Jay Cross [Dec 8, 2002]

We tried to do a few things a little different. In particular:
1. Everyone in the cast [except maybe Pedrolino] had an opportunity to make his/her case to the audience about who they were and what they were interested in. This was especially importance for Flaminia [whose note about loving a dangerous kind of man was fantastic], and for Arlecchino, who mostly didn't use whole sentences.
2. Arlecchino and Ricciolina did some mimy things as their characteristic movement. It was very cute and silly, and gave the play a needed comic lift.
3. Isabella, Orazio, and Pedrolino asked the audience for advice, got it, and [to some degree] used it. Some little girl from the front row followed Cat around for at least half an hour after the play. They loved her.
4. We got more body movement than usual out of everyone.
5. As a lark, after the bows, I made the troupe go out and line dance with the front row to the tarantella being played by the musicians. I think this worked, and could work better if the troupe knows its coming ahead of time.

My voice was raspy and audible only during acts one and two. Thanks heavens I wasn't on much. The solution was that I was to do raspy gurgly grumelot, and the other players would repeat what I said in horror or disgust. We weren't extremely consistent about doing this, but it seems to have worked.

Myndroh and Abby did some great prearranged word gags that involved gaming terminology [Cinzio was a gambler]. The audience got these jokes and enjoyed them quite a bit.

Jack wore his flamboyant hat, and had a very great prop for his messenger gag.

In all, a great show. I wish the folks in the back of the hall realized what they were trying to talk over. Another classic one-room-event problem.

Thanks to Glenn and Jim of Pasta Shock for videotaping, and commenting.