My death scene still isn't good. I've not worked out my action for it, for which I haven't much excuse, at this point. The scene unnerves me. It requires sustaining a heightened performance while at the same time dying. This scene more than any other brings home to me how much naturalistic and stylized/heightened performance can differ over the course of a large role. Smaller roles I've played in Shakespeare haven't revealed this to me. The smaller roles haven't had full arcs over which the acting has had to tell a story through a range of mood and action changes. Caliban and Orsino were each partial exceptions, but Henry is a much greater challenge for me, even though, at first glance, he seems to be fairly one note (at least in this cutting)--and indeed, he is, in comparison to Hal and Falstaff. I'm looking forward to the second year of MFA work, because it's all about classical work and styles in acting.
Today, we do a cue-to-cue for CHAA, and have our last run-through of Henry before going into tech. Next Tuesday, we do a final dress rehearsal of Henry, open CHAA that evening, then open Henry on Wednesday. I'm feeling butterflies.