Archive of 2013 Honors Theatre Ensemble's One-Acts

This is the Lawrence Academy Honors Theatre Ensemble....
as you can see, they mean business. 
Each year, the Lawrence Academy Honors
Theatre Ensemble culminates their year-long course by directing full productions of one-act plays. Some directors have chosen to write original scripts, others have chosen to adapt pieces of fiction into dramatic form and others have found play scripts that they want to direct.
This year, there are ten directors and so it will be a  marathon evening of plays. Here is the lineup:






Sarah Carlson directing her own script Two Guns. 
Joe Casper directing How to Survive in Corporate America by Ian August
Connor Gowland directing his own script Five Little Soldier Boys
Haley Gowland directing her own adaptation of The Catbird Seat by James Thurber
Kacey Hartner directing her own adaptation of The Long Walk to Forever by Kurt Vonnegut
Jimmy Lawrence directing his adaptation of The Egg by Andy Weir
Emily Perrault directing Misadventure by Donald Margulies
James Plummer directing Naomi in the Living Room by Christopher Durang
Jillian Thero directing her own original piece based on the recent Steubenville, Ohio rape case
Philip Titcomb directing his adaptation of the play Ferris Wheel by Mary Miller

You can follow the rehearsal progress of the 2013 One-Acts below, in the words of the directors:

Steubenville 5/7

Hello loyal readers,

On Tuesday we had a splendid rehearsal for a couple of hours. We started off with warming up on the stage with Philip, James and Joe's casts. We started with enemy protector and enjoyed running around the space and getting some energy and excitement in the room. Then we played the number game where everyone is in a line and they have to count on the beat. This is personally my favorite game, even though I am terrible at it.. I LOVE IT. Shout out to my cast member Nick for his three way tie win!

We then went outside and rehearsed because Tuesday night is hopping for one act rehearsals and there wasn't room anywhere else. We incorporated a lot of changes during this time and the new specific moments and places on stage will really improve the performance.

CBS Wednesday

On Wednesday we worked for a solid two hours and the work paid off! I made them go through every second of every scene and plan it out, which can be torturous, but is completely necessary work. We warmed up with a very effective warm up. I had them pair up and say "I love you," or "I don't care" on a one to ten scale of intensity and involvement in what they were saying. On the spot I decided t have Aaron say "I have a bomb" and Jess to respond with one of her lines. It was so helpful for them to have the repetition of those lines and for them to try saying them out loud in different ways. I really enforced that to be intense, you on't have to yell. I love you whispered can be more impactful and more importantly, truthful, then exploding with love. "I hate you" "I don' care" was also played.
Next time I might warm up with Yes and on a scale of intensity.
We did another run through which was much sharper and clearer than the first. Next rehearsal will proceed tech, and we will work on getting some more volume, staying on those diagonals, and sharpening that last scene. Here we gooooooo

"Ferris Wheel" Rehearsals #10 & #11 - 5/8 & 5/9

Rehearsal #10

            Today, we started with the alphabet game. After a couple of fruitless rounds of the two proving that they don’t know the alphabet, we played Joe’s one-upmanship game, where we would stand around a chair, and someone would have to stand on the chair and one-up the other people. First, we talked about how great our jobs were, which went off on tangents about free donuts to us paying them to work for them. Our second round consisted of us talking about how awful our lives were, which started with our DVRs not correctly recording episodes of Degrassi to not actually existing. The next warm up we did was a repeat of the improv with a stick. This game involved the two having to use the bar as a differing thing until I yelled “change,” which would then require them to change what they were doing. My favorite one they did was when they were sorority sisters, and Maddie was newly inducted. I liked this scene because it was playful, funny, and high-energy. I’ll try to attach a small clip below.

            During the rehearsal itself, we worked primarily on the transitions between the different moments. The biggest problem still was lines. However, it has gotten much better. I had tried to work with Gib to help her find a more truthful Harper, which she is improving on quite a bit. We also worked to make the kisses less awkward, and I decided that I want the last kiss to be more passionate and therefore more than just a peck, like all the other kisses are. I also gave them both all of Joel’s notes, which proved to be very helpful to the process. We’re also working to make the entire play quicker, faster-paced and more energetic. Near the end of rehearsal, when some other students decided to watch, Gib and Maddie both improved immensely. They just need to be less awkward about kissing one another.

Rehearsal #11

            For rehearsal today, we went to Gibbet Hill Grill, across the street from Lawrence Academy. At the restaurant, Maddie and Gib had to be in character and incorporate many elements from their lines in order to make their back-stories seem more authentic and believable. Also, by getting to know more about their characters, Maddie and Gib are able to play a more truthful version of their characters during the show itself.

            They established that it was their sixth date and that they were in an open relationship. They also talked about specific moments from the script that they mentioned within the actual play, which was good. We also ran though our lines, which they seem to know better. If they don’t have their lines down by Sunday, Tech Rehearsal, I’m going to have a conniption.

CBS Monday

On Monday we had a short time slot but made the most of it. After I ran through some notes, I had them warm up for their run through.We did floating disc, which transformed into mirring each other on the disc, which moved to just jess and aaron mirroring each other, which turned into the last scene where Jess mirrors Aaron who hides behind Lisa. After that I had them recite a long tongue twister for me while I sat in the backof the theatre and they stood at the podium. I wanted a choice, articulation, and volume. Finally, we went over anything they were shaky on and went for the run through. We're still working on little  moments, but the piece is getting sharper.

Corporate America: Caterpillars to Butterflies

This week's run of rehearsals is over and tech week awaits us. I didn't think I would ever say this, but my cast might actually be ready for tech week. For as long as I can remember, tech week has always been a rush. A rush to memorize lines, codify blocking and staging, and run through the show as much as possible. However the cast's lines are memorized, the staging and blocking are close to finished, and we've already run through the show more than I thought we would. Though they have come very far in this process, they will need to make even bigger choices and have even bigger energy if they hope to survive tech week.

"Ferris Wheel" Rehearsal #9 - 5/7

Today we began with a large group warm up. We warmed up with Jillian’s, Joe’s and James’ casts. The first game we played was enemy protector, which is always a favorite among large groups because it allows them to run around with their peers in a scene of simulated chaos. Everyone did well. We then played the number game, where everyone is sitting in a line and assigned a number. Once someone else says someone’s number, the person whose number was said has to then say another number that correlates to someone else in rhythm. We made it a competition between casts. Unfortunately, mine didn’t win…but it also didn’t come in last (#joe).

            We then parted ways and began to work. We started with running through the entire piece on the sign that reads “Richardson-Mees Performing Arts Center” outside of the Conant Gallery and tried to address all trouble spots. We then went into the theatre and did a run-through of the piece for Joel. During the run-through, they both made many grave errors regarding memorization for the script. I hope that they will be completely memorized by our next rehearsal. I hope that they act with a greater sense of urgency next time as well, since that lacked.

            Gib made many strong choices…some of which were too strong. Maddie, on the other hand, didn’t make enough choices…which is somewhat respective of their characters, but too much so.

            We spent the rest of rehearsal walking around campus working on memorization while holding the bar. We also worked on having Maddie convince people that she was legitimately smoking a cigarette. The best moment happened when we walked across the quad while Maddie was pretending to smoke. Everyone who was outside became silent and just stared at the faux cigarette in Maddie’s hands. One person was dribbling a basketball, and the basketball fell to ground in shock as he watched Maddie pretend to smoke. Overall, it was a productive rehearsal, but we still have a long way to go!

FLSB first off book run through!

Last night we rehearsed from 6:00 to 7:15. I first had them say tongue twiters becasue they each have lots of long and complex lines that they need to say clearly.  I also had my cast walk around the room and I would call on one of them to say a line, and eveyone would stop and look at them.Isaiah and Garrick both have some great moments, but they both talk way too fast becasue they have gotten used to their lines.  They need to speak slowly and clearly so that the audience understands this complex piece.  We had a very slow run through in which I gave the actors many notes on how to play out scenes.  I stopped Garrick numerous times in his first speach to give him specific movements.  When he understands his character's words, he acts very realisticly. I rewroked a few sc enes to make sure that the actors are taking advantage of the three qyuarter stage, and then once we finshed the slow going run through, we did a full run through off book.  I took pictures during the run through and took note of a few moments that needed re working.

Corporate America: Group Warmups, Stubbed Toes, and More...

Today was a very generous day in terms of running through the show and getting closer to a polished product. We started the rehearsal with a massive group warmup with 3 other casts. This may have been the biggest warmup we have ever done.

The first warmup was enemy/protector, a game where you pick an enemy and a protector to save you from people in the group. You have to keep your protector in between you and your enemy at all times. What ends up happening is everyone starts frantically running around, trying to save themselves from their villainous enemy. The point of this warmup is to present the idea of high stakes. To make the game work you need to believe that your enemy is about to kill you and the only thing you can do is save yourself by hiding behind your protector.

The next warmup was the counting game. Everyone stands in a line, receives a number, and each person calls a number. When your number is called, it is your responsibility to say another number. If you fail, you move to the back of the line, and the people behind you fill in your spot. This is a fun game just to get people's minds focused, which is unfortunate because my cast was especially bad at this game.

Once we started running through, my cast was on target. And boy did they impress me. They called themselves out on things like pacing, enunciation, and diagonal staging without me even saying anything. They've taken these responsibilities on themselves so I can focus on helping them make big choices and come up with big ideas. So far, everyone has done a great job of making awesome choices. Conrad is really understanding the three dimensional staging and plays to all parts of the audience with great ease. Sabina is doing a really good job of staying detached from Conrad at the beginning, but slowly empathizing with him as the show goes on. Sheighla is doing a magnificent job of making a character choice and sticking with it. I have no doubt that they will continue to make great choices and make each new run through the best they've ever done.

FLSB full run through and filling in!

My last two rehearsals consisted of running throgh the entire show (almost all off book) and before that having me step into Isaiah's role becasue he was not there.  When I had my whole cast, I first had them say the long word phrase "What a to do to die today..." The one thing that they all need to work on a lot is there announciation and how they say their lines.  They speak very quickly and sometimes I have trouble hearing what they are saying.  They need to emphasize certain words and phrases.  I then have them play "I love you, I dont care," while I counted to ten (1 being most quiet and ten being over the top huge!) I have them do this to help build up their energy and get into going over the top, and also to speak in response to their partners.  They did a run through, but I stopped them numerous times to give them notes.  During our official run through, I took a page of notes and then after the run I gave the notes to the actors.  In one scene, I told Isaiah to run and tag the back door of the theater between each of his lines.  The actors continue to suprise me with their choices and I have loads of notes to give them tonight at rehearsal.

Corporate America: 6 Days til Tech

With tech week quickly approaching, I've made the mission this week to run through as much as possible and codify everything that we have. That's not to say we're not still creating. The actors are still bringing big energy and big choices to the rehearsals, which is something that the show really needs.

We started today's rehearsal with some impromptu warm ups with the goal of waking people up after a long day of school and having them think creatively with improv. The first warm up was follow the leader. Jason, one of the actors from another one act who decided to drop by, was marching around the stage with a very specific gait. I thought it looked interesting, so I told everyone to follow Jason. This turned into a big game of follow the leader where everyone followed and copied the leader's movements and any noises they made. This was great mostly because it came out of nowhere and  because it got people on their feet, moving about the space. Next we did a "one-up" improv game where the goal is to one-up the person who just spoke. To give the actors something physical to do I gave them a block and told them that if they wanted to speak and one-up each other, they would have to get up on the block. I was worried it would turn into a chaotic brawl, but in the end we all had a lot of fun pulling each other off the block and making each other laugh with big choices.

When we ran through, I wanted my cast to really utilize the space and play 3D. To do this I told Sabina and Sheighla to use the downstage corners at least 10 times by the end of the run through. I also told them I'd snap at them if I saw them not using the diagonals. Luckily I didn't have to snap at any of the actors. They're understanding the dynamic of the stage and the staging. I'm really proud of my cast. I can't wait to see what we make of this week and I think we'll be more than ready for tech week when it finally arrives.

Misadventure: Rehearsal Six

We were all super tired today, so rehearsal started a little slow. We improved a couple of brother/sister scenes, and I'm always amazed at how into it they both get. Then we played "speaking of", a game they both hate. I tried to get them to think about letting the ideas really come to them and take over their whole body. I had them think about how the idea shows physically: eyes, face, body, breath... they were both tired, so this was tough for them, but eventually they caught on.
Then we moved on to script work, which went very, very well, in my opinion. They've really taken off with the script and made the characters their own. They know their lines and they know the blocking and both of them, but especially Eli, are really starting to justify the movements and really connect them to what they're saying. Something I really appreciate about both my actors is how well they take criticism. I tell them something, they take a second, think about it, and then really apply it to whatever they're doing. If they have a question, they don't hesitate to ask and if they are confused about anything at all, they tell me and I try my best to fix the problem. They're both so much fun to work with at all times during rehearsals and I'm excited to see where they take it from here.

~ Sixth Rehearsal : NAOMI IN THE LIVING ROOM ~

Sixth Rehearsal.

Theatre Classroom.

6:00pm.

Possibly the BEST REHEARSAL YET... I notice myself starting to say it more and more. We started out with some improv intensive activities.

Activity 1: Improvised Dinner. Phoebe made turkey as usual, but Johnna is allergic to turkey. Thus, John is torn between siding with his mother or siding with his wife. Johnna is apparently not allowed to go into the kitchen... or the bathroom... or anywhere other than the dining room. The toilet seat is made of gold... This activity as a whole was very humorous and I found myself laughing and crying along with the cast.

Activity 2: Improvised Arrival. Mike and Franchesca got to the door and knocked on the door. Phoebe remained seated for quite a while, but finally arose. During this activity, I noticed they used a lot of adapted versions of lines from Naomi in the Living Room. I appreciated this and none seemed to be stretched or forced. I liked this and a lot of it seemed usable in the actual performance.

Practice: We then hearsed and rehearsed the last few pages which are really looking really really good... really! We worked a lot with Mike because in order to play John, he needs to be invested and willing to push beyond uncomfortable for the things he needs to do.  We worked a lot on blocking and making solidified choices. This will be great.

Misadventure: Rehearsal Five

Because everyone was rehearsing at the same time last night, I ended up holding my rehearsal in the Black Box. At first, I was hesitant about working in such a vastly open space, but it ended up being great for us. Both of my actors, more-so Eli than Shae, have a tendency to start a line strong and then let the end fizzle off into space. The Black Box, in all it's enormously empty glory, was great for working through that. I stood up at the top of the bleachers and had them working all the way in the back by curtains, which made them more aware of when they aren't projecting or articulating enough. Eli still has a tendency to slur his words together so that a whole sentence sounds like one very long word, but he catches himself doing that now, and he's getting much better at it.
We started with "speaking of", which I know they both hate, but I think it's useful, so I love watching them play. Then we moved onto "I want you to have this/ I don't want it" and "I love you/ I don't care". I had trouble explaining that with that game, as with the script, I don't want them to show me how they're feeling, I want them to think about what they're trying to accomplish and whether or not they're getting their points across. After that, we improved a family dinner, which was so much fun because I stepped in and played Mom. Eli and Shae both expressed to me how much they love improving things like that.
Then we moved on to the script. I adore the fact that both my actors are memorized, even though Eli doesn't think he's completely memorized. They're really starting to take off with the script and find moments that they can have fun with. We worked on the stage for a little while today, and they both seemed to fit into the space very well; they seemed comfortable there.
I can't wait for tomorrow.

"Ferris Wheel" Rehearsal #8 - 5/1

            Today, we began practice by playing the alphabet game outside. We ended up being in a situation causing ourselves to chase Maddie through the parking lot, weaving between the rows of cars. Gib and Maddie did a great job, but at times they did have trouble staying committed. We then played “Yes! And…” where they had to find a way to market a tree outside of the Conant Gallery. They had very specific ideas and could easily build off of one another, so I had them do it for a while. They were very creative and could make the game continue with ease. We then proceeded to roll down the hill.

            We then dove right into the script. I had the two run through the show while they were sitting on the stone sign that reads “Richardson-Mees Performing Arts Center” next to the Conant Gallery’s parking lot. I had them sit there in order to run through the show because it’s similar to an actual Ferris wheel in the sense that they are somewhat high up and that they can see for a far distance and feel wind running across their faces and pushing their hair back so that they could feel how being on an actual Ferris wheel would feel. We also justified all of the unjustifiable moments.

            We then moved inside and worked more on the kissing scenes. Maddie’s problem is that she’s too awkward…which is understandable, but she still needs to be a little more fluid and passionate. We also decided that we would need to have one bench on top of a platform off of the ground so that they don’t lose their balance easily. Overall, it was a very productive rehearsal. GO TEAM!

Wednesday CBS

We finished blocking on thursday and got through the end of the play on Wednesday! We started with Joe's cast again by playing Ba-da Ba-da, which is an improv based game. Everyone picked it up quickly and got into it. We asked people not to plan the words they say, and just let them come to you. Joe and I loaded a bunch of tactics and tricks on them about making a choice and running with it in an improv scene, and about not saying no. After your partner gives a line, it is usually best to build off it. Saying no just closes a door. If you say yes, you're giving your partener a break and moving forward with an idea, no matter what that idea is.
We started working in the theatre on the last part of the piece. I'm working more and more on having them cotify sharp movements. Repitition of little moments is extremely important. When Mrs. Barrows enters, Martin and Paige give her a sharp look, and when Lisa enters from the other side, they give the same suprised reaction. As they specify their choices, I need to specify my directions. For example, I need to talk to Jess about the difference between being Indignent and Angry. I may need to give Martin metaphors to help him raise the stakes in scenes. I want Lisa to be more physical with Aaron, and Emma to create even more of a difference in her two ways of speaking. I could go on forever, and that's why I kept them an hour and a half! They're doing a great job, but this work never ends.
I'm still tweaking the diagonals and I need to return to work on articulation. I also need to get some volume so we might go outside next week. I'm planning on bringing candy on Monday and taking a field trip to the costume closet. I have a ton of games to play on Monday too, including floating disc or Angel and Guardian to raise the stakes, toungue twisters, and a game where they practice mirroring each other. When Aaron hides behind Lisa, he starts trying to avoid her and they started mirroring eahc other with Lisa in the middle. That's a perfect example of them trying something new and it working wonderfully. I have trouble saying no to ideas because I want to encourage the spontaneous ideas.

Corporate America: Anxiety

Tech week is approaching a lot more quickly than I first thought, it's a little more than a week away. I've been focused lately more on fixing staging, projecting, and other basic theatre mechanics, rather than character choices and intention, which I found out last night is starting to worry the actors. They have found, as have I, that while working on these mechanics, the energy and productivity in rehearsal has been low. They much preferred making big choices and coming up with new ideas for the show rather than tediously refining the staging.They are worried that if we focus too much on the mechanics, and not as much on the ideas of the show, then the show won't be ready for tech. Upon hearing this, I gave them an ultimatum. I told them that I will gladly focus on ideas, characters, and intentions in rehearsal if it will get their energy and productivity up. That means that it will have to be their job to keep staging, projecting, and other mechanics in the back of their heads, so that I don't have to remind them. They agreed and told me that they would work on some ideas and big choices before rehearsal so they can come prepared for a run through. To make sure they are able to get through a run through, I plan on giving directions from the sidelines instead of stopping and starting the show. This way they'll be able to make conscious choices in the moment and they won't lose focus or energy while rehearsing.

CBS Monday

On Monday we warmed up with Joe's cast by playing jump rope. This got everyone's energy up. Then, I had everyone look through their script as a reminder. I said look through and write in all your cues that you're missing, which might include "stand left of Martin," "sharp look," or "speak to her like a sister." I took questions and we eased into the work mentally before physically. Afterwords, we ran through the piece several times. We've been doing so much up-close, chopped up work during the past week, I thought it would be effective to work through the whole thing and mash everything together. I needed to be reminded of the peice as a whole just as much as the cast. We ran through and gave notes a few times, working on blocking in the theatre. I'm letting them run with choices whether it be changing their dialect or making faces behind Mrs. Barrows back. Mostly because each choice seem to get bigger and more pronounced each time we run the scene. I really get to see everyone come alive this way and its great!
I'm still working on the diagonals, where the blocks will be and how to have everyone manuever around them. One obstacle our cast faces is the juxtaposition of four different settings in under ten minutes. I have a nuetral set in mind for this. I need to jump into run throughs more often, and kill most of the wandering. But I am very excited that this play is getting on its feet, and getting bigger!
Haley

"Ferris Wheel" Rehearsal #7 - 4/29

4/29

            Today was our first practice on the stage. We began with the alphabet game walking around the space. At first, they weren’t so good with their letters. But as time progressed, they got the hang of it. They were really truthful and committed, since they played a couple that was going through a divorce in the local general store. After playing that, we played “yes, and…” which was good. We then played “no, but…” and the two had to convince me to choose one of them over the other to work for my law firm.

            We then began the actual rehearsal. We then ran the ending sections and solved all justification problems with the lines. We also blocked the ending and solved all of the issues regarding the ambiguity at the end. Maddie and Gib also did a better job discovering their true characters. It was a short rehearsal, but they should have their lines down by the next rehearsal.

Two Guns Rehearsal on Sunday, 4/2

Today started off rocky, but ended up being quite successful. We started off with something called Colombian Hypnosis, which is when Person B must stare at and follow Person A’s hand as Person A moves around. This is effective in terms of concentration and building a connection between actors. It’s also just really fun. Then, I had them do the exercise as Person B, but with an invisible Person A. If someone had walked into the room just then, it would definitely looked like they were crazy- because they weren’t trying to be. The hand is so real to them, butt he audience doesn’t see it. That’s how we should have played ‘crazy’ in Sweeney Todd.

Next was the ‘Question Game’, which I adopted from Whose Line is it Anyway? (great show). All they do is have a conversation, but only using question. It started off pretty horrible, but they really got the hang of it after a while. Several times they got stuck or started laughing, but they really pulled through it.

We established all the official turning points of the show- as in the literal points in the text where they must walk around the table. It’s looking a lot better. I’m having them really play to everyone (it helps that they’re shifting in a circle). One critique that, oddly enough, works for Mariah is ‘Be happy’. It’s not as if her character actually needs to be happy per se, because it isn’t actually happier that I want Megan to come across as. It’s more of an energy type of thing. Whenever I tell her to be happy, I get exactly the PERFECT result from her character. Same thing with Steve when I tell him to think about what he’s saying more, and say things differently.

We finally worked the banana scene! It looks fantastic. Poor Steve went through FOUR bananas, but he’s got the whole effect down. I honestly thought it would be harder, but he knows what I’m looking for and certainly can deliver.

I can see that they’ve both put a lot of effort into studying the script and memorizing the lines. The meaning as well. It’s really working out, I’m impressed. I’m getting them munchkins for next rehearsal for all their solid work.

FLSB and PROM!

We had a prom asking during our rehearsal today! In the middle of a scene Garrick asked Danielle to Prom. I started rehearsal wiht playing "I Love You"  "I Dont Care" and I had them increase their energy as I counted form one to ten.  This game helped the actors wake up and get into the necessary over dramatic mood.  We worked the scene right after the first muder occurs.  We messed around woth blocking some of this scene, but I had a very specific plan for the next part.  The characters needed to read a poem aloud, and I assigned each of them two lines and gave them specific directions for how to show their line.  This scene required the actors to be in sync with eachother, while also having a certain playfulness while almot telling a story.  WE finally starting adding more to the script today.  We would run a scene and someone would say "what if we added this here!" We added some small lines based on the characters. The actors are really getting into their characters.  I see them in the halls now and I see the characters in them more than themselves.  I told them how much I apppreciate the fact that they are all going so all out in this show, I really am excited to see a full runthrough f this show now that the entire piece has been blocked!