It's off to the oral surgeon I go! Because apparently I'll need a skin graft on one of my lower incisors due to all the lovely inhaled medications I've consumed over the years.
And...it's my parents' 29th wedding anniversary!!!
Monday, June 30, 2008
Dancing: from Broadway
ROGER: You're right. I've often felt that I've been throwing my life away on silly entertainments. Dopey showgirls in gooey gowns. 'Two, three, kick turn, turn, turn, kick turn!'"
CARMEN: Oh, Roger!
ROGER: It's enough to make you heave...
--"Keep It Gay," The Producers
CARMEN: Oh, Roger!
ROGER: It's enough to make you heave...
--"Keep It Gay," The Producers
Sunday, June 29, 2008
FINALLY!!!!
I. Have. All. The. Steps. Down.
Whew. And not a moment too soon!
This DOES NOT mean that mess ups will still not occur. But at least there are no more moments where I go, "huh?"
In other J&H news:
After our rehearsal I hung out in the auditorium for a bit to watch the principals rehearse Act II. I saw the end of "Murder, Murder!" and then I watched David (J/H) and Brooke (Emma) do Act II, Scene II, where Emma sings "Once Upon a Dream." Brooke did a fantastic job with it. Kudos!!
The sets are also coming along--Act II, scene II takes place in Jekyll's lab, so I saw the lab table, which is finished (!), his desk and chair, and the hurricane lamps (which I have an odd affection for). It is starting to look pretty awesome.
Whew. And not a moment too soon!
This DOES NOT mean that mess ups will still not occur. But at least there are no more moments where I go, "huh?"
In other J&H news:
After our rehearsal I hung out in the auditorium for a bit to watch the principals rehearse Act II. I saw the end of "Murder, Murder!" and then I watched David (J/H) and Brooke (Emma) do Act II, Scene II, where Emma sings "Once Upon a Dream." Brooke did a fantastic job with it. Kudos!!
The sets are also coming along--Act II, scene II takes place in Jekyll's lab, so I saw the lab table, which is finished (!), his desk and chair, and the hurricane lamps (which I have an odd affection for). It is starting to look pretty awesome.
AMEN!!
Preach it, sister....
Read a book...
(wait for it)
.....for fun.
(GASP)
If you need suggestions, there are plenty on the sidebar. :)
Read a book...
(wait for it)
.....for fun.
(GASP)
If you need suggestions, there are plenty on the sidebar. :)
Saturday, June 28, 2008
Rehearsal
OK, so not all of Act I, but just as important--the openings of each act.
Most of the cast was mainlining caffeine in the form of coffee, iced coffee, or, in the case of Jeff (Stride), Coke (He's a big fan of Coke in just about any incarnation). We started about 9:05 with Robin giving us an updated schedule and a few notes. Then Robin had us run "Facade."
We got about 8 measures in when Robin stopped us and reminded us to keep the tempo up. This can be a problem with choruses since, no matter how fast the orchestra is going, you can drag. (Although sometimes it IS the orchestra's fault!) So we went back and did it again. That time, it was better. The movements are more crisp and the diction is definitely better. The entire scaffold is still not built, due to ANOTHER dance recital that's happening at HD today, so we still are improvising.
After "Facade", we began "Murder, Murder!" which is exactly 10 minutes long, when we run it straight through. It took us about two hours to get it all down and to run it twice without stopping. Most people, myself included, are still on book or occasionally on book. I think it will get easier once we have all the words down. part of the problem is the music stops and starts for the various murders, which means it's not like "Facade" where we sing it straight through. So you have to remember "OK this is the part where Jekyll talks to Proops, which means that right after this we have..." And, each break is in a different place so it's all blocked differently. But by the last attempt we had run through it straight, no one crashed into each other (too badly), everyone died OK and was summarily escorted off stage, and we had a complete Act II opener.
The chorus has been released from rehearsal tomorrow. Monday--another dance rehearsal, and Tuesday we run Act I straight through with the piano. We don't get the orchestra until next Sunday.
W: Act II
Th:The whole thing avec piano!!
Friday: Fourth of July, hence no rehearsal in honor of Our Nation's Birthday. :)
Saturday: The Joys of the First Tech
Sunday: Music Tech
M-Th: Tech, Tech, Tech, Tech--dress rehearsal, etc. etc.
And FRIDAY----Opening Night!!!
Most of the cast was mainlining caffeine in the form of coffee, iced coffee, or, in the case of Jeff (Stride), Coke (He's a big fan of Coke in just about any incarnation). We started about 9:05 with Robin giving us an updated schedule and a few notes. Then Robin had us run "Facade."
We got about 8 measures in when Robin stopped us and reminded us to keep the tempo up. This can be a problem with choruses since, no matter how fast the orchestra is going, you can drag. (Although sometimes it IS the orchestra's fault!) So we went back and did it again. That time, it was better. The movements are more crisp and the diction is definitely better. The entire scaffold is still not built, due to ANOTHER dance recital that's happening at HD today, so we still are improvising.
After "Facade", we began "Murder, Murder!" which is exactly 10 minutes long, when we run it straight through. It took us about two hours to get it all down and to run it twice without stopping. Most people, myself included, are still on book or occasionally on book. I think it will get easier once we have all the words down. part of the problem is the music stops and starts for the various murders, which means it's not like "Facade" where we sing it straight through. So you have to remember "OK this is the part where Jekyll talks to Proops, which means that right after this we have..." And, each break is in a different place so it's all blocked differently. But by the last attempt we had run through it straight, no one crashed into each other (too badly), everyone died OK and was summarily escorted off stage, and we had a complete Act II opener.
The chorus has been released from rehearsal tomorrow. Monday--another dance rehearsal, and Tuesday we run Act I straight through with the piano. We don't get the orchestra until next Sunday.
W: Act II
Th:The whole thing avec piano!!
Friday: Fourth of July, hence no rehearsal in honor of Our Nation's Birthday. :)
Saturday: The Joys of the First Tech
Sunday: Music Tech
M-Th: Tech, Tech, Tech, Tech--dress rehearsal, etc. etc.
And FRIDAY----Opening Night!!!
Friday, June 27, 2008
Popcorn: Wall-E
I saw Wall-E tonight with my brother, and I just loved it.
First of all, for me the best part was there is almost no diagloue! I loved it!! :) The story is told mostly through special effect, bleeps and beeos (think R2D2) and the occasional bit of dialogue from the human characters. And Hello, Dolly!songs (I have NO IDEA why Director Stanton chose this musical. No idea.) .
For a full review, you can read the Ebert link I posted above, but a quick shot: Wall-E is a robot designed to pick up trash, compost it into neat squares, and store in, forming large skyscrapers with blocks and blocks of trash. Besides a friendly cockroach, he is the only "living" thing left on Earth-it's 2700, and all humans were evacuated 700 years ago, because the planet had become uninhabitable. So Wall-E (who is solar-powered), spends his days compacting trash, and his nights playing with various human items (such as a Rubik's Cube, rubber duckies, a lightbulb, an iPod, Christmas lights, etc.), repairing himself with parts from other, broke robots, and watching Hello, Dolly!. He longs for the human connection show in the film.
One day, it shows up, the form of EVE, a robot sent to discern if there is any life on earth. After several mistarts, Wall-E bring her back to his abode and shows him the movie, as well as a plant he salvaged from a refrigerator. At this point, EVE takes the plant and shuts down, with her space ship coming to claim her a few days later. Smitten with his robot love, Wall-E follows her to Axiom, a space ship where humans lay sendentary in hover chairs, oblivious to any sort of world outside their telescreens.
The movie channels several sci-fi influences: ET, Close Encounters, Star Wars (especially the scene in the trash compactor!), Alien, 2001, etc. The voice of Wall-E is provided by the same man who came up with R2D2's "voice" in the Star Wars movies. While it's fun to spot the influences, this is a poignant, touching movie. You feel for Wall-e, you want EVE to hold his hand and kiss him. The scene where they float through space together is as touching as any "human" love scene. He is such a good-hearted little robot. He even frets for the life of the cockroach (which, as the film shows us, is NEVER in danger, even when Wall-E runs over him).
I'm sure kids will like it (the theater was packed with them), but I don't know if they'll like it as much as the adults that go with them.
Tuesday, June 24, 2008
Hoofin' It
If it's Monday--that means it's dance rehearsal.
Last night found the Red Rat girls, once again, on the stage of the PAC. Although this time, there was about 80% of the set in place! The back piece of the scaffolding is up, and we had the pub tables in place so we could practice around them, which made it much easier to get an idea of where the men will be seated during our number. It also opens us up creatively, because now there are props, etc. we can use to further define our characters and make our lives more interesting.
But some Cruel Twist of fate, I am in the front row for the dance break. Sigh. I have about 45% of it down cold. The rest is a wee bit sketchy. But it is coming, really. And I have the end of the number down too--as in, everything post-dance break. There are a just a few troublesome measures in the middle that hopefully will be resolved within the next, oh, 19 days (gulp!).
Tomorrow is another chorus rehearsal, and we get our T-shirts! Yay!!!!
Last night found the Red Rat girls, once again, on the stage of the PAC. Although this time, there was about 80% of the set in place! The back piece of the scaffolding is up, and we had the pub tables in place so we could practice around them, which made it much easier to get an idea of where the men will be seated during our number. It also opens us up creatively, because now there are props, etc. we can use to further define our characters and make our lives more interesting.
But some Cruel Twist of fate, I am in the front row for the dance break. Sigh. I have about 45% of it down cold. The rest is a wee bit sketchy. But it is coming, really. And I have the end of the number down too--as in, everything post-dance break. There are a just a few troublesome measures in the middle that hopefully will be resolved within the next, oh, 19 days (gulp!).
Tomorrow is another chorus rehearsal, and we get our T-shirts! Yay!!!!
Monday, June 23, 2008
The Story that Goes Like This...
If you want the plot of J&H, go here.
And no, it is not much like the novel, at all. So you might want to read it anyway.
And no, it is not much like the novel, at all. So you might want to read it anyway.
Sunday, June 22, 2008
Blocking to the Beat
On Saturday, the process of actually putting the show together started. Since May we've been running the music--now, we're blocking.
For the theater un-initiated, that means that the director gets to tell us what to do, when, in each scene. So Robin says things like "all society people cross the stage on 'every'."
The wole rehearsal wasn't blocking. We started in the choir room, as usual, with warm-up and running a few numbers. The first was "Confrontation," the climax of the show, where Jekyll tries to defeat Hyde in the lab. David (our J/H) was there, so he sang his parts while we (the chorus) sang along with him. As I've previously mentioned, there are words that we speak in rhythm, and then the actual singing is on "ah." We ran it three times with the accompaniment, and it sounds great. David is awesome in the title role and I can't wait to hear him sing more of it. After that we ran through the two Facade reprises--Facade 2, which occurs right before the end of the show (the wedding), and Facade 1, which precedes Emma and Jekyll's engagement party in Act I. After that, it was to the stage.
Actual set building begins tomorrow (I believe--it may have started today), so when we got onstage the only thing that was marked for the set was the tape lines that indicated the scaffolding that will surround the floor proper. Several people are stationed up here throughout the show.
Robin started with the opening number, "Facade". To start, I am on the left side of the scaffolding, with another "street person" (a guy) and an upper class couple. There are four girls on the center part (also representing lower-class folk) and two street people and an upper class couple on the other side. The rest of the cast (save Jekyll, who isn't in this number) are on the stage, proper. So while we were doing this I had to imagine I was actually about, oh, seven feet in the air and I was looking down on the cast, instead of at them.
It took, I think, about 90 minutes to block the opening number. This is where being "off-book" is important, because we were, of course, singing and acting as we did this. Robin would give us bits and pieces, and then we'd run the section, the runs getting longer as we progressed through the scene. Of course you must know your words, here. I would say about 95% of the cast didn't even have the scores with them, and the few that had them didn't have their faces stuck in them, they were just for reference. It's also important that your part is solid, or close to becoming so, because you're intermixed with other parts at this stage. In my little group there's a tenor, a baritone, and a soprano. There are altos to my right, but they'll be on the floor come show time, and I'll be up above, so I can't rely on them.
After we ran through it twice (pretty successfully!) we were dismissed to the weekend. Whew.
Tomorrow--dance rehearsal! Will we get the Bob Fosse inspired moves down this week? At least I get to use the new "Character" shoes I bought at Opening Night this week!
For the theater un-initiated, that means that the director gets to tell us what to do, when, in each scene. So Robin says things like "all society people cross the stage on 'every'."
The wole rehearsal wasn't blocking. We started in the choir room, as usual, with warm-up and running a few numbers. The first was "Confrontation," the climax of the show, where Jekyll tries to defeat Hyde in the lab. David (our J/H) was there, so he sang his parts while we (the chorus) sang along with him. As I've previously mentioned, there are words that we speak in rhythm, and then the actual singing is on "ah." We ran it three times with the accompaniment, and it sounds great. David is awesome in the title role and I can't wait to hear him sing more of it. After that we ran through the two Facade reprises--Facade 2, which occurs right before the end of the show (the wedding), and Facade 1, which precedes Emma and Jekyll's engagement party in Act I. After that, it was to the stage.
Actual set building begins tomorrow (I believe--it may have started today), so when we got onstage the only thing that was marked for the set was the tape lines that indicated the scaffolding that will surround the floor proper. Several people are stationed up here throughout the show.
Robin started with the opening number, "Facade". To start, I am on the left side of the scaffolding, with another "street person" (a guy) and an upper class couple. There are four girls on the center part (also representing lower-class folk) and two street people and an upper class couple on the other side. The rest of the cast (save Jekyll, who isn't in this number) are on the stage, proper. So while we were doing this I had to imagine I was actually about, oh, seven feet in the air and I was looking down on the cast, instead of at them.
It took, I think, about 90 minutes to block the opening number. This is where being "off-book" is important, because we were, of course, singing and acting as we did this. Robin would give us bits and pieces, and then we'd run the section, the runs getting longer as we progressed through the scene. Of course you must know your words, here. I would say about 95% of the cast didn't even have the scores with them, and the few that had them didn't have their faces stuck in them, they were just for reference. It's also important that your part is solid, or close to becoming so, because you're intermixed with other parts at this stage. In my little group there's a tenor, a baritone, and a soprano. There are altos to my right, but they'll be on the floor come show time, and I'll be up above, so I can't rely on them.
After we ran through it twice (pretty successfully!) we were dismissed to the weekend. Whew.
Tomorrow--dance rehearsal! Will we get the Bob Fosse inspired moves down this week? At least I get to use the new "Character" shoes I bought at Opening Night this week!
Friday, June 20, 2008
My Chorus Numbers
Okey dokey, so here's what I get to sing!
ACT I
--Facade (opener)
--Facade I (Not sure if this means I'm in the Engagement party scene or not, which immediately follows)
--Bring on the Men (yes, I get to be "call girl" in Victorian London. Woohoo!)
ACT II
--Murder, Murder!
--Confrontation
--Facade II
--The Wedding (I don't think we sing, but I'll be onstage, so that's cool)
Anything else, I'll let ya know. :)
ACT I
--Facade (opener)
--Facade I (Not sure if this means I'm in the Engagement party scene or not, which immediately follows)
--Bring on the Men (yes, I get to be "call girl" in Victorian London. Woohoo!)
ACT II
--Murder, Murder!
--Confrontation
--Facade II
--The Wedding (I don't think we sing, but I'll be onstage, so that's cool)
Anything else, I'll let ya know. :)
Thursday, June 19, 2008
Father's Day and Birthdays
Since my dad's birthday is today, I thought I'd put up his homage now, as opposed to Father's Day.
I think Dad wanted me to be a boy. My first stuffed animal was "coach", a teddy bear who had that emblazoned on a t-shirt, and had a whistle about his neck. No such luck for him. I was the one who came into their bed and dropped my bottle behind the headboard. :)
Dad took me sledding and attempted to video tape dance recitals (he has never been a concert/theater/etc. kind of guy). He took me to see Jekyll and Hyde (thanks Dad!) and Les Miz. Even if he personally wasn't in to the shows, he knew I was, and now acts as my "ticket guru", for which I am perpetually grateful.
He also introduced me to hockey and helped out with my little league teams. My first game at the Igloo was against the Hartford Whalers (what a name). We lost, 6-5, but it was an awesome game, nonetheless.
Dad is also incredibly well-read. We swap book suggestions back and forth and he pilfers my National Reviews. I got him Liberal Fascism for his birthday, and the Collected Works of C.S. Lewis last year (he's still working on that one.).
He was, also, of course, to my eternal gratitude, my Hospital buddy. When I go to the ER, he goes with me (except for twice!). He spent the night on those awful chairs and couches. He also scours the floor for a rocking chair and has, at times, stolen them from babies' rooms! He also rips Stupid Surgical Interns when they are, um, being stupid. And I love him for that. We've watched the Olympics, hockey games, the US Open, the British Open, etc., etc. on the TVs at Children's. And The Neverending Story with Jenny (one of Dad's all-time favorite nurses).
Dad is, in short, awesome. How he managed to do all this, mess with the Insurance Company (a teutonic feat), have a job and manage to keep the marriage to my mother (almost 29 years now) from totally falling apart in some Catastrophe, is really amazing.
He also taught me how to fill up a car with gas, change my spark plugs, make a treehouse, and cook spaghetti. Definite Life Skills that have served me well.
Bob Fosse Resurrection
Dance rehearsal on Monday--yeah, Bob Fosse's back.
So we ran through the begin of the dance, up to about the middle of the "dance break." Then our choreographer, after tweaking the old stuff a bit and giving usprecisetiming on the turns and kick, started the new choreography.
Wow.
As I wrote to fellow castmate Amy following rehearsal, "I feel like an overstretched Gumby."
There were more turns, more kicks, more...stuff, in general. I felt like I was doing "All That Jazz" from Chicago. It was nuts. I hope I can get it down better next week. And of course, we're singing through all this!
I got my dance shoes today, though. They're Capezio "character" (why are they called that?) shoes that I got at Opening Night in Gahanna. So at least I have proper shoes for the number now and I can stop abusing my technique shoes.
Whew.
So we ran through the begin of the dance, up to about the middle of the "dance break." Then our choreographer, after tweaking the old stuff a bit and giving usprecisetiming on the turns and kick, started the new choreography.
Wow.
As I wrote to fellow castmate Amy following rehearsal, "I feel like an overstretched Gumby."
There were more turns, more kicks, more...stuff, in general. I felt like I was doing "All That Jazz" from Chicago. It was nuts. I hope I can get it down better next week. And of course, we're singing through all this!
I got my dance shoes today, though. They're Capezio "character" (why are they called that?) shoes that I got at Opening Night in Gahanna. So at least I have proper shoes for the number now and I can stop abusing my technique shoes.
Whew.
Tuesday, June 17, 2008
GI follow=up
Well, the results of the "Gastric Emptying" study on Friday are in.
While I "empty" just fine (whatever that means), there is evidence of some reflux. So that means...
a new GI doctor! (thankfully, at children's)
And...
probably more tests!
I.
Cannot.
Wait.
While I "empty" just fine (whatever that means), there is evidence of some reflux. So that means...
a new GI doctor! (thankfully, at children's)
And...
probably more tests!
I.
Cannot.
Wait.
Monday, June 16, 2008
Practice, practice, practice
Status report:
Dances learned : 1/2
Acts memorized: one
Acts to memorize: one
Costumes to fit: one (at least)
Dance shoes to buy: one pair
Camisoles to buy: one
Saturday again brought AM rehearsal. First up was the chorus line in "Confrontation", which is really cool (or, well, it will be) and combines singing with speaking in rhythm. There are almost no words--everything we sing is on "ah", which is fine. Some of it, thankfully, is in unison with what David (Jekyll/Hyde) is singing, so we can mooch notes off him.
This was followed with a few runs of "Murder, Murder!" which needs some serious lyric memorization on my part.
Followed by "Facade" first and second reprises, which are really OK. The first is ready to go. The second is just a matter of getting the notes down, because I have the words.
Essentially, I have three more pieces to really commit to memory, and they are all in Act II.
Tonight--dance rehearsal.
Wednesday--chorus rehearsal.
Saturday--we begin blocking Act I.
Dances learned : 1/2
Acts memorized: one
Acts to memorize: one
Costumes to fit: one (at least)
Dance shoes to buy: one pair
Camisoles to buy: one
Saturday again brought AM rehearsal. First up was the chorus line in "Confrontation", which is really cool (or, well, it will be) and combines singing with speaking in rhythm. There are almost no words--everything we sing is on "ah", which is fine. Some of it, thankfully, is in unison with what David (Jekyll/Hyde) is singing, so we can mooch notes off him.
This was followed with a few runs of "Murder, Murder!" which needs some serious lyric memorization on my part.
Followed by "Facade" first and second reprises, which are really OK. The first is ready to go. The second is just a matter of getting the notes down, because I have the words.
Essentially, I have three more pieces to really commit to memory, and they are all in Act II.
Tonight--dance rehearsal.
Wednesday--chorus rehearsal.
Saturday--we begin blocking Act I.
Sunday, June 15, 2008
Friday, June 13, 2008
Another angel
Via Nate's blog, I just read that Haley, a 12 year old with CF, and who was awaiting a transplant, died today.
She was 12, and absolutely beautiful.
Again I am reminded of how lucky I am.
She was 12, and absolutely beautiful.
Again I am reminded of how lucky I am.
Study time
OK so the study was really easy--eat the scrambled eggs. Lie on a table for an hour or so. Fall asleep whilst on table being scanned. Wake up. Leave. Go home. Sleep some more (not quite sure why I did that, but oh well).
So really, nothing all that eventful.
Tonight, dinner at the Cheesecake factory with one of my old college roommates and SAI buddies! Party on!
So really, nothing all that eventful.
Tonight, dinner at the Cheesecake factory with one of my old college roommates and SAI buddies! Party on!
Thursday, June 12, 2008
Tomorrow...
Wow, OK , yes, massive posting today. Sorry!
Tomorrow I have a swallow study at The Resort, down in nuclear medicine. For some unknown reason this involves bringing raw eggs and other fun food, which will eventually be scrambled (the eggs, anyway) and eaten. This is to check for possible sources of reflux, since I've been experiencing a bit more than usual lately. So no work tomorrow, just bonding time in radiology. I'll bring my script so I can memorize Murder, Murder!, and the iPod! And, of course, books.
Also, prayer for Tricia. She's having a surgical biospy (where they have to cut into your lungs, unlike a bronch biopsy) to see if there are tumors or fungus or what not growing in the new lungs. Pray that everything goes OK!
I should probably eat some more before bed, since I"m NPO before the test, but I'm not really motivated. I am, however, veeeery sleepy. So off to bed I go.
Tomorrow I have a swallow study at The Resort, down in nuclear medicine. For some unknown reason this involves bringing raw eggs and other fun food, which will eventually be scrambled (the eggs, anyway) and eaten. This is to check for possible sources of reflux, since I've been experiencing a bit more than usual lately. So no work tomorrow, just bonding time in radiology. I'll bring my script so I can memorize Murder, Murder!, and the iPod! And, of course, books.
Also, prayer for Tricia. She's having a surgical biospy (where they have to cut into your lungs, unlike a bronch biopsy) to see if there are tumors or fungus or what not growing in the new lungs. Pray that everything goes OK!
I should probably eat some more before bed, since I"m NPO before the test, but I'm not really motivated. I am, however, veeeery sleepy. So off to bed I go.
Popcorn Liveblog--the Other Boleyn Girl
I've been wanting to see this movie, and finally picked it up on DVD. I thought it might be fun to "liveblog" it as I watch it. So here we go....
--A few notes while the previews run:
CAST
Anne Boleyn: Natalie Portman (Anywhere But Here, Star Wars prequels)
Mary Boleyn: Scarlett Johansson (Match Point, Girl With A Pearl Earring, Lost in Translation)
Lady Boleyn (Their mother): Kristin Scott Thomas (The Horse Whisperer)
Henry VIII: Eric Bana (Munich, Troy)
based on the best-selling novel by Phillipa Gregory (and one of my favorite books)
Gregory did a lot of research for her novel, so it is, in particulars, historically accurate.
OK movie starting:
--Normal FBI warning--GRRRR
--And then the commentary notice. Another GRRRR.
--OK here we go.
--Scott Rudin, producer--also produced The Hours
--Opening: Boleyns as children--mary, Anne, George
--Immediately, Anne is seen as the favorite. Mary is "the kinder of the two, and quite possibly the fairer." She is engage dto Sir William Carey. Her father loves Mary, but he thinks Anne has what it takes to rise at court.
--Fast forward a few years--Mary at court. She is attended by servants, laced into her gown. Earring put in her ears. She is going to be married to William.
--Adult actors now. Establishes the playful tone between the siblings, but also tghe rivalry between Anne and Mary, even though Anne pretends to be joking with her.
--Next: Queen Katherine in labor...talks to her daughter, Princess Mary. She has lost another baby.
--The King, behind a screen. His face. He knows what has happened, and his face falls. Sighs.
--Mary's wedding. dances with George. George asks her if she's happy--Mary says she wants a husband who loves her. George says she's chosen well then.
--Henry Percy is seen staring at Anne. He is the richest landowner in England. ANne likes him. Says "bethrothed is not married."
--Thomas Norfolk and Boleyn are talking about the King and Queen's marriage and the loss of the Queen's child. Says teh king will want a mistress soon.
--Norfolk wants a Howard girl to go to Henry. Bolen suggests Anne. Anne is "Thomas's favorite." Anne is not "A simple , uncomplicateed girl liek Mary."
--Anne and mary--the wedding night. Anne is getting her sister ready for bed. Anne wants to be married. She says she's "failed Mary as an older sister," since she cannot give her advice on the marriage relationship. She takes Mary to William's room.
"Tell me everything in the morning," she says.
--NOTE: Anne wasn't actually there for Mary's wedding. she was in the Court of France. Mary was 13 whens he wed William Cary, who was a member of the King's court and high in his favor. Anne returned to England after her sister's wedding. The movie makes him out to be of lower rank.
--Anne goes to Boleyn and Norfolk. Norfolk tells her they will aim for her to be Henry's mistress. Norfolk plays to Anne's ambition. Norfolk says with this connection she coudl marry a marquis or a duke at least. Anne thinks about it.
--Norfolk deals with anne bluntly and as an equal. Her father tried to sugar coat it.
--Elizabeth and Thomas argue about Anne's role.
--Anne and Mary, outside. Mary says the wedding night was "very satisfactory." Then she tells Anne the truth, and they giggle together. Anne tells mary about the job she has to "divert the king" when he comes to visit. She is to "beguile him."
--The king arrives at the Boleyn estate (I'm guessing it's Hever? It's never stated, at least not thus far). It could be Rochester Hall, though, although they got that later.
--Anne and Mary dressing. Anne darts to the window and is visibly nervous.
--House is in an uproar of preparations--food, horses, etc.
--Anne and Mary--Mary assures her that Henry will like her.
--The King's tent is set up outside. His standard is in place as the household welcomes him. Anne tries to relax and appear confident. Her father studies her.
--The scenes have a very yellow, warm tone to them. Everything looks like it has enhanced sunlight on it.
--The king arrives. Anne gives a pretty curtsy. She stares at him.
--Henry greets the family. Thomas presents Anne. Henry presents his hand. She curtsies and smiles. Mary is not introduced--she looks slighted.
--The meal. Henry sits next to Anne. She is constanrtly y looking at hi,, at Norfolk, at her mother. You can tell Elizabeth is not in favor of this scheme at all.
--A hunt the next day. Anne and Henry have a tete a tete in the stableyard. Thomas and Mary watch. George goes out w/ the hunt.
--Late afternoon. Thomas paces in his study. Mary sits in the window well. They are waiting for the return of the hunt.
--HUnt returns, in slow motion. Mary spots them. She gasps and leaves the room.
--Two horsemen return. The family comes outside. The King is injured during the hunt. Panic. Controlled panic. Anne led the party into a ravine after a stag. The King followed and fell. Mary goes to Anne. Norfolk asks for Mary.
--Mary is attending the King's wounds. He awakens. She is startled. She introduces herself. Henry asks how he could have overlooked her. Mary says it's easy when you're next to Anne. He notices her wedding ring. He asks why she hasn't been at court. Henry is taken with her. He stares. She smiles somewhat uncomfortably.
--The King leaves; he thanks Elizabeth and Sir Thomas. He mentions "a matter" to Sir Thomas, who says he will take care of it. Shot of Mary, her head down, Anne's eyes boring into her back and flashing between her and the King. She knows something has happened.
--The King and his entourage depart.
--Norfolk, Thomas, William, mary--in a study. Mary is to serve the Queen. Mary protests. William says he has also been offered a position in the Privy Council. Norfolk tells Mary to forget about the country. She appeals to William. He ignored her. They are to go. Mary suggests Anne. That idea is brushed off. Mary hates this idea. She appeals to her parents. Elizabeth tells her daughter she must go.
--Mary asks Anne not to be angry with her. Anne is quite angry. She doesn't beleive Mary is innocent in this.
--arrival at court. Queen K is less than pleased to see Mary, especially when she hears that mary has been chosen by the King. Anneiis with Mary. The Queen asks for Mary's special talents, apart from her "youth and beauty." She cannot answer. The Queen asks her to sing. Mary tries to bed off, but is forced to sing. She can't sing at all (which is sad, because the actress really can sing). Anne watches passively. Silence. The Queen claps quickly. Mary curtsies, humiliated.
--Jane Parker (George's future wife) chases Mary down the hall and tells her that the Queen is quite nice.
--A dance. Mary enters. Her head bare, unlike the Queen's hooded head. Anne is talking to George about Jane. George wants nothing to do with her.
--William Stafford appearas next to mary. They discuss life at court- he says he is homesick. He is one of her uncle's men. He says anne is "thriving" and has caught the eye of Henry Percy. Mary wonders why Anne does these things, since he is already taken.
--The King enters. Anne locks her eyes on him, and Mary curtsies. The King whispers, "Tonight." Mary's face goes Pale. Anne storms off. William watches the exchange.
-- Anne prepares Mary for the evening. She is focusing on Mary's advancement, but she seems firm and detached. mary leaves, alone. Her hair is loose about her shoulders and she wears a red velvet robe.
--Mary down a hallway. She enters his room. He asks if she would like anything. She asks for water. He takes her robe and motins to the bed, which is bedecked in fur blankets. A fire roars. He brings two goblets to the bed. She begins to relax. He says he likes her, and trusts her. He says her face is "the sun." She is uncomfortable with flattery,. He sees that she is not often complimented and is overshadowed by Anne. He says he understands, since he was the second child as well (to his brother, Arthur). They kiss.
--The tension between them is quite electric. She moves into him and kisses him.
--Hands on her face. Down on the bed they go....
--The morning after. He is holding her in bed. Sun is up. She stirs.
--She leaves the room, finds William Staffors outside the door. He is to bring her to Sir Thomas. They go. He seems embarrassed.
--Norfolk, William, Thomas with Mary. They ask if they had sex. She answers hesitatntly--"yes." Norfolk says she better get used to talking about it. She says it happened more than once. She says she believes he was satisfied. Norfolk dismisses her. "Now our work is begun," Norfolk says. Elizabeth defends Mary's education and says Anne does not need to tutor her. Norfolk dismisses his sister. Her mother seems to be her one defender in the family. (This is different than history, in which Elizabeth Howard was just as ambitious as her brother).
--Mary and the King at it again. She is fair and golden to his dark complexion. It's a compelling contrast.
--Henry tells Mary that he is going to give William an assignment. She says she wouldn't object to it. He kisses her.
--Intercut with Anne and Henry Percy in the woods. The two are bethrothed. It is dark, lit only by moonlight.
--Mary is reading a letter from Henry, professing his love.
--Anne is seen sleeping with Percy. She wears his ring.
--George tells mary of Anne's marriage. Mary is not pleased. George sees the advancement, but Maryt is practical--Henry is precontracted to mary talbot. Mary goes to tell her father.
--Anne is upbraided by her father and Norfolk. She says the marriage has been signed and consummated. Norfolk is ready to kill her. Percy leaves the room. Anne is near tears. Norfolk sends her to France. (In truth she was sent to Hever.)
--Anne is ready to kill Mary. They argue in the hallway. Anne does not want her father to love anyone else but her. Elizabeth tells Anne to look at this as an opportunity to learn from the Queen of France. She tells Anne to observe the "art of being a woman."
--Mary and George watch Anne leave from the window.
--Mary vomits into a basin. She is pregnant. The realization hits her slowly.
--The King is thrilled. Silent scene. He ponders what this means for him.
--The Queen, silent. In despair.
--Henry walks beside Mary, he kisses her lightly.
--Mary is told that her husband will become an earl. The king will marry Jane Parker. George tries to beg off, but his father refuses by baiting his pride. George is very unhappy. Elizabeth is silent, and says Mary will not be happy when the King leaves her. Thomas asks if any of his work pleases her--she says that it is all ephemeral. His favor will go as quickly as it will come.
--Mary's bedroom. She is in pain and alone. They fear a miscarriage, and Mary must being her lying-in immediately.
--The room is darkened, and a crucifix brought in. Mary cannot leave the room until the baby is delivered. She knows that all of her family's plans rest on this child.
--The King will not bed her during her lying-in. The way the girls are interchangeable is established. One does just as well as the other. Sir Thomas says that Anne is "quite changed" since her banishment.
--Elizabeth writes to Anne to inform her. She is to keep the King's mind of Mary. That is "her task, and no more."
--A banquet. The King notices the uproar Anne is causing. He mentions Mary, and then Asks Anne to stand. She is radiant in emerald green, with her "B' necklace. She smiles seductively.
--She regales Henry with tales of the French King's pettiness and resentment. She says great men rise above such things. Anne says she'd know a great man if he were before her. The king asks her to look for a great man. She is looking. Norfolk is worried. Anne sasy she has found one. Her eyes are locked on him.
--Their banter is witty, sexy, and fast.
--He welcomes hedr back to court.
--George tells Mary what has happened. She is indignant. George is frustrated.
--George comes to see Jane. Jane is angry. She doesn't like him spending time w/ his sisters. She complains that he doesn't sleep with her.
--The King asks Anne to read his fortune. Henry mentions he heard of Lutherand and heretics in the French court. Anne says she kept her cross close toheart at all times.
--He comes upon her praying in the chapel and sits behind her. He wants her. She knows it.
--the tension is palpable. Anne does not turn to him. She crosses herself slowly and rises. She passes him without acknowledgment.
--Anne is pleased with herself.
--Mary. The king is visiting her. She is asleep. He leaves the room without her knowing of his presence.
--Anne has received a gift from the King. It is a jeweled brooch, with rubies and pearls. Anne gasps. She tells the page to send it back. The page doesn't move.
--The King is astounded that she sent it back.
--Mary. Anne comes to visit her. She kisses Mary's hand. mary is doubtful of Anne's motives. Anne says that perhaps Mary will know how it feels to be deceived by a sister. She will never forgive mary for what happened with the King and Henry Percy. A page comes to give another gift to Anne. She tells him to send it back. Anne tries tp play it off, but Mary knows what is happening. She does not believe Anne has her interestes at heart. Mary says she loves him, adn Anne says "perhaps you should stop."
--The king is rushing through the hallways to Lady Elizabeth. He is angry. He asks for her daughter, and Elizabeth asks, "which one?"
--he goes to Anne's door. She will not open it. They argue about the gifts. Anne says she is insulted. The King wishes to show Anne the kindess and generosity she has shown Anne. The door opens. He says "she has changed." They deeply want each other, but Anne says she would "never" betray Mary. He goes to kiss her but she rebuffs him.
--She is breathless with her triumph.
--Mary's labor begins. Again, she is alone.
--Shot of the anteroom. The king has been altered of Mary's labor. he enters. They wait.
--Mary's room. She is with the midwives.
--Anne enters the anteroom. Anne says she cannot trust Henry.
--Mary's labor.
--Henry says he willneverlie with Katherine or be with Mary again.
--The midwife announces a boy. Henry's face is alight. Mary is thrilled. Anne is devastated. She tells him"he may have hope." He hisses her hand and says "my one true love." Norfolk is pissed.
--Mary spots teh King. She is holding the baby. He leaves without going to her. She calls after him again. Anne gives Mar a triumphant smile.
--NOTEL Anne did have a son, but after her first born daughter, Catherine.
--Norfolkis really chewing out Anne. Norfolk says teh Queen has undergone the change and is barren. Elizabeth shuts them up. She asks about Mary and the child. Anne says they can go back to the country. She says it is the king's wish and hers. Elizabeth says she can tell Mary that.
--Mary is asleep. Anne enters. Mary cannot believe she woudl appear there. Anne is silent. Mary warns Anne that he will do the same to Anne as he did to her. Anne says Love is of no value without love and position. Mary knows what is going on and says her sister is suggesting treason. mar ytells her she is reaching to ohigh, as always. She sends Mary to Rochford.
--Um, what about William? In history (and the novel!), he does die, but we haven't ehard that yet. I'm guessing he's ben disposed of?
--mary is ssent away. The king and Anne ride by, one the same horse, and glance at her. Mary is heartbroken. George escorts her to the carriage.
--Henry asks if Anne will give herself to him now. She says not until the Queen is gone. Anne says Henry must divorce the Queen. He is going to try to send the Queen to a nunnery. Anne says she wants to give herself to him, but cannot until they are married. She says she will not be his whore. Anne says he could annul the marriage. He sighs. She works her seduction. She says then he will be free to remarry and she could give herself to him fully.
--Henry is reading a letter. He is visbily shaken.
--Anne is seen washing herself. Norfolk storms in. He accuses Anne of the Percy affair, saying that mary talbot says he and Anne had sex. Norfolk says teh only Boleyn he will listent o is Mary. Anne asks for her to be summoned.
--Mary appears before the King. Of course, mary knows what happened. The King wants to hear her back up Anne's story. He asks if he can trust Anne--what a question!!!!!!!!!
--You can see Mary is torn--she wants to tell the truth, becuase the king trusts her. She wants to bring her sister down. But then she knows where her loyalties lie.
--Anne goes to mary. She thanks her for what she did. Mary says she did it as a peace offering. Anne kisses her and says it will be a new start at court. Mary says she must return home. Anne says she cannot do with out her at court. She begs Mary to stay.
--The Trial of Queen Katherine. Aerial shot of London---very nice.
--Mary notices that the crowds favor the Queen. Anne says tersely "The crowd has no vote." The Queen calls them "The Boleyn whores." Katherine says she will give in. She says Anne has bewitched the King, and goes into court. The sisters are alone.
--The Queen before the cardinals. Norfolk is present. The King is on his throne. Katherine addresses him directly. She is passionate.
--Anne says that the king should just divorce the queen, regardless of Rome. Elizabeth sees what that would mean, and says his faith would never allow that. Norfolk agrees. Anne says that without an heir, Henry risks civil war.
--Everyone int h family is afraid of Anne's ambition. She has gone too far.
--Katherine is alone with Henry. She is trying to persuade him. He is uncomfortable in her presence.
--Katerine is gone. Anne says she will still not give herself to him. He shouts at her, saying he has torn the country apart for her, and has gotten rid of a good woman in the queen and will be excommunicated. Henry takes her by force, ripping her close. Anne is sobbing. He is furious, overhwlemed with guilt and passion.
--Anne and mary. Anne asks how he was with her. Mary says he was tender. Anne's face is in pain, and contorted. She knows how Henry really feels, and where her ambition has brought her.
--The marriage. Both of them look stunned. Mary is quiet. Anne is crowned Queen. Her face is blank.
--A court clebration. Anne is on the dias with Henry. A crowd begins to chant against Anne outside. Anne is visibly terrified and worried.
--William Stafford comes to tell Mary he is leaving court. He proposes marriage to her. He says he would never betray her or take her for granted. He says he doesn't care what her family thinks, he cares what she thinks. She doesn't answer. He leaves. Mary clearly wants him, but she is afraid of risking displeasure.
--Anne sobs in her room. She is giving birth. Elizabeth is born. Mary and Anne are seen through the window. The baby cries.
--Mary receives the baby and gives her to Anne. Anne holds her, but is disappointed. She tries to hide it. Her face is a tapestry of emotion. She holds the baby tightly but you can tell she is worn out and very disappointed.
--Henry enters. Anne named the baby Elizabeth after the King's mother. He asks about the baby's health, which is "perfect." He goes to Anne and his daughter. He says if we can have a healthy daughter they can have a healthy son. He doesn't kiss her or show any affection. Anne is crying and kissing Elizabeth. She sees what is before her.
--Henry is with a woman in the dark. Mary says he is with JAne Seymour. Anne knows that she must have a boy. She will not let him "pass her over." The baby cries. Mary tries to comfort her as Anne and Henry argue about Jane. The argument becomes physical. Anne is going crazy. She says that some nights the king cannot be aroused. She is desperate. She blames herself.
--Anne is pregnant again. Mary goes to congratulate her sister. The situation, however, is still delicate. The family needs this to be a boy, not a girl or still born. Norfolk tells Mary that the family wil perish if it is any other way. Mary leaves.
--Anne's room. She is in pain. Her maids enter. She says she had a bad dream. She asks them to get her siblings. Anne know she is miscarrying and she is deathly afraid. She sobs.
-- She holds the dead baby as Mary and George enter. She cries out for the baby to be destroyed. George takes it away. Mary is stunned and silent. Anne is shaking. Mary puts her arms around her.
--Anne says she can feel the KIng watching her. She says he has not told him about the dead baby. She says he will have her burned. Anne he won't lie with her while she believes he's pregnant. She looks at George, her eyes begging him. George shakes his head. She says he is her only hope. Mary and Anne both try to persuade him to opposite positions. mary leaves, imploring mercy on them. They kiss.
--Jane sees Anne and George. She doesn't see anything, but she thinks she does. She starts to cry.
--George and Anne. George says he can't do it. The two are crying. Anne says she will tell the king in the morning.
--Jane is reporting what she saw.
--Mary, alone. A man appears. She is leaving for Rochford.
--The King's table. He is alone. Lady Rochford--Jane--has come to him, with what she has seen.
--Mary departs for Rochford Hall. She is alone. Her things have been sent ahead.
--Anne tells Henry. Henry calls her a witch. She says he came early. He calls for guards. George is arrested. Anne sits alone in her room.Elizabeth sees what is happening to her children. She is bereft. She slaps her husband and curses her brother.
--Mart is seen wthi William. She is dressed as a country wife. A messneger from court is come. She blanches.
--Anne is taken into the same courtroom as Katherine was, before the peers. She rebukes the peers for not rising for her. She says that being charged is not the same as being convicted. Sbe is charged with incest and treason. Cromwell reads out the charges against her. she pleads not guilty. Her testimony is overlapped with images of George in the tower.
--Mary rides frantically back to court.
--Anne is found guilty. She cannot believe it. Even her uncle decides against her. Henry watches behind the portcullis. He turns.
--mary arrives at court.
--George's execution on Tower Green. Crowds surround him
--The King is in the castle. Mary appears. They meet alone. She is speechless. He is softened by her. She begs for Anne. Mary is trying not to cry. The King says she puts herselt at great risk. mary says she is here because Anne is her sister and half of her. The King says he would not hurt any part of Mary. She sinks to her knees. She rises. The King is in thought. Mary thinks Anne wil be spared.
--Mary visits Anne in the Tower. She is seated at a table in a dark gown. They embrace. Anne sobs. She tells Mary that they didn't do it. Mary is guarded. The door opens. Mary says the king said she wold be good as spared. Mary says that the king is not with Jane Seymour. She lies to Anne, who sees through it. mary holds her sister and asks her to look after Elizabeth. Mary says it won't come to that. She says Henry will heep his word.
--Anne is brought down fromt he tower. Mary nods at her, tries to give her comfort. She still thinks Anne will be spred. Anne wears a hood and an ermine collar over her gown. She climbs the scaffold.
--Mary watches. She thinks tha pardon will come. She looks around for it and does not see Henry.
--The crowd is silent. Anne give sher final speech. "God knows" her offenses and she "remits them to God and asks her to have mercy on her soul." She prays for the King. She starts to lose her composure as teh King's guards bring anote to Mary. She opens it. Henry respects and loves Mary but tell sher not to do it again because she will not receive clemency a second time. He will not save Anne. Mary gasps, and Anne begins to tremble. She removes her hood with shaking hands. The ermine cape is removed, as is her necklace. Her hair is bound up under a white cloth. She begins to sob. Mary cannot believe it. The sword comes.
--Mary blanches and looks up.
--Henry is seen int e castle, in half light.
--The scaffold, from above. Pan up.
--mary leaves quickly, her head up. She walks through the passageways, with people chattering around her. She is in the castle. She asks for Elizabeth from her mother. She takes the toddler Elizabeth. Elizabeth is golden haired, sucking on her thumb. Mary goes through the crowded corridors with the baby. Pan out.
--Fade to black.
--Shot: a doorway in the country. Siur Thomas--died two years later. Norfolk was imprisoned ane executed.
--The country. Children laughing. two girls and a boy. Mary walks with William. She lived with him the rest of her life and did not return to court.
--Elizabeth reigned England for 44 years. Shot of a small red-haired child. Final titles--he is not remembered for the boy, but for the red-haired child Anne gave him--Elizabeth.
FINAL THOUGHTS:
--Historically accurate (for the most part--The King met Mary once she was a lady in waiting to Queen Katherine. And Queen Katherine actually liked Mary very much. She knew that Mary was doing something she didn't want to do.)
--Moves much faster thant he book and therefore is missing some of the passion involving Mary. He had two children with her. Anne had two miscarriages, not just one.
--Good tension between Anne and Mary. The real crux of the movie/book is that they love each other, but are fiercely competitive. They cannot imagine life without each other, but they both want to supplant the other.
--A few notes while the previews run:
CAST
Anne Boleyn: Natalie Portman (Anywhere But Here, Star Wars prequels)
Mary Boleyn: Scarlett Johansson (Match Point, Girl With A Pearl Earring, Lost in Translation)
Lady Boleyn (Their mother): Kristin Scott Thomas (The Horse Whisperer)
Henry VIII: Eric Bana (Munich, Troy)
based on the best-selling novel by Phillipa Gregory (and one of my favorite books)
Gregory did a lot of research for her novel, so it is, in particulars, historically accurate.
OK movie starting:
--Normal FBI warning--GRRRR
--And then the commentary notice. Another GRRRR.
--OK here we go.
--Scott Rudin, producer--also produced The Hours
--Opening: Boleyns as children--mary, Anne, George
--Immediately, Anne is seen as the favorite. Mary is "the kinder of the two, and quite possibly the fairer." She is engage dto Sir William Carey. Her father loves Mary, but he thinks Anne has what it takes to rise at court.
--Fast forward a few years--Mary at court. She is attended by servants, laced into her gown. Earring put in her ears. She is going to be married to William.
--Adult actors now. Establishes the playful tone between the siblings, but also tghe rivalry between Anne and Mary, even though Anne pretends to be joking with her.
--Next: Queen Katherine in labor...talks to her daughter, Princess Mary. She has lost another baby.
--The King, behind a screen. His face. He knows what has happened, and his face falls. Sighs.
--Mary's wedding. dances with George. George asks her if she's happy--Mary says she wants a husband who loves her. George says she's chosen well then.
--Henry Percy is seen staring at Anne. He is the richest landowner in England. ANne likes him. Says "bethrothed is not married."
--Thomas Norfolk and Boleyn are talking about the King and Queen's marriage and the loss of the Queen's child. Says teh king will want a mistress soon.
--Norfolk wants a Howard girl to go to Henry. Bolen suggests Anne. Anne is "Thomas's favorite." Anne is not "A simple , uncomplicateed girl liek Mary."
--Anne and mary--the wedding night. Anne is getting her sister ready for bed. Anne wants to be married. She says she's "failed Mary as an older sister," since she cannot give her advice on the marriage relationship. She takes Mary to William's room.
"Tell me everything in the morning," she says.
--NOTE: Anne wasn't actually there for Mary's wedding. she was in the Court of France. Mary was 13 whens he wed William Cary, who was a member of the King's court and high in his favor. Anne returned to England after her sister's wedding. The movie makes him out to be of lower rank.
--Anne goes to Boleyn and Norfolk. Norfolk tells her they will aim for her to be Henry's mistress. Norfolk plays to Anne's ambition. Norfolk says with this connection she coudl marry a marquis or a duke at least. Anne thinks about it.
--Norfolk deals with anne bluntly and as an equal. Her father tried to sugar coat it.
--Elizabeth and Thomas argue about Anne's role.
--Anne and Mary, outside. Mary says the wedding night was "very satisfactory." Then she tells Anne the truth, and they giggle together. Anne tells mary about the job she has to "divert the king" when he comes to visit. She is to "beguile him."
--The king arrives at the Boleyn estate (I'm guessing it's Hever? It's never stated, at least not thus far). It could be Rochester Hall, though, although they got that later.
--Anne and Mary dressing. Anne darts to the window and is visibly nervous.
--House is in an uproar of preparations--food, horses, etc.
--Anne and Mary--Mary assures her that Henry will like her.
--The King's tent is set up outside. His standard is in place as the household welcomes him. Anne tries to relax and appear confident. Her father studies her.
--The scenes have a very yellow, warm tone to them. Everything looks like it has enhanced sunlight on it.
--The king arrives. Anne gives a pretty curtsy. She stares at him.
--Henry greets the family. Thomas presents Anne. Henry presents his hand. She curtsies and smiles. Mary is not introduced--she looks slighted.
--The meal. Henry sits next to Anne. She is constanrtly y looking at hi,, at Norfolk, at her mother. You can tell Elizabeth is not in favor of this scheme at all.
--A hunt the next day. Anne and Henry have a tete a tete in the stableyard. Thomas and Mary watch. George goes out w/ the hunt.
--Late afternoon. Thomas paces in his study. Mary sits in the window well. They are waiting for the return of the hunt.
--HUnt returns, in slow motion. Mary spots them. She gasps and leaves the room.
--Two horsemen return. The family comes outside. The King is injured during the hunt. Panic. Controlled panic. Anne led the party into a ravine after a stag. The King followed and fell. Mary goes to Anne. Norfolk asks for Mary.
--Mary is attending the King's wounds. He awakens. She is startled. She introduces herself. Henry asks how he could have overlooked her. Mary says it's easy when you're next to Anne. He notices her wedding ring. He asks why she hasn't been at court. Henry is taken with her. He stares. She smiles somewhat uncomfortably.
--The King leaves; he thanks Elizabeth and Sir Thomas. He mentions "a matter" to Sir Thomas, who says he will take care of it. Shot of Mary, her head down, Anne's eyes boring into her back and flashing between her and the King. She knows something has happened.
--The King and his entourage depart.
--Norfolk, Thomas, William, mary--in a study. Mary is to serve the Queen. Mary protests. William says he has also been offered a position in the Privy Council. Norfolk tells Mary to forget about the country. She appeals to William. He ignored her. They are to go. Mary suggests Anne. That idea is brushed off. Mary hates this idea. She appeals to her parents. Elizabeth tells her daughter she must go.
--Mary asks Anne not to be angry with her. Anne is quite angry. She doesn't beleive Mary is innocent in this.
--arrival at court. Queen K is less than pleased to see Mary, especially when she hears that mary has been chosen by the King. Anneiis with Mary. The Queen asks for Mary's special talents, apart from her "youth and beauty." She cannot answer. The Queen asks her to sing. Mary tries to bed off, but is forced to sing. She can't sing at all (which is sad, because the actress really can sing). Anne watches passively. Silence. The Queen claps quickly. Mary curtsies, humiliated.
--Jane Parker (George's future wife) chases Mary down the hall and tells her that the Queen is quite nice.
--A dance. Mary enters. Her head bare, unlike the Queen's hooded head. Anne is talking to George about Jane. George wants nothing to do with her.
--William Stafford appearas next to mary. They discuss life at court- he says he is homesick. He is one of her uncle's men. He says anne is "thriving" and has caught the eye of Henry Percy. Mary wonders why Anne does these things, since he is already taken.
--The King enters. Anne locks her eyes on him, and Mary curtsies. The King whispers, "Tonight." Mary's face goes Pale. Anne storms off. William watches the exchange.
-- Anne prepares Mary for the evening. She is focusing on Mary's advancement, but she seems firm and detached. mary leaves, alone. Her hair is loose about her shoulders and she wears a red velvet robe.
--Mary down a hallway. She enters his room. He asks if she would like anything. She asks for water. He takes her robe and motins to the bed, which is bedecked in fur blankets. A fire roars. He brings two goblets to the bed. She begins to relax. He says he likes her, and trusts her. He says her face is "the sun." She is uncomfortable with flattery,. He sees that she is not often complimented and is overshadowed by Anne. He says he understands, since he was the second child as well (to his brother, Arthur). They kiss.
--The tension between them is quite electric. She moves into him and kisses him.
--Hands on her face. Down on the bed they go....
--The morning after. He is holding her in bed. Sun is up. She stirs.
--She leaves the room, finds William Staffors outside the door. He is to bring her to Sir Thomas. They go. He seems embarrassed.
--Norfolk, William, Thomas with Mary. They ask if they had sex. She answers hesitatntly--"yes." Norfolk says she better get used to talking about it. She says it happened more than once. She says she believes he was satisfied. Norfolk dismisses her. "Now our work is begun," Norfolk says. Elizabeth defends Mary's education and says Anne does not need to tutor her. Norfolk dismisses his sister. Her mother seems to be her one defender in the family. (This is different than history, in which Elizabeth Howard was just as ambitious as her brother).
--Mary and the King at it again. She is fair and golden to his dark complexion. It's a compelling contrast.
--Henry tells Mary that he is going to give William an assignment. She says she wouldn't object to it. He kisses her.
--Intercut with Anne and Henry Percy in the woods. The two are bethrothed. It is dark, lit only by moonlight.
--Mary is reading a letter from Henry, professing his love.
--Anne is seen sleeping with Percy. She wears his ring.
--George tells mary of Anne's marriage. Mary is not pleased. George sees the advancement, but Maryt is practical--Henry is precontracted to mary talbot. Mary goes to tell her father.
--Anne is upbraided by her father and Norfolk. She says the marriage has been signed and consummated. Norfolk is ready to kill her. Percy leaves the room. Anne is near tears. Norfolk sends her to France. (In truth she was sent to Hever.)
--Anne is ready to kill Mary. They argue in the hallway. Anne does not want her father to love anyone else but her. Elizabeth tells Anne to look at this as an opportunity to learn from the Queen of France. She tells Anne to observe the "art of being a woman."
--Mary and George watch Anne leave from the window.
--Mary vomits into a basin. She is pregnant. The realization hits her slowly.
--The King is thrilled. Silent scene. He ponders what this means for him.
--The Queen, silent. In despair.
--Henry walks beside Mary, he kisses her lightly.
--Mary is told that her husband will become an earl. The king will marry Jane Parker. George tries to beg off, but his father refuses by baiting his pride. George is very unhappy. Elizabeth is silent, and says Mary will not be happy when the King leaves her. Thomas asks if any of his work pleases her--she says that it is all ephemeral. His favor will go as quickly as it will come.
--Mary's bedroom. She is in pain and alone. They fear a miscarriage, and Mary must being her lying-in immediately.
--The room is darkened, and a crucifix brought in. Mary cannot leave the room until the baby is delivered. She knows that all of her family's plans rest on this child.
--The King will not bed her during her lying-in. The way the girls are interchangeable is established. One does just as well as the other. Sir Thomas says that Anne is "quite changed" since her banishment.
--Elizabeth writes to Anne to inform her. She is to keep the King's mind of Mary. That is "her task, and no more."
--A banquet. The King notices the uproar Anne is causing. He mentions Mary, and then Asks Anne to stand. She is radiant in emerald green, with her "B' necklace. She smiles seductively.
--She regales Henry with tales of the French King's pettiness and resentment. She says great men rise above such things. Anne says she'd know a great man if he were before her. The king asks her to look for a great man. She is looking. Norfolk is worried. Anne sasy she has found one. Her eyes are locked on him.
--Their banter is witty, sexy, and fast.
--He welcomes hedr back to court.
--George tells Mary what has happened. She is indignant. George is frustrated.
--George comes to see Jane. Jane is angry. She doesn't like him spending time w/ his sisters. She complains that he doesn't sleep with her.
--The King asks Anne to read his fortune. Henry mentions he heard of Lutherand and heretics in the French court. Anne says she kept her cross close toheart at all times.
--He comes upon her praying in the chapel and sits behind her. He wants her. She knows it.
--the tension is palpable. Anne does not turn to him. She crosses herself slowly and rises. She passes him without acknowledgment.
--Anne is pleased with herself.
--Mary. The king is visiting her. She is asleep. He leaves the room without her knowing of his presence.
--Anne has received a gift from the King. It is a jeweled brooch, with rubies and pearls. Anne gasps. She tells the page to send it back. The page doesn't move.
--The King is astounded that she sent it back.
--Mary. Anne comes to visit her. She kisses Mary's hand. mary is doubtful of Anne's motives. Anne says that perhaps Mary will know how it feels to be deceived by a sister. She will never forgive mary for what happened with the King and Henry Percy. A page comes to give another gift to Anne. She tells him to send it back. Anne tries tp play it off, but Mary knows what is happening. She does not believe Anne has her interestes at heart. Mary says she loves him, adn Anne says "perhaps you should stop."
--The king is rushing through the hallways to Lady Elizabeth. He is angry. He asks for her daughter, and Elizabeth asks, "which one?"
--he goes to Anne's door. She will not open it. They argue about the gifts. Anne says she is insulted. The King wishes to show Anne the kindess and generosity she has shown Anne. The door opens. He says "she has changed." They deeply want each other, but Anne says she would "never" betray Mary. He goes to kiss her but she rebuffs him.
--She is breathless with her triumph.
--Mary's labor begins. Again, she is alone.
--Shot of the anteroom. The king has been altered of Mary's labor. he enters. They wait.
--Mary's room. She is with the midwives.
--Anne enters the anteroom. Anne says she cannot trust Henry.
--Mary's labor.
--Henry says he willneverlie with Katherine or be with Mary again.
--The midwife announces a boy. Henry's face is alight. Mary is thrilled. Anne is devastated. She tells him"he may have hope." He hisses her hand and says "my one true love." Norfolk is pissed.
--Mary spots teh King. She is holding the baby. He leaves without going to her. She calls after him again. Anne gives Mar a triumphant smile.
--NOTEL Anne did have a son, but after her first born daughter, Catherine.
--Norfolkis really chewing out Anne. Norfolk says teh Queen has undergone the change and is barren. Elizabeth shuts them up. She asks about Mary and the child. Anne says they can go back to the country. She says it is the king's wish and hers. Elizabeth says she can tell Mary that.
--Mary is asleep. Anne enters. Mary cannot believe she woudl appear there. Anne is silent. Mary warns Anne that he will do the same to Anne as he did to her. Anne says Love is of no value without love and position. Mary knows what is going on and says her sister is suggesting treason. mar ytells her she is reaching to ohigh, as always. She sends Mary to Rochford.
--Um, what about William? In history (and the novel!), he does die, but we haven't ehard that yet. I'm guessing he's ben disposed of?
--mary is ssent away. The king and Anne ride by, one the same horse, and glance at her. Mary is heartbroken. George escorts her to the carriage.
--Henry asks if Anne will give herself to him now. She says not until the Queen is gone. Anne says Henry must divorce the Queen. He is going to try to send the Queen to a nunnery. Anne says she wants to give herself to him, but cannot until they are married. She says she will not be his whore. Anne says he could annul the marriage. He sighs. She works her seduction. She says then he will be free to remarry and she could give herself to him fully.
--Henry is reading a letter. He is visbily shaken.
--Anne is seen washing herself. Norfolk storms in. He accuses Anne of the Percy affair, saying that mary talbot says he and Anne had sex. Norfolk says teh only Boleyn he will listent o is Mary. Anne asks for her to be summoned.
--Mary appears before the King. Of course, mary knows what happened. The King wants to hear her back up Anne's story. He asks if he can trust Anne--what a question!!!!!!!!!
--You can see Mary is torn--she wants to tell the truth, becuase the king trusts her. She wants to bring her sister down. But then she knows where her loyalties lie.
--Anne goes to mary. She thanks her for what she did. Mary says she did it as a peace offering. Anne kisses her and says it will be a new start at court. Mary says she must return home. Anne says she cannot do with out her at court. She begs Mary to stay.
--The Trial of Queen Katherine. Aerial shot of London---very nice.
--Mary notices that the crowds favor the Queen. Anne says tersely "The crowd has no vote." The Queen calls them "The Boleyn whores." Katherine says she will give in. She says Anne has bewitched the King, and goes into court. The sisters are alone.
--The Queen before the cardinals. Norfolk is present. The King is on his throne. Katherine addresses him directly. She is passionate.
--Anne says that the king should just divorce the queen, regardless of Rome. Elizabeth sees what that would mean, and says his faith would never allow that. Norfolk agrees. Anne says that without an heir, Henry risks civil war.
--Everyone int h family is afraid of Anne's ambition. She has gone too far.
--Katherine is alone with Henry. She is trying to persuade him. He is uncomfortable in her presence.
--Katerine is gone. Anne says she will still not give herself to him. He shouts at her, saying he has torn the country apart for her, and has gotten rid of a good woman in the queen and will be excommunicated. Henry takes her by force, ripping her close. Anne is sobbing. He is furious, overhwlemed with guilt and passion.
--Anne and mary. Anne asks how he was with her. Mary says he was tender. Anne's face is in pain, and contorted. She knows how Henry really feels, and where her ambition has brought her.
--The marriage. Both of them look stunned. Mary is quiet. Anne is crowned Queen. Her face is blank.
--A court clebration. Anne is on the dias with Henry. A crowd begins to chant against Anne outside. Anne is visibly terrified and worried.
--William Stafford comes to tell Mary he is leaving court. He proposes marriage to her. He says he would never betray her or take her for granted. He says he doesn't care what her family thinks, he cares what she thinks. She doesn't answer. He leaves. Mary clearly wants him, but she is afraid of risking displeasure.
--Anne sobs in her room. She is giving birth. Elizabeth is born. Mary and Anne are seen through the window. The baby cries.
--Mary receives the baby and gives her to Anne. Anne holds her, but is disappointed. She tries to hide it. Her face is a tapestry of emotion. She holds the baby tightly but you can tell she is worn out and very disappointed.
--Henry enters. Anne named the baby Elizabeth after the King's mother. He asks about the baby's health, which is "perfect." He goes to Anne and his daughter. He says if we can have a healthy daughter they can have a healthy son. He doesn't kiss her or show any affection. Anne is crying and kissing Elizabeth. She sees what is before her.
--Henry is with a woman in the dark. Mary says he is with JAne Seymour. Anne knows that she must have a boy. She will not let him "pass her over." The baby cries. Mary tries to comfort her as Anne and Henry argue about Jane. The argument becomes physical. Anne is going crazy. She says that some nights the king cannot be aroused. She is desperate. She blames herself.
--Anne is pregnant again. Mary goes to congratulate her sister. The situation, however, is still delicate. The family needs this to be a boy, not a girl or still born. Norfolk tells Mary that the family wil perish if it is any other way. Mary leaves.
--Anne's room. She is in pain. Her maids enter. She says she had a bad dream. She asks them to get her siblings. Anne know she is miscarrying and she is deathly afraid. She sobs.
-- She holds the dead baby as Mary and George enter. She cries out for the baby to be destroyed. George takes it away. Mary is stunned and silent. Anne is shaking. Mary puts her arms around her.
--Anne says she can feel the KIng watching her. She says he has not told him about the dead baby. She says he will have her burned. Anne he won't lie with her while she believes he's pregnant. She looks at George, her eyes begging him. George shakes his head. She says he is her only hope. Mary and Anne both try to persuade him to opposite positions. mary leaves, imploring mercy on them. They kiss.
--Jane sees Anne and George. She doesn't see anything, but she thinks she does. She starts to cry.
--George and Anne. George says he can't do it. The two are crying. Anne says she will tell the king in the morning.
--Jane is reporting what she saw.
--Mary, alone. A man appears. She is leaving for Rochford.
--The King's table. He is alone. Lady Rochford--Jane--has come to him, with what she has seen.
--Mary departs for Rochford Hall. She is alone. Her things have been sent ahead.
--Anne tells Henry. Henry calls her a witch. She says he came early. He calls for guards. George is arrested. Anne sits alone in her room.Elizabeth sees what is happening to her children. She is bereft. She slaps her husband and curses her brother.
--Mart is seen wthi William. She is dressed as a country wife. A messneger from court is come. She blanches.
--Anne is taken into the same courtroom as Katherine was, before the peers. She rebukes the peers for not rising for her. She says that being charged is not the same as being convicted. Sbe is charged with incest and treason. Cromwell reads out the charges against her. she pleads not guilty. Her testimony is overlapped with images of George in the tower.
--Mary rides frantically back to court.
--Anne is found guilty. She cannot believe it. Even her uncle decides against her. Henry watches behind the portcullis. He turns.
--mary arrives at court.
--George's execution on Tower Green. Crowds surround him
--The King is in the castle. Mary appears. They meet alone. She is speechless. He is softened by her. She begs for Anne. Mary is trying not to cry. The King says she puts herselt at great risk. mary says she is here because Anne is her sister and half of her. The King says he would not hurt any part of Mary. She sinks to her knees. She rises. The King is in thought. Mary thinks Anne wil be spared.
--Mary visits Anne in the Tower. She is seated at a table in a dark gown. They embrace. Anne sobs. She tells Mary that they didn't do it. Mary is guarded. The door opens. Mary says the king said she wold be good as spared. Mary says that the king is not with Jane Seymour. She lies to Anne, who sees through it. mary holds her sister and asks her to look after Elizabeth. Mary says it won't come to that. She says Henry will heep his word.
--Anne is brought down fromt he tower. Mary nods at her, tries to give her comfort. She still thinks Anne will be spred. Anne wears a hood and an ermine collar over her gown. She climbs the scaffold.
--Mary watches. She thinks tha pardon will come. She looks around for it and does not see Henry.
--The crowd is silent. Anne give sher final speech. "God knows" her offenses and she "remits them to God and asks her to have mercy on her soul." She prays for the King. She starts to lose her composure as teh King's guards bring anote to Mary. She opens it. Henry respects and loves Mary but tell sher not to do it again because she will not receive clemency a second time. He will not save Anne. Mary gasps, and Anne begins to tremble. She removes her hood with shaking hands. The ermine cape is removed, as is her necklace. Her hair is bound up under a white cloth. She begins to sob. Mary cannot believe it. The sword comes.
--Mary blanches and looks up.
--Henry is seen int e castle, in half light.
--The scaffold, from above. Pan up.
--mary leaves quickly, her head up. She walks through the passageways, with people chattering around her. She is in the castle. She asks for Elizabeth from her mother. She takes the toddler Elizabeth. Elizabeth is golden haired, sucking on her thumb. Mary goes through the crowded corridors with the baby. Pan out.
--Fade to black.
--Shot: a doorway in the country. Siur Thomas--died two years later. Norfolk was imprisoned ane executed.
--The country. Children laughing. two girls and a boy. Mary walks with William. She lived with him the rest of her life and did not return to court.
--Elizabeth reigned England for 44 years. Shot of a small red-haired child. Final titles--he is not remembered for the boy, but for the red-haired child Anne gave him--Elizabeth.
FINAL THOUGHTS:
--Historically accurate (for the most part--The King met Mary once she was a lady in waiting to Queen Katherine. And Queen Katherine actually liked Mary very much. She knew that Mary was doing something she didn't want to do.)
--Moves much faster thant he book and therefore is missing some of the passion involving Mary. He had two children with her. Anne had two miscarriages, not just one.
--Good tension between Anne and Mary. The real crux of the movie/book is that they love each other, but are fiercely competitive. They cannot imagine life without each other, but they both want to supplant the other.
Costumes, Murder, Shouting Above the Din, and more --aka, Rehearsal
Last night's rehearsal was organized chaos--at least that's how I like to think of it.
We were in the choir room at HDHS, which is totally decked out in Wizard of Oz gear (which I love!). Sally, our accompanist, lead us through "Facade" once, until Ken arrived to take us through our paces. That number is really coming along and the soloists are coming into their voices. Ken doesn't have to stop and tell us to project (well, as much!).
During the rehearsal one of the costume ladies began taking our measurements. Mindy and I went to be measured together, and it was rather involved. Height, shoe size, waist, bust, hips, arm span, arms bent, arms straight, back, neck to hips, etc. were all taken and measured. My friend Jaylene is working on the costumes and has just begun sewing them. I don't even want to think about how many we'll each have. I would imagine I'll have three, minimum--one for "Facade" and "Murder, Murder!", one for "Bring on the Men" and "Girls of the Night" and then one for the engagement party/wedding. Whew. And we'll need shoes for those...and jewelry, probably. I do not envy our costume and prop folks!
We ran "Murder, Murder!" and assigned solo/small group parts. I ended up being in a few of the small groups, which makes me happy. This is a very tricky number so I didn't think I'd be asked to sing anything out of the ordinary. I am now working like mad to get the words memorized! We were being rather loud during the assignment of parts, so Ken had to doing a lot of yelling to get it all straight. I'm still not sure if we have it all, but if not we'll sort it out on Sat. morning.
We also worked on "Facade (reprise 1)" which takes place before the Engagement Party, and "Confrontation." This is when the actor playing Jekyll/Hyde has to sing bothJekyll and Hyde simultaneously, back and forth. It's really awesome. The chorus sings (off stage, I think) on vowels to add to the eerie effect. It will sound really great when it's all together.
The only pieces left then are "Girls of the Night" and "Facade (reprise 2)", which takes place right after Confrontation and before Letting Go/the Wedding.
It is less thana month until opening night. Yikes! One month from now we will be onstage for our second show!
If you want tickets, or more info, go here. Note that it is labeled "PG-13", and it should be. This isn't Annie. Not only are the themes a bit deep, but eight people die during the course of the show, and we use guns (well, prop guns, but still. They're loud.). So be warned--I don't want anyone traumatized here. :)
The excitement builds. :) Next rehearsal: Saturday at 9 a.m.
We were in the choir room at HDHS, which is totally decked out in Wizard of Oz gear (which I love!). Sally, our accompanist, lead us through "Facade" once, until Ken arrived to take us through our paces. That number is really coming along and the soloists are coming into their voices. Ken doesn't have to stop and tell us to project (well, as much!).
During the rehearsal one of the costume ladies began taking our measurements. Mindy and I went to be measured together, and it was rather involved. Height, shoe size, waist, bust, hips, arm span, arms bent, arms straight, back, neck to hips, etc. were all taken and measured. My friend Jaylene is working on the costumes and has just begun sewing them. I don't even want to think about how many we'll each have. I would imagine I'll have three, minimum--one for "Facade" and "Murder, Murder!", one for "Bring on the Men" and "Girls of the Night" and then one for the engagement party/wedding. Whew. And we'll need shoes for those...and jewelry, probably. I do not envy our costume and prop folks!
We ran "Murder, Murder!" and assigned solo/small group parts. I ended up being in a few of the small groups, which makes me happy. This is a very tricky number so I didn't think I'd be asked to sing anything out of the ordinary. I am now working like mad to get the words memorized! We were being rather loud during the assignment of parts, so Ken had to doing a lot of yelling to get it all straight. I'm still not sure if we have it all, but if not we'll sort it out on Sat. morning.
We also worked on "Facade (reprise 1)" which takes place before the Engagement Party, and "Confrontation." This is when the actor playing Jekyll/Hyde has to sing bothJekyll and Hyde simultaneously, back and forth. It's really awesome. The chorus sings (off stage, I think) on vowels to add to the eerie effect. It will sound really great when it's all together.
The only pieces left then are "Girls of the Night" and "Facade (reprise 2)", which takes place right after Confrontation and before Letting Go/the Wedding.
It is less thana month until opening night. Yikes! One month from now we will be onstage for our second show!
If you want tickets, or more info, go here. Note that it is labeled "PG-13", and it should be. This isn't Annie. Not only are the themes a bit deep, but eight people die during the course of the show, and we use guns (well, prop guns, but still. They're loud.). So be warned--I don't want anyone traumatized here. :)
The excitement builds. :) Next rehearsal: Saturday at 9 a.m.
Wednesday, June 11, 2008
Tuesday, June 10, 2008
Monday, June 09, 2008
Vertical kick lines
When I first saw Jekyll and Hyde at age 14, I didn't really think I'd ever been in it.
Much less laying on my back and kicking my legs up at a 90 degree angle.
On stage.
In fishnets.
Yet, that is what I'm doing.
Not that I'm opposed to this.
Tonight was our first dance rehearsal. J&H, like a lot of 90s musicals, doesn't have a lot of dancing, so there's only one number to choreograph-- "Bring on the Men", Jekyll and Utterson's introduction to Lucy and the Red Rat underworld of which Hyde will become a part.
The beginning is fairly simple. There are, however, two pieces that are rather...interesting. I am sure they will look arresting, interesting and provocative from the audience.
The first is to the second chorus of the song, and the first time the Girls sing. My section is to lay down on the stage, with our legs at a 45 degree angle, and proceed to kick them up, one-two, one-two, like Rockettes, except on our backs. (THANK GOD for my ballet classes, is all I can say). We then roll onto our stomachs and do the kicks again, then roll right and up into a standing position. From here, we go into the dance break.
The hardest part for me involves the turns. We haven't done pirouettes in ballet class so my spot was all over the place. I wasn't the only one, but it was really driving me crazy. We do two turns, step out, do a series of steps and then a kick on the right. Like I said, I'm sure it will LOOK good. But right now, it's a bit discombobulated, which is to be expected following the first rehearsal.
We won't have a set until the end of June, when building begins, so, while we know there will be tables, chairs, and a bar as part of this set, we have no idea where they'll be. I am sure the men onstage with us will enjoy this. I just hope I don't kick one in the face, or something.
Chorus rehearsal on W.
Much less laying on my back and kicking my legs up at a 90 degree angle.
On stage.
In fishnets.
Yet, that is what I'm doing.
Not that I'm opposed to this.
Tonight was our first dance rehearsal. J&H, like a lot of 90s musicals, doesn't have a lot of dancing, so there's only one number to choreograph-- "Bring on the Men", Jekyll and Utterson's introduction to Lucy and the Red Rat underworld of which Hyde will become a part.
The beginning is fairly simple. There are, however, two pieces that are rather...interesting. I am sure they will look arresting, interesting and provocative from the audience.
The first is to the second chorus of the song, and the first time the Girls sing. My section is to lay down on the stage, with our legs at a 45 degree angle, and proceed to kick them up, one-two, one-two, like Rockettes, except on our backs. (THANK GOD for my ballet classes, is all I can say). We then roll onto our stomachs and do the kicks again, then roll right and up into a standing position. From here, we go into the dance break.
The hardest part for me involves the turns. We haven't done pirouettes in ballet class so my spot was all over the place. I wasn't the only one, but it was really driving me crazy. We do two turns, step out, do a series of steps and then a kick on the right. Like I said, I'm sure it will LOOK good. But right now, it's a bit discombobulated, which is to be expected following the first rehearsal.
We won't have a set until the end of June, when building begins, so, while we know there will be tables, chairs, and a bar as part of this set, we have no idea where they'll be. I am sure the men onstage with us will enjoy this. I just hope I don't kick one in the face, or something.
Chorus rehearsal on W.
Sunday, June 08, 2008
Music Time 2
Since I've talked about the opener of the show a lot, you might want to know what we're saying:
There's a face that we wear in the cold light of day
It's society's mask, it's society's way
And the truth is
That it's all a facade.
There's a face that we hide till the night time appears,
And what's hiding inside behind all of our fears
Is our true self
Locked inside the facade!
Ev'ryday
People in their own sweet way
Like to add a coat of paint
And be what they ain't!
That's how their little game is played
Livin' out a masquerade
Actin' a bizarre charade
While playing the saint!
But there's one thing I know and I know it for sure
This disease that we've got has got no ready cure.
And I'm certain life is terribly hard
When your life's a facade!
Look around you I have found you cannot tell by looking at the surface what is lurking there beneath it!
See that face, now I'm prepared to bet you what you see's not what you get 'cause man's a master of deceit!
So what is the sinister secret?
The lie we will tell you is true!
It's that each man you meet on the street isn't one man but two!
Nearly ev'ryone you meet when walkin' down a London street pretends to be a pillar of society!
A model of propriety, sobriety and piety
Who shudders at the thought of notoriety!
The ladies and gents here before you
Which none of us ever admits
May have saintly looks
But we're sinners and crooks
Hypocrites!
There are preachers who kill
There are killers who preach
There are teachers who lie
There are liars who teach
Take your pick, dear
'Cause it's all a facade.
You must seem to be rich and have money to burn
Even though it's a bitch spending more than you earn
That's the game here
And the name is facade!
One or two
Might look kinda well to do
Ha!
They're as bad as me and you
Right down to their boots.
I'm inclined to think half mankind
Thinks the other half is blind.
Would'n't be surprised to find
They're all in cahoots!
And the end of the day
We don't mean what we say
We don't say what we mean
We don't ever come clean.
And the answer is it's all a facade...
Man is not one but two, he is evil and good
And he walks the fine line we'd all cross if we could.
It's a nightmare
We can never discard.
So we stay on our guard.
Though we love the facade.
What's behind the facade?
Look behind...the facade!
(My friend Jay, as the orderly, has that last line as a solo. It rocks.)
There's a face that we wear in the cold light of day
It's society's mask, it's society's way
And the truth is
That it's all a facade.
There's a face that we hide till the night time appears,
And what's hiding inside behind all of our fears
Is our true self
Locked inside the facade!
Ev'ryday
People in their own sweet way
Like to add a coat of paint
And be what they ain't!
That's how their little game is played
Livin' out a masquerade
Actin' a bizarre charade
While playing the saint!
But there's one thing I know and I know it for sure
This disease that we've got has got no ready cure.
And I'm certain life is terribly hard
When your life's a facade!
Look around you I have found you cannot tell by looking at the surface what is lurking there beneath it!
See that face, now I'm prepared to bet you what you see's not what you get 'cause man's a master of deceit!
So what is the sinister secret?
The lie we will tell you is true!
It's that each man you meet on the street isn't one man but two!
Nearly ev'ryone you meet when walkin' down a London street pretends to be a pillar of society!
A model of propriety, sobriety and piety
Who shudders at the thought of notoriety!
The ladies and gents here before you
Which none of us ever admits
May have saintly looks
But we're sinners and crooks
Hypocrites!
There are preachers who kill
There are killers who preach
There are teachers who lie
There are liars who teach
Take your pick, dear
'Cause it's all a facade.
You must seem to be rich and have money to burn
Even though it's a bitch spending more than you earn
That's the game here
And the name is facade!
One or two
Might look kinda well to do
Ha!
They're as bad as me and you
Right down to their boots.
I'm inclined to think half mankind
Thinks the other half is blind.
Would'n't be surprised to find
They're all in cahoots!
And the end of the day
We don't mean what we say
We don't say what we mean
We don't ever come clean.
And the answer is it's all a facade...
Man is not one but two, he is evil and good
And he walks the fine line we'd all cross if we could.
It's a nightmare
We can never discard.
So we stay on our guard.
Though we love the facade.
What's behind the facade?
Look behind...the facade!
(My friend Jay, as the orderly, has that last line as a solo. It rocks.)
Congratulations, Bubby!
Today my brother graduates from OSU.
I cannot believe that he's old enough to do that.
Congratulations Bubby. :) :)
I cannot believe that he's old enough to do that.
Congratulations Bubby. :) :)
Saturday, June 07, 2008
Saturday rehearsal
Rehearsal this AM was methodical and the full two hours, just as I thought it would be. I got to the high school on this humid, sticky and gray morning to find a few of my cast mates listening to iPods in their cars, or trying to nap before rehearsal began in a few minutes. Along with the theater kids were numerous girls and parents for a dance recital that was to be held that afternoon.
Costume measurements continued apace. Our costume designer has sketched out the outfit for the "red rat" scene, which I had to say I like. Big bows for the hair, chokers, camisole, wispy skirts, heels and fishnet tights. (I have never worn fishnets). Our first dance rehearsal is on Monday at 7 on the stage proper.
"Facade" went well, with a few people off book, and a few people still on the score. For the most part, people eyed the script but didn't use it as a crib. That number is coming along very well, with only a few stops for polish here and there. The work of the day was devoted to "Murder, Murder!", the Act II opener, which goes for about 10 minutes, during which Hyde kills of the members of the Board of Governors that denied him a volunteer for his experiment in Act I. The chorus is on and off the stage, signing various things, throughout all of this, and, of course, acting as "extras" for whatever the scene requires (mourners, passengers at King's Cross, etc.). There are lots of solos, small groups, key changes, and even some Latin for the funeral scene (go Catholics who know this stuff...the two girls next to me looked a bit lost when we got there).
There are three other Cap alumni in the show with me--Amy (my year) and Mindy ('00) are a soprano and alto, respectively, and Chris ('07) is Lord Savage, but also sings in the chorus with us. Amy and Chris were members of Phi Beta, another arts fraternity on campus. It's nice to have some familiar faces to work with.
Ken, our conductor, is, as I've said before, very exacting, which is good, because that means when he says something was good, it was good. It's not just a platitude. And few things are more annoying in music than continually hearing mistakes in the rows, and the director either not hearing them or ignoring them. Ken doesn't do either.
So we have three rehearsals finished now. We also ordered show t-shirts today! Next week--Dance rehearsal Monday ("Bring On the Men"), Wednesday Chorus rehearsal (probably more "Murder!"), and Saturday AM chorus rehearsal.
The excitement, for me, continues. :)
Costume measurements continued apace. Our costume designer has sketched out the outfit for the "red rat" scene, which I had to say I like. Big bows for the hair, chokers, camisole, wispy skirts, heels and fishnet tights. (I have never worn fishnets). Our first dance rehearsal is on Monday at 7 on the stage proper.
"Facade" went well, with a few people off book, and a few people still on the score. For the most part, people eyed the script but didn't use it as a crib. That number is coming along very well, with only a few stops for polish here and there. The work of the day was devoted to "Murder, Murder!", the Act II opener, which goes for about 10 minutes, during which Hyde kills of the members of the Board of Governors that denied him a volunteer for his experiment in Act I. The chorus is on and off the stage, signing various things, throughout all of this, and, of course, acting as "extras" for whatever the scene requires (mourners, passengers at King's Cross, etc.). There are lots of solos, small groups, key changes, and even some Latin for the funeral scene (go Catholics who know this stuff...the two girls next to me looked a bit lost when we got there).
There are three other Cap alumni in the show with me--Amy (my year) and Mindy ('00) are a soprano and alto, respectively, and Chris ('07) is Lord Savage, but also sings in the chorus with us. Amy and Chris were members of Phi Beta, another arts fraternity on campus. It's nice to have some familiar faces to work with.
Ken, our conductor, is, as I've said before, very exacting, which is good, because that means when he says something was good, it was good. It's not just a platitude. And few things are more annoying in music than continually hearing mistakes in the rows, and the director either not hearing them or ignoring them. Ken doesn't do either.
So we have three rehearsals finished now. We also ordered show t-shirts today! Next week--Dance rehearsal Monday ("Bring On the Men"), Wednesday Chorus rehearsal (probably more "Murder!"), and Saturday AM chorus rehearsal.
The excitement, for me, continues. :)
Friday, June 06, 2008
Rehearsal #2...and #3
Number 3--tomorrow at 9 a.m. The joy!! :)
Notes from rehearsal two:
--Facade is to be "off-book" (theater talk for memorized) tomorrow. I'm good. We made excellent progress on Wednesday night.
--I am officially a "call girl" (to use the nicer term); I'll be singing in "Bring On the Men" and (I think) "Girls of the Night." We get to wear corsets and fishnets and God only knows what else for that scene...
--Some awesome solo work being done--truly excellent.
Notes from rehearsal two:
--Facade is to be "off-book" (theater talk for memorized) tomorrow. I'm good. We made excellent progress on Wednesday night.
--I am officially a "call girl" (to use the nicer term); I'll be singing in "Bring On the Men" and (I think) "Girls of the Night." We get to wear corsets and fishnets and God only knows what else for that scene...
--Some awesome solo work being done--truly excellent.
Thursday, June 05, 2008
Wednesday, June 04, 2008
Rehearsal!
Rehearsal number two--chorus kids--about to get underway (well, OK at 7:00, but I am leaving post-haste)
And game six!!!
And game six!!!
Tuesday, June 03, 2008
Monday, June 02, 2008
Mel's graduation
Mel graduated from high school on Saturday--as her cake says, she's the "last one out." So here are some pics from the Weekend...
Sunday, June 01, 2008
First rehearsal
"The first rehearsal of a new show is a lot like the first day of school. You start looking around the room and checking everyone out." --John Antony, Making it on Broadway
The first rehearsal for Jekyll saw people initially divided into two groups: those who knew each other, and those who didn't. It was a bit like being the new kid in the class. Everyone staked out territory in the theater room where we were going to have our first rehearsal. I had gotten there first, even before the director, so I had no idea where to sit. I'm usually one of those kids who picks the front row, so that's what I did this time, center, right in front of the raised stage area.
People filtered in until about 9:05, when rehearsal began. There were all ages--one girl was leafing through a drivers' ed manual, and some people were probably grandparents. One of the sopranos had three kids and was selling leftover boxes of Girl Scout cookies. I'm used to being the youngest--or oldest--in a group, but being in the middle was sort of strange.
Robin (our director) began by passing around scripts, introducing the leads, and giving out the vocal scores. Her husband, Ken, is our conductor. I wasn't quite sure how we would approach the rehearsal--would it be a straight read/sing-through? Would we work on just certain pieces? Ken settled that very quickly by dividing the room into SATB sections--Sopranos on the right, tenors, basses, and Altos on the left. The boys, as usual, were outnumbered.
Our work for that rehearsal was the big opening number, "Facade", which involves everyone, except Jekyll (he's just sung two solos, so he needs a break). There are solo lines, group sections, parts for the principles, multi-part chords...it's a great opening number. We spent the entire rehearsal period dissecting it. For now, the solo parts, etc. were not assigned, unless it was written for one of the leads and so noted in the script. The Alto line is everywhere--with the sopranos, with the tenors, with the baritones. My highlighted pages for that are quite colorful. But, after a long dissection (Ken is a very exacting conductor from the start, which is great--"what you do in practice is what you do in performance," says the choral maxim), we ran the song twice, completely; once with the accompanist playing the vocal parts, and once with her playing the orchestral reduction.
I got a pretty good idea of how many numbers I'll be singing. All the women will be singing "Bring on the Men" and "The Girls of the Night", which I'm excited about--those are the, um, "prostitute" numbers in the show (this is also the scene where Jekyll meets Lucy). They are both a lot of fun, but completely different in tone. "Bring" is a pure come-on, while "Girls" is a more wistful, longing type of song. There are solo lines in each. There is also Jekyll'sone dance number in "Bring", and most of us signed up to be dancers. In high school, I never would have done that, but after my ballet classes I think I can handle it. I am very excited about that.
Immediately after the rehearsal I went to Staples and copied the score so I have my own--I like to mark and highlight, which is not allowed in the scores we're renting from a California Light Opera company. (We are doing the Light Opera version of the show, as opposed to the Musical version, because the LO version has a lot of great songs that were cut on Broadway.) I then proceeded to highlight and mark, so I feel ready for rehearsal on Wednesday. Most of our rehearsals, until we head into June, are going to be purely choral. The leads will rehearse on their owns. Dance rehearsals are on Monday nights and begin next week.
It is going to be a blast. I can't wait. (And we get show t-shirts!)
Next week: Choral rehearsal on Wednesday and Sat. Woohoo!
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