Think This Is a Basic Very Simplistic Idea of the Set

Think this is a basic very simplistic idea of the set

D = Door

F = FIRE PLACE

OPENING WITCHES CHORUS

You are preparing for the performance in the theatre, setting scene for the show, getting selves and others ready, getting costumes sorted and hats fitted and cufflinks etc on,

Men are in the scene and also getting prepared, some could be pretending to exercise voices, limbering up, just think about what sorts of things go on backstage in preparation etc. Men are getting in the way of the women.

By the end of this Chorus want the audience to already be wondering where we are taking them in this Opera, need them to be engaged and intrigued and wanting more.

Stage L Sops

Stage R Altos

Centre on the main set Sop 2’s preparing the set etc you are the stage managers

Rest are in effect back stage, preparing but need to at times acknowledge the other side of stage as if having conversations across the changing rooms etc.

Those men who have specific roles, could be getting there props out and checking them out – giving the audience a hint of what is to come

Some of those who are cutthroats could be practising come of the cutthroat moves etc,

Think about who you are at the time of the scene.

Need to be Doing Mode

Blocking

Scene starts with everyone still but in the doing mode, make sure that you have an exaggerated pose, so that really introduce the theme of using freezes in the opera, this is the first moment that there are any frozen moments and needs to look like you have been frozen mid action.

Think about your poses before hand and set them, it is as if about to do an action or completing an action so could be picking some clothing out of box or hanging something up , be imaginative

“ I have cursed the sailors wife” sops stage left only start moving men mingling amongst the women, getting in their way, women are getting things prepared

“at the bottom of the sea” in this quick musical interlude, men purposefully move across the stage.

Men need to give impression that they need the women to help you get ready, do something get into items of their costumes etc.

On the rocks his ship I’ll rend women are ready but still getting men ready till the end of phrase. When freeze.

By the time we get to the final “his ship I’ll rend” you are all now transformed into Victorian persona’s women need to remember to keep some femininity to your poise etc, but think about the straightness of the Victorians and the male dress etc.

Poised at this stage, again make sure that you look like you have stopped mid action, so either doing cufflinks, putting hat on, moving cane, checking self in mirrors, or doing shoes up – anything

“Hark a Drum sounds” – you moves as if to say exactly that

“who is that” notice the audience, look out into them, can almost pick a person in the audience to look towards – make them feel unsure, hesitant.

Women move into a group in the centre, {this needs to be a tight group}

men group at sides of stage, watch women slightly bemused by it all.

Movements need to be small – as with men in the cutthroat scene think about more the action of keeping feet still and the movement of top body to make the gesture pronounced.

“Now I see him” again react as if spotted Macbeth in the auditorium

“Hail, now Macbeth” coax the audience in

John may be in the audience

As start “round about the world we wander” – scene starts still, movements start gradually as women start to pick up the beat of the music, then the scene becomes frantic and full of movement.

Break into groups –

Nuala, Gillian, Karen, Emma, Rachel, Dee – move off stage right through door and then as come back facing audience start rowing action with canes. When get to the final part of weave a girdle etc, you will be set stage left of the steps.

Marrian, Pam, Sophie, Laura, Sue, Carol, Gwyneth, Margaret – move off stage left ? through fire place then when back facing audience start using canes as walking poles as if cross country walkers. When get to final weave a girdle then you will be set stage right of the steps.

Jan, Pat, Sheila, Katie – you move to front of stage and strike a pose to draw the audience into the scene.

Dee, Grace, Sophia, Val- move to back of set and you are stiking some pose I think but I can’t remember what it was – sorry you will have to check with one another on this one !

Remember to keep facing forward throughout the scene, so whilst weaving or rowing etc, think of making sure head faces forward.

Men – one group was moving over to frame the fire place on stage left, the other group I think had a placement too – wasn’t listening at this stage – Sorry !

MEN At some stage towards the end men stage right will move across and remove the Chase lounge {spelling} and the other group stage left will place the 2 groups of steps on stage for John and Devon to use.

By the end of the chaos, John & Devon {Macbeth and Banquo} will enter over the steps on stage as if in a pose for a portrait, surrounded by mass of bodies.

End of scene you should all be still

MOVES ON TO CHORUS OF WITCHES – Scene 3

Macbeth and Banquo enter the stairs into pose of portrait.

As the witch leaders move into position, then women move into your groups, should remember which you are in.

One group behind Sheila – stage left

One group behind Val – stage right

One Group centre at back with Pat

Watch Macbeth and Banquo – menacing

As your lead Witch sings bow down and stay down

Sheila’s group on Glams

Pat’s group on Condor

Val’s group on Bow

Remain down until your lead witch sings the following words in their prophecy

Sheila’s Group Greater

Pat’s Group Happier

Val’s Group Father

Come up with a Cheesy Grin – much like Cheshire Cat – Sophia gave good example

The lead witches swap places

When the group of Witches Sheila/Val/Pat sing the second Hail, then all the group men and women in one move turn to face the set, Victorian Men Pose, with one hand behind back. Pose is with your hand set in the small of your back

REMEMBER to stay stock still the smallest fidget will be noticed, suggest that do this in rehearsals so that practiced, otherwise will draw audience on day, also that is what rehearsals are for.

As music starts to get light and twiddly, then start moving fingers with the music

When you turn back then remember to have the cheesy grin again on your faces

Val’s on “begone away Begone”

As groups pass the other groups, then bow, like a nodding donkey.

Can’t remember each groups moves sorry, but think 1st groups cross stage.

Group led by Andrew moves across stage and then in front of group and behind the steps.

Final group move across in front of principles in a deep bow so as not to obscure the principles.

Scene moves on to Lady Macbeth Scene 2 – Hall in Macbeths castle

Then Macbeth and Lady Macbeth

FINALE ACT 1

Want ecstasy not horror in this scene – feeling of great achievement

You have made this all happen.

Scene starts with Banquo on stage with Fleance. Macduff comes on flustered, almost like the white rabbit in AiW

McD send Fleance off

Macbeths’ come on stage, unaware that behind them the rest of the chorus are sneaking in to find out what has happened and to see what will happen.

Trail in {will need to get on stage promptly and into the diamond shape arranged first session on this scene}

Keep the group tight,

Always remember your role and your character, don’t just wonder on, think about what your doing and what your reactions in normal life would be.

Remember the chorus is directing, you have made this happen. But your going in with some trepidation or dis-ease at the situation.

Chorus will be drapped in white bed sheets or with night caps on, some may be holding night candles. {Think Python’es}

“but why, What is it” [MD note ; keep it short}

“tell us what has happened” Look to Banquo for answer

“open Wide might Jaws

Look up as if expecting to be smitted, expecting some kind of response for the process you have put in motion

“God above, knowing”

after this point some of the group can kneel, does not matter where in the group you are, the haphazard mix will be good.

Your reaction at this point is that “OK so nothing has happened, despite our actions. Almost relief but also assuredness

Those going down on their knees, can be slightly different times and speeds, if you start to go down, keep going will look more daft if you start and then stop and go back up, so act with conviction.

[MD Note : Keep the tone up, flick the notes, don’t let it go flat !!!!!!}

“All consuming …. “

those kneeling get drawn back onto feet on Fire, & Ire again don’t worry about uniformity, can be at different speeds, those in sheets can let these drop from shoulders.

Need to feel that you are all being drawn up at this point.

When get to on his brow then

Sophie {lady Macbeth} is to be drawn into the chorus by Pat and then morphs into Lorraine. As Lorraine comes in then Jackie {lady in waiting} starts to prepare lady Macbeth

Macbeths are then the figureheads .

The wrath of the Lord

Chorus start to make their exit trying to be inconspiquous, move to side of the set, Step forward on foot on Lord, mark, Lord , mark, may, mark,

Macbeths are now king and queen, but you want to get out,

On the Redeemer – pause looking back at the Macbeth’s

Oh God almighty God. – quick exit escape

End of ACT1

ACT 2

Scene 1

Room in the Castle – Macbeth joined by Lady Macbeth

Scene 2 – Park near Macbeths Castle

Cutthroats come in from backstage, move forward from both sides, Basses stage right and Tenors stage left.

As each group enters they begin to notice the other group, almost surprised by their being there, lean in and rock back through singing,

{keep a space between the two groups at all time}

almost with hesitation, not sure if should move towards one another, then lose confidence and rely on the security of your group to reassure you, some of the group can almost move to end of set, where witches {directing} urge cutthroats to get back into scene. Witches will be off stage, but present, hands might be coming through the set to keep the connection.

“ You may Stay” Finally realise that they can work together and move in as a group, almost relieved.

“We still have a job to do” group divides again,

Laura and Debra bring Banquo in with Fleance into the centre of the group and then merge back and off set.

You will shortly lose your life to a knife –

look for your knives as if they should be in belts or whatever, you all realise that you have no knives but that you all have your canes and so realise that these can be used as an alternative.

Plunge a dagger in his heart –

Some will lean forward to consider the option of stabbing him in heart but realise that this is not best option

When we sink the dagger in his back –

You realise this is the better option

2nd lot of “Tremble Banquo” look towards the women for support but hold the moment when you have converged on Banquo front of the group lean forward to Banquo , but when no reaction from him lean back into the reassurance of the group. {for the drama, try to maintain feet in same place and rely on the sway of the upper body to give the indication of movement for dramatic effect}

When Banquo hasn’t reacted almost makes the cutthroats feel that they are in control, almost comforted by the situation.

Keep the Threat until “as for now we better hide”

move back as if almost embarrassed by the situation that you have created, move back towards the women but they will prevent you from leaving the scene and you are pulled into half listening to Banquo.

While Banquo singing maintain the threat move very slowly in on him, but imagine that there is a forcefield keeping you at a distance.

Whenever Devon sings a crescendo retreat as if being forced back, but then move back in, keep this flow, REMEMBER TO KEEP centre stage clear though so that Devon and Cameron can retreat to back stage at end of the aria.

“Alas flee my son they have betrayed us”

Men by this time have converged on Banquo who is upstage but very slow movements, focus is on Banquo so everyone misses Fleance escaping.

Cutthroats will then use canes as the murder tool, Banquo will be at a higher level and will then sink into the crowd of cutthroats once murder complete.

Freeze as end of scene.

Remain frozen until Katie falls and that will start movement into the Banguet.

Merge straight from this scene into the Banquet , sheets will need to be somehow collected for the tables.

BANQUET SCENE 134 – 191 FINALE ACT 2

Need to draw the audience into this scene, they need to accept the improvisation that is taking place, such as the tables as sheets.

This scene is a painting, ie when at banquet tables think about ‘the last supper’ painting staging needs to be similar in pose etc.

Need to think of 3 poses which you will use{make sure that in freeze you need to be able to view Phil}

Remember that chorus will be in freeze for a large percentage of the time in this scene and need to keep this stillness as this is what is going to keep the drama in this scene so need to ensure that you do not fidget or move whilst in pose. Therefore when thinking of your poses make sure they are ones you can hold, but remember that they must also be animated poses, in the doing.

Whilst in the banquet the chorus are manic, desperate you are aware of where this is going, whilst your singing along you are not fully engaged as you know this is all going to fall apart.

Chorus You are “the scorpions in his mind” the cutthroats

The Macbeths are controlling this party

Set poses at the tables as tableau, Lorraine and John are the only movement happening parts of the scene,

Whilst chorus as still keep animation and lightness in faces, cheesy grins whilst in freezes.

“and we in turn will answer you, Hail to the king we’ll cry” change pose,

“Long live the queen, we’ll cry” change pose

“Raising our voices high, our joyous cry will rise on high” big move and then back to freeze

make the moves almost clockwork but not too jerky.

Lady Macbeth and Macbeth are both on different wave lengths now.

Macbeth is thinking about whether Banguo and Fleance are dead.

Chorus remain frozen.

Listen to what Clive is singing words

King must be ailing, we’ll leave him tables away,

Still facing into centre stage,

Move quickly away to sides but FREEZE. As Lady Macbeth stops you with “Keep Seated”

You need to make it look like Lady Macbeth has stopped you from leaving with her command – DON’T anticipate his stopping you, so make it look like the command is what has made you stop, make it look totally natural.

Lady Macbeth “you must be demented”

Chorus reacts - embarrassed, your voyeurs on this situation but not really there – react as if not been listening in, not there. Make the audience feel that discomfort too

Macbeth – my eyes have beheld him

Lady Macbeth – regain your composure, your guests are uneasy, restore us to gaiety

Macbeth – My Nobles forgive me

Macbeth’s are trying to bring the party back and both John and Lorraine will pull two ends of the tables back into the scene, resistence from the table end holders slightly.