NOTES FROM DESIGNER RUN:

1.1
• ESCALUS: Great take to the DUKE, but don’t do the same take when Angelo has
his reaction: stay facing forward.
• DUKE/ANGELO: more space between you DSR after the ‘photo op’. That will
help with volume, too.
• DUKE: when you refer to the “people” (l. 75ish), indicate the back of the house
(where the media has exited)
1.2
• ANGEL: Slow down and speak up: I’m not understanding you: this goes for all
your lines, even as the SERVANT
• 1ST GENT: Don’t forget to wait for Lucio to dare one of you to talk to Overdone.
• POMPEY: come in before the door closes (when Lucio and the Gents exit): you
can catch the end of Overdone’s speech.
• POMPEY: Suh-burbs, not Soo-burbs.
• OVERDONE: Fantastic stakes with POMPEY! Great sense of danger and urgency!
Keep it up!
• CLAUDIO/LUCIO: When you cross away from Provost and Juliet, move a little
further Stage Left from them. Keep having fun with that relationship: making
the best of a bad situation.
1.3
• FRIAR PETER: I’m loving the physicality and jovial quality you’re creating,
Zach. He’s a very likeable fellow.
1.4
• FRANCISCA: Loving her ‘scatteredness’. Don’t let that speed up your dialogue,
though. Make sure we can understand you.
• LUCIO: make sure you’re saying your “Ho”s at the right time. They are cue
lines.
• LUCIO: stand slightly upstage of Isabel when she’s sitting to open you both up
to the audience more.
• ISABEL: Nice emotional journey in this scene, from not believing him to
deciding to help—even if it goes against your morals. You can shorten the
decision pause just a tad.
• ISABEL/LUCIO: great work in this scene, both of you.
2.1
• ESCALUS: Don’t look away from Angelo until “Be it as you will”.
• ELBOW: Face out on ‘Quality’ so the audience can see that you have no idea
what the word means.
• POMPEY: l. 167: at the end of that speech (I would know that of your Honor),
stay at the desk: don’t cross to Froth and then back again.
• FROTH: An’t: pronounced with a short, not long A. it’s the contraction of And
it.
• POMPEY: “9 sir, overdone by the last”: top it, don’t undercut the joke!
• ESCALUS: in your final threatening speech to Pompey, you can cross back and
forth behind him to create more sense of power and menace.
 • PROVOST/ESCALUS: keep in mind you both don’t like the situation, but you
must play by Angelo’s rules for now. Let that be evident in this last dialogue
between the two of you.
2.2
• PROVOST: GREAT vocal attack to start this scene! This is what I want from you
throughout! Just don’t rush your lines.
• ANGELO: nice sense of impatience with Provost.
• LUCIO/PROVOST: watch them argue: don’t just face out. Engage with the
scene. You’re rooting for Isabel!
• ANGELO/ISABEL: This scene was firing on all cylinders! Great work, both of
you!
• ISABEL: make sure you’re crossing away to exit on Angelo’s aside (for that way I
am going to temptation…), then turn for “at what Hour…”. It helps support the
aside isn’t being overheard by you.
2.3
• DUKE/JULIET: You must fight against this being a quiet, intimate scene. I was
losing most of your dialogue. Let the emotions of the scene help pump the
volume.
• JULIET: remember, if you can’t look him in the eye, look up and away, not
down.
2.4
• ANGELO: Great work on this monologue. Keep working on that inner turmoil/
tug of war. Those antitheses are working to your advantage.
• ANGELO/ISABEL: Again, solid work in this scene. The conflict you’re creating is
palpable for the audience.
• ISABEL: “to have what we would have…”. Try making this an accusation of
what he’s been doing.
• ANGELO: your tempo/volume changes for your parentheticals are awesome!
• ISABEL: Blazing through those mid-stops in your final monologue! Fantastic!
3.1
• ISABEL/CLAUDIO: This was a very solid scene. Next level: don’t forget, you’re
brother and sister, but you’re also a nun and a soldier: you speak different
languages.
• PROVOST: enter on Claudio’s “oh hear me Isabella!” Let the screaming be your
impetus for coming back in—potentially to break up a fight.
• ISABEL: take “If ever the Duke return…” out to the audience, so we can watch
his reaction to you talking about him.
• DUKE/ISABEL: let the cabal you are creating add energy to the end of this
scene.
• ISABEL: Great arc/journey for you in this scene. Again, let’s tighten that final
decision pause just a tad.
3.2
• ANGEL/STEFAN: don’t forget to double check all scene changes before
Wednesday’s run.
 • LUCIO: take more of your reactions out the audience when ragging on POMPEY
—let the enjoyment of wathing him squirm let you face away from him
sometimes.
• DUKE/LUCIO: I want you both to work really hard at taking ALL PAUSES out of
this scene. Don’t talk faster; just come in with your lines quicker.
• LUCIO: Don’t forget the gear shift from having fun with the Duke, to suddenly
getting serious about Claudio.
ACT 2
4.1
• MARIANA: Beautiful song!
• DUKE/ISABEL: Amp up the urgency in this scene! Again, a cabal that has a time
limit attached to it.
4.2
• PROVOST: get off book ASAP.
• POMPEY: you’re pausing before almost every single line you have. He’s a way
faster thinker than that.
• ABHORSON: Drop the pauses before speaking in this scene, too. Once you have
the machete, pull it and ‘play’ with it during your long mystery speech to
Pompey. Added threat.
• DUKE/PROVOST: you should exit through the center door and cross SL at the
end of the scene you keep using the SR door, which is incorrect.
4.3
• POMPEY: Use us! You had 5 people in the audience to play with, and you didn’t
use any of us. Get used to playing directly to people for this monologue. Your—
Zach’s—objective, should be to embarrass every audience member you call out.
• ABHORSON/POMPEY: too many pauses, Gents. This is a quick-clipped comic
scene, and we’re slowing it down with too much thinking between lines (or in
search of lines).
• BARNARDINE: I love where you’re taking this character, Stephan. Go as crazy
as you want with him: I’ll pull you back if you go too far.
• ISABEL: Let the grief bring your face up and away from the Duke as opposed to
down. It opens you up to the audience more. Great emotional response to the
news, though!
• DUKE/ISABEL: Exit through the center doorway at the end of the scene.
• DUKE/LUCIO: Good scene. Let’s raise the stakes now, since this is a mini-
repeat of the first interaction between you.
5.1
• ALL: NEVER FORGET THAT THIS IS ALL HAPPENING IN FRONT OF A HUGE CROWD!
Choose specific lines in which you want to directly address them. We must
keep them included in this final Act.
• ALL: we must ALL be actively engaged in the dialogue. I caught a lot of people
zoning out when they weren’t directed involved. We CANNOT wait for an
audience to be committed and “on”.
• FRIAR PETER/LUCIO: When you are talking to the Duke, could you both stand
just a bit more Stage Left.
 • MARIANA: Enter with determination and spirit. Vocally and physically. You are
on a mission.
• ALL: I stopped taking specific notes at this point to sit back and get a feel for
the momentum and emotional impact of Act 5. My overall feel was a sense of
sluggishness, when in actuality, we must drive the play home in this final act.
Reasonably: we ran the show in its entirety for the first time, and I think you
got a taste of the enormity of the journey some of these characters take—as
well as the physical demands on you, the actor. I think we’re in a great place
right now with the show: we have a little over two weeks to continue tweaking
and perfecting it. So keep up the good work and stay focused: memorize those
lines, and incorporate these notes! Thanks all!

Working Schedule
SATURDAY, SEPT. 22ND: 12-4PM

2-4: ALL CALLED: WORK THROUGH OUR ACT 1: (Shakespeare’s Act 1, 2, & 3)

SUNDAY, SEPT. 23RD: 2-8PM:

2-?: ALL CALLED: WORK THROUGH OUR ACT 2: (Shakespeare’s Act 4 & 5)

We will work until we’re done, so if you’re on your game, we won’t have to stay til 8!

MONDAY, SEPT. 24TH: 6-10PM

6-10: ALL CALLED: RUN SHOW & NOTES

TUESDAY, SEPT. 25TH: 6-10PM

TBA SCENE WORK

WEDNESDAY, SEPT. 26TH: 6-10PM

ALL CALLED: RUN SHOW & NOTES

THURSDAY, SEPT. 27TH: 6-10PM

ALL CALLED: RUN SHOW & NOTES

FRIDAY, SEPT. 28TH: CUE SET (NO ACTORS CALLED) TIME TBA DEPENDING ON
ROB, VANDY & BILLY’S SCHEDULE

SATURDAY, SEPT. 29TH: 10AM-10PM

ALL CALLED: TECH 10 OUT OF 12

SUNDAY, SEPT. 30TH: 2-8PM

ALL CALLED: TECH/DRESS

MONDAY, OCT. 1ST: 6-11PM

ALL CALLED: DRESS REHEARSAL

TUESDAY, OCT. 2ND: 6-11PM

ALL CALLED: DRESS REHEARSAL

WEDNESDAY, OCT. 3RD: 6-11PM

ALL CALLED: STUDENT PREVIEW PERFORMANCE

THURSDAY, OCTOBER 4TH: 6-11PM

ALL CALLED: OPENING NIGHT

FRIDAY, OCTOBER 5TH: 6-11PM

ALL CALLED: PERFORMANCE #2

SATURDAY, OCTOBER 6TH: 6-11PM

ALL CALLED: CLOSING PERFORMANCE

SUNDAY, OCTOBER 7TH: TBA

ALL CALLED: STRIKE