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More about Kindly Leave the Stage:

Director's Notes for Kindly Leave the Stage
Contributed by: Tony Bew
Oct 23 2006 2:11:00
I am currently directing this play and there are a few points that stick out straight away. This has to be acted; most cast members have two characters and they must both be strong, well rounded and distinct. Lines must be learnt early to negotiate movement without which everybody sits down making it static. Interaction with all the characters should be encouraged early on or it ends up like a lead balloon. Do not put the trunk at the back of the stage despite the dialogue; everybody ends up walking upstage to talk to it. Blocking is easier with a widish stage and without a sofa; use two armchairs, one downstage as far as possible where Rupert can ruminate on Edward.

This is a tough play to learn the lines for. Not so much the actual lines, but the cues; many lines are said several times as they run in and out of the play/real life scenario.

The second half really comes into its own if the ground work is done in the first half and the knub of this is the transition from play to real life. Get this bit right and slick and you'll have a winner. Conversly, once got wrong you'll die on your arse.

For the PR, with reference to the above, keep the play within the play a bit quiet and direct so that the audience believe they are watching a normal play for the first 12 pages.

First night 23rd November 2006, wish me luck!
Contributed by: Tony Bew
Oct 23 2006 1:54:00

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