Dress Rehearsal #2 Notes:
Mrs. Isaacs’ Notes:
Prologue:
-
Abi, grab us with story-telling right away. Use facial expression that draws us in!
Allyson and Maiya, we still need to fix the angle of the “attitude” legs. Let’s get together with
Alex on this and work it together for just a couple minutes.
CREW: Curtain pull was late at end of prologue into scene 1
Scene 1:
-
Big shout out to Bella who found a way to get the hour glass off the floor and out of the way!
GOOD JOB Bella!
Knights, are you projecting to the best of your ability during Opening For A Princess?
Facial expressions throughout Opening For A Princess were better, keep going with that! We’ll
tell you if it’s too much! 
Harry and Larken, stay in character as you walk off stage. There is enough light because of pit
orchestra that we can still see you pretty well. Harry, maybe escort Larken off?
Harry and Larken GREAT character during song, I think it was the most believable you’ve ever
been.
Scene 2:
-
Ali, be thinking about and identifying moments in your mamalogue where people might laugh.
You’ll want to leave them bits of space to laugh so they don’t miss any of it!
Harry and Larken, same note as before, go off stage in character still.
Scene 3:
-
-
-
Allyson, loved the seaweed and drying out of dress
EVERYONE- need more expression from you in kick line in Shy. Cheese it up! Shout out to Emily
who is doing a FANTASTIC job with that! My eye was drawn to YOU!
Allyson, I’m curious about exploring saving some Winnifred “character” for that first moment
you sing “Shy”. Come find me to talk to me about this. I just want to explore and talk through
some of it a little more.
Allyson and Knights, apologies for not informing you before we ran show, but any off stage
speaking we want to happen in the standing mic back stage. We get a more realistic feel if the
sound is coming from the speaker off stage. It’s less confusing for the audience then with your
regular mics coming through the main speaker. Gather round that mic and speak closely into the
mic for anything off stage.
Allyson and Cole, LOVED the new blocking to get you off stage after Shy. 
-
Minstrel, Jester, and King- better pacing tonight! Abi, you started to draw me in more! Good job!
Autumn, I feel like you’re still unsure about the “bishop” line in your song. Make sure you know
when it comes in the song and be confident about singing it!
Abi and Autumn, in general I still feel like the beginnings of phrases are still unsure. If you are
unsure, please practice and go over order of verses. If you are sure, be more confident and sing
out the beginning of each phrase a little stronger.
Scene 5:
-
Allyson, don’t talk before you walk on for your scene. Your mic was on and we heard you
tonight.
Allyson, great fix with the pacing and waiting a moment after “Blood” in song. Keep it up and if
anything you could even take more time. I think the space makes it even more comedic. ;-)
Cole, GREAT JOB taking note about the reactions to the ladies around you at the end of Swamps.
BRILLIANT improvement on that!
Ellie, great reactions when you hear Harry say “your highness.” Keep that up!
Scene 6:
-
Ali, great job with the way you are saying “prepare, et”! Sounds natural! Good!
Scene 7:
-
Great re-blocking everyone!
Ellie, the moment you start crying is hilarious. Keep that up!
Minstrel, I am losing the line that says something about “chivalry, damsel in distress” or
something. Use better, clear diction on that one!
Can you make the “travel light like a man” line funnier by leaving it some space? In theory, you
should get some laughs there! Invite us to have the space to laugh. ;-)
Autumn, your “try those wings” acting is SO good and SO funny! Keep that up!
Scene 8:
-
Alex and Bella, are you going to be able to get over to the corner by the door in time? Is there
anything I can do to help?
Careful of spacing in circle for Spanish Panic. Spacing didn’t seem even. We maybe should
double check this.
EVERYONE way to improv until the beginning of the Spanish Panic music came back around.
We’ll try to fix that, but be prepared to do that if needed!
Scene 9:
-
Cole, you’re really starting to find your character! Good job! Keep it up!
EVERYONE, project as much as you can while singing this! We were losing the ensemble singing
a little. Were you doing the absolute best you could with projection?
-
Allyson, this will be easier once the weight it actually there, but I’d love for you to make a bigger
deal about the time you decide to leave the weight and not pick it up. I’m afraid we’ll lose that
funny moment if you don’t make a deal about it. ;-)
Act 2
Scene 1:
-
-
-
LIGHTS: could we bring up the curtain warmer near the end of the Entracte song at the start of
Act 2? I can help with this in terms of timing!
Emily, don’t fix hair and crown once you’re standing in the line on stage. No one should adjust or
move once there.
Autumn, you still need to gather the crowd together or we should still give you SOMETHING to
do before the heels so you’re not doing the heel movement for so long and so the timing still
works with “Go Jester Go”
EVERYONE – exit out of ANY open section in the curtains to follow the Jester. You’re all going in
front of the front leg of the curtain. Some of you can go behind it too. It will look like you’re
following Jester still to us and it will get you off stage a little more quickly and smoothly.
Ali, careful not to enter too soon or be seen until Minstrel and Larken are fully under the
mattresses.
Ali, I’m losing the words “with a” when you deliver the “run away with a musician” line. I think
it’s just diction and projection. ;-)
Brenna, do your best to throw sheets off stage as far as possible. They were visible in the door
way still.
Scene 2:
-
Allyson, just a reminder about the high kicks at Happily ever after that we talked about and
covering us the spanks somehow. ;-)
Scene 3:
-
Cole, let’s work that high note in Man to Man with the pit. Let’s find a moment to do that
together!
Scene 4:
-
Abi, you seemed like you were really settling in with acting and really became your character by
this point in the show. See if you can bring that into the Prologue at the beginning!
Minstrel & Jake, either Minstrel dropped thank you line or Wizard forgot “Have a seat” line. Not
sure what happened there, but take a look at it. We need to tighten that up.
Minstrel, double check, you might have dropped “I’ll be going” lkine.
Pacing was weak in this scene. Needs to tighten up. Act within not between the lines.
Scene 5:
-
Autumn, should we change your blocking so that you enter from the other side of the stage? I
think it’s totally fine if that’s easier for you and leaves you more time to get your tap shoes on.
Autumn, don’t forget to sit on edge of stage FURTHER stage right so you’re not on top of the pit
orchestra.
You are doing a great job with the dance and getting comfortable with the tap shoes! As you get
more comfortable, I’d love to see even more character from your face, too. 
Scene 6:
-
Ellie, please try to enter in the stair case before the music ends and see Harry pacing.
Ellie, don’t go to Alex on Yesterday I Loved You blocking. Stand firm at the front of the stage.
You can look back at him and reference him, but don’t go to him.
Ellie, take your blocking and walk further up stage (instead of straight across) so you end up far
upstage right for "tremble at your touch”
Beautiful job with ending you two!
Scene 7:
-
Allyson… could you ride off stage on top of the bed? Ruins the moment a little that we can see
you climbing down from the bed center stage in the dark.
CREW: Is there someone available to pull the Nightingale off stage in the cage so we don’t see
her get out of the cage in the dark of the set change?
Scene 9:
-
Ali, GREAT acting on “hop, skip, jump” section! WAY TO GO!!
DWIGHT’S NOTES:
GENERAL NOTES
You are all finding good things. Keep discovering them each night. Keep that discovery “crisp”
and “urgent”. Keep focusing on supporting our collaborative story within the play.
In general, Act 1 was good and “popped”. Act 2 needs to find some pop and urgency
throughout.
PROLOGUE – Ballet
This is beautiful to watch and hear. Thank you.
Minstrel: keep connecting with the core of what you are telling the audience.
SCENE – TESTING #12
#12: good incorporation of the notes from last night.
Wizard: good job adapting to all of the props.
Wizard: You are really the pace-setter for the top of the show, so keep it urgent and crisp
OPENING FOR A PRINCESS
KNIGHTS: I really heard “Pity the gentlemen TOO…” Thank you!
Wiz/Jester – Excuse me Cardemon, tighten that gap.
LARKEN & HARRY – LITTLE WHILE
Pick up cues throughout – act within the lines
You are finding really good connection to the line, just pick up the cues – think “THIS IS
URGENT!”
Song was terrific. Thank you.
SCENE 2 – QUEEN & DAUNTLESS
Queen: good job incorporating the notes from last night
Queen: “sun” not as much, more just shade your eyes from it. The audience will get it.
Queen: Soliloquy was best yet.
Dauntless: good job feeding Queen energy even though you don’t have lines.
Queen: must trust me, I think it is emphasizing “ME” (talk to me)
LITTLE WHILE REPRISE
Great
SCENE 3 – FRED ARRIVES
Minstrel: …Only LOOKED as though she had come in from a storm. Not catching the emphasis
Fred – talk with Isaacs and me about when we see Fred at full force in this scene
SEAWEED – is there someone exiting after SHY that can gather the seaweed and get rid of it?
SEV – “not I” (talk with me)
SHY IS GREAT
SHELBY – “ask her yourself” (talk to me)
Queen – “shooting pains all through here”, try being more specific where that is
Fred – Try “sneaking” off (both times) by backing out on - “nut house”
Queen “Huh” after we all like you, say it loudly, but more to yourself than to the others (talk to
me)
Harry – Your highness – pick up the cues
Harry – Must pass the test – approach more optimistically
FRED & DAUNT – great stuff on your exit (“your nicer”)
King – great job with “Sir Harry” bit
Jester – BIG QUESTIONS (talk to me) “What does the Jester want? What is her function in the
palace (beyond just “Jesting”)?
MINSTREL JESTER AND I
Good job on the song. Now enjoy recalling the adventures and mischief you get into.
SENSITIVITY
Queen – “looks fair, sounds fair, seems fair” all up/light then down and dirty “isn’t fair”
Song is really good. Make sure you are discovering the plot you are hatching together.
SCENE 5 - FRED’S CHAMBER
Need to tweak blocking with Fred, Dauntless, Jester, King
SWAMPS OF HOME
FRED – from far away, let’s try going simpler (talk to me)
GREAT JOB LADIES IN WAITING – loved it
Dauntless – after Fred talks about seeing too much of her, show us the light going on and
leaving
Lark – thought she was a chamber maid – no apology, more just frustration/embarrassment
(talk to me)
HARRY & LARK – love the fight
SCENE 6
Queen – Spanish Panic – need it clearer. Whole thing could be 20% slower
SCENE 7 – TENTS
KING AND WENCHES – great job/adjustment
Minstrel – hit the line earlier – “every catch?”
King – clear DOWN RIGHT when Jester does dog
Jester – loved the dog =)
Queen – cross was hard to understand. 20% slower and you can break up your cross to fit the
line (talk with me)
Lark – glad I found out… - more resolve and trying to convince yourself you are making the right
choice
Minstrel – we lose “damsel in distress” – your are talking about duty, chivalry
King/Jester – fighting needs to happen faster
SPANISH PANIC
Harry & Mabelle – were you late? What needs to be fixed?
Dauntless – make sure we know for sure you WANT Fred to pass when she asks
NORMANDY
Great job. Keep working it so it flows from your being more than your head. That means
internalizing the notes and choreography more and more.
SCENE 9 & FRED
I really liked these tonight. Lots of energy from everyone – Thanks
ACT 2 – QUIET
Quiet – great, Pops, sharp
Basically Scenes 1 & 2 – the dialogue is flat. Needs more rapid fire and urgency. The stakes are
very high which will fuel the energy needed.
SCENE 2
Dauntless – you mean “big nice Harry” is maybe more of a question. He’s your hero and she’s
called him horrible. Something doesn’t compute
HAPPILY
Fred – work kicks for less “exposure”
SCENE 3
Dauntless – enter and “what’s the matter” earlier
Dauntless – keep playing with “now I see / no I don’t see”
King – nice work in Man to Man
Dauntless – good “discovery” on Isn’t the stork at all
SCENE 4 – WIZARD’S CHAMBER
Good work with all of the changes.
Keep working the handshake so it’s a little smoother
SCENE 5 – SOFT SHOES
Sit on the edge of the stage, more RIGHT
This is coming along well. Keep practicing so that it becomes effortless and FUN
SCENE 6 - YESTERDAY
Scene needs more urgency (life and death) feel
Song sounded great
LARK: don’t cross up to Harry – the change we made before the run
SCENE 7
Queen and ladies – great job
Mary Kate – keep experimenting with the “poof”
Fred – really good
Can FRED ride off stage on the bed? So we don’t see her get down…
NIGHTINGGALE – Really lovely
SCENE 8
Ella – try to incorporate a more giggle at the top
Ella – you can be louder to help POP the scene
King – good job on distance from Queen and intentional directions
Stage Manager Lauren’s Notes:
CAST AND CREW PLEASE READ!
A1S1 - First curtain pull late, cue is the line "the day I arrived at court"
A1S1 - Hourglass has been fixed, figure out how Jake will carry it so repeat does not occur. If it does
though, everyone remain calm and someone step up to make sure it comes off and actors stay safe.
A1S4 - Ryann remember the Red Chair on SR
A1S4 - Seva remove lattice before this scene
A2S1- Dylan we are using the second candle now, talk to Ana about a delicate way to hold it
A2S1 - Dylan do not forget to help remove thrones after this scene
A2S1 - There is always one mattress left on stage, figure out how to get this off
A2S1 - Blankets need to make it as far off stage as possible
A2S1 - Blankets and sheets, need to figure out how to return these to Ana, Brenna and Ella can you do
this during scene change?
A2S4 - Jake gently place jello beakers into cauldron
A2S4 to A2S5: This transition will have no music so do not hesitate once lights are down crew
A2S5 - Autumn, crew is able to have someone SR waiting with your shoes after your number if it makes it
easier for you. Let me know and I will ensure this happens.
A2S7-A2S8 This bed transition the big bed needs to be behind the red first, then it can be moved off
stage. Do not worry about getting it completely off first. Cast on SL, be prepared to move out of the way,
there is plenty of time to get the bed off and benches on behind the red.
General Notes:
-Someone on clear com asked if we are stapling the gold bed spread to the big mattress bed. I haven't
heard about this before and would like clarification if this is a task for crew to complete before tomorrows
dress.
-Katie do not worry about getting off before pit music is done if you are locking the brake. Safety comes
first so ensuring the break is down is key.
-There seems to be some hesitance crew concerning scene changes and the large bed. When the end of
the scene approaches be ready to go on as soon as the lights come down. I know you are tired and the
large bed is a safety concern but we need to run this to ensure it will occur quickly. Also other transitions
also just feel like they are taking a little too long to start getting out there. We will run some of these
before rehearsal so ensure we are prepared.
- Thanks for your hard work crew, its looking great but we can't get cocky