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When they're supposed to be off book but are NOT

  • 1.  When they're supposed to be off book but are NOT

    Posted 02-24-2022 15:41
    Just curious how everyone deals:

    Line deadline. The lead actor is in great shape, as are two of the secondary leads. No one else is - they either ask to carry their script or say LINE at every cue (assuming they remember they have one).

    In that unfortunate reality, after you gather the cast and talk about how you can't direct a cast that doesn't know their words, what do you do?
    • Plunk 'em in a circle and do line drills
    • Drop the scripts and do character work, improv, discussions of objectives instead of scene work
    • Let them carry their scripts and do the scene work you wanted to do, with book in hand
    • Send everyone home to think about what they've done, and pour yourself two fingers of bourbon
    • Execute three of them by drawing names from a hat and recast 
    Or something else I have not thought of? The lack of responsible preparedness was disheartening, and out of character for my troupe.

    ------------------------------
    Josh Kauffman
    Teacher, Thespian Society/Drama Club sponsor
    Winfield City Schools
    Winfield, AL
    ------------------------------


  • 2.  RE: When they're supposed to be off book but are NOT

    Posted 02-25-2022 06:41
    I break up my scripts into 12 to 15 page segments for them to learn, usually one scene a week. The first off book rehearsal for any scene and maybe the second, I will answer when they call for lines. Then, I don't. All it usually takes is one ling excruciatingly bad rehearsal with lots of awkward silences for the offenders to get better. Gradually, I put the acts together. I  do teach everyone how to save each other, in character, when someone goes up on a line. Once or twice I have had to plant synopses or scene maps backstage or hidden onstage. Even more rarely, I have replaced actors. All these techniques have worked well for me. Good luck!



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  • 3.  RE: When they're supposed to be off book but are NOT

    Posted 02-25-2022 09:31
    I break the script into rehearsal blocks (~30min/pp) and rehearse each one twice in a row, to establish basic basic blocking and to set those essentials, so they can visualize where they'll be when they've got lines to deliver. By the time we've done that for blocks B, C & D...when A comes up again they're to be off book for it. That's often a horrible rehearsal with some calling for LINE! constantly. But no more scripts on stage, however painful. That usually does the trick. (And once we start Tech, there's no more calling for Line; they'd better learn to take care of each other.)

    • Yes, sometimes a freight-train run of lines is worth it;
    • understudies swapped out for a rehearsal can be threatening enough to be the kick in the pants;
    • having them write out their cues and lines LONGHAND can be very effective (and underline the trouble spots);
    • working with another actor who's also offstage during every single spare moment is called for.
    • Triple-running trouble spots (cue-line; cue-line; cue-line...continue with the scene) helps them get it right more often than they've been getting it wrong.
    • Try having them sing their lines.
    • Sometimes I have them use sign language cues for a trouble-spot (easier to remember to make a fist than to remember that line that starts with an 'S'...other letters are also barely noticeable.)   
    • Push the use of rehearsal props ASAP since they are powerful ways to demonstrate what the character is feeling - and sometimes even saying!

    For practice at home,
    • Record Cue - Space (long enough for the line) - Line and play it back to try to fit the correct line into the Space (next you'll hear what it should have been).
    • Place sticky notes all over your house with a speech on each, and stick them up in the sequence you use in your morning routine.
    • Use those siblings and parents (and friends) to prompt you!!
    • Remember that being perfect in the quiet of your bedroom is only one rung of the ladder toward getting them right with all the distraction of other players, props, lighting, etc. etc. so practice with distractions. 


    ------------------------------
    Douglas "Chip" Rome
    Theatre Consultant
    Educational Stages
    Burke VA
    http://EducationalStages.com
    https://bit.ly/RWTEOview
    https://bit.ly/eTeachTech
    ------------------------------

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  • 4.  RE: When they're supposed to be off book but are NOT

    Posted 02-25-2022 10:06
    Fortunately, I have not had this problem for awhile but here is how I handled it the last time and perhaps that solidified expectations:

    First, we sat down and I calmly explained my disappointment.  I drove home the fact that we were at a standstill and could not progress further until everyone was off-book.  The show was essentially in their hands and it's up to them if they want a fantastic or mediocre show.  Most of them do not want to be embarrassed on stage.

    Next I gave them a new lines deadline and explained that if we were not completely off-book by that date then additional or later rehearsals would be added--even if it meant coming in on weekends.  Anyone who was not ready to commit to this could drop out.

    I never needed the additional rehearsals.  They showed up with lines memorized.

    Hope this helps!


    ------------------------------
    Laura Russo
    Teacher/Director of Theatre Arts
    Chatham High School
    NJ
    ------------------------------

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  • 5.  RE: When they're supposed to be off book but are NOT

    Posted 02-25-2022 10:17

    Hi Josh!

     

    First of all – bummer. All your options are great. (I might not recommend the last 2 because of the documentation necessary. lol) IF I had already done my normal process of teaching memorization for learning styles and I was in your shoes, I would ask all cast members who aren't fully memorized to write the pre-show announcement that helps explain why there will be actors going on stage with their scripts in their hands. I believe that having them think through what it looks like from the audience's point of view and critically thinking about how that would be explained, might kick some people into gear! It would require reflection in a way that might make them consider their role in telling the story.

     

    (Years ago, after teaching Learning Styles to students in one of the non-theatre classes I teach, it occurred to me that talking students through HOW to memorize according to their learning style drastically improved results. If you want to know more about that, I believe there was a thread about memorization techniques last year or you could email me.) Best of luck!

     

     

    Suzanne Maguire – Teacher

    Glover Middle School | Lewis & Clark HS

    Email: suzannem@spokaneschools.org

    Phone: 354-5335 (Glover) or 354-5687 (LC)

    Associate Director, Tiger Drama

    Board Secretary, Washington State Thespians

     

     

     

     




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  • 6.  RE: When they're supposed to be off book but are NOT

    Posted 02-25-2022 10:22
    After we have done some line work and gone through the other processes mentioned, actors are told "One burpee per flubbed line". The stage manager keeps count and at the end of rehearsal each person is told how many burpees they owe. The first day there are many, the second day fewer and the third day usually none.

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    Ellen Di Filippo
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    Original Message


  • 7.  RE: When they're supposed to be off book but are NOT

    Posted 02-26-2022 13:09
    Never had a problem in 35 years of directing. I tell them up front, no prompter or prompting two weeks before or during the show...embarrassment takes care of the rest. I also make crew watch two run-throughs three weeks before a show and actors don't like being prompted in front of their friends, so that helps as well. I took over a program 18 years ago where the principal said, "I hope you won't allow lines to be taped to the scenery like the last teacher." I told him it won't be an issue. It hasn't been. Every student says they just can't memorize, but they always do. Have there been slipups, of course, but nominal ones. Stand your ground and let them prove themselves to you. 

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  • 8.  RE: When they're supposed to be off book but are NOT

    Posted 02-25-2022 12:01
    Great question and a lot of good solutions, Josh. Sometimes 2 fingers just isn't enough...

    I'd start with a brief, guilt trip lecture (in the most positive way possible). It includes things like, "We are better than this. The audience deserves better. You deserve better from yourselves and each other. My job is to do everything I can to prepare you to perform your best and have an incredible experience we can all be proud of. I'm willing to give the time it takes to create the best production possible. Are you? Let's schedule some extra rehearsal time to get off book."

    Then I would hold the seniors back and inspire them to inspire each other. "This might be your final production at this school - who knows when or if you'll ever be involved with another one? It will only be as good as you want it to be. Let's make it the best this school has ever seen. I believe you can do it. Be the leaders I know you can be. Put in the time. Put in the work and it will all pay off."

    I'd then begin rehearsals earlier or hold them later (if possible) for line drills. After running lines for a scene (maybe in a circle focusing only on each other), do the scene on its feet right away. Praise them when they do well (I'm sure you do). Do it again if necessary.

    Best wishes!
    -Rob



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  • 9.  RE: When they're supposed to be off book but are NOT

    Posted 02-25-2022 13:00
    I've had this issue off and on over the years. Early on I inherited a theatre program where the director before me was famous for not being strict with lines and attendance. If the students didn't know their lines a week before the show he would just push the show back a week. (Needless to say, audience numbers were low and the shows weren't that good) I walked into a group of kids used to doing as they pleased and not really caring. It was a hard first year of getting them to understand I would not be doing the same and deadlines mattered. That first year, the only thing I found that worked for lines and arriving to rehearsal on time was to make them run lines while doing wall sits, or ten pushups for every line missed, sometimes they would have to run the track if the entire scene was a disaster. This is a bit unusual, I know, but for that particular group it was the only thing that worked.
    I've done the let's run lines, go ahead and carry your script, and forget lines and let's work on character but, for my group, nothing is as effective and changes their attitude as fast just letting them fumble through the scene. No script, no calling for line and no whispering lines to each other to help each other out. We all sit there in agony as those that don't know their lines struggle to come up with something to say and the group tries to make it through the scene. I tell them if they can't remember their line, go to what they know and keep the scene moving because that is what they have to do in a live show. It's still painful as they will then remember a random line and end up skipping pages only to forget more lines and repeat the process.  Granted, at the moment, this feels like a huge time waster as absolutely nothing is getting done. As a director you want to say screw it and work on character or something productive and have them run lines at home. However, I have found that letting them agonize through two hours of rehearsal and not even making it through one scene is a wake up call. The realization of how much their unpreparedness is affecting everyone else's performance and the scene/show comes to full light. They feel embarrassed, guilty and can see the other actors' frustrations towards them not being prepared. I don't say much during this rehearsal, just let them plug along as best they can. At the end, I let them know that if they don't know their lines on opening night too bad, we will be performing anyway (they know I'm serious). This scares them a bit too. The failure or success of the show relies on them doing their job too, there is only so much a director can do. You can give an actor a script but you can't make them learn their lines....
    In my experience, letting them suffer though one rehearsal gets them motivated and by the next time we run the same scene the actors' lines are polished because they saw how awful the scene went without them doing their job in the first place. I much prefer to have one absolutely horrific nightmarish rehearsal than many poor and frustrating rehearsals. In the long run this actually saves as time and makes future rehearsals more productive.


    ------------------------------
    Jillian Lietzau
    Lutheran High School
    CO
    ------------------------------

    Original Message


  • 10.  RE: When they're supposed to be off book but are NOT

    Posted 02-28-2022 01:33
    There are so many good suggestions here!  

    If the cast called lines repeatedly during the first complete run without scripts, I generally whispered to my stage manager to keep the rehearsal going while I went to work across the hall.  I would then go work on costumes across the hall, still listening, of course.  Near the end of the rehearsal time, I came back and explained very calmly that I was under the impression that I had done my job so far, and it was up to them to get off book so I could continue my job as the director.  Line problems were almost always gone by the next rehearsal.  

    Occasionally, a student would privately confess that s/he was spending hours every day trying to memorize the lines.  Progress is hard to come by during a crisis of confidence.  It's good to have a bag full of suggestions for the young person who is convinced that opening night will be a disaster because they won't know the lines. 

    In no particular order, welcome to my bag.
    1.  Highlight in a different color the lines you often miss.  
    2.  Type your lines using your laptop, improvising when you think you don't remember them, then check the lines against the script.
    3.  Clarify your character objective for the lines you regularly miss.  Look for a keyword in the cue line that prompts your line.
    4.  Practice your lines doing your blocking.  If you find you've been blocked to stand in exactly the same place for two lines you are getting confused, adjust the blocking slightly or talk to your director about it.
    5.  Insert a gesture where you are having trouble piecing lines together.  Movement prompts memory.
    6.  If you have a line you often mess up, repeat it 10 times in a row. 
    7.  Read over trouble spots in your script immediately before going to bed.  (Do not check your phone afterward.  Turn out the light.)  Take slow, deep breaths as you fall asleep running the scene in your head.





    ------------------------------
    CJ Breland
    Retired Theatre Arts Educator
    NC
    ------------------------------

    Original Message


  • 11.  RE: When they're supposed to be off book but are NOT

    Posted 03-01-2022 11:14
    Thanks to all of you for your input about line memorization. I'm in a play in which I have a lot of lines, especially long speeches (the kind given at AA meetings). I'm a bit apprehensive about learning them although the show doesn't open until April 15. So the suggestions given here are wonderful. Some of them I have used for my students and for myself when I've been in other shows. So much for changing the side of the table you sit on!

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  • 12.  RE: When they're supposed to be off book but are NOT

    Posted 02-28-2022 12:01
    Great suggestions from lots of folks. One I didn't see is my "Oops Rehearsal." I only hauled that one out when it got really bad.

    In an Oops Rehearsal, you start the scene and run until the first line flub. Then you go back to the beginning of the scene and start again - running until you encounter the first line flub. Back to the beginning of the scene and start again - rinse - repeat. Frankly, it's brutal and it takes a lot of time. On the plus side, the scene will be absolutely solid by the time you reach the end and the cast never ever wants to do that again. Incentive to get those other lines down.

    I had students who had never seen an Oops Rehearsal in the years they had been with me that lived in fear of one because they had heard from other, now graduated, students how awful they were. A number of times, I would just casually mention that a certain scene might need an Oops Rehearsal if things didn't get better. Often, that was all it took.

    ------------------------------
    Robert Smith
    VA Co-Chapter Director
    Virginia Thespians
    Centreville VA
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