10/30
First cast:
Jeff tries to get away so that is why you wrap his arms around you
Give the cane and hat on beats
Passing of the hat and cane: “then” “we’ll” “bear” “until” “then”
Rosalinda push Alfred down, walk to new spot at end of chez and then breath
with the conductor
Rosalinda counter Eisenstein
Rosalinda extend your hand to Eisenstein on farewell
“I’m sure THAT will cure her”
Eisenstein, have a little smile that says, “Ah, good wife” while she languishes
Rosalinda can’t spin before Alfred’s entrance it takes away from his entrance
First things Rosalinda needs to do is flip Eisenstein around when trying to
distract him
Rosalinda, panic during your Las after Alfred enters
Second cast:
Eisenstein, keep the movement going and then stop the movement when you
see the boar’s head with the flower
A little more mocking on your line Adele: maybe just straight
Work the beginning before Rosalinda sings- play with how you get to the
chez
Eisenstein the good wife can be even bigger at the beginning- where you got
was good
As smooth as we can make that transition down to E. around Alfred, but as
fast as you can with gracefulness- a sweep if you can
Adele, don’t dwell on the aunt line
Now we are losing Rosalinda’s surprise at Alfred’s entrance
We need to work the pass off section
Alfred you need to propel her off the couch
Also, Alfred slink on the chez and then slink to her
10/31
First cast:
Marlen, when you come to say “you must pretend” add a little laugh or
indication about hwo silly your husband is.
Frank grab Rosalinda’s hand across the table when she sits down before the
trio the first time through.
Rosalinda stay standing at the end of the second time through while the men
lounge
We have to find a place to do the napkin round the chin
Dusty you need to look back on the pats before Rosalinda’s explanationthose pats are for you
More time on the hand war after souper
Rosalinda when you pull him away after kiss, cover it with a little bit of
exasperation
Second cast:
We need to take longer to fix the curtains
Don’t push him back into the curtains, he’s already out
Alfred needs to start singing behind the curtains and then come out
Rosalindas need to respond to hearing Alfred say that he is not heir von
Eisenstein
We need to fill the tatada before Rosalinda begins to sing her explanation
Add the hand kissing while you hold her hand
Alfred “I’ll come with no resistance” follow Frank and then come back to
Rosalinda
Take more time for the ending cross out- stay in center until the “Goodbye”
Make more of a joke out of Big luxurious boarding house
First cast Act 1 run-through:
2:24-3:00- 36min
Alfred: at the beginning. Missed a little of the vault, and thinking you saw
something
Duke, I want to see more enjoyment in your face when you sing your
opening serenade, almost as if you are seducing yourself
Katelyn good, you can explore a little more with using one to take the letter
out and another to open
Prince Orlovsky, shift focus on “you know who he is”
Crosses in Adel’s opening, you don’t need to cover a certain amount of
ground. Let the statement and movement match
We need to fix the “AH” moment again
We need to keep the crying going a little bit longer with sniffles and then
make the transition with that
Good on your crying Katelyn
Rosalinda needs to set down the flowers when she comes in
Courtney, good mistress energy with Adele
Make sure that “dead” is out to the audience
Adele take a little longer to cross her, you don’t need to rush past her
Courtney, let the memory of the fun be what gets you seated—you were
almost there
WE can use the proximity to get sexy with Rosalinda when she moves in on
Alfred Please
Work the hand up the arm on “Che gelida”
We can take a little more time on “I can’t resist the sound of your voice”
We need to keep the dialogue going on your monologue after Alfred leaves
Katelyn you were late on your entrance (both of them in the argument
scene)
Blind chase is a little awkward, let’s fix it
John nice expression, you can take some of your lines straight out
John it’s kinda fun but we need to see you getting really upset so the ears
are a way to calm you down
John good play, but I’m still seeing you think of the words as a singer, not an
actor
We need to delay E to desk until after today we must be parted
Supper Adele, the correction, prod them to be more expressive for why you
are saying the best and expensive
We need to figure out where to place the desk to make sure we have enough
space SL of it for Falke
Clayton, avoid illustrating your words, i.e. ballerinas, polka
We need to look at the stealthy cat creep
Little too much of a pause for the Frenchman
Eisenstein give him some active action during the hypocrite line
Jeff I like the dance reaction
For falke we need to work the chair moment, we need to pick it up not just to
move it, but to dance with it
Unbelievable, he’s like a different man could be to the audience
Katelyn, you’re mouthing the words to the other lines
Farewell, take rosalinda’s hand
Katelyn, your boars head line is close, you are just taking too much time
The first transition from sad to bad until the music starts to change- go with
the music the first time
We need to work the transition down after Alfred goes behind chez
Jeff start to turn on suicidal so she can pull you
We need to make sure that we aren’t going to hurt Alfred with the Adele
bump
Their timing , head is throbbing, and head cold we need a little a little turn
from Eisestein so that Adeles head getting cold is to him to stop it
US of the table worked well too
Make sure that the Alfred’s know they are putting on the smoking jacket
You don’t’ move to sit on the chez until Passion
Duke, use the why complain phrases to get yourself to her
When you move to the SL side of her move there on “sing, sing sing”
The la, la, la,la, las need to be seductive
It’s good when Rosalinda drinks her champagne too
Getting rid of the glass on the desk was nice too
Down on the bomp, sit on the other bomp
Nice moving in on her Alfred and Rosalinda
They need to drink after the buddy buddy
Rosalinda, good on the pats with the music
As she extricating herself, she needs to be looking at Frank- it’s all through
gritted teeth
We can maybe get Alfred nose to nose with the boar and then maybe he
even tastes it
Alfreds need to have an acknowledgement that Frank is in the room
We still need to fix the back and forth as you are leaving that Alfred doesn’t
get connected with Rosalinda until ?
We may need a shove to Alfred
Alfred has to try to follow her
Second cast Act 1 run-through:
3:45-4:24 39min
Better for face alfred, but we still need to work with Eric to help with him
movement
On the Ah they don’t need to get to any particular face and have the Ah bring
them back and bring their focus out and they will be closer
Marlen, you’ve got the power, you don’t need to lean into Adele
Adele, nice detail and specificity at the beginning
Marlen, that is the right direction to go in, but you can still go a little further
with the mistress energy
Sarcasm in how fortunate her aunt
Rosalindas let the high note work on you, so each time show it
We need to have a more precise good heavens reaction from Marlen
Marlen need to move further DS
Work note: after chao belle we need another note or something
Robert, wait to move all the way upstage until the little break on your first
entrance
Robert, you are going in and out of having your face connected to the text, it
happens in your singing more often and we need to bring it together
WE might need to have Rosalinda get up on ”I can’t endure it” so that she
has time to catch the cue
Robert a little bit more verticality in your anger—you tend to pull down in
your anger
We need to have the shift when it goes to the audience by having everyone
step DS- the trio
Rosalindas don’t need to make a big deal of the “oh nothing” throw it off
Timing of the dialogue 3 is slow
Eric, “to a ball, a splendid ball” it’s all connected
Same thing applies to the line about the ladies- we need to work with the
things on the same level or a ladder when they build
Eric you can’t move too far SR, or you will US yourself when you have to
cross to the desk
“Dine like a God” paint that picture very clear
There was a weird parallel move before the sentimental section
“little mouse” “tom cat” notice the difference
I love the energy Robert, but we are losing the elegance of the time period
Robert don’t point on “the cats” in dialogue
Marlen- still more alarmed on rats
Marlen, you need to be careful to put hands on your hips
Rosalindas, be more and more specific about the little details- coffee, cup
This is all, oh god, use more with that rhythm
Marlen, you can’ get so far over SR before Afred jumps in—you need to be
right at the edge of the chez
Good on suicidal
Robert, is starting to sneak some confusion
Robert, nice transition
Marlen, you can’t see Alfred and adele- make sure you don’t look back there
until after they are up
Alfreds you are taking your coat off and you are putting on the smoking
jacket
Marlen, look at Dialogue 5
Marlen, you need to sit in the middle of the chez, not the end
Marlen, you can take more stage when you get up on “wine”
We will give you some numbers Marlen
Marlen put the glass on the desk
Alfred- fantasy behind and then the next bomp sit down
Marlen, nice response to Alfred singing from behind the curtain
Rosalinda has to hear I’m not Heir Eisenstein
She needs to be DS of Frank, not on the same plane
Marlen you have to move DS earlier—on your first line you need to move
around
Frank—what’s the difference the second time from the first time—are you
buying it the second time
The breath has to be more discreet
Rosalinda and Alfred, you are to far center
Marlen, you have to pull him SL on “you realize….”
Alfred really grab her on “see how I suffer”
Change it to actually giving Alfred a little shove
Alfred exiting say things to Rosalinda