Canovaccio #6 - The Serenade

Group A
In general:
  • General level of energy is pretty low guys, but most of all there is not much thinking behind the story, so all seems weak and disconnected. Why don’t people want to sing? Are they busy doing something else? Do they dislike the First Zanni? Finding the reasons would help you move the situation and weave it together. Where is the SILENT scene? Really, how long did you actually rehearse TOGETHER?
  • John: Good explanation of the situation. FYI: Pantalone is no scarecrow, he uses his arms freely, and uses a normal voice, not a semi-falsetto. Your version is funny though
  • ). But what happens at the end, when his plan of wooing Isabella goes south? Why no reaction at all?
  • Mike R: 1. You were supposed to play the White-Face character, who does not have a mask and has a completely different movement. 2. But even as Zanni, TOUCHING THE MASK IS FORBIDDEN (I counted at least 11 times!), plus you cannot really walk as yourself when you have the mask... oh boy! The “4 o’c(l)ock” pun is somewhat funny at the beginning but unsupported by more stage business, actions, character, etc. and it becomes boring soon. Long time with your face to the back and covering other characters...
  • Jordan: What happened to the Zanni steps? Not very clear by any means: you look like a Capitano at the beginning and then I am not sure about your role in this canovaccio at all...
  • Adam: A modernized version of the Lover with glasses is very interesting and so is his story. However, this should not be the pensive and meditative contemporary Lover, who paces back and forth: really, we need more urgency, grandeur, looking straight to the audience, tragic postures, please.
  • Mike M: Good that you’re in character all the time. Capitano’s slap should be better planned so Mike R does not have to touch your mask. Posture works, but I wonder what really happens between the Zanni and you. Why do you accept to sing? For fear? Ok, but how can you two make this FUNNY and not just violent? Btw. Do NOT touch the mask, please!
  • Alex and Alexis: Why would the Zagne be so disengaged? Why not use the situation to play tricks on the First Zanni? Is Alexis a cat??? Why?
  • Andrew: Congrats for the beautiful song you composed! Please work on your movements and relationship to the audience (no more back wall cleaning, please).
Group B
In general:
  • clear, well-thought-out canovaccio with interesting interactions and creative solutions. The mouse-chairs-fall gag is a BRILLIANT example of pay-off of a previously introduced element, ensemble work, and of how the action should be structured. Great, funny song! BRAVO!!!
  • Will: Pantalone’s speech is clear and sets the right mood for the subsequent scene. Steps could be smaller and quicker. Funny Marlon Brando reference. Body work interesting, with gestures appropriately resized to Pantalone’s body. It all works nicely, just remember no touching the mask and no more “God****it” in any future canovacci. Use Zeus or other classical reference if you want to mention the name of a divinity...
  • Jeremy: Pedrolino’s arms/hands are raised, not completely down in his basic stance. Where’s his specific movement? We see a lot of Jeremy and not enough Pedrolino... Also, what about making that dialogue with Pantalone worth some laughs? Why does he comply immediately? What does he want in exchange? How does Pantalone convince/force him? etc. Dialogue with Doctor and Capitana is much better, between being nice and assertive: good! Overall, we need more energy for this guy, much more over the top.
  • Ann: Great Doctor of Music! and the special “clarinet”, and specific movement/steps. Brava!
  • Jane: Great funny idea of using the trombone as a hat and duster, what about blowing it at that time and “finding out” what it does and get scared, and then marvel at the prodigy, etc. etc.? Careful with position on stage: why on earth would you start so upstage at the back of the room? And what about some more words?
  • Ilana: good movements, nice shoes idea, but maybe a Zagna does not clean only... any other possible options? The mouse is funny, but cannot be “materialized” on the spot: you would need to find a moment behind something/someone or another way.
  • For both Zagne: when Jane drops the broom, that would be a good opportunity for Ilana to jump and grab it before it falls thus avoiding the noise. The mouse chase at the beginning is confusing because we don’t understand why/when it’s a mouse or a Zagna. The idea pays off nicely, however, with the concerto and chairs gag.
  • Erin: funny butch Capitana, weights and all! Why no reaction to the slap? Interesting stage fright reference: why not show a follow-up?
  • Samantha: Signora’s attitude works great, you just need more body awareness. Memorable: “I could play my bongos” for its boob-y undertones
  • ). Great song.
  • Tori: credible lover , nice energy and attitude, funny and thoughtful solutions to your problems.