the old woman got on the elevator when everyone was first going up? then she could reappear in the hall, then in the final scene? just there but not sayin anything.
ashley is going to tackle the mayor-ford scene. I am going to work on a transition from that to william-mother. we talked at our meeting last night about it feeling to claustrophobic/not tour(y) enough if we just turn around and are at the next scene. thinkin about using the hallway or across the room.
also, working on the end but i need to know where marian is going to be. is she in the basement? it would work if she wasnt and just met everyone in the lobby and was oblivious. we could mirror the first scene. the idea of repitition again.
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We talked about how Marian and the student evolve. Essentially, they feel like the protagonist and antagonist. Marian tries to control history; the student embraces the chaos and uses it to inspire his creativity. So right now, Sara and Ash, why don't you think more about development of character than the directoral questions of where is she etc. I think there are some clever options for making her appear wherever we need her...(projection, sound, etc.).
ReplyDeletePersonally I think there would be a chance for character growth if Marian loses control of the group for the Happy Days/Basement scene and rejoins them in the lobby at the end. Not only will it give the audience an frantic/uneasy edge but it will add to the sense of being lost and able to directly relate to the journey of Magdalene. Perhaps Marian feels the history or story of the building has come to life and taken over for her. Maybe she is oblivious to the fact. Lots of options!
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