Biweekly Theater Writing Challenge #13.9 - Tailor of Riddling Way, scene 2.5

Last night we finished recording the last voice in the scene we began with rigeland thefarowl last Saturday. Bernie and I snagged niobien after the design meeting for Titus. We cleaned up the recording of the other two voices so that Carolyn would have something to respond to, and I'm very pleased with the results. We played the other two voice tracks and let Carolyn speak in the pauses we specifically left to accomodate her lines. Directing for voice recording is a different experience than directing for the stage, and the best ways of doing so are emerging to me slowly through practice. I'm really happy to have cast Carolyn, by the way. She has exactly the right sound for the character of Bethany Loring, and I loved working with her so much in Merely Players that I wanted to give her a speaking role and see how she did. Her enthusiasm and effort really comes through in her performance. The scene obviously hasn't really been edited yet, but technically we have a completely recorded piece. It's our first, the first of many we will need to do. :-) 

This is probably the last scene in Episode 2, immediately following the large chunk that I posted yesterday. This scene went in a slightly different direction from how I expected it to. I wanted this part to place the issue of the class conflict overtly on the table. Della, who is a friend of Tom's and from a similar working-class background, forces him to think about how he may have to confront the realities of dealing with people of significantly higher social standing. I also included a hint that Tom's developing feelings for Alice. I was debating whether or not to include that in the story at all-- except maybe a suggestion that was where things were going at the very end, once everything is resolved --but I realized that can be a way of underscoring the class issue, of giving something for the two of them to deal with. Upping the conflict, I have learned from my grad program, is always an important part of designing a compelling story.

I am also looking forward to having inwaterwritin the role of Della. She was one of the few that couldn't make the read through, so I haven't had a chance to hear her yet, and I am very excited for when I finally do. I think she will do a great job bringing the sensibility, loyalty, and down-to-earth humanity that I want for the part. I also enjoy writing parts and dialogue with the actor in mind, so I've had her voice in my head as I put this scene together.

( Can't wait to actually hear these lines in Jenn's voice... )

Savonarola costume, part I

Did a bit of work on my costume for Venezia this Saturday. It wasn't anything terribly complicated; I just cut the curtain I had in half, then cut a chunk out of the center, and sewed up all the raw edges. It looks pretty neatly vestlike, though it ended up being a bit longer in the back than in the front. Not that I think it matters, I just meant for them to be even. Here's what it looks like so far.

All that remains is to figure out how to make the hood. The hood is the most important part of it, as it will give it the monastic look, and as I'm going for something slightly intense and imposing, I want to have something to stare creepily out from under at people. It will also help me look a little more masculine if my head and hair are concealed. I want the hood to be big and floppy, so I need a big piece of fabric, and I also need to figure out how to make it attach at the small neck opening while still having the volume I want in the part that will go over my head.

For the rest of it, I think I will wear a black poet shirt underneath it and black leggings with my Renaissance boots. Which also makes me think maybe I should use my black leather belt rather than the brown one I've got in the picture. Black and gold will be a nice color combination. I shall look both grand and terrifying, just as an agent of God should.

Off to figure out that hood.