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.