, 2- Man overboard. 

o   the 1st kind of horn should almost blend or be incorporated into the hip-hop music of the crew. 

·         When the fight happens the crew will need to be voiceover rather than live

·         Violent music is needed when the creature is beaten in the village. 

·         Clerval's scene where he does the "Rhyme of the ancient mariner" should have a something that is happy with operatic instrumental texture to it. Possibly an overture from an opera? Sam will work on this. 

·         Creepy sappy music can be played on page 7 &8 when Creature and Victor say their lines in unison. 

Sequencing of Cues (At this time):

A.     Preshow Music TBD

B.     "Emergency Exit" speech

C.     at opening of show, should be calm and peaceful

D.     sudden ice crack that is scary and impactful to build suspense

E.      music from the ship announcing that it is in the distance but approaching. Clips should be no longer than 30 seconds

F.      ship's warning bell (fog horn of Sailing) {lines overlaid}

G.     crushing of ice on the hull of the vessel {lines overlaid}

H.     Music (from listed cue E) should start to crescendo at the time of the transition into Caption & Walton talking. Just before lines start the music fades into the background so the lines can be heard.

I.        Ship's warning bell (fog horn of Man Overboard) - this will interrupt the conversation between Walton & 1st Mate.  {crew reacts all over the stage and house}

J.       Big Splash (when Creature jumps into water- heard not seen) light shift& all sound out

K.     Radio playing in Walter's Cabin (not hip-hop, possibly Sinatra or classical.) Turning the radio off will be mimed by Walter.  

L.      Thunder (from lighting effect when Young Victor is lashed to the tree)

M.    Sound of tree cracking/ breaking

N.     Thunder (creation scene)

O.     Audio track of Iannis Xenakis: Metastasis 

P.      Heart beat with pulsing light behind the bi-fold laboratory flat. 

Q.     Breathing?

R.     Tolling of church bells for William's Funeral

S.      Henry Cowell's The Banshee at the revel  of Creature in the Priest's cloak. Maybe the Creature will only consist of Alpha at this moment.

o   Blackout, when lights come up Victor will be holding an empty cloak or someone else will fill it. 

T.      Hangman Bell

U.     Audio for lowering the hatch door for the hanging. (This will only be heard, not seen)

V.     Creature breathing (back on the ship)

FRANKENSTEIN Meeting #4

Date: 7.11.16                                                                                       Meeting # 4

Time start: 9:24                                                                                                Time stop: 

Attendance: Chris, Allen, Bob, Nicky, Richardo, Charlot, Dr. Taylor                                                  

Absent:            Sam                 

                                                                                                                         

Please Note: It is advised that all departments review all notes from the entire meeting and not just the bullet points under your specific department

General:

• Missy is here to take over as SM team.
• Dr. Taylor will reach out to Jessica Pearson about joining the production team as the choreographer. If she is on board, Ricardo will meet with her before the 22nd to catch her up!
• Friday AM school show- was told needed to be decided by today's meeting. would be Friday (Sept 30th) at 10am. 115 seats are available  at $5 per student and free for chaperones. Both Ricardo and Dr. Taylor have ideas for schools to contact. Stage Management will get in touch with the cast to make sure they keep that time available. Dr. Taylor will be adding the performance to the calendar. 
• Chris & Bob's presence at these meetings is not as concrete in the beginning stages of the production.

Direction:

• Ricardo is participating in a feature film sometime in September (the 2nd week) Sept 14-16 (there is still negotiation for shooting dates on the 11&12th- this is a TBA issue) may use those days for choreography or have Missy run rehearsals with specific instruction. Dr. Taylor may come to these rehearsals. 
• Ricardo feels as though Frankenstein & Creature should not be ignorant or reactionary to the current events of the world in present day. 
• Ricardo is out of town until the July19th and then has an unknown early august shoot schedule for an upcoming feature film. More on this schedule to come. 
• The question of Creature's incredible strength should be clear and this will be demonstrated with stage combat and ensemble staging. There may be an  idea of only 2 hands being seen at one time with only 2 feet. The idea was brought to the table that actors should be rehearsing in full body harnesses for grab-ability and stability when learning their " new" center of gravity. This will be key when the performers are over reaching to demonstrate the differences between  motivators (the Alpha, Gama, and Bata) driving the beast through style of movement. 
• the goal is to also build the creature on stage in the graveyard scene in front of the audience's eyes. 
• Ricardo is looking to remove the intermission from the production. The goal is to get the run time to 75 minutes. If this is possible, the intermission is no longer needed. 
• Ricardo is very serious about wanting  to be sure to convey the appropriate desperation  and isolation for the crew

·         Ricardo is thrilled with the production status

·         The theme of the design elements should be no time rather than timeless.

·         The battle scene should be live and not recorded in the intimate (close to the audience) space. 4-5 ensemble members will be used for this scene as ship's crew. As soon as these performers are identified Charlotte will be made aware.  

·         The battle scene should be as gruesome as Game of Thrones

·         Ricardo is eager for a meeting with Jessica!- Maybe she can attend the Creature's foot apparatus fitting on the 22nd? Dr. Taylor will inquire! Ricardo is eager for this fitting as well.

Technical Direction:

• Bob's title is somewhere between Scenic Shop Forman and the TD of the production. Will need some supplemental information soon. 
• Allen and Chris would like to make a set of flat feet for the actors to work with for rehearsals and then potentially add height to this. This set of feet will include positions for 3 actors in one "foot apparatus"

• The total # of feet to be made is 2. the 3 actors will stand in the middle, front and back. The actor's who will be wearing the shoes the question Grace is 5'9' Casey is over 6', their shoe sizes are already recorded. The actors need to be present for a fitting with these foot apparatuses so that the bindings can be fitted to their individual needs. At this time the design is to be completed with a hard binding that the performer can dismount and remount from easily.

Projections:

• The kind of projector that is thought to be used is a rear projector. The school has a screen that measures 30' wide and 15' tall. (The bottom of the catwalks are 16')
• Ricardo was nervous that the added technology of the projections would not work with the flashback scenes, however Alan put his mind at ease when he explained that the mapping  technology will allow partial projection to give the allusion that there is a view seen from a window/door way or half stage. The images projected will also primarily be different views of the sky/ background.
• In order to gain as much out of the projector as possible the screen will beed to be placed as far down stage as possible. this creates a shallow and intimate playing area. 
• Only atmosphere and the monster video clips will be projected.
• Ricardo is liking the idea of the Creature having emotional links to video projection. (i.e.: The mood of the skyline is linked to the mood of the Creature... Red sky at night sailor's delight  but red sky in the morning- sailors take warning!)
• Chris Griffin will now be the Video Programmer for the production.
• Alan would like to borrow Ricardo's live footage of monsters to create a series of clips of both modern and classic monsters. Ricardo will block the Creature to watch some of this. The estimate at this time is not more than a minute. (Alan will need to know how long the creature will be watching for) There should be no audio to this video other than voice over at the introduction. 
• Alan has requested that we reach out for assistance from Vince in Film Studies for editing film footage for projections. Allan will reach out to him for this. 

Set:

• Alan has a ground plan for the production meeting but unfortunately cannot give it away. We are apparently suffering from a grumpy printer plotter and it is our only hard copy for now. 
• All stairs are 18" deep so the Creature's feet will fit with ease. 
• The Creature will not be able to mount the 3rd level of the set due to its height. 
• There will be a platform SL that will serve as the iceberg and also transform as another playing area. This platform shape is adjustable with platforms that we have in stock
• There will be a platform SR that will serve as the captain's cabin and the crow's nest 7' off the ground (accessed off of a 7' staircase from ground level.) Due to the height of the catwalks (16') the performance space is limited to a height elevation of 1.5 floors rather than a full 2 floors.  The crow's nest itself will be on a rough 4'x4' platform.
• The front  of the captain's cabin will be faced with a bi-fold flat. When closed, this flat with be dressed to look like the front of the captain's quarter's. When the flat is opened, it will be dressed to look like the laboratory. 
• There will be a triangular space between the platforms left vacant of scenery for a playing area.
• Alan would like to use the gray kabuki chiffon drops (from Godspell) as a background for both of the iceberg scenes. These drops would be hung one at a time. The first hung and draped artfully with fullness. When it falls to the deck, it may need to be struck by run crew. The 2nd drop would not have the ability to be draped artfully, but would be released and struck the same way. 
• The Forman Theater will be set up with a proscenium style stage. 
• There is only one wall/flat included in the set, this is the bi-fold that when closed is part of the Ship and opens to portray the Lab. 

• July 22nd at 9:30 am in the shop a fitting for the straps holding on the Creature's feet to the actor's feet will be held. This meeting is also to give Ricardo and idea of how the current version of the foot apparatus functions for actor mobility and blocking. Currently Casey is the first performer to respond that they can attend this meeting. If needed stage management will fill in for a performer. 

Props:

• The lab scene may have a rolling cart with "stuff'' on it; this is TBA at this time.  
• The style of design and time period of props on the ship (crates and barrels) should be simple shapes that are of "no time" rather than "time less." Once these props are introduced to the stage they should not be dressed or undressed to make them more or less modern.  The exact quantity and requirements that these props need to fulfill are still TBA at this time. 
•  

Electrics:

• Alan is planning on using the extreme Front of House Left and Right positions for Lighting towers for side/ front light. 

Audio:

• Ricardo likes the possibility of  Marvin Gaye's "What's Goin' On" present day. Whatever is chosen should be relevant to current times.
•  Sam is participating in this production in the roll as  Musical Director.
• Sam may be able to make the Creature's foot apparatus fitting on the 22nd! SM & PM will inquire.
• Alan will maintain the title of Sound Designer however may be bringing in another set of hands to assist in the process because his "plate is filling rather quickly with this production."
• Ricardo may want to use static or snippet of a news cast of a symphonic music, or the ambient track that Alan had given  to show that the crew is trying to reach out and connect with the outside world while something is trying to kill them.
• An audio/musical meeting should be set up between Sam, Ricardo and Alan to discuss the show.
• Sam's normal availability is Tuesday/ Thursday afternoons before 4 pm

Costumes:

• Ricardo would like a cape for the creature to unify all 3 actors as one character. He would also like the actor's to rehearse with a cape.
• Charlotte has some images to show Ricardo after the meeting. Steam punk is still in the mix of possibilities.
• The blood factor is a possible challenge for laundering costumes, Charlotte said that she will work it into the design plan because laundering may not be a possibility on 2 show days.  
• Ricardo stresses that the first image the audience has of the Creature should be strikingly beautifully and then  the Creature can become grotesque. Allen and Charlotte believe the grotesque quality could come from the performers' movement rather than a cosmetic change since we are striving to remove the intermission from the production.
• Charlotte will be at the foot apparatus fitting on the 22nd with a version of a cloak.

The next production meeting will be will be scheduled after the Creature's foot apparatus fitting on July 22nd. Stage management will notify all party members of potential meeting times.

 If you have any questions, comments, or corrections, please contact Stage Management.

Meeting Reminder and SM Announcement

Hello all ~

I hope you all had wonderful holiday weekends!! 

First, I wanted to remind you all about our meeting on Monday, July 11th at 9:30am. We will be up in the tech classroom instead of the Marciniak because of the theatre arts camp.

I also wanted to let you know that the department has officially hired a stage manager for the show. Her name is Missy Taddeo. Many of you may remember her. She's an alum of our program and has been teaching technical theatre and stage management at a local high school.

Missy will be attending the meeting on July 11th.

I've also emailed out a draft of the show contact sheet for the cast. This sheet includes contact info for the actors and the production staff. Let me know if there should be any changes at this point.

Thanks and I will see you at the meeting!

~ Nicki

FRANKENSTEIN: Pre-Production Meeting # 3

Frankenstein Pre-production Meeting # 3

Thursday, June 9th

9:30am

In attendance: Nicki, Chris, Ricardo, Alan, Charlotte, Dr. Taylor, & Sam

Next meeting: Monday, July 11th at 9:30am

GENERAL

- Nicki will ask the 3 creature actors about their available to come in and try the mock up. Chris has also requested their shoe sizes.

- Dr. Taylor will talk to Jessica Pearson about being interested in helping choreograph the creatures movement. If she is, Nicki can send her all the meeting notes so she can get a sense of what we’re trying to accomplish.

- Ricardo suggested some kind of symposium or talk back to discuss the artistic/production process behind this show and our particular production. Interested in investing the public in the arts in RI. Maybe collaborating with the English department or Film Studies? Local schools? Ricardo has a meeting with the Board of Ed on June 21st.

- Do we want to do a 10am Friday show for schools? Only about 100 seats available. We can discuss this further at the next meeting and need to make a decision on it at that point.

- Run time at Mixed Magic – 50 minutes for Act I, 45 minutes for Act II.

COSTUMES
- Costumes has requested an action chart for the show, especially all the small vignettes, etc…

- The vignettes suggest 1810, 1876 and 1936.

- Is Victor also playing young Victor? Once he’s on the ship, he doesn’t need to be wearing the fur. He can be wrapped in blankets and then stand up for the transformation. The coat wont probably come back until the very end.

- The bodies Victor buys will be the 3 actors playing the monster.

- Ricardo would like this to be a timeless concept. Most actors could have a base look.  The women are the only ones really trapped in time – Elizabeth and Justine.

Modern crew on the boat.

- Victor’s coat is old… had it since the beginning. Made by him or the creature to keep him alive – Various and patchy furs.

- 2 types of stilts – peg stilts and dry wall stilts. Peg stilts are lighter and quieter, but it means the person can’t really stand still. Ricardo was against that at first, but thinks that it could be an interesting idea… That the creature cannot stop.  All 3 actors would be on stilts – could stand still if all 3 connected and supported each other. Beta would be the tallest.

            - Alan brought up that this means the 3 actors couldn’t easily play other characters. Once the silts are on, they’re on for the whole show.

            - Dry wall stilts are loud and cumbersome… they do look more like feet. Alan and Chris can look at Bob’s dry wall stilts to see if they can be “de-squeaked”.

            - Ricardo can’t envision how the creature moves with Alan’s triple puppet idea. The creatures needs to be able to move with grace. We’d have to see how it developed once they started rehearsing with the rig.

            - Is there a way to make a wood or Styrofoam mock up for Ricardo to see?

            - Could we modify a set of dry wall stilts to add a second foot platform to try out the coordination?

            - Last time, the monster wore long black monks-like robes. How do we show the beauty of the creature at the beginning and then it becomes grotesque throughout the action.

            - Ricardo would like to get the actors the stilts asap so they can practice.

            - Ricardo also mentioned a tall Gene Simmons-esque shoe as an alternative? Not likely possible within our budget and people are also worried about ankle breakage.

- Ricardo wants the costumes to be lightweight – have a flow and movement to them.

SET

- Discussed how it was staged last time.

- What would be on a modern ship – not wooden crates and barrels.

- Alan’s idea – Ship would be very simple – platform with two chairs and table. Possible an upper level to look out with very simple railing. Use items in the hold to suggest locations for the vignettes.

            - Ricardo suggested using technology to suggest the modern if the ship is       simple?

- Discussed the slideshow/documentary moment. The crew is watching this documentary. The creatures comes in to this break room and kills them all. After everyone is dead, the creature watches the rest of the video.

            - The creature during this scene needs to demonstrate incredible strength – throw an actor across the room, toss a barrel, break something on the set, etc….

- Ricardo might want to use wind to suggest and reinforce outdoor location

LIGHTING

- n/a

SOUND / MUSIC

- Sound effect involved when the creature attaches and reattaches.

- Possibly another sound when the creature is wounded?

- Sound would be involved in the documentary/killing scene – Music could start in stereotypical horror vein and transitions into more modern music to underscore the death.

            - Charlotte does have access to a church pipe organ if we wanted to record something.

- Ricardo did listen to the ambient track Alan gave him… felt it more for the ice scene. Something lonely about it… modern and ancient… really supports the timelessness. Also the fact that we’re outside of human civilization.

- Sound effect – Ice breaking. The ship is stuck in the ice – Humans can perceive cold through sounds they here. Sam just saw a study on this!

- Ricardo would like to explore opportunities to take natural sounds and explode them… regular sounds are amped up and overwhelming to the creature. The creature tries to duplicate the sounds… but he can’t. His sound is too big and scary. Dramatize the sounds – what does Justine’s hanging sound like? The trap opening… the creaking of the rope… etc… Can this sound come back later to remind us of what happened to her?

- Does the creature make a sound… that can tell Victor and the audience that the creature is nearby even when we don’t see him?