Opening

Greats show so far guys... Here are Jim's opening night notes...

• Ensemble: don’t take water (or anything) from the house manager’s closet. We pay for that water and lose money on any not sold. Please bring your own from home or use the drinking fountain.
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• In general: listen to the costumers/crew. Don’t randomly throw costumes and then freak out when you can’t find things. Tell the crew if you need help. If you throw something but don’t tell the crew, you can’t assume they’ll know what to do with it. At this point you should have all of your costumes, so make sure everything is pre-set, and don’t wait til the last minute to try to set it in place.
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• People who use a mic: reminder, sing as if you don’t have one on/in your hands, and the hand-helds are not omni-directional. Eat the mic.
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• ACT I
• Judas: You started entering at the wrong time again. Keep working on that.
• Ciaphas: your timing was on and off during your first solos. Review that with Mr. Walsh or Mr. Barns.
• Kaylie D: You’re turning the wrong direction during the hip hop. Check with a Dance Captain regarding this.
• Ensemble: Better projection on Simon Zealotes. Keep improving.
• Lepers: Why do some people have no gauntlets at all?
• Judas: DFAT lyrics were hard to hear/understand
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• ACT II
• Apostles: review your lyrics for “morning” and “evening”
• Judas: hit your mark (the big yellow X) for the stare down with Jesus. You were out of your light.
• JC: better stillness for Gethsemane
• Soldiers: you’re still going too quickly on the arrest. You should not have to pause before JC says “put away your swords”.
• Soul girls: get your heads bobbing side to side in unison for “Herod”.
• Soul girls: in general you’re doing better with your spacing on all songs. Keep working at it and noticing if you are covering someone…. Especially in “Superstar”
• Herod: careful with your rhythms. You skipped ahead at one point.
• Zack: where were you for the cross with Jesus and the other guard… you were late.
• Ensemble: CWSAP seemed off/vocals not in synch with the pit.
• Judas/Mr. Barnes: What do you think about an accapella start to the reprise of IDKHTLH?
• Off-stage Chorus: Where are you? There was a huge pause before “goodbye Judas” started
• Soul girls: time your marks with the lashes
• Pilate: good job with the gestures
• Allya: where’s your doo-rag for “Superstar”?
• Soul girls: center yourselves for the Jesus Christ, Jesus Christ….
• Ensemble: how can we get the crown of thorns on JC so that he doesn’t have to bow his head to put it on him? Is there a time it can go on while he’s crown surfing before he’s put on the cross?

Notes

Act 1

* Soul girls: was the ladder on it’s mark? The lighting effect looked off.
* Judas: wait a little longer DS and sing to Jesus before you cross back to the ladder.
* Apostles: “how can you say that”—you were ahead of the pit
* Ensemble: “Hosanna superstar” was weak. Are you singing? Are you using the backstage mics?
* Kevin: you got ahead of the pit
* Priests: eat the mics or they can’t help you.
* Ciaphas: don’t be afraid to hold your ground and stand still. You don’t always have to be in motion.
* Crew: you can’t keep entering and exiting the house during the show.
* Priests: taking off the Pope-mobile was awkward tonight.
* Ensemble: I don’t hear you at all on SZ. Honestly, I would never guess you are singing.
* JC and Simon: I want to see more of the end of the song to be between you two. Jesus, let the last words be to Simon, and Simon can leave on “understand at all”
* Pilate: hard to understand some of your words on Pilate’s Dream
* Ensemble: better on temple, but we’re still missing about 60% of the text. The lower you sing, the harder it is to hear you.
* Ensemble: who takes off the downstage right go go box? It was left on tonight.
* Lepers: why doesn’t everyone have a two gauntlets?
* Lepers: as a group you need to sing together. The only word I’m making out is “Christ”
* Soul girls: Mr. Barnes is going to be taking out some of the music so that you don’t have to stand there quite so long at the ladder.
* Judas/Ciaphas: if there is no coin purse, pantomime throwing it and picking it up. That way you can still hold it up as the glitter falls.
* Priests: When Judas sings the word Gethsemane, I want you all to have a little glitter in your hands, and then throw it at Judas (the same time it’s raining down from above)



Act II

* Judas: were you on your mark for the stare down? You looked like you were a little out of your light.
* JC: make sure you are singing “James”. It sounds like Jane
* JC: there’s still more movement than we need in Gethsemane. Ground yourself and hold your ground. Stillness can be powerful.
* Soldier: your slow motion was not as strong tonight as it has been in the past.
* Ensemble: arrest vocals were sloppy
* Priests/Connor: The Pope Mobile was not set in the right place so it was out of the light. Is it spiked?
* Soldier: we need you on a handheld mic for your solo.
* Ensemble: I could barely hear you on the Hosanna reprise. Are you singing into the backstage mics we set up for you? Crown around them.
* Herod: make sure you’re not off stage as you jump into their arms. We could barely see that.
* Soul girls: make sure we get the bottom of the ladder covered with the fabric.
* Crowd watching Christ in Pilate’s Scene: stay as low as you can. The front row will have a view of your butt otherwise.
* Soul girls: remember to cross on the right. The lashes were really sloppy tonight. Also make sure the lash happens with the sound of the whip.
* Pilate: hold your poses more. Think of Greek theatre: big and economical gestures.
* Offstage chorus: sing into the mics for Superstar.
* GoGo box dancers: make sure you’re far enough back on the go go box that the light hits the front of you.
* Soul girls: You were ahead again by 4 counts. Also, we need more vocals.
* Emily Wu: where was the crown of thorns?
* JC: get off the cross sooner so that we don’t see you leaving it.
* Annie: you left your mic in the dressing room. This is not acceptable.

Notes - 4/27

Act I

 Soul girls: keep your focus on Judas as you cross from the ladder to him with your Fosse arms.
 Soul girls: you’re starting to lose the fluid quality of dropping low as you cross to Judas, then getting up as you near him. Keep that really smooth.
 Grace G: great facial expressions as you sang “When do we ride into Jerusalem”
 Judas: good “Yes I can understand” timing.
 JC/Ensemble: careful of doing things like rubbing your nose, touching your hair… especially when we’re focusing on you. JC—you did this when Mary was singing to you on Everything’s Alright and it was humorous (in a bad way) 
 Priests: be standing on the Pope-mobile already when Everything’s Alright finishes so that you are already in place when the lights come up on you.
 Ellen: where was your coat?
 Ciaphas: you got off on your rhythm for “tell the rabble to be quiet”
 Ensemble: better on Simon Zealots and on the temple, but we still need more volume and articulation.
 Mary: good job getting back on track during Everything’s Alright
 Judas: several times you’re brushing the hair out of your face. Get a hair clip or something.
 Ciaphas: Keep working on the articulation.
 Ciaphas/Annas: where was the coin pouch?
 Judas: open the coin pouch, hold it up and make a deal out of is as the glitter falls.

Act II

 Apostles: louder on “trials and tribulations”
 Apostles: know your lyrics
 JC: On Gethsemane stay more grounded. You’re always moving and sometimes stillness can be very powerful.
 Soldier: don’t have the road box covering JC when you deliver him to the priests.
 Peter’s Denial soloists: Better tonight but we could still use more.
 Soldiers: take your time spinning JC around as he “travels to Herod”
 Soul girls and Herod: remember the music will be slower on “Hey, aren’t you…”
 Soldiers: you were closer on when to bring JC in for CWTAP. It’s when Peter starts to sing.
 Apostles: I could not hear the “Ah” at the end of CWTAP
 Annas: More than once you seemed late on vocal entrances. Definitely in the scene prior to Judas’s death.
 Judas: really have a moment, open to the audience just as the ladder comes on. Make us wonder: what was the last thing that Judas thought before he killed himself.
 Soul girls: the first few lashes were off in timing and looked frenzied. Keep them in time with the slapstick and try not to look crazed
 Pilate: “tell me” was a little sharp
 Pilate: better gestures, just vary them
 Elaina/Nick: Jesus isn’t dead yet.
 Soul girls: Andi had the right timing on the butt slapping point.
 All: really sell “Superstar”…. Have fun.
 People who set up the cross: it was not centered and looked precarious.
 Load out: get those shapes out as quickly as possible.
 Herod: plan on working with Barnes every night at the 7:00 load in as the pit is warming up.

Notes - 4/25

Ensemble/general notes: 

• We still have room for more people to go to AM NW Thursday morning.  Are there others who can go and be in the audience that morning?
• We will be running the last three numbers in the show tomorrow at 3:30.
• Be prepared to stay later Tuesday (my guess is until 7:30) so that we can put on some last-minute fixes.

 
 

ACT I

• Annas:  go to Mr. Barnes when you need it quiet for the circle
• Ensemble:  make sure the sun salutation is in  unison
• Judas:  was your hoodie not ready for you at the top of the show?
• Apostles:  can’t hear you at the top of What’s the Buzz
• Judas:  don’t ad lib blocking
• Priests:  be ready at the end of Everything’s Alright so that when the light comes up on you, you’re already in position.  You’re in the dark before that so we won’t see you getting into place.
• Priests:  don’t move until Hosanna starts.
• Ensemble:  agree to your vowel in Hosanna.  Some are singing “AH”, others A like in “can’t”—which did Mr. Walsh say for you to sing?
• Ensemble:  cue off Andi for when you should bow at the end of Simon Zealots
• Temple:  I maybe heard 10% of your words.  You need to be in unison, articulating and projecting to be heard.
• Lepers:  as soon as you set JC down after the pancake flip go low so that you have somewhere to build up to as your reach to him.
• Judas:  don’t come down from the ladder until the music picks up tempo.  You’ll still have plenty of time to circle around the ladder.
• Annas:  you were rushing in Damned for All Time
• Soul Girls:  don’t pull focus from Judas during DFAT.  Let your reach be big when she sings “Damned” but keep it small otherwise.

 

ACT II

• Apostles:  I heard you much better at the top of Act II
• Soldiers/Apostles:  better with the slow motion on the arrest
• Crowd:  you can be meaner, a little more physical while JC is pushed on the box by you and taken to the priests then off to Pilate.
• Soldiers:  take your time bringing JC on for Pilate/Christ
• Herod:  don’t role up your pants
• Soul Girls:  DO role up your pants for Herod’s song.
• Emily Wu:  don’t look at the ground and smile.
• Soul Girls:  Herod’s Song was looking pretty sloppy.  Always be aware of what others are doing around you and if you’re supposed to be in unison.
• Soldiers:  why was a soldier (Sam I think) crossing SL right before Could We Start Again Please?
• Soldiers:  start your cross when Peter starts to sing (just a little sooner than you did)
• Ensemble:  I did not hear you on “Poor Old Judas” and the end was sloppy.
• Soul girls:  time your lashes with the slap stick sound effect.  You need to do it as that sound of the lash is done by the band.
• Clarence:  where are your shoulder pads for the guard?
• Soul girls:  Don’t  forget to sing out during Superstar.
• Soul girls:  you got off on the spanking choreography again.  Sunday night I’m pretty sure you were spot on.
• Soul girls:  was everyone in red lipstick?
• Soldiers:  the board goes back stage, not thrown on the carpet.
• Zack/Jaime:  the door was late opening.
• Ensemble:  we’re going to try having the pit play the load-out music twice, then go to the CD, to see if that gives us enough time.  The orchestra will also just back out and not leave with you, so that we can save some time and then they will play Suiperstar for the curtain call and you’ll gesture to them instead of them coming out for a bow.

Notes - 4/23

Act I




Pre-show: Remember you’re a semi-professional troupe of actors setting up for your performance, listening respectfully to your directors etc. Also, make sure lines you say can be heard by the audience, not just those on stage.


Connor: you’ll have to ask the audience to be quiet for the mic check too.


 Ensemble: late on your entrance notes


 Apostles: keep a pulse going through your body on the runner’s pose in WTB


 Judas: work the apostles more during STM


 Apostles: use your hoods when you’re coming in from the streets


 Judas: stronger reaction to Mary touching your hand/arm


 Mary: give Judas a look when you’re taking Christ away from him.


 Ensemble: slower entrance with JC on Hosannah. Hit your mark just as you finish singing that first verse.


 Judas: give Jesus a gesture of “look what you’ve created” during Simon Zealotes


 Ensemble: take your cue off Andi for “Forever amen” bow.


 Temple: some of you are lacking purpose/passion/fervor—commit.


 Temple: what are you saying? We can’t understand most of your words. Spit out the consonants.


 Lepers: the “Ah’s” are overpowering other parts.


 Lepers: perfect timing on the pancake flip.






Act II


 Apostles: need a stronger start to your singing.


 Apostles: Keep working on creating changes of duration and tempo as you question each other, and lament your trials and tribulations. It will run counter to what you think you should do, as the music is mellow, but that’s ok.


 Diamond: good example of mixing it up with tempo when you make a strong, quick cross up stage with the shape.


 Judas: it looks like you kiss Jesus because your director told you to.


 Mob: be scarier, more menacing.


 Peter’s Denial: stay in you UL light.


 Herod: cross to JC as the girls begin the wave behind you.


 Soldiers: take off JC’s t-shirt and attach the board to him when the mob sings “Crucify him”. One of you will have to bring the board on with you as you wheel him on.


 JC: Make sure we hear and understand “forgive them…”


 Ensemble: be prepared if the audience claps as you’re le

Rehearsal Notes - 4/22

Act 1

• Connor:  reminder that we need to get black fabric hung on the back wall where the band will be.
• Soul girls:  reminder that during the actual show you will not be bringing out the ladder at the top of the show, it will already be there from the crew hanging fabric.
• Apostles:  good job on the claps
• Judas:  take your time getting up the ladder.  You were at the top for awhile.
• Apostles:  react to each other as Mary sings.  Right now you’re all looking at her.
• Mary/Apostles:  interact with each other before Everything’s Alright.  Apostles have concern for Jesus and Mary can communicate, “Let me take care of this.”
• Offstage chorus:  “Hosannah Superstar” was off.
• Josh:  it’s hard to hear your solo.  Try just shouting it versus trying to sing it.
• Priests:  Your movement was better.  Each time you are a soloist, really sell that you’re a soloist.  Youtube “The Temptations” if you need ideas of what to do physically as a soloist.
• Ensemble:  slower entrance with JC on “Hosannah”… take your time.
• JC and Judas:  just stare at each other at the end of the song versus singing (once the ensemble is marching in place).
• Simon:  better on the movement during your solo.  Remember what we talked about… work up the crowd into a fervor.
• Apostles:  keep practicing when you do/don’t wear your hoodies so that you get used to potentially having to leave it somewhere and get it later.
• People who pancake flip Jesus:  that needs to happen a little sooner.
• Judas/soul girls/priests:  I’m going to check with Mr. Barnes to see if we can cut a few of those measures in the middle of Blood Money as the priests come down to Judas.
• Judas:  go ahead and stay on the floor at the end of the number.  It’s a weaker position, versus making Judas look strong at the end. 

Act II

• Ensemble:  remember that if you’re off stage, you are watching the play.
• Apostles:  “trials and tribulations” is still pretty much one tempo.  Keep experimenting with moving at different rates and durations, both in the middle and when you move the shapes up stage.
• JC:  cross more center so that you look to SL on Peter, John, and then look SR on James.
• Soldiers/apostles:  keep up the slow motion feeling during the arrest.  In particular, soldier:  take it all slow motion, and then even start to take him away so that when the one soldier takes his hand off Jesus to raise a sword to Peter, Jesus feels this and turns to halt your arm.
• Mary:  you had a look of disdain for Peter at the end of his denial.  It should be more along the lines of pity/understanding/empathy.
• JC/Soldiers:  Jesus will be on a road box whenever he is traveling up until “Could We Start Again Please”.  When you arrive at Pilate’s/Herod’s etc you thrown him off the box and put him back on to travel.  Be thinking of how you can make that work.
• Emily W:  You were looking at your feet a lot during Herod’s song.  Keep your face up and smileJ
• Herod:  Let’s not have you join the kick like.  Do the same moves, but on the extention.
• Soul girls:  the ladder needs to turn faster so that you can have it covered by the end of the song.
• Ensemble:  I will check with Mr. Barnes on the timing of “crucify him”.  I was thinking we did away with that pause after each time you say that right before the lashes.
• Pilate:  make a bolder gesture as you say “Don’t let me stop…”.  Really take command at that point.
• Hailey M:  I like the head isolation when you do the hip isolations at the top of “Superstar”.  See if you can show that to the other soul girls.
• Soul girls:  I figured out where you’re getting off with the timing.  The shimmey/arm movement is 4 counts too soon.  Everything else will line up and you’ll be crossing to your places as you start the final “do you think…”
• Jaime/stage left soldier:  As you take the plank from Christ, just take it off stage versus putting it against the proscenium.

Notes - 4/19

Pre-show

• For our first run through of that sequence, it went pretty well.  Keep that energy as we rehearse it so that we maintain that sense of the first time. 
• Play with the departure from you as a person versus you as a character in this play.  Roleplay how different the actor can be from the person in the role they play in JCS  (example:  since Natalie is playing a very powerful, serious role, she can play up her playful, “average” status as Natalie).
• Eventually we will set a duration on the vocal and physical warm-up section, once we know more about how long hanging the curtains etc. will take.  For now keep improvising it.

 Act I

• Everyone double-cast:  Always be checking in with your counterpart if you miss any part of rehearsal and make sure you aren’t missing out on important notes/blocking.
• Soul girls:  keep those fluid, Fosse-style arms.  Emily, notice how Shumani moves her arms.  That’s the kind of fluidity I’m talking about.
• Soul girls:  make the change of level from standing to almost slithering on the floor toward Judas more gradual/less abrupt.
• Judas:  stay DSL longer before crossing toward the ladder, which will allow you to wait longer before you climb the ladder.  You shouldn’t spend very long at the top before you hit the end of the song.  Shoot for only singing “It’s all gone sour” at the top.
• Apostles who bring on the SL block and “C” shape, plan on having those pre-set on SL and bring them on from that side.  I think that’s Maddy, Rhiannon and Amanda.
• ALL:  don’t play with your hair when you are not the focus.  I noticed Asa and Rhiannon both doing it but I’m sure there were more.  It’s a hard thing to get into the habit of doing, so everyone please start now in remembering to not have those extraneous movements.
• Apostles:  focus directing on JC when you sing the last two “What’s the buzz”’s.
• Judas:  your blocking was off for “Strange Thing Mystifying”.  Were you present Saturday when we finished the blocking on this?  If not, you need to talk with Truett and find out what we did.
• Ensemble:  don’t’ forget to enter at the beginning of “Hosanna”
• Priests:  you were late in starting your “doo-wop” moves.  Find time to go to a dressing room and practice infront of a mirror.
• Robyn:  good job on remembering to turn as you come back into the group after singing a solo.  It looked good.
• Kevin:  make sure you remember to turn also, instead of chasseing back to place.
• Priests:  If you get a chance, Youtube “The Temptations” to get a better feeling of the style of your movement during the doo wop.
• Ensemble:  remember to avoid the orchestra area.
• Ensemble:  good harmony on “Hosanna”
• Rhiannon and Miriam:  great energy during the semi circle on Simon Zealotes.
• Temple people:  fill in the gap between the gamblers and yourselves.  Try not to let the gamblers look like they are separated from you in any way.
• Temple people:  keep working on a more organic feeling as you transition from temple movement to contract improve/writhing.
• Pancake people:  keep working on concealing that you’re about to flip Stephen.
• Ensemble:  on “heal yourself” keep an eye out for Mary as she comes on for her song.  You will have a little more time than you did with the cd, but not much more.
• JC:  more toward SR on I Don’t Know How To Love Him, versus being completely center.
• Soul girls:  is there room for the ladder to come on from SR or does it have to come on from SL before Blood Money?
• Judas:  play with more interaction with the soul girls/your conscience and a frenetic energy before you start to sing on Blood Money.
• Judas:  You had your back to us a lot in Blood Money, particularly when the priests circled you.  Even if you are singing to someone upstage, you don’t have to be looking at them.  We know who you’re singing to.
• Soul girls:  as Judas betrays the location of where Jesus can be found, lean in more and keep a little movement in your body.

 

• Act II
• Every time the shapes come on stage it should be the same people bringing them on.  We had a mix up with this.
• Ensemble:  remember that if you are back stage you need to be watching the show versus carrying on conversations.
• JC/ensemble:  don’t leave so quickly before Herod’s song
• Soul girls:  you came on a little early for “Herod’s song”.  You start to enter after the ensemble has sung their last words, “where is it now?”
• Soul girls:  keep working on that middle and end part of “Herod’s Song”  It starts strong, but then starts to fall apart.  The main problems are spacing and doing things in synch.  Pay attention to both of these things even more than you already are.
• Apostles:  anticipate “Could We Start Again Please”.  You looked like you had no idea it was coming up, and Mary did not have her trapezoid.
• Soul girls:  we will run through Judas’s Death and wrapping the ladder before rehearsal today so that you are more comfortable with the changes.
• JC can begin to enter with the guards as the ladder is almost but not quite off stage.
• Ensemble:  make sure you’re always listening.  You were ahead of the cd on Trial by Pilate.
• Ensemble:  commit to your movement on Superstar.  Many of you have an almost neutral facial expression and your body looks like it’s just going through the moves.
• Emily:  reminder that you will be putting the crown of thorns on JC.
• Ensemble:  we’ll try running through the end/how you leave stage today.

 

• *reminder:   Sunday will be a long day.  You arrive at noon, we tech the show, we take a dinner break around 5:00 where food will be provided for you, and then we run the show that night.  We will be done by 10:00 pm but it’s going to be a long day.  Get your rest, drink water, and eat healthy foods.

Ticket Pricing

The advertised ticket prices ($12 student/senior and $16 adult) include our reservation system's convenience fee, which is charged on all tickets at all purchasing sites (online, box office, and door). 

 

Tickets are on sale at Lincoln during school days and 24/7 online.  Online purchase link is on Lincoln's main page.  Mrs. Griffin (Lincoln's bookkeeper) is running our box office at school, mainly for the convenience of students.  Students can use cash/check to buy tickets during school hours in her office, or daily in Rm 104 during lunch break.  If students buy tickets thru her, they get $4 off per ticket.  If students wait until the door of a performance to buy tickets, they get $2 off.  Discount offers cannot be combined. 

 

Everyone who buys tickets online will get a 50 cent discount, or a 20% discount for groups of 5 or more. 

Adults and seniors who wait to buy tickets at the door of performances get no per ticket discount, but can take advantage of a 20% group discount for 5 or more.  

Cast Rotation

Opening week:  Thursday/red, Friday/white, Saturday/red, Sunday matinee/white

Second week:  Thursday/red, Friday/white, Saturday matinee/red, Saturday evening/white

COSTUMES- Jesus Christ Super Star - Final Cost

Parents/Actors: Please send a check into rehearsal for $40. If you have already paid, please send the difference in. The checks can be given to Connor Anderson or Kathy.

Costumes will be thai fishermans pants(all the way from Thailand), long sleeve tees, lyrical sandals and accessories...

What's the buzz?

Discount coupons for student tickets will be available for JCS starting Monday, April 19.  

Reserved seating only for all shows. If students buy tickets thru Mrs. Griffin (our bookkeeper) during school hours, they get a $4 discount per tkt.  If students buy tickets at the door of performances, they get a $2 discount per tkt.  For everyone who buys online, a 50 cent discount per tkt is applied.  Groups of 5 or more receive a 20% discount.  Group discounts and student discount coupons will not be combined ... it's one or the other, not both.  

 

Advertised ticket prices for JCS:  $12 for students/$16 for adults, which includes the online ticket reservation convenience fee.  Adults will receive no discount if they wait and buy tickets at the door.

 

Kathy and Connor have a supply of discount coupons that you can give your student friends and other classmates.  Coupons are also available thru Mrs. Griffin.

Notes 4/14

Act 1

Judas: review your blocking and lyrics

What’s the Buzz: late on your entry, and near the end remember to spread out more and take more space as you do your poses.

ALL: remember to sing as you move/dance

PRIESTS: review your movement for This Jesus Must Die. In general, Lila and Robyn seemed the most confident with it and the most accurate.

Hosanna: The people who bring on Jesus, after the freeze, need to fill up the stage a little more stage left so that there’s room for the people coming on stage right.

Temple: Reminder—we blocked with without the extension. Everyone should be coming down further on the stage, even onto the extension. The people gambling should not look isolated.

Lepers: Remember to keep a strong sense of bursting through as you do your forward movement over two counts of 7. Also, when Jesus says, “Heal yourself” you fall and then scamper off stage.

Act 2

Apostles: I want to see more of a connection between you all as he accuses you of betraying him.

Jesus: take your time, connect more with them as you circle the “table” and let us see you reassuring people it’s not them/caught up in the moment.

Apostles: As Jesus and Judas have their stare down, we need to see the movement continued further. I like the image of Francie curled up in a ball, but we need to see more people creating the chaos/concern that is inside your minds.

Herod/soul girls: You were late for your song. The second they sing that last night in Pilate/Christ you have to enter if you want to be ready on time.

Herod/soul girls: You take Herod off way too early. He should be leaving the stage as he says “Get out of my life”

ALL: we’re not going to use the shapes for Could We Start Again other than the trapezoid for Mary and a block for Peter. Apostles just cross down to roughly the same position, and priests can be setting up the Pope-mobile while the song is going. I’ll let you know at the next run through how that looks.

Shirts!!!

Click here to download your order form.  Actors get 1 tshirt included as part of cast fee.  Turn in order form/payment to Connor or Kathy.  Non-actor prices are on order form.  Tees/Hoodies for JCS come in black only.  Women's and men's tshirts are available.  Women's shirts have a shorter sleeve, slightly shorter length, and more feminine, scoopier neck.  Questions? Contact Kathy Weidenbaum.

Green Sheets

Green Sheets due Monday, April 12 or earlier.  Green sheets are available in the counseling office.  Even if your teachers can't give you a letter grade yet, they should be able to report your grade on a pass/fail.

Scheduling

Rehearsal schedule has been updated.

Also, here is my list of unexcused absences and tardies as of today:
Eric: 1A, 1T
Stephen: 1A
Travis: 1T
Elaina: 1A
Grace: 1A
Gabi: 1A
Shumani: 1A
Jamie: 2A
Kevin: 1T
Diamond: 2A
Allya: 1T

Remember, 3 T=1A. 3A=out of the show...

Photoshoot and such

We want to have a publicity photoshoot for the show. We will be using a scene from "Hosanna" for the press relead photo. This will mean, to keep things simple, either posing infront of the cyc or getting a couple of blacks, then having Stephen in a long-sleeved t-shirt (similar to the ones well have for the show) and the people who are all reaching toward Stephen should be in solid t-shirts/no kind of graphic or pattern.  We want you looking through your clothes for that. Everyone should be in jeans as well.



Also, due to some technical difficulties, there will be more of a delay than expected for now with the videos of the dance. If you have questions, I can probably figure something out, but getting them posted is becoming complicated.

A bunch of small things.......

First, rehearsal will be from 11:00 to 2:00 this Saturday the 3rd.

Second, rehearsal will be ending at 6:00 on Thursday next week (8th) so some of our interested cast members can see Joseph and the Technicolor Dreamcoat at West Sylvan. If you are interested in going, talk to a Drama Cabinet Member. Seating will be reserved for the Lincoln group, but they have to let them know how many by Tuesday.

Also, keep sending in Bios and Headshots (They can now be up to around 100 words). Videos of the choreography will be up soon, as will my current list of unexcused tardies and absences.


Thanks
-Connor

Bios and Headshots

CAST AND CREW:
Bios and head shots will be due no later than WEDNESDAY, APRIL 14. Send them to me at connortanderson@gmail.com as a ".doc" or ".rtf" and the image should be a PDF or a PNG.

BIOS:
This is a short (roughly 50 word) excerpt written in the third person. It should focus on past theatrical experience. Keep it PROFESSIONAL. They will be edited prior to being put together in a slide show in the lobby prior to each show.


An example of how mine might end up:

"Connor is Stage Managing his sixth play at Lincoln. This is his twelfth major production (tenth at Lincoln). Previous credits include Stage Managing Lincoln’s Productions of "Switch" (2010), "12 Angry Jurors" (2009), "Annie" (2009), and "Blitz" (2008). He also ran sound for Lincoln’s Productions of "High School Musical" (2007), "Love/Song" (2008), and "Annie" (2009); and for the Tin Pan Alley Theatre Company’s productions of "Pippin" (2008), and "Annie Warbucks" (2008). Connor also designed lights and sound for West Sylvan’s "Mr. A’s Amazing Maze Plays" (2009), as well as designing and running sound for their production of "Joseph and the Amazing Technicolor Dreamcoat" (2010). Connor will be working on Sojurn's production of "On The Table" this summer as a stage mamagement /  lighting design intern."

That is actually way longer than it should be, but you get the idea.


HEADSHOTS:
This should be a decent quality photograph of you. It should not have other people and should be of mostly your face. They will be cropped as I see fit and converted into a grey scale. KEEP IT PROFESSIONAL.

Questions? Let me know.

-Connor

This Weeks Schedule

UPDATE (3/17) Judas is no longer called for vocals on Friday, instead Simon is. Judas is still called for movement.

Due to some chaos last week in the schedule, disregard the calendar for THIS week (3/15-3/19). Here is what we are going with:

Tuesday March 16: No Vocals. All called for movement.
Wednesday March 17: All called for vocals. No movement rehearsal
Thursday March 18: Vocals Simon, Peter, Mary, Apostles, Priests. No Movement rehearsal
Friday March 19: Vocals Simon, Pilate, Mary, Jesus, all called for movement (contact Improv.).

Monday's Rehearsal

Those not working on vocals with Charlie tomorrow will be doing movement work with Jim until 5:00, so come in comfortable clothes.

Some More House Keeping...

I hope you all got my email. Now, I few things I forgot to mention, and by "a few", I mean one:

If you are late arriving or are leaving early, check in with me when you arrive or are leaving (I expect only excused late arrivals or early departures). That was an awkward sentence. Anyway, I will be taking roll every day at the top of rehearsal, so I will need you to come to me (or one of my assistants if I am not present) so I can mark you down.

Rehearsal Cancellation

We are canceling rehearsal for today.

Calendar

For those of you who need it, there is a rehearsal schedule now available for download under the "Links" section of the blog at the top right of the page.

Cast List

•      Please initial next to your name to accept your role on the auditorium door. 
•      We will meet in rm. 163 at 3:30 for a sing-through of the show and company meeting.
•      If you are also in the cast of “Switch”, you are excused from the strike so that you can attend the sing-through.

Role          Red Cast                 White Cast

Jesus        Stephen Eckelmann  Stephen Eckelmann

Judas       Truett Felt                 Annie Leonard

Mary       Anika Kulander        Emily Krause

Annas      Travis Ezell               Robyn Pritzker

Pilate        Natalie McDonald    Virginia Russolo

Peter        Genevieve Cugnart   Sophia Mirishrafi

Ciaphas   Jamie Thayer            Zack Aun

Herod      Sam Selbie               Clarence Johns

Simon      Eric Asakawa          Maddie Goldstein

Apostles: Kaylie DeHart, Asa DiCarlo, Grace Gholston, Gabi Hernandez, Rhiannon Wentland,
Amanda Schenberger, Francie Smith-Korn, Diamond Wheeler, Elaina Friedman.

Priests:  Allya Yourish, Kevin Weidenbaum, Lila Woloshin, Nick Fernandes, Ellen Oh.

Soul Girls: Shumani Massa, Annika Hansteen Izora, Lauren Holm, Hailey McDonald, Shaina Dickson, 
Andi Holms, Fiona Woodman, Jessica Smith, Miriam Perala.

Ensemble:    When Red Cast is performing, White Cast is the ensemble, and visa versa.

Friday Callbacks

We would like to see the following people at 3:30 in the auditorium for the final day of call-backs. We will be done by 5:30 at the latest. For all auditioning, be sure to turn in all of your paperwork by the end of the day today. Check the blog Sunday evening or the auditorium door Monday morning for the cast list. Thank you.

Lauren Holm

Maddie Goldstein

Fiona Woodman

Robyn Pritzker

Jessica Smith

Bati Alon

Shaina Dickson

Emily Krause

Anika Kulander

Truett Felt

Natalie McDonald

Genvieve Cugnart

Hailey McDonald

Andi Holmes

Sophia Mirashrafi

Travis Ezell

Nick Fernandes

Eric Asakawa

Stephen Ekelmann

Kevin Weidenbaum

Clarence Johns

Sam Selbie

Zack Aun

Miriam Perala

Lila Woloshin

Curby Shuch

Jamie Thayer

Josh Gillis

Annika Hansteen Izora

Completed Audition Forms

Here is who we have them from:

Bati Alon   
Eric Asakawa
Genevieve Cugnart  
Zack Aun
Kaylie DeHart   
Stephen Eckelmann
Asa DiCarlo   
Travis Ezell
Shaina Dickson  
Nick Fernandes
Truett Felt   
Josh Gillis
Elaina Friedman  
Clarence Johns
Emily Gamble   
Curby Shuch
Grace Gholston  
Kevin Weidenbaum
Lauren Gibson
Maddie Goldstein
Annika Hansteen Izora
Gabi Hernandez
Lauren Holm
Andi Holmes
Emily Krause
Anika Kulander
Annie Leonard
Shumani Massa
Natalie McDonald
Sophia Mirashrafi
Miriam Perala
Kianne Piacente
Robyn Pritzker
Amanda Schenberger
Jessica Smith
Francie Smith-Korn
Rhiannon Wentland
Diamond Wheeler
Lila Woloshin
Fiona Woodman 
If you feel you completed the audition form from the audition packet that has your name, contact information, conflicts etc. but don’t see your name on this list, please see me as soon as possible.  Thank you. 


Jim Peerenboom

Call Backs for Thursday

We need to see the following people at 3:30 for call-backs.  Please meet in the auditorium and we will go from there.  If you are not called back, this does not mean you will not be in the cast—only that we’ve seen/heard what we need for now.  Please also check the auditorium door Friday at break in the event we have additional call-backs. 

Also, please check the door to make sure we have received your completed audition packet.  If we do not have your audition sheet, contract, and green sheet we may not be able to cast you in the show.  If you are not doing well in one or more classes, this does not mean you will not be cast in the play.  What it does mean is that you and I will need to talk about a plan of assistance in bringing up those grades for you to participate in the production.  Thank you all for your time and talent.

Annie Leonard

Eric Asakawa

Genevieve Cugnart

Lauren Gibson

Shumani Massa

Sophia Mirashrafi

Nick Fernandes

Clarence Johns

Sam Selbie

Maddie Goldstein

Hailey McDonald

Fiona Woodman

Stephen Eckleman

Virginia Russolo

Robyn Pritzker

Maddie Carsman

Zack Aun

Jessica Smith

Bati Alon

Natalie McDonald

Miriam Perala

Shaina Dickson

Travis Ezell

Alec Vaughn

Curby Shuch

Emily Krause

Anika Kulander

Annika Hansteen Izora

Lauren Holm

Truett Felt

Andi Holmes

Parent/Actor Contracts Turned In as of Wednesday, March 3

Bati Alon

Eric Asakawa

Kianne Dainton Paicente

Kelsey DeLacy

Asa DiCarlo

Shaina Dickson

Grace Gholston

Lauren Gibson

Annika Hansteen Izora

Gabi Hernandez

Clarence Johns

Annie Leonard

Miriam Perala

Robyn Pritzker

Curby Shuck

Francie Smith-Korn

Kevin Weidenbaum

Rhiannon Wentland

Lila Woloshin

Fiona Woodman

Green Sheets
Rhiannon Wentland

Welcome

The blog for Lincoln High School's production of Jesus Christ Superstar is now up and running. Here is where you will find everything going on about the show. Check back often!

-Connor Anderson
Stage Manager