From 9.13.07.

We begin a workthrough from the top, focusing on the sections with other characters and voices in them.

Aaron: Will the phone into ringing – will the memory into awakening. Ask yourself if you want to go there or not. Watch the phone. Then, you’re in.

We get talking about the semantics of attack and counterattack and mobilization. I find a source in Vickie’s dramaturgy binder that indicates that even a mobilization could have been perceived as a counterattack.

Distinguishing the voices of Dado and Dayan: breathiness, sexiness, depth, speed. Vowels open or clipped. Volume.

Camille raises the question of if it will seem false to take on on one character after another too quickly – Aaron goes in response to their point of view, the point they are trying to make. He returns to the idea of her point of view, or opinion in general, throughout – “we want to hear her opinion on Herzl when she says “the founder of zionism.” ”

I am multitasking and reading through THE ROMANTIC YEARS for source material on health, on her lovers, on her anger (Camille was interested in anger.) It’s so interesting how in a historical production you search outside the text for material, whereas in a more traditional production you’d be more New Critical about it and limit yourself to the text.

As the characters become sharper, Aaron asks for more conflict between them and Golda. “The father is so defined. Push up against him more.”

I work on a character chart of voices.

We decide, based on very limited evidence, that it was the left leg with phlebitis. We find out she had lots of lovers between 1938 and 1946. And we find that her anger was expressed in a lot of sarcasm and humor – and that she was not easily swayed or flustered.

Golda: (to an annoying British judge) “You should not address me in that manner!”