Man of LaMancha
Full Run-Through
Saturday, Oct. 31
Full Cast—
 After a good full run today, it’ll be important that you go back to the script. Your work
with it after you’ve got the show up on its feet will make a huge difference in your
progress.
 Lines seem pretty solid, but there is some work to be done on song lyrics. You’re
dropping a lot of them, and there are lots of moments when you’re clearly working
really hard to get the words out.
 Act II needs more repetition. Monday night will be primarily an Act II night.
 Chorus—nice job leaving and entering subtly…I didn’t even notice you leave and I
directed the dang thing! 
 Thurs/Fri will be night to work with the orchestra in the choir room, but I’ll also pull a
couple scenes for extra work in the theatre.
 Check the call-board on Monday for a schedule of calls for Monday night.
Act I—(started at 12:19)
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Jacob/Euk—like so many things, this will make more sense with the set on the stage, but I don’t
think you’ll go to the middle platform quite so quickly.
The attack of Jacob can have a little more “sustained” feel to it. Marissa’s “enough” doesn’t quite
have the motivation it needs because the attack of Jacob happens so quickly.
Bethany—stand up for “they’re putting men in prison for that”
The book-throw is pretty good!
Marissa—you won’t actually have chairs on stage to work with, so you’ll need to find some other
way to put them in “court.”
Jacob—try actually being “proud” of putting the lien on the church. This time you put your head in
your hand and it didn’t quite work.
Chorus—react to the “any urgent appointments” line from Marissa. It’s a pretty dark joke, none of
you have anywhere to go…
Jacob—try making a bigger deal out of “A PLAY! If you will….”
Marissa—change the line “entertainment” to “a play?” I think that this will help the audience
understand what’s going on.
Jacob—better job singing to the cast. I think that when the set is on stage, you’ll see that you have
even more opportunity to get right up next to prisoners.
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Chorus—When they start singing “I am I, don Quixote”—PAY ATTENTION ENERGETICALLY! It’s got to
be clear that this is something totally different and fun that you NEVER thought would.
Jacob & Euk—when you get to the unison singing part, I want the two of you to connect with eye
contact. You did it this morning and it was great.
Euk—we TOTALLY lost the line about your wife’s little black mustache!!! How sad.
Jacob—you’ll need to make a big deal about your twisted-up sword from the battle with the
windmill. See it yourself….show it to Sancho….maybe to another prisoner?
Euk—Another line note. “That’s a problem” try emphasizing “THAT’S” instead of “problem.” It’ll
help it make more sense.
Jacob—make sure that we hear “meow”—elongate that word….even “meeeeeoooooowwww” it a
little bit. You’re rough-voicing it right now and the joke isn’t coming through.
Caleb—please don’t make whisper noises when you whisper. Actually whisper something.
Sara—The moment when you first sing is awesome…our entire audience will think…”OOOooo….this
is really good news for the next 2 hours of my life!”
Adam/Sara—we’ll block in the payment bit on Monday night.
Euk—practice blowing that horn with actual sound. If you don’t get any sound…try it again.
Euk—the “my noble lords and ladies” speech isn’t quite working yet. Speed it up a little bit.
Jacob—I think I’d rather have you lead Sara by the arm instead of putting your arm around her.
When you sing the line about tremble with a touch of your hair, maybe run your hand along the side
of her face (not actually touching her) and then put your hand on her shoulder.
Jacob—think about the line in Dulcinea “no phantom to fade in the air”—I think you can bring that
to life a little more.
Chorus—every time that Jacob picks someone new to be in the play, I’d like to see all of you a little
excited that he might choose YOU!
Chorus—smile and react to the things happening on stage in the play within the play.
Alyssa/Marty—lets make sure that there is an actual hug when Carrasco first enters.
Marty/Matthew—Alyssa says “please stop arguing”—right now, you’re not giving her much of an
argument to stop! 
Marty/Alyssa/Johanna/Matthew—I’d like a stronger sense that something BIG is at stake here. This
is BIG deal!
Alyssa/Johanna—at the end of the song, you don’t need to move until you sing.
Alyssa—When Marty sings “in my body it is well known,” look admiringly at your awesome guy!
Maybe even swoon a little or reach out and put your hand on his shoulders. I want us to see that the
two of you are of the same mind.
Euk—I want you on stage already for the missive line. I want the lights to come up on a scene that
has already started.
Euk/Sara—I’m not excited about the blocking on this scene yet. Talk to me about it expect some
changes on Monday. Euk is too closed off from the entire left side of the house.
Euk—your physical work on “I Like Him” was better this time, but I’ve heard you sing it better.
Euk—we’ll need to work on your exit from that scene as well. Is there really any need for you to
have the backpack with you on that scene? I wonder if it would be better to not have it….it would
make the exit a lot easier.
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Adam R—I’d like it to be a little clearer that your “Aldonza” at the end of the missive scene is you
reminding her that she needs to deliver on what you’ve already paid for….right now, it sounds like
you’re just teasing her.
Allie—your last sung line about cutting someone can be sung right out to the audience.
Allie—when he puts his sword on your shoulder, make sure you turn and look at him…SEE him
before your line starts about him as a knight.
Allie—I think you can stand up when you show/explain why you were wearing it.
Euk—in your scene with Allie, you’re moving a little too far away from Allie over to Quixote 2 times.
I like the instinct to point over
Ended at 1:12 (53 minutes) VERY Nice!
Act II (began at 1:23)
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Jacob—can your directing be “looser” ? You looking like a marching band captain, very stiff and
robotic. I’d like it to be smoother and more relaxed. Also, feel free to cue the other muleteers’
entrance.
Muleteers—you sound lovely on “Little Bird”
Adam R—good instinct to bow. Why don’t we have all the muleteers do that together?
Mary—you’re finding a lot of good humor at the beginning of the 2nd act, but I think there’s even
more. “Anything!” (wait…did I just say that? What’ll this kook come up with??) “within reason!”
Marty—don’t leave until AFTER you’ve said “now to find the cure”—you were walking out of view
already when you gave that line.
Matthew—you nailed “To Each…” today. You’re finding good gesture balance. Nice job!
Euk—you’re smart to grab the lance when you did. And it’s totally fine for you to stand there
leaning on it. Great job. I also love the way that you watch his vigil.
Jacob—you’re nailing the speech at the vigil. Great job! I love this because we agree with so much
of your wisdom.
Sara—I think you can enter a little earlier and a bit slower to hear more of his speech.
Jacob—“I have already seen thee in my heart” listen to what the line is telling you to do as an actor.
Sara—when you spit on him—spit really nasty, walk away (dsl) and then look back at him. Your
question is a sort of apology. We see in her that she’s interested in what he has to say. Also, that
will prevent you from upstaging him so much.
o Make sure you check lines on this scene—this one is a struggle…
Jacob—damn Jacob, you’re absolutely nailing “Impossible Dream”
Nick/Jacob—you should have the real lance next week and you’ll get a chance to iron that out. It’s
got to happen in 3 clear steps.
Euk—We’ll need you to have something else in your hand to make the sound when you bonk the
muleteers on the head.
Mary—you’ve got an excellent and powerful voice. Work a little more on building confidence with
the notes in that song.
Mary—“Now, I am going to bed”—have fun with this. I love the fact that your character is
constantly trying to get him to do something and he just won’t do it. Have fun with the exhaustion
he causes in you!
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Bethany—“This IS HAPPENING!” I’d like it to be a little clearer that you’re ripping on him for being a
dreamer…for being lost in his imagination. You’re saying “WAKE UP TO REALITY, YOU MORON!”
Bethany—“why are you poets so fascinated with madmen”—I’d like you to try standing here and
walking toward him. I’d like your vision of the world in direct conflict with his view of the world.
Jacob—your speech here is also great. He’s spewing out his life experience and philosophy. We
need to LOVE him and his vision in this moment. This speech is all about HOPE. The reality is that if
we didn’t believe (rather foolishly) that tomorrow will be better than today, we wouldn’t survive.
Gypies—you rock! Great job!
Mary & Andrea—that was funny. Nice job!
Jacob—there’s a weird blocking issue in the moment when Sara enters after being assaulted. You’re
forced to jump upstage left….lets talk about that fix it.
 Marty—there will be a lot of reverb and delay sound effects in your voice during the knight of the
mirrors scene, so you’ll need to speak especially slowly and clearly in that scene.
 Marty—also, take your time and go big with those “DROWN, DROWN, DON QUIXOTE!” You’re
defeating him…killing him with those words. We need more power there.
 Did we miss a chorus entrance? Don’t you all need to be there when the Captain of the Inquisition
calls and Marissa responds?
 Euk—you’re doing a nice job with the craziness of “Little Gossip” in the middle of a dramatic
moment.
 Marty—Sara needs something from you to be motivated to say “don’t you touch me” Give her a
reason to say that.
 Sara—He knows. Emphasize “he” and point so that we know without a doubt that you’re talking
about Sancho.
 Euk/Jacob—“More Misadventures—“Adventures, my friend”—the mis-speak and correction needs
to be clearer to catch the humor.
 Ended at 2:26