MUSIC NOTES - STUMBLE THROUGH ACT I

Dear ones, an admirable effort yesterday and the sky's the limit.  Our guests were impressed and excited for us!   It is difficult to hold a billion things in your mind as you stride onto the stage, but that's how theatre works and so I urge you to work on this seemingly impossible task.

It is imperative that you speak with precise DICTION and at VOLUME.  The space is echo-y, so sounds run together anyway.  If you are mumbling and speaking softly, we get nothing. 

This is not a movie.  There is no microphone hovering just over your head to pick up every sound.

Picture someone's old granny sitting in the top row with her wizened hand to her ear, plaintively calling, "what'd they say?!" and regretting that she paid for a ticket to a mime show!

Be sure you can hear the people next to you when you sing!  If you can't, you're probably singing too loud.  Blending with your ensemble-mates is the goal.  When you sing, be sure you're accessing the buzzy, echo-y head space that we find when we make that NG sound.  Start with the NG, feel the buzz in the mask (nose, facial bones) then open to any vowel.  You should still feel the buzz.  Your throat should be open like the beginning of a yawn.

There are a few things I'd like to remind you of - again. 

1) ANY TIME YOU SING "Monte Navarro" there is a STOP after the name.  There is time and many of you do it. Please, pay attention to this little detail that adds zip and polish to our performance.

2) THE - thuh before a consonant; thee before a vowel
3) Marry - the 'a' sound is 'short' as in HAT
4) the word 'a' is ALWAYS pronounced "uh"
5) Several words that have 'u' in them are pronounced as if there was a 'y' in front of the 'u':  Duty becomes Dyuty; Attitude becomes Attityude: Tune becomes Tyune.
6) Many words, such as glass, half, etc. are pronounced as if the 'a' was 'ah' - glahss; hahlf;

Last, get the lead out.  I know it's hard to hear the piano, but please anticipate that we will take a brisker tempo with most of these songs that we took in the learning process. 

Let's see if we can apply these principles to today's ACT II RT.    I adore you all.
Chrisse the Wonderful

Notes - Stumblethrough (ACT I)

Lots of stuff here, all...make the necessary adjustments, as you can.  This li'l show of ours is a work in progress, but if yesterday taught me anything, it's that it is really starting to come together!  Keep that drive and commitment moving forward...this is just the next step!

-j.

(# = Page number)

1 - Awesome group projection at top, all!
2 - Good energy…push it further, all!
3 - Need a bell to ring, props
3 - Quiet feet backstage, all
3 - Good energy and projection, Cass/Nico
4 - Push to sustain that good early energy, Nico
4 - Find even more sass and guile...she has a plan, Cass
5 - Find opportunities to take in the whole audience space, all
6 - Good vocal energy on the song, Cass
6 - Never stand face on with anyone…offset shoulders, all
7 - Keep the projection up on key information, Nico
7 - Need to get a picture of mom in a frame on the side table, props
7 - Need separate endtables for different homes, props
7 - Need specific chairs for each scene, not rehearsal chairs, props
8 - Watch the hands-together gesture, Cass
10 - Monty needs to say the lines for the letter, Maddie
11 - Energize and specify all your movements...no going through the motions, all
12 - Sustain her bubbly energy, Riv
14 - Make a clear beat break when you ask about the funeral, Riv
14 - You can play with a bit more variety in your arm position and posture, Nico
15 - Let Sibella’s exit settle for a beat before you head to get the letter, Nico
15 - Move the scene change from after the letter reading to when Nico goes to get the letter from Dory, all
16 - Make the commitment to move any time you move your feet...no shuffling, all
17 - Song sounds great, even with a little vocal fry…keep supporting it with your breath, Nico
17 - Can we have water for Nico and Johnathan at every exit, so as soon as they get offstage they can get a drink, Management?
19 - Project, all!
19 - Don’t lean through the paintings at any time…this is a change, portraits
20 - Nico doesn’t have a book…both lines are to offstage, JP
21 - Let’s take a look at your Adalbert physicality…he should move smoothly at all, as he’s old, Johnathan
21 - Watch wandering around.  Go somewhere and sing to someone, then go somewhere else and sing to them…always specifically, JP
24 - Good work with the song, JP!
25 - All of his physicality needs to match that going up the stairs, JP
25 - Let’s check those pronunciations, JP
25 - Good job staying in character on line calls, JP
26 - Show him the tower, don't just lean, JP
26 - Really grip his hand, Nico…
27 - Really invest these lyrics…you’re considering killing people, Nico
28 - Need a ledger and pen for the clerks scene, props
30 - Keep your projection up, all
31 - Flirt with each other on the ‘crumpet/muff’ lines...also, fill the time on the song intro, Cass and JP
32 - You can’t hang out in a position backstage we can see from the audience when the side drapes, all
32  - Look at the lake to get the idea to cut a whole, Nico
33 - Project those patter lyrics…I know your throat was getting dry, Nico
35 - Be thinking through the text of the voiceovers…take us on that journey, Nico
36 - Urgency in fixing all things…overlooks and fixes are what this is all about, but no dithering, all
36 - Need a mom picture here, as well, props.
37 - Sustain your energy, Nico
37 - The extra music is so you can put on your new clothing…we’ll add it on Sunday, Nico
38 - Sing to him…looking out at the top of poor Monty doesn’t work, Riv
38 - Really try to make him feel better…she is, in her own way, Riv
39 - Project…can’t hear the dialogue, all
39 - Find a time to rehearse the intimate moments…they have to be fully invested regardless, Riv and Nico
41 - Henry needs a different physicality to Asquith, JP
42 - Where are the drinks, props?
42 - Add the punch to a fight call at the top of calls…also, we need to establish dances to cover, Management
43 - Let’s secure the black drape to the back of the bar, props
43 - Let’s have coins for Henry to pay for drinks, props
44 - Good volume level…this needs to be a baseline, Nico and JP
44 - Remember the shoulder rule, all
45 - Take out the corner plug DSL for a wheelchair seat, scenic
45 - Scene change needs to move much more efficiently…think ahead, all
45 - Start the next scene as soon as the lights shift, actors
46 - When was the bench supposed to come out, Management?
47 - Need a lavender sprayer, props
48 - Need to spike/respike all platform furniture, Management
49 - Be careful not to bump into things backstage, all
50 - No wandering feet…move with purpose or not at all, Hyacinth
50 - You’ll need to adjust your blocking to meet the lighting that’s in place come tech…be ready for that, all
50 - Did you give your ‘similar sentiments’ line here…if so, I couldn’t hear it, Nico
51 - Finish corner masking, scenic
51 - You can take longer coming onstage…stall at the top of it for time, JP
53 - Everyone needs to react to the voice over saying ‘dull of wit, after all…’, Hyacinth’s entourage
53 - Lady Hyacinth’s singing voice is a little unspecified, JP
55 - Great energy in the entourage!  This needs to be our energy throughout the show, all
60 - Head back out D due to the traffic jam at E…this is a change, Liam and Quinnlan
62 - Do we have the side table coming on for Monty’s apartment here, Management?
63 - Why no blocking on the couch, Nico and Riv?
64 - Anticipate problems…you should have seen you didn’t have the right prop for the scene change, deck leads
64 - Everything is a pose for him…be specific, JP
65 - Check your pronunciations, JP
66 - Hang a down special for stuff, lights
66 - Hang house lights, lights
67 - Quiet backstage throughout, all
67 - Need to determine what chairs are for what scene, props
68 - Need to get attention on the scene change out of 11e, all
71 - Good investment in the lyrics as lines here, Nico
71 - Jumped the entry a bit, Ezra
71 - Is there a way to strike the office set as Ezra is coming on for the Doctor’s lines, Management?

Orchestral Rehearsal Tracks...Long Overdue!!!

SEE BELOW FOR ACCESS TO THE ORCHESTRAL REHEARSAL TRACKS FROM MTI SHOWS!

 

 

Important Info: Rehearsal Access Code

Your Rehearsal Access Code for A GENTLEMAN'S GUIDE TO LOVE AND MURDER is GEN1494915

Opening Date: 7 November, 2019

Expiration: 21 November, 2019

The Rehearsal Access Code can be given to anyone who needs access to the rehearsal music. There is not a limit on the number of people that can access these rehearsal tracks.

There are three options available for using the rehearsal music:

1. MTI Player from the Apple store:

If you have an iPod Touch (fifth generation or above), iPad (2 or above), or iPhone (4s or above) with an iOS of 9.0 or later, you can download our free app, The MTI Player from the Apple store.

Once it is downloaded, you will then open the app and enter the code (provided by MTI once your show is booked) in the Password box, leaving the username box empty. Click on "Shows" to download and then play the rehearsal music on your device. You will need an internet connection to download the music initially, but once it is downloaded to your device, the music plays through the app and you no longer need internet connection. Please note: The production tracks are only available on iPad, iPod Touch or iPhone.

2. MTI Player from Google Play (Only Plays Rehearsal Tracks):

In addition to being available on iPod Touch (fifth generation or above), iPad (2 or above), or iPhone (4s or above) with an iOS of 9.0 or later, Rehearsal Tracks are available on Android devices and you can download the free app, The MTI Player from Google play.

Once it is downloaded, you will then open the app and enter the code (provided by MTI once your show is booked) in the Rehearsal code box. Click on "Downloads" to download the rehearsal music to your device. Then go to "Shows" to play the music. You will need an internet connection to download the music initially, but once it is downloaded to your device, the music plays through the app and you no longer need internet connection. Please note: The android app is only available for rehearsal music. This addition to the app is new and has been tested on Nexus, Samsung, LG, & HTC Devices. You can try others, but we do not know for sure that they will work.

3. Laptop (Only Plays Rehearsal Tracks):

If you are using a laptop or do not want to download the app, you can stream the rehearsal tracks through the internet by going to the website http://player.mtishows.com and clicking the "Rehearsal Tracks" button. This will take you to the Rehearsal Track Access page. In the box labeled "Streaming Access" enter the rehearsal code (provided by MTI once your show is booked) in the rehearsal code box. You do need internet connection to play the music from the website. Please note: The laptop streaming is only available for rehearsal music.

Please note:

• For any of the options for the Rehearsal music. You will not need to create a username and password to access the music.

• You will need to make sure that you have enough space on your device to download the music in a strong wifi area.

• Once the tracks are downloaded, you will also want to run the show with the device on airplane mode. Receiving a phone call or text message, automatic updates, etc can disrupt the app.

• If you leave the app, it will cancel your download and you may have to start over again in downloading the music. You can find a copy of the show cue sheet when you login to the website http://player.mtishows.com with your organization username and password (provided in the Welcome email sent to your organization contact person).

The Remaining Calendar...

Tech Week 

**No Further Conflicts Accepted.  Make arrangements to be present for 
every call as per your signed audition packet.**

10/28

Onstage/

345p-630p/Work Show; All Cast and Crew Req’d, time to learn show.

10/29

Onstage/

345p-630p/Work Show/Scene Changes All Cast and Run Crew Req’d

Band Room/

330p-530p(?) / Instrumental Rehearsal

10/30

Onstage/

345-630p/Stumble Through Show; All Cast and Run Crew Req’d

10/31

Build/

330p-530p/As Needed to Support the Show; All cast and crew called

11/1

Band Room/

200p-600p/Sitzprobe (Integrating Instrumentalists and Vocalists): All 
Actors, Management, Sound Crew, Instrumentalists

11/2

-Dark-

---

Show Week 1

**From here out Calls are for the complete show staff: Cast, Crew, 
Management, Instrumentalists**

11/3

1100a-900p**/Tech Rehearsal, incl. Costume Parade, Wet Tech, Quick 
Change Rehearsal, and others...specific schedule to be posted closer to 
date (Instrumentalists called from 300p-900p)

11/4

500p-1030p/Dress 1 (Instrumentalists called at 600p)

11/5

500p-1030p/Dress 2 (Instrumentalists called at 600p)

11/6

530p-1030p/Preview-Final Dress (Instrumentalists called at 630p)

11/7

530p-1030p/Performance 1 (Instrumentalists called at 630p)

11/8

530p-1030p/Performance 2 (Instrumentalists called at 630p)

11/9

530p-1030p/Performance 3

(Instrumentalists called at 630p)

---

Show Week 2

11/10

1200p-500p/Matinee Performance (Instrumentalists called at 100p)

11/11

Dark/Veteran’s Day

11/12

Dark (no call) 

11/13

400p Call, 500p Photos, 600p Reset/Warmup, 630p Go, 930p Release 

11/14

530p-1030p/Performance 5 

(Instrumentalists called at 630p)

11/15

530p-1030p/Performance 6

(Instrumentalists called at 630p)

11/16

530p-1030p/Performance 7

(Instrumentalists called at 630p)

11/17

1100a-500p/Strike

**All EVERYONE required to attend**

thoughts...

I have a couple of notes from today's work out:

1) You are all to be commended - as Miller did at rehearsal's end, but I will add my admiration here as well - for being so professional while enduring interminable waits back stage.  I have been in professional, regional theatre shows with seasoned pros who can't keep their mouths shut back stage.  Good on you all.

2) To review a couple of linguistic items,

• Except for the extreme lower classes, British dialects are notable for their attention to the letter "T" - say them all as a real "T" sound, and not a soft "D"; 
• the higher class the person, the more careful and precise their pronunciation - for example, OUR is pronounced like HOUR, YOU'RE is pronounced YOOR, etc.  Those words are candy in your mouths, savor every taste.
• The letter "a" in front of a word is always pronounced "uh" - uh bat, uh ball, uh lovely time;
• The word "the" in front of a word beginning with a vowel is pronounced "thee"
• The word "the" in front of a word beginning with a consonant is pronounced "thuh"

3) Expect all the tempos to go a bit faster when we are "really doing it."  You'll be able to hear better. This is true for even the ballads.  They are, for the  most part, more conversational.  Don't dawdle.  The only time to slow down a bit is at the end where, for example, Inside Out, get maudlin in the duet, but even then it shouldn't be too slow.

4) Phoebe, in Inside Out, on the phrase, "He'll be the most admired man in town"  please take your breath after "admired"

EAT - HYDRATE - SLEEP - HYDRATE - HYDRATE - SLEEP - EAT

Now that I can feel my fingers again...

Great work, all, on the sing-through!  A couple of things to remember:
1) If you can't hear the person next to you, you're singing too loudly.
2) In a volume battle between the soloists and the chorus, the soloists should always win. Even though voices will be amplified, please always keep in mind that blend is paramount, and the chorus supports the soloists.
3) Remember that each of the principals has a musical motif that usually represents the character.  When dialog is underscored, often one is expected to wait for the beginning of one's personal motif before continuing to speak.  Be mindful of where scenes change; the music will also change.  Don't start a scene over a previous scene's music.
All of this will work out once we're in the space and actually walking it out to the music.  YOU ALL ARE THE BEST!!!! AND, YES, I'M SHOUTING!!!!!

Great rehearsal today, and 2 other things.

Thank you so much for all your hard work and attention today.  I want you all to think about your part in the show and if there is anything that you are still concerned about musically, jot it down and let me know! 

Also, I checked the rehearsal track for #20 Barrel Of A Gun for the ALTOS.  The recording is correct, no matter how many times I got confused about who was singing what.  Carry on!

Last, (well, of course it's not the LAST thing I will say!) I want to say something about falling prey to the notion that it's ok to whisper among yourselves when a director or choreographer is working something in a number that you're not involved in specifically.     Consider that if you pay attention to what that other actor is being told, you might find it presents you with an opportunity to add a clever bit of business that wasn't available to you before, thereby enhancing not only your character, but the atmosphere of the entire number.

Pre Tech Week Schedule

Pre-Tech Week

10/20

Build/

200p-600p/Scenic, Lighting, Sound

10/21

Onstage/

345p-630p/Work Movement Pieces w/Randy

Costume Rooms/

330p-630p/Costume Pulls and Build: Costume Team

10/22

Choir Room/

345p-630p/Work Music

Onstage/
345p-615p/Lighting Work; Lighting Team called

Band Room/

330p-530p/Instrumental Rehearsal

10/23

Choir Room/

345p-630p/Work through entire show blending incidental music, scoring, dialogue, etc.

Onstage/
345-630p/Lighting Work; Lighting Team called

10/24

Onstage/

345p-630p/Stage Remaining Scenes; Begin Working Way Through Show 
630p-930p/Lighting Work; Lighting Team Called

10/25

Onstage/

345p-630p/Finish Working Through Show from Day Before

10/26

Costumes/

900a-100p/Build: Costume Team

Edits to the Production Calendar

Just a heads-up that I've made a couple of clarifying notes on the Production Calendar linked to the left.  No changes...don't worry - just some clarifications.

That is all ;-)

j.

**Update: There are some changes to individual dates in the upcoming week, but NO changes to who's called each day.  Please look over and be present!**

Meditations on Dialog with musical underscoring

As you might have gathered from listening to this music, each character seems to have a musical theme, or motif, that recurs when they are onstage.  It is important, therefore, to listen carefully to underscoring when delivering dialog.  We will rehearse this as best we can, but you will find that certain characters speak over a certain musical theme; it's important that the next speaker wait to speak until their musical motif is introduced.   This sounds more complicated than it is...just remember that the goal is not to see who can say their lines the fastest, but to make sense of the story.  Remember that each character is always in a duet with the musical underscoring - it's a partnership.  If we all pay attention to that, we'll have a great time and a great show!  ???s about this.  Ask me. 

Staging - Week 3

10/14
Onstage/

345p-615p/Dance and Movement: Pgs 82-88 + others as time allows...Monty, Sibella, Phoebe

Choir Room/

345p-510p/Ensemble Music

515p-615p/Johnathan Music

10/15

Onstage/

345p-545p/Pgs. 28-34; 52-59: Monty, Asquith Jr, Barley, Hyacinth, Cross, Hetherington, Hayes, Brownlee, Goodsall

10/16

Onstage/

345p-615p/Pgs. 91-106: All Called

10/17

Onstage/

345p-545p/Pgs. 74-78; 115-125: All Called

10/18

Onstage/

345p-615p/Review All Dances: All Called

10/19

**Build/

200p-600p/Scenic, Lighting, Sound - Anyone who can help is appreciated!!!

Staging Week #2

10/7 

Onstage/All Called (Except Hyacinth and Rivkah)

345p-440p/Chizzlemere Skating

450-520p/Portraits - Act I 

530p-615p/Better With A Man

Choir Room/Hyacinth and Rivkah

345p-515p/Solos/Duets

525p-615p/Liam, Theo, Ezra, Hyacinth, Rivkah

10/8

Onstage/

345p-435/Pgs 18-23 - Lord Adalbert, Tour Guide, Monty, Ensemble

445p-545p/Pgs 41-52 - Henry, Tour Guide, Monty, Ensemble, Copley, Pub Owner, Owner's Wife, Phoebe

555p-615/Pgs 107-109 - Inspector, Monty

10/9

Onstage/

345p-615p/Pgs 15; 24-27; 35-37; 60-61; 64-66; 70: Monty, D’Ysquiths

Choir Room/

345p-615p/All Other Cast Members: Ensemble Music as Needed

10/10

Onstage/

345p-645p/Pgs 62-63; 66-67; 79-89; 11-15; 37-40: Monty, Sibella, Phoebe, Sibella's Maid 

Choir Room/

345p-615p/All Other Cast Members: Ensemble Music as Needed

10/11 

Dark - No Calls/Teacher Inservice

10/12

Dark - No Calls

What happens to Chrisse when there's too much chatter.....!

Try this link to the warm up files

A dropbox file....
https://www.dropbox.com/sh/lg9w6p0aijltob7/AADSZEBhW-NsJro6XrUqsU7ua?dl=0

Warm up tracks

It comes to my attention that folks are having trouble opening the warm up tracks I added to the folder.    It wouldn't open for me when I clicked on it in the folder either.  However, when I downloaded it to my laptop, it opened and played (Windows media player).  I suspect a download is necessary.  Let me try something else and see if I can make it accessible.  Meanwhile, we've done enough different warm up exercises in rehearsal to give you a few options for your own warm up. 

Another dynamite way to warm up the voice is to hum through a straw, a la a kazoo. 

Gentleman’s Guide Schedule: Staging Week 1 (remaining)

10/2
Choir Room/
345p-515p/All Called: Music
520p-615p/Johnathan: Music
**Due to a scheduling conflict, there will be no other rehearsal today...music only**

10/3
Onstage/
345p-615p: All of the below are called -
Pg 28: Monty, 1st and 2nd Clerks
Pg 60: Monty, 1st and 2nd Newsboys
Pg 67-70: Monty, Lady Salome, 3rd and 4th Newsboys, 1st-3rd Actors,
Pg 70-73: Monty, Physician, Newsboys, Lord Adalbert, 3 Actors, Phoebe, Sybella

10/4
Onstage/
345p-400p/Warm Up and Announcements
400p-415p/Dance and Movement/Review Prologue
415p-525p/Dance and Movement/Finale (finish)
535p-615p/Dance and Movement/Chizzlemere Ice Skating

10/5
Dark - No Calls/InstaFest

Vocal Warm up/Exercises tracks

I've moved the vocal warmup/exercises tracks to the Rehearsal Tracks folder.  I've renamed them Treble Warm Up and Bass Warm Up so you should be able to find them easily in the list of rehearsal tracks.

Production Calendars

Linked to the right (on the web version of this blog) is a folder with two calendars in it:
1) a spreadsheet version
2) a document version

As of this moment (almost 1230am) only the spreadsheet is complete through the close of show.  It is hard to read, but complete.  The document version will be completed over the next 3-4 days.  It will be much clearer, but is not done yet (though it is done through the end of this week). 

Please review and get to know it ASAP. 

Thanks for your patience!

j.