thank you, the finale is really very touching. All this sorrow and yet there is pent-up anger as well. Charlotte is a strong character right after my heart.
Act 5 is PL ok.
In Act 4 there is one missing line:
> at 0:01: first sentence missing: “The smooth-tongued hypocrite!”
WiltedScribe wrote: ↑January 12th, 2018, 6:32 pm
Alright, Sonia, Act 1 is ready for PL. Everything is coming together wonderfully.
I totally agree Act 1 PL ok.
Wow, guys, you really managed to give quite gloomy atmosphere to this play, as it should have. Totally different vibe from the comedies. Mrs Beverley and Jarvis convey the sadness and faithfulness; Charlotte, Lewis and Lucy the suspicion and anger; Stukely and Bates the cunning mischief. Everyone perfect in their role. Not to forget the fabulous stage directions and intro by Rob and an interesting prologue, ironically read by the fallen Mr Beverley himself.
Just wanted to let you know that before I got sick over the holidays, I recorded multiple versions of all Lewson's acts, and I am now just trying to sift through and pick out the best versions. While recording, I found that the more I spoke in his voice the deeper I could get (warming up the vocal chords, I guess... but that made some inconsistency in tone). Now I have no voice at all (because of my cough, not because of stretching my voice for Lewson ). I'll get the edited versions to you as soon as possible.
benderca wrote:I found that the more I spoke in his voice the deeper I could get (warming up the vocal chords, I guess... but that made some inconsistency in tone).
I wouldn't worry about that. It's not as if he is a soprano in one scene and a bass in the other, right ? My own voice is changing from time to time, depending whether it's morning or evening or how I feel or with who I talk even. I think that is normal.
Kitty wrote: ↑January 13th, 2018, 5:55 am
I wouldn't worry about that. It's not as if he is a soprano in one scene and a bass in the other, right ?
lol! No, I think it’s more like swinging between contralto and countertenor.
Kitty wrote: ↑January 13th, 2018, 5:55 am
My own voice is changing from time to time, depending whether it's morning or evening or how I feel or with who I talk even. I think that is normal.
Sonia
Lewson gets a little emotional in Act three and it was hard not to let my voice go up. It’s easier to play him cool and emotionless: “Just the facts, mam.”
SonOfTheExiles wrote: ↑January 13th, 2018, 9:10 am"I think it’s more like swinging between contralto and countertenor."
I trust, before your voice gave out entirely, you took the opportunity to go the full Shirley Bassey and lay down a few bars of "Goldfinger"?
Chris
Ha! Alas, yet another opportunity passed by... although I still have the cough. That could help me achieve some of Shirley Bassey's roughness...
Ealswythe wrote: ↑January 13th, 2018, 1:15 pm
How about switching between a Cab Calloway and Betty Boop voice?
Not in this play, though I wouldn't rule it out for a future performance.
thanks TJ, and I think you sound husky enough. I really love the voice you're doing for Lewson. Also his inner rage when he speaks about laying open Stukeley's schemes, that part was very nicely acted out.
PL ok, and that means, Act 2 is ready for assembly !!!
Both missing sentences perfectly inserted = 
Everything is coming together wonderfully.
Not to forget the fabulous stage directions and intro by Rob and an interesting prologue, ironically read by the fallen Mr Beverley himself.
). I'll get the edited versions to you as soon as possible.
