First Performance Feedback

I think that my group’s first draft was exact that; a first draft. There were many things that people liked that could be elaborated on and other things that needed to be clarified. And overall, the entire adaptation needed to be practiced a little more. I received a lot of both verbal and written feedback from my classmates, which was very helpful.

One problem, in the beginning, was Abby’s role. For many people, it was not clear who exactly Abby was. Also, her relationship with Sam needed to be established. I think the easiest way to fix this would be to just have Sam address Abby as her mother. Another way to really push their relationship is to have Abby touch her shoulder, or give her a hug to give that physical contact.

One major change that we want to make is with the relationship between the Madonna and Josephine. Many people said that they did not understand who exactly Abby was after the Sam crossed the river. Some thought that Abby was a doll, others just didn’t know who she was. After explaining what we meant for her character to be, we realized that it might be better if the Madonna only talked to the Mother until the Mother was arrested. I liked this idea because it gave the Madonna a very specific role in their lives; she was there to protect them. This becomes clear because only Sam can talk to or even see Abby. Abby only talks to Sam, but she can see everything that is going on. After the Mother gets arrested, Josephine is left alone. Because of this, Abby can now talk to me as well. This also can be further established with a conversation between the Madonna and Josephine explaining the situation.

One thing that I felt was a strength and a weakness was our set. We have more than three different sets that need to be changed in the middle of our entire play. We decided to use the triangles from the School of Rock set for the river because it allowed the mother to move through them as if she was crossing the river. It also made it easy for Abby to come in during Sam’s crossing. I think that because it was the first real time we practiced moving the triangles, it was a little confusing, especially at the beginning. Another thing to think about is the amount of set pieces we have that will be needed to be moved in between scenes. It was difficult for the three of us to move them and even with others to help us, it may still be a lot. Making sure that all the set pieces that we have are essential to the scene is an important step. For example, looking back, there doesn’t really need to be a bed in the house.

The biggest thing that our group needs (aside from the script changes) is more practice with the blocking and the lines themselves. Once we have our script finalized, it will become a lot easier to portray the characters. I think that individually, we must all do some characterization work. This will help the various relationships become more clear for the audience. More practice will also help us become more familiar with the lines which will, in turn, create more of a presence and more acting onstage. Overall, I think that it was a pretty good first performance for the amount of ideas that we had going into the project. With the improvements that are coming, our adaptation will evolve into a very unique and effective scene.

School of Rock Review

I saw Cheshire Academy’s production of School of Rock on the second night, Saturday, February 25th. Going into the show, I was very excited to see all my friends in this production that they have worked so hard on. At the end of the show, I walked out of the theater thinking that this was the best production that I have ever seen at Cheshire Academy so far. The energy onstage combined with the talented actors and singers brought the play to life. One thing that both my brother and I were impressed with was the way that the stage was manipulated to create the various sets. I know that the Black Box is not exactly the ideal space for a production like School of Rock, but the space was used very effectively. When my brother first saw the triangles and how they were used for both Dewie’s apartment and the classroom, his eyes lit up. The concept of the triangles was very creative. Also, the music in the show was amazing. The pit band at CA is very talented and (with the addition of the black curtain), their talent may go unnoticed. Their music during the set changes was essential because the changes were so much more intricate. The songs and lyrics were all pretty catchy and they just made you want to sing along. One unique part of our show was that the actors onstage playing instruments were actually playing the music themselves. For example, James was really able to shine when he had his solo on the guitar. The same goes for Livi on the drums. To be able to play an instrument while acting in character, saying lines, and even singing is impressive.

The actors and their stage presence and talent were what made the production extraordinary. The different personalities of the various kids in the class, coupled with the contrast of the stricter teachers and parents all shined. I think that Lexi was amazing in her role as Dewie Finn. I think that she was really able to let loose and embody her character. One example of this was when she was playing Guitar Hero with Ned. She was able to easily slip into the conversation between two friends while they were doing something they loved. I think that Sam was also very in tune with her character, Rosalie Mullins. I think that Sam was able to understand how Ms. Mullins was very stuck in the personality she created for herself. (Her voice was also flawless in her song in the bar!!) The one thing that was a little weird was the whole bar scene. I imagine that the original play with Dewie as a male featured a love interest between Rosalie and Dewie but because it was played by a girl. It would have made more sense if Dewie wanted to take Rosalie on a date because he was interested in her. But the plot still made sense with Dewie as a girl. Overall, I think that this show was a huge success and really came together. For such a large cast, everyone was very organized and it did not feel like anyone was out of place. As someone who has watched every production since I’ve been here, this one was my favorite. I can’t wait for what’s next!

Scene Set Design and Description

This first set is for when the Mother and the Madonna cross the river. The triangles that are being used for the School of Rock set will be repurposed and covered in blue fabric to represent the river. The characters will walk in front and behind them to show the crossing of the river. We are also thinking about having the Madonna come in during this scene, so she can possibly enter from behind one of these triangles. 

This second set is for when the Madonna and the Mother bring Josephine back to the river to pray. There are only two triangles, one is covered in brown fabric to imitate the land and the other is covered in blue for the water. This meeting of the river and the riverbank allows the characters to interact with that setting as well. 

This final setting is the house where Josephine, her mother, and the Madonna lives. It has the features of a meager one-room house where the poor family lives. An important set piece in this area is the dining table. This is because Josephine first learns the call-and-response monologue. There is also adequate space on the stage between the different areas of the house so for example, the mother and the Madonna can talk near the bed without Josephine 'listening.' 

Final Script with Lighting/Sound Cues, Props, Costumes

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.”

Scene Brainstorming

Our group decided that we would focus on the story, “Nineteen Thirty-Seven.” The main characters are Josephine, her mother, and the Madonna that plays a large role in the plot. I will be playing Josephine, Sam will be her mother, and Abby will be the Madonna. At the moment, we do not have a clear idea about exactly what the script will look like. We have many ideas that we would like to put together to create one final scene. The relationship of Josephine and her mother is something that I would like to explore and highlight. Danticat gives short insights on the history of the pair, and expanding on those ideas would be very interesting. Another idea that I would like to incorporate is the call and response between Josephine and the lady who comes to tell her that her mother has died. It is clear that Josephine knows the exchange exactly and I think that how she got to that point is very interesting. Lastly, the scene will be a sort of prequel to the events in the original story. Developing the story that led to what Danticat writes about is the main focus. The details that she leaves out are so strategic because she leaves it up to the interpretation of the readers. This allows us to have so many different possibilities. I think that picking a few main ideas and elaborating on those will be the hardest part of this assignment for us.   

Script Progress

Mom - Sam

Madonna - Abby

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.”