Fight Notes...More stage notes to come...

3-16 Fight Notes from Jonny and Michael: General: Be aware of your sword tips. We did see a couple of times where scabbards/swords in belt hit the scrim behind the actor.  

SUGAR CANDY BOTTLE TONIGHT :-) 1:1 Father vs D'arty: -Good stuff. Great way to set the pace for the show--yes, loved it!  
-great sword toss....
Chris--get to stage quicker than we are doing--want to close that gap more--make it more threatening. 1:3 D'arty vs Roche I: -Cole, aim to whip the cloak over Ben's blade rather that throw it at him. May have been why he had trouble getting to his gun -Ragan, wait another beat before knocking out D'arty. Let the gun be a threat for a beat or two -Cole, give a vocal sound when you are struck with the knife
-cole: come awake more--open eyes--give us more of a lucid awake, so you can make a noise and it is noticable you are awake, knocked out again--also sells us later when Sabine comes out and you tell er about her..also, when sabine comes in, come awake more as well w head slightly out.
-Rochefort - get w jonny on the kick
-Ben: sword to kill darty - seemed like you struggled to get gun in belt - sword falling apart, etc..thank you for keeping it going and lceaning up bolts...lol
1:5 D'arty vs Roche II w/ Constance & Ravanche -Cole, awesome kill on Jono. Snap was the right speed - great work guys
-Ben, check your boots and cape position at all times- -Ben, sell the stab more. Give a verbal reaction
-Ben: nice bread hits too and the reaction to the bite was perfect.

1:7 Luxembourg: - fun, a few timing issues and lines dropped, but fun...keep the pace up and keep the faces up. - love the grunts.
-COLE/AUTHOS - loved it! nice work on your opening...cole nice work staying in bounds and not going into wing--it was a great sell as if you were falling off a cliff. look like you guys missed a move or paused for a move--be careful of that as you are directly ds. -Possible flub between Jono and Cole???? -Jarod, work those lines preshow to be sure the moves time correctly-- Leave more space between Porthos and guard
-Porthos/Taylor - cheat out more on the lines...porthos--maybe come downstage a bit more. - also, laugh more--have fun in this. 
-Aramis/JT/Paul/Morgan/Cole, great stuff....remember to cheat out on lines whenever possible.
-Porthos/Chris - great punches and knock out...classic
-JT/Taylor - if lines are forgotten or flubbed mix it up faster to cover...example, when Jared was delayed in lines--which does happen in a big moment liked, you guys don't freeze...help him w add in line to prompt or get out...Jared is experienced to know when you leave--he will give you a line out the door to get back on track w timing.
JT - turn your back away from audience on lines--get your back facing SL and cheat so we can see your express on your shoes untied, look, beat then high tail it.
Ben - liked to toss of JT onto stage, but work w him so he lands in the exact location for Porthos lines.
Paul - your fall was classic
Athos/Chris - we wll figure out the hang...--liked you two up top
Morgan - I think I will move you into the portals to hide and peek out during the darty fight, then come out swinging a sword...let's discuss.
1:8 Beggar Attack: -Chris, try to clear the cloak so it's not still hanging on your arm--liked the pace..nice work gents. 1:9 D'arty Torture: -Cole?, arch fingers slightly -Ben, get hands to Mark's hands a little faster to create the illusion. Awesome sell, though -Ben, punch to D'arty missed the mark (assigned target, not the Cardinal. Heh)
-Ben, first slap was great.
--Ben: wet willy not selling, so how about a ear pull? can you work w darty..does not have to be a real ear grab, just both of you sell it..loved the laugh after..
-Ben look up more.
1:10 Enter Debris: -Thought I saw some timing issues with the ending. We can tighten during the week - liked the pace of the beginning better.
Porthos - any chance you can grab a flower and wave it at rochefort a little as he looks at you.
Porthos - let's have you come out a little less from column - let's work on that today.
1:11 Mother Superior DIES!!!: -Morgan & Ragan, choke looks good - yes it was good....some how Mother ended up on the body though as there seemt to be a longer choke, but it really work.. rather than stand there..Mother--did you come in early or was choke longer? I think I liked it, watch it again tonight -Ragan, there was something a little awkward with the stab. Maybe not on the mark? 2:1 Montage Scene: -overall good - minor things that we know you know. 2:3 Darth Porthos: -Jarod, remember to move the fight downstage -Jarod & Sherry, run the fast swordplay before every show 
-J and S: S whisper, smile, take off....J: wait for a beat then chase her off..she should be past the bench
-team - check bench placement preshow to be sure it's on the mark--looked off and you guys moved it.
-S: We need to figure out a way to get you behind the bench cleaner--suggestin to move bench more SL to give you room to clear in front of fisher boys? let's discuss. this just means fight moves a few feet SL. 2:6 D'arty vs Milady: -Couple of missed marks. Was there enough room onstage? -If so, work the sword catch 
-overall great job though considering first time w a new chair under lights, etc. we should work the costume arm malfunction...
-
2:7 Athos vs Milady - great, great, great. -Looks great -Ragan, awesome fall -Gun shot was drowned out by the actors movement. Gun shot need to have a kick to it - make that gunshot further SL of table and downstage more....so we can see you upclose...I am okay with it being even w table or closer to DS, so split difference between table and SL wing and bring DS more.

-Actors go silent for two beats after the gun shot. 2:9 Milady vs Sabine -Morgan, don't anticipate the first stab
-remember cast swords w strong intent--do not mark/place swords...
-remember to not wait for next move--as soon as you see each other's eye go like bucking rams--there were a lot of pauses that seems over dramatic.
-several marking moments versus showing intent, fear, threat, anger, kickAZZ movements. let's review this preshow. remember between moves it has to look far more desperate and that ttere is a threat on you. even if you crawl to sword at first. need sell it more.
-the Ragan laugh was perfect, morgan's face was priceless and kill is so good - work w david on timing the music.
-we did notice the fight hit a bigger , good rhythm too more it went--let's get that at beginning
-morgan slap of ragan - need to work on that and either knap it or go for it....let's discuss today.
-Morgan, show no fear as you walk up to slap her...grow tall in your stature..big. anger. Think Kill Bill. - Uma.
-ragan slap n morgan was great.

Notes from Saturday--really raw...

General Note:

Please read Saturday's notes too

The great news is we basically got through a show---which is great.  So thank you for your work!

Believability – about ½ the scenes were believable and ½ were not.  Part has to do with transitions still slowing things down, but you have to bring it NOW.  We have no idea what some scenes need other than pace and intensity…. There are really brilliant moments however.   What makes a believable scene end to end?  If one actor is not in the moment in a scene, then the scene will fall apart instantly—it changes the vibe for the next scene. Lines may hit, everything may seem okay, but the audience will not respond as much and you have to win them back.  Everyone must operate with strong character purpose/intent from transitions to scene.   Paul and Sherry do a great job of in character every scene no matter moving a set piece or w lines.  Breathing, eye movement, body shift, sneeze, wine drinking, laughing, smiling, crying, coughing, stroke of hair, sword work/sheathed, walking, running, fighting, kisses, hugs, etc.  All have to be done w purposeful intent or the audience will disengage from you and the scene falls flat.   

Fights –, watch Porthos v world from 2:3 or milady/sabine from 2:9 intensity last night (I will post)..there are still little character breaks we will fix in both, but overall this is the intensity needed on every fight.  Note how they have tempo to their sword casting/movements, so it does not look like marking or slowing down on impact—work w Jonny on this…It’s part physical acting, part technique.  We have to believe this is life or death at all times—grunt, show intensity.…some of the fights feel sterile and not life and death—some are playful yes, but you still are fighting to defend or attack your enemy.

Pace of show – overall a lot of late entrances and late/choppy lines.  especially during minimal scene changes—we know lights will change this, but much rater have you overzealous now and we pull back then not being ready to enter.  We have to know our entrances/exits, be ready and focused, set props and set pieces (we were delayed by this first act several times)

These notes are also from video recording, so I am happy to let you watch and compare my notes to see what we see.  I cannot post the whole run, but I will bring it and you can watch and I am happy to meet you 1:1 to discuss video frame by frame—this is actually very beneficial.

Act 1

1:1

Fight – general note—more intensity needed, far more anger, threat, fear from both.

Father---not liking the pause on stairs…hit stage immediately and the fight going….

Darty – get into a more assassin position as soon as you hit stage…..ready to attack.

Father hold first longer scrissor on darty until music changes….talk to  david to play it for you.

Beginning looks intense, it lagged in second half. I think father needs to shift far more SL after the first shove to the table to allow room for the back and forth—you both ended short arming all the tings and it looked very slow and planned/methodical versus 2 men fighting hard – watch Milady Sabine when posted.

2^nd scissor hold a beat too—it happens too quick.

Father – turn out and up on “to be a musketeer” need to see this.

Father – slow down on kill em…let’s do this. if a man insults you, turn other cheek, slap, then stay and if insults you again---point to him

Father – cheat out on cross to buttercup.

Father/Mother – come a bit DS away from scrim – worried about swords, running around, hitting scrim

Father/Darty – I feel table is too far SR.  let’s review and spike

Father – more projection.

Father – slowed down too much on your monologue—time it out so I promise from darty ends music. I think it happened during the glove removal and cross.  

Father – point and look to God

Darty – give a faint look up on his god line.

Father – loved the laugh at “unless he starts it first line”

Father – cross towards mother and son on your lines about buttercup…I feel like the joke has to be managed more towards them veruss buttercup… maybe only look on her upon the sound q.   let’s discuss.  It’s almost right.

Darty – cheat out watch your back turn to SL audience.

Darty – when fathers throws you the coins, react—it’s a big deal…it also helps his following line – say no more.

Father – wait for Darty to react to coins before your line.

Darty – read notes from Saturday-we will work on this – I think you need to uncork from your position—lines on brioche, etc. after Sabine says there—let’s work on this Thursday

1:2

REPEAT – READ NOTES FROM SATURDAY RUN. 

Athos – do not go so far SL—move more DS—aramis should grab the cap, deliver line then x to your SR..this allows you not to collide with him.

Aramis you will grab hat, deliver line SL of Athos as he approaches, Porthos grabs from you, then you cross USR of Athos

3M – more urgency in scene—Athos can be oblivious, but porthos and aramis start more SL/SR and then slowly move back to him—Aramis keep looking around—show more intent that people are coming.

Rochefort – no cap gun.  I like you running in behind them as if you are chasing, but we will time a sound q for you.

1:3

Morgan – do not get so close to sign…split difference between SR and CS – your blocking Darty’s rope entrances…watch your bounce walk..move more deliberate.

Ragan/Rochefort – let’s be sure blocking is locked – it changed a bit—rochefort lines keep happening in different places. It worked, but I am worried about it changes.  Let’s lock it.

Darty – cape moving forward for all scenes. Need you to start working on that in fight.

Rochefort – more threat on gun hold and sword holds…needs to be firmer looking..gun up in his face more…

Darty/Rochefort – need to work that sword fight more – seems choppy and swords are moving methodically so audience can see you marking.

Rochefort – read notes from Saturday—more urgency w note

Rochefort, let’s have you stand near the door versus proscenium

Rochefort – physical note from Dru and I – love your comedy but show a little more upright posture when fighting and being physical…I know you are the comedy break, but at times it would be funny to see you far more formal.  Let’s discuss.

Ragan/Rochefort – do not make it so far SR—this wil involve Rochefort pulling sword quicker and you recognizing it quicker.

Ragan/Rochefort – bigger overall. Attack the scene – do not let it control you.

1:4 worked overall..good job w spacing as darty comes in…

Porthos/Aramis – lines seem choppy – make sure you are reacting to each other more and Aramis

Aramis – bigger, more projection, more in your body/facials.  Move w more intent.  Do not hesitate.  Your frustration is great, but I feel you get lost in the scene after.. work w porthos on making that snappy back and forth bigger, remember you are trying to one up Porthos, so you can drive each other.what are you feeling/thinking when Athos comes in?  We can discuss it.

Darty – shoulders upright—do not slouch, yes a bit nervous, but when you walk in—your meeting rock stars too, so this needs to be bigger as you come in so your fall is bigger…

1:5 – we will work this on Thursday w crosses – this will not be a speed clean J

Timing and entries were too slow or not in correct location…

Porthos – love your x to Darty

Darty – loved your slow

Constance part of scene…

Jonathon – entering too far SR on entrance.  

Darty – after you stab Jono, good surprise, then look back at constance, but, when Jonny falls—you watch him, peek forward a bit as if to see if he is truly down, then turn your sword on Rochefort in assassin stance where audience sees your face as he draws down to you and open body not back to us.  Switch to back ds on start.

1:6

Cardinal – good character….

Queen, I want you to give a little glimpse as cardinal approaches…wonder if you take fan with you and continue to fan as you move DS…just switch to your left hand prior to slap.   

Cardinal/Queen – slap has to be bigger or we need to knap – Jonny please work with them – queen get with Jonny

Queen – constance?  Constance…need to see a tone change. First one is calling for her as if she is somewere near you…make a look in the direction of SR and maybe out?  Second is more of more alerting, threatening call.. watch pitches. 

Queen – bigger reaction to constance coming to you…also watch your tone—you went up into the upper register….be happy, relieved and assured all is well.  Need to see that…start when you see her, but “I thought you were is a combvination of happy and relief”

Cardinal—calmly walk to rochefort to choke him---approach w grace then slam a choke on him…more dramatic and funny contrast that works w your build up tone change too.  Explodision/volcanic…

Cardinal/Rochefort – let’s work on your chokes with Jonny…..it should progress slowlsy as a build up…see Jonny.  Also keep your face up more as you fall to knees

1:7

Porthos – bigger, bolder on your lines…intent is to play it out to audience more w your lines. bigger…slapstick style…your Bacchus in a fight.

Aramis-bolder, more confident… read note from Saturday— your intent again is to challenge Porthos on the time, so your lines have to read a big statement of fact to be topper—step forward maybe?  And… I… at 12!.  as long as everyone keeps lines moving along…but, I feel you get lost…maybe give us a point of some kind because you were really ticked when you left him. Let’s play w it.

 Porthos – read notes from Saturday—your first line, Athos my boy, is from on top of stairs, then cross under and say “is that you”,  then, your lines about pumps are just USL of Athos.  Let’s work this Thursday.  Your “is this some kind of joke young man…”  needs to come quicker immediately after Athos

Aramis stay USL of Porthos and begin your examination/cross to Darty after tyrannized by a pair of pumps so we can still see your reaction w Athos, but you are not yet really sure who Darty is yet…you realize it just on right here?  Let’s discuss.

3M read notes from Saturday—the counting lines are too slow—more snappy/urgent. needs to develop…

Fight needed more intensity—more edge..felt to calm and easy like Sunday morning

JT when Porthos asks you about shoe untied, look down pause and up then run off. 

 Porthos big laugh as he does!   Have fun w it.

1:8

Song posted…learn the words..Porthos will lead but everyone sing along until he ends it w Song of  Maid…

Everyone in this scene watch this trailer..……you are out w rockstars—the Msuketeers. http://www.imdb.com/title/tt0181875/

Everyone singing coming into scene….even if off key or off song..needs to be a drinking having fun scene…transitioners as well.  We will adjust the music so it’s not as long…

3M, let’s mov to our positions as soon as music starts….

Athos invite Darty to sit—you stay up getting drinks set, greeting girls, sherry

Sherry come in dancing through Aramis to Athos to table.

Darty and Sabine – this bar is foreign to you…Sabine stay w Darty and watch this action happen in amazement then as Athos makes the gesture to sit you move along checking things out…these are things Gascony farm peeps have not seent a lot..you are hanging out w rockstars!   Ever seen the movie. Almost Famous --- http://www.imdb.com/title/tt0181875/

Athos, do not take a seat immediately—maybe a different look, boot up on chair, talking to Darty…Sherry, then invite the “surprised” wide-eyed darty to sit and enjoy.

Darty and Sabine – this is foreign to you…Sabine stay w Darty and watch this action happen in amazement then as Athos makes the gesture to sit you move along checking things out…

everyone be aware, that she is still playing a boy sort of, so you offer her a drink and party with Sabine, though she is a little unsure.

1:9

Worked – good blocking recall guys.

Milady –  see notes from Saturday

Ben – use a dagger to slit throat not sword, but good cover.

Ben – look up more –too much top of hat.

Ben/Darty work on hits

Debris, Exit US between curtains…

Ragan can you sit on arm? 

Ragan off with wig and cape in 2 beats…

Cardinal – let’s work the line about children—

1:10

Overall, worked.  Little concerned about pacing, but it could just be lack of lights etc.  

Morgan – your who are you was the best so far..believed you.  Just be careful to not turn back to audience.  Angle will need to adjust depending on where Milady settles…let’s take a look at that.

3M The end worked well too. 

Morgan – little more up on One for all—again, choked, butalive and able to breath and function.  In fact, I want a little less death feeling there…

sherry - excellent death.

2:1

King – remember blocking where you cozy up to Cardinal with your back to his side as you tells you the plan?  You recalled most, but forgot that..you listen to him with great interest.

King – can you sit back in chair more so feet hang off ground? 

King – Yodeling – make it bigger—so people get the joke coming from Cardinal – it’s a shoot down—you’re a know it all and never get it right

Queen--we will work on this blocking of Darty as you move US..it needs to be more open to DS...

2:2 – good, but Ragan you changed your inflection/purpose a bit…I like how you touched the cardinal on the necklace discussion, but you have to seem more put out that he only wants 2 and you need the necklace for you…make sense?

2:3

Late entrances kill this scene, so let’s tighten up.

3M see the notes from Saturday on gun cocking at same time when she tries to leave so darty can make a cross.

3M when at table –

Look less modern and less faced out to audience…turn chairs no matter how these are set.

Energy cannot be low on this—it’s up close…to constance has to be b ig, every line big…

Porthos – on your line about protestants, etc make it over the top—need a laugh in there a joke to let ppl know it’s okay to laught and everything you do is funny..give them permission to giggle with you.  Be dismissive funny… lets play with this.

Aramis, do not sit right away..grab chair, turn standing w one foot on and do not take a seat…lean into table w one foot on chair.

Sherry – when yyour boys arrive and you clear, do you have to go around bench?  I want you step aside and maybe put one foot up to watch this at first…very casually because you have numbers…in fact, leave your hood on until it is your turn…let’s discuss.

Porthos – remember to move DS after chris wisdom stab

Porthos/Sheryy The struggle for the swords, keep faces up…sherry big aha as you decide to to this then both look up as you do this…Porthos first bigger eyes, beat, then smile, then this will give her time to nearly clear before you run after her…milk it more.

3m great job on the cross DS to barricade,,,worked, but pace is important—darty cut pauses on lines there..make it far more urgent. Aramis – good job!

2:4 – seemed choppy/dropped lines.

Darty – turn out more…you don’t have to stand in one position,,,show more visible shaken when only 10 and not 12…then when cardinal…

JonO – more accent – faster on lines like a field commandant – no doubt, very confident…

2:5 – do not telegrapy your bow to king—it happend when he makes eye contact.

King watch the high pitch… be purposeful on Balls pitch—the last one?

Rochefort – move closer to Cardinal from beginning during Mammal chat after you walk in as you speak…make it a little bit of a secret moment, until you look for Mammal…in fact start looking out on Mammal..

2:6 – loved it…perfect!  Work on fight now.

One note – both look up as you stop her…need to see faces

2:7/2:8 skipped

2:9

Sent notes w video email

Abbess we discussed our notes—great job.  Maybe walk her down stage…

Constance – nice work

Milady nice work.

Sabine—loved your entrance in—really look right.

Everyone – very good ending. 

We really felt verything

Athos, make a turn towards milady as you walk in and before looking at constance.  You can acknowledge her..also maybe change levels after your lines crouching down over milady.

2:10 - loved - nice work..

3M - trickle as you come in...make it more urgent but trickle in..we will discuss. 

The choking of cardinal...worked but the choke lasted too long---want it shorter, so we will work on this more

lines queen and treville - 2  beats after darty reaches him and start lines over Dartys...

Darty work fast through your lines and start your cross on Can't you see...and really pace your lines fast. 

Rochefort come in faster by anticipating rochefort as if you were just walking in

 3M - we need to time it faster--porthos needs to reach Darty as he starts I'll kill you know even if his jumps a bit. So Aramis and Athos are likely first in w Porthos crossing quickly across stage...sabine last

Darty - one note...be sure not to cross by the queen as you apologize and in the opening to this scene...you end up blocking her and we lose her reactions...King will move to you and meet you as you give him the letter for example...

queen - when Darty comes in - need a reaction--are you concerned, happy to see him or both one then the other...you are framed up there for a reaction.

Treville - let's walk through lines in and out...I liked some of it, but not all--its on me.

Darty...look up when he starts speaking about musketeers....

Notes 2:6-2:10 and note for everyone

Team,

Please arrive as early as possible to be ready to go tonight w props belts swords, hats, etc--we will have a quick meeting,

Love these scenes overall.

Big note to everyone - next week is tech, so this is our last week to really hone small character details.  Please go big and bold tonight from scenes to transitions - if you are unsure, let's talk.

On transitions, please move with character purpose between scenes:

Example:
Moving in Cardinal and King set pieces has to be formal, proper looking.
Moving in bar set pieces - less formal.

In some cases, I told you how to transition in character--example, I want Chris W to transition into Scene 7/8 in Guard clothes.  I want JT and Taylor to move the table US in Sc. 7 w cloaks/capes and tonight I will give more notes as I see transitions happening.   If you are unsure, make a choice of character when all else fails.  I need to see something from you.

Also, please review notes from Saturday and today--these will also post on the wall in the hallway outside garza

2:6 –

Paul – can you give a french accent?

Darty – after Constance leaves – x more DSR away from Ragan up on platform to create distance

Milady – first line, “good evenin”g from far SL, couple steps, next line “you look like your waiting for someone”, stand (about mid way on upper platform), then start cross down on “I would sacrifice a great deal to be that one”---make sure it hits before you x behind ium.

Darty on your line—do I know you move SL towards Milady (on the rail still, but to get a closer look)

Milady - when you cross behind cole moving off platform, position one step SL on rail from where you usually start, then line, “ oh by the way I was impressed…” then cross to him on your lines as usual…

Milady – pause ½ beat before you begin your rant about Miss Bonacieux…physical show a build up before lines—anger, betrayal, LOSING all at once…it’s a dramatic launch.

Milady as you try to escape, turn back a beat sooner—don’t pause, just stop and turn against wall almost, so we can see Cole’s lines on a profile versus his back turns…this forces him to turn towards audience or you on a profile more.

2:7 – liked these scenes a lot!  This is the starting of the arc, so I am picking on little details more.

Love la Rochelle—practice this preshow to be sure your timing and slides, jumps are fast,s nappy..urgent

Milady sit in chair as Cardinal crosses to give you documents—not as early as you are doing.  This allows for better levels on the lines when Cardinal is upset.  It’s as if you are taking a seat at the table to discuss, but Cardinal does not.

Cardinal – let’s inject that lisp and wig line more sarchasm…make fun of Spanish????

Milady – on lisp line, I think I want a laugh there—it’s the cardinal being cheeky and you find that funny that he speaks about Spain that way…I do think your humor can partially be about him as well..but make it bigger…it might help the audience catch up as well…lets discuss if needed

Athos – appear later—on Milady’s lines about giving cardinal anything..

Milady/Cardinal /Athos– do not let milady get as far before you begin your lines about her owing you anything..stop her one beat after she turns, so she can take another step and stop…I need her to not get close to Athos on stage left…we can work this out…Athos—as milady makes her step to SL on that—take one step back so we barely see you…

Athos – excellent dramatic pauses—you really drive the intensity on moved the earth for you.

Milady – Mercy with more british—it comes out Texan..let;s talk about that pronunciation.

Milady – drop document as you extend your hand to hand it to Athos to create that moment gun grab move (drop as he is about to grab).

Milady/Athos –Milady the kick of gun would cause you to flinch your body bigger….Athos, show  a little more movement that indicates something happened to you possibly—just a tad more.  Still hold each other, but adjust bodies on the gun shot.

Porthos/Aramis – ENT quicker just as he begins to fall to chair.

2:9 – pace was better….good.  let’s push it more tonight

Abbess – Bigger  reaction to drink interruptions..take your time and play it

Milady – make yourself at home even more as you walk in—wear gloves tonight…let’s see how that plays too.  Remember purpose of a cross to CS is to look around.  You can subtly make a peek SR and US.  Remember the child catcher in chitty. 

Abbess – you’re a funny woman—play it more like a gossipy linda richman type…let’s discuss..you have

Abbess – slipped through fingers..give it some change it tone—dramatic, exciting, like a detective novel—make it funny.  Same for the line—ooops I should not have said that—maybe the alcohol is going to your head.

Milady – let’s see a pause button—screeching halt on the assassination lines from Abbess—let’s see you react to that more out to audience—maybe a small turn away, then coming back with an over the top that’s quiet all right —maybe “oh shXT he really did it” or “I cannot believe this woman is telling me this”  something is there—let’s discuss.

Abbess – bigger reaction to constance being queen in waiting…and you not knowing—maybe a bigger buddy up to her

Milady – excellent on meeting Constance—love the look/tone/reaction!

Milady – as you Constance crosses SR of you to take a seat, loved the stare down and watching her as she passes…stay put…hold ground and do not move—your move DSL takes away from the purpose there…keep planted and work USR and around table from there

Constance – take your hand off after a couple beats when you begin discussing queen, “I was loyal to queen”…go a little bit concerning or down tone on that.

Milady – let’s talk audience viewing/blocking angle on constance’s line  I know wed be friends when we met.  I will show you a drawing of how I need you to take a more US approach back to er to not close off SR audience.

Milady/Sabine

I've worked out a loop for the death stab in 2:9 but you will need to practice the timing w David so that the stab occurs on the final note of the song. Essentially, one you are in position he will release the loop to play the last 4 bars of the song and you will have to time the stab to the end of the music.

Notes from Saturday...

Gang,

I saw a lot on Saturday we/I liked.  Good moments!   Thank you for staying over.

Below are very detailed notes and a bit raw.  I can talk to each of you about, but please incorporate ALL tomorrow and Tuesday.   If you have questions/concerns, let's talk

Please know that I like what I am seeing from everyone, and this will help and go a long way to making a good show great.   I think we are in a good place and we will get at least 2 more runs before tech and 8+  hours of good cleaning work in too, so we should see a big dial turn up this week and be in perfect positions to clean and lock up during tech w 2 runs and 2-3 cleaning days of tech, etc.

Tomorrow Schedule

Fight calls - 545pm Milady/Sabine, 630pm 3M/Debris/Rochefort
715pm: Run 2:6-2:10
830-1030 - Fight Cleans Jonny TBD.  Stage cleaning 1:4/1:5, 2:1 Q/K sequence, 2:3, 2:4,2:10
Athos - can you come early on Tuesday to work Monologue? - 6pm

Notes from Saturday

ACT I

Sc 1

good fight sequence.   Be aware if you knock the table around something may fall—either of you can pick it up in character.

Cole – on first cross to stage off stairs, show more alert, more threat from father

Chris – on how did you do that father, it like a magic trick, laugh big on that line,

Chris/Cole – second disarm, work on handing word back cleanly.

Chris – On Misdirection move  stance, make it bigger to one full beat.

Chris  - on “As I predict” look at Cole in the eyes—not at audience. 

Cole – on “did you leave home at my age…” you are seeking his validation of you and your departure—show eager intent, it should be a question with doubt on the back end operative words:   apprehension, high anxiety,

Chris – laugh big when Cole says, “Unless he starts it first”, bigger exasperation w children objective on that line.  Tone change on here you are going to need this..

Cole – Great audience sword thrust after father gives you is sword!  Keep that DS so the sword crosses the 4^th wall.

Cole, after father says, “now a few parting gifts”, show bigger reaction to the $ father gives you.   It’s big money for your father.  This helps set up the horse jokes.

Chris/Cole – great they say, they say moments…

Chris  - Project more

-Chris on your lines:

“Promise me you will never sell her”  - at Darty/mother

 “I want to hear that…. “ out ds

Beat

SHE…died standing on her feet eating oats” look back to Darty/mother

Chris –buttercup lines on exit -  keep your eye on Darty and mother as you say the buttercup lines…, but end of line, look over and acknowledge buttercup.  Kiss good bye? 

Chris/Cole Great – ancient name dartagnan moment as you grabbed ear

Sherry – great job staying under control and not upstaging, but playing the concerned mom.

Chris/Sherry – keep the head turns together – best so far, just one slip

Morgan 0 cross or gesture to buttercup on your line, “might as well get buttercup to protect me..”

David – Neigh after Morgan’s line

Cole – remember you do not have to stand in one place after “there” let’s figure out a small cross on Brioche

Morgan/Cole – I have a slight blocking change to uncork the delay in getting off stage..let’s discuss Monday.  But, it involves, Cole crossing to Table on “Brioche” ( go bigger.more sarcasm on this too) and Morgan continues with her lines about Planchet, as he crosses and starts to fill his bag.  Morgan’s lines “would you cheer up” and the sword spin now happen stage left of Darty who is at the table w a loaded bag on his shoulder, Morgan then crosses SR on now grab my bag…..  This will allow Cole to grab bag and take buttercup…it would also  uncork Cole from SL . 

Morgan – love the Hya stance after the spin.

Sc. 2 – overall loved it!

Cardinal – you might have to go bigger on lines…I have you up and back, so let’s go bigger, bolder, show more disgust on I really hate them.

Athos – make sure cap is lower to Aramis can grab

Aramis – deliver your line as you grab the cap—SL of Athos, then Porthos can grab and then you cross SR.

Bring Columns more DS..we will spike.

Athos – excellent projection and love the bold/big on your lines

Rochefort/Guards – see if you can come running in between the building and scrim as it opens and keep looking up. 

Guards – look more alert, ready to fight, so your giggling like school girls over the sign on card’s back hits bigger.

Sc. 3 – good work.

Sean – great facials on the fight

Pace – attack lines in this scene. Work on shaving unnecessary pauses…

Sherry – did you fluff Rochefort ?  Rochefort react to the fluff….sorry missed it so just being sure.

Milady – good use of all your armor and vulnerable…good contempt for rochefort.

Milady – I know you are still working with the knife,  but don’t broadcast the knife pull too early..work with rochefort on timing.   It’s a costume ting, but let’s see if we can time it.  The pocket will be in the same place as discussed in costuming.  We will dbl check on this.

Rochefort—do not move into Milady on the letter until you see the knife coming—anticipate more.

Rochefort – go aggressively at letter drop…

Milady/Jonny: Milady work w Jonny on head hit

Morgan – bring out Dart’s bag he left with in Scene 1 w a sausage stick or bread sticking out— worn across your side..

Sc. 4/Sc 5 – we will work this Scene Monday. We are going to attack this pace much more on Monday…here are some ideas/changes.

Kiara and Stephanie -  cross through from SR to USL…past porthos and Aramis on Treville’s line “Aramis get up here..”

Jordan/Justin , let Darty in after his line at treville door, then you make your way out.

Cole acknowledge both a bit awkwardly – this is a big moment as  you are meeting the head of the guard and musketeers.  Then Move DSR after musk get out and do not take a seat.—stand by Chair

Cameron – ENT SL to  your puppet location.  I will have you enter after the Porthos/Darty bump.  This will give you less time, but give me another cross.

Sherry -  cross from  SL to SR to sell fruit to Rochefort in same place and go off stage after he refuses to pay.  Spot him as he enters and make it more DS and meet between SR and CS and show more anger at Rochefort not paying.  You will play this angle to with constance.  I may add another vendor bump…possibly….stay tuned.  Jokes are best 3x.

Ben – let’s play w your not paying Sherry for a beat—instead peel banana and give her the peel then dismiss her, then Cross USL faster as you eat the banana

Cole –urgency in physical and voice to catch the man w the patch w Athos – can we bring the section after country boy more DS—

Cole/Justin – bring the second part DS more after country boy…so Justin angle more DSR on your departure a bit and come back to DSC more…split difference between US Wall and DS proscenium.

Cast – adding Taylor, JT, Jonathon, another sherry  on a cross in this scene crossing through between Porthos and Athos moments.

Portos/Adelle/Cole– enter USL on stairs and immediately cross DS after Athos to Darty line – “you’re gonna need it” I believe this will push the pace more and close gap between the Milady pass US and his bump to you.  .  This also may cause the bump to happen a little more in motion—which is what I want, less stand and deliver lines.  You can move during lines and make a slight turn towards SR and this will ensure timing is quicker.  This means you may have to begin your line just before you cross behind Chris Wisdom in the cardinal train.   We will time it out, but bottom-line: I want this to be an in motion moment that takes place somewhere between CS and SL.

Eden, Cardinal, Chris, etc – you will cross immediately as Athos leaves Stage with Darty following so Darty has to move out w more urgency.

Sherry – you will enter immediately as chris wisdom heads off stage—come from DSR for this moment  so you can avoid the traffic and go right to Darty and offer him fruit—he will see you and ask directions.  Milady will cross on her lines as usual, so this will all happen much faster and in motion more.

Sherry – sell more with intent to Cole and Rochefort --- ie make eye contact immediately as you enter w Fruit same as bread w Constance

Cameron – you will come up from SL to USC near the same location to setup…

Porthos – attack your lines more with Cole—faster pace, less pause so when you pause to move him downstage or to impress adele, it feels a different emphasis.  Example: Forty crowns needs to be a more abrupt demand to impress the lady—work that line w urgent, demand—as if you expect it, but it’s to impress again.

Darty – attack your lines more w Jared, shave pauses more and make it bigger find similar capes along rive…

Aramis – general note—big bold and beautiful.   less frantic on the anger/stomps—more deliberate throughout show—maybe add a fist punch in there too w Cole. Slow it down.  Watch your posture.

Let’s discuss.

Jonathon – watch where you set on your ENT.  not as far out on SL.   also, deliver your line lines with far more urgent pace and intent immediately upon entering stage—I am even okay if you start your line in motion, but make sure we see you delivering line—I just need it to increase pace and urgency…remember, you have been chasing her so your adrenaline is pumping and you are far more urgent. 

Darty – far more urgency and pace—you are definitely having a bad day, so urgency is important, but this is what your father spoke of in his advice/speech to you—honor, stand up, help for weak and this is the counter/answer to just lamented about in your monologue—is this what it is all about?  YES, it is..finally it’s not your ego getting into trouble, this is a real musketeer moment…this is you finally fighting for something real, tangible and a woman in distress not just picking fights over sneezes, bumps and capes!  Make this an ARC for you on the Jonathon and Rochefort threat.  You got this moment, but more pace and physical posturing…Pull back Sword and stand up as if you surprised yourself! Then, give Rochefort on moment and draw your sword to him as a threat.

General note for you: Watch slumping shoulders—posture upright—only shoulder down moment is after Aramis moment…you always keep your shoulders up and chin up… 

Constance/Darty – loved the scene overall.  Good movements, intent, etc.  great choices.  Watch pace on lines between the moments.  Example, Let’s shave the pauses a bit: Darty/Constance abbreviated lines where we can shave pauses…
“it was nothing, I must go now…will you be safe, I haven’t far to go, and this item that you carry….pace through these w less pausing so we can go for the big tender moments will the slower pace following (the love lines).

Constance/Darty – cheat out more

Sc. 6

Nice work Queen! 

Queen – make cardinal wait as you sip wine, and respond “Cardinal”

Queen – “It’s understandable” should be at Cardinal—change the tone/pace to more intent that he is sarcasm directed at cardinal think “you idiot”

Queen wait til King crosses off stage to watch him down a hallway…you turned your head early when he was at the table.

Sc. 7

Nice Drunkard Chris—

Athos – love your stage presence.

Darty – one beat earlier on entrance.  Let Athos sit and one swipe of his sword before you enter.

Porthos –  ENT on Top Stair, as you pass under clothes line “Athos is that you old boy”

Porthos – stay slightly US of Athos on your lines on pumps.  Let’s make a bigger moment out of “tyrannized by a pair of pumps

Aramis, stay SL of Porthos as you enter, as he says his line about tyrannized by a pair of pumps X behind Athos and begin to get a  closer look at Darty…creates the illusion that you are checking him out and just realizing who he is as Porthos figures it out.

3M – lines after My God, it’s him, have to fly fast.  Porthos – close the gap, push faster pace/cut big pause… “Is this a joke young man”

3M – On “He’s very polite” big agreement after from Athos and Aramis.

Darty – If you’re ready, deliver than line a bit earlier before you set up..almost a politeness…maybe as you begin a cross—let’s work w it.  Then you set up and begin fight quicker.

Aramis – Well Done! Bigger over the top…bring it and drag it out…you are needling Athos w that line and impressed

Porthos – Very Nice split up—maybe a beat between

Love the golf claps…

overall - great acting on everyone - it was really good stuff!

Aramis/Porthos – big laughs during fight—let’s discuss and pull back if too much

Overall – the fight is starting to take shape everyone w lines in this scene—we have to be reacting quicker and attacking and showing more urgency and intent in lines..more pace.

Rochefort – Halt from Top Stair, then Enter

All Guards – Can we see a file in more, so chris, JT, Paul, Rochefort come down stairs like you did, Taylor chris and Jonathon maybe come in upstairs as rochefort crosses down.  I need a threat of all 7 or 8 to be seen at first…then Chris W, Taylor Jonathan make their way down for the fights after counting by 3M…let’s work that out…

Rochefort – lines leading up to fight, need to come w more urgency and pace.

Rochefort and Guards stay US near clothes line at start and  advance on Athos line—“Rochefort it’s Athos, if you turn…”  So your line, Dueling it is and the arrest, takes place US of Athos

3M and Darty – again, counting lines down to Dartagnan’s “we are ready for ya” have to fly fast and snappy..work out pace on that—Anticipate line more and look at each other as you throw those lines out.

Aramis – “I intend to die this time” – make it more ominous and then a beat, then step up on the barrel…then rather than face treville.  Almost, “well, let’s do this thing feeling”

Rochefort – Let’s get him boys much faster…no pause after that’s the man we want.

Aramis – Morgan – Darty – do your best to face up when delivering lines….cheat out if possible…fight safety is priority, but work these moments so your faces are up and out if possible.

Porthos – bigger, bold and beautiful on your lines…

End of Fight – 3M react to Darty taking on Rochefort, maybe Athos pulls his sword and Darty backs him off..let’s see this Monday

Morgan, you sneak in behind Aramis and Porthos and react to darty fighting—worried for his safety…when he gets disarmed, step DS behind still and pull your sword and close your eyes…then poke away DS or SR…

1:8

Everyone learn the song – the instrumental is on the blog.  Let’s sing it together, like a party at a bar :-0

Darty – bigger on “do you find that funny sir”

Porthos – great yellow horse lines and bring me a wench like the pace

Sabine – should we have you leave Aramis alone and come back?  Let’s discuss this. Sitting there is hard for you…

Darty – “sounds like you had a bad experience” that should be an uncomfortable joke tone.

Darty – line “that’s not far from where I am from” eager to please intent, very similar to the prefight line w Athos – you get excited as you have another thing in common and he completely runs over you and ignores you which takes you down ..

Athos – let’s work on monologue, I liked your choices, pace dragged at start…I still want it to feel upbeat a bit, not jolly, but definitely do not want Darty to expect what is coming..same for audience..let’s slow down on the man rushed to help her (as if it is replaying in your mind and you become clearly shaken, upset, angry—tone change, objective change here)…

Darty – My god  - big….maybe drag it and then attack the next line what happened to her brother is your need to avenge coming out.  That is your intent there and also it’s a wild story—deep and dark and it angers you.

Darty – in the beginning, you are bit upbeat about his story---when he gives you “she was branded”  your line “NO” has to be over the top  as if you did not expect that!

Athos – let’s see if the knife will stick—I liked it

Darty – And what happened of the man who hanged her  - more eager intent about this fact…as if there is more…

Porthos – let’s see you get up and really take that line up and to the whole bar—I liked it, but felt it was lost…let’s see what happens w lighting too.

Porthos – can you help here.

Morgan – great drunk girl work—

Aramis – also excellent finish w Morgan falling over.

Aramis – go how…..old are you—it’s as if you know the answer, but need validation and to hear it…

Aramis/Sabine – let’s work on the faint…need more of a trust fall..

Sc. 9

King – as you cross—giggle enough for audience to hear you, Pause at the painting and tilt your head as if you are trying to examine if this is supposed to be Cardinal

King – For dueling – out  DS in a pose. Yes of course…a very serious offense – make this campy serious and break it out from rest of lines…patronize him more.

King. Love your absolutely –

King, keep laugh up until knock…

Cardinal – love your choke

Rochefort – I love the squealing you make and great sell.

Cardinal – I love how you drop him on Darty, he’s outside.  Let’s play w this and make it more of a physical adjustment, come to attention w more physicality and more abrupt.

Rochefort/Darty/Jonny – let’s work on hits..I want them varied and not equal in intensity.

Darty  - try to get up more – sell it more on welcome to my humble abode.

Cardinal – love your whisper to darty

Rochefort –great stage work in your creepy moving around cardinal adjustments

Darty – great job looking up.

Sophie do not pause on cross  on I believe you,,,take it DS to SR of Painting and turn back w painting on your left to talk about uncle…one more from And that’s all I know.  I want the audience to see your mind working.

Debris – need to give your line—I missed it or did not hear it….”Yes your grace” be in the room behind Darty so we can see you.

Sophie –  good – standing,  you know what the say – standing, then move on ”waste not” and drop cape and pull wig off on “want not”  - we will work w costumes to be sure it drops easier.

I want the cape and wig flying off in motion before you reach the chair and turn.

Cardinal, “It seems a few are all right, but whole village is out of the question”…I think this needs some creepy different tone from I have too many children…this goes to what a jerk cardinal is….and I think it would be creepy funny..let’s play w this tomorrow.

Rochefort and Milady – let’s have you go USR between mid scrim and red scrim on your exits.

Cardinal – let’s move you X stage SR on “I have a master piece to finish” and pick up the paint brush and palette…and clean up the mouth. Cardinal, from there you will exit USL between scrim before chairs and painting are removed.

1:10

Debris – I like the sauce, but let’s not touch darty – that is creepy funny but maybe a bit too much instead keep it the same.

Rochefort – interrupt Debris right at the end of his lines – I liked that the first time you ran it.

Athos – come in playing more of an old man.

Rochefort. On “like them villains in the story books, turn to Porthos who just popped out and give him a look of behave as you continue w thereby giving him time to come up with a plan you are back out or talking to Debris..so you wonder w your eyes to the villain…

Darty – take off rope, etc and when Porthos hits debris – come w your line to get to Sabine..

Aramis – the villains – it’s another way of saying, those BXstards…say it w that intent.

Sc. 11

Cameron – liked your British, but we cannot hear you…cheat out more and you have to go big…use the motivation of deep concern that this person seems she is not what is appears—your sense are up on her..you know something is not right.

I love ending—it was smooth on everyone’s part.

Sabine – your line—let’s put a little more upbeat to it…less down..not cheery, but more positive.

Act II

Sc. 1 – Montage – we will work through

King – remember to stay put until Cardinal heads to you and ten your unbelievable 2^nd time begins the clothes coming off…

Paul – maybe we have someone put the throne on for you, so you can gather his clothes?

King and Cardinal – great job…let’s go more Inspector Clouseau on it….Cardinal is puppeteer and you are the puppet…

King – cut down pause on My birthday is next week—I like 1 beat, but then Ding, I know!!!!!!  So, make that more of an AHHHHHHHHHHAAAA and cut pause. To ½ beat.

King – keep the high pitch for the bigger moments…Liked your tone first act, keep it there and only use to show your emotional down turns or anger. And keep it minimal..works well.  Everyone agreed it sounded really good.

Cardinal – I like everything you are doing—can we play this seen even more over the top for you in that regards….it’s a little more than any other scene, because you are manipulating him in fact, this is the first time we the audience gets to see your work, so over the top sells it more..show your funny contempt for him and that you are just so over him, bigger rolls and bigger tone shifts on for example, that’s brilliant, sire”

Queen – let’s work your scene here…I need you to show more favorableness to Darty because Constance has told you about him and he is going to help you..almost relief and thanks.

Also, When you turn to leave, keep back to USR as you lift him and thank him

Queen, show a bit more urgency—maybe let your guard down a bit in your chamber..still maintain coolness, but definitely more urgency ere..

And, Please: be careful is a big line..I want that to be seen by audience….it’s your sincerity here that sells it.

Let’s uncork this a bit.

Darty – show more musketeer vibe here that you are here to help—bigger, shoulders back, etc.

2:2 – Loved it. 

Cardinal – when Milady makes it clear she wants the whole necklace – your intent on your next line in response is to belittle her—make her seem like you are the brains—that is why I am me and you are you!

Milady Cardinal – do not forget the custom officers line…;-)

2:3  -

Overall good job…let’s move the beginning along faster…

Kiara after serving, go to bar and pull up a bag and start packing…

Darty make sure you grab Porthos glass and put it down hard…need a motivation for his line—are you mad.

Musketeers – cock your guns on “II must have been confused”

Kiara – go down behind bar  after Darty line “I did send you  a bottle”…and start crawling around bar and out SL…. You slowly come up  after “this woman here….”  Stand and deliver line I Must have been confused,  and turn to EXT when you hear guns cock you stop and darty approaches you.

Then let scene continue from there as we have been doing..except Kiara you cough, reach down and pull up your bag and fall over on bar w bag…

We will walk through this.

End of 2.3 – we will work tomorrow.

2:4

We need to work this…

Jonathan – need more accent  - get those lines locked..

2:5 –we will continue to work

Queen – when you and cardinal are exchanging lines you play this like a game that you are in on w 

Cardinal..make this bigger and sneaky smiles…you and the Cardinal have much to gain and lose from this game…so you both agree to a tie in this instance…he keeps secret and you continue to put up in exchange..this is your intent, so your lines should read this way….

Aramis/Sabine your dance scenes looks good/funny…remember adjustments – more slow tango into dance and bigger laughs at the end of Aramis lines.

Time that here’s the father line, so he begins sneaking away as you say it so you can pull him back in…Sabine – you show coolness…Aramis – you show worry, fear, panic, but play along…let’s contrast…

2:6 – I like what I saw—anxious to see fight.

The Final Countdown...

Team,

Thank you for your time last night.  We did not reach all the scenes we wanted, but did make strong progress.  Great stuff from comedic moments to love to sound to Darth Vader!

Schedule Tomorrow:

830am – 3M please arrive for costuming

9am – 3M/Darty 2:3, 2:7 review

9am – Everyone called

Places in Garza for Show Run – stop for problem uncorking and transition issues.  Everyone should be able to stumble through their scene work. There are a few things we have not worked out and we will note these prior to run.

130pm – Notes.

Look Ahead: 

*Sunday – we are not rehearsing, instead we are requesting cast to come to Garza and help set dressing, etc for 2 hours TBD. Not mandatory, but sure would be helpful J

*Monday – speed clean problem scenes/lots of fight & choreo

*Tuesday – run or speed clean depending on problems

*Wednesday – possible fight call pickup—TBD.  All depends on YOU ;-)

*Thursday – run or speed cleaning depending on Tuesday

*Saturday – Tech Day: transition/Q to Q rehearsal and clean show: call is 930am-5pm.  This will involve a lot of tech on lights, music, transitions.  We will also run and clean

*Sunday -  pickup where we left off: call is 1-6pm

It’s crunch time.   It’s the final countdown beginning Saturday.  We have a lot of cleaning and running over the next 12 days. 

Moving forward:
1)      Calls: Everyone is called for all rehearsal s.   

2)      Between scenes:  On your own, please work on choreography, lines with your fellow actors. 

3)      Videos: Videos are posted by Jonny and he takes great time to post.   Please review daily.

4)      Notes:  Please bring paper, pen, etc. for pre and post rehearsal notes.

5)      Arrivals:  Be ready at  call time, fully outfitted as required.  During tech week the arrival time drops to 6pm and you will only have 1 hr to get ready.  If we have late arrivals, we have to stay late to finish.   Take into account that you will start working with costumes as well, so more pre-rehearsal  time will be required.

6)      Props and Costumes: Please put back props moving forward.  We will put out a needs sheet for props, costume, misc, etc  for you to complete.  If you are in need of a belt, frog, etc, please work on that before your scene.  We need everyone in complete gear on stage. Please be kind—we are borrowing and spending $2K on costumes and seeing pieces on the floor—which is not cool.

7)      Talking Off Stage: Please move to a dressing room to chat between scenes or speak quietly.

8)      Stagework:   Do not stop your scene.  We are seeing a lot of scene breaks when a line is dropped or choreography did not go as planned.  You have to start covering for this and help each other on without a break in action.   We will stop you if needed.  Break this habit now.

9)      Fight Choreo: We need to see acting intent in fights and much less breaks in choreo.  If you are unsure of a move, etc, you need to talk to Jonny now, review videos, work with your partner in the fight scene. He is very accessible and has been at virtually every rehearsal.  It is your responsibility to get with him prior to your scene tomorrow.

10)   Transitions: We will provide a transition map.  If you see an issue, please let Stephanie know asap.  We will work out problems as we go if we know about it.  Also, please review the map daily to ensure you know your journey. 

11)   Attendance:   Lock it up!  You are expected to be at all rehearsals for the entire time moving forward. We are depending on each other and when one person misses or leaves early without prior regard, it affects everyone. Our show depends on everyone being equally committed and locked in at this point--no excuses other than death bed or contagious statuses. All for One & One for all!

12)   Character Development:  At this point, we need all accents and characters ON between the lines…. errrr…curtains/legs.   Come with deliberate intent and be Big and Bold and Beautiful as Kiara says.  If you are unsure ask.  I will grab each of you  over the next 12 days and ensure everyone is connected and in their moments.    If you are passerby #2, you are just as important!  Also, during transitions, work in character.  Ex. If you are moving a prop or set piece on stage and a gunshot is heard, react. 

13)   Makeup – Erik will work with everyone on this over the next 12 days.  He will make up some people directly  during show, but it is our intent that he serve as consultant not as a tech for everyone.  So, ask and please pay close attention to his notes.  That said, please wear all costumes pieces and make up as instructed.  We will have a hair and facial hair line up next week to determine cuts, etc for the men.

NEW: Act II Scene Shifts...

NEW....mainly changes to Paul, but read this anyway, just in case.

Opening of Act II Scene Shifts -

https://drive.google.com/folderview?id=0BzMH3cXD-0alYkc4dFJaZXV4VXM&usp=sharing

Schedule Next 2 Days (Sans Lonestar Preview)

Tight schedule tonight expect a 1030 departure for 3M/Darty- Please be ready at 7pm sharp to roll w/ 2.5

615-7pm - Jonny will work and clean Act I fights. Darty, Rochefort, Athos, Father plan to run your fights from Act I.
7-830pm - 2.5 lock/cleaning close ups (we will set music timing) - Dru may stay after and work w you individually in another room if needed for her notes, etc.
830-915 - 2.1 clean
915-1030 - Act II 3M/Darty Cleans w 2:10/2.3/2.7 cleans w new Athos.

Tight Schedule Tomorrow Night (Tuesday) - Expect to stay til 1030pm.

I would like to start at 645pm/

645-8pm - Transitions in Act II Set
8-10pm - Run Act II
10-1030pm - Notes