Prologue
Dreamers – walk in more energized and be more “partylike” until tagged
out then be WAY more neutral
Candace – exit downstage
Jeff – cross more deliberately to Mary
JT – start and be more authoritative
Laura – enter at the same time as Mary
Dreamers – be sure to focus on Mary at the appropriate time
Candace – stand right in front of unit after moving it
Dreamers – get to “servant line” faster
Nora and Starlee – enter as soon as dreamers’ singing stops
Starlee – make sure you are further US when you enter SL so you can
step DS with Justin
1-1
Bethany – just be more bright (the happiness is reading – I just need
more brightness and light
Starlee - come DS on “I don’t know anything about boys”
1-2
Dreamers – don’t get to waltz position until just before you start to
waltz (this is also for Archie and Lily)
1-3
Larry – be WAY more bright on your initial entrance
Starlee – be faster with the rope/hat business at the end of the song
Mary (general note) – we should not feel sorry for you for quite some
time – make sure to keep the brattiness for a while
Starlee and Shamus – GREAT energy on all of the give-and-take dialogue
Larry – you need to be one with nature and one with the stick
Starlee- exit DR before “Winter on the Wing” and enter UL afterward
Starlee – be WAY more skeptical about Dickon talking to birds
Larry – be WAY more driving of the scene
Starlee and Larry – be sure that you are actually having a conversation
with the robin
Starlee - be WAY more excited that you found the key
1-4
Starlee – don’t have your hat on
Justin – next time, try staying SL after Mary leaves and see what that
does
1-5
Dreamers – have a true Greek chorus moment in storm (i.e. show WAY more
urgency and fear at the storm)
Dreamers – exit sooner (as soon as Brad enters and clears the SR group)
1-6
Justin and Brad – show your love for her more
Justin – split center better at the end
1-7
Starlee – don’t say “Who are you?” until the dreamers clear away from
in front of you
Gareth (general note) – find a better balance between sick and quiet
(you’re generally not loud enough)
Candance – give as much volume as you can on your “oohs”
Candance – be further SL on your entrance
Gareth – louder and more struggling ad libs, screaming, “no’s,” etc.
1-8
Taylor F. – stay ALL the way SL before Mary runs to you (you have to be
there to be in the special light)
2-1
Starlee – be WAY more longing and yearning (you read very flat tonight)
2-2
Justin – don’t go up the stairs next time
Laura – don’t leave all the way (be on stage when Brad mentions Mary’s
name)
2-3
Jeff – exit SL
2-4
Larry – be WAY more driving in scene
Larry (general note) – I am happy with how more secure you are feeling
Starlee – be WAY more heartbroken about the garden (I don’t feel bad
for her yet)
2-5
Gareth and Bethany – ad lib more during opening of the scene (“no,”
“please,” etc.)
Starlee – stay down longer for Colin to examine your back
Starlee – longer and more awkward beat before “This is nice”
Gareth – wait to raise up until Betsy is singing “Come sweet child”
(right before you start to sing)
2-6
Starlee – stay facing DS for lines after first chant
Everyone – move with focus and purpose (What’s the point of the
dance? You have to tell the story and
sell us on it)
Everyone – focus is on Gareth from the point he is lifted up until the
end of the song
Dreamers – as you exit, look pleased with what you just did
Gareth – be more in charge at the end of the scene (especially the
pledge portion)
2-7
Megan – be sweeter on the pushing down of Starlee (and don’t lift her
back up)
Megan – stay DS and start US to your purse right before Starlee cuts
you off on “I hate you”
Megan – emphasize “medical” of “medical problem”
Starlee – work on keeping more eye contact with Brad
Music Director's notes
Open - Lily, open and round your sound a bit--much better on being w/music and dropping the pop sound
There's a girl--Good, strong attack!
High on a hill - Measure 36-40 the offstage singers were behind. (Taylor--you have enough time to stay on SR for the rest of the song.)
I heard someone crying - Look at lyrics m. 39-40 (mary and archie)
Girl in the valley -- Lily, m .50 late entrance. Love=Lahv (not luv)
Maze--GREAT! But, cheat your head/voice out and up to the audience (mary and Martha) *YAY for Ben and Dickon!!*
Winter's on the Wing - Good sound. Sing more UP and out to audience. M 39--"and now the..." be more percussive Drive the energy through to the end.
Show me the key -- Larry, review lyrics. You'll=yooll (not yuhl)
Storm I - Words, words, words. (Taylor--Sing the "close the shutters")
Lily's eyes - Open up 'eyes' to 'ayes'
Storm II - All--"Ah" at end-- Open mouth tall and round. More sound. Bethany, sing with them.
Round-shouldered man - Garreth, work on that harmony!
Final storm - Best it's been!! All: "MistrEss" not "MistrISS."
House on the hill trans -- Cue off of the boys. Bros--watch tempo the 2nd half.
Quartet - Archie--watch your diction. Craven: punch your words (review lyrics). Rose--diction. Lily -- stay with music, you were a bit behind.
Wick - Larry--yay!!! No more 'pop' sound--Bieber has left the building! Mary--BELT your "soul" section through the end.
Come to my garden -- Lily--"to" = "tooooo" Not 'two' or 'tew'. Watch pitches on m. 48. (I shall see...) Colin: Keep working on harmony at the end.
Come spirit - Watch the heavy breathing after you sing as you exit.
Bit of earth reprise - "EAHTH" not "errth"
SM notes
Make sure you pick up all trash before leaving the theatre!
Someone left a pair of glasses in the house--Shamus? Brad?
As we head into tech week, please be aware of a few things: I ask that, when backstage, keep the discussions to a minimum. Saturday is going to be fast and furious--the less times we have to call people to come to stage, the faster we will move through our agenda. If you're sitting in the house, I ask for silence, please.
There is now no excuse to have dropped lines. We open in one week.
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