The notes I didnt get to...

Amanda :
- “…make you invisible” be sure to try an physical gesture to make him invisible
- “…it shows everywhere” use the whole space
- careful not to stand right in front of the audience
- “…begging but a beggar” the beggar is Viola
- I couldn’t tell what you or Viola wanted form eachother, and how you are different when you leave the scene

Hunter :
- work carefully and precisely the “eleven places” Andrew must hit in Caesario
- “…some two thousand or so” find a physical gesture that reveals you are really in terrifying debt
- remember to be on your knees when Maria enters
- be sure to observe Andrew is you give him a series of commands (write the letter, prepare to fight, etc). You tend to lose focus and I don’t know who you’re talking to.
- You need to COMMAND III, iv, but you aren’t doing that right now. Toby drives the scene

Katie:
- I worried you weren’t even talking to Feste in III, i. You have LOT to learn/gain from him. How is she different when he leaves? Does she get enough from him?
- What sort of state is Viola in as she encounters Toby telling her that Andrew wants to kick her arse? What is the moment before she enters?
- Choose the word ‘taste’ in “…to taste their valor”. She means ‘test’
- Physical life for a man? Hiding chest, etc?

John:
- Hold onto your Beebee as you drop the rest of your clothes to pack
- You need to lift (use new action) for “I saw it I’th’Orchard…”
- I lost the best change in Toby’s speech to you that makes you drop your bag
- Maybe try burping in the middle of the word “Politi-cian” to make the split pronunciation you are using make sense
- Find a proud, posturing body for Andrew as he listens to Toby read his letter

Chelsea :
- what is her energy/excitement level as she comes to tell that Malvolio actually is now WEARING yellow stockings?
- Use the word ‘gull’ in “..yond gull Malvolio” I don’t know what you mean yet
- “Hurling things…” speech needs work. I think it lies in your needing to become more comfortable with making a direct attack on another character. You must allow yourself to use tactics that can hurt the feelings of another actor. They aren’t always ‘angry’ or ‘mean’, but they are deliberately used to wound…
- lift the word ‘Fiend’ when you use it
- I think “La! & you speak ill of the devil” needs to be bigger. Use that word “La” to be a kind of “O, My LORD!”
Beckie:
- Keep exploring how changeable she can be. Widen the Palat of choices you use in a scene. Olivia is rich in tactics more than she is in wealth (and she’s pretty fuckin’ wealthy!)
- Lost the word “smile’st”. Needs articulation.
- Is Olivia SURPRISED that he’s wearing yellow stockings? If so, I don’t see that yet. She could find them funny, or revolting, or evil… I don’t mind
- Throw up in your mouth as you say “cross-gartered”

Jon-Michael:
- I need you to be more on top of the text in your speeches. Anthonio and the Captain both drive the moments they have long sections of text. I worry you’re letting the text beat you at the moment
- When you leave at the end of your second scene with Sebastian, take the green duffel bag in USL corner left by Andrew in the scene before. Use it like it’s yours
- I LOVE the branch

Ross :
- make “Thanks, and thanks…” two separate actions
- When you sit in Anthonio’s admission, can you make a noise to indicate that Sebastian is taking this as lower stakes than Anthonio is intending. A kind of “OOhhh – so YOU have a secret too…”
- “Perhaps you slew great numbers of his people…” can be really COOL to Seb
- “do not walk too open” – give the branch back to Anthonio as if to say “ Chillax!”, then return DSR