MUSICAL

WEDNESDAY 02/21 REHEARSAL NOTES

(Sorry so late, you better all be in bed.)

ALL ACTORS: on scene changes with blackouts, stay in position until blackout is complete then move
Limo needs to move off faster
EVERETT: Come downstage right after first line
COWBOYS: hard to understand you. Be louder and use better diction
EVERETT/LANK: so close. Cross downstage first then cross in front of the cowboys (come talk to me about this)
POLLY/BOBBY (OR BOLLY/POBBY): First kiss, hey what'd you do that for....be center
Boys hold still on "Could you Use me" get into a place and freeze before scene change
Table off when the song starts (could you use me) whoever is sitting there moves it
SAM: You look so great carrying on the trunk. Set it down sooner and drop on the stair before the ending note.
COWBOYS: Leave Sam alone. you pick on him so much it upstages other things on stage. Plus, Sam is awesome and I'm going to go all mama bear on you if you keep picking on him.
Goodrich thing. Not sure what this note is. Oh, yep. I remembered. Don't worry your pretty heads about this. I got it.
Lank and Polly: Move scene downstage, way downstage, before Slap that Bass
SHERMAN: let's work your lines in tech class tomorrow
THOMAS: stop Sherman on "wait wait wait, you can play this (or whatever your line is)" sooner. He looks back, slumps, you speak.
COWBOYS; don't say "that sucked" say "that's awful"
Everyone: work on bigger facial expressions. Smiles. Ooohs. Ahs.
Thomas: when Irene enters, instead of turning your back to her, try to hide your face with your hand, Alexa, try to see his face, even if you end up chasing him around a bit.
THOMAS: emphasis on "old" friend.
EVERETT: in tonights the night don't go into the girls dressing room. Exit out the boys dressing room.
ANNIKA: Come talk to me about that weird "Bella" line after slap that bass.
McKay: where were your tickets?
EVERETT: Hard to understand most of your lines.
COWBOYS; table at top of act 2 needs to be further downstage (wait until the curtain opens and put it done stage (I will mark it in glow tape)
FIGHT CALL AT 5:30
Who sweeps glass off after fight? No floating arms.
LANK: go downstage center with Fodors on "toot sweet" moments
MAYA: way to keep going on Stiff upper lip and use it as a character choice.
Ashley Romrell: go upstage on Stiff Upper Lip after Annika pushes Thomas off the table (go to your right on that side of the table)
Why the chair...
COWBOYS: When ryan gives you a check, go to the side and stand still. All your business with the check and picking up Sam upstaged the whole scene (don't pick Sam up)
Sherman...leave chair in a more natural way
ETHAN...LEAVE THE CHAIR
Why the chair: a Poem. The Chair on the Stage T'was left in a weird way Why (snap snap snap)
SAM: sit on the edge of the stage instead of sleeping on the ground.
ZANGLER: potty? I know how to fix it. Come talk to me. It's an accent thing.
EVERETT: FEET TO THE AUDIENCE AT ALL TIMES

SATURDAY 02/17 REHEARSAL NOTES

ALL SPEAKING PARTS: focus on emphasizing important plot information and names so that the audience understands the show.
NY Street Scene after "Ka-Razy for You"...Girls and bobby be center stage so Alexa (Irene) can enter clear and go down stage
Perkins (Angella) be quirkier and keep space between you and Bobby and Mother (you're super close)
GOODRICH: Cowboy Trio work all songs with Goodrich during DEAR Tuesday
Everett: bigger choices. KFC. Tow-Mater. Be bigger!
Everett and Lank: Can't let you have the theater...walk in front of group of cowboys instead of behind
Annika: Stay out of the theater on Lank Hawkins don't talk to my father that way....interact with cowboys (Jamon)
Thomas: when does Bobby see her for the first time. Watch some of the scene from the ground
Annika: talk to Wallace about how to drink
Flirt more during Shall We Dance
Toes. Everyone. Just. Toes. Open up to the audience at all times.
WORK: Scene in the Theater (Thomas and Annika). Pacing and energy.
BOYS...DO NOT stomp when you sing in "Girls Enter Nevada". Most of you are doing great, others are still stomping.
Something stinks...I think it's Moose. Quicker sniff Harrison, and everyone react quieter and move on.
SCENE CHANGES: Do not go on stage until the blackouts
WORK: Someone to Watch Over Me
Holly: don't start the scene for slap that bass until the lights start to come up (work timing on this with Wallace)
Quiet Feet in scene for Slap That Bass...everyone coming on stage
Alexa...toes out
Alexa: 1....2....3... then stop kiss
WORK Lank and Bobby, Irene and Polly scene after Slap that Bass (Pacing and vocal variety)
Fix the weird in the middle of Embraceable You (there are a couple slow moments that could be fixed by flirting and interacting)
TONIGHT'S THE NIGHT TRANSITION
WORK: Tonight's the Night in and out (before the run)
Scene Changes: keep doors closed
EVERYONE: Bigger emotion going into I've Got Rhythm. Listen to the scene and make appropriate reaction and emotion choices
Boys going to tap: don't move...not sure what I mean by this. More Interaction for sure.
Wes, Take basket down with you after laundry part
JACOB BARNEY: 2nd time you were not on stage for the top of act 2. You're entrance distracts from everything happening on stage. Be there as the act starts.
Annika and Thomas: higher energy and build on the "Bobby stop this" scene.
Cale exit upstage side of bar after "I have no desire to see into your head"
WORK cowboys exit before "What Causes That"
In "What Causes That" on the line "hair I'm tearing" both boys grab hair and pull it out so it goes crazier
Cowboys: always react to Polly when she talks to you
Sam: project more
WORK: But not for me into scene and then the reprise
COWBOYS: Where were you for the scene of "but not for me?!?"
TESS: Benzley, why does she say "This isn't like you". Is she falling for him?
"Also, you're a good kisser" Annika have a bigger reaction to that line
SCENE TRANSITION INTO THE 2ND NEW YORK SCENES (need to work)
Hailey: more happy/excited in the second NY scenes
Thomas: reactions in Nice Work If You Can Get it.
EVERYONE: come on with a purpose and exit with a purpose

FRIDAY 02/16 REHEARSAL NOTES

Girls at the top of the show-enter as right after the scene change has happens
Ethan Stines: no cowboy hat during opening scene changes
Irene's entrance: go downstage
Janessa: forgot entrance with Ryan?
New Yorkers in opening scene until the limo enters (back and forth)
Man I'm tired right now
Hailey! Yay! Go even further.
Alexa yay! Stay open. But, so so good today.
Follies stay in character when you exit from Can't Be Bothered Now
WORK: Transition out of Can't Be Bothered
Cowboy Trio: be more like the 3 stooges. You're kind of boring and you should be more fun.
WORK: transition for Bobby staggers in to dead rock
I went to the improv show tonight at Bingham. It was funny. Like, I laughed out loud. Normally I don't laugh out loud too much but this time I did. I must be tired.
Thomas: really SEE Polly as she comes in before you start singing things are looking up. There are other things you need to notice: like the gun fight in the saloon and really react to it.
Annika: "Who is he" you need to see him first and laugh a bit. He's dressed different.
SCENE CHANGE into theatre during Shall We dance: wait until after kiss.
Work Theatre Scene (I did some but need to do more) Thomas and Annika
EVERYONE: Do not touch the CYC (white curtain on the back of the stage). Let me know if we need to move the Theatre for you, but I think you can do it....
COWBOYS: Do you want to do show? (Him and haw a bit, like whine and say things....)
WORK: Someone to watch over me
Irene enters after Slap That Bass: enter sooner (right as Thomas says "lunch") and look for Bobby in the crowd.
Lank: diction. Need more vowel sounds.
Figure out where/when/how to put props on for I've Got Rhythm
Thomas: tussle your hair before "What Causes That"
I hope none of you see this tonight. It's 10:16 and I told you to go to bed at 9 p.m.
I should be in bed, too.
Annika: have telegram in your right hand and hold it up, letters in your left hand.
ZANGLER: James Cagney is a joke. Play it Lighter.
BOBBY/POLLY/ZANGLER SCENE: quicker pace and different inflection. Stay open. I need to work this a little.
Irene after scene with Bobby, go to Sam and kick him off his chair and have a drink.
I need to work Can't Take That Away
WORK: But Not for Me Transitions
ZANGLER: But checks in jacket pocket not pants pocket
ZANGLER: new tape on goatee at intermission to keep it on
NEW YORK SCENE CHANGE: DEADROCK Needs to be off stage
Polly: faster at "end of deed"....not sure what this means. Annika? Do you get this? Cuz I don't...um....let's talk about this.
Chez lank sign needs to be showing at the end (who and when?)
WORK: French Bidin My Time
Working Zangler and Bobby scene before What Causes That.
Be good. Be kind. Be happy.

Crazy for You Parent Meeting

Crazy for You Cast.docx