Last night Henry told him I reminded him of Hilary Swank in Boys Don't Cry. Could there BE a better note. My physical and vocal transformations into Cesario and Sebastian seem to be working. Personally, I thought Sebastian felt a little pushed last night because I was trying SO HARD to make him super masculine. But maybe it just felt strange in my body because I don't live in the world like that?
By the way-- when I was looking for this picture, I read that Hilary Swank only made $75 PER DAY for her work on Boys Don't Cry, because she was unknown at the time. THE AUDACITY. Her work in this movie feels so grounded and natural- exactly the kind of masculinity in a female body I am hoping to find.
Last night I also decided I am sick of doing this play sitting down, and transformed my desk into a standing desk by stacking my coffee table on top of it. Oh the wonders of Zoom theater in a tiny apartment.
Standing up really helped me feel my lower breath, and feel more physically engaged and grounded. I had more power, energy, and alertness. Shakespeare is not made to do sitting down!
We worked through our Act I, and overall it felt pretty good, considering it was our first time running through it all together like that. Obviously still a lot to work on. Some notes from Henry included:
- Be more exhausted in the first scene- she was just shipwrecked and almost died
- Keep playing with the line- "Yet a barful strife- who'er I woo, myself would be his wife!" Because it rhymes, it can sound too much like a punch line. I'm not complaining, or pitying, I'm confiding in the audience.
- In the willow cabin speech, use the Os in Olivia to really cry out!
- Take more time with the ring speech- have each discovery
- Simplify the "my father had a daughter speech" - just honestly tell Orsino the truth, no need to be awkward and halting about it. The commas are for me to use, but not for the audience to hear.
I really appreciate that he gives specific, actionable notes. Thanks for the verbs, Henry!
Comments