[SINGING] I can't be in love. I can't be in love. You can see that I am A- unstable, B- unable, C- unprepare to marry her or any other.
[SPEAKING] Okay, so this is, this is gonna be one this, that's fine, this is gonna be one of those work sessions where this is so complicated, it's there's so much going on. You're gonna have to you have to allow yourself to make all the discoveries and know that this is not going to be a finished performance today, isn't it right? And then go away? piece it together bit by bit. Does that make sense? You can have the impulse to move. Right? But if you're not moving and then out of somewhere this happens. Then it's "what's that," right? And the audience will make that discovery with you. They won't make that discovery with you. If you are already moving a lot. I could be wrong. But I think for the comedy to work, the first one has to be "did that happen?" Not "stop it." Because if you play "stop it" from the beginning, it's over, then it's gonna be one joke. But if the first one is what, there was nothing, right? What was that thing and then the second one is just a normal move. And the third one is that leg, silliness. Then as it builds and that's part of it. What you then have to do on your chart, is map out the growth of this thing that's taking over your body. Does that make sense to everybody? I mean, I know that you know, charts drive people crazy. But doing that work is how you can have these sorts of workshop sessions and have a blast and then go back and put it all together. This is the sort of number you cannot rehearse on your own. You really better have somebody else in the room writing down what you did, so they can- so you can remember it when it's all over. Because you're probably going to do 50 physical actions in about 70 seconds. Right? You're not gonna remember all those, right away. Okay, let's go from the top.
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[SPEAKING] Nice good good. Do you know why I took your hands out of your pockets? Because?
I just don't think he's that comfortable. I don't think he's that relaxed. I think he is- like you have to, you have to take you have to take this lyric at face value because it's your inner thoughts there's no subtext to this. You're tense, right? That's why I don't think you're comfortable enough to have your hands in your pocket. Personally I think that you guys are coming together too soon, right? I think that there's a there's an edging towards each other. I would like you to not look at each other. I would like you to not be able to look at each other, right? And the minute one of you catches the others I you have to look away, right? So I want to see you guys I want to see you guys tiptoeing around each other want to see youedging towards something but I think you're getting there too, too fast. I think there's so much more- there's more distance that you two need to travel before you come together. Okay, so let's take it from the same same place.
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