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
Friday, April 29, 2011
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
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