Hi everyone. Here are the notes from the run.
IT'S YOUR WEDDING DAY
-Dancers(group 2) at start. The music (especially once we've got the orchestra) makes it pretty obvious when you start here, but if you want to count it, it's 10 bars(or 5 counts of 8) until you start dancing.
-Also, dancers again, remember with the running man your arms should be straight when your feet are hitting the ground. And the more energy you put into this the better. And actually keep your heads up, I think when I've demonstrated it I have had my head down which these guys aren't doing -
http://www.youtube.com/watch?v=P5tWtRitQxw and they're the experts.
-Remember, those on dancefloor, if you're standing up having been on the floor on 'blast' then you're doing with a jump as well.
-Everyone remember what you're doing on the 4 drum beats at the end. It goes like this
beat 1 - front group (front 2 lines I believe) jump up, r arm in air
beat 2 - front group land crouched on floor as second group jump up, r arm in air
beat 3 - second group land crouched on floor
beat 4 - if on floor jump up , if standing do little jump on spot. So all here should be in the same arms slightly out, feet apart position you're in for 'LOVE will always find you' in the finale.
-Alex you walk down the aisle after the 'oh oh oh' section. The chorus parts for you when they sing 'if you count on me'.
-Chorus, when you parted for alex the aisle you created was really messy. Whoever is in the middle at that point make sure you make a straight line in front of the person in front. We''l try and tidy that up on sun in person.
-Everyone doing the girly part of the dance when you cross over in lines you've got 6 counts, a turn and then stretch out with your arm. I don't want you to turn any earlier than the 7,8. Then on the beat right after the 8 your left arm should be stretched completely out diagonally to the left. No bent elbows! It's these details that make us better than a high school production, and that's what we want to be.
-Dancer group 2 - When you've fallen to the floor on 'long before' remember you're moving to the beat on 'I'll be so tight with your cousin steve'. Then still again on 'he'll invite me over for'.
SOMEDAY
-Emma and Cavey, your expressions and timing for the walk towards each other and Kirsty's interruption were perfect tonight.
-Forget the whole cake cutting thing though, i don't believe we actually have a cake. So just chat to the people at the table stage L while you're standing there before the photgraph.
-Kirsty try to put your arms round the bride and groom, emma and cavey and others in picture also take note of that, make it possible for her to get in amongst you.
-someone push kirsty away around 'it won't be long before you say...'.
-Kirsty you could afford to hold the bride and groom just a little bit tighter when you sway with them on 'and i'm so jealous'. Like you're hugging them just a little bit too tight because of your bitterness. Your face doesn't betray this though. Your face is still whimsical.
-Kirsty, be central for the bridal walks. You were a bit stR which left less room for the group walk over to the R.
-Bouquet scrum-God I love this. I love your desperate romantic singing, it is beautiful yet hilarious at the same time. You could all sigh and turn away more noticeably when susanne gets it at the end. You don't necessarily have to make a sigh sound, more make a sigh movement, mime a sigh.
-Bridesmaid dancers-On bridal walks in V, make sure you maintain the v and it's symmetrical.
AWESOME
Is it just me who finds this song genuinely a little bit beautiful?
CASUALTY OF LOVE
-Chorus
Remember to be standing all round the edges of the band of casualtys in time for 'neeeed, i neeeed'.
-Casualtys
--Table 9. You should look miserable at the start. It's only Robbie's song that makes you proud for a moment of who you are. While we want you to be hilarious and ott I don't think you should be so much so that we notice you much BEFORE Robbie mentions you. Then it's more funny when those in the audience who've been focussed on Robbie suddenly see you when he mentions you.
--Don't all just get up out of your seats and move straight into centre. On 'we're from different walks of life' etc you should be walking around the tables, both on the inside and the outside of the them. You continue walking all around the whole of the stage (not just the dancefloor) throughout your marches. You only need to congregate in middle when alex starts doing the head movement.
--The head move at the start of the dance was all over the place. I believe it was to the L originally so can everyone do that so that it's uniform.
--The walks that you do starting on 'love's a trick, love's a trap' are
love's a trick, love's a trap
walks to L
love's a hot chick with the clap
walks to R
love's a wound, watch it bleed
walks back to centre and cluster closer together
And the point of those walks is that you're singing those lines to that side of the room. So look to the L when you walk tot he left etc.
POP
-1st half
--If there isn't room for you to look in the mirror use that as part of your acting, push others out of the way, or stand awkwardly over them adjusting your hair or something.
-2nd half
--Dancers
Your timing was better than last time. I think the music actually went wrong on the critical 'he totally...' bit so that wasn't your fault. This is really a case of listening to the music.
Those who are walking to the tables at the front, walk with purpose, head up, shoulders back. Act like a waitress, be surveying the tables, looking around you, not just at your route to where you have to be.
--People at tables
You seemed unsure of your moves at the end. Here they are:
And there's no reason to stop
----ARMS-R---ARMS-L--ARMS-R
And question his love/question his love/question his love
--------------ARMS-L-ARMS-R--ARMS-L----------ARMS OUT
His looooove
For 4 counts after the word 'love starts' raise arms and then hold them there till end.
TODAY YOU ARE A MAN
-Don't be too hammy with jewish dancing and arms.
NOT THAT KIND OF THING
-Spread out. You can't go in front of the action in the centre but that doesn't stop you using the front of the stage at the sides. AND there's the whole of the area behind the stalls. You shouldn't be a cluster of people just around the stalls. You should be using the whole of the stage for the whole scene so that whenever you sing you can just turn and face the front and you'll all be fairly evenly distributed. You shouldn't be moving after you've started singing.
SATURDAY NIGHT IN THE CITY
-The woohs still went from front to back. The music changes right before each 'woooh' so you can tell when it's coming if you pay attention.
-Put your head down at the end. The beat right after the 'tay' of 'citay'.
-Chorus-A lot of you looked so unsure of the dance on the last chorus. There is a walkthrough, practice it PLEASE.
I'm intrigued to know how many people actually read these notes. Therefore I'm gonna do a really wanky thing. I may on Sunday ask for everyone who has read these notes to raise their hand. I will do this when you're all standing up and I would like you not to raise your hand but to sit down on the floor immediately. Please don't just tell your friends that so that they can get away with not reading the notes. Everyone should be reading them because they're helping us all do a better job. Plus it really doesn't take that long. We'd give them at the end of rehearsals but we always seem to end too late.
ALL ABOUT THE GREEN
-I'm gonna cut the punching the air at the end. Just carry on acting self satisfied until you raise your hands.
-Group 1-When you're at the exec table. I can't remember if I told you to all face the front, but you look sort of like a telathon at the moment. So lets have the front line of you kind of half way round on your chairs so that you can look like you're sat at the table but are also able to sing out to the audience.
-Dancers-On the three little bits of singing at the start you stop what you're doing, aka stop typing. I told you all this at the rehearsal earlier. Why did most of you still type all the way through?
-Group 2-You're still not sure on your moves and the timing of them. Look at the walkthrough, it's fast but totally possible if you've practiced.
-Group 2 and dancers remember that it is the beat right after 'Nancy' that you start turning outwards. You've got 4 beats of turning and then on 'green' your shoulders should be forwards. And you raise your arms as you turn out.
-Right after 'yo quiero more dinero' you go into your self congratulatory acting. When we did this I suggested high fiving. This has resulted in almost everyone high 5ing right after that line. We need fewer people doing it, or for you to space it out, time-wise. Think of other things to do, pat someone on the back, check that your suit's looking sharp, count your money in your wallet, talk on phone if you've got one.
-End pose-people standing up, you raise your arms on the final 'green' and on the beat after fall into your powerful poses.
-Sorry Alex, we meant to practice that lift beforehand. But it appeared to go fine.
-Guys lifting Alex, drag him back a little bit so that when you lift him Rooney is stood in front of him, right in the centre.
-Remember to maintain the V
-People standing at the end. When your body is facing the side your head is still turned towards the audience.
-Group 2 and dancers - When you raise arms on the 'o' of CEO also move closer in together.
RIFOYE
-Beautiful. Remember to start far back so that you can walk forwards but not be that close to Holly.
-You don't need to be turning all the way off the stage at the end. You do two turns in the circle, then two moving away from it and then just run.
-The steps in the final circle are almost there. It's just a case of doing it more.
SINGLE
-We need to go over this. But there is a walkthrough! if you want to check it out before sunday.
FINALE
-Angie and Abe come on a little earlier because the last dance move the girls do is a crossing one which messed you up a little bit.
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i think awesome is beautiful too.