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Romeo & Juliet Rehearsal Schedule and Notes **

Schedule for the rest of the week ...
__**Wednesday, April 23**__ - 3:15 - Photo call for Montague, Lady Capulet, Tybalt - 3:30 - 4:15 - Work with Benvolio, Mercutio and Peter - 4:15 - 4:45 - Work 1.4 - 4:45 - 5:15 - Work 2.4 - 5:00 - 6:30 - Run Act II (EVERYONE CALLED)

- 3:30 - 6:30 - Run Act II with MERP
 * __Thursday, April 24__**

- 2:30 - 3:30 - Work scenes TBA - 3:30 - 6:30 - Begin Cue to Cue
 * __Friday, April 25__**

- 9:00am - 5:00pm - Cue to Cue, Fight Call, and RUN THROUGH of the show!
 * __Saturday, April 26__**

Romeo and Juliet Notes #1 **//__ ACT ONE __//** - Joe – let’s work on this just a bit – it is almost there - The opening picket sign rumble looks sloppy – be specific and DON’T SMILE  J  - Roe and Jake – let’s take 5 minutes before the next run of Act 1. - Everyone – Articulation - Montague/Lady Mont/Benvolio – use your bodies a bit more in your dialogue to help us understand what is happening. - Everyone: Look at the ends of your sentences – they are dying out – give energy to your partner through the ends of sentences. - Benvolio/Romeo – have fun playing the game during the Rosaline section. - Lady Capulet – the hand moment w/Paris is working – see me for something new. - Lady Capulet – watch the ends of your sentences (I am not getting plot aspects). - Romeo – let’s make the kick to Joe specific – maybe work with Michael? - Benvolio/Romeo – make scene more specific. Plant yourselves and figure out what you want from each other. - Lady Capulet – the silence with Juliet before you call Nurse back is almost there – just fill the silence with bigger actions. - The rhythm of the scene seemed a bit off tonight. - We will be working this scene soon! The blocking seems a bit scattered and we need to make more of the dancing moments. - Tybalt – see me about “fetch me my rapier, boy.” - Romeo and Juliet – your first meeting is GORGEOUS! Romeo – let’s cut the turn away after prayer section. - Good scene! Erik – we’ll work the monologue tomorrow! - Romeo – I love the energy and boyishness! Let’s just take him down a couple of notches – he’s a little too big for the space right now. - Juliet – let’s explore something other than “next.” - Romeo – pay attention to the punctuation in the script. Watch midsentence breaks. - Juliet – start “I know that thou will say aye” section as Romeo is crossing to you. - The scene seems a tad bit slow – let’s pick up cues a bit! - Juliet – you have found the love! YAY! - R & J – Continue to find more emotional levels and changes – watch playing the same beat too long. - Let’s pick up the pace a bit in the last conversation (the “who will hang up first?” section). - Brilliant scene – great work! - Romeo – I love the kiss to Friar! - Mercutio – be sure to start the scene with energy and SLOW DOWN! - Everyone – heighten articulation! - We need to believe that the Nurse is actually leaving – let’s lead up to that moment a bit more. - Juliet – watch being angry – you are frustrated, but you don’t hate her yet  J  - Good scene – Romeo: let’s work your monologue! - It’s almost there! Keep your intentions and passion high! - There are 3 specific SMALL areas we will work soon! **//__ ACT TWO __//** - Juliet – can we start the scene with trepidation as opposed to hopeful joy. Suspect that something may have went wrong. - Nurse – I like the simplicity in the scene, but we still need to fuel it with emotion. Explore a personal connection to help compel this tough emotional scene. - Nurse – continue to raise stakes – “Tybalt is gone!” - Juliet – “Back foolish tears” – that is Juliet’s personal cue to stop crying. Play the diagonal on this line. - Roshen – in the opening sequence: great intentions, make bigger physical choices - Juliet – “Come, night. Come, Romeo. Come, thou day in night, etc” needs to be varied. - Nurse – add in notes of anger in “he’s dead, he’s dead”: anger will help vary it. - Juliet – have a reaction to Nurse saying that Romeo is banished for the first time. Let that news hit you hard before you say your line “O God, did Romeo’s hand shed…” - Juliet – overall you spend a lot of time saying your lines to the floor! Look up! we want to see your face! - Juliet – on the line “Give this ring to my true night, and bid him come to take his last farewell” make sure we understand that you’re telling her to make him COME BACK HERE to say his last goodbye. - Romeo – take a moment to let the shock of “Banishment” soak in. - Friar – hit “fault” in “Thy fault our law calls death.” (Let him know it is his fault) - Romeo – see Mr. S. about body position to try when knock comes - Friar – Slow down, my dear  J  - Nice scene. - Friar– overall you have awesome energy, but you have to find a center for this character. She is very peaceful, centered and rooted – right now she’s coming across high strung and anxious. One line to look at as an example: “Art thou a man…” - Romeo – when the nurse gives you the ring at the end of this scene, look at it, acknowledge it, it is what revives your comfort! Right now you’re taking the ring from her, but keeping your eyes on her the whole time. - Friar – “And here stands all your state: Sojourn in Mantua… etc” These aren’t just plot points for the audience, but also places for you to show that the character is calm, peaceful and always has a plan. You’re telling Romeo “I have a plan, it’s going to be alright, keep calm.” - Lady Capulet – let the Paris kiss moment build – we want to believe you will actually kiss him. Right now, it seems like just a look in the eyes  J  - Lady Capulet – play the humor in “Thursday” line. - Capulet – overall watch your posture and how you walk. Let your character have strength: don’t drag your feet of cock your hips or put your hands in your pockets. - R & J – the scene is playing very nicely - Romeo – let your last line linger before you leave Juliet - Capulet – Pronounce Manuta like “Man-chew-a” - Capulet – let’s work your slap moment with Juliet – it is almost there. - THIS SCENE BECAME FANTASTIC TONIGHT!!! KEEP IT! - Juliet – Here’s a moment where you don’t have to be so serious!! “It is not yet near day. It was the nightingale, and not the lark, etc” Let your character be more playful and flirtatious with him – you just had an awesome night with your new husband!! It also has to serve as a contrast to when you actually throw him out in a minute with “Hie hence! Be gone, away!” Capulet – on the line “What, wilt thou wash him from his grave with tears?” you go over to her and put your arm around her, so use the words to show her that you’re “on her side” and want her to relax and open up to you. Be more compassionate. Lady Capulet – when you yell at the nurse, you’ve just gone over the edge about your “disobedient” daughter. Now, your servant is being disobedient to you and SHE has led to a disobedient daughter. You can barely contain yourself in these lines to her. - Juliet – on the line "I am gone, having displeased my father, to Friar Lawrence's cell," slow down and say each of these sections of the sentence. It's slurring together and we're not understanding. Also, you're desperate, which we see clearly, but you're also resolved to go and ask her for help. This is the plan you're coming up with to figure all this mess out. Let that resolve show in your voice and your face. - Paris – you found your character tonight – whoo hoo! - Paris and Juliet – let the tension build as the conversation continues - Paris and Juliet – let’s work the kiss section. - Paris – don't throw away the word "immoderately" in your first line. That is the key word because it is describing how ridiculous you think her crying so much is. - Paris – don't forget to be playful and engage Juliet on the line "do not deny to her that you love me." You went back to pointing at the Friar and just walking behind Juliet – it should be more physically flirtatious. - Friar Lawrence – when you tell Paris "we must entreat the time alone." Gesturing to the door is nice – keep your arm up until he walks over to Juliet. - Friar Lawrence – there was an awkward spin on the line "hold daughter," when you tae the knife from her. You start downstage and you can just walk right to her arm, take the knife and keep going with no spinning necessary. - Friar Lawrence – as you're giving Juliet the instructions about the potion, don't furrow your brow so much. It makes you look confused about what you're saying. Remember that she's very grounded and she's confident about the crazy plans she's putting into action. Just slow down and explain to her what the potion does and how it works. We have to understand that your character is a trusted elder for R and J. - Friar Lawrence – "get you gone. Be strong and prosperous" intentions very nice. Capulet – Slow down!! Savor the moment when you cross to Juliet and hug her. Slow down your lines, too, they're getting mushed together. - Juliet – in the transition between scenes when you see Romeo and Tybalt, you can let that screw with your mind! Think of how confusing it is in your monologue to be seeing two dead people – this is the first time it's happening and you can let that shock register on your face and body. It will also help motivate you later if you have a reaction to it now. - Juliet – before you say "I have a faint cold fear…" take the moment to look around and pick up the teddy bear (or pillow) and let it sink in. Otherwise, the line comes out of nowhere. - Juliet – on the line "for she hath still been tried a holy friar…" let yourself be angry and confused by the seemingly contrary facts. Is she trying to poison you or is she a hold friar? That can be a line where you can vary your intentions and play the frustration rather than the desperation. Desperation comes back quickly with the next bit. - Everyone - Don’t let the grief end when you are finished speaking – it is ALWAYS there. - Everyone – RAISE THE STAKES! - Dana – I am missing your lines when you are crying – please slow down and project. - Capulet – please pick up cues in this scene. - Paris – don’t get too big for this scene – it is a bit “beast”-like. Hold it in until you have to explode your fist into the floor. - Nurse – let your first few lines build more. You're going from calm to hysterical with nothing in between. You say "I must needs wake her" twice, and you've got to make them different. The stakes are higher the second time. - Capulet – really embrace Paris on the word "son." Let it be a big bold hug, you're very emotional and you've just found your only daughter dead. There's significance to you calling him "son." - John and Abby – watch your hand motions over the fire. It looks like you're washing your hands right now! Rub them together, maybe blow on them. - Romeo – you are in the depths of hell, and yet all you talk about is your love for Juliet. You say "How sweet is love itself possessed when but love's SHADOW's are so rich in JOY!" You've got to let some joy into this first little monologue. We have to see that dreaming about and thinking about her kisses and her lips and her love is what is keeping you going. It is what's making you happy and you even say that. You have to be joyful and eager. Right now, it's just coming across desperate and anxious. Add in those rich layers of joy. We have to see what you have lost when you think she's dead. If you're already anxious and desperate, you have nowhere to build to when you find out she's laying Capel's monument and you want to kill yourself. - Balthasar and Romeo – move in front of the trashcan for dialogue. - The Pace in this scene is SLOW – let’s pick it up a bit! - Apothecary – you are finding this character, now let’s PHYSICALIZE her. - Everyone – LET’S UP THE STAKES! - Aaron – slow down and TELL US THE STORY!!! - Friar Lawrence – when you're doing tai chi at the beginning, DO NOT SMILE. You are meditating on all the complicated plans that are in action and it's all beginning to weigh on you. Use those precious moments you have as an actor to find center and show us how heavy this burden is. Otherwise, we don't know why you freak out at Friar John. - Aaron – don't rock as you're saying the lines. You're scared of what your consequences are, which is starting to look really nice, but channel that energy you're using to rock back and forth into the lines. - Friar Lawrence – take your time with spitting out "Unhappy fortune" AT HIM – he has messed things up very badly. Then walk away and flip out with the rest of it.
 * __ Prologue __**
 * __ 1.1 __**
 * __ 1.2 __**
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 * __ 1.5 __**
 * __ 2.1 __**
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 * __ 2.4 __**
 * __ 2.5 __**
 * __ 2.6 __**
 * __ 3.1 __**
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 * __ 3.4 __**
 * __ 3.5 __**
 * __ 4.1 __**
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 * __ 4.4 __**
 * __ 5.1 __**
 * __ 5.2 __**

TECH WEEK BEGINS – NO CONFLICTS Schedule TBA Expects runs of acts/show
 * __ Monday, April 21 – Friday April 25 __**

9:00am – 5:00pm Cue to Cue Rehearsal with Tech EVERONE CALLED
 * __Saturday, April 26__**

3:30 – 7:00pm Dress Rehearsal 1
 * __Monday, April 28__**

3:30 – 7:00pm Dress Rehearsal 2
 * __Tuesday, April 29__**

3:30 – 7:30pm Final Dress/Photo Call
 * __Wednesday, April 30__**

7:30 – Performance 1 Call Time: TBA
 * __Thursday, May 1__**

4:00pm – Performance 2 7:30pm – Performance 3 Call Time: TBA //**We will have dinner at school between shows**//
 * __Friday, May 2__**

__Saturday, May 3__ Call Time: TBA**
 * 7:30pm – Performance 4 (Last one!)

__Monday, May 5__ STRIKE – EVERYONE CALLED**
 * 3:30 – 6:30pm

__Tuesday, May 6__ STRIKE – EVERYONE CALLED**
 * 3:30 – 6:30pm**