Score Feedback

Well, I've been wrestling with the spam filter on Bill Wagner's email account. I've had three messages returned unsent, so I had Tom Eubanks give him a call to make the pitch for the music budget. Once that's all clear, I'll get the materials together to give to him and send Alex Lacomoire the contract and fees for the expanded score. I'm still questioning whether or not I need the Dan Schachner expanded drums, guitar, and bass charts. I like them, but I don't know if they will be worth the extra cost, or if Bill will even want to use them.

So, some worthy feedback from the CDs I gave out with my custom mix came in. Erin Fagundes liked the arrangements, but some of the voices bugged her. Agreed, and hopefully we'll be able to move past "impersonations" quickly in the vocal rehearsal process. Bob Decker seemed to love everything on the CD, and pledged his support, should I need it.

Still no feedback from Shawn Lanz, Arryck Adams, or John Gaston. I'll see Shawn and Arryck tonight at the Elite Theatre Company meeting, where all the directors will be meeting and greeting potential cast and volunteers for the next several shows. I'll also ask Bryan Harwell again if he can work to develop an organic percussion ("Stomp") intro for the top of act two and "Beautiful City" and work with Arryck on the choreography for that number. For John, I won't see him again until next week, so I'll solicit feedback then. I'm sure he's been busy. I need to send him an email regarding Forever Plaid, and CC Todd Weldon and Zach Spencer on it, but that's another train of thought...

I also introduced the subject of having opening night out in the courtyard of Heritage Square, kicking off their summer concerts series a week early. That will alter how I design the set (mobile versus static), and how I approach the blocking. But on the extrememly positive side, it will make the show that much more portable, in case we want to move it to another venue later. The mind bubbles with posibilities...

That's it for now.

- Sean