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The Final Scene. 
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Post The Final Scene.
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Last edited by NoOneMournsTheWicked on Mon Jun 24, 2013 6:45 pm, edited 1 time in total.



Thu Feb 08, 2007 5:46 pm
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Keep in mind I've only seen the movie.

I like your idea of staying calm while Tony is dying, but I think after he's dead you should pretty much lose it. It seems to me that at this point Maria has nothing left to live for. Tony and Nardo are both dead and it seems like pretty much everything sucks. I would say pretty hysterical when threatening with the gun, like once she gets the gun in her hand she realizes that she has power. I think when you walk off stage (if you do that) you should be calming down a little but still completely devastated. Maybe start playing it emotionally drained...those are my thoughts anyway. lol, and I am definitely going to bed now.

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Thu Feb 08, 2007 9:48 pm
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I agree about staying calm when Tony is dying. But if you can, try to also show some anxiety about him dying. As if she's holding him in her arms, pleading for him not to die. Remember, her and Tony were going to go "Somewhere", away from all this gang violence. When she grabs the gun and points it at everyone, it should be the anger that results from something so devastating. She feels like killing herself, but wants to take down all those who are responsible for Tony's death with her. Then she breaks down. Her last line (I think), "Te adoro, Anton" can be almost whispered, just to Tony, who of course wouldn't respond. In terms of comparing it to Bernardo's "killer killer killer" reaction, it could either be less dramatic, as Maria has already seen the death of one close to her. Or it could be more dramatic, as this is Maria's only love in life and only thing to live for. Just take whatever you want to do with the character, I'm sure you'll do a great job.-

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Sat Feb 10, 2007 1:14 pm
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These might help you:

http://en.wikipedia.org/wiki/Five_Stages_of_Grief

Maria is moving through these pretty fast of course. To get all those feelings through in just a couple of minutes is tought acting, break a leg!

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Tue Feb 13, 2007 4:16 pm
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Post Maria Hysterics
I'm sure you've already played your Maria, but I thought the discussion was interesting. Certainly I agree with what's been said here and, as I was reading, I thought how much more interesting it is to watch someone holding hysteria back that watching someone sink into melodramatic hysterics. With the latter, what you see is what you get. But the former - it gives agency, presence and danger to the performance. And likewise, I think it would be more interesting to act.

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Sat Aug 25, 2007 9:50 pm
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Yeah I know your production is over right now, but I wanted to throw my 2 cents in! : )

One of my most favorite things that my acting teacher has taught me recently is this:
let 99% of your body be struggling for control, and only allow 1% to reveal that you are a complete ---- mess.

She tells me to remain completely in control, but select one body part that betrays my feelings. For example, after the Jets beat the shit out of me at Doc's, and I'm trying to regain my composure, I'm completely erect, my face is unperturbed and regal, but i'm clenching my shawl at my side like i could tear someone's eyes out.

I think this is a powerful thing to do - to allow yourself to lose control in only one aspect. It shows that your character is struggling for control - and theater is nothing without struggle. If you're calm and resigned, we're bored. If you're crazy and have already completely lost it and are gone, we're bored too.

And that's how human beings really behave, too! We're always trying to be okay. We're never trying to be a sobbing mess, or trying to be hateful. We may be hateful, but we're trying to control ourselves. We may cry, but we try to stop. So I think it's a good choice to get to that emotional point where you are just about to completely lose it, and fight like hell NOT to lose it. Make sense? It's the fight, the conflict, the struggle that's interesting!


Tue Sep 11, 2007 10:40 am
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MaryMag, I think that that's the single most useful bit of acting advice that I have heard in my life. Apart from "stop talking so fast." Thank you.


Sat Sep 15, 2007 10:16 pm
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its a terribly melodramatic scene. laurents needs to rewrite it. its almost comical in its intensity.

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Sun Sep 16, 2007 7:53 am
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Post Final Scene
Salome wrote:
its a terribly melodramatic scene. Laurents needs to rewrite it. It's almost comical in its intensity.


It may be melodramatic and intense but it doesn't need any rewriting. Those factors may make it difficult to play because it is so heightened but, come on, the musical is a heightened theatrical form. And the challenge is to make it compelling in performance. If the scene is played well, it's chilling in it's effectiveness. I've seen it done brilliantly on stage once. And when it works, the final scene is phenomenal.

Later days
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Sun Sep 16, 2007 11:02 am
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Maria, like Juliet should die!!


Tue Sep 18, 2007 9:09 am
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funny stoy.. isaw ap roduction once where the actor who played Tony got violkently ill and never showed up for the final scene. Chino runs out..he isnt there..so he shoots Maria instead!! LMAO

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Tue Sep 18, 2007 9:33 am
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The REAL Ciaron wrote:
Maria, like Juliet should die!!


Wasn't there an early version of the libretto where Maria DID die at the end? If I remember right, she was going to use Chino's gun to kill Chino and then herself. Only then were the adults going to arrive on the scene and learn from Anita what had happened.

Apparently, the creative team changed their minds (either during out-of-town tryouts or when the show was still in development, I'm not sure which) and wanted to give the story an ending that was slightly less bleak, so they had Maria live.

By the way, does anyone know where I can find this version of the final scene (if it even exists)? I'm very curious to know how the lines went.


Mon Nov 19, 2007 2:42 am
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