WE WILL KILL YOUR HEADS with jazz hands!

           AGNES tosses away her sword and shield. She begins applying some lipstick. 

AGNES: Enough with all this dorky stuff. You really think you’re badasses? Then let’s finish this . . . Cheerleader style

           She sticks out her hands as Kaliope and Orcus put pom-poms into them. 

AGNES: We challenge you . . . to a dance battle.

Lightning and thunder!!!!

Dance yields +3 agility!

Dance of the wild-n-crazy bone crushers yields +3 agility!

Our actors are having a lot of fun choreographing this dance battle. Choreographer Ara Glenn-Johanson has collected an impressive selection of 80s/90s dance moves: the Maniac; the Crump; the Vogue; the Macarena.

Here are some video references for your nostagianjoyment.

That was your head!

That was your head!

Happy dance!

Happy dance!

(Shira wants it known that she loves Madonna).

We're gonna dance and you're gonna like it!

We’re gonna dance and you’re gonna like it!

BOUNCE!

Lights come up on TILLY EVANS, a teenage girl decked out in full leathery D&D fantasy armor with a cool- ass sword in hand. She is surrounded by a horde of Kobalds (goblin-like creatures).

Suddenly they attack!

TILLY quickly slays each of the monsters with grace and efficiency. 

Kobald

Intense puppeturgy going on in rehearsal today; while working on movement for the Kobalds that attack Tilly in the first scene, fight director Robert Najarian pulled an epic point of reference for their bouncing. The Gummi Bears. Enjoy.

Living in the World of SHE KILLS MONSTERS

We’re well into our first week of rehearsals in the spacious Plaza Theatre at the Boston Center for the Arts. This first week of rehearsal is all about building vocabulary: stage combat terminology and basic moves; a thorough understanding of the script and all its references; and an immersion into both the fantasy and real-world settings of the play. Director Shira Milikowsky assigned the actors a series of tasks to flesh out characters and the world of the play.

The first assignment was for each actor to bring in three objects/images that encapsulate the world of the play. Take a look at our collection!

STACKS of comic books!

STACKS of comic books!

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Monsters galore

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Dragons, George R.R. Martin Books and useful kerosene lanterns — X-Men cards in the back there!

SNES and FF3!

SNES and FF3!

 

Tilly and Agnes? Paige and Jordan? Theatrical boundaries blurring? Cute kid photos? So much going on here.

Tilly and Agnes? Paige and Jordan? Theatrical boundaries blurring? Cute kid photos? So much going on here.

 

Setting the World of SHE KILLS MONSTERS

CHUCK: You are standing on the sands of a mystical beachside. To one side of you is the endless ocean, on the other is an ominous dark forest. And from the distance, a hooded stranger approaches…

AGNES: If a hooded stranger approached me in real life, I would mace him. 

The characters in SHE KILLS MONSTERS, like any adventurers in a tabletop RPG, do a lot of traveling: swamps; mountains; caves; Ohio gaming stores. The sets for the show need to transform quickly, dynamically and theatrically all while maintaining an air of badassitude.

Enter set designer Erik Diaz with the first draft of his model for C1SKM!

Erik Diaz loves the Plaza Theater! And totally rearranging everything about it!

Erik Diaz loves the Plaza Theatre! And totally rearranging everything about it!

If you’ve never been to the Plaza Theater at Company One’s artistic home, the Boston Center for the Arts, it can be quite the space to work in! It features:

  • TWO immovable I-beam support columns in the middle of the stage
  • THREE-QUARTER audience seating
  • ONE proscenium-y wall/arch blocking aforementioned audience from seeing
  • HALF of the stage

So the space has some challenges.

Fortunately, Erik Diaz and our top-notch design team have the solutions. For this first draft of the set design (which could change at any moment, don’t cry if it does) C1 is shifting the audience. Instead of a 3/4 surrounding view, we’re getting rid of house left seating and using it as part of our playing area. We’ll make up additional seating on the floor in front of the Center and House Right sections.

Everything appears to be in one place . . .

Everything appears to be in one place . . .

The story begins in a nerdy-yet-normal American teenager’s room in Ohio, but is quickly invaded by fantastical monsters.

That's a lot of fan love!

That’s a lot of fan love!

The set has to be able to change, morph and reflect this shift between the two worlds. Director Shira Milikowsky keeps stressing to the creative team that “every new thing has to top the thing before it.” So each set transformation has to be more creative and exciting as the play moves forward.

What's this? The world goes deeper and deeper!

What’s this? The world goes deeper and deeper!

Stay tuned to the blog for more design renderings and updates as C1SKM moves forward!