NEW SCENE SHIFTS AND TECH NOTES

[Jacquelyn Honeybourne]

hey gang!

Great job last weekend! I know there were a lot of things going on all at the last minute and I really appreciate everyone handling them with such grace and great attitudes! You all rocked!

With that I have a few things technical wise to note and I have attached a break down of simplified scene shifts. PLEASE look at them asap- and if you cant open them (it's a zip file) then let me know asap. Read all the notes even if your name isn't on it incase it was something you did or affects how you are going to do things. Notes are on the scene shifts and also additional things here:

- Major change: There is no more bar top. none. gone. bye bye. I think we will all be okay and suspend disbelief for the "bar"

- When you arrive, put your stuff in the green room and then DO PROP CHECKS FIRST! because we only have access to the theatre an hour before and bc the greenroom isnt connected to the backstage area it is vital to get props and out of greenroom stuff done FIRST- that way you arent seen as much when the audience arrives. I would love it if you were all ready to go prop wise and in the green room, out of site, by 30 till. I realize this probably wont happen, but lets go for it anyway!

-Jack- there will be a chimney cloth- if you still exit with it like you did sunday, then just go ahead and exit and go around and re-enter through the other double doors so as to not be in the scene so much

Kelly- angle the desk when you get behind it.

Lindy- wait until santa starts reading the letter to have molly puppet appear.

Kurt- wait a beat then come right out in Mrs K music after Kringle house scene to do scene shift. dont wait until she's done. Also, do in spain puppet from behind desk not side of desk. We're hoping this will help volume wise (see scene shift pages) same thing with the shift after the second office into the bar- come right in with shift.

Kurt- put phone on upstage side of desk facing toward audience so we can't see the back of the phone and thus that it isnt plugged into anything. 

scene shifts can be an organized higher pace in general. dont run, just move quickly and cleanly- not frantic.

Mic puppets have to be held vertically as much as possible. I think a new "curtain" which will be a screen at three ft high will help with this- i will update on the screen later this evening.

Ruby and everyone!- dont be afraid to use your space- especially downstage space! (Ruby- in spain and bar). Dont get caught up in one plane.

**Can everyone who isnt onstage do GASP! OH MY! OOOHHH!'s from backstage after the  Peter reads off "Kringle" in final scene. NEEDS IT DESPERATELY! and I wont go back to the sound cue oddity. 

thats all on these. BUT let me know if you can open and read the others!

rock on and see you tomorrow!!!

Jackie

[Alena Acker]

Hey,

I have viewed all of the changes.  Thank you!

I assume that my "give Kurt his newly-costumed puppet and put a glass on the table" business before Peter's drunken scene in Jack's bar is still the same, but in an effort not to make an ass out of anyone, I am double checking now.

Thanks,

Alena

--
Alena Acker

196 Lenox Rd.
Brooklyn, NY 11226
USA
313.720.5798
missal...@gmail.com

[Jacquelyn Honeybourne]

yes, thats the same. if not mentioned its the same