Note from 3/26 & 3/28

💛Great rehearsals last week everyone!💛


This upcoming week's schedule-

    ALL ARE CALLED 2:30-5:00 

Apr 2

Sc 6 (p87-91) Wendy, John, Mike, Peter, Lost Boys, Hook, Pirates, Tiger Lily, Brave Girls

     BRING YOUR PATIENCE

Happy Spring Break!!

1. Announcement-
    OFF BOOK ~ APRIL 9th!!
  Lines, lyrics, blocking & choreography

2. Think on this -
You are not only your character when you are speaking or singing, you are your character when you are hearing and reacting to what other characters say (or sing) to you. As you go through your script and work on your memorization, explore how your character responds and reacts to others. 

Listening is not merely hearing.

Listening is reacting.

Listening is being affected by what you hear.

Listening is active.

~ Michael Shurtleff

3. NEXT week's rehearsal schedule-

CHECK WITH MS. NEEL REGARDING TUESDAY AND THURSDAY

 

Rehearsal Notes 3/5

1. Announcement-
    OFF BOOK ~ APRIL 9th!!
  Lines, lyrics, blocking & choreography

2. Rehearsal Schedule this upcoming week-
    Sc 5 pt 3- all performers called 2:40-5:00

2.5. There has been a change in our rehearsal schedule for the end of March and the beginning of April. Please ask your family to look at the blog entry titled "Rehearsal Schedule/Sunday, January 27" beginning tomorrow, March 11, to see the updated schedule.

3. Think on this-
"The time to sing is when your emotional level is just too high to speak anymore, and the time to dance is when your emotions are just too strong to only sing about how you feel."

The famous and influential choreographer Bob Fosse made this statement regarding your character.

4. Rehearsal Notes 3/5

Lost Boys, Peter, John, Michael p 42- on measure 43 "She'll be waiting at the door..." I'm going to cut the whole Tootles-as-Wendy deal and put in a dance step for everyone.

Lost Boys, John, Michael p 71- Remember ~ enter with gentle ad lib chatter on Peter's line "I don't." and WHEN TOOTLES STEPS ON STAGE MAKE THE CHATTER PANTOMIME.

Lost Boys, John, Michael p 71-73- Only a couple of you should "fall asleep", the others need to be very involved in listening to the song and thinking about how it makes you feel. Especially Michael and John. The song makes you long for the love of a mother.

Wendy p 72- stand and approach Twin 1 somewhere around measure 33, go to her and comfort her.

Lost Boys, John & Michael p 73- nobody stand on these lines please

Wendy p 74- "Peter, I'm going to give you your medicine before your journey." Realize that he isn't moving before- "Get your things Peter."

Peter- Kudos to you. You are doing a really fine job with finding the honest emotion in Peter's responses. "I don't want to grow up..." was especially nice.

5.

 Fairy Dust Awards

Sarah Rached & Evie Bloyer

great rehearsals girls!!

2/26 Rehearsal Notes

1. To me, this is the absolute key-

Acting is behaving truthfully under imaginary circumstances.

  ~ Sanford Meisner

2. Rehearsal Schedule for this upcoming week

NOT CALLED-Tiger Lily & Brave Girls

Blocking 2:40-5:00

Wendy*

Wendy, Mike, John, Peter, Lost Boys

Sc 5 pt  2

Wendy, Mike, John, Peter, Lost Boys

Music 2:40-5:00

Hook’s Tango

Pirate March

Hook’s Waltz

Hook’s Tarantella

Hook & Pirates

3. Rehearsal Notes

Lost Boys p 36- After "Bows and arrows, everyone!" don't get out of the way too fast, especially those of you upstage.

Lost Boys p 43- Let's try ring-around-the-rosie around Wendy and Peter after "As long as it's only make-believe".

Wendy p 44- The line, "Children, I'm sure..." should be very Disapproving Mother. 

Lost Boys p 57- NEXT TIME we do this scene, remind me that I'd to add a tumble or a roll in to the exit on sound cue #23 by someone who hasn't had a chance.

Hook p 59- "Brimstone and gall, what cozening is here?" Cozening means "trick", right? So Hook's wondering what's going on. Then he realizes what it must be - "Peter Pan!"

Lost Boys & Peter p 59- Don't exit quite so quickly, move slowly as if to not attract attention.  

4.                                   Fairy Dust Awards
Hailey, who can define spalpeen and use it in a sentence. 
Daphne, who is the dance captain for the Brave Girls.

2/19 & 2/21 notes and FULL UGH-A-WUG

1. 🎭"What do I want?"

Objectives, stakes, and obstacles.

In order to create your character, dig into the script for clues as to what they want. They wouldn’t be in the play unless they wanted something important and there was an obstruction to them achieving it. Even the smallest characters have purpose and discovering it is the difference between standing onstage twiddling your thumbs and creating an active character.

There’s rarely a wrong answer when it comes to hunting the objectives, stakes, and obstacles for your character but it’s important to remember that the most obvious answers won’t necessarily be the most interesting. Interesting wants, high stakes, and multiple obstacles generally make for the most compelling characters.

LAURENCE COOK

2. Ugh-A-Wug for home rehearsal

3. Rehearsal Schedule for this upcoming week-

Feb 26	Sc Sc3 pt 6 (p 37-38 & 43-44) Sc 4 pt 2 Peter, Lost Boys, Hook, Pirates, Wendy, Mike, John, Tiger Lily		Review Ugh-A-Wug Brave Girl Dance	ALL CAST CALLED 2:30-5:00
Feb 28	Duel Peter, Hook	X	X	Thursday Only Hook & Peter

4. Rehearsal Notes

Rehearsal notes Tuesday Feb 19:

Pirates p 25- On your entrance, travel further with each step if you can, and continue moving in character after the dance steps cease.

Pirates p 27- React when Noodler comes out of hiding

Smee p 27- “Shall I after him…” Act as if you’re going to walk away and do it.

Pirates p 27- One thing I noticed that will help the searching is - don’t make long crosses across the whole stage.

Jukes p 29- Great reading on “What tempo captain?”

Smee & Hook p 31- What is your character’s take on the tango? Are they enjoying it? Being very serious about it? Right now it looks like two actors concentrating on the steps.

Rehearsal notes Thursday Feb 21:

Mama p 92- Start on Wendy’s bed, left. When you first hear the children singing, you don’t look at them. Believe that you must be hearing it in your imagination. Don’t look at them until Nana barks. Stand on your line “Wendy…”

Lost Boys p 94- Each of you needs to decide how you feel when you enter the room. Are you nervous? Expectant? Curious? This is the first time you’ve seen a real mother.

Mama p 94- “George, don’t you think…” Cross to center. (Which will be towards him)

All Children p 94- It is super important to the Darling children and the Lost Boys that the Boys be accepted into the family. You’re very hopeful and then very relieved and happy.

Mama p 94- On Papa’s line “Make yourself at home”, take his arm and cross down to the extension. And, in pantomime, greet all your new children.

Liza p 4- Begin up right.

Michael p 4- For your line “I won’t go to bed…” Remember that we talked about not saying the same thing twice in the same way.

Nana p 4- After you get your knee pads, try making a circle around the whole group center during “Liza, it isn’t six o'clock…”

Liza p 4- Cross to Wendy on Michael's line “Nana, I won’t go to bed…” Cross down to Wendy to try to intervene and get the children to behave. Wendy’s going to try to dance with you, let her know that you won’t.

Liza p 5- Cross left after “...at make believe and dancing.”

Michael p 5- When Nana herds you toward your bed, go to John's bed first, then walk on the beds to yours.

Wendy & John p 5- Be happy to resume your dancing.

Mama p 5- Enter left and cross to downstage of Wendy’s bed.

Michael p 5- Try coming up to your knees on “They never let me dance.” as if you're bouncing on the bed.

Mama p 5- On your line “Well, we’ll soon fix that.”  Grab the hat off of John, who is standing on the bed, and cross to Michael on right.

Mama p 5- On your line “What is the matter…” Cross to center toward him.

Liza p 6- Cross up right on John’s line “I won’t take a bath…”.

Mama p 6- Cross to dad at right on “I’ll brush you off…”.

Wendy & Michael p 6- On your cross up left, be doing something fun.

Mama p 6- On “I will tell you why.” Cross to the right of center because you want to talk to Papa where the children won’t hear.

Mama p 6- After your line “George, what can this mean?” Cross up the window as if wondering if you’ll see the face again.

Mama & Liza p 7- You are both up right during the conflict between Papa and Nana.

Nana p 7- Go ahead and be really big with each specific reaction.

Liza p 7- After John’s line “She’s awfully unhappy” Shoo Wendy to her bed, then exit left.

Mama p 7- After Liza and Wendy cross, you cross right to Michael's bed and sit.

Mama p 9- At measure 21, cross up to John, put him into his bed, then cross to Wendy and sit with her.

Mama p 11- Exit left.

Children p 10- Each lay down after you finish singing.

 
5.         Fairy Dust Awards
Alexandra Rose & Emme Wathen, great focus and excellent commitment to character
Candela & Charlotte, super vocal rehearsal
&
Juliet Hubbard for adjusting very well to new choreography 

2/12 & Ugh-A-Wug

1. Something to think on...

ensemble-

~ the general or total effect of something made up of individual parts

~ all the parts of a thing taken together, especially when all the parts are in harmony

~ undividedness, unity, cooperativity

*our entire cast is an ensemble

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

2. Ugh-A-Wug for home rehearsal

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

3. Rehearsal Schedule this Tuesday 2/19,  2:30-5:00 full cast

2:45 3:45

with Ms. Atchelli

Neverland & Finale

Full Cast

-break-

4:00-5:00

with Ms. Atchelli

Distant Melody

Wendy, Peter, Twin #1

with Ms. Linda or Ms. Gilbert

everyone else, TBA (to be announced)

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

4. Rehearsal Schedule this THURSDAY 2/21,  2:30-5:00 

Mother, Father, Nana, Wendy, John, Michael, Lost Boys

2:45- 3:45

with Mrs. Gilbert

scene 7 

Mother, Father, Nana, Wendy, John, Michael, Lost Boys

💢 Lost Boys released at 3:45

-break-

4:00-5:00

with Mrs. Gilbert

scene 2 part 1

Mother, Father, Nana, Wendy, John, Michael

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

4. Rehearsal Notes-

Wendy p 11- Remember, 2 beats when waking up; first is shock, second is concern for him.

Peter p 11/12-  At which EXACT point do you remember to be brave and stop being startled that there's someone else there?

Peter p 12- "Don't have a mother." make a quick transition to "I can't get my shadow to stick on." You can be thinking that mother's aren't important, but here's what is - my shadow!! Or you can want to change the subject quickly because you don't want to talk about mothers. 

Peter p 14- Fairies are important to you. What does Peter think would happen if all of the fairies died?

Wendy p 15- Think about all the questions that she asks him and how she follows him from place to place around the room. He's wonderful and magic and adventure and the unknown, not normal-everyday, hum-drum life. She becomes more and more fascinated by him. And then he tries to leave her!!!!!! No way can she let that happen!

Hook p 27-  "Aye and the first scream would bring Tiger Lily's Brave Girls upon us!" We need to understand every word. Technically this is important because this is the first time that the audience hears of  these characters. As an actor you can justify taking time with this by thinking of the words "Tiger Lily's Brave Girls" as words that will scare the pirates. You like to scare the pirates.

Pirates p 27- this is a cringe emoji 😬 The definition of cringe is, "to shrink, bend, or crouch, especially in fear or servility; cower." 

Eleanor p 27- I have an idea on your fearful jump. Remind me. 

Pirates p 27- Keep your searching slow and low key, keeping the stage alive but not stealing focus. 

Hook & Smee p 27- I really liked the connection and intensity that you two had around the croc story.

Smee p 27- Maybe the cross downstage on "Yet, I have oft..." is motivated by wanting to put some space between the two of you as you are about to disagree with him. 

Hook p 28 - I liked the time that you kind of skipped upstage, waving your arms above you on the "tick, tock.." line.

Pirates p 29-  I prompted you all to look at Hook when he says, "Listen!", but you can't all look, sorry. Only the couple of pirates closest to Hook can look at that point. the rest of you need to keep searching 'til Smee whistles. 

Hook p 32- I have an idea for your faint. Remind me. 

Smee p 32- Why are you the last to leave? Do you trip and fall down, drop your whistle, freeze in terror?

Pirates p 79 - I liked the way that you were handling this; looking out to sea (the house) and imagining yourselves the happy children ,safe in their beds with chocolate on their cheeks. When Hook compares them to the kids tied up below deck - get mad! You don't have safe, warm beds and mothers to go home to like Wendy and the others do. 

Hook p 79- What would you think of brushing that "crumb housed insecurely" off of Smee's cheek? Or maybe catching it on your finger and eating it? (I mean pretending this, of course!)

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

                Fairy Dust Awards

Hailey and Elijah - lots of dedicated work, lots of team work

Lilit Vartanyan - focus, commitment and patience

2/5 notes & Brave Girl Dance

1. Here's the Brave Girl Dance for home rehearsal (It looks great!!)

2. note for Brave Girls, Page 36 -

When Tiger Lily says "The bird must be omen" - agree with her. She is very wise.

When she says "Famous Brave Girl Proverb"- lean in to hear her wisdom

When she says "run!"- loose your dignified demeanors 

3. Rehearsal schedule for Tuesday and Thursday 💖💘💗💝

Feb 12	Blocking 2:45-5:00 Sc 3 pt 1,2&3 (P 27-29, 32, 79) Hook, Pirates, Crock	X	Choreography 2:45-5:00 Ugh-A-Wug Brave Girls, Tiger Lily, Lost Boys , Peter, Wendy, Michael, John
Feb 14	Blocking 2:45-5:00 Scene 2 pt 2 Wendy, Peter Sc 5 pt 4 Peter	X	X	Thursday Only Wendy & Peter

  

4. Think about this...

 
5.              Fairy Dust Awards