Busybusybusybusy...
Dec. 4th, 2007 11:44 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
ceebeegeeI've been so busy the past few days and it's not going to relent until sometime around Christmas (!). Saturday I had the AATI reading--we had rehearsal for that in the morning, then I hit the PATH into Hoboken for Xmas Carol rehearsal, then BACK into Midtown for the reading. I was planning to go up to visit Jason in the hospital after that but heard from Don that he was discharged that day so no go. After the reading Tim (who was at the reading) and I went to Houston's to have dinner. We talked about Brandy's (a piano bar on the Upper East Sie where we used to go a lot) and the show and all sorts of things.
Sunday I had Xmas Carol rehearsal, of course. Since last Thursday we have been having stumblethroughs and workthroughs, and also filling in the gaps for the sections that haven't been fully addressed. For example, last night we finally fully blocked and choreographed the Fezziwig scene--we'd had a choreography rehearsal much earlier but half the cast was missing so we had to pick it up last night. I added a bunch of party bits--flirtations, interactions, etc. I also worked out exactly where and how I want the choir to be singing certain pieces--very seldom does the choir actually sing a piece fully all the way through as in a standard musical. It's usually as underscoring or punctuation or as part of a transition. In the second Cratchit scene, when they're mourning Tiny Tim, I'm using the Coventry Carol--I have the choir singing a phrase, and then Mrs. Cratchit has a line. Then the choir comes back in a few lines later. I don't want the show to stop for the musical pieces--they're commentary and atmosphere. Same thing with the show's "anthem" which is an Episcopalian Advent hymn called "Remember, O Thou Man" (which chorus says "therefore, repent!"). I use that piece three times during the play, at three different key scenes, including when Scrooge is staring at the body on the bed.
I have to admit, I'm kind of pleased about the Ghost of the Future sequence. I hope it comes out as thpooooky as I imagine it. I won't tell you what I've done with it but it's not the way it's usually done. I was trying to make it both more thpooooky and also more meaningful. Gina looked pleased last night and told me what I did with the first part of the Future sequence was much more effective than what's usually done.
Slowly, slowly it's all coming into place. *tries to breathe* Tomorrow's going to be interesting--our first night on the set.
Sunday I had Xmas Carol rehearsal, of course. Since last Thursday we have been having stumblethroughs and workthroughs, and also filling in the gaps for the sections that haven't been fully addressed. For example, last night we finally fully blocked and choreographed the Fezziwig scene--we'd had a choreography rehearsal much earlier but half the cast was missing so we had to pick it up last night. I added a bunch of party bits--flirtations, interactions, etc. I also worked out exactly where and how I want the choir to be singing certain pieces--very seldom does the choir actually sing a piece fully all the way through as in a standard musical. It's usually as underscoring or punctuation or as part of a transition. In the second Cratchit scene, when they're mourning Tiny Tim, I'm using the Coventry Carol--I have the choir singing a phrase, and then Mrs. Cratchit has a line. Then the choir comes back in a few lines later. I don't want the show to stop for the musical pieces--they're commentary and atmosphere. Same thing with the show's "anthem" which is an Episcopalian Advent hymn called "Remember, O Thou Man" (which chorus says "therefore, repent!"). I use that piece three times during the play, at three different key scenes, including when Scrooge is staring at the body on the bed.
I have to admit, I'm kind of pleased about the Ghost of the Future sequence. I hope it comes out as thpooooky as I imagine it. I won't tell you what I've done with it but it's not the way it's usually done. I was trying to make it both more thpooooky and also more meaningful. Gina looked pleased last night and told me what I did with the first part of the Future sequence was much more effective than what's usually done.
Slowly, slowly it's all coming into place. *tries to breathe* Tomorrow's going to be interesting--our first night on the set.
