The process of developing the music for What 'tis to Love was threefold.
First, the Director and I had to decide exactly how music would be used in the
production. Next, music had to be chosen and prepared. Following that
monumental task, musicians had to be contracted and the music had to be
rehearsed and prepared for performance. Each of these steps presented different
difficulties and required different skills, all of which were invaluable learning
experiences. W"hat follows is a brief description of the decisions made and steps
taken within a time frame.
Music needed to serve as a sort of glue to help hold these vastly different
Shakespearean scenes together. Grace Godwin and I discussed various
applications of music that would fit into a setup that alternated Shakespearean
material with explanatory and introductory material. The logical choice was to
have music played coming out of each scene and going into the next. Not wanting
to have two dozen four to ten measure long interlude pieces, we decided to have
the music continue under the spoken interludes. The next question was how to
make the music: both echo the mood of the previous scene, form a link along with
the spoken interlude, and prepare the mood of the forthcoming scene. Originally,
one of the options under consideration was that I would do more composing than
arranging, which would have allowed for a great deal of control in this respect.
But in the end I realized that any mood change necessary could be made just as
well through competent arranging and with the help of a knowledgeable
conductor and instrumentalists. So, the show eventually settled into a setup
following this outline:
- Preshow music
- Introduction (with music)
- Scene: Henry V
- Epilogue music-interlude (with music)-intro music
- Scene: Richard III
***etc. through first act**'"
- Scene: The Taming of the Shrew
- End of Act Music (no voices)
- Intermission (no music)
- Entr'acte
- Introduction (with music)
- Scene: Romeo and Juliet
- Epilogue music-interlude (with music)-intro music
***etc. through second act**'"
- Scene: A Midsummer Night's Dream
- Epilogue music-concluding words (with music)-Bows-Playout
Once I knew how much music was needed and how it would be employed, I
next needed to decide what pieces to use and what instrumentation would best fit
our situation. :Elizabethan music was my first choice, and I never had any reason
to change my mind. The music matches the language incredibly well in
complexity, beauty, and emotion. In fact, using Elizabethan music provided the
extremely important aspect of continuity needed because it is so connected to the
Elizabethan language of the plays. The instrumentation I had originally wanted
would have uti1ized period instruments (namely, viols, virginalis, recorders, and
hand drums). Unfortunately, period instruments were mostly unavailable.
Several recorder players were available, as were hand drums; and viols were to be
replaced by muted strings. (The performance space necessitated the exclusion of
brass instruments altogether.) To most imitate a viol sound, a string player
should use a wood mute and no vibrato. But, since none of the string players
contracted owned wood mutes, standard orchestral mutes were used, which
lessened the viol effect somewhat.
At this point, I began looking for music that involved three to seven voices,
could be compatible with the scenes, and worked together as a set. Dr. Sills, my
advisor, suggested the use of In Nomine pieces. These are a rich source of music
all based on a common theme (see program notes for more, albeit still very
general, information -- see also the bibliography for sources on Elizabethan
music) that also presents a wide variety of emotion and texture. A collection of
several pieces based on the In Nomine tune was available arranged for four or five
viols. I immediately knew that Dr. Sills had suggested exactly what rd been
looking for and began sketching out possible instrumentations.
The entire score for the production was arranged with the idea of having
one recorder (that could double on soprano and tenor recorder), four strings
(violin, viola, cello, cello), and one percussionist, plus the conductor. One thought
was also to have the recorder player double on bassoon or oboe (since we had a
musician who could do that), but that turned out to be unnecessary. On paper and
in theory the work seemed to be complete when the parts were completed. But, the
difficult task of contracting musicians was more than I had expected.
Susan Carlson agreed to conduct the music early on, which was a source of
much relief to me. Eddie Franklin, our percussionist, is an actor from the drama
department who was glad to use one of his hidden talents and had committed
himself to the production in November. Andy Gott had also agreed to play
~I
recorder - and double woodwinds if necessary - before the music was even
arranged. No violinists could be found at all, but Rachel Popma (another recorder
player and flutist) expressed interest in being part of the show, so she was given
the violin part to cover. Katie Cooke could play the shows, but had conflicts for
many rehearsals; but since no other violists could have done any better, she
agreed to play. There was incredible difficulty finding a cellist, so I knew early on
that finding two cellists was certainly wishful thinking. I decided to play the bass
to cover one ceno part. Cassie Henderson agreed to play cello on Saturday and
Sunday, and Mike Reynolds agreed to play Friday. Neither could play Thursday,
and no other Ball State cellists could play either. I eventually did track down
another cellist, but she backed out at the last minute. Just when we thought
Thursday's show would have no cellist, Cassie was able to work her schedule so
she could play.
These laBt minute changes in instrumentation necessitated a few other
changes that are not reflected in the score on the following pages. During the
dress rehearsals it was decided that two recorders were far too piercing to be
played underneath speaking parts, so while two soprano recorders were used in
the preshow music, Rachel played the flute and Andy played the tenor recorder
during the rest of the show. Even so, several sections of parts had to be transposed
at the octave for balance purposes, and Rachel's part occasionally was scored too
low for her, sin<:e it was originally intended for the violin. The bass was far too
Iowa voice to balance and it was upsetting the tonality of the music, so I had to
play all parts at cello pitch (up an octave).
The following pages include a copy of Susan Carlson's score (with some of
her notes still in the margins), the rehearsal schedule for the production, and a
cue sheet for the musicians.
1A -£ .
Preshmv-- Straight through all while audience enters.
~.
Overture- Once through just us, then twice through for prologue (3x total)
Skip Henry V music
3.
Richard III-- once through, as is
~.
Much Ado- 2x
5,
Taming 0' Shrew-- end dm\nbeat m.39 (fermata)
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End of Act music- start eighth pick-up to m.73 and go to end
INTERMISSION
7.
Entr'acte- once through, just us
8.
R+J- end downbeat m.36, fermata-- Andy playa D
<),
Othello-- end dwnbt m. 19 or 23 ...just watch
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As You Like-- end/fermata dwnbt m. 19
II.
12th Night-- end/fermata dwnbt m. 46
12.
Tempest-- end dwnbt m. 25? or 3rd beat m. 31
1,3.
Midsummer- START eighth pick-up to m.73, then repeat entire.
Epilogue- midsummer music, stan pick-up to 73, but don't repeat.
Bows-- Midsummer music, from beginning (repeat as necessary)
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Isabella, Katharine, and Alice enter USR, Henry enter USL , Katie exit DSR
Bill
The treaty unites them in the name of politics, but in this scene they
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disguise creates a barrier rather than a gateway to a love relationship.
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safety of her father's world. Ferdinand helps Miranda enter a new
world with him. Prospero, the supernatural force behind the
courtship has no doubts or worries about its eventual conclusion.
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In reading the following thesis proposal, one will undoubtedly note the
differences between the the proposal and the final performance. I viewed this entire
project as a work in progress from the very beginning. The final product has evolved
from this initial proposal. The thesis statement was changed to reflect what we (the
cast and I) felt was a stronger thesis--the examination of the creation of lovers' worlds.
The absence of the research paper is due to my final concept of a "term paper come to
life," which is what I tried to present in the script. I feel the script that I wrote (the
interludes between scenes) says what I needed to say in a paper. I chose to fully
integrate the paper and performance.
Senior Honors Thesis/Workshop Production Proposal
L. Grace Godwin
Proposed:
A two pa.rt thesis to be presented in the Spring of 1996 to fulfill the Senior
Honors Thesis requirement for graduation from the Honors College at Ball State
University. The thesis would be centered on a study of the male/female courting
relationship in Shakespeare. The thesis would consist of a production and an
accompanying paper. Dr. Judy Yordon has agreed to mentor the workshop
production. Dr. William Liston from the English Department has also agreed to offer
his expertise.
Production Aspect:
Shakespeare cannot be studied without taking into consideration the element of
performance. The Department of Theatre and Dance Performance's workshop
production capability offers the perfect opportunity to study Shakespeare in this
manner. The production would consist of a selection of Shakespearean courting
scenes. These scenes will focus on the variance of power roles in relation to gender
within the three accepted classifications (history, comedy, and tragedy) of
Shakespeare's work. I intend to select scenes from the following works:
Henry V
V:ii
Richard III
I:ii
As You Like It
undecided
Twelfth Night
undecided
undecided
Romeo and Juliet
Much Ado About Nothing undecided
undecided
Taming of the Shrew
This workshop production offers a variety of opportunities to students. The cast
will consist of 6 - 10 actors probably doubling roles. This will be a very collaborative
event from the start, I intend to utilize the interpretive talents of the actors to their fullest.
The majority of our rehearsals will consist of discussions and analysis between the
actors in individual scenes and myself. After aUditions I would meet with the group
and collectively we will assign roles so that the actors will have the opportunity to play
roles in which they are interested. I am also entertaining the possibility of a narrator
figure to set the scenes and/or provide background information from my paper.
The production will be simple. Actors will dress in nondescript black, lighting
and stage effects will be minimal. Music however, will be included. Anita Hagerman,
a fellow honors student, will be incorporating her thesis on Elizabethan music and
history into this production. She will use either actual Elizabethan music or original
music in a compatible style.
Proposed audition dates are December 1 - 3. This early audition date will allow
actors to read the plays over Christmas Break. I would begin rehearsals on the
second or third week in January. The production would run April 11 - 14. I must clarify
the need for such a long rehearsal process. The rehearsals in January and February
would consist entirely of discussion and research. The traditional rehearsal process
--
would not begin until March 11. None of these rehearsals would conflict with any
spring departmental production. My course work will be completed at the end of this
semester and therefore my full attention can be devoted to this project. I can (and will)
rehearse at any time of the day and will work my schedule around that of the actors.
This will allow me to work with multiple scenes each day.
The performance aspect of this project is imperative to the project as I see it. I
cannot justify a major study of Shakespeare that would not include performance. This
project allows me to study Shakespeare in a complete manner and I feel it is a
springboard for my further study--hopefully at the Shakespeare Institute of the
University of Birmingham.
Research Paper Aspect:
While Shakespeare is intended for performance, it also calls for study in a
literary manner. The research paper aspect of my project is intended to explore the
canon in this way. It will be an expansion and elaboration of the ideas brought forth in
the performancB aspect of my project. I would include not only the plays performed,
but also other plays in the canon. This part of my thesis will fulfill the Honrs 499
requirement for graduation from the Ball State University Honors College and I feel it
will be of great use when applying to my chosen graduate school.
This project is intended to be a culmination of my five (!) years of theatrical study
at Ball State. While it would be an ending to my career as a Ball State student, it
would also be a beginning to a career in theatre devoted to Shakespearean study. My
passion for Shakespeare was rekindled in my recent journey to England and I hope to
make the study and production of Shakespeare my life's work. It is my sincerest hope
to bring his work to life in America as I felt it was alive in England.
The following information was posted throughout the Arts and Communications
Building prior to auditions. Twenty actors auditioned for the production, they are, in my
opinion, the finest actors in the department. I was very lucky to have such a good
turnout. I have also included a callback list in this section, which, with the addition of
Robyn Norris, who could not attend callbacks, became my cast list.
WhaT
~TIS
TO Love
A SeLemon of ShakespeaRean COURTInq Scenes
I.
II.
Ill.
General Information
Production Dates - April 11 - 14, 1996
Production Venue - Strother Theatre
Director - L. Grace Godwin
Cast - probably 4 men, 4 women, one chorus/narrator of either gender
Audition Information
Audition. Dates - November 19 & 20, 1995 at 7:00 p.m.
Audition Venue - Strother Theatre
Audition Materials
November 19 - Please prepare a two minute monologue from any
Shakespeare play.
November 20 - Improvisational scenes based upon scenes selected
for performance.
Production Information
The following scenes have been selected for performance (tentative):
Henry V
Richard III
Much Ado About Nothing
The Taming of the Shrew
Romeo and Juliet
Othello
As You Like It
'Twelfth Night
A Midsummer Night's Dream
V:ii:90-284
I:ii:43-end
IV:i:255-end
II:i: 167-324
III:v:I-64
III:iii:321-end
III:ii:282-end
III: i: 74-end
III:ii:36-353
This production is part of a thesis project which will examine how genre
affects courting relationships in Shakespeare.
Rehearsals for this production WILL NOT CONFLICT with ANY other
Ball State University productions. Rehearsals will be scheduled at
the actors' convenience.
Cast will most likely consist of four women and four men who will
each play three or four roles. One chorus/narrator can be of
either gender and will interact with the characters in the scenes.
For more information, please call Grace or Anita at 284-7028. See you
at auditions!
WhaT ~TIS TO
Love
Call Back List
Paul Buranosky
Rodney Coe
Josh Coomer
Michael Downey
Warren Jackson
Bill Surber
David Storrs
Jessica Guthrie
Katie Otterman
Dana Nichols
Nancy Moore
Kim Ruse
Carrie Schlatter
Thank you so much to all who auditioned. You all did so well, it made choices
extremely difficult. It was a pleasure to see all of your monologues. Please
report to Call Back Auditions on Monday, November 20 at 7:00 pm. We should
be in Strother. Thank you!
The following cast list has changed during the rehearsal process. I added a
scene from The Tempest in order to help show my thesis regarding supernatural
influence on lovers in comedies. Some characters were cut as scenes changed. Also,
Jessica Guthrie was added to the cast list to play Celia and Miranda.
WhaT ~TIS TO Love
Tentative Cast List
Henry V
Henry
Katherine
Alice
Paul Buranosky
Robyn Norris
Nancy Moore
Richard III
Richard
Anne
Bill Surber
Carrie Schlatter
Much Ado About Nothing
Benedick
Beatrice
Michael Downey
Katie Otterman
The Taming of the Shrew
Petruchio
Katherine
Baptista
Josh Coomer
Nancy Moore
RodneyCoe
Romeo and Juljet
Romeo
Juliet
Nurse
David Storrs
Dana Nichols
Robyn Norris
Othello
lago
Paul Buranosky
Warren Jackson
As You Like It
Orlando
Rosalind
Jaques
Rodney Coe
Kim Ruse
Josh Coomer
Tweijth Night
Olivia
Viola
Dana Nichols
Carrie Schlatter
Midsummer Night's Dream
Lysander
Demetrius
Hermia
Helena
Oberon
Puck
David Storrs
Bill Surber
Kim Ruse
Katie Otterman
Michael Downey
Warren Jackson
Enormous thank yous to all who auditioned, it was interesting! Thank you for sticking with an unusual audition
process. You made the decision very difficult and it was a pleasure to see you all work. I would like to meet with the
cast after Thanksgiving Break, please watch for signs. Once again, thank you--you are very talented folks!
what (tis to Love
Final Cast List
HenlY V
Henry V
Katherine
Alice
Paul Buranoksy
Robyn Norris
Nancy Moore
Richard III
Richard
Anne
Bill Surber
Carrie Schlatter
Much Ado About Nothing
Benedick
Beatrice
Michael Downey
Katie Otterman
The Taming of the Shrew
Petruchio
Katherine
Baptista
Josh Coomer
Nancy Moore
Rodney Coe
Bamliia aD~ Julim
Romeo
Juliet
Nurse
Lady Capulet
David Storrs
Dana Nichols
Robyn Norris
Katie Otterman
QlbWIQ
Othello
lago
Desdemona
Paul Buranosky
Warren Jackson
Jessica Guthrie
As. Yau L.ilslii 11
Rosalind
Orlando
Celia
Kim Ruse
Rodney Coe
Jessica Guthrie
Iwliiltlb t:ligbl
Olivia
Viola
Dana Nichols
Carrie Schlatter
Ibilim~~
Ferdinand
Miranda
Prospero
Josh Coomer
Jessica Guthrie
Rodney Coe
AMjdsummir t:ligbt's Dream
Lysander
Demetrius
Hermia
Helena
Oberon
Puck
David Storrs
Bill Surber
Kim Ruse
Katie Otterman
Michael Downey
Warren Jackson
The following list of scenes to be performed has changed slightly during the
process of rehearsal. In rehearsals I shortened the selections to be performed in order
to make a tighter show.
WhaT
~TIS
TO Love
Tentative Scenes
.~
.,
-
Henry V
V:ii
L. 90
L. 284
Henry - Will you, fair sister, ...
Henry - ... and that is good English.
Richard III
I:ii
L. 43
end
Anne - What do you tremble?
Gloucester - That I may see my shadow pass.
Much AgQ AbQyt Nothing
IV:i
L. 255
end
Benedick - Lady Beatrice, have you wept...
Benedick - ... and so farewell.
The Taming Qf th~ Shr~w
II: i
L. 167
L. 324
Baptista - Or shall I send my daugher Kate ...
Petruchio - ... we will be married a' Sunday.
RQmeo ang Jyli~t
III:v
L. 1
L. 64
Juliet - Wilt thou be gone?
Juliet - But send him back.
Othello
III: iii
L. 321
end
lago - I will in Cassio's lodging ...
lago - I am your own forever.
As Y QU Like It
IV:i
L. 1
L. 217
Jaques - I prithee, pretty youth ...
Rosalind - ... and sigh till he come.
Twelfth Night
III :i
L. 74
end
Sir Toby - My neice is desirous ...
Olivia - ... to like his love.
The Tempest
III :i
L. 1
end
Ferdinand - There be some sports ...
Prospero - Much business appertaining.
A Mig~umm~r Nighr~ Dream
III: ii
L. 36
Oberon - But hast thou yet latch'd ...
Puck - ... 1esteem a sport.
L. 353
As in any production, schedules are due to change at a moments notice. I have
included some copies of the various incarnations of rehearsal schedules in hopes of
giving some sort of impression of how I rehearsed for this show. It was interesting
attempting to switch from an As you Like It frame of mind to a Ricbard III frame of mind
in the space of a few minutes, but rehearsing many scenes in one day helped me to
look at the production as a whole. It also allowed me to cast some of the finest (and
busiest) actors in the department. Had I gone with the traditional 7:00 pm to 10:00 pm
rehearsal time, I would not have been able to cast in the same way.
WhaT ;TIS TO
Love
MeIDO
To:
From:
Re:
Cast
Grace
Rehearsals
Hi! Welcome back to school. I hope things are going well. I would like to get started with
read through/discussion rehearsals as soon as possible. I've scheduled rehearsals for most of the
scenes, and I hope thE!Se times work. I will only need to rehearse with the main characters in each
scene for the time being. Please let me know if any of these times are a problem and we can work
something out.
Mondays from 1:00 pm to 3:00 pm
(beginning Monday, January 22)
Romeo and Juliet
David Storrs and Dana Nichols
Mondays from 4:30 pm to 6:30 pm
(beginning Monday, January 22)
The Tempest
Josh Coomer and Jessica Guthrie
Thursdays from 4:00 pm to 6:00 pm
(beginning Thursday, January 25)
Twelfth Night
Carrie Schlatter and Dana Nichols
Fridays from 12:00 pm to 2:00 pm
(beginning Friday, January 26)
Othello
Paul Buranosky and Warren Jackson
Fridays from 2:00 pm to 4:00 pm
(beginning Friday, January 26)
Henry V
Paul Buranosky, Robyn Norris, Nancy Moore
Fridays from 4:00 pm to 6:00 pm
(beginning Friday, January 26)
Much Ado About Nothing
Michael Downey and Katie Otterman
I need to speak with the cast members of Richard III, The Taming of the Shrew, and As You
Like It in order to work out the best possible rehearsal time. I will not begin rehearsing Midsummer
until at least after the Improv show, probably not until after Pericles.
Please make sure to read your play(s) at least once before our first rehearsal. I am looking
forward to starting work with you!
Thanks,
Grace Godwin
WhaT ~TIS TO
Love
Melllo
To:
From:
Re:
Date:
Cast
Grace
Rehearsals
1/23/96
Mondays from 1:00 pm to 3:00 pm
(beginning Monday, January 22)
Romeo and Juliet
David Storrs and Dana Nichols
Mondays from 4:30 pm to 6:30 pm
(beginning Monday, January 22)
The Tempest
Josh Coomer and Jessica Guthrie
Tuesdays from 11 :00 am to 12:00 pm
(1 st rehearsal Friday, January 26 @ 11 am)
As You Like It
Rodney Coe and Kim Ruse
Tuesdays from 5:00 pm to 6:00 pm
(beginning Tuesday, January 30)
Henry V
Paul Buranosky and Robyn Norris
Wednesdays from 4:30 to 6:30
(beginning Wednesday, January 24)
Richard III
Bill Surber and Carrie Schlatter
Thursdays from 4:00 pm to 6:00 pm
(beginning Thursday, January 25)
Twelfth Night
Carrie Schlatter and Dana Nichols
Fridays from 12::00 pm to 2:00 pm
(beginning Friday, January 26)
Othello
Paul Buranosky and Warren Jackson
Fridays from 4:30 pm to 6:30 pm
(beginning Friday, February 2)
Much Ado About Nothing
Michael Downey and Katie Otterman
Saturdays from 5:00 pm to 7:00 pm
(beginning Saturday, January 27)
Taming of the Shrew
Josh Coomer and Nancy Moore
Weekly rehearsal schedule will be as follows:
January 22 - 28
January 29 - February 12
February 12 - 17
February 18 - 2~3
February 23 - 29
.......
Rehearse all Scenes - Read Throughs and Paraphrasing
No Rehearsal
Rehearse all Scenes - Blocking
No Rehearsal
Possible Rehearsals
Please learn your lines over spring break. Rehearsals for Midsummer will begin the week
we come back.
Thanks,
WhaT 'TIS TO Love
Rehearsal Schedule
Monday, January 22
1:00 - 3:00
Romeo and Juliet
Read Through/Paraphrase
4:30 - 6:30
The Tempest
Read Through/Paraphrase
Thursday, January 25
4:30 - 6:30
Twelfth Night
Read Through/Paraphrase
Friday, January 26
11 :00 - 12:00
As You Like It
Read Through/Paraphrase
12:00 - 2:00
Othello
Read Through/Paraphrase
Saturday, January 27
5:00 - 7:00
Taming of the Shrew
Read Through/Paraphrase
1:00 - 3:00
Romeo and Juliet
Blocking
Monday, January 29
11 :00 - 12:00
As You Like It
Paraphrase
Tuesday, January 30
Thursday, February 1
4:00 - 6:00
Twelfth Night
Blocking
12:00 - 2:00
Othello
Blocking
Friday, February 2
6:00 - 7:00
Much Ado About Nothing
Read Through/Paraphrase
Saturday, February 3
5:00 - 7:00
Taming of the Shrew
Blocking
7:00 - 10:00
?Midsummer Night's Dream?
Read Through/Paraphrase
1:00 - 3:00
Romeo and Juliet
Work Scene
Monday, February 5
11 :00 - 12:00
As You Like It
Blocking
Tuesday, February 6
Friday, February 9
12:00 - 2:00
Othello
Blocking
Saturday, February 10
?As You Like It?
Blocking
1:00 - 4:00
5:00 - 8:00
Taming of the Shrew
Blocking
Monday, February 12
Romeo and Juliet
Work Scene
1:00 - 3:00
The Tempest
Blocking
4:30 - 6:30
Tuesday, February 13
11 :00 - 12:00
As You Like It
Work Scene
5:00 - 6:00
Henry V
Read Through/Paraphrase
Thursday, February 15
4:00 - 6:00
Twelfth Night
Work Scene
Friday, February 16
Othello
Work Scene
12:00 - 2:00
Much Ado About Nothing
Blocking
4:30 - 6:00
Saturday, February 17
?Midsummer Night's Dream?
Blocking
1:00 - 4:00
Monday, February 26
1:00 - 3:00
Romeo and Juliet
Work Scene
The Tempest
Work Scene
4:30 - 6:30
_.... Tuesday, February 27
11 :00 - 12:00
As You Like It
Work Scene
12:00 -1:00
Richard III
Blocking
Thursday, February 29
4:00 - 6:00
Twelfth Night
Work Scene
Friday, March 1
Othello
Work Scene
12:00 - 2:00
Much Ado About Nothing
Blocking
4:30 - 6:30
@@@@@@@@@@@@@@@@@ @@@@ @@ @ALL SCENES OFF BOOK@@@@@@@@@@@@@@@@ @@@@@@@@
Monday, March 11
1:00 - 3:00
Romeo and Juliet
Work Scene
4:30 - 6:30
The Tempest
Work Scene
Tuesday, March 12
11 :00 - 12:00
As You Like It
Work Scene
Henry V
Blocking
5:00 - 7:00
Wednesday, March 13
7:00 - 10:30
?Henry V?
Work Scene
Thursday, March 14
4:00 - 6:00
Twelfth Night
Work Scene
?Much Ado About Nothing?
Work Scene
7:00 - 10:30
Friday, March 15
12:00 - 2:00
Othello
Work Scene
Much Ado About Nothing
Work Scene
4:30 - 6:30
Monday, March 18
1:00 - 3:00
Romeo and Juliet
Work Scene
The Tempest
Work Scene
4:30 - 6:30
HANNOVER COLLEGE TRIP
Tuesday, March 19
11 :00 - 12:00
As You Like It
Work Scene
5:00 - 7:00
Henry V
Work Scene
7:00 - 10:30
?Much Ado About Nothing?
Work Scene
Wednesday, March 20
7:00 - 10:30
?Othello?
Work Scene
Thursday, March 21
4:00 - 6:00
Twelfth Night
Work Scene
Friday, March 22
12:00 - 2:00
Othello
Work Scene
4:30 - 6:30
Much Ado About Nothing
Work Scene
Friday, March 29
12:00 - 2:00
Othello
Work Scene
4:30 - 6:30
Much Ado About Nothing
Work Scene
Saturday, March 30
5:00 -7:00
?Much Ado About Nothing?
Work Scene
7:00 - 10:30
?Henry V?
Work Scene
Sunday, March 31
1:00
Run Show
7:00
Music Rehearsal
Monday, April 1
7:00
Run Show
Tuesday, April 2
7:00
Run Show
Wednesday, April 3
7:00
Run Show
c"""'"
---
Thursday, April 4
Monday, April 8
Tuesday, April 9
,,,",,,,, Wednesday, April 10
Thursday, April 11
Friday, April 12
Saturday, April 13
Sunday, April 14
7:00
8:00
8:00
8:00
8:00
8:00
8:00
8:00
Run Show
Tech
Dress/Tech
Dress
Opening Night
Performance
Performance
Performance
WhaT 'TIS TO Love
Rehearsal Schedule
---
Monday, January 22
1:00 - 3:00
Romeo and Juliet
Read Through/Paraphrase
..
4:30 - 6:30
The Tempest
Read Through/Paraphrase
Twelfth Night
4:30 - 6:30
Thursday, January 25
Read Through/Paraphrase
11 :00 - 12:00
As You Like It
Friday, January 26
Read Through/Paraphrase
12:00 - 2:00
Othelio
Read Through/Paraphrase
Saturday, January 27
5:00 - 7:00
Taming of the Shrew
Read Through/Paraphrase
Romeo and juliet
Monday, January 29
1 :00 - 3:00
Blocking
11 :00 - 12:00
As You Like It
Tuesday, January 30
Paraphrase
4:00 - 6:00
Twelfth Night
Thursday, February 1
Blocking
12:00 - 2:00
Othello
Friday, February 2
Blocking
6:00 - 7:00
Much Ado About Nothing
Read Through/Paraphrase
5:00 - 7:00
Taming of the Shrew
Saturday, February 3
Blocking
7:00 - 10:00
?Midsummer Night's Dream?
Read Through/Paraphrase
1:00 - 3:00
Monday, February 5
Romeo and Juliet
Work Scene
Tuesday, February 6
11 :00 - 12:00
As You Like It
Blocking
12:00 - 2:00
Othello
Friday, February 9
Blocking
Saturday, February 10
1:00 - 4:00
? As You Like It?
Blocking
5:00 - 8:00
Taming of the Shrew
Blocking
Monday, February 12
Romeo and Juliet
1 :00 - 3:00
Work Scene
The Tempest
4:30 - 6:30
Blocking
11 :00 - 12:00
Tuesday, February 13
As You Like It
Work Scene
Henry V
5:00 - 6:00
Read Through/Paraphrase
4:00 - 6:00
Thursday, February 15
Twelfth Night
Work Scene
Friday, February 16
12:00 - 2:00
Othelio
Work Scene
4:30 - 6:00
Much Ado About Nothing
Blocking
Saturday, February 17
1:00 - 4:00
?Midsummer Night's Dream?
Blocking
Monday, February 26
1:00 - 3:00
Romeo and Juliet
Work Scene
4:30 - 6:30
The Tempest
Work Scene
,_ Tuesday, February 27
11 :00 - 12:00
As You Like It
Work Scene
Henry V
5:00 - 7:00
Blocking
@@@ @@ @@@ @@ @@@@@ @@ @ @ @@@ @@ALL SCENES OFF BOOK@ @@ @@ @ @@@@ @@@@ @ @@@ @@ @@ @@
Monday, March 11
1:00 - 3:00
Romeo and Juliet
Work Scene
4:30 - 6:30
The Tempest
Work Scene
Tuesday, March 12
11 :00 - 12:00
As You Like It
Work Scene
5:00 - 7:00
Henry V
Blocking
Wednesday, March 13
7:00 - 10:30
?Henry V?
Work Scene
Thursday, March 14
4:00 - 6:00
Twelfth Night
Work Scene
7:00 - 10:30
?Much Ado About Nothing?
Work Scene
Friday, March 15
12:00 - 2:00
Othello
Work Scene
4:30 - 6:30
Much Ado About Nothing
Work Scene
Saturday, March 16
2:00 - 5:00
?Midsummer Night's Dream?
Blocking
KI
5:00 - 8:00
?Taming of the Shrew?
Work Scene
Monday, March 18
1:00 - 3:00
Romeo and Juliet
Work Scene
4:30 - 6:30
The Tempest
Work Scene
7:00 - 10:30
?Henry V?
Work Scene
Tuesday, March 19
11 :00 - 12:00
As You Like It
Work Scene
5:00 - 7:00
Henry V
Work Scene
7:00 - 10:30
?Much Ado About Nothing?
Work Scene
Wednesday, March 20
7:00 - 10:30
?Othelio?
Work Scene
Thursday, March 21
4:00 - 6:00
Twelfth Night
Work Scene
Friday, March 22
12:00 - 2:00
Othello
Work Scene
4:30 - 6:30
Much Ado About Nothing
Work Scene
Saturday, March 23
1:00 - 4:00
?Midsummer Night's Dream?
Work Scene
KI
5:00 - 8:00
?Taming of the Shrew?
Work Scene
Monday, March 25
1:00 - 3:00
Romeo and Juliet
Work Scene
4:30 - 6:30
The Tempest
Work Scene
,.....,.,
7:00 - 9:00
?Midsummer Night's Dream?
Work Scene
9:00 - 10:30
?Taming of the Shrew?
Work Scene
Tuesday, March 26
11 :00 - 12:00
As You Like It
Work Scene
5:00 - 7:00
Henry V
Work Scene
7:00 - 10:30
?Taming of the Shrew?
Work Scene
Wednesday, March 27
7:00 - 10:30
?Midsummer Night's Dream?
Work Scene
Thursday, March 28
Friday, March 29
.-.. Saturday, March 30
Sunday, March 31
Monday, April 1
Tuesday, April 2
Wednesday, April 3
Thursday, April 4
Monday, April 8
Tuesday, April 9
Wednesday, April 10
Thursday, April 11
Friday, April 12
Saturday, April 13
Sunday, April 14
4:00 - 6:00
12:00 - 2:00
4:30 - 6:30
5:00 - 7:00
7:00 - 10:30
1:00
7:00
7:00
7:00
7:00
7:00
8:00
8:00
8:00
8:00
8:00
8:00
8:00
Twelfth Night
Othello
Much Ado About Nothing
?Much Ado About Nothing?
?Henry V?
Run Show
Music Rehearsal
Run Show
Run Show
Run Show
Run Show
Tech
Dress/Tech
Dress
Opening Night
Performance
Performance
Performance
Work Scene
Work Scene
Work Scene
Work Scene
Work Scene
WhaT 'TlS TO
Love
MelUo
Hi everyone, just a little note here about the schedule etc. for the next few weeks. Actually three--yes that's right, we open in
three weeks. I feel that everything is going pretty well, but because I'll be out of town for the next week (until March 28) I thought I'd let
you know the deal.
Item number one--please get off script as soon as possible. I know some scenes have rehearsed more than others, but it is
really impossible to make any progress while still on book. Juliana Heeter (our brave stage manager, in case you didn't know), will be
happy to work with you individually if you need to, or she will be on book if you meet with your partner. Her number is 287-9608--please
give her a call. Anita will also be happy to work with you, you can reach her at our house which is 284-7028.
Item number two--schedule from now until the close of the show:
Friday, March 29
12:00
Othello
4:30
Much Ado About Nothing
Saturday, March 30
1:00
Midsummer Night's Dream
4:00
Much Ado About Nothing
5:00
Henry V
1:00
Midsummer Night's Dream
Sunday, March 31
5:00
Henry V
7:00
Music Rehearsal
Monday, April 1
1:00
Romeo and Juliet
4:30
The Tempest
7:00
Run Show - Discussion Following
Tuesday, April 2
11 :00
As You Like It
12:00
Richard III
5:00
Midsummer Night's Dream
6:00
Run Show - Add Music
Wednesday, April 3
4:30
Taming of the Shrew
7:00
Run Show
Thursday, April 4
4:00
Twelfth Night
7:00
Run Show
Friday, April 5
12:00
Othello
4:30
Much Ado About Nothing
7:00
Run Show
Taming of the Shrew
1:00
Saturday, April 6
As You Like It
2:30
Tech
7:00
Tech
7:00
Sunday, April 7
Romeo and Juliet
1:00
Monday, April 8
The Tempest
4:30
As You Like It
11 :00
Tuesday, April 9
Richard III
12:00
DressfTech
7:00
Taming of the Shrew
4:30
Wednesday, April 10
Dress
7:00
Opening Night
8:00
Thursday, April 11
Performance
8:00
Friday, April 12
Performance
8:00
Saturday, April 13
Performance
8:00
Sunday, April 14
We will most likely rehearse individual scenes after the runs, we'll decide when we get there. I'd really appreciate it if everyone
was mostly off book by April 1. Midsummer folks--since we haven't worked much just give it your best shot, we've got plenty of time. If
you are in a scene, but haven't rehearsed for it (i.e. Baptista, Alice, etc.) don't worry, you'll have plenty of time when the runs begin to
get into the scene. The narration parts in between scenes will be ready by the first run, they will be on cards--so you can just read it. If
you have any questions about any of this let Juliana know, I'll be in contact with her.
Item number three - Thanks for all of your hard work in the past weeks. I know everyone is busy, and I appreciate your
attention to this show. I am very excited to see this thing come together. Break a leg Merrily and Dutchman folks!
WhaT 'TIS TO Love
Rehearsal Schedule Revised 3/1/96
....,...." Monday, March 11
Tuesday, March 12
Wednesday, March 13
Thursday, March 14
Saturday, March 16
1:00
4:30
7:00
8:30
11 :00
12:00
5:00
4:30
7:00
8:30
4:00
7:00
8:30
1:00
4:00
6:00
7:30
Sunday, March 17
Monday, March 18
.....,..
Tuesday, March 19
Wednesday, March 20
Thursday, March 21
Friday, March 29
Saturday, March 30
Sunday, March 31
Romeo and Juliet
The Tempest
Henry V
Twelfth Night
As You Like It
Richard III
Midsummer Night's Dream
Taming of the Shrew
Henry V
Tempest
Twelfth Night
Much Ado About Nothing
Romeo and Juliet
Midsummer Night's Dream
Richard III
Twelfth Night
Othello
HANNOVER COLLEGE TRIP
Romeo and Juliet
The Tempest
Henry V
If Possible
Twelfth Night
Much Ado About Nothing
Othello
1:00
4:30
7:00
8:30
11 :00
12:00
5:00
7:00
8:30
4:30
7:00
8:30
4:00
7:00
8:30
Romeo and Juliet
The Tempest
Othello
Much Ado About Nothing
As You Like It
Richard III
Midsummer Night's Dream
Much Ado About Nothing
Henry V
Taming of the Shrew
Othello
Tempest
Twelfth Night
Romeo and Juliet
Henry V
12:00
4:30
1:00
5:00
7:00
1:00
7:00
Othello
Much Ado About Nothing
Midsummer Night's Dream
Much Ado About Nothing
Henry V
Midsummer Night's Dream
Music Rehearsal