OK, let’s do a full run today at two. They had a district game on campus last night, so that seems to put us in the clear. Now, if you’re really sick, let me know at firstname.lastname@example.org. And if you can make it, it’s essential. Full steam ahead!
Take the afternoon off! See you for the currently-scheduled activity on Sunday. Thanks!
There will be no rehearsal tomorrow so that the set can be worked on and the stage fully cleaned up. We will finish blocking the show on Friday. Thank you!
I have to go to a funeral today. I thought that I would be out by the time rehearsal starts, however, the family needs me for some things after that, and so I am going to have to cancel rehearsal for today. I really apologize if that creates any problem. I am hopeful that it might open up some opportunities for people.
Tomorrow, rehearsal will be brief, but we will focus on what is scheduled for tomorrow. So that hasn’t changed. We will be getting out around five.
Remember, anything we miss will be added on in the day or days after we have blocked the last scene.
Thank you for your support and understanding.
Damon pointed out that the calendar needed adjustment in this regard; the script starts on page 7, and I was scheduling our first two cycles as if it started on page 1. I have adjusted it to try and cause as little disruption and still accommodate choreography TOMORROW. (That may shift the schedule depending on length and follow up.) Apologies for any tweaks that need to be made.
If the schedule stands, we have a shorter day on the 23rd; 5:30 dismissal, although if Kim is available, we’ll look at the musical number then, so it may go to 6:30. Currently, it’s 5:30 unless you hear otherwise.
ABOUT WHEN REHEARSALS END:
Standard rehearsals at most theaters go three-to-four hours. I limit it on weekdays to no more than two-and-a-half. That half hour is something I keep in my back pocket if we really need it. Given that we have days off and the NYC trip, we are on a very concentrated schedule. I would rather have a little extra time we don’t end up needing rather than needing a little extra time we don’t have.
In a perfect world, I try to wrap up by six or a little before. For someone with a car, this is no problem. I appreciate that for someone reliant on rides or providing rides, that’s not as easy to manage, and I thank you for your support and flexibility.
1. We go no later than 6:30.
2. If the time between 6-6:30 is a little open on your schedule, and you want to get here early in case…. feel free to come in, watch some rehearsal, and check messages. Chances are, we might very well be out by six. You would certainly be on the mark if we were.
3. I make no plans prior to 6:30 except to stay at the theater. So if we do end at 5:55 on a given day, and an actor’s ride cannot make it until 6:30, no problem. The actors are safe, warm, inside, supervised, and have access to everything they’d have any time in the Bishop Center. (It can make for a good time to catch up on homework.)
I hope that helps. If there is ever some circumstance that makes this unusually difficult, I urge you to let me know so that we can partner to find something that works for both the show and your family.
The number was scheduled for Wednesday, anyway, so everyone who is involved should be there anyway. Thanks!
We stick with the blocking schedule. I’ll plug in the stuff from today at the end of the blocking cycle.
Wednesday, if you’re in the musical number, please be there. If this is a problem, due to the short notice, let me know. Thanks!
Hello, eager actors!
Here’s a schedule.
Please keep in mind that it is just a very general concept for a schedule. We need to integrate the choreographer, and that will change things week-to-week, because her schedule changes week-to-week. I should know about that on Saturday.
We won’t have as many pre-dress runs of the show as are printed now. Those are just placeholders. Ideally, we may get a few Fridays off.
Bottom line… this is really subject to change, but I’d like to change it as little as possible!
Thank you for your patience. At one point, I had hoped there were parts for all 25 or so who tried out. Technically, that might have worked, but nearly a half of those would have had a single line, and these shows require a lot of time for a return like that that. We also very much need a passionate and dedicated crew. Given that, everyone who tried out is involved in substantive ways to make this show a success.
A schedule will be coming in about a week. Between now and then, enjoy the holiday. We’ll hit the ground running on day one of school in January, and I need you to be off book by then — as was mentioned in auditions. If that’s going to be a challenge, write to me at charltonx.
Gwyn Doppelt – Sandy, Laine
Lauren Dryzer – Guinevere
Hannah Duncan – Mother Carteloise, Jill
Elizabeth Hethmon – Ms. Olzeski, Petitioner 2
Casey Majors – Princess Beauteous, Crowd of Four #3
Maddie Pappano – Crowd of Four #4, Carolyn
Lilli Schweitzer – Morgan Le Fay
Maggie Tipton – Prisoner 2, Soap Warrior
Peyton Austin – Merlin, Messenger
Ben Davis – Guard 1, Prisoner 3, Walter, Ogre
Ben Hatmaker – Hank
Jake Loveday – Randy, Dungeon Master, Sir Kay, and Guard 2
John Nadrous – Doober, Mordred, Crowd of Four #2,
Tony Nadrous – Lancelot (Chet), Crowd of Four #1
Damon Rodefer – Clarence (Charlie)
Sebastian Soto – Prisoner 1, Petitioner 1
Jake Yount – King Arthur (Duff)
Lily Grace Thome – Hair & MakeupFox Schweiger – ASM
Holly Batey – ASM
Sean Conley – Lights
Gant Dunaway – House Manager
Charlotte Fuchs – Hair & Makeup
Sofia Gholston-Green – Costume Manager
Kyra Green – Prop Manager
Caroline Powell – Prop Manager
Johnny Wilkes – Backstage