Thursday, August 15, 2013

Last week!!!

I was so very happy watching the show last week. I would pay $45 a seat now. You all have really tightened cues and taking ownership of your character's journeys. Thank you and congrats.

These are just little things:

Frank and Buffalo BIll - really try to start the show off with a bang. Focus all your energy on getting the audience's attention and sharing the love of theatre. You two are doing a great job - but we can't spotlight you to create an atmosphere and that accompaniment sucks. It's just so slow. So we reply on your personal charisma.

Hannah - I could see your tan lines obviously. But great performance energy throughout.

Chase - you too, nice energy and focus on Winnie. Good vocal levels.

During the 1st match dialogue before the shooting starts it sounds like there is an echoing drum beat a split second after Michael's main drum beat. Make sure no one is pounding a trunk or something or if you are - be exactly on time with Michaels' drum beat.

Ensemble - make sure the tension and complete surprise builds, builds, builds through the 1st match as she ties Frank shot for shot. This is shocking! Right now it looks like you know it's going to happen.

Wilson and Charlie - can you do the money exchange UP ON THE WAGON instead of the stairs. I can't see you or tell where the lines are coming from in that moment. Or you could move the exchange DSL.

Annie - I love the real spitting! :)

Buffalo Bill - watch out, you are off beat in your portion of the Showbiz Reprise.
Can everyone in the Showbiz Reprise have a definite ending to the song before you start to run off-stage?

Katie - Can we have spotlights on Michael and Alicia during their Indian pas de deux?

Buffalo Bill - Make sure you come to the DSL edge of the platform to yell and have them bring in Annie's poster.

Annie - quicker transition from scream in reaction to Winnie into line "You scared me..." and more distinct change in energy on "Hey! That's me!" You are anticipating it. There's no surprise right now. bring the shock and awe and discovery back in.

Annie - more shock and awe after first kiss. Again you've grown too comfortable and know it's coming.

Frank - can you try the "BUT...!" during Defenses as a joyous discovery.

Katie - Can there be a spotlight on Annie and Sitting Bull in the wagon in the letter reading scene. Maybe that was just mis-focused lights that night?

Annie - I missed hearing your humms or scats in the dance section of "Lost in HIs Arms". Can you do it louder?

Caroline and Chris - don't run off stage from the boat USL. It is not an established exit for that scene. Instead please exit DSL.

Ballroom dancers - the spacing was off for the 4 couples.

Ensemble - remember big "Ooooooh's " when you see Annie's medals in the Ballroom scene.

Shae - add an audible "Oh!" after your laugh when Annie says she forgot her gun.

Annie and Sitting Bull - bring the entire "chest full of medals" DS further.

Annie - shock and JOY when Frank asks you to marry him. Don't expect it or take it for granted.

Dolly - more joyful shock please at Charlie's compliments with each "I beg your pardon" and especially his first kiss planted on you.

Sitting Bull - Can you have a moment of discovery/great idea right before "Dolly Tait have right idea for wrong reason."

I Can Do Anything = AWESOME!! Love the aggressive kiss at the end. :)

Annie - more disappointment and surprise when Frank still wants to shoot after your've given him all the credit.

Ensemble - Keep the joy and charisma and enthusiasm goign clear throught o the end of the show. Through the very last word of " God on with the Show!" Don't let your tiredness show. Sell it!

Once again - I loved the show! I love all of you. Thank you for working so hard and so long. Finish up strong and I will see you at the closing party!!

Katie, you are amazing. Period.

Monday, July 22, 2013

Schedule Reminder 7/21-7/27

21
22 6-10 PM SUNDANCE DRESS REHEARSAL
6 pm Call
7:30 pm House
8 pm Curtain
*Excused: Nate Balser
23 PREVIEW
6 pm Call
7:30 pm House
8 pm Curtain
24 TBD PICK-UP REHEARSAL
25 OPENING NIGHT
6:30 pm Call
7:30 pm House
8 pm Curtain
26 PERFORMANCE
6:30 pm Call
7:30 pm House
8 pm Curtain
27 PERFORMANCE
6:30 pm Call
7:30 pm House
8 pm Curtain

Friday, July 19, 2013

Saturday 7/20 Schedule

3 pm Deck Crew Call
5 pm Actor Call / Makeup & Costume Crew Call
    5-6:30 pm Makeup
    6:30-7 pm Mic Check & Costume (Costume before ballroom quick change)
    7-7:45 pm Run from end of Boat Scene - as far as we can get (teching through)
    7:45-8 pm Change / Prep for Top of Show
    8 pm Full Run (No stopping if possible)
    After Run-Until We Are Done:  work any transitions, costume changes, or other technical sections that need it.  (Particularly near the end of the show where we have had the least amount of time to work.)

Okay.  So...I know this looks like an oddly scheduled, trunkated night.  And it is.  Let me first say that I am sorry to change things on you.  I absolutely hate working this way and it is not what I believe in, with changing calls and schedules.  Bad managers work that way; not me.  Let me just acknowledge the frustration that causes for you all--however, this show has had a particular number of curve balls thrown at it, and I've made those decisions as I saw necessary and fit.

In regard to tomorrow, we cannot work on stage until later than expected because of additional building and painting that is still being worked on.  But, we also must start a run at 8 pm because lighting has to see the show in real time.  Those details are not important for you, I'm just informing you why it looks like your SM is a crazy pants.  With that in mind, continue to do what you've all ready been so lovely at doing, and "Keep moving forward!"  I love you, Kym loves you, the designers and producers love you; and together we will ALL make this happen.  Don't forget your makeup kits and personal supplies tomorrow; see you at 5 pm.

Wednesday, July 17, 2013

Makeup Training--Friday

There will be a symphony performance on the Sundance stage this Friday, disabling us from doing more technical or dress rehearsal work.  The scary part of that is we have lost time we probably could really use, but the benefit is you all will get a nice little break in the middle of dress.  Lucky you guys!  It will be a short night, but our last two dress rehearsals will go much smoother with a makeup training...so that's the plan.  Here's Friday's schedule:

Friday @ 6-7 pm: Ladies called at UVU for Makeup Training
Friday @ 7-8 pm: Gentlemen called at UVU for Makeup Training

You will all meet in the dressing rooms by the Noorda and costume shop--no need to drive up the mountain for a makeup training that's easier to do at UVU anyway.  If you all ready have a makeup kit, please bring what you have. 

Everyone must have: their own eyeliner pencil.  Brown for gentlemen, black for ladies.  Ladies also need their own mascara--black please.  There is no way to hygienically share these items--therefore they cannot ever be shared.

*Ladies: if you have some of your own hair styling tools you'd like to use, please bring them.  I'm talking about brushes, combs, possibly curling irons, things like that.  We have several to share, but not necessarily enough for everyone to have their own each night.  For the sake of time, it will probably be easier to have a few people using their own.

Makeup tech is on Saturday--please bring all the items you personally need then.  The dressing rooms are able to be safely locked when we are not there.  At that point, our show is the only group in the space from Saturday until August 17th.

Monday, July 15, 2013

Professional advice re. conflicting auditions

Dear cast, 
I have been answering many individual emails and it seems like a good opportunity to address the entire cast regarding a frustrating protocol that you will all have to deal with many times in your professional careers. Perhaps your collegiate training or performing experience thus far has not prepared you for this situation. The kind thing for me to do as your friend and director is to help you learn in a situation where it really will not affect future relationships with theaters. Trust me - as someone with a quick mouth and strong feelings about the injustices actors are submitted to - I have created many problems for myself regarding conflicts like these and burned my bridges. I don't want that to happen to you guys. My advice below is from the caring point of view of an actor and director, from both sides of the table.
As a performer, the only time you have control over your schedule in terms of requesting days off is BEFORE you sign a contract. Even then, the actor submits requested dates off which may be denied by the theatre. Once that contact is signed, it is binding. Requested days off usually have to do with big life events re. the actor or their family, mostly weddings, etc. 
Any events that come up subsequently, including family events, auditions, or call backs may be granted by request only. They are not guaranteed. The exceptions are funerals and absences due to physical injury which are unforeseen and understood as unavoidable. In Equity contracts (which is what I hope you aspire to) there is always a clause forbidding any absences from Tech week through Previews and Opening. This is understood as a sacrosanct time when the absence of a single individual affects the whole show and can not be replaced. I know Sundance does not operate under a Equity contract, but we try to abide by Equity regulations whenever possible in terms of rehearsal breaks, safety, etc.
If you are lucky enough to audition for another show during this crunch time and are asked about conflicts, you should list all tech rehearsals as conflicts set in stone. It is the responsibility of the auditioning theatre to alter their schedule to accommodate your availability if they want you badly enough. It is NOT the responsibility of the theatre in tech to work out ways for you to attend the audition or callback. This is how it works. Period. All directors, theaters, casting directors and artistic directors are aware of this hierarchy and should honor it. I guarantee that if you were in tech rehearsals at Hale West Valley or Pioneer Theatre and single cast, you would not be excused for a Sundance callback. 
We are not trying to be the bad guys and destroy your chances at future employment. We are making decisions for the good of Annie Get Your Gun.
We love you all and appreciate the many sacrifices known and unknown that each individual has made to be a part of this production.
Sincerely,
-Kym





Rehearsal Schedule 7/14-7/20

14
15 6-10 PM
SUNDANCE Spacing on Stage

*Excused:
Korianne Johnson

16 6-10 PM SUNDANCE SHIFT REHEARSAL

17 6-10 PM SUNDANCE TECH REHEARSAL

*Excused: Korianne Johnson (8 pm leave)

18 6-10 PM SUNDANCE DRESS TECH REHEARSAL

*Lucinda Ward
19 6-10 PM
TBD UVU REHEARSAL

*Excused: Randy King
20 6-10 PM SUNDANCE TECH REHEARSAL

*Excused: Becca Klepko, Shae Hunsaker

Nate's Notes:



AGYG Choreo notes:

 Opener
 -Good getting the blocks centered!!!
 -Ensemble--review the steps in the 1st chorus dance (after daubs of make up…)
-Michael after 1st chorus dance can you come down a little right of Frank and Dolly--we lose Tanner and Chris to the set change and it would be helpful to have you balance out the space.
-ALL--In the kick line, think chests lifted, proud of what you're doing.
 -ALL--two big breaths from everyone after setting up for Wilson's arms was GOOD. Remember to over exaggerate the breathes or it won't be funny.
-Chase and Hannah-- Final pose after Wilson Arm's change--no arms (arms are down) 

Gun Drill 
-good

Indian Pas de deux
 -Alicia: a little more wind up to get into that helicopter lift. (make more out of your prep)

I'll Share It All--
 -Guys check out the timing of the "star" leap, you're still later than the girls.

Slice of Life--
 -Hailey--go ahead and see Annie and Charlie and Bill as you're crossing through the train car--kind of an, "oh, excuse me."

Rehearsal--
 -better on the honest acting

Defenses Are Down--
-Guys--when you go down to your knees after Knight in Shining Armor and then pop up with your arms up… think football ref signaling a touchdown except that palms are facing out in front of you (arms need to be bigger, wider, more tension)
-Ben—love the direction you’re taking this.

Big Trick--
 -Chris, Shae, Tanner, Caroline after you finish your lifts, keep your transition upstage onto the stairs more formal--less casual. 

Transition in to Europe--
--Dan, Chase, Tyler, Adam—we are going to have you enter the stage before the scene change is over to cover the scene change. We want you to establish your characters. Flag bearers of respective countries will stand behind you.

Got Lost In His Arms--
 -flirting idea for you--wind is chilly….

Waltz scene change--
-before the dance starts could you sweep down the edge of the stage before starting your waltz proper...

Waltz
 -very nice--I know this goes without saying, but be careful to not collide with other couples--generally the men should be in charge of this….

Who Do You Love?
-Great!!! Better and better!
-Chase keep looking at Hannah in the group choreography sections, too.

Sun In The Morning
 -McKenzie--after the guys dance with you and you start the rap, can your pathway to the next spot be more of a walk straight downstage and then across the front right.
 -All--this should be all about Miss Oakley. I love when the guys call her name, but I think everyone should focus on her more, too--show her that you're getting it. You're so excited to dance with her--Ladies especially when you do the flee hops!
 -check your timing on the popcorn lifts at the end….

2nd Act Gun Drill
-Better but we still need to clean it up… Please review. 

Finale--
 -Alicia--why don't you put your streamer on the SL side so your pathway into the "kick line" position isn't so crazy.