Feedback response

I completely understood and agreed with the feedback I received for my first draft. On of our biggest challenges is writing something coherent. At first it was abstract, but then that was not making any sense, so we had to make it a lot less abstract. That kind of upset me, because I was really hoping to stick to my original idea.

One of the biggest issues in our group is that we all have a really different vision for the skit. I personally do not have any specific vision, but I am willing to break away from the abstract if that will get us a better grade and make things more clear. I am not sure if all of us are willing to do that. We also get distracted at night by all of our other work and never get to do substantial work on the script. When we do work on it, it does not work well and I am never happy with how it comes out. This shows in our performances, for example when the audience was confused about the role of the Madonna. In my head, she was another member of the family, but to Abby and Nadya, she played more of a spiritual role.

The language in our scripts is not very well done. It does not read well, and it is clear that some is written by me, some by Nadya, and other parts by Abby. We all have unique writing styles. We already started changing that, and will need to finish tonight.

I think we all realize the majority of our issues come from a lack of communication. It is difficult, but we have to find a way around it. I believe our lack of communication also showed through to the audience - things the class asked us, we all had different answers. All of the feedback will allow us to focus on one thing.

    The feedback was very useful, because it gave us a specific direction. We were kind of going nowhere, and now we have an idea of what to do. I picture us making this more about Josephine, and her story, instead of a prequel to the story in the book. We have to re envision the entire plot line. We decided to have the mom leave earlier, and spread out the very beginning to make it much longer. In a sense, it is divided into quarters:

1. Mom and Grandma before the Massacre, ends with Massacre
2. Mom teaching Josephine about Massacre, ends with prayer and visit to river
3. Josephine begins to doubt stories, mom confers with Madonna and visits the baby, ends with mom being taken away
4. Josephine goes back to river, sees Madonna for first time, begins to restore faith.

Now that we have a clear path, we can go back and rearrange. I am not going to lie, I am really worried about how this skit will end up. We are working on it, but I know it will take a lot to get to a good point. I know we can do it!

         

School of Rock Reaction

     I always look back on shows with nostalgia, because I love individual parts of every one. In Spelling Bee, it was the carefree attitude of my character and the improvisation aspect of the show itself, in The Dead, the way I really had to tap into parts of myself to play Gretta. In School of Rock, I loved the contrast between characters, and the difficulty of playing a character so different from myself. I don't consider myself uptight or hard to work with. Rosalie was all of the above. She was rude,  insensitive, and extremely high strung. Getting into character with her was difficult,  and getting out of character was just as hard.
     Just as with every show I am in, I found myself bringing aspects of my character home with me. I wrote about this after doing The Dead, and I felt it after Spelling Bee and Once on This Island. School of Rock was the same. During the rare times I wasn't at rehearsal, I was much more easily stressed out and high strung. This was obviously in part due to so much rehearsal and school work at once, but also because it was hard to play somebody so intense every day without taking that home with me.
     “Intense” is a really good word for Rosalie. She had no friends, and spent every second of every day working - that is, until she met Dewie. When Rosalie got so caught up in pleasing parents, she lost sight of herself. Dewie helped her find herself again. All of this happens in one, very short scene. The bar scene was my favorite and my biggest challenge, because I had to put a lot of emotion and change into a very short amount of time. The song was also difficult, because it was higher than I am used to at one point and was pretty much only me - something I had not done in a while. (Spelling Bee did have a solo song, but it was funny and not serious). When we talked in class about acting methods, we talked a lot about focusing on moments of change. I was used to doing this in The Dead, but I had a lot more time to make that change. Rosalie goes from up tight to relaxed in about 10 minutes, then back to uptight, then back to relaxed again. This was also her first time making a real friend.
    To combat these difficulties, I spent a lot of time watching videos of the bar scene, both from small productions and the Broadway show. I also watched a lot of interviews with Sierra Boggess, who played Rosalie on Broadway. She was really helpful. One of the most helpful examples of a video of her was when she described Rosalie as striving for perfection, and that she had to learn to be perfectly imperfect. I took this to heart as a character, actor, and even a person. Until the bar scene, I kept the thought of “perfection” in the back of my mind. This allowed me to successfully portray Rosalie.
     I loved playing her, and I loved the way the show turned out. Overall, it was a success!

Script

Madonna - Abby

Mom - Sam

Josephine - Nadya

Beginning

• Massacre
• Escape

Middle

• Visit to river
• Teaching the call and-response

End

• Dead baby

• Police
• End with madonna and child repeating game again?

Props:

• Blue fabric to cover triangles
• House set
• Bed
• Couch
• Desk
• Table
• Four Chairs
• Wings of fire
• Rock
• Fauna near river
• Doll Madonna

Sounds:

• Gunshots
• Screaming

Costumes:

https://drive.google.com/open?id=0B_9iodcweTUoRW5BSWJyRE55ZDA

BEGINNING

Lights Rise. Setting is a kitchen with Grandmother and her daughter.  

Grandma: Did you hear what Trujillo said the other day? He will not stop at anything to insult Haitians.

Mom: I know. Edwidge’s family has already left. Their youngest is only four months old. They don’t want their children to grow up here.

Grandma: It may be our time soon as well.

Mom: In this state, I can’t go anywhere.  

Grandma: Let us pray. Bondye will watch over us.

(multiple gunshots, screams heard outside. Chaos and panic ensues in the room.)

Women shouting, screaming “What is going on?” “Run!!”

(gunshots getting louder and louder)

(ladies shuffle quickly offstage)

Gunshots/screams can still be heard during scene change.

Setting is now the living room of the house (gunshots can be heard in background)

Mom: (clearly stressed, frazzled) (talking to herself) What to bring? What to bring? (picks up a shirt) No, we don’t need this.

Grandma: We don’t have time for this. We must go. A single change of clothes, if anything.

Mom: I know, I know. But my child. My time is coming and we will have nothing.

Grandma: You will have me. It will have to be enough.

At edge of river (one side of stage) (gunshots can be heard, but faint)

Grandma: Come, faster. I see them over that hill. Faster

Mom: (clearly distressed) I cannot. I feel my child moving and kicking. I'm scared; please, Let me sit.

(sits on nearby rock?)

Grandma: You must go on, for the child. We both know it will be safe on the other side. Take the child away from all this violence.

Mom: I know. It’s hard. (takes a deep breath. Talking to Josephine) It’s going to be okay. We will get through this. (looking up to Grandma) We all will.

Grandma: Come here, while we still have time.

Mom: We will have more time on the other side.

Grandma: Stop. Focus. I am getting old. I am afraid our time together is very limited.

Mom: What are you talking about? (looks at Grandma and understands) Manman, I’m not ready to say goodbye.

Grandma: I know. Neither am I. But before you run we should discuss something important to me.

Mom: We don’t have time. We have to go.

Grandma: I’ve already told you I’m not going with you. Instead, I want you to take this. (Gives her daughter the Madonna)  Keep the Madonna when I am gone. When I am completely gone, maybe you will have someone to take my place. Maybe you will have a person. Maybe you will have some flesh to console you. But if you don’t, you will always have the Madonna. (Shouting is heard again, louder) Go! Escape from this place.

Lights focus on Mother, preferably red lighting.

She is wearing the wings of fire. She stands alone, empowered. Somehow police officers run from her.

Then she realizes she is all alone, and lost the Madonna doll. She calls out for her mother when the Madonna (person) appears.

Lights come up slightly.

Mom: Who are you?

Madonna: I am the Madonna.

Mom: How did you find me?

Madonna: Your mother sent me to guide you. You and your child are safe here.

Mom: Thank you.

MIDDLE

Lights Up Full Stage (white)

J: Tell me the story again.

Mom: Again? Josephine, this story gives you nightmares.

J: Please?

Mom: Alright. It was 1937, 12 years ago, right before you were born. Grandma and I were at home when we heard shouting and gunshots down the street. The soldiers had come for us Haitians. We knew we had to leave quickly. The back door was our only way out. We ran and ran, until we got to the river that divides this island. With nowhere else to go, we jumped in. But Josephine, that water changed us. We emerged new women, soaked in the red of the blood-tainted river. The soldiers ran, for we had wings of fire. At least I gave birth to my daughter on the night that my mother was taken from me. At least you came out at the right moment to take my mother’s place.

J: What about the others?

Madonna: (Interrupts) You will meet them soon enough. Go to bed, Josephine.

Lights go down on the bed, and go up center stage.

Mom: Why can’t I tell her about them?

Madonna: Because she is not ready. She will learn about the others in time.

(sees Madonna getting Josephine ready to leave)

Mom: Where we taking her now?

Madonna: The river. The others are meeting there today. She is ready to meet them.

Mom: Hopefully there won’t be too many. The police are already on high alert from the festivities.

Madonna: Don’t worry.

Lights Fade

(exit stage right)

They are now at the river bank. The sun shines above and the water is crystal clear

Lights Up Full Stage

The mother dips her and Josephine’s hands into the water.

J: I expected the water to be red, like in your story.

Madonna: The blood of the lost ones washed out a long time ago, Josephine. But their souls are here, in this river.

Mom: We come here to pray and to thank Bondye for saving our lives.

J: Oh.

Madonna: Now shh.

Mom looks toward the bright sun and begins to speak

Mom: Here is my child, Josephine. We were saved from the tomb of this river when she was still in my womb. You spared us both, her and me, from this river where I lost my mother. Let her flight be joyful, and mine too.

Lights Up Full Stage(white)

Madonna: It’s time to teach her what your mother taught you.

Mom: No. She’s too young.

Madonna: And you’re too old.

(Mom sits down, thinking. Sees Josephine playing stage left)

Madonna: (puts hand on Mother’s shoulder) It’s time.

Mother: (takes a deep breath) Josephine love, come here. I want to teach you something.

All light fades, except a soft circle light that focuses on the pair

Mom: Who are you?

J: I’m a child of that place. I come down from that long trail of blood.

Full Lights fill the stage again

Mom: Where are you going?

J: I am walking into the dawn.

Mom: Who are you?

J: I am the first daughter of the first star.

Mom: Where do you drink when you're thirsty?

J: I drink the tears from the madonna's eyes.

Mom: And if not there?

J: I drink the dew.

Mom: And if you can't find the dew?

J: I drink from the rain before it falls.

Mom: And if you can't drink there?

J: I drink from the turtles hide.

Mom: How did you find your way to me?

J: By the light of the mermaid’s comb.

Mom: Where does your mother come from?

J: Thunderbolts, lighting, and all things that soar.

Mom: Who are you?

J: I come from the puddle of that river.

Mom: Speak to me.

J: You hear my mother who speaks through me. She’s the shadow that follows my shadow. The flame at the tip of my candle. The ripple in the stream where I wash my face. Yes. I will eat my tongue if I ever whisper that name, the name of that place across the river, that took my mother from me.

END

Full Lights fade back up

(Guards take mother away, mother throws wings back to Josephine, Josephine reaches for jacket) Mid reach, the lights immediately blackout.

Spotlight comes back on on Josephine & Madonna onstage back to audience, says ending to response, blackout.

Blackout remains, Spotlight on Josephine.

J: “Our mothers were the ashes and we were the light. Our mothers were the Embers and we were the sparks. Our mothers were the flames and we were the blaze. I am the child, Josephine. My mother was saved from the tomb of this river when I was still in the womb. You spared her from this river where she lost her mother. Yes. I will eat my tongue if I ever whisper that name, the name of that place across the river, that took my mother from me.”

KK Set

Escaping through Massacre River

For the very opening scene, we will take 3 triangles from School of Rock and cover them in blue fabric, to look like a river. They will be staggered across the stage, providing cover for the mom to put on “wings of fire” (just a costume piece) and emerge from the blood stained water. To show the blood from the massacre, we may add red fabric to the triangles.

The Home

The majority of the skit will take place in the home of the three girls. There are 3 “sections” to the house: a bedroom, a dining area, and a play area. To the left is the bedroom. This is where personal conversations between the Madonna and the mother take place. Stage right is the play area, where the Madonna interacts with Josephine. In the middle, the mother and daughter meet. The play area has a couch and some toys - worn, cloth dolls. The dining room is just a wooden table and chairs. We will use colorful blankets and set pieces to make each section look more abstract and bring attention to the “fire” aspect of the skit.

The River

A few times in the skit, the mother brings Josephine to massacre river to pray. The set for this will be very simple, bringing back the blue fabric to show the river. This time, there is no blood.

This is a rough collection of our ideas. It is not set in stone.

Script

Madonna - Abby

Mom - Sam

Josephine - Nadya

Beginning

• Massacre
• Escape

Middle

• Visit to river
• Teaching the call and-response

End

• Dead baby

• Police
• End with madonna and child repeating game again?

Madonna: It’s time to teach her what your mother taught you.

Mom: No. She’s too young.

Madonna: And you’re too old.

Who are you?

I’m a child of that place. I come down from that long trail of blood.

Where are you going?

I am walking into the dawn.

Who are you?

I am the first daughter of the first star.

Where do you drink when you're thirsty?

I drink the tears from the madonna's eyes.

And if not there?

I drink the dew.

And if you can't find the dew?

I drink from the rain before it falls.

And if you can't drink there?

I drink from the turtles hide.

How did you find your way to me?

By the light of the mermaid’s comb.

Where does your mother come from?

Thunderbolts, lighting, and all things that soar.

Who are you?

I come from the puddle of that river.

Speak to me.

You hear my mother who speaks through me. She’s the shadow that follows my shadow. The flame at the tip of my candle. The ripple in the stream where I wash my face. Yes. I will eat my tongue if I ever whisper that name, the name of that place across the river, that took my mother from me.

Our mothers were the ashes and we were  the light.  our mothers were the Embers and we were the sparks. our mothers were the flames and we were the blaze.

“Here is my child, Josephine. We were saved from the tomb of this river when she was still in my womb. You spared us both, her and me, from this river where I lost my mother.”

Character Analysis

I am playing the mother from Nineteen Thirty Seven. She is very headstrong, and has gone through a lot of hardship. This scene begins with her escape through the bloody waters of Massacre River, while her own mother is killed behind her. At that point, she has already experienced an oppressive regime and all she knows is being powerless. When she emerges, she is covered in blood and Haitians fear her “wings of fire.” In this land, just across the river, she has power that the government fears. I am really looking forward to showing that moment, when she becomes powerful.

I think she escapes at around 20, and her daughter is an older teenager, probably 18. Therefore, the mother is probably around 40. In modern US, this isn’t old at all, but life expectancy in Haiti in 1937 was close, if not younger, than her age.

She was not the kind of powerful that abuses her power or hurts people with it. She understands what it feels like when the powerful oppress, so she is very humble. She is also selfless, and will do anything to help someone in need. When she walks into a room, you probably wouldn’t notice her. Especially as she ages, she probably walks with a slight hunch in her back.

Her motivation is to bring women together through voodoo. She organizes secret meetings and creates a call and response game. Perhaps one day, she wants to support a revolution. For now, she does everything she can to help those in need. One of her major obstacles is the stigma of being a voodoo priestess. People believe they kill children and do horrible things. Another obstacle is the oppressive government. These two things come together in the very end, when the police arrest her because they think she killed a baby, when she was in fact helping the mother.

The hardest part of this scene will be balancing humbleness and power. I will need to work on a walk and costume that shows both those traits. Also, when writing the script, I need to make sure that every line aligns with her motivation.