Please bring extra cardboard boxes that you may have to Sunday's show to be used during strike. What we don't use, you can either take home or I will recycle. Any boxes that are used will NOT be returned.
Tracy
Saturday, June 18, 2011
Monday, June 13, 2011
Final Week Notes
What a phenomenal weekend! Seven shows down, and all we have to do now is bring home the last three. I think everyone would agree that Sunday's show was our best by far, even though it may not have gotten the laughs that some of our previous shows received.
Pat Cook was very impressed with all of you, and we've heard nothing but positive feedback from our first three weekends.
Here are a couple of quick show notes for this week...
First of all, let's don't add anything new from this point forward. What we have works - let's stick with it. That is especially true for Sunday's finale, where actors can have a tendency to "customize" their final performance. Don't let that happen to you. Audience ten deserves the same show that audiences 1-9 received.
We will do a staged rehearsal Thursday night at 7, but will skip the music, sfx, and costumes. So full blocking and dialogue, but that's it. Should get us out of there by 8:45 if we get started on time.
OUR CAST PHOTO WILL BE TAKEN SATURDAY BEFORE THE SHOW. I know that Richard and Karen have Oklahoma! rehearsal Saturday, but we've been asked to be in full makeup and costume by 7 on Saturday night for our photo. Please let me know ASAP if that will be an issue so I can investigate alternatives.
OUR CAST PARTY WILL BE SUNDAY AFTER STRIKE. The location is still classified, but it is within 10 minutes of the theatre and will be a full catered meal (our treat!). Since HFAC is picking up the tab, the party is for cast and crew ONLY, with the exception that anyone with smaller kids (Richard/Nora and Julie) can bring their kids if it would prevent you from attending otherwise. The location will be given after strike is completed.
STRIKE IS MANDATORY FOR EVERYONE IN THE CAST. If you're not comfortable with a power screwdriver or hand tools, there will still be plenty to do such as removing and sorting props, sorting costumes, cleaning the dressing rooms and such. If everyone participates, we will be finished by 6:30 at the very latest.
Let me know if you have any questions. Otherwise, I'll see everyone Thursday night.
Tracy
Pat Cook was very impressed with all of you, and we've heard nothing but positive feedback from our first three weekends.
Here are a couple of quick show notes for this week...
First of all, let's don't add anything new from this point forward. What we have works - let's stick with it. That is especially true for Sunday's finale, where actors can have a tendency to "customize" their final performance. Don't let that happen to you. Audience ten deserves the same show that audiences 1-9 received.
We will do a staged rehearsal Thursday night at 7, but will skip the music, sfx, and costumes. So full blocking and dialogue, but that's it. Should get us out of there by 8:45 if we get started on time.
OUR CAST PHOTO WILL BE TAKEN SATURDAY BEFORE THE SHOW. I know that Richard and Karen have Oklahoma! rehearsal Saturday, but we've been asked to be in full makeup and costume by 7 on Saturday night for our photo. Please let me know ASAP if that will be an issue so I can investigate alternatives.
OUR CAST PARTY WILL BE SUNDAY AFTER STRIKE. The location is still classified, but it is within 10 minutes of the theatre and will be a full catered meal (our treat!). Since HFAC is picking up the tab, the party is for cast and crew ONLY, with the exception that anyone with smaller kids (Richard/Nora and Julie) can bring their kids if it would prevent you from attending otherwise. The location will be given after strike is completed.
STRIKE IS MANDATORY FOR EVERYONE IN THE CAST. If you're not comfortable with a power screwdriver or hand tools, there will still be plenty to do such as removing and sorting props, sorting costumes, cleaning the dressing rooms and such. If everyone participates, we will be finished by 6:30 at the very latest.
Let me know if you have any questions. Otherwise, I'll see everyone Thursday night.
Tracy
Tuesday, June 7, 2011
Second Weekend Notes
Congratulations on what has been a great run through two weekends! We're averaging over 100 per night, and that is no small feat for a non-musical. You should all be very proud of your accomplishement.
A couple of notes for this week...
First, we WILL have a pickup rehearsal this Thursday at 7:00. It will just be a line-through, so you should get out fairly early. Olivia will read for Chelsey. Cheryl will be running the rehearsal since I have a prior committment. If you can't make it by 7:00, please let Cheryl know so she can adjust accordingly.
Make sure you spend time in your scripts this week. I sensed a lot of uncertainty in many of you Friday night, and that tells me that the scripts were likely collecting dust all week. Saturday was so much better, which just reinforces that belief.
AD-LIBS: At this point, the show is familiar enough that some ad-libs are likely to start creeping into the show. For now, the only authorized ad-lib is Richard's line about "Checking on Rafe O'Connor," and he can only use that IF he also keeps in the part about the earthworms. Remember that the author will be here on Sunday, and we owe it to him to deliver the dialogue that he wrote.
Please remember that we now have Sunday matinees for the remainder of the production run. Call time for Friday and Saturday will remain at 6:30. Call time for Sunday is 1:30. Pat Cook will be conducting a talk back after this Sunday's show; each member of the cast is expected to stay and participate. You will be given a few minutes to get out of costume and remove makeup if you wish before the talk back starts on the Garza stage around 5:30. We should finish the evening by 6:00, but certainly no later than 6:30.
Finally, if you have not made plans to use your two comp tickets for the show, make sure you email Carla at pconover@entouch.net with the dates you'd like to use them. This Friday and Sunday are almost sold out, and I expect the other four shows will sell out as well, so get your requests in now for the best seating options.
Cheryl will see you Thursday, and I'll see you Friday!
Tracy
A couple of notes for this week...
First, we WILL have a pickup rehearsal this Thursday at 7:00. It will just be a line-through, so you should get out fairly early. Olivia will read for Chelsey. Cheryl will be running the rehearsal since I have a prior committment. If you can't make it by 7:00, please let Cheryl know so she can adjust accordingly.
Make sure you spend time in your scripts this week. I sensed a lot of uncertainty in many of you Friday night, and that tells me that the scripts were likely collecting dust all week. Saturday was so much better, which just reinforces that belief.
AD-LIBS: At this point, the show is familiar enough that some ad-libs are likely to start creeping into the show. For now, the only authorized ad-lib is Richard's line about "Checking on Rafe O'Connor," and he can only use that IF he also keeps in the part about the earthworms. Remember that the author will be here on Sunday, and we owe it to him to deliver the dialogue that he wrote.
Please remember that we now have Sunday matinees for the remainder of the production run. Call time for Friday and Saturday will remain at 6:30. Call time for Sunday is 1:30. Pat Cook will be conducting a talk back after this Sunday's show; each member of the cast is expected to stay and participate. You will be given a few minutes to get out of costume and remove makeup if you wish before the talk back starts on the Garza stage around 5:30. We should finish the evening by 6:00, but certainly no later than 6:30.
Finally, if you have not made plans to use your two comp tickets for the show, make sure you email Carla at pconover@entouch.net with the dates you'd like to use them. This Friday and Sunday are almost sold out, and I expect the other four shows will sell out as well, so get your requests in now for the best seating options.
Cheryl will see you Thursday, and I'll see you Friday!
Tracy
Monday, May 30, 2011
Opening Weekend Notes
What a great opening weekend! We had 113 in the house on Friday and 95 on Saturday, and according to Bob, that is probably the best opening weekend in HFAC history for a non-musical. You should all be very proud of your accomplishment.
I think it's a great testament to everyone's hard work when the only thing we really need to focus on is keeping our heads in the script this week to remain familiar with the dialogue.
We'll have a full pickup rehearsal this Thursday night, with Liz as Chelsey since she hasn't had a show yet. No costumes or makeup, but we'll run full lights and sound for timing's sake. Let's try to start as close to 7:00 as possible so we can all get out by 9:30 or so.
In case you hadn't heard, the reviewer from the Houston Press attended Saturday's show. Once he's posted a review, I'll send everyone the link.
Have a great week, and I'll see everyone Thursday night.
Tracy
I think it's a great testament to everyone's hard work when the only thing we really need to focus on is keeping our heads in the script this week to remain familiar with the dialogue.
We'll have a full pickup rehearsal this Thursday night, with Liz as Chelsey since she hasn't had a show yet. No costumes or makeup, but we'll run full lights and sound for timing's sake. Let's try to start as close to 7:00 as possible so we can all get out by 9:30 or so.
In case you hadn't heard, the reviewer from the Houston Press attended Saturday's show. Once he's posted a review, I'll send everyone the link.
Have a great week, and I'll see everyone Thursday night.
Tracy
Friday, May 27, 2011
Tech Week Thursday Notes
When I was first asked to direct this show, I really didn't think I'd be able to make it funny. You can ask Lisa or Cheryl or Bob or Teri (or just about anyone else who knows me well), and they'll tell you that for a long time I dreaded directing this show because it just didn't look like I could add any business that would compliment the humorous dialogue.
Notice that in that last paragraph the word "I" was used five times. And that was my problem. "I" couldn't think of anything to add because "I" forgot that there would be a group of gifted actors who could take the dialogue they read, couple it with my blocking and turn it into something very, very funny. As Lisa has been telling me for almost a year - trust your cast, and you'll be fine. And she was right.
YOU have created a wonderfully entertaining show that I promise people will be talking about for quite some time. It has a great mix of humor, from intellectual to subtle to farce. Often at the same time! Your facial expressions and creative use of the props on stage only add to that humor. The ad-libs I've seen this week just go to prove that we could not have selected a better cast for this show. Your timing and instincts have really come out the past two nights, and I know those will only continue to improve through the run of the show.
When you realize that we lost almost a full week of rehearsals due to cast member conflicts with other shows AND replaced a cast member with barely three weeks of rehearsals left, it is a testament to your hard work and dedication that we've got such a great show.
And I would be remiss if I didn't give great praise to the production team as well. Thanks to Cheryl for keeping me on an even keel this past week; to Julie for such a wonderful job on lights; to Brendis for running sound; to Karen for the great costumes and to Loretta for the fabulous props. But I have to save my biggest praise for Lisa, who not only guided and encouraged me through this process, but who also envisioned and delivered the most amazing set we've ever had for an HFAC production.
I could go on and on, but I think I need to let all of you spend some more time in your scripts (I'll never let that go, will I?). We've got a great show, and now all we have to do is deliver it for the next four weekends.
Have a great Friday, and BREAK A LEG tonight!
Tracy
Notice that in that last paragraph the word "I" was used five times. And that was my problem. "I" couldn't think of anything to add because "I" forgot that there would be a group of gifted actors who could take the dialogue they read, couple it with my blocking and turn it into something very, very funny. As Lisa has been telling me for almost a year - trust your cast, and you'll be fine. And she was right.
YOU have created a wonderfully entertaining show that I promise people will be talking about for quite some time. It has a great mix of humor, from intellectual to subtle to farce. Often at the same time! Your facial expressions and creative use of the props on stage only add to that humor. The ad-libs I've seen this week just go to prove that we could not have selected a better cast for this show. Your timing and instincts have really come out the past two nights, and I know those will only continue to improve through the run of the show.
When you realize that we lost almost a full week of rehearsals due to cast member conflicts with other shows AND replaced a cast member with barely three weeks of rehearsals left, it is a testament to your hard work and dedication that we've got such a great show.
And I would be remiss if I didn't give great praise to the production team as well. Thanks to Cheryl for keeping me on an even keel this past week; to Julie for such a wonderful job on lights; to Brendis for running sound; to Karen for the great costumes and to Loretta for the fabulous props. But I have to save my biggest praise for Lisa, who not only guided and encouraged me through this process, but who also envisioned and delivered the most amazing set we've ever had for an HFAC production.
I could go on and on, but I think I need to let all of you spend some more time in your scripts (I'll never let that go, will I?). We've got a great show, and now all we have to do is deliver it for the next four weekends.
Have a great Friday, and BREAK A LEG tonight!
Tracy
Thursday, May 26, 2011
video
Here's a link to the promo video Bob put together:
http://video214.com/play/mbJdIEtw85DK0eGhA8A4TQ/s/dark
http://video214.com/play/mbJdIEtw85DK0eGhA8A4TQ/s/dark
Tech Week Wednesday Notes
Very good rehearsal last night, especially Act 2. While there will always be things that can be better, I think it's a pretty good sign when we're down to pacing and topping lines and not reblocking entire scenes.
As I mentioned last night, let your confidence show on the stage. All ten of you know the show well enough to cover for each other when someone trips up on a line or misses some blocking. We know that's going to happen occasionally, and the mark of a good show (in my opinion anyway) is when someone covers that spot and nobody is the wiser other than us.
I was also very pleased with the additional little ad-libs I saw from most of you last night. I don't mind those getting dropped in as long as they are more subtle in nature since anything larger may affect the actors around you.
For tonight, let's see if we can quicken the pace on the first scene. If we can shave 2-3 minutes off of that scene, then the entire show is going to have a great pace, which I think will keep the audience on the edge of their seats waiting for the next punch line or gag. Cheryl will be backstage the entire show tonight, so we shouldn't have any prop issues or costume delays.
Don't forget to let Carla know when you want to use your two comp tickets for the show (email pconover@entouch.net), and make sure you remind your friends and families to come see this very funny show.
See you all tonight at 6:30; let's see if we can hit a 7:30 curtain.
Tracy
As I mentioned last night, let your confidence show on the stage. All ten of you know the show well enough to cover for each other when someone trips up on a line or misses some blocking. We know that's going to happen occasionally, and the mark of a good show (in my opinion anyway) is when someone covers that spot and nobody is the wiser other than us.
I was also very pleased with the additional little ad-libs I saw from most of you last night. I don't mind those getting dropped in as long as they are more subtle in nature since anything larger may affect the actors around you.
For tonight, let's see if we can quicken the pace on the first scene. If we can shave 2-3 minutes off of that scene, then the entire show is going to have a great pace, which I think will keep the audience on the edge of their seats waiting for the next punch line or gag. Cheryl will be backstage the entire show tonight, so we shouldn't have any prop issues or costume delays.
Don't forget to let Carla know when you want to use your two comp tickets for the show (email pconover@entouch.net), and make sure you remind your friends and families to come see this very funny show.
See you all tonight at 6:30; let's see if we can hit a 7:30 curtain.
Tracy
Wednesday, May 25, 2011
Tech Week Tuesday Notes
Thanks to everyone for a nice rehearsal last night. I think the biggest issue we had was that I forgot one of the barking dog sound effects. :-)
Pacing was much, much better last night and that cleaned the show up a great deal. As you get ready for tonight's rehearsal, please take some extra time to review your exact cue line for each line of your dialogue. We had about three or four spots last night where some lines were delivered out of order and one near the end of Scene 1 where we missed some dialogue completely (I'm pretty sure we covered that one; it's the lines about getting freshened up).
I'm not quite ready to call off the dogs on being word perfect just yet, but you all were close enough last night that we have no line notes for anyone today.
Bob will likely be in tonight to re-record the video clips we did a few weeks ago for our web video. You do not have to participate if you don't want to, but this will be a chance for you to redo your little 10 second blurb if you wish. We will also want to record Jill and Liz since they weren't here the first time.
Remember that I'd like to start at 7:30 and run this as a full show without interruption. FULL MAKEUP AND COSTUMES TONIGHT, SO PLAN YOUR ARRIVAL TIME ACCORDINGLY. See you all tonight!
Tracy
Pacing was much, much better last night and that cleaned the show up a great deal. As you get ready for tonight's rehearsal, please take some extra time to review your exact cue line for each line of your dialogue. We had about three or four spots last night where some lines were delivered out of order and one near the end of Scene 1 where we missed some dialogue completely (I'm pretty sure we covered that one; it's the lines about getting freshened up).
I'm not quite ready to call off the dogs on being word perfect just yet, but you all were close enough last night that we have no line notes for anyone today.
Bob will likely be in tonight to re-record the video clips we did a few weeks ago for our web video. You do not have to participate if you don't want to, but this will be a chance for you to redo your little 10 second blurb if you wish. We will also want to record Jill and Liz since they weren't here the first time.
Remember that I'd like to start at 7:30 and run this as a full show without interruption. FULL MAKEUP AND COSTUMES TONIGHT, SO PLAN YOUR ARRIVAL TIME ACCORDINGLY. See you all tonight!
Tracy
Tuesday, May 24, 2011
Complimentary Cast Tickets
Just a friendly reminder from Carla, our Producer, that each cast and crew member is entitled to two comp tickets for one performance of our show. Please email Carla at pconover@entouch.net with the date you'd like to use your tickets, along with the name for Will Call.
Tech Week Monday Notes
All in all we had a pretty decent rehearsal last night. Overall pacing was much better than it was last week, but we still drag in spots, the most noticeable of which are the two roadkill scenes. All you really need to do there is shorten the pauses between each line, and it should be fine. The "effort" you use to deliver your lines perfectly conveys the discomfort you are feeling, which is the general purpose of the scene.
Many of you asked about the light that's always on in the cellar hallway. What I'm going to do is to add either a blue light or a very dim incandescent light so that we can see a little bit of the cellar when the bulb is supposedly burned out. I'm going to add a brighter light that will come on once George has fixed the bulb. That will likely be controlled by Julie upstairs, but I may actually tie it to the light switch so Mitch can flip the switch in that scene and have the light come on.
Before I get to individual notes, thanks to everyone for their flexibility with arriving earlier, rehearsing later and working with both Liz and Olivia last night. It was really helpful! I think tonight should be have a better rhythm, and I know that will help everyone.
Line notes will be coming today as soon as I get them from Cheryl, so keep an eye on your email for those.
For my Chelseys: Don't forget to move to the front door near the end of scene 2 so you can open it for everyone. That movement should happen as soon as Mamie Jo says "Let's watch the sunset..."
Also make sure when George is talking to you near the fireplace (after you get the dog, but before you sit in the little chair) that you are a bit upstage of George so that you can cheat out and face the audience. Doesn't have to be significant; we just don't want the left side of the house to see your back for so long.
For Andrew: Make sure we can see you stuff the suitcase into Mitch's gut ("Oh Mamie, you shouldn't be carrying that."). It may have just been my seat, but as I recall, the handoff happened where I couldn't see it. I've got an idea for that that I'd like to try tonight. Hopefully someone who reads the blog today will remind me of it before rehearsal so we can see if it works.
For Mamie Jo: I loved that you had to come back and reappear on the stairway landing to say "Well, he's YOUR brother!" when you and Margaret are leaving near the end of scene 2. It looked great!
For Mitch: Try toning down the mimicking of George's moose head re-enactment. I think you can get pretty wild on the shotgun blasts, but other than that, try to make it more of a silent recital of his diatribe with some simpler motions.
For Margaret, Joanne and Gloria:: All of your blocking looked really good last night (except when Joanne gets covered by George in front of the couch; but hopefully we fixed that last night). Focus tonight on making sure you get your lines in at the right spot. Cheryl and I will try to catch those times when someone walks on your line so that we can fix those trouble spots before we open.
For Richard: When you and Mitch are sitting on the sofa in Scene 1 (p. 12 after Mitch comes out of the cellar), try to start moving towards the door as you say "Stop it! You're killing me!" That allows Mitch's next line to be delivered more as an aside that he probably would not want you to overhear. It also gets us to Mitch and Joanne's exchange about the laughing academy a little faster too.
Also, Make sure that you are laughing at the end of your first set of lines that open Act 2 (right after "...casket and all."). Mitch's Chinese water torture line should be over your laughter. Otherwise, it looks like you stopped so he can say his line.
Next, let's try to speed up the parts in the will reading where you're showing things to Mamie Jo and Margaret. I don't mind you flipping pages for effect, but this is one spot where I don't mind you adlibbing the page number as long as the end of the line is intact so that nobody misses a cue line.
Finally, GREAT JOB on reading Rafe's letter. I meant to tell you that last week. I know it's coming and I still tear up when you deliver those lines.
Many of you asked about the light that's always on in the cellar hallway. What I'm going to do is to add either a blue light or a very dim incandescent light so that we can see a little bit of the cellar when the bulb is supposedly burned out. I'm going to add a brighter light that will come on once George has fixed the bulb. That will likely be controlled by Julie upstairs, but I may actually tie it to the light switch so Mitch can flip the switch in that scene and have the light come on.
Before I get to individual notes, thanks to everyone for their flexibility with arriving earlier, rehearsing later and working with both Liz and Olivia last night. It was really helpful! I think tonight should be have a better rhythm, and I know that will help everyone.
Line notes will be coming today as soon as I get them from Cheryl, so keep an eye on your email for those.
For my Chelseys: Don't forget to move to the front door near the end of scene 2 so you can open it for everyone. That movement should happen as soon as Mamie Jo says "Let's watch the sunset..."
Also make sure when George is talking to you near the fireplace (after you get the dog, but before you sit in the little chair) that you are a bit upstage of George so that you can cheat out and face the audience. Doesn't have to be significant; we just don't want the left side of the house to see your back for so long.
For Andrew: Make sure we can see you stuff the suitcase into Mitch's gut ("Oh Mamie, you shouldn't be carrying that."). It may have just been my seat, but as I recall, the handoff happened where I couldn't see it. I've got an idea for that that I'd like to try tonight. Hopefully someone who reads the blog today will remind me of it before rehearsal so we can see if it works.
For Mamie Jo: I loved that you had to come back and reappear on the stairway landing to say "Well, he's YOUR brother!" when you and Margaret are leaving near the end of scene 2. It looked great!
For Mitch: Try toning down the mimicking of George's moose head re-enactment. I think you can get pretty wild on the shotgun blasts, but other than that, try to make it more of a silent recital of his diatribe with some simpler motions.
For Margaret, Joanne and Gloria:: All of your blocking looked really good last night (except when Joanne gets covered by George in front of the couch; but hopefully we fixed that last night). Focus tonight on making sure you get your lines in at the right spot. Cheryl and I will try to catch those times when someone walks on your line so that we can fix those trouble spots before we open.
For Richard: When you and Mitch are sitting on the sofa in Scene 1 (p. 12 after Mitch comes out of the cellar), try to start moving towards the door as you say "Stop it! You're killing me!" That allows Mitch's next line to be delivered more as an aside that he probably would not want you to overhear. It also gets us to Mitch and Joanne's exchange about the laughing academy a little faster too.
Also, Make sure that you are laughing at the end of your first set of lines that open Act 2 (right after "...casket and all."). Mitch's Chinese water torture line should be over your laughter. Otherwise, it looks like you stopped so he can say his line.
Next, let's try to speed up the parts in the will reading where you're showing things to Mamie Jo and Margaret. I don't mind you flipping pages for effect, but this is one spot where I don't mind you adlibbing the page number as long as the end of the line is intact so that nobody misses a cue line.
Finally, GREAT JOB on reading Rafe's letter. I meant to tell you that last week. I know it's coming and I still tear up when you deliver those lines.
Monday, May 23, 2011
Monday's Rehearsal
This note is primarily for Joan (as this is her first HFAC production), but will serve as a reminder to everyone in the cast about how our Tech Week rehearsals are run.
Tech Week, especially the first two nights, is primarily designed so that the production crew can set lighting looks and sound levels. They control these rehearsals to the extent that if they need to see a scene or part of a scene again, they can do so. Fortunately for our show, the lighting looks are fairly static and the sound is very simple, so I don't expect a lot of starting and stopping for their sake with the possible exception of between scenes since that's when lighting has its biggest changes.
Since Liz and Olivia are both called for Chelsey tonight, I am currently planning to run all of their sub-scenes twice so that each young lady gets a chance to run all of their lines and blocking tonight.
One final note about Tech Week...although we make every effort to finish by 10:00, we will go as late as necessary in order to tighten up the show and to make sure everyone is as prepared as possible. I expect that if we do run long, it will likely be tonight and tomorrow only, and even then I hope it will be no later than 10:30 or 11:00. Keep the pacing up and nail those lines, and we might just get out on time all week!
Tracy
Tech Week, especially the first two nights, is primarily designed so that the production crew can set lighting looks and sound levels. They control these rehearsals to the extent that if they need to see a scene or part of a scene again, they can do so. Fortunately for our show, the lighting looks are fairly static and the sound is very simple, so I don't expect a lot of starting and stopping for their sake with the possible exception of between scenes since that's when lighting has its biggest changes.
Since Liz and Olivia are both called for Chelsey tonight, I am currently planning to run all of their sub-scenes twice so that each young lady gets a chance to run all of their lines and blocking tonight.
One final note about Tech Week...although we make every effort to finish by 10:00, we will go as late as necessary in order to tighten up the show and to make sure everyone is as prepared as possible. I expect that if we do run long, it will likely be tonight and tomorrow only, and even then I hope it will be no later than 10:30 or 11:00. Keep the pacing up and nail those lines, and we might just get out on time all week!
Tracy
Friday, May 20, 2011
CHANGE FOR SATURDAY
Lisa, Carla, Julie and Teri finished the set Friday afternoon, so there will be NO CONSTRUCTION PARTY on Saturday. We will still be cleaning and organizing the backstage area between 10-2, so feel free to come join in that fun if you want, but again, do not change any plans in order to attend.
See you Monday night!
Tracy
See you Monday night!
Tracy
Rehearsal #19 Notes
Overall, the play looked pretty good last night. Pacing is our biggest issue right now, although it appears to be getting better with the exception of Scene 1, which is still dragging pretty badly. I'm also very encouraged that all of you now seem to know when you've either dropped a line or have walked on a line, so I think that problem will likely take care of itself.
You'll be receiving line notes sometime today via email. Please take the time to review what I send and try to focus on those areas of the script. As I've written several times, the best way to fix lines now is to have someone following along with you while you recite and have them stop you on every mistake. Most of you are so very close to being word perfect that I know you can be there by opening night if you'll take the time to carefully review your lines.
A quick note about call times - The published call time is the latest that you are allowed to arrive. If it takes you more time to get into makeup and costumes than the published call time provides, then it is up to you to adjust your call time accordingly so that you are ready by the start of rehearsal (through Thursday) or by the start of circle (performance dates). After we get through opening weekend and will have hopefully established somewhat of a nightly routine, I'll review the 6:30 call time to see if it needs to be adjusted.
Here's a rundown of what next week will look like. Please feel free to call, text or email me if you have any questions at any time from this point forward.
Saturday, May 21: Final set construction (10a-2p)
Monday, May 23: Dress Rehearsal (6:30p Call)
Tuesday, May 24: Dress Rehearsal (6:30p Call)
Wednesday, May 25: Dress Rehearsal (6:30p Call)
Thursday, May 26: Final Dress Rehearsal (6:30p Call)
Friday, May 27: OPENING NIGHT! (6:30p Call)
Saturday, May 28: 2nd Performance (6:30p Call)
You'll be receiving line notes sometime today via email. Please take the time to review what I send and try to focus on those areas of the script. As I've written several times, the best way to fix lines now is to have someone following along with you while you recite and have them stop you on every mistake. Most of you are so very close to being word perfect that I know you can be there by opening night if you'll take the time to carefully review your lines.
A quick note about call times - The published call time is the latest that you are allowed to arrive. If it takes you more time to get into makeup and costumes than the published call time provides, then it is up to you to adjust your call time accordingly so that you are ready by the start of rehearsal (through Thursday) or by the start of circle (performance dates). After we get through opening weekend and will have hopefully established somewhat of a nightly routine, I'll review the 6:30 call time to see if it needs to be adjusted.
Here's a rundown of what next week will look like. Please feel free to call, text or email me if you have any questions at any time from this point forward.
Saturday, May 21: Final set construction (10a-2p)
Set Dressing
Painting
Backstage Cleanup and Organization
(Everyone is welcome, but don't change plans so you can attend)
Monday, May 23: Dress Rehearsal (6:30p Call)
Full Costumes
Makeup optional
Will start as soon as everyone is in costume
Will block Bows before rehearsal starts
Liz and Olivia called for Chelsey
Notes immediately after Bows (before removing costumes)
Tuesday, May 24: Dress Rehearsal (6:30p Call)
Full Costumes
Makeup optional
Will start as soon as everyone is in costume
Liz called for Chelsey
Notes immediately after Bows
Wednesday, May 25: Dress Rehearsal (6:30p Call)
Full costumes and makeup
Will likely start at 7:30 so show can be timed
Olivia called for Chelsey
Notes immediately after Bows
Thursday, May 26: Final Dress Rehearsal (6:30p Call)
Full costumes and makeup
Will start at 7:30
Veronica called for Chelsey
Notes immediately after Bows
***CURTAIN MAY MOVE to 8:00 IF VISITORS HAVE BEEN INVITED TO ATTEND***
Friday, May 27: OPENING NIGHT! (6:30p Call)
House opens at 7:30
Circle backstage at 7:40
Places at 7:55
Curtain at 8:00
Olivia called for Chelsey
Meet and Greet in lobby after Bows
Saturday, May 28: 2nd Performance (6:30p Call)
House opens at 7:30
Circle backstage at 7:40
Places at 7:55
Curtain at 8:00
Veronica called for Chelsey
Meet and Greet in lobby after Bows
Thursday, May 19, 2011
Rehearsal #18 Notes
First off, I'm so proud of the way you guys nailed Act II last night after being off "just a wee bit" on Act I. We'll chalk that up to a bad rehearsal (everyone is entitled to one, right?), and just let it go.
Line notes from last night have been sent to everyone except Jill (she starts getting them tonight), Olivia (we fixed hers on the spot) and Josh (if I have to explain why...). Please let me know if you have any questions on what was sent. We will do the same through next Thursday's final rehearsal. BTW, most of you are very close to word perfect, and I am very grateful for the hard work you've all put in to get to that point.
Pacing was a bit better in Act II last night, but it can still be faster. As I demonstrated to some of you between the two acts last night, don't wait for someone to hit a mark to deliver your line unless it's imperative that person be in a specific spot first. Eventually the movement will match the dialogue and we'll be spot-on, but if we rehearse it so that we wait, then that's how it will happen when we open.
One note on set construction: We will be finishing the set painting and doing a backstage cleanup on Saturday. The core hours will be 10-2, and there will be plenty of work for everyone between painting, sorting tools and parts, and general cleanup. I'd like for you to have a spotless and spacious backstage area for the show, and we can only have that if we get enough people helping us on Saturday.
Let's have a great final "regular" rehearsal tonight before we get into tech week on Monday. Only 8 days til opening night!
Tracy
Line notes from last night have been sent to everyone except Jill (she starts getting them tonight), Olivia (we fixed hers on the spot) and Josh (if I have to explain why...). Please let me know if you have any questions on what was sent. We will do the same through next Thursday's final rehearsal. BTW, most of you are very close to word perfect, and I am very grateful for the hard work you've all put in to get to that point.
Pacing was a bit better in Act II last night, but it can still be faster. As I demonstrated to some of you between the two acts last night, don't wait for someone to hit a mark to deliver your line unless it's imperative that person be in a specific spot first. Eventually the movement will match the dialogue and we'll be spot-on, but if we rehearse it so that we wait, then that's how it will happen when we open.
One note on set construction: We will be finishing the set painting and doing a backstage cleanup on Saturday. The core hours will be 10-2, and there will be plenty of work for everyone between painting, sorting tools and parts, and general cleanup. I'd like for you to have a spotless and spacious backstage area for the show, and we can only have that if we get enough people helping us on Saturday.
Let's have a great final "regular" rehearsal tonight before we get into tech week on Monday. Only 8 days til opening night!
Tracy
Wednesday, May 18, 2011
Rehearsal #17 Notes
As I mentioned last night, great job by everyone! Memorization was much better than Monday night, and all of you know where you still struggle with a line or two, which is much better than when Cheryl or I have to tell you that you dropped one or more lines. Tonight we'll start taking line notes and either Cheryl or I will email those to you privately so you'll know what to work on.
For tonight, let's try to get the pace up a bit. Not so much in the speed of your words (that impacts vocal clarity), but moreso in topping lines more than we've been doing and speeding up entrances and exits. Lisa and I noticed last night that when we have more than two people who need to exit via the stairs that we seem to congregate at the bottom of the first step. I'm sure that's my fault for having you all exit at basically the same time, and I've been so focused on what's happing downstage that I've likely missed that bottleneck. If you see a natural way to make the stairway exits flow better, please let me know (or just give it a try if it's an obvious fix). I'll try to keep an eye on that tonight.
For Josh and Mario: While I really like the handshake scene right before you exit together up the stairs, I think I've found a way to build the comedy a bit. For the first couple of lines ("after you," and "age before beauty") try making the push a little more subtle, almost like a slight guide with one hand on a shoulder. Then get progressively more agressive until we've got the full shoves on the last couple of lines. Finally, when you lock arms, instead of fighting up to the stairs, walk very stoicly (head up, shoulders back, etc.) as if you were each escorting a bridesmaid at a wedding. Then when you get to the top of the stairs, you can do the push like you did last night.
For Richard: Once Chelsey mentions her dog, and you realize you can whittle her one, I'd like to see you whittling at every opportunity, especially when you're at the fireplace. In fact, when Margaret asks you what you're whittling, I'm likely going to move you to the rocker before she says that line so you'll have a place to dump the shavings.
For Nora: When you go to the window the first time, it looks really odd for you to be standing there for so long, so I'm probably going to delay the car horn so you're not standing there so long. We'll do it the way we've been doing it tonight, and I'll make a note on where the sound effect needs to go to clean that up some.
For Liz/Olivia/Veronica: Other than your first entrance, anytime you are in the room for any length without dialogue, you should gravitate to someone you like unless I have you seated. You should also be engaged in something in the scene OR playing with Mickey once George gives it to you. There is one point where you're in the room for a long time with nothing to do, so I may have you exit to the kitchen and come back in a little later. We'll work that tonight.
For Joan and Karen: The two of you are almost perfect! We've got one stair exit to work on (the one I mentioned above), but other than that, you two are great!
For Josh: I think I liked the dialect you used on Monday better than last night BUT I have no issues with you using the one from last night if you're more comfortable with it. You clearly understand what I want Andrew to look and sound like, so I have no worries with your part.
For Jillian: First of all, I am amazed at how quickly you've gotten off book, thanks for working so hard on that! When everyone scrambles for a chair after Chelsey comes down the stairs in A2S1, instead of trying to sit in the chair and being startled by Mario, I'd rather you jostle for position and lose to him. I think we can get more comic relief out of that.
COSTUMES AND SUITCASES: If you have your costumes and want to work with them to ensure you've got enough time to change, feel free to bring them from this point forward. Also, if you've got a suitcase appropriate for your character, bring it along too. Gloria and Andrew would have modern, rolling luggage (and stylish and expensive if anyone has them); Mitch's family would have a mix, and Margaret and Mamie Jo would likely have a non-rolling suitcase they've had for years.
See you all tonight!
Tracy
For tonight, let's try to get the pace up a bit. Not so much in the speed of your words (that impacts vocal clarity), but moreso in topping lines more than we've been doing and speeding up entrances and exits. Lisa and I noticed last night that when we have more than two people who need to exit via the stairs that we seem to congregate at the bottom of the first step. I'm sure that's my fault for having you all exit at basically the same time, and I've been so focused on what's happing downstage that I've likely missed that bottleneck. If you see a natural way to make the stairway exits flow better, please let me know (or just give it a try if it's an obvious fix). I'll try to keep an eye on that tonight.
For Josh and Mario: While I really like the handshake scene right before you exit together up the stairs, I think I've found a way to build the comedy a bit. For the first couple of lines ("after you," and "age before beauty") try making the push a little more subtle, almost like a slight guide with one hand on a shoulder. Then get progressively more agressive until we've got the full shoves on the last couple of lines. Finally, when you lock arms, instead of fighting up to the stairs, walk very stoicly (head up, shoulders back, etc.) as if you were each escorting a bridesmaid at a wedding. Then when you get to the top of the stairs, you can do the push like you did last night.
For Richard: Once Chelsey mentions her dog, and you realize you can whittle her one, I'd like to see you whittling at every opportunity, especially when you're at the fireplace. In fact, when Margaret asks you what you're whittling, I'm likely going to move you to the rocker before she says that line so you'll have a place to dump the shavings.
For Nora: When you go to the window the first time, it looks really odd for you to be standing there for so long, so I'm probably going to delay the car horn so you're not standing there so long. We'll do it the way we've been doing it tonight, and I'll make a note on where the sound effect needs to go to clean that up some.
For Liz/Olivia/Veronica: Other than your first entrance, anytime you are in the room for any length without dialogue, you should gravitate to someone you like unless I have you seated. You should also be engaged in something in the scene OR playing with Mickey once George gives it to you. There is one point where you're in the room for a long time with nothing to do, so I may have you exit to the kitchen and come back in a little later. We'll work that tonight.
For Joan and Karen: The two of you are almost perfect! We've got one stair exit to work on (the one I mentioned above), but other than that, you two are great!
For Josh: I think I liked the dialect you used on Monday better than last night BUT I have no issues with you using the one from last night if you're more comfortable with it. You clearly understand what I want Andrew to look and sound like, so I have no worries with your part.
For Jillian: First of all, I am amazed at how quickly you've gotten off book, thanks for working so hard on that! When everyone scrambles for a chair after Chelsey comes down the stairs in A2S1, instead of trying to sit in the chair and being startled by Mario, I'd rather you jostle for position and lose to him. I think we can get more comic relief out of that.
COSTUMES AND SUITCASES: If you have your costumes and want to work with them to ensure you've got enough time to change, feel free to bring them from this point forward. Also, if you've got a suitcase appropriate for your character, bring it along too. Gloria and Andrew would have modern, rolling luggage (and stylish and expensive if anyone has them); Mitch's family would have a mix, and Margaret and Mamie Jo would likely have a non-rolling suitcase they've had for years.
See you all tonight!
Tracy
Monday, May 16, 2011
Rehearsal #16 Notes
I hope everyone was comfortable with the set tonight. The only changes you'll see from this point forward that will affect you will be wall or backstage partition additions to block the audience's view of backstage. We will also obviously have more props on stage as well. Hopefully by tomorrow night, all of the walls will be done and the bulk of the wall covering finished as well.
Speaking of props, Lisa Garza asked me to post the following:
You will notice dead animals starting to appear on the set this week and next. Please handle with care as the vast majority of these are borrowed! Resist the urge to touch or pet; after all, they may be like the sofa and in the mood for biting!
Now for tonight's rehearsal...
Obviously everyone must continue to work on dialogue memorization. Some of you are much closer to an acceptable level of memorization than others, but everyone had at least one line tonight that was completely paraphrased; some of you had many more than that. Beginning Wednesday night, we will start taking line notes, and will send those to you privately. As I wrote in a very early blog post, make every effort to have someone reading along in your script while you recite your lines, and have them stop you when you are grossly wrong, and take notes for other things that you miss or change. I promise you'll be amazed at just how far off from word-perfect that you really are.
Nora asked tonight if you should start bringing your costumes from home that you plan to use, and the answer is an emphatic YES! We can take time to work on costume changes between scenes this week, since it's a lot easier to figure out now that we need more time for a scene change than next Tuesday or Wednesday when we'll have less time to adjust.
Only THREE rehearsals until Tech Week! Now is the time to shift into that next gear and dial our performances in. We've got a good show, and we're really close to a great show. See you all Tuesday night.
Tracy
Speaking of props, Lisa Garza asked me to post the following:
You will notice dead animals starting to appear on the set this week and next. Please handle with care as the vast majority of these are borrowed! Resist the urge to touch or pet; after all, they may be like the sofa and in the mood for biting!
Now for tonight's rehearsal...
Obviously everyone must continue to work on dialogue memorization. Some of you are much closer to an acceptable level of memorization than others, but everyone had at least one line tonight that was completely paraphrased; some of you had many more than that. Beginning Wednesday night, we will start taking line notes, and will send those to you privately. As I wrote in a very early blog post, make every effort to have someone reading along in your script while you recite your lines, and have them stop you when you are grossly wrong, and take notes for other things that you miss or change. I promise you'll be amazed at just how far off from word-perfect that you really are.
Nora asked tonight if you should start bringing your costumes from home that you plan to use, and the answer is an emphatic YES! We can take time to work on costume changes between scenes this week, since it's a lot easier to figure out now that we need more time for a scene change than next Tuesday or Wednesday when we'll have less time to adjust.
Only THREE rehearsals until Tech Week! Now is the time to shift into that next gear and dial our performances in. We've got a good show, and we're really close to a great show. See you all Tuesday night.
Tracy
Friday, May 13, 2011
Rehearsal #15 Notes
Sorry for the delay in posting last night's notes. The blog was down this morning every time I tried to get in to post.
Anyway, as I mentioned last night, it seemed like we took a step back on dialogue from Tuesday, so make sure you keep your heads in those scripts over the weekend. We only have FOUR more rehearsals until Tech Week starts, and by then none of us should have to worry about any memorization issues.
Remember to keep your pacing up. I'd rather have you enter too early and have me stop you than to have you enter even a second too late at this point simply because that will become your habit should it continue.
Remember that your bios are due to Cheryl on Monday. Send them as via email to cheryl.mills@houstonfac.com. Refer to my post from earlier this week for bio guidelines.
We'll start straight up at 7:00 Monday night. I'd like to get through the whole play and all of Act 1 a second time on Monday if at all possible. The only way to do that is to start on time, so let's see if we can make that happen from this point forward.
Remember that this weekend is set building weekend. I'll be there tomorrow from roughly 9-12, and hope to get the Stage Left wall built and the sofa modified so it will hold the suitcase. There should be folks that continue to work after I leave Saturday, but just to make sure you're not up there alone, give me a call at 281-840-8011 if you plan to arrive at or near noon so I can let you know if it will be worth the trip.
On Sunday, I plan to be at the theatre by 10, but it could be as late as 11. I will have to stop mid-afternoon for an HFAC board meeting for two hours, but again there will be plenty of work to be done, so stop by if you can. And if we don't finish on Sunday, I'll be there Monday as well.
IF YOU ARE COMING TO BUILD SETS: Make sure you wear clothes that you don't mind getting dirty and possibly ruined. Wear comfortable, closed-toed shoes (sneakers are fine). I'd recommend work gloves and safety goggles if you have them (splinters hurt, especially when one gets in your eye!). If you have a cordless drill/driver, circular saw, jig saw, miter (chop) saw. and/or a hammer feel free to bring them. If not, we'll have plenty of tools and paint brushes and rollers for you to use.
Tracy
Anyway, as I mentioned last night, it seemed like we took a step back on dialogue from Tuesday, so make sure you keep your heads in those scripts over the weekend. We only have FOUR more rehearsals until Tech Week starts, and by then none of us should have to worry about any memorization issues.
Remember to keep your pacing up. I'd rather have you enter too early and have me stop you than to have you enter even a second too late at this point simply because that will become your habit should it continue.
Remember that your bios are due to Cheryl on Monday. Send them as via email to cheryl.mills@houstonfac.com. Refer to my post from earlier this week for bio guidelines.
We'll start straight up at 7:00 Monday night. I'd like to get through the whole play and all of Act 1 a second time on Monday if at all possible. The only way to do that is to start on time, so let's see if we can make that happen from this point forward.
Remember that this weekend is set building weekend. I'll be there tomorrow from roughly 9-12, and hope to get the Stage Left wall built and the sofa modified so it will hold the suitcase. There should be folks that continue to work after I leave Saturday, but just to make sure you're not up there alone, give me a call at 281-840-8011 if you plan to arrive at or near noon so I can let you know if it will be worth the trip.
On Sunday, I plan to be at the theatre by 10, but it could be as late as 11. I will have to stop mid-afternoon for an HFAC board meeting for two hours, but again there will be plenty of work to be done, so stop by if you can. And if we don't finish on Sunday, I'll be there Monday as well.
IF YOU ARE COMING TO BUILD SETS: Make sure you wear clothes that you don't mind getting dirty and possibly ruined. Wear comfortable, closed-toed shoes (sneakers are fine). I'd recommend work gloves and safety goggles if you have them (splinters hurt, especially when one gets in your eye!). If you have a cordless drill/driver, circular saw, jig saw, miter (chop) saw. and/or a hammer feel free to bring them. If not, we'll have plenty of tools and paint brushes and rollers for you to use.
Tracy
Wednesday, May 11, 2011
Rehearsal #14 Notes
Great job last night, everyone! I was very impressed with how well all of you are doing off book, especially in Act I. Since Act II is where we had the biggest issue with lines (and since we're starting late), we'll start with Act II and then get in as much of Act I as possible before 10.
As a reminder, set building is this Saturday, Sunday and Monday. I'll be at the theatre this Saturday from 9-12, on Sunday from noon until I drop and on Monday from probably 9 or 10 am until we're finished.
Most of the construction will be simply securing the existing flats to the stage floor, so anyone who can use a screwdriver or paint brush will find plenty to do, especially on Sunday and Monday.
Thanks for a great night last night, and I'll see everyone except Joan tomorrow night.
Tracy
As a reminder, set building is this Saturday, Sunday and Monday. I'll be at the theatre this Saturday from 9-12, on Sunday from noon until I drop and on Monday from probably 9 or 10 am until we're finished.
Most of the construction will be simply securing the existing flats to the stage floor, so anyone who can use a screwdriver or paint brush will find plenty to do, especially on Sunday and Monday.
Thanks for a great night last night, and I'll see everyone except Joan tomorrow night.
Tracy
Tuesday, May 10, 2011
Important Notes!
Cheryl reported to me last night that you all did a great job for your first night off book! Maybe I should have rehearsal conflicts more often...
We'll be on the Garza stage tonight, and I've taped off the stage so you'll now know exactly where everything will be on stage and that should help a lot.
Please remember that we'll have a professional photographer taking head shots tonight at 7, so wear something you'd like saved for posterity. These shots will be what appears in the show program AND you will be given a digital copy of your photo to use as you please.
Speaking of the program, bios are due NEXT MONDAY! In order to be fair to the entire cast we have very specific guidelines regarding the format for cast bios. The guidelines are as follows:
Bios- The maximum number of characters is 400, including spaces. Most bios will contain between 60 to 65 words. The actor's name is in bold and their character's name follows in ( ). The names of previous shows should always be in italics with the character name following in parentheses. We will edit any bio that exceeds the 400 character limit.
You can look at the bios in The Trip to Bountiful program (which can be found at the theatre) if you are unsure about what information you should include or have questions about the formatting.
Finally, we WILL rehearse this Thursday as soon as the Glee cast clears the stage, which should be about 7:45. We will still stop at 10, so no worries about going long to make up for the late start. Please let me know if you can't make it this Thursday night.
We'll be on the Garza stage tonight, and I've taped off the stage so you'll now know exactly where everything will be on stage and that should help a lot.
Please remember that we'll have a professional photographer taking head shots tonight at 7, so wear something you'd like saved for posterity. These shots will be what appears in the show program AND you will be given a digital copy of your photo to use as you please.
Speaking of the program, bios are due NEXT MONDAY! In order to be fair to the entire cast we have very specific guidelines regarding the format for cast bios. The guidelines are as follows:
Bios- The maximum number of characters is 400, including spaces. Most bios will contain between 60 to 65 words. The actor's name is in bold and their character's name follows in ( ). The names of previous shows should always be in italics with the character name following in parentheses. We will edit any bio that exceeds the 400 character limit.
You can look at the bios in The Trip to Bountiful program (which can be found at the theatre) if you are unsure about what information you should include or have questions about the formatting.
Finally, we WILL rehearse this Thursday as soon as the Glee cast clears the stage, which should be about 7:45. We will still stop at 10, so no worries about going long to make up for the late start. Please let me know if you can't make it this Thursday night.
Friday, May 6, 2011
Rehearsal #12 Notes
Well, we're in the thick of it now...we open three weeks from tonight! Wow, how time does fly!
The big note from last night is pacing, especially longer pieces of individual dialogue. Those have to be snappy so we don't put our audiences to sleep. However, make sure you maintain proper diction and projection as well. No good having snappy delivery if nobody can understand what you're saying (and just to be clear, that has only been an issue once or twice so far, and we've corrected those on the spot).
I'd also like to apologize for the delay in starting last night. I was unaware that VeggiTales was going to be performing on the Studio Stage, and while we could have gone into a smaller room and read, I felt it best to wait so we could continue honing in on our blocking. I've been promised that will be the last rehearsal where that will be an issue.
Please remember that we've only got two rehearsals next week, and Tuesday's rehearsal will be interrupted briefly while the photographer comes in to take head shots. Richard and Josh will be out both rehearsals next week, so it will be doubly important that everyone else be on their A-Game Monday and Tuesday so we don't get too bogged down when they return on the 16th.
I also have a couple of notes about set construction. The bulk of the construction will be next Sunday and Monday (5/15 & 5/16). If you are able to help either day, please let Cheryl or me know by Tuesday's rehearsal so I can assign duties ahead of time. Also, while all help is welcomed, please do not feel obgliated to participate in set construction if that's not up your alley. We're blessed that the set for this show is static and fairly simple, so we don't need as many hands as we typically do for our shows.
Finally, remember that scripts are now Verboten on stage from this point forward. You will have through the 5/16 rehearsal to call for lines, then you'll have to work it out on your own for the last 7 rehearsals. You are certainly expected to bring them to rehearsal with you; you just may no longer rely on them while on stage, so keep your heads in those scripts learning dialogue this weekend.
Cheryl will see you Monday, and we'll both see you Tuesday.
Tracy
The big note from last night is pacing, especially longer pieces of individual dialogue. Those have to be snappy so we don't put our audiences to sleep. However, make sure you maintain proper diction and projection as well. No good having snappy delivery if nobody can understand what you're saying (and just to be clear, that has only been an issue once or twice so far, and we've corrected those on the spot).
I'd also like to apologize for the delay in starting last night. I was unaware that VeggiTales was going to be performing on the Studio Stage, and while we could have gone into a smaller room and read, I felt it best to wait so we could continue honing in on our blocking. I've been promised that will be the last rehearsal where that will be an issue.
Please remember that we've only got two rehearsals next week, and Tuesday's rehearsal will be interrupted briefly while the photographer comes in to take head shots. Richard and Josh will be out both rehearsals next week, so it will be doubly important that everyone else be on their A-Game Monday and Tuesday so we don't get too bogged down when they return on the 16th.
I also have a couple of notes about set construction. The bulk of the construction will be next Sunday and Monday (5/15 & 5/16). If you are able to help either day, please let Cheryl or me know by Tuesday's rehearsal so I can assign duties ahead of time. Also, while all help is welcomed, please do not feel obgliated to participate in set construction if that's not up your alley. We're blessed that the set for this show is static and fairly simple, so we don't need as many hands as we typically do for our shows.
Finally, remember that scripts are now Verboten on stage from this point forward. You will have through the 5/16 rehearsal to call for lines, then you'll have to work it out on your own for the last 7 rehearsals. You are certainly expected to bring them to rehearsal with you; you just may no longer rely on them while on stage, so keep your heads in those scripts learning dialogue this weekend.
Cheryl will see you Monday, and we'll both see you Tuesday.
Tracy
Thursday, May 5, 2011
Rehearsal #11 Notes
I really only have a couple of notes from last night. One, it's time to start topping lines. I know that will come much easier once you're off book, but let's try to start doing that as much as we can now. Second, all of the movements on the stage need to be much faster unless I've specifically told you to go slowly or it's clear from the dialogue that you would move slowly. Again, I'd rather have to tell you to slow down than to speed up.
Now for some general stuff...we will be in the studio room tonight (for Joan and Rachel, that's the room between the main lobby and the Garza main stage. We will start at the top and run the entire play (hopefully with minimal stops). Also, tonight is the LAST NIGHT with scripts on stage. I know you're all thrilled with that!
Finally, we need to be more considerate of each other's time. We have yet to start a rehearsal on time because at least one person has been late every night. So starting tonight, rehearsal will START AT 7:00 SHARP, even if that means I have to read all eight parts myself. If you do arrive late, we will not stop the rehearsal to fit you in. You will be expected to figure out where we are, and jump in immediately. If you KNOW you will be late, even a minute late, please text or call Cheryl or me to let us know so we can have someone read for you until you arrive.
See you tonight!
Tracy
Now for some general stuff...we will be in the studio room tonight (for Joan and Rachel, that's the room between the main lobby and the Garza main stage. We will start at the top and run the entire play (hopefully with minimal stops). Also, tonight is the LAST NIGHT with scripts on stage. I know you're all thrilled with that!
Finally, we need to be more considerate of each other's time. We have yet to start a rehearsal on time because at least one person has been late every night. So starting tonight, rehearsal will START AT 7:00 SHARP, even if that means I have to read all eight parts myself. If you do arrive late, we will not stop the rehearsal to fit you in. You will be expected to figure out where we are, and jump in immediately. If you KNOW you will be late, even a minute late, please text or call Cheryl or me to let us know so we can have someone read for you until you arrive.
See you tonight!
Tracy
Wednesday, May 4, 2011
Rehearsal #10 Notes
Hard to believe that we're already through ten rehearsals. Even harder to believe that we've only got eight more rehearsals until Tech Week!
I was really pleased with everything I saw last night. Each of you are finding ways to enhance your blocking, and you're starting to see where things might not appear to be totally connected and are asking questions and/or offering suggestions as a result. To me, that's a very good sign that the pieces are starting to come together.
I'm also very pleased with the character development that I see in each of you. There are some things that I'll start fixing once we're off book next week, but for the most part you are already catching the things that I was planning to fix. And a huge thumbs-up to Veronica for her reaction after telling Andrew she had shot a hole through his radiator. Funniest thing I saw all night last night!
Tonight I plan to do a complete run through, stopping only when necessary. Hopefully we'll have enough time to at least start on Act I again, but that may be a stretch considering we will have the publicity shoot at the top of the rehearsal.
Remember that tomorrow night is the last night with scripts on stage, so keep working on memorizing those lines!
Tracy
I was really pleased with everything I saw last night. Each of you are finding ways to enhance your blocking, and you're starting to see where things might not appear to be totally connected and are asking questions and/or offering suggestions as a result. To me, that's a very good sign that the pieces are starting to come together.
I'm also very pleased with the character development that I see in each of you. There are some things that I'll start fixing once we're off book next week, but for the most part you are already catching the things that I was planning to fix. And a huge thumbs-up to Veronica for her reaction after telling Andrew she had shot a hole through his radiator. Funniest thing I saw all night last night!
Tonight I plan to do a complete run through, stopping only when necessary. Hopefully we'll have enough time to at least start on Act I again, but that may be a stretch considering we will have the publicity shoot at the top of the rehearsal.
Remember that tomorrow night is the last night with scripts on stage, so keep working on memorizing those lines!
Tracy
Tuesday, May 3, 2011
Rehearsal #9 Notes (5/2)
Nothing to give from last night on the blocking...it's dialing in nicely and the pace is starting to get much better. Once we get off book, that should make the pace even better.
I did catch a lot of paraphrasing last night, which is not too significant at this point, but make sure you are going over ALL of your lines; even those you think you have down pat. Have someone watching the script for you while you recite your lines and have them stop you when you make a mistake.
Next week, I'll start correcting dialogue that is grossly wrong, and the week of the 16th, I'll start correcting all but the smallest mistakes, which can really slow down a rehearsal.
Tonight we'll run Act II, and will repeat it until we run out of time. There are no conflicts I'm aware of for tonight, so Cheryl and I should be able to keep an eye on blocking instead of reading other parts. Let's also all be on time so we can start right at 7.
FINALLY: We MAY be doing a publicity photo shoot for the show at some point tomorrow night. If so, I will need you in some sort of a costume appropriate for your character. I'll let you know tonight if those plans have been finalized.
Tracy
I did catch a lot of paraphrasing last night, which is not too significant at this point, but make sure you are going over ALL of your lines; even those you think you have down pat. Have someone watching the script for you while you recite your lines and have them stop you when you make a mistake.
Next week, I'll start correcting dialogue that is grossly wrong, and the week of the 16th, I'll start correcting all but the smallest mistakes, which can really slow down a rehearsal.
Tonight we'll run Act II, and will repeat it until we run out of time. There are no conflicts I'm aware of for tonight, so Cheryl and I should be able to keep an eye on blocking instead of reading other parts. Let's also all be on time so we can start right at 7.
FINALLY: We MAY be doing a publicity photo shoot for the show at some point tomorrow night. If so, I will need you in some sort of a costume appropriate for your character. I'll let you know tonight if those plans have been finalized.
Tracy
Monday, May 2, 2011
Rehearsal Info for Week of 5/2
It's hard to believe that May is already here, and we're only 25 days away from Opening Night!
This week we add our first Wednesday night rehearsal - please make sure that you've added that to your calendars.
Here is the schedule for this week:
Monday - End of A2S3; Fine Tune Act 1 (Olivia, Veronica out)
Tuesday - Fine Tune Act 2
Wednesday - Run Entire Play
Thursday - Run Entire Play ***LAST NIGHT WITH SCRIPTS*** (Josh out)
This week we add our first Wednesday night rehearsal - please make sure that you've added that to your calendars.
Here is the schedule for this week:
Monday - End of A2S3; Fine Tune Act 1 (Olivia, Veronica out)
Tuesday - Fine Tune Act 2
Wednesday - Run Entire Play
Thursday - Run Entire Play ***LAST NIGHT WITH SCRIPTS*** (Josh out)
Costume Notes for 5/2
For those cast members that said that they had costume pieces, please bring them Monday evening so Karen Burns can check them. This includes:
Olivia Clayton
Richard Hahn
Nora Hahn – 2nd “day’s” costume only
Josh – any dress pants that you have. Also, if you have any plaid shorts, let Karen know
Mario – pajama bottoms
Olivia Clayton
Richard Hahn
Nora Hahn – 2nd “day’s” costume only
Josh – any dress pants that you have. Also, if you have any plaid shorts, let Karen know
Mario – pajama bottoms
Friday, April 29, 2011
Rehearsal #8 Notes
Not many notes to give from last night. The blocking is coming together nicely, and I'm starting to see the great interaction between characters that I knew you all would provide.
We still need to remember to keep our movements quick unless you've specifically been told otherwise.
Next week we will add our first Wednesday rehearsal, and next Thursday is your last night on stage with scripts, so that means you've got about a week to get off book. You'll be able to call for lines until Tuesday, May 17th, but that day will be here before you know it, so make sure you spend time this weekend learning your lines.
As a reminder, we will NOT be working on the set this weekend, so I'll see most of you on Monday night for the Act I Fine Tuning rehearsal.
Tracy
We still need to remember to keep our movements quick unless you've specifically been told otherwise.
Next week we will add our first Wednesday rehearsal, and next Thursday is your last night on stage with scripts, so that means you've got about a week to get off book. You'll be able to call for lines until Tuesday, May 17th, but that day will be here before you know it, so make sure you spend time this weekend learning your lines.
As a reminder, we will NOT be working on the set this weekend, so I'll see most of you on Monday night for the Act I Fine Tuning rehearsal.
Tracy
Thursday, April 28, 2011
7:30 Rehearsal Start Tonight!!!
Tonight's rehearsal (Thursday, 4/28) will start at 7:30 instead of 7:00 due to an HFAC class performance that Josh, Olivia and Veronica need to attend at 7:00. Sorry for the late notice!
Tracy
Tracy
Tuesday, April 26, 2011
Rehearsal Conflicts
Make sure you also read the notes from Monday's rehearsal, which are immediately below this post.
I'd like to make sure that I have correctly captured everyone's rehearsal conflicts. Please review the list below, and email me ASAP at tracy.clayton@sbcglobal.net to either confirm the conflicts listed for you are correct or to let me know of conflicts that one of us has missed.
Alyssa Mills - None
Joan Fox - April 28
Josh Clark - May 5, May 9, May 10, May 11
Karen Clayton - May 17
Mario Garza - None
Nora Hahn - May 2
Olivia Clayton - May 2, May 9, May 12
Rachel McKeehan-Mendoza - None
Richard Hahn - May 9, May 10, May 11
Veronica McLaren - May 2, May 9, May 12
I'd like to make sure that I have correctly captured everyone's rehearsal conflicts. Please review the list below, and email me ASAP at tracy.clayton@sbcglobal.net to either confirm the conflicts listed for you are correct or to let me know of conflicts that one of us has missed.
Alyssa Mills - None
Joan Fox - April 28
Josh Clark - May 5, May 9, May 10, May 11
Karen Clayton - May 17
Mario Garza - None
Nora Hahn - May 2
Olivia Clayton - May 2, May 9, May 12
Rachel McKeehan-Mendoza - None
Richard Hahn - May 9, May 10, May 11
Veronica McLaren - May 2, May 9, May 12
Rehearsal #6 Notes (4/25)
Nice job to everyone last night! We ironed out a lot of little things, which will pay us back many times over as we get closer to opening night.
All I really have from last night are a few general notes on movement. Remember what we discussed at the readthrough about movement, and try to apply those guidelines to your character. When you are confrontational or need privacy with someone, you move towards them, and the level of confrontation or need for privacy will dictate how closely towards someone you move. For our purposes, assume you should get very close unless you are directed otherwise.
When you move, move with at least "normal" speed, and in most cases, faster is better than slower. Some of our movements look very sluggish, and we have to fix that. I know that a lot of that will improve once we go off-book.
As I'm sure you've all heard before, when you move, move with purpose. If you feel that some movement that I've given you feels unnatural, please let Cheryl or me know so we can address it.
Cheryl will be running the rehearsals tonight and Thursday. Tonight you will start with Act 2, Scene 3, and will then start at the top of the show and run as much as you can. On Thursday, you'll either finish what you don't finish from tonight's runthrough, or will start from the top and run the entire show. Cheryl will obviously share the final plan with you once you've finished tonight's rehearsal.
See you all on Tuesday!
Tracy
All I really have from last night are a few general notes on movement. Remember what we discussed at the readthrough about movement, and try to apply those guidelines to your character. When you are confrontational or need privacy with someone, you move towards them, and the level of confrontation or need for privacy will dictate how closely towards someone you move. For our purposes, assume you should get very close unless you are directed otherwise.
When you move, move with at least "normal" speed, and in most cases, faster is better than slower. Some of our movements look very sluggish, and we have to fix that. I know that a lot of that will improve once we go off-book.
As I'm sure you've all heard before, when you move, move with purpose. If you feel that some movement that I've given you feels unnatural, please let Cheryl or me know so we can address it.
Cheryl will be running the rehearsals tonight and Thursday. Tonight you will start with Act 2, Scene 3, and will then start at the top of the show and run as much as you can. On Thursday, you'll either finish what you don't finish from tonight's runthrough, or will start from the top and run the entire show. Cheryl will obviously share the final plan with you once you've finished tonight's rehearsal.
See you all on Tuesday!
Tracy
Monday, April 25, 2011
Costume Notes for Monday 4/25
Karen Burns is planning to be at rehearsal again tonight. If you indicated that you have potential costume pieces you'd like to use, please bring them to tonight's rehearsal so she can review them.
Thursday, April 21, 2011
Important Dates/Rehearsal Calendar
This is the second post for Thursday; make sure you also read the "Rehearsal 4 Notes" post immediately below as well.
Here is the Rehearsal Calendar as it stands today. It is always subject to change, but should be fairly static from this point forward.
Thursday, April 21 (Studio Stage)
Week of April 25
Monday, April 25 (Garza Stage)
Tuesday, April 26 (Garza Stage)
Thursday, April 28 (Studio Stage)
Week of May 2
Monday, May 2 (Garza Stage)
Tuesday, May 3 (Garza Stage)
Wednesday, May 4 (Garza Stage)
Thursday, May 5 (Studio Stage)
Week of May 9 - OFF BOOK
Monday, May 9 (Garza Stage)
Tuesday, May 10 (Garza Stage)
Wednesday, May 11 - NO REHEARSAL
Thursday, May 12 - NO REHEARSAL
Week of May 16
Monday, May 16 (Garza Stage)
Tuesday, May 17 (Garza Stage)
Wednesday, May 18 (Garza Stage)
Thursday, May 19 (Garza Stage)
Week of May 23 - TECH WEEK
Absolutely No New Absences This Week
Monday, May 23 (Garza Stage)
Tuesday, May 24 (Garza Stage)
Wednesday, May 25 (Garza Stage)
Thursday, May 26 (Garza Stage)
Friday, May 27 (Garza Stage)
Saturday, May 28 (Garza Stage)
Here is the Rehearsal Calendar as it stands today. It is always subject to change, but should be fairly static from this point forward.
Thursday, April 21 (Studio Stage)
Act 1, Scene 1
Act 1, Scene 2 (time permitting)
Week of April 25
Monday, April 25 (Garza Stage)
Act 1, Scene 2
Act 2, Scene 1 (time permitting)
Tuesday, April 26 (Garza Stage)
Act 2, Scene 2
Act 2, Scene 3
Thursday, April 28 (Studio Stage)
Stumblethrough Entire Show
Week of May 2
Monday, May 2 (Garza Stage)
Fine Tune Act 1
Tuesday, May 3 (Garza Stage)
Fine Tune Act 2
Wednesday, May 4 (Garza Stage)
Run Entire Show
Thursday, May 5 (Studio Stage)
Run Entire Show
LAST NIGHT WITH SCRIPTS
Week of May 9 - OFF BOOK
Monday, May 9 (Garza Stage)
Run Entire Show
Tuesday, May 10 (Garza Stage)
Run Entire Show
Wednesday, May 11 - NO REHEARSAL
(Death By Design Reading)
Thursday, May 12 - NO REHEARSAL
(Glee Performance)
Week of May 16
Monday, May 16 (Garza Stage)
Run Entire Show - LAST NIGHT TO CALL FOR LINES
Tuesday, May 17 (Garza Stage)
Run Entire Show
Wednesday, May 18 (Garza Stage)
Run Entire Show
Thursday, May 19 (Garza Stage)
Run Entire Show
Week of May 23 - TECH WEEK
Absolutely No New Absences This Week
Monday, May 23 (Garza Stage)
Dress Rehearsal - Full Costumes (Makeup Optional)
(7:00 call; Curtain as soon as everyone is in costume)
Tuesday, May 24 (Garza Stage)
Dress Rehearsal - Full Costumes (Makeup Optional)
(7:00 call; Curtain as soon as everyone is in costume)
Wednesday, May 25 (Garza Stage)
Dress Rehearsal - Full Costumes and Makeup
(7:00 Call; 8:00 Curtain)
Thursday, May 26 (Garza Stage)
Final Dress Rehearsal - Full Costumes and Makeup
(7:00 Call; 8:00 Curtain)
Friday, May 27 (Garza Stage)
OPENING NIGHT
(7:00 Call; 8:00 Curtain)
Saturday, May 28 (Garza Stage)
Performance #2
(7:00 Call; 8:00 Curtain)
Rehearsal #4 Notes
Sorry these notes weren't posted on Wednesday. I got busy, and completely forgot until I got to work this morning.
We fixed most of the things that we saw on the spot, so I don't have much to add here. One thing I want to emphasize is that once the "fight" between Mitch and Andrew starts, each of the three groups blocked together in that subscene should make sure that they continue to add visible mannerisms while the focus group is delivering dialogue. In real-life, all of the conversations would be overlapping, but we obviously have to stagger them so that the audience can hear the dialogue.
Tonight we'll start at the top and will focus on Scene 1, moving to Scene 2 if we have time.
Note that the Garza stage is unavailable tonight, so we'll probably be in the smaller stage between the lobby and the Garza. If that's not the case, we'll have signs posted to direct you to the right door.
Tracy
We fixed most of the things that we saw on the spot, so I don't have much to add here. One thing I want to emphasize is that once the "fight" between Mitch and Andrew starts, each of the three groups blocked together in that subscene should make sure that they continue to add visible mannerisms while the focus group is delivering dialogue. In real-life, all of the conversations would be overlapping, but we obviously have to stagger them so that the audience can hear the dialogue.
Tonight we'll start at the top and will focus on Scene 1, moving to Scene 2 if we have time.
Note that the Garza stage is unavailable tonight, so we'll probably be in the smaller stage between the lobby and the Garza. If that's not the case, we'll have signs posted to direct you to the right door.
Tracy
Tuesday, April 19, 2011
Construction Plans/Schedule
I've gotten a couple of questions regarding set building for the play, and wanted to let you know what my plans are.
As of now, we really only need three pieces built. A staircase to the bedrooms, a fireplace and mantle, and a large flat that has the front door, window and kitchen door. The kitchen door may end up being on a separate flat, but that won't change the amount of construction very much.
As for dates, I'd like to use Saturday as our build days, and plan to start on April 30. That will give us four weekends on which we can build set. On the third Saturday (May 14), we can actually move the set pieces to the Garza Mainstage and finish any building, painting and trim work at that time.
I apologize that this isn't in calendar format, but here is what I have in mind:
Saturday, April 30
Saturday, May 7
Saturday, May 14
Sunday, May 15
Week of May 16-19
Saturday, May 21
As of now, we really only need three pieces built. A staircase to the bedrooms, a fireplace and mantle, and a large flat that has the front door, window and kitchen door. The kitchen door may end up being on a separate flat, but that won't change the amount of construction very much.
As for dates, I'd like to use Saturday as our build days, and plan to start on April 30. That will give us four weekends on which we can build set. On the third Saturday (May 14), we can actually move the set pieces to the Garza Mainstage and finish any building, painting and trim work at that time.
I apologize that this isn't in calendar format, but here is what I have in mind:
Saturday, April 30
Build staircase (top priority)
Build Fireplace (time permitting)
Paint completed set pieces (time permitting)
Saturday, May 7
Build Fireplace (top priority)
Build Front Door/Window flat (time permitting)
Build Kitchen Door flat (time permitting)
Paint completed set pieces (time permitting)
Saturday, May 14
Paint Floor (top priority)
Paint Upstage wall (time permitting)
Move all set pieces to Garza backstage/wings
Sunday, May 15
Paint Upstage wall (top priority)
Locate all set pieces on Garza Mainstage
(includes hanging all hooks, plaques, etc.)
Install "Cellar" light fixture, false wall switch and live control to booth
Touchup paint on all set pieces
Setup prop table
Week of May 16-19
Ensure all props are present (top priority)
Complete touchup paint on all set pieces
Saturday, May 21
Complete all Punchlist items
Rehearsal #3 Notes
First of all, I apologize if you felt that last night's rehearsal had you running in circles. When I originally read the play, I really felt that Pat's blocking was going to work, but it just had too much static action to keep the audience's interest through that much dialogue. I promise that tonight's rehearsal will be better organized. :-)
A couple of things for everyone to work on from last night...
When anyone is telling their "secret" and you're all gathered around that person, make your movement towards them snappy, especially if you have to travel any distance to get close. Your character wants to make sure they don't miss a word of what's about to be said. For those of you who may end up on the upstage side of someone else listening, I'd like to see you try to elbow your way in so that you can try to get even closer.
Also, when the "secret-teller" leans down to deliver the secret, make sure you lean down at least as much as that person does so that when they stand back up it makes them stick out like a gopher popping out of a hole. A few of you were just doing a little lean, but it should really be an exaggerated move, almost to the point of being bent completely over at the waist. I'd rather you bend too far and have me pull you back up a bit than the other way around.
Third, remember that the short lines delivered in the middle of George's stories in that scene have either one of two emotions: anticipation (think: sooo??? or aaannnddd???) or frustration (think: enough! get on with it already!!). Make sure one of those emotions (or both, if you like) is clearly noticeable in both your vocal delivery and mannerisms when you read those lines.
Finally, when Chelsey enters the scene (p44) and says that she thought you were all leaving, Margaret's next line is, "Leaving?" At that point, I want everyone to look around at everyone else for a nervous second, and then everyone should have an immediate vocal and physical reaction to those two lines. It can be nonchalant, or nervous or incredulous, but should clearly indicate to the audience that all of you have decided to try to find the money. Physically you should have a noticeable change of position - move to the closest seat, turn to someone nearby to deliver your vocal reponse, etc. I want this to be a quick second of nervous silence, followed by 1-2 seconds of pseudo-chaos as you each realize everyone else has the same idea. The scene then recomposes itself with Mamie Jo's next line, and we go from there.
I really like what we've accomplished so far, and I know tonight will be even better!
Remember that Karen Burns will be at rehearsal tonight and may call some of you out of rehearsal to look at clothing options. Please remember to bring the sizing information that I posted in the blog yesterday.
Tracy
A couple of things for everyone to work on from last night...
When anyone is telling their "secret" and you're all gathered around that person, make your movement towards them snappy, especially if you have to travel any distance to get close. Your character wants to make sure they don't miss a word of what's about to be said. For those of you who may end up on the upstage side of someone else listening, I'd like to see you try to elbow your way in so that you can try to get even closer.
Also, when the "secret-teller" leans down to deliver the secret, make sure you lean down at least as much as that person does so that when they stand back up it makes them stick out like a gopher popping out of a hole. A few of you were just doing a little lean, but it should really be an exaggerated move, almost to the point of being bent completely over at the waist. I'd rather you bend too far and have me pull you back up a bit than the other way around.
Third, remember that the short lines delivered in the middle of George's stories in that scene have either one of two emotions: anticipation (think: sooo??? or aaannnddd???) or frustration (think: enough! get on with it already!!). Make sure one of those emotions (or both, if you like) is clearly noticeable in both your vocal delivery and mannerisms when you read those lines.
Finally, when Chelsey enters the scene (p44) and says that she thought you were all leaving, Margaret's next line is, "Leaving?" At that point, I want everyone to look around at everyone else for a nervous second, and then everyone should have an immediate vocal and physical reaction to those two lines. It can be nonchalant, or nervous or incredulous, but should clearly indicate to the audience that all of you have decided to try to find the money. Physically you should have a noticeable change of position - move to the closest seat, turn to someone nearby to deliver your vocal reponse, etc. I want this to be a quick second of nervous silence, followed by 1-2 seconds of pseudo-chaos as you each realize everyone else has the same idea. The scene then recomposes itself with Mamie Jo's next line, and we go from there.
I really like what we've accomplished so far, and I know tonight will be even better!
Remember that Karen Burns will be at rehearsal tonight and may call some of you out of rehearsal to look at clothing options. Please remember to bring the sizing information that I posted in the blog yesterday.
Tracy
Monday, April 18, 2011
Time for Costume Sizing!!
Karen Burns, our Costume Designer that you met last Tuesday night, has asked that I send the following information regarding sizing.
Please email the requested information to her directly at brnsbnch@comcast.net, and let either of us know if you have any questions.
Men – pant size (waist and inseam) and shirt size
Ladies – pant and shirt size, dress size
Teens – pant and shirt size
As an FYI, the play is set in current-day, so many of you may already have some of what we'll need in your closets (like Richard's vests). However, ALL costumes must have the approval of Karen or me, so if you are planning to wear things you already own, bring them in now; Karen is planning on being at Tuesday's rehearsal.
Tracy
Please email the requested information to her directly at brnsbnch@comcast.net, and let either of us know if you have any questions.
Men – pant size (waist and inseam) and shirt size
Ladies – pant and shirt size, dress size
Teens – pant and shirt size
As an FYI, the play is set in current-day, so many of you may already have some of what we'll need in your closets (like Richard's vests). However, ALL costumes must have the approval of Karen or me, so if you are planning to wear things you already own, bring them in now; Karen is planning on being at Tuesday's rehearsal.
Tracy
Friday, April 15, 2011
Rehearsal #2 (4/14) Notes
As I mentioned last night, I was very pleased with how our rehearsal went! Although we only got through Act I, it's pretty clear to me that you all understand what I'm trying to accomplish with the blocking. That was proven by the way you "self-blocked" Scene 2 with little intervention from me.
So far I am pleased with the character and vocal traits each of you have selected for your characters. Josh, I know you're still experimenting with your character, and I trust your judgement if you want to jump back and forth until we find something that we both like. Rachel, I think your character might waver between a pre-marriage "sweet" and a post-marriage "snobbish" delivery, so feel free to experiement with that. Mario, I think your character is likely a little less Southern than you're currently delivering him, but I'm more concerned with the sarcastic delivery of his one-liners than I am the dialect with which they are spoken. Richard, Nora, Joan, Karen, Liz, Olivia and Veronica - I love all of your character choices to date! Wouldn't change a thing I've heard so far.
On Monday we'll block Act II; hopefully on the Garza stage if the set pieces for The Trip to Bountiful allow us freedom of movement. On Tuesday (assuming we block all of Act II on Monday), we'll start back with Scene 1 and work it all night, then do Scene 2 on Thursday.
Since you get three days off from rehearsal this weekend, make sure you spend time working on dialogue memorization between now and Monday. While I don't expect anyone to be off-book by Monday, you all know that the sooner you are off-book, the sooner the play gets polished.
Enjoy your weekend, and I'll see you all Monday night!
Tracy
So far I am pleased with the character and vocal traits each of you have selected for your characters. Josh, I know you're still experimenting with your character, and I trust your judgement if you want to jump back and forth until we find something that we both like. Rachel, I think your character might waver between a pre-marriage "sweet" and a post-marriage "snobbish" delivery, so feel free to experiement with that. Mario, I think your character is likely a little less Southern than you're currently delivering him, but I'm more concerned with the sarcastic delivery of his one-liners than I am the dialect with which they are spoken. Richard, Nora, Joan, Karen, Liz, Olivia and Veronica - I love all of your character choices to date! Wouldn't change a thing I've heard so far.
On Monday we'll block Act II; hopefully on the Garza stage if the set pieces for The Trip to Bountiful allow us freedom of movement. On Tuesday (assuming we block all of Act II on Monday), we'll start back with Scene 1 and work it all night, then do Scene 2 on Thursday.
Since you get three days off from rehearsal this weekend, make sure you spend time working on dialogue memorization between now and Monday. While I don't expect anyone to be off-book by Monday, you all know that the sooner you are off-book, the sooner the play gets polished.
Enjoy your weekend, and I'll see you all Monday night!
Tracy
Wednesday, April 13, 2011
Rehearsal #1 Notes and Rehearsal Schedule Update
Thanks to everyone for a great read-through last night. There were very few rough spots, and that's a great feat for something that most of you have never read before!
In case you haven't looked at a calendar lately, we're only scheduled to hold 21 rehearsals, and that includes the four we'll hold during Tech Week starting May 23rd. And just to put things in a little more perspective, we open six weeks from this Friday.
So with all of that being written, as I mentioned last night, I'd like to add a Wednesday rehearsal to the schedule beginning on May 4th. I know that the Hahn's may not be available that first Wednesday, but if we start that week, that will add three rehearsals to our schedule. While it's only three rehearsals, that's actually an additional 14% of rehearsal time, which will prove to be invaluable to us in the long run.
I will also start building the set either Saturday, April 23rd or Saturday, April 30th. The construction for this show is very simple, so I'll likely not need much help on the carpentry side, but we can always use help painting walls, floors and flats. I'll provide more details as we get closer to those dates.
For Thursday, everyone is called, and we'll book block the show. Starting with Monday's rehearsals, we'll start working scene-by-scene, and I'll do my best to only call those we need for each night, or at the very least, send you home once we've worked your part of that night's scenes.
See everyone on Thursday!
Tracy
In case you haven't looked at a calendar lately, we're only scheduled to hold 21 rehearsals, and that includes the four we'll hold during Tech Week starting May 23rd. And just to put things in a little more perspective, we open six weeks from this Friday.
So with all of that being written, as I mentioned last night, I'd like to add a Wednesday rehearsal to the schedule beginning on May 4th. I know that the Hahn's may not be available that first Wednesday, but if we start that week, that will add three rehearsals to our schedule. While it's only three rehearsals, that's actually an additional 14% of rehearsal time, which will prove to be invaluable to us in the long run.
I will also start building the set either Saturday, April 23rd or Saturday, April 30th. The construction for this show is very simple, so I'll likely not need much help on the carpentry side, but we can always use help painting walls, floors and flats. I'll provide more details as we get closer to those dates.
For Thursday, everyone is called, and we'll book block the show. Starting with Monday's rehearsals, we'll start working scene-by-scene, and I'll do my best to only call those we need for each night, or at the very least, send you home once we've worked your part of that night's scenes.
See everyone on Thursday!
Tracy
Monday, April 11, 2011
Cast List
Thanks again to all who auditioned for us. We had eight very tough casting decisions to make, and all of you, even those who did not make callbacks, were talented enough to receive a part in the show.
Here is the cast and production crew for The Money in Uncle George's Suitcase:
Uncle George Plunkett: Richard Hahn
Mitch Bryant: Mario Garza
Joanne Bryant: Nora Hahn
Chelsey Bryant: Alyssa Mills, Olivia Clayton, Veronica McLaren
Mamie Jo Durant: Karen Clayton
Margaret Blankenship: Joan Fox
Gloria Shumway: Rachel McKeehan-Mendosa
Andrew Shumway: Joshua Clark
Producer - Carla Conover
Director - Tracy Clayton
Stage Manager - Cheryl Mills
Here is the cast and production crew for The Money in Uncle George's Suitcase:
Uncle George Plunkett: Richard Hahn
Mitch Bryant: Mario Garza
Joanne Bryant: Nora Hahn
Chelsey Bryant: Alyssa Mills, Olivia Clayton, Veronica McLaren
Mamie Jo Durant: Karen Clayton
Margaret Blankenship: Joan Fox
Gloria Shumway: Rachel McKeehan-Mendosa
Andrew Shumway: Joshua Clark
Producer - Carla Conover
Director - Tracy Clayton
Stage Manager - Cheryl Mills
Saturday, April 9, 2011
Cast List and Callback List
Thanks to everyone who auditioned Saturday. You all auditioned very well, which obviously makes the casting decisions much harder for the production team. For those of you who were not cast in the show, I will be sending you a personal email sometime in the next week with some audition feedback that may help you for future productions.
Here is the cast list for The Money in Uncle George's Suitcase:
"Uncle" George Plunkett: See Callback list below
Mitch Bryant: See Callback list below
Andrew Shumway: See Callback list below
Chelsey Bryant: See Callback list below
Joanne Bryant: Nora Hahn
Margaret Blankenship: Joan Fox
Mamie Jo Durant: Karen Clayton
Gloria Shumway: Rachel McKeehan-Mendosa
(For the four of you cast in a role above, please email me ASAP at tracy.clayton@sbcglobal.net to let me know if you accept or decline your role)
Callback List for Uncle George, Mitch Bryant and Andrew Shumway:
Bob Clark
David Branson
Doug Pfaffenberger
Joshua Clark
Mario Garza
Richard Hahn
Callback List for Chelsey Bryant: (Please note that this role will be double cast)
Alyssa Mills
Darian Simpson
Olivia Clayton
Sarah Caster
Veronica McLaren
Callbacks for the roles of Uncle George, Mitch, Andrew and Chelsey are at the HFAC studios this coming Monday, April 11, from 7-9PM. Please use the main entrance, and you will be directed to the callback location. Only those actors on the callback list are required to attend Monday night.
Our first full-cast rehearsal is this coming Tuesday, April 12, from 7-10PM. At this rehearsal you will formally meet the production team and each other, be given a rehearsal calendar, and receive a briefing on HFAC policies and procedures. Once those administrative duties are complete, we'll have a read-through of the script. As a general rule, rehearsals will run Monday, Tuesday and Thursday nights from 7-10PM, but we will discuss additional required rehearsal days/evenings at Tuesday's meeting. Please take this time to do a thorough check of your calendars and bring ALL known rehearsal conflicts to Tuesday's meeting. We can typically accommodate a few conflicts, but we must know about them at Tuesday's meeting so we can adjust the rehearsal schedule accordingly.
Thanks again for a wonderful audition experience, and I look forward to seeing you this week!
Tracy
Here is the cast list for The Money in Uncle George's Suitcase:
"Uncle" George Plunkett: See Callback list below
Mitch Bryant: See Callback list below
Andrew Shumway: See Callback list below
Chelsey Bryant: See Callback list below
Joanne Bryant: Nora Hahn
Margaret Blankenship: Joan Fox
Mamie Jo Durant: Karen Clayton
Gloria Shumway: Rachel McKeehan-Mendosa
(For the four of you cast in a role above, please email me ASAP at tracy.clayton@sbcglobal.net to let me know if you accept or decline your role)
Callback List for Uncle George, Mitch Bryant and Andrew Shumway:
Bob Clark
David Branson
Doug Pfaffenberger
Joshua Clark
Mario Garza
Richard Hahn
Callback List for Chelsey Bryant: (Please note that this role will be double cast)
Alyssa Mills
Darian Simpson
Olivia Clayton
Sarah Caster
Veronica McLaren
Callbacks for the roles of Uncle George, Mitch, Andrew and Chelsey are at the HFAC studios this coming Monday, April 11, from 7-9PM. Please use the main entrance, and you will be directed to the callback location. Only those actors on the callback list are required to attend Monday night.
Our first full-cast rehearsal is this coming Tuesday, April 12, from 7-10PM. At this rehearsal you will formally meet the production team and each other, be given a rehearsal calendar, and receive a briefing on HFAC policies and procedures. Once those administrative duties are complete, we'll have a read-through of the script. As a general rule, rehearsals will run Monday, Tuesday and Thursday nights from 7-10PM, but we will discuss additional required rehearsal days/evenings at Tuesday's meeting. Please take this time to do a thorough check of your calendars and bring ALL known rehearsal conflicts to Tuesday's meeting. We can typically accommodate a few conflicts, but we must know about them at Tuesday's meeting so we can adjust the rehearsal schedule accordingly.
Thanks again for a wonderful audition experience, and I look forward to seeing you this week!
Tracy
Wednesday, March 30, 2011
Audition Results
Rehearsals begin...
Tuesday, April 12, 2011, and are on Monday, Tuesday, and Thursday evenings from 7:00 PM to 10:00 PM. A complete calendar of rehearsal dates will be available at auditions. One or two rehearsal conflicts can usually be accommodated except for the last two weeks of rehearsals.
The show runs...
May 27 through June 19, 2011, on Friday and Saturday evenings at 8 PM. There are also two Sunday matinees at 3 PM on June 12 and June 19, 2011. Call is one hour before curtain.
Synopsis:
When Uncle George invites his whole family up for a weekend of fun at his dilapidated rustic cabin, he actually wants them together so he can read his will. But between the bequeathing and his rambling stories, George drops the bomb that somewhere on the property is a suitcase holding four hundred and eighty thousand dollars! What follows is a hilarious farce of pettiness, slander, and greed. The relatives end up wrestling each other, falling down the stairs, and getting stuck in the furniture. "Yep, we're gonna have lots of fun!" smirks George. But George's gift is much more important than mere money, even though the relatives don't see it that way - at first.
Tuesday, April 12, 2011, and are on Monday, Tuesday, and Thursday evenings from 7:00 PM to 10:00 PM. A complete calendar of rehearsal dates will be available at auditions. One or two rehearsal conflicts can usually be accommodated except for the last two weeks of rehearsals.
The show runs...
May 27 through June 19, 2011, on Friday and Saturday evenings at 8 PM. There are also two Sunday matinees at 3 PM on June 12 and June 19, 2011. Call is one hour before curtain.
Synopsis:
When Uncle George invites his whole family up for a weekend of fun at his dilapidated rustic cabin, he actually wants them together so he can read his will. But between the bequeathing and his rambling stories, George drops the bomb that somewhere on the property is a suitcase holding four hundred and eighty thousand dollars! What follows is a hilarious farce of pettiness, slander, and greed. The relatives end up wrestling each other, falling down the stairs, and getting stuck in the furniture. "Yep, we're gonna have lots of fun!" smirks George. But George's gift is much more important than mere money, even though the relatives don't see it that way - at first.
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