2014 Honors Theatre Ensemble One-Acts

Lawrence Academy's Honors Theatre Ensemble

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 eight directors and the lineup of plays is as follows: 




The Dog, written and directed by Kelly Burns
Everyman, conceived, adapted & directed by Gabriella DiVincenzo
Lipidleggin', adapted & directed by Nick Guarracino
John & Emily, written & directed by Kara L'Heureux
Honey I Love You, But I Just Can't Smile, written & directed by Sabina Haque
Words, Words, Words by David Ives, directed by Jason Karos
The Scary Question by Wayne S. Rawley, directed by Conrad Solomon
After, by Carol Mack, directed by Sheighla Wall

You can follow the rehearsal progress of the 2014 One-Acts below, in the words of the directors: 

Last Message

Nicholas Guarracino

I woke up this morning and didn't have anything to do. I had no props to set, no notes to give, and no worries.

And yet I miss it.

I have to admit that for all the stress my first experience in directing has given me, I loved every moment of it. I felt like I learned a good bit about the process, like I could (theoretically) do it all a gain. And you know what I hope I do.

I thank God for my excellent cast, my helpful peers, and my director/teacher Joel. It was a good run.

Rehearsal photos

Sabina directing Nick & Callie

Sabina directing Callie & Nick

Gib directing Julia & Brendan

Nick & Callie

Kara directing Brendan & Katelyn

Gib directing Everyman

Conrad directing Katelyn & Frank

Gib watching rehearsal

Conrad directing Katelyn & Frank

Sabina playing with Callie & Nick

Frank & Katelyn

Gib directing Talman & Julia

Talman, Julia, Brendan & Shae in Everyman

John and Emily

I would say today was the last full long stop and go rehearsal. Today was  a tough one and I really put my actors through boot camp and made them start parts over a lot. I channeled my inner perfectionist and spent a long time dealing with lines that weren't believable and pulling energy out of them.

I am very proud. They took direction amazingly and when I gave them feedback they understood everything I meant. We did about 2 run throughs of the show with at least 8 stops and redo's during practice. Each time I would ask them what their character wanted and if they were being direct enough. We also worked on diagonals again because the last time we ran they did not use the diagonals enough. I talked to them also about relaxing and feeling more comfortable with each other. I feel at this point they understand their characters really well and now know how to react in most situations as their characters.

At the end of this long rehearsal we did a read through and I had them really work to get their lines right. They were still having a little trouble with some areas of the play and some lines but I think the rad through helped.

I am going to keep reminding them to remember all the great work that they put in today and I hope they remember all the little things we fixed. I am excited to start lighting and finally see everything fall into place.

John and Emily

Today was the first day my group had to deal with the platform. Unfortunately it was not like I expected and it rolled. This set back required rearranging but was relatively easy to fix. Thank god.

The rest of the rehearsal went relatively as normal. We started with an improv where I had them set the stage with chairs randomly and then from the way they set them up they had to create a story. This was a fun one and got them into thinking fast on their toes and using the set pieces.

We did a run through and after re-blocking a few spots I started to work with them on connecting to the scene and the story more. My actors are so close to expressing their intentions but some how they are still having trouble pushing themselves to the extremes and some lines are still not believable. We talked about this for a while and did a few exercises.

During the next run I definitely saw them going for it. They created higher stakes for the things they wanted. There were some moments where I really believed them and some moments when their lines really came off clear. They still need to keep working on this but the fact that I saw such improvement so fast is a great sign.

Tomorrows  rehearsal is time to really buckle down and start being more pickey and I need to really push them. I am excited to see the results and see how much they improve.

May 6 Lipidleggin'

Nicholas Guarracino

You know what my problem is, what my cast's problem is? Precision.

Seriously. I feel like everything that needs to be there, is there. Heck, I taught them to waltz AND tango! They know, I'd say, at least 70-80% of their ques. Most of the props are in, and most of the costumes. They just have to practice. Everything is there.

They have to lock down on their characters, and commit to them fully. They need to be big. They need to have fun. It's there in the play, and it gleams through in rehearsal, but there is still dropped energy here and there.

They need to sink those ques. That's just a matter of practice, though. That will get done. Heck, I'm with 'em for three hours for four days. Plenty of time to run.

All I need to do is get those few props. Also, I need to buy groceries. That is, I need to bacon, egg, and cheese sandwiches and some English muffins. Oh! And the music. That will also get done.

May 1st

I'm off book.

There. It was said. And it feels damn good to say it, too. Like I've finally accomplished something. Like my actors accomplished something. Like it won't suck (much).

Now, here are the things that needed to be worked on.

1. We still, STILL, occasionally have the momentary break during rehearsals. NEIN! No more!
2. We're still "staged for proscenium". This shall be fixed.
3. Too much walking with narration. It's distracting. 
4. The waltz, it's... nice. But it's out. Tango instead. Tango is in. More competitive. More conflict. Fits the show better. 
5. The dialogue, especially the actual purchase, doesn't seem high stakes enough. It doesn't seem like they're dealing in the illegal. 

But yet, that is all. Really, I swear! Now all I need to do is acquire the props and solidify the music list, and presto! Forgive me for the brevity of this post, but I honestly think I'm good! Knock on wood and all.