Joey's Notes from Wednesday Designer Run

Congrats on getting through the show all! The running time is shrinking which is great! People have obviously been putting in time with lines and it shows – though there is more work to be done for sure. As usual – it’s always fine to get a note… once. Memorize it and assimilate them into your performance forever. GET THE SAME NOTE TWICE AND IT GOES IN SHOUTY ALL CAPS!

• Nicely: you don’t need to talk to anyone during your first solo for Fugue – when you look up, it looks like you’re talking to the audience or someone else.
• Fugue guys: start the circle as a way to pursue the other guys
• Engy, Wynter, Haley, Jenna: We're adding you into a scene -- please enter after Fugue and "hang out" DR -- as if you're on your way to work. Then exit UR halfway through Sarah's speech.
• Sarah: don’t get discouraged by the tear-up – you’re just starting out for the day, and are still hopeful about how this will go. On the speech, start as inspirational as possible – big speech! Channel MLK or Obama during the campaign.
• Nathan: when you sit on the sidewalk – let it be more that your legs give out, and less that you’re mad.
• Nathan: the marker speech should be more panicked – less
• Crapshooters: enter sooner so that you can be all in place and stopped by your first sung line in Oldest
• Nathan: take the SHHH toward Center, not offstage
• Crapshooters: please review harmonies in Oldest Established
• Nathan: pull the belt all the way out so we can see it.
• Adelaide: nice adjustments on the present scene
• Nathan: more heartache on How Sweet
• Nathan, Benny, Nicely, Harry, Adelaide: be more onstage for the entire food/present/news scene
• Sky: listen for Nathan to approach you then walk away – and when he comes back the second time, turn around to face him so he will say the line to your face.
• Nathan: love it when your voice gets high on For uh… how much?
• Sky: tease him with more suspicion on I Never Knew You To Be A Betting Man…
• Sky: find a way to sit that is smooth and cool, not drop-downy. (Don’t worry about how Nathan gets to the ground.)
• Nathan: need to see you hear the band coming – and the urgent opportunity
• Sarah: come to a full stop and lock eyes with Sky – let the band walk past you – hold that until the blackout
• Sky: Let “Cider!” be less mad – you can even take that straight out as if to say “Doesn’t it just figure!”
• Arvide: please but the emphasis on “do that every DAY”. You can be less laughy and sincere on the Coffee/Sin line – let Arvide be more obvious about the “awkwaarrrrd” excuse to leave them alone.
• Sky: hit the word BET a bit more before her line “I don’t bet.”
• Sarah: Hit the word NOW I realize when you’re describing the blackness…
• Sarah: please remember to cross downstage off the platform
• Sarah & Sky: you don’t need to rush the dialogue in the middle of the song – you have a live pit finally, not a recording, so the can accommodate your pacing
• Sky: when you stand on Suddenly I’ll Know – simply stand, don’t take a step yet.
• Sarah: please hold longer before the slap – ask Nick for advice on making the left hand less obvious
• Sarah: the moment when you go to the trash can looks like you’re simply holding it over the can waiting for the lights – make it a conflicty hard decision about what you’re going to do.
• Hot Box Girls: great job adjusting to variable tempos – great performances – you can still get hammy with eyes and faces.
• Waiter: you will sweep across the platform with a push broom from SL to SR
• Nathan: great spit take – now try not to be so pleased with yourself about it. :)
• Mimi: great delivery and squeaky fun! You can enter a hair later – and be a bit clearer on “Dated up with Angie the Ox” – that’s not a line people will guess unless they’ve heard it clearly.
• Adelaide: after Nathan leaves, rush back to the book for solace, reassurance, and answers.
• Adelaide: after the big nose blow – let yourself come to a full stop (wiping, adjusting, breathing) before continuing – no rush.
• Benny & Nicely: good adjustments (lines, style of talking, etc.) on the scene before Guys & Dolls
• Nicely: review when you close and slam the paper at the number. Bigger YES SIR!
• Benny & Nicely: cross further DR on See A Joe… Cross further upstage (steeper diagonal) on the break so you can
• General, Arvide, Sarah, Agatha: that dialogue takes place on the sidewalk
• Sky: slower and smoother on conversation with General – go easier on her hand on the shake – she’s a lady
• Sarah: more time holding the marker out and thinking it over one last time before guaranteeing the sinners
• General & Sky: bigger Hallelujahs.
• Benny: cheat out on Carnations scene
• Crapshooters: DO NOT move when Nathan talks with Big Jule or when Big Jule talks. Good move back on the gun reveal
• Big Jule: you can allow a bit more disdain on the Scout Master line
• Benny: when you agree It’s a Bachelor Dinner – make that more urgent before someone screws up and says something wrong.
• Crapshooters: better reactions through the Bachelor dinner scene
• Harry: When you tell him he’s a lucky guy, etc – you don’t believe it, you
• Big Jule: great job taking your sweet time with the paper. Feign more sweet interest on How Long You Know The Doll.
• Sarah: make a bigger deal – more revelation on These are DELICIOUS! … I think I’ll have ANOTHER!
• Bartender (Anthony) & Havana Dancers: everything on your faces, etc. needs to look hotttttter. Everything you do – from dancing to carrying trays feels spicy and good. You also may vocalize anything you feel during the scene unless there’s dialogue.
• Sarah: start to get up and par-tay sooner – and party harder – wild and out of control on bar even more
• Sky: don’t be mad when she kisses you after Havana – you looked and sounded
• Sarah: you can laugh through you talk like a missionary – everything is funny to you now
• Sarah: you can be a little groggy on reentering NYC after Havana
• ALL WHO HAVE DIALOGUE BEFORE A SONG: no rush – the pit will not start without you
• Sky: don’t launch right into Obadiah – take a beat first.
• Arvide: Good Morning can be a bit more humorously pointed – it’s 4am!
• Sky: more urgency on You Know I Had Nothing to Do With This and You Went to Help the Mission!

• Mink Ladies: slightly more heightened expressions – make sure they don’t sink and get tired and bored – SOMEONE will be watching each of you at somepoint. The secret to this is continuing to breathe the feeling even as you’re being still. Great faces on I’m Screaming! Really get out the EEK! (Extra K please, as you do for mink). Through the dance – be careful not to have “marking it” faces – act the entire number (we’re amazing professional performers pretending to be passionate but scandalized women) Each move needs to feel motivated by an inner thought (I’ll show him! How could he do this to me when I’m so captivating!? Etc.)

• Nicely: when reciting the message about Nathan’s aunt, it’s that Nicely is struggling with remembering it, but then you’re wildly impressed that Sky seems to psychically know what you can’t remember
• Sky: when you ask Nicely about the message when Adelaide comes in – you’re prompting him to deliver the message to her.
• Adelaide: lovely and heartbreaking scene and reprise. Please hold until the blackout is complete, then please strike the drink.
• Sarah & Arvide: thanks for the adjustments on the street/mission swap – nice.
• Nicely & Arvide: you are right that you need to stay out of the conversation between Sarah & Sky – once they start, hold still
• Nicely: This way!!! A big revelation! And simply point straight down
• Big Jule: Here is My Marker – let that be a more ceremonious big deal – the presentation of Big Jule’s Marker! More threat on WHY NOT!?
• Nathan: I still got a chance – a ten is the most likely thing to roll – you know you’re dead all the more.
• Big Jule: take your winnings each time – so there’s only the $1 on the ground when Nathan wins
• Big Jule: call the dice as 11 before they stop rolling – then say I win after they do.
• Nathan: I will give you MY marker. Then start to boil on the way to the Cheer Me Up line – so there’s justification for the Take it easy line.
• Crapshooters: be sure to not drift the game toward center or you will block the manhole cover. Also, you can be a bit surprised when the cover opens and they enter.
• Crapshooters in Luck: never look like you’re just waiting for the next bit of choreography – if you have to hold at a point, act it and motivate it – the tension is building, etc.
• Sky: palm the dice in the other hand and only pretend to throw – there is no offstage for them to go that far downstage.
• Nathan: the One that’s on the way – this can be a moment of “again you did this?”
• Nathan: check the lines in the letter scene – do NOT rely on the letter for the lines (you also missed some lines in between the letter parts – raise kids on what the A&P pays…)
• Nathan: that first So New? needs a little shrug – the second one can be simpler and more apolgetic
• Nathan & Adelaide: Sue Me – once again strong. Nice.
• General: hold a moment, waiting, once the lights come up before declaring it’s after midnight, etc.
• Crapshooters and Hot Box Dolls: as you sit down, be rowdy, so Sky has a reason to scold you. (Roseland is an amusement park)
• Mission Folks: you can be more encouraging to the guests starting to testify
• Benny: you can give your testimony in more of the tone of a kid apologizing to his sister only because his mom is watching, but he doesn’t mean it
• Arvide: you can be more physical to Sarah on Hasn’t She Though?
• Nicely: please clear your throat awkwardly shortly after reaching the podium.
• Nicely: have your hand in your pocket before you say dice – have the idea only because you felt them after putting a hand in the pocket.
• Nicely: once you start the second verse – you’re hooked on the power and show of it all – smile huge and overact the whole thing
• ALL IN MISSION: quickly head back to pews after number to chat with your new friends (I love your dress!, etc.) Then really notice big that Brannigan is there.
• Big Jule: stand up and shout I’m Really Sorry!
• Nathan: Hallelujah to General – make it more “I don’t really know what it means, but right back atcha!”
• Adelaide: What Will I Ever Tell My Mother – let that be a more real OH NO! moment

• Sarah: when you catch yourself saying Isaiah, let it get higher and louder – try to hold it in but fail more at it.

• Adelaide: bigger on What Are We Crazy Or Something!?
• Adelaide: When she corrects you on You and I – be generous and don’t embarrass her – don’t correct her grammar mistake (when she says Me)
• Nathan: be facing upstage at newsstand until your line I’m Waiting on…
• Harry: commit to what you’re calling the suit – you think it’s a real word.
• Big Jule: Bust through with great speed and urgency on Where’s the Crap Game!?
• Arvide & Big Jule: after bumping Jule, Arvide should offer her elbow and let him take it

Joey's Notes from Wednesday Designer Run

Congrats on getting through the show all! The running time is shrinking which is great! People have obviously been putting in time with lines and it shows – though there is more work to be done for sure. As usual – it’s always fine to get a note… once. Memorize it and assimilate them into your performance forever. GET THE SAME NOTE TWICE AND IT GOES IN SHOUTY ALL CAPS!

• Nicely: you don’t need to talk to anyone during your first solo for Fugue – when you look up, it looks like you’re talking to the audience or someone else.
• Fugue guys: start the circle as a way to pursue the other guys
• Engy, Wynter, Haley, Jenna: We're adding you into a scene -- please enter after Fugue and "hang out" DR -- as if you're on your way to work. Then exit UR halfway through Sarah's speech.
• Sarah: don’t get discouraged by the tear-up – you’re just starting out for the day, and are still hopeful about how this will go. On the speech, start as inspirational as possible – big speech! Channel MLK or Obama during the campaign.
• Nathan: when you sit on the sidewalk – let it be more that your legs give out, and less that you’re mad.
• Nathan: the marker speech should be more panicked – less
• Crapshooters: enter sooner so that you can be all in place and stopped by your first sung line in Oldest
• Nathan: take the SHHH toward Center, not offstage
• Crapshooters: please review harmonies in Oldest Established
• Nathan: pull the belt all the way out so we can see it.
• Adelaide: nice adjustments on the present scene
• Nathan: more heartache on How Sweet
• Nathan, Benny, Nicely, Harry, Adelaide: be more onstage for the entire food/present/news scene
• Sky: listen for Nathan to approach you then walk away – and when he comes back the second time, turn around to face him so he will say the line to your face.
• Nathan: love it when your voice gets high on For uh… how much?
• Sky: tease him with more suspicion on I Never Knew You To Be A Betting Man…
• Sky: find a way to sit that is smooth and cool, not drop-downy. (Don’t worry about how Nathan gets to the ground.)
• Nathan: need to see you hear the band coming – and the urgent opportunity
• Sarah: come to a full stop and lock eyes with Sky – let the band walk past you – hold that until the blackout
• Sky: Let “Cider!” be less mad – you can even take that straight out as if to say “Doesn’t it just figure!”
• Arvide: please but the emphasis on “do that every DAY”. You can be less laughy and sincere on the Coffee/Sin line – let Arvide be more obvious about the “awkwaarrrrd” excuse to leave them alone.
• Sky: hit the word BET a bit more before her line “I don’t bet.”
• Sarah: Hit the word NOW I realize when you’re describing the blackness…
• Sarah: please remember to cross downstage off the platform
• Sarah & Sky: you don’t need to rush the dialogue in the middle of the song – you have a live pit finally, not a recording, so the can accommodate your pacing
• Sky: when you stand on Suddenly I’ll Know – simply stand, don’t take a step yet.
• Sarah: please hold longer before the slap – ask Nick for advice on making the left hand less obvious
• Sarah: the moment when you go to the trash can looks like you’re simply holding it over the can waiting for the lights – make it a conflicty hard decision about what you’re going to do.
• Hot Box Girls: great job adjusting to variable tempos – great performances – you can still get hammy with eyes and faces.
• Waiter: you will sweep across the platform with a push broom from SL to SR
• Nathan: great spit take – now try not to be so pleased with yourself about it. :)
• Mimi: great delivery and squeaky fun! You can enter a hair later – and be a bit clearer on “Dated up with Angie the Ox” – that’s not a line people will guess unless they’ve heard it clearly.
• Adelaide: after Nathan leaves, rush back to the book for solace, reassurance, and answers.
• Adelaide: after the big nose blow – let yourself come to a full stop (wiping, adjusting, breathing) before continuing – no rush.
• Benny & Nicely: good adjustments (lines, style of talking, etc.) on the scene before Guys & Dolls
• Nicely: review when you close and slam the paper at the number. Bigger YES SIR!
• Benny & Nicely: cross further DR on See A Joe… Cross further upstage (steeper diagonal) on the break so you can
• General, Arvide, Sarah, Agatha: that dialogue takes place on the sidewalk
• Sky: slower and smoother on conversation with General – go easier on her hand on the shake – she’s a lady
• Sarah: more time holding the marker out and thinking it over one last time before guaranteeing the sinners
• General & Sky: bigger Hallelujahs.
• Benny: cheat out on Carnations scene
• Crapshooters: DO NOT move when Nathan talks with Big Jule or when Big Jule talks. Good move back on the gun reveal
• Big Jule: you can allow a bit more disdain on the Scout Master line
• Benny: when you agree It’s a Bachelor Dinner – make that more urgent before someone screws up and says something wrong.
• Crapshooters: better reactions through the Bachelor dinner scene
• Harry: When you tell him he’s a lucky guy, etc – you don’t believe it, you
• Big Jule: great job taking your sweet time with the paper. Feign more sweet interest on How Long You Know The Doll.
• Sarah: make a bigger deal – more revelation on These are DELICIOUS! … I think I’ll have ANOTHER!
• Bartender (Anthony) & Havana Dancers: everything on your faces, etc. needs to look hotttttter. Everything you do – from dancing to carrying trays feels spicy and good. You also may vocalize anything you feel during the scene unless there’s dialogue.
• Sarah: start to get up and par-tay sooner – and party harder – wild and out of control on bar even more
• Sky: don’t be mad when she kisses you after Havana – you looked and sounded
• Sarah: you can laugh through you talk like a missionary – everything is funny to you now
• Sarah: you can be a little groggy on reentering NYC after Havana
• ALL WHO HAVE DIALOGUE BEFORE A SONG: no rush – the pit will not start without you
• Sky: don’t launch right into Obadiah – take a beat first.
• Arvide: Good Morning can be a bit more humorously pointed – it’s 4am!
• Sky: more urgency on You Know I Had Nothing to Do With This and You Went to Help the Mission!

• Mink Ladies: slightly more heightened expressions – make sure they don’t sink and get tired and bored – SOMEONE will be watching each of you at somepoint. The secret to this is continuing to breathe the feeling even as you’re being still. Great faces on I’m Screaming! Really get out the EEK! (Extra K please, as you do for mink). Through the dance – be careful not to have “marking it” faces – act the entire number (we’re amazing professional performers pretending to be passionate but scandalized women) Each move needs to feel motivated by an inner thought (I’ll show him! How could he do this to me when I’m so captivating!? Etc.)

• Nicely: when reciting the message about Nathan’s aunt, it’s that Nicely is struggling with remembering it, but then you’re wildly impressed that Sky seems to psychically know what you can’t remember
• Sky: when you ask Nicely about the message when Adelaide comes in – you’re prompting him to deliver the message to her.
• Adelaide: lovely and heartbreaking scene and reprise. Please hold until the blackout is complete, then please strike the drink.
• Sarah & Arvide: thanks for the adjustments on the street/mission swap – nice.
• Nicely & Arvide: you are right that you need to stay out of the conversation between Sarah & Sky – once they start, hold still
• Nicely: This way!!! A big revelation! And simply point straight down
• Big Jule: Here is My Marker – let that be a more ceremonious big deal – the presentation of Big Jule’s Marker! More threat on WHY NOT!?
• Nathan: I still got a chance – a ten is the most likely thing to roll – you know you’re dead all the more.
• Big Jule: take your winnings each time – so there’s only the $1 on the ground when Nathan wins
• Big Jule: call the dice as 11 before they stop rolling – then say I win after they do.
• Nathan: I will give you MY marker. Then start to boil on the way to the Cheer Me Up line – so there’s justification for the Take it easy line.
• Crapshooters: be sure to not drift the game toward center or you will block the manhole cover. Also, you can be a bit surprised when the cover opens and they enter.
• Crapshooters in Luck: never look like you’re just waiting for the next bit of choreography – if you have to hold at a point, act it and motivate it – the tension is building, etc.
• Sky: palm the dice in the other hand and only pretend to throw – there is no offstage for them to go that far downstage.
• Nathan: the One that’s on the way – this can be a moment of “again you did this?”
• Nathan: check the lines in the letter scene – do NOT rely on the letter for the lines (you also missed some lines in between the letter parts – raise kids on what the A&P pays…)
• Nathan: that first So New? needs a little shrug – the second one can be simpler and more apolgetic
• Nathan & Adelaide: Sue Me – once again strong. Nice.
• General: hold a moment, waiting, once the lights come up before declaring it’s after midnight, etc.
• Crapshooters and Hot Box Dolls: as you sit down, be rowdy, so Sky has a reason to scold you. (Roseland is an amusement park)
• Mission Folks: you can be more encouraging to the guests starting to testify
• Benny: you can give your testimony in more of the tone of a kid apologizing to his sister only because his mom is watching, but he doesn’t mean it
• Arvide: you can be more physical to Sarah on Hasn’t She Though?
• Nicely: please clear your throat awkwardly shortly after reaching the podium.
• Nicely: have your hand in your pocket before you say dice – have the idea only because you felt them after putting a hand in the pocket.
• Nicely: once you start the second verse – you’re hooked on the power and show of it all – smile huge and overact the whole thing
• ALL IN MISSION: quickly head back to pews after number to chat with your new friends (I love your dress!, etc.) Then really notice big that Brannigan is there.
• Big Jule: stand up and shout I’m Really Sorry!
• Nathan: Hallelujah to General – make it more “I don’t really know what it means, but right back atcha!”
• Adelaide: What Will I Ever Tell My Mother – let that be a more real OH NO! moment

• Sarah: when you catch yourself saying Isaiah, let it get higher and louder – try to hold it in but fail more at it.

• Adelaide: bigger on What Are We Crazy Or Something!?
• Adelaide: When she corrects you on You and I – be generous and don’t embarrass her – don’t correct her grammar mistake (when she says Me)
• Nathan: be facing upstage at newsstand until your line I’m Waiting on…
• Harry: commit to what you’re calling the suit – you think it’s a real word.
• Big Jule: Bust through with great speed and urgency on Where’s the Crap Game!?
• Arvide & Big Jule: after bumping Jule, Arvide should offer her elbow and let him take it

Joey's Notes from Wednesday Designer Run

Congrats on getting through the show all! The running time is shrinking which is great! People have obviously been putting in time with lines and it shows – though there is more work to be done for sure. As usual – it’s always fine to get a note… once. Memorize it and assimilate them into your performance forever. GET THE SAME NOTE TWICE AND IT GOES IN SHOUTY ALL CAPS!

• Nicely: you don’t need to talk to anyone during your first solo for Fugue – when you look up, it looks like you’re talking to the audience or someone else.
• Fugue guys: start the circle as a way to pursue the other guys
• Engy, Wynter, Haley, Jenna: We're adding you into a scene -- please enter after Fugue and "hang out" DR -- as if you're on your way to work. Then exit UR halfway through Sarah's speech.
• Sarah: don’t get discouraged by the tear-up – you’re just starting out for the day, and are still hopeful about how this will go. On the speech, start as inspirational as possible – big speech! Channel MLK or Obama during the campaign.
• Nathan: when you sit on the sidewalk – let it be more that your legs give out, and less that you’re mad.
• Nathan: the marker speech should be more panicked – less
• Crapshooters: enter sooner so that you can be all in place and stopped by your first sung line in Oldest
• Nathan: take the SHHH toward Center, not offstage
• Crapshooters: please review harmonies in Oldest Established
• Nathan: pull the belt all the way out so we can see it.
• Adelaide: nice adjustments on the present scene
• Nathan: more heartache on How Sweet
• Nathan, Benny, Nicely, Harry, Adelaide: be more onstage for the entire food/present/news scene
• Sky: listen for Nathan to approach you then walk away – and when he comes back the second time, turn around to face him so he will say the line to your face.
• Nathan: love it when your voice gets high on For uh… how much?
• Sky: tease him with more suspicion on I Never Knew You To Be A Betting Man…
• Sky: find a way to sit that is smooth and cool, not drop-downy. (Don’t worry about how Nathan gets to the ground.)
• Nathan: need to see you hear the band coming – and the urgent opportunity
• Sarah: come to a full stop and lock eyes with Sky – let the band walk past you – hold that until the blackout
• Sky: Let “Cider!” be less mad – you can even take that straight out as if to say “Doesn’t it just figure!”
• Arvide: please but the emphasis on “do that every DAY”. You can be less laughy and sincere on the Coffee/Sin line – let Arvide be more obvious about the “awkwaarrrrd” excuse to leave them alone.
• Sky: hit the word BET a bit more before her line “I don’t bet.”
• Sarah: Hit the word NOW I realize when you’re describing the blackness…
• Sarah: please remember to cross downstage off the platform
• Sarah & Sky: you don’t need to rush the dialogue in the middle of the song – you have a live pit finally, not a recording, so the can accommodate your pacing
• Sky: when you stand on Suddenly I’ll Know – simply stand, don’t take a step yet.
• Sarah: please hold longer before the slap – ask Nick for advice on making the left hand less obvious
• Sarah: the moment when you go to the trash can looks like you’re simply holding it over the can waiting for the lights – make it a conflicty hard decision about what you’re going to do.
• Hot Box Girls: great job adjusting to variable tempos – great performances – you can still get hammy with eyes and faces.
• Waiter: you will sweep across the platform with a push broom from SL to SR
• Nathan: great spit take – now try not to be so pleased with yourself about it. :)
• Mimi: great delivery and squeaky fun! You can enter a hair later – and be a bit clearer on “Dated up with Angie the Ox” – that’s not a line people will guess unless they’ve heard it clearly.
• Adelaide: after Nathan leaves, rush back to the book for solace, reassurance, and answers.
• Adelaide: after the big nose blow – let yourself come to a full stop (wiping, adjusting, breathing) before continuing – no rush.
• Benny & Nicely: good adjustments (lines, style of talking, etc.) on the scene before Guys & Dolls
• Nicely: review when you close and slam the paper at the number. Bigger YES SIR!
• Benny & Nicely: cross further DR on See A Joe… Cross further upstage (steeper diagonal) on the break so you can
• General, Arvide, Sarah, Agatha: that dialogue takes place on the sidewalk
• Sky: slower and smoother on conversation with General – go easier on her hand on the shake – she’s a lady
• Sarah: more time holding the marker out and thinking it over one last time before guaranteeing the sinners
• General & Sky: bigger Hallelujahs.
• Benny: cheat out on Carnations scene
• Crapshooters: DO NOT move when Nathan talks with Big Jule or when Big Jule talks. Good move back on the gun reveal
• Big Jule: you can allow a bit more disdain on the Scout Master line
• Benny: when you agree It’s a Bachelor Dinner – make that more urgent before someone screws up and says something wrong.
• Crapshooters: better reactions through the Bachelor dinner scene
• Harry: When you tell him he’s a lucky guy, etc – you don’t believe it, you
• Big Jule: great job taking your sweet time with the paper. Feign more sweet interest on How Long You Know The Doll.
• Sarah: make a bigger deal – more revelation on These are DELICIOUS! … I think I’ll have ANOTHER!
• Bartender (Anthony) & Havana Dancers: everything on your faces, etc. needs to look hotttttter. Everything you do – from dancing to carrying trays feels spicy and good. You also may vocalize anything you feel during the scene unless there’s dialogue.
• Sarah: start to get up and par-tay sooner – and party harder – wild and out of control on bar even more
• Sky: don’t be mad when she kisses you after Havana – you looked and sounded
• Sarah: you can laugh through you talk like a missionary – everything is funny to you now
• Sarah: you can be a little groggy on reentering NYC after Havana
• ALL WHO HAVE DIALOGUE BEFORE A SONG: no rush – the pit will not start without you
• Sky: don’t launch right into Obadiah – take a beat first.
• Arvide: Good Morning can be a bit more humorously pointed – it’s 4am!
• Sky: more urgency on You Know I Had Nothing to Do With This and You Went to Help the Mission!

• Mink Ladies: slightly more heightened expressions – make sure they don’t sink and get tired and bored – SOMEONE will be watching each of you at somepoint. The secret to this is continuing to breathe the feeling even as you’re being still. Great faces on I’m Screaming! Really get out the EEK! (Extra K please, as you do for mink). Through the dance – be careful not to have “marking it” faces – act the entire number (we’re amazing professional performers pretending to be passionate but scandalized women) Each move needs to feel motivated by an inner thought (I’ll show him! How could he do this to me when I’m so captivating!? Etc.)

• Nicely: when reciting the message about Nathan’s aunt, it’s that Nicely is struggling with remembering it, but then you’re wildly impressed that Sky seems to psychically know what you can’t remember
• Sky: when you ask Nicely about the message when Adelaide comes in – you’re prompting him to deliver the message to her.
• Adelaide: lovely and heartbreaking scene and reprise. Please hold until the blackout is complete, then please strike the drink.
• Sarah & Arvide: thanks for the adjustments on the street/mission swap – nice.
• Nicely & Arvide: you are right that you need to stay out of the conversation between Sarah & Sky – once they start, hold still
• Nicely: This way!!! A big revelation! And simply point straight down
• Big Jule: Here is My Marker – let that be a more ceremonious big deal – the presentation of Big Jule’s Marker! More threat on WHY NOT!?
• Nathan: I still got a chance – a ten is the most likely thing to roll – you know you’re dead all the more.
• Big Jule: take your winnings each time – so there’s only the $1 on the ground when Nathan wins
• Big Jule: call the dice as 11 before they stop rolling – then say I win after they do.
• Nathan: I will give you MY marker. Then start to boil on the way to the Cheer Me Up line – so there’s justification for the Take it easy line.
• Crapshooters: be sure to not drift the game toward center or you will block the manhole cover. Also, you can be a bit surprised when the cover opens and they enter.
• Crapshooters in Luck: never look like you’re just waiting for the next bit of choreography – if you have to hold at a point, act it and motivate it – the tension is building, etc.
• Sky: palm the dice in the other hand and only pretend to throw – there is no offstage for them to go that far downstage.
• Nathan: the One that’s on the way – this can be a moment of “again you did this?”
• Nathan: check the lines in the letter scene – do NOT rely on the letter for the lines (you also missed some lines in between the letter parts – raise kids on what the A&P pays…)
• Nathan: that first So New? needs a little shrug – the second one can be simpler and more apolgetic
• Nathan & Adelaide: Sue Me – once again strong. Nice.
• General: hold a moment, waiting, once the lights come up before declaring it’s after midnight, etc.
• Crapshooters and Hot Box Dolls: as you sit down, be rowdy, so Sky has a reason to scold you. (Roseland is an amusement park)
• Mission Folks: you can be more encouraging to the guests starting to testify
• Benny: you can give your testimony in more of the tone of a kid apologizing to his sister only because his mom is watching, but he doesn’t mean it
• Arvide: you can be more physical to Sarah on Hasn’t She Though?
• Nicely: please clear your throat awkwardly shortly after reaching the podium.
• Nicely: have your hand in your pocket before you say dice – have the idea only because you felt them after putting a hand in the pocket.
• Nicely: once you start the second verse – you’re hooked on the power and show of it all – smile huge and overact the whole thing
• ALL IN MISSION: quickly head back to pews after number to chat with your new friends (I love your dress!, etc.) Then really notice big that Brannigan is there.
• Big Jule: stand up and shout I’m Really Sorry!
• Nathan: Hallelujah to General – make it more “I don’t really know what it means, but right back atcha!”
• Adelaide: What Will I Ever Tell My Mother – let that be a more real OH NO! moment

• Sarah: when you catch yourself saying Isaiah, let it get higher and louder – try to hold it in but fail more at it.

• Adelaide: bigger on What Are We Crazy Or Something!?
• Adelaide: When she corrects you on You and I – be generous and don’t embarrass her – don’t correct her grammar mistake (when she says Me)
• Nathan: be facing upstage at newsstand until your line I’m Waiting on…
• Harry: commit to what you’re calling the suit – you think it’s a real word.
• Big Jule: Bust through with great speed and urgency on Where’s the Crap Game!?
• Arvide & Big Jule: after bumping Jule, Arvide should offer her elbow and let him take it

Joey's Notes from Wednesday Designer Run

Congrats on getting through the show all! The running time is shrinking which is great! People have obviously been putting in time with lines and it shows – though there is more work to be done for sure. As usual – it’s always fine to get a note… once. Memorize it and assimilate them into your performance forever. GET THE SAME NOTE TWICE AND IT GOES IN SHOUTY ALL CAPS!

• Nicely: you don’t need to talk to anyone during your first solo for Fugue – when you look up, it looks like you’re talking to the audience or someone else.
• Fugue guys: start the circle as a way to pursue the other guys
• Engy, Wynter, Haley, Jenna: We're adding you into a scene -- please enter after Fugue and "hang out" DR -- as if you're on your way to work. Then exit UR halfway through Sarah's speech.
• Sarah: don’t get discouraged by the tear-up – you’re just starting out for the day, and are still hopeful about how this will go. On the speech, start as inspirational as possible – big speech! Channel MLK or Obama during the campaign.
• Nathan: when you sit on the sidewalk – let it be more that your legs give out, and less that you’re mad.
• Nathan: the marker speech should be more panicked – less
• Crapshooters: enter sooner so that you can be all in place and stopped by your first sung line in Oldest
• Nathan: take the SHHH toward Center, not offstage
• Crapshooters: please review harmonies in Oldest Established
• Nathan: pull the belt all the way out so we can see it.
• Adelaide: nice adjustments on the present scene
• Nathan: more heartache on How Sweet
• Nathan, Benny, Nicely, Harry, Adelaide: be more onstage for the entire food/present/news scene
• Sky: listen for Nathan to approach you then walk away – and when he comes back the second time, turn around to face him so he will say the line to your face.
• Nathan: love it when your voice gets high on For uh… how much?
• Sky: tease him with more suspicion on I Never Knew You To Be A Betting Man…
• Sky: find a way to sit that is smooth and cool, not drop-downy. (Don’t worry about how Nathan gets to the ground.)
• Nathan: need to see you hear the band coming – and the urgent opportunity
• Sarah: come to a full stop and lock eyes with Sky – let the band walk past you – hold that until the blackout
• Sky: Let “Cider!” be less mad – you can even take that straight out as if to say “Doesn’t it just figure!”
• Arvide: please but the emphasis on “do that every DAY”. You can be less laughy and sincere on the Coffee/Sin line – let Arvide be more obvious about the “awkwaarrrrd” excuse to leave them alone.
• Sky: hit the word BET a bit more before her line “I don’t bet.”
• Sarah: Hit the word NOW I realize when you’re describing the blackness…
• Sarah: please remember to cross downstage off the platform
• Sarah & Sky: you don’t need to rush the dialogue in the middle of the song – you have a live pit finally, not a recording, so the can accommodate your pacing
• Sky: when you stand on Suddenly I’ll Know – simply stand, don’t take a step yet.
• Sarah: please hold longer before the slap – ask Nick for advice on making the left hand less obvious
• Sarah: the moment when you go to the trash can looks like you’re simply holding it over the can waiting for the lights – make it a conflicty hard decision about what you’re going to do.
• Hot Box Girls: great job adjusting to variable tempos – great performances – you can still get hammy with eyes and faces.
• Waiter: you will sweep across the platform with a push broom from SL to SR
• Nathan: great spit take – now try not to be so pleased with yourself about it. :)
• Mimi: great delivery and squeaky fun! You can enter a hair later – and be a bit clearer on “Dated up with Angie the Ox” – that’s not a line people will guess unless they’ve heard it clearly.
• Adelaide: after Nathan leaves, rush back to the book for solace, reassurance, and answers.
• Adelaide: after the big nose blow – let yourself come to a full stop (wiping, adjusting, breathing) before continuing – no rush.
• Benny & Nicely: good adjustments (lines, style of talking, etc.) on the scene before Guys & Dolls
• Nicely: review when you close and slam the paper at the number. Bigger YES SIR!
• Benny & Nicely: cross further DR on See A Joe… Cross further upstage (steeper diagonal) on the break so you can
• General, Arvide, Sarah, Agatha: that dialogue takes place on the sidewalk
• Sky: slower and smoother on conversation with General – go easier on her hand on the shake – she’s a lady
• Sarah: more time holding the marker out and thinking it over one last time before guaranteeing the sinners
• General & Sky: bigger Hallelujahs.
• Benny: cheat out on Carnations scene
• Crapshooters: DO NOT move when Nathan talks with Big Jule or when Big Jule talks. Good move back on the gun reveal
• Big Jule: you can allow a bit more disdain on the Scout Master line
• Benny: when you agree It’s a Bachelor Dinner – make that more urgent before someone screws up and says something wrong.
• Crapshooters: better reactions through the Bachelor dinner scene
• Harry: When you tell him he’s a lucky guy, etc – you don’t believe it, you
• Big Jule: great job taking your sweet time with the paper. Feign more sweet interest on How Long You Know The Doll.
• Sarah: make a bigger deal – more revelation on These are DELICIOUS! … I think I’ll have ANOTHER!
• Bartender (Anthony) & Havana Dancers: everything on your faces, etc. needs to look hotttttter. Everything you do – from dancing to carrying trays feels spicy and good. You also may vocalize anything you feel during the scene unless there’s dialogue.
• Sarah: start to get up and par-tay sooner – and party harder – wild and out of control on bar even more
• Sky: don’t be mad when she kisses you after Havana – you looked and sounded
• Sarah: you can laugh through you talk like a missionary – everything is funny to you now
• Sarah: you can be a little groggy on reentering NYC after Havana
• ALL WHO HAVE DIALOGUE BEFORE A SONG: no rush – the pit will not start without you
• Sky: don’t launch right into Obadiah – take a beat first.
• Arvide: Good Morning can be a bit more humorously pointed – it’s 4am!
• Sky: more urgency on You Know I Had Nothing to Do With This and You Went to Help the Mission!

• Mink Ladies: slightly more heightened expressions – make sure they don’t sink and get tired and bored – SOMEONE will be watching each of you at somepoint. The secret to this is continuing to breathe the feeling even as you’re being still. Great faces on I’m Screaming! Really get out the EEK! (Extra K please, as you do for mink). Through the dance – be careful not to have “marking it” faces – act the entire number (we’re amazing professional performers pretending to be passionate but scandalized women) Each move needs to feel motivated by an inner thought (I’ll show him! How could he do this to me when I’m so captivating!? Etc.)

• Nicely: when reciting the message about Nathan’s aunt, it’s that Nicely is struggling with remembering it, but then you’re wildly impressed that Sky seems to psychically know what you can’t remember
• Sky: when you ask Nicely about the message when Adelaide comes in – you’re prompting him to deliver the message to her.
• Adelaide: lovely and heartbreaking scene and reprise. Please hold until the blackout is complete, then please strike the drink.
• Sarah & Arvide: thanks for the adjustments on the street/mission swap – nice.
• Nicely & Arvide: you are right that you need to stay out of the conversation between Sarah & Sky – once they start, hold still
• Nicely: This way!!! A big revelation! And simply point straight down
• Big Jule: Here is My Marker – let that be a more ceremonious big deal – the presentation of Big Jule’s Marker! More threat on WHY NOT!?
• Nathan: I still got a chance – a ten is the most likely thing to roll – you know you’re dead all the more.
• Big Jule: take your winnings each time – so there’s only the $1 on the ground when Nathan wins
• Big Jule: call the dice as 11 before they stop rolling – then say I win after they do.
• Nathan: I will give you MY marker. Then start to boil on the way to the Cheer Me Up line – so there’s justification for the Take it easy line.
• Crapshooters: be sure to not drift the game toward center or you will block the manhole cover. Also, you can be a bit surprised when the cover opens and they enter.
• Crapshooters in Luck: never look like you’re just waiting for the next bit of choreography – if you have to hold at a point, act it and motivate it – the tension is building, etc.
• Sky: palm the dice in the other hand and only pretend to throw – there is no offstage for them to go that far downstage.
• Nathan: the One that’s on the way – this can be a moment of “again you did this?”
• Nathan: check the lines in the letter scene – do NOT rely on the letter for the lines (you also missed some lines in between the letter parts – raise kids on what the A&P pays…)
• Nathan: that first So New? needs a little shrug – the second one can be simpler and more apolgetic
• Nathan & Adelaide: Sue Me – once again strong. Nice.
• General: hold a moment, waiting, once the lights come up before declaring it’s after midnight, etc.
• Crapshooters and Hot Box Dolls: as you sit down, be rowdy, so Sky has a reason to scold you. (Roseland is an amusement park)
• Mission Folks: you can be more encouraging to the guests starting to testify
• Benny: you can give your testimony in more of the tone of a kid apologizing to his sister only because his mom is watching, but he doesn’t mean it
• Arvide: you can be more physical to Sarah on Hasn’t She Though?
• Nicely: please clear your throat awkwardly shortly after reaching the podium.
• Nicely: have your hand in your pocket before you say dice – have the idea only because you felt them after putting a hand in the pocket.
• Nicely: once you start the second verse – you’re hooked on the power and show of it all – smile huge and overact the whole thing
• ALL IN MISSION: quickly head back to pews after number to chat with your new friends (I love your dress!, etc.) Then really notice big that Brannigan is there.
• Big Jule: stand up and shout I’m Really Sorry!
• Nathan: Hallelujah to General – make it more “I don’t really know what it means, but right back atcha!”
• Adelaide: What Will I Ever Tell My Mother – let that be a more real OH NO! moment

• Sarah: when you catch yourself saying Isaiah, let it get higher and louder – try to hold it in but fail more at it.

• Adelaide: bigger on What Are We Crazy Or Something!?
• Adelaide: When she corrects you on You and I – be generous and don’t embarrass her – don’t correct her grammar mistake (when she says Me)
• Nathan: be facing upstage at newsstand until your line I’m Waiting on…
• Harry: commit to what you’re calling the suit – you think it’s a real word.
• Big Jule: Bust through with great speed and urgency on Where’s the Crap Game!?
• Arvide & Big Jule: after bumping Jule, Arvide should offer her elbow and let him take it

Rehearsal Schedule 8.1

Rehearsal #11:
Sunday, August 1, 2010
Location: Community School for Music and Arts (330 East State Street, Ithaca)
Notes:
*Please remember to arrive 5-10 minutes before your call time and be ready at appointed time.
*If you have a last minute emergency, please call Gail Belokur at (607) 972-1063
*PLEASE NOTE: Please wear the shoes you will be performing these numbers in!

WHEN	WHO	WHAT	WHERE	WITH
1:00 – 1:30	Jacob (Nicely) and St. John (Benny)	Work “Guys & Dolls”	3rd floor studio	Joey/Todd/Mike
1:30 – 1:55	Jacob (Nicely), St. John (Benny), James (Big Jule)	Work “Fugue for Tinhorns”	3rd floor studio	Joey/Todd/Mike
2:00 – 2:55	Everyone associated with the Mission, Jacob (Nicely), St. John (Benny), James (Big Jule)	Run/work Act I, Scene 1 including “Follow the Fold,” “Follow the Fold Reprise,” Crossovers pp 49, 53 and 63 (if extra time work page 6)	3rd floor studio	Joey/Todd/Mike
2:45	ADD Adam (Sky)	See above	3rd floor studio	Joey/Todd/Mike
3:00 – 3:30	Mission Folk, All Crapshooters, Engy, Jenna, Haley & Sarah G	Work “Sit Down Your Rockin’ the Boat”	3rd floor studio	Joey/Todd/Mike
3:30 – 3:55	FULL COMPANY	Work “Guys & Dolls Reprise” (Finale)	3rd floor studio	Joey/Todd/Mike
4:00 – 4:15	Nola (Arvide), Sarah S (Sarah)	Work “More I Cannot Wish You”	3rd floor studio	Joey/Mike
4:15 – 4:45	All Hot Box Performers	Work “Bushel & A Peck,” “Take Back Your Mink”	3rd floor studio	Todd/Mike
4:45 – 4:55	Everyone in “Havana”	Run “Havana” w/ prop glasses	3rd floor studio	Todd/Mike
5:00 – 5:40	Sarah S	Vocal Work	3rd floor studio	Erica/Mike
5:40 – 6:10	All Crapshooters plus Adam (Sky)	Work “Luck Be a Lady Tonight”	3rd floor studio	Katie with Rehearse Score
6:10 – 6:20	All Crapshooters plus Adam (Sky)	Work “Luck Be a Lady Tonight”	3rd floor studio	Todd/Joey/Mike
6:20 – 6:35	All Crapshooters	Work “Oldest Established”	3rd floor studio	Todd/Joey/Mike
6:40 – 7:00	Val (Adelaide)	Work “Adelaide’s Lament” and “Adelaide’s 2nd Lament”	3rd floor studio	Joey/Todd/Mike
7:00 – 7:20	Val (Adelaide) and Jeremy (Nathan)	Work “Sue Me”	3rd floor studio	Joey/Todd/Mike
7:20 – 7:35	Val (Adelaide) and Sarah S (Sarah)	Work “Marry the Man Today”	3rd floor studio	Joey/Todd/Mike
7:40 – 9:00	Sarah S (Sarah) and Adam (Sky)	Work “If I Were a Bell,” “My Time,” “I’ve Never Been In Love Before,” and “I’ll Know”	3rd floor studio	Joey/Todd/Mike

Rehearsal Schedules 7.26-8.5

Rehearsal #7:
Monday, July 26, 2010
Location: First Congregational Church of Cayuga Heights (Directions)
Notes:
*Please remember to arrive 5-10 minutes before your call time and be ready at appointed time.
*If you have a last minute emergency, please call Gail Belokur at (607) 972-1063
*Please remember to arrive OFF BOOK for lines and with lyrics memorized/music as note perfect as possible.
*PLEASE NOTE: Fittings may be added to this schedule; continue to protect this rehearsal in entirety.

WHEN	WHO	WHAT	WHERE	WITH
5:30 – 6:10	FULL COMPANY	Vocal Warm Up and Review “Guys and Dolls (Finale)”	Classroom	Mike
6:10 – 6:50	FULL COMPANY	Stage pp. 126 – 127 Finale	Fellowship Hall	Joey/Todd
6:50 – 7:00	BREAK	BREAK	BREAK	BREAK
7:00 – 7:20	Sam (Harry)	Vocal Work	Classroom	Mike
7:20 – 7:40	Cacidy (Slim)	Vocal Work	Classroom	Mike
7:40 – 8:10	Sarah S (Sarah)	Work “I’ll Know,” “If I Were a Bell,” & “Never Been in Love Before”	Fellowship Hall	Mike
7:00 – 8:00	Val (Adelaide), Wynter (Mimi), Sari, Kasia, Nicole, Caroline, Haley, Sarah P, Engy, Jenna, Shauntle, Sarah G (Hot Box Girls)	Finish “Take Back Your Mink” and Run “Bushel and a Peck”	Fellowship Hall	Todd/Joey (Mike joins at 7:40)
8:10 – 9:00	Sarah S (Sarah) and Adam (Sky)	Scene work TBA	Fellowship Hall	Joey

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Rehearsal #8:
Tuesday, July 27, 2010
Location: Ithaca Youth Bureau
Notes:*
Please remember to arrive 5-10 minutes before your call time and be ready at appointed time.
*If you have a last minute emergency, please call Gail Belokur at (607) 972-1063*
Please remember to arrive OFF BOOK for lines and with lyrics memorized/music as note perfect as possible.
*PLEASE NOTE: Fittings may be added to this schedule; continue to protect this rehearsal in entirety.

WHEN	WHO	WHAT	WHERE	WITH
5:40 – 6:00	James (Big Jule)	Vocal Review “Fugue for Tinhorns”	Activities	Mike
6:00 – 6:15	James (Big Jule), Jacob (Nicely Nicely), St. John (Benny)	Vocal Review “Fugue for Tinhorns”	Activities	Mike
6:15 – 6:50	James (Big Jule), Jacob (Nicely Nicely), St. John (Benny)	Stage “Fugue for Tinhorns”	Gymnasium	Joey/Mike
7:00 – 7:55	Jacob (Nicely Nicely), St. John (Benny), Sam (Harry)	Block pp. 6 – 11	Gymnasium	Joey
7:40 – 7:55	ADD Jeremy (Nathan) and Caleb (Lt. Brannigan)	Block pp. 6 – 11	Gymnasium	Joey
8:00 – 8:40	Jeremy (Nathan), Jacob (Nicely), St. John (Benny), Sam (Harry), Val (Adelaide), Wynter, Engy, Jenna (HBG)	Block pp. 14 – 18 (if extra time, run pp. 18 – 22 and insert Jacob and St. John)	Gymnasium	Joey
8:40 – 9:30	Jeremy (Nathan), Jacob (Nicely), St. John (Benny), Sam (Harry), Anthony (Brandy), James (Big Jule), Cacidy (Slim), Adam F (Angie), Caleb (Lt. Brannigan)	Run Act I, Scene 7	Gymnasium	Joey

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Rehearsal #9:
Wednesday, July 28, 2010
Location: First Congregational Church of Cayuga Heights (Directions)
Notes:
*Please remember to arrive 5-10 minutes before your call time and be ready at appointed time.
*If you have a last minute emergency, please call Gail Belokur at (607) 972-1063*
Please remember to arrive OFF BOOK for lines and with lyrics memorized/music as note perfect as possible.
*PLEASE NOTE: Fittings may be added to this schedule; continue to protect this rehearsal in entirety.

WHEN	WHO	WHAT	WHERE	WITH
5:00 – 5:20	Jacob (Nicely) and St. John (Benny)	Vocal Review “Guys and Dolls”	Classroom	Mike
5:20 – 5:30	Jacob (Nicely) and St. John (Benny)	Block pp. 49 – 50	Fellowship Hall	Joey
5:30 – 6:20	Jacob (Nicely) and St. John (Benny)	Stage “Guys and Dolls”	Fellowship Hall	Joey/Todd/Mike
6:20 – 6:30	BREAK	BREAK	BREAK	BREAK
6:30 – 7:50	Sarah S (Sarah), Nola (Arvide), Erika (General), Rachel, Amanda, Kelci, Rebecca, Mason, Matt (Mission), Engy, Jenna, Haley (HBG), Adam B (Sky), Jeremy (Nathan), Jacob (Nicely), St. John (Benny), Sam (Harry), Anthony (Brandy), James (Big Jule), Cacidy (Slim), Adam F (Angie), Caleb (Lt. Brannigan)	Stage “Sit Down Your Rockin’ The Boat” (if extra time run “The Raid”)	Fellowship Hall	Joey/Todd/Mike
7:50 – 8:00	BREAK	BREAK	BREAK	BREAK
8:00 – 8:55	Anthony (Bartender), Matt, Sarah P, Caroline	Incorporate Bartender into “Havana” Choreography	Fellowship Hall	Todd/Mike
8:00 – 8:30	Adam (Sky), Sarah S (Sarah), Jeremy (Nathan), Val (Adelaide), Jacob (Nicely), Wynter (Mimi), St. John (Benny), Shauntle, James (Big Jule), Kasia, Cacidy (Slim), Sari	Get into costumes and Publicity Photo	Classroom/ Location TBA	Joey
8:30 – 9:00	ADD Adam (Sky), Sarah S (Sarah), Wynter, St. John, Shauntle, Kasia, Cacidy, Sari	Run “Havana” with bartender	Fellowship Hall	Todd/Mike

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Rehearsal #10:
Thursday, July 29, 2010
Location: Community School for Music and Arts (330 East State Street, Ithaca)
Notes:
*Please remember to arrive 5-10 minutes before your call time and be ready at appointed time.
*If you have a last minute emergency, please call Gail Belokur at (607) 972-1063
*Please remember to arrive OFF BOOK for lines and with lyrics memorized/music as note perfect as possible.
*PLEASE NOTE: STREET SHOES ARE NOT ALLOWED ON THIS FLOOR. PLEASE BRING YOUR JAZZ SHOES, BALLET SHOES, OR GOOD SOCKS.
Fittings may be added to this schedule; continue to protect this rehearsal in entirety.

WHEN	WHO	WHAT	WHERE	WITH
5:00 – 5:55	Havana Folks	Run/Work #	Dance Studio	Katie/Todd/Mike
6:00 – 6:55	Hot Box Dancers	Run/Work “Bushel” and “Take Back Your Mink”	Dance Studio	Katie/Todd/Mike
7:00 – 8:55	Sky, Nathan & Crapshooters	Run/Work “Luck Be a Lady” and “Oldest Established”	Dance Studio	Todd/Mike

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Rehearsal #11: Sunday, August 1, 2010 from 1 – 9pm
Location: Community School for Music and Arts (330 East State Street, Ithaca)
A work through of all musical #s (order will come out next week)

Rehearsal #12: Monday, August 2, 2010 from 6 – 9pm
Location: Ithaca Youth Bureau
A work through of Act I, focusing on dialogue
NOTE: POSSIBLE FITTINGS 5-6pm at the R2P apartment on W. State Street

Rehearsal #13: Tuesday, August 3, 2010 from 6 – 9pm
Location: Ithaca Youth Bureau
A work through of Act II, focusing on dialogue
NOTE: POSSIBLE FITTINGS 5-6pm at the R2P apartment on W. State Street

Rehearsal #14: Wednesday, August 4, 2010 from 5:30 – 9pm
Location: 1st Congregational Church of Cayuga Heights (Directions)
DESIGNER RUN THROUGH

Rehearsal #15: Thursday, August 5, 2010 from 6 – 9pm
Location: Presser Hall in Whalen Center for Music @ Ithaca College (Directions)
Sitzprobe (seated rehearsal integrating cast and orchestra)