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
Monday, May 30, 2011
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.
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