Hello everyone – Liz Bernardo, Mary Baldwin first-year student and ASC Marketing Intern, here to blog the first session this morning. This Wake Up Workshop is on cue scripts with ASC Education Artist, Mary Baldwin College MFA student, and member of Sweet Wag Shakespeare Patrick Harris at the Blackfriars Playhouse. Live blogging of this session runs from eight to eight forty-five this morning.
Harris introduces himself to the Wake Up Workshop attendees. He explains that high school students usually come to these workshops. He talks about Sweet Wag Shakespeare and Friday’s late night show, One Woman Town, where everyone can watch him perform.
Harris states that cue scripts allow actors much freedom on the stage. He explains that cue scripts were popular in early modern period, when printing scripts was expensive. He adds that his favorite part is that cue scripts only give the actor their roles, not even the title of the play. This creates some confusion because several plays have characters of the same name, such as Francisco, which is in The Tempest, Hamlet, and possibly other early modern plays. This can cause confusion with He further explains that cue scripts present a lot of performance conundrums – such as easily confused characters like Rosencrantz and Guildenstern from Hamlet. Harris adds that the Actors Renaissance Season uses cue scripts to stage the performances.
A scholar asks if the ASC publishes the Renaissance Season cue scripts, and Harris states that the ASC archives cue scripts and that actors often create their own cue scripts. He adds that usually stage managers will make cue scripts too.
Harris talks about false cues, when the cue for an actor is repeated several times in the scene prior to the actual cue. He explains that this creates urgency and interruptions. He also explains shared cues, when several actors say the same line at the same time. He elaborates that this creates an atmosphere of confusion and the strange energy that comes from speaking at the same time.
Sarah Enloe, ASC Director of Education, enters the room, and Harris asks her if the ASC archives Renaissance Season cue scripts. Enloe replies that the cue scripts are, however, actors mark the cue scripts. A scholar asks if any other organization uses cue scripts. Enloe replies that the ASC partners with the Folger Shakespeare Library to create a cue script from any digitized script. She also states that before the creation of this program from the Folger, actors created their own cue scripts. Following a question about cue scripts by other theatres, Enloe replies that typically other theatres do not use cue scripts for their productions. A scholar asks if actors often wait for their cues, and Enloe answers that the ASC actors often jump right to their feet. She adds that in the Actors Renaissance Season uses other staging conditions from Shakespeare’s day such as no director or designers. She says that cue scripts give clues such as which character leads a scene, which is not always the titular character.
A scholar asks about stage directions in cue scripts. Harris takes the floor to reply that a lot of embedded stage directions are within the cue scripts. Embedded stage directions are stage directions inherent in the dialogue. Harris previews that he will talk about false cues. Harris points out that the most descriptive stage directions in this scene belong to the Ghost of Hamlet. He elaborates that these are some of the most descriptive stage directions in a script, with the exception of dumb shows.
Harris applauds the scholar who walks the cues for the Ghost of Hamlet, who listens to the information that other actors share. He points out that the scholar also chooses to enter a specific way. He asks the readers to go through the scene again and requests the Ghost to respond to the embedded cues in the script while the other characters talk about the Ghost onstage.
Harris points out that some actors might accidentally skip a few lines, especially as Horatio, who has two very similar cues of, “Mark it, Horatio,” and, “Speak to it, Horatio.” He states that a good actor, such as the reader in this session, says all of their lines in order with their memorized lines. A scholar points out that if an actor playing Horatio jumps his cue or waits for the proper cue creates a different character for Horatio: a hot-headed character or a frightened Horatio.
A scholar points out that several actors might focus on their cue line and miss information stated on the stage. Harris agrees and explains that this is the reason why he stopped the scenes so many times. He explains that during the Renaissance Season, actors may stop each other several times in order to reorient themselves. He also adds that actors during the Renaissance Season crave the audience interaction, which helps shape the play. A scholar adds that actors in the early modern period might talk to each other about their roles and prepare themselves in such a way.
Unfortunately, we are out of time, and Harris ends the session.