The process of developing the music for What 'tis to Love was threefold.

First, the Director and I had to decide exactly how music would be used in the

production. Next, music had to be chosen and prepared. Following that

monumental task, musicians had to be contracted and the music had to be rehearsed and prepared for performance. Each of these steps presented different

difficulties and required different skills, all of which were invaluable learning

experiences. W"hat follows is a brief description of the decisions made and steps

taken within a time frame. Music needed to serve as a sort of glue to help hold these vastly different

Shakespearean scenes together. Grace Godwin and I discussed various

applications of music that would fit into a setup that alternated Shakespearean

material with explanatory and introductory material. The logical choice was to have music played coming out of each scene and going into the next. Not wanting to have two dozen four to ten measure long interlude pieces, we decided to have

the music continue under the spoken interludes. The next question was how to make the music: both echo the mood of the previous scene, form a link along with

the spoken interlude, and prepare the mood of the forthcoming scene. Originally, one of the options under consideration was that I would do more composing than

arranging, which would have allowed for a great deal of control in this respect.

But in the end I realized that any mood change necessary could be made just as

well through competent arranging and with the help of a knowledgeable conductor and instrumentalists. So, the show eventually settled into a setup following this outline:

- Preshow music - Introduction (with music) - Scene: Henry V - Epilogue music-interlude (with music)-intro music - Scene: Richard III

***etc. through first act**'" - Scene: The Taming of the Shrew - End of Act Music (no voices) - Intermission (no music) - Entr'acte - Introduction (with music) - Scene: Romeo and Juliet - Epilogue music-interlude (with music)-intro music

***etc. through second act**'" - Scene: A Midsummer Night's Dream - Epilogue music-concluding words (with music)-Bows-Playout

Once I knew how much music was needed and how it would be employed, I

next needed to decide what pieces to use and what instrumentation would best fit

our situation. :Elizabethan music was my first choice, and I never had any reason to change my mind. The music matches the language incredibly well in

complexity, beauty, and emotion. In fact, using Elizabethan music provided the extremely important aspect of continuity needed because it is so connected to the Elizabethan language of the plays. The instrumentation I had originally wanted would have uti1ized period instruments (namely, viols, virginalis, recorders, and

hand drums). Unfortunately, period instruments were mostly unavailable.

Several recorder players were available, as were hand drums; and viols were to be replaced by muted strings. (The performance space necessitated the exclusion of

brass instruments altogether.) To most imitate a viol sound, a string player should use a wood mute and no vibrato. But, since none of the string players

contracted owned wood mutes, standard orchestral mutes were used, which lessened the viol effect somewhat.

At this point, I began looking for music that involved three to seven voices,

could be compatible with the scenes, and worked together as a set. Dr. Sills, my advisor, suggested the use of In Nomine pieces. These are a rich source of music

all based on a common theme (see program notes for more, albeit still very

general, information -- see also the bibliography for sources on Elizabethan music) that also presents a wide variety of emotion and texture. A collection of

several pieces based on the In Nomine tune was available arranged for four or five viols. I immediately knew that Dr. Sills had suggested exactly what rd been looking for and began sketching out possible instrumentations.

The entire score for the production was arranged with the idea of having one recorder (that could double on soprano and tenor recorder), four strings

(violin, viola, cello, cello), and one percussionist, plus the conductor. One thought

was also to have the recorder player double on bassoon or oboe (since we had a

musician who could do that), but that turned out to be unnecessary. On paper and in theory the work seemed to be complete when the parts were completed. But, the difficult task of contracting musicians was more than I had expected.

Susan Carlson agreed to conduct the music early on, which was a source of much relief to me. Eddie Franklin, our percussionist, is an actor from the drama department who was glad to use one of his hidden talents and had committed himself to the production in November. Andy Gott had also agreed to play

recorder - and double woodwinds if necessary - before the music was even arranged. No violinists could be found at all, but Rachel Popma (another recorder

player and flutist) expressed interest in being part of the show, so she was given

the violin part to cover. Katie Cooke could play the shows, but had conflicts for many rehearsals; but since no other violists could have done any better, she agreed to play. There was incredible difficulty finding a cellist, so I knew early on

that finding two cellists was certainly wishful thinking. I decided to play the bass

to cover one ceno part. Cassie Henderson agreed to play cello on Saturday and Sunday, and Mike Reynolds agreed to play Friday. Neither could play Thursday, and no other Ball State cellists could play either. I eventually did track down

another cellist, but she backed out at the last minute. Just when we thought Thursday's show would have no cellist, Cassie was able to work her schedule so she could play.

These laBt minute changes in instrumentation necessitated a few other changes that are not reflected in the score on the following pages. During the

dress rehearsals it was decided that two recorders were far too piercing to be played underneath speaking parts, so while two soprano recorders were used in

~I the preshow music, Rachel played the flute and Andy played the tenor recorder

during the rest of the show. Even so, several sections of parts had to be transposed at the octave for balance purposes, and Rachel's part occasionally was scored too low for her, sin<:e it was originally intended for the violin. The bass was far too

Iowa voice to balance and it was upsetting the tonality of the music, so I had to play all parts at cello pitch (up an octave).

The following pages include a copy of Susan Carlson's score (with some of her notes still in the margins), the rehearsal schedule for the production, and a cue sheet for the musicians.

1A -£ . Preshmv-- Straight through all while audience enters.

~. Overture- Once through just us, then twice through for prologue (3x total)

Skip Henry V music

3. Richard III-- once through, as is

~. Much Ado- 2x

5, Taming 0' Shrew-- end dm\nbeat m.39 (fermata)

~. End of Act music- start eighth pick-up to m.73 and go to end

INTERMISSION

7. Entr'acte- once through, just us

8. R+J- end downbeat m.36, fermata-- Andy playa D

<), Othello-- end dwnbt m. 19 or 23 ... just watch

Ie. As You Like-- end/fermata dwnbt m. 19

II. 12th Night-- end/fermata dwnbt m. 46

12. Tempest-- end dwnbt m. 25? or 3rd beat m. 31

1,3. Midsummer- START eighth pick-up to m.73, then repeat entire.

Epilogue- midsummer music, stan pick-up to 73, but don't repeat.

Bows-- Midsummer music, from beginning (repeat as necessary)

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begin to create a mutual existence based on love. In order to do this, they must surmount the barrier of language and try to connect in any way they can.

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Othello and Desdemona. By bringing to the surface his general's fears, lago takes control of Othello's perception of the world.

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world with "him," and tries anything she can to reach him.Viola must not offend Olivia, nor can she reveal her true nature. To compound matters, the compassionate Viola sympathizes with Olivia--she herself has a love that must remain unrequited. In this instance, a disguise creates a barrier rather than a gateway to a love relationship.

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In reading the following thesis proposal, one will undoubtedly note the differences between the the proposal and the final performance. I viewed this entire project as a work in progress from the very beginning. The final product has evolved from this initial proposal. The thesis statement was changed to reflect what we (the cast and I) felt was a stronger thesis--the examination of the creation of lovers' worlds. The absence of the research paper is due to my final concept of a "term paper come to life," which is what I tried to present in the script. I feel the script that I wrote (the interludes between scenes) says what I needed to say in a paper. I chose to fully integrate the paper and performance.

Proposed:

Senior Honors Thesis/Workshop Production Proposal L. Grace Godwin

A two pa.rt thesis to be presented in the Spring of 1996 to fulfill the Senior Honors Thesis requirement for graduation from the Honors College at Ball State University. The thesis would be centered on a study of the male/female courting relationship in Shakespeare. The thesis would consist of a production and an accompanying paper. Dr. Judy Yordon has agreed to mentor the workshop production. Dr. William Liston from the English Department has also agreed to offer his expertise.

Production Aspect: Shakespeare cannot be studied without taking into consideration the element of

performance. The Department of Theatre and Dance Performance's workshop production capability offers the perfect opportunity to study Shakespeare in this manner. The production would consist of a selection of Shakespearean courting scenes. These scenes will focus on the variance of power roles in relation to gender within the three accepted classifications (history, comedy, and tragedy) of Shakespeare's work. I intend to select scenes from the following works:

Henry V V:ii Richard III I:ii As You Like It undecided Twelfth Night undecided Romeo and Juliet undecided Much Ado About Nothing undecided Taming of the Shrew undecided

This workshop production offers a variety of opportunities to students. The cast will consist of 6 - 10 actors probably doubling roles. This will be a very collaborative event from the start, I intend to utilize the interpretive talents of the actors to their fullest. The majority of our rehearsals will consist of discussions and analysis between the actors in individual scenes and myself. After aUditions I would meet with the group and collectively we will assign roles so that the actors will have the opportunity to play roles in which they are interested. I am also entertaining the possibility of a narrator figure to set the scenes and/or provide background information from my paper.

The production will be simple. Actors will dress in nondescript black, lighting and stage effects will be minimal. Music however, will be included. Anita Hagerman, a fellow honors student, will be incorporating her thesis on Elizabethan music and history into this production. She will use either actual Elizabethan music or original music in a compatible style.

Proposed audition dates are December 1 - 3. This early audition date will allow actors to read the plays over Christmas Break. I would begin rehearsals on the second or third week in January. The production would run April 11 - 14. I must clarify the need for such a long rehearsal process. The rehearsals in January and February would consist entirely of discussion and research. The traditional rehearsal process

-- would not begin until March 11. None of these rehearsals would conflict with any spring departmental production. My course work will be completed at the end of this semester and therefore my full attention can be devoted to this project. I can (and will) rehearse at any time of the day and will work my schedule around that of the actors. This will allow me to work with multiple scenes each day.

The performance aspect of this project is imperative to the project as I see it. I cannot justify a major study of Shakespeare that would not include performance. This project allows me to study Shakespeare in a complete manner and I feel it is a springboard for my further study--hopefully at the Shakespeare Institute of the University of Birmingham.

Research Paper Aspect: While Shakespeare is intended for performance, it also calls for study in a

literary manner. The research paper aspect of my project is intended to explore the canon in this way. It will be an expansion and elaboration of the ideas brought forth in the performancB aspect of my project. I would include not only the plays performed, but also other plays in the canon. This part of my thesis will fulfill the Honrs 499 requirement for graduation from the Ball State University Honors College and I feel it will be of great use when applying to my chosen graduate school.

This project is intended to be a culmination of my five (!) years of theatrical study at Ball State. While it would be an ending to my career as a Ball State student, it would also be a beginning to a career in theatre devoted to Shakespearean study. My passion for Shakespeare was rekindled in my recent journey to England and I hope to make the study and production of Shakespeare my life's work. It is my sincerest hope to bring his work to life in America as I felt it was alive in England.

The following information was posted throughout the Arts and Communications Building prior to auditions. Twenty actors auditioned for the production, they are, in my opinion, the finest actors in the department. I was very lucky to have such a good turnout. I have also included a callback list in this section, which, with the addition of Robyn Norris, who could not attend callbacks, became my cast list.

WhaT ~TIS TO Love A SeLemon of ShakespeaRean COURTInq Scenes

I. General Information Production Dates - April 11 - 14, 1996 Production Venue - Strother Theatre Director - L. Grace Godwin Cast - probably 4 men, 4 women, one chorus/narrator of either gender

II. Audition Information Audition. Dates - November 19 & 20, 1995 at 7:00 p.m. Audition Venue - Strother Theatre Audition Materials

November 19 - Please prepare a two minute monologue from any Shakespeare play.

November 20 - Improvisational scenes based upon scenes selected for performance.

Ill. Production Information The following scenes have been selected for performance (tentative):

Henry V Richard III Much Ado About Nothing The Taming of the Shrew Romeo and Juliet Othello As You Like It 'Twelfth Night A Midsummer Night's Dream

V:ii:90-284 I:ii:43-end IV :i:255-end II:i: 167 -324 III:v:I-64 III:iii:321-end III:ii:282-end III: i: 74-end III:ii:36-353

This production is part of a thesis project which will examine how genre affects courting relationships in Shakespeare.

Rehearsals for this production WILL NOT CONFLICT with ANY other Ball State University productions. Rehearsals will be scheduled at the actors' convenience.

Cast will most likely consist of four women and four men who will each play three or four roles. One chorus/narrator can be of either gender and will interact with the characters in the scenes.

For more information, please call Grace or Anita at 284-7028. See you at auditions!

WhaT ~TIS TO Love Paul Buranosky

Rodney Coe Josh Coomer

Michael Downey Warren Jackson

Bill Surber David Storrs

Call Back List Jessica Guthrie Katie Otterman Dana Nichols Nancy Moore

Kim Ruse Carrie Schlatter

Thank you so much to all who auditioned. You all did so well, it made choices extremely difficult. It was a pleasure to see all of your monologues. Please

report to Call Back Auditions on Monday, November 20 at 7:00 pm. We should be in Strother. Thank you!

The following cast list has changed during the rehearsal process. I added a scene from The Tempest in order to help show my thesis regarding supernatural influence on lovers in comedies. Some characters were cut as scenes changed. Also, Jessica Guthrie was added to the cast list to play Celia and Miranda.

Henry V Henry Katherine Alice

Richard III Richard Anne

Much Ado About Nothing Benedick Beatrice

The Taming of the Shrew Petruchio Katherine Baptista

Romeo and Juljet Romeo Juliet Nurse

Othello lago

As You Like It Orlando Rosalind Jaques

Tweijth Night Olivia Viola

Midsummer Night's Dream Lysander Demetrius Hermia Helena Oberon Puck

WhaT ~TIS TO Love Tentative Cast List

Paul Buranosky Robyn Norris Nancy Moore

Bill Surber Carrie Schlatter

Michael Downey Katie Otterman

Josh Coomer Nancy Moore RodneyCoe

David Storrs Dana Nichols Robyn Norris

Paul Buranosky Warren Jackson

Rodney Coe Kim Ruse Josh Coomer

Dana Nichols Carrie Schlatter

David Storrs Bill Surber Kim Ruse Katie Otterman Michael Downey Warren Jackson

Enormous thank yous to all who auditioned, it was interesting! Thank you for sticking with an unusual audition process. You made the decision very difficult and it was a pleasure to see you all work. I would like to meet with the

cast after Thanksgiving Break, please watch for signs. Once again, thank you--you are very talented folks!

what (tis to Love

HenlY V Henry V Katherine Alice

Richard III Richard Anne

Much Ado About Nothing Benedick Beatrice

The Taming of the Shrew Petruchio Katherine Baptista

Bamliia aD~ Julim Romeo Juliet Nurse Lady Capulet

QlbWIQ Othello lago Desdemona

As. Yau L.ilslii 11 Rosalind Orlando Celia

Iwliiltlb t:ligbl Olivia Viola

Ibilim~~ Ferdinand Miranda Prospero

Paul Buranoksy Robyn Norris Nancy Moore

Bill Surber Carrie Schlatter

Michael Downey Katie Otterman

Josh Coomer Nancy Moore Rodney Coe

David Storrs Dana Nichols Robyn Norris Katie Otterman

Paul Buranosky Warren Jackson Jessica Guthrie

Kim Ruse Rodney Coe Jessica Guthrie

Dana Nichols Carrie Schlatter

Josh Coomer Jessica Guthrie Rodney Coe

A Mjdsummir t:ligbt's Dream Lysander David Storrs Demetrius Bill Surber Hermia Helena Oberon Puck

Kim Ruse Katie Otterman Michael Downey Warren Jackson

Final Cast List

The following list of scenes to be performed has changed slightly during the process of rehearsal. In rehearsals I shortened the selections to be performed in order to make a tighter show.

WhaT ~TIS TO Love Tentative Scenes

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Henry V V:ii L. 90 Henry - Will you, fair sister, ... L. 284 Henry - ... and that is good English.

Richard III I:ii L. 43 Anne - What do you tremble? end Gloucester - That I may see my shadow pass.

Much AgQ AbQyt Nothing IV:i L. 255 Benedick - Lady Beatrice, have you wept... end Benedick - ... and so farewell.

The Taming Qf th~ Shr~w II: i L. 167 Baptista - Or shall I send my daugher Kate ... L. 324 Petruchio - ... we will be married a' Sunday.

RQmeo ang Jyli~t III:v L. 1 Juliet - Wilt thou be gone? L. 64 Juliet - But send him back.

Othello III: iii L. 321 lago - I will in Cassio's lodging ... end lago - I am your own forever.

As Y QU Like It IV:i L. 1 Jaques - I prithee, pretty youth ... L. 217 Rosalind - ... and sigh till he come.

., - Twelfth Night III :i L. 74 Sir Toby - My neice is desirous ...

end Olivia - ... to like his love.

The Tempest III :i L. 1 Ferdinand - There be some sports ... end Prospero - Much business appertaining.

A Mig~umm~r Nighr~ Dream III: ii L. 36 Oberon - But hast thou yet latch'd ... L. 353 Puck - ... 1 esteem a sport.

As in any production, schedules are due to change at a moments notice. I have included some copies of the various incarnations of rehearsal schedules in hopes of giving some sort of impression of how I rehearsed for this show. It was interesting attempting to switch from an As you Like It frame of mind to a Ricbard III frame of mind in the space of a few minutes, but rehearsing many scenes in one day helped me to look at the production as a whole. It also allowed me to cast some of the finest (and busiest) actors in the department. Had I gone with the traditional 7:00 pm to 10:00 pm rehearsal time, I would not have been able to cast in the same way.

WhaT ;TIS TO Love MeIDO

To: Cast From: Grace Re: Rehearsals

Hi! Welcome back to school. I hope things are going well. I would like to get started with read through/discussion rehearsals as soon as possible. I've scheduled rehearsals for most of the scenes, and I hope thE!Se times work. I will only need to rehearse with the main characters in each scene for the time being. Please let me know if any of these times are a problem and we can work something out.

Mondays from 1 :00 pm to 3:00 pm (beginning Monday, January 22)

Mondays from 4:30 pm to 6:30 pm (beginning Monday, January 22)

Thursdays from 4:00 pm to 6:00 pm (beginning Thursday, January 25)

Fridays from 12:00 pm to 2:00 pm (beginning Friday, January 26)

Fridays from 2:00 pm to 4:00 pm (beginning Friday, January 26)

Fridays from 4:00 pm to 6:00 pm (beginning Friday, January 26)

Romeo and Juliet David Storrs and Dana Nichols

The Tempest Josh Coomer and Jessica Guthrie

Twelfth Night Carrie Schlatter and Dana Nichols

Othello Paul Buranosky and Warren Jackson

Henry V Paul Buranosky, Robyn Norris, Nancy Moore

Much Ado About Nothing Michael Downey and Katie Otterman

I need to speak with the cast members of Richard III, The Taming of the Shrew, and As You Like It in order to work out the best possible rehearsal time. I will not begin rehearsing Midsummer until at least after the Improv show, probably not until after Pericles.

Please make sure to read your play(s) at least once before our first rehearsal. I am looking forward to starting work with you!

Thanks,

Grace Godwin

WhaT ~TIS TO Love Melllo

To: Cast From: Grace Re: Rehearsals Date: 1/23/96

Mondays from 1 :00 pm to 3:00 pm (beginning Monday, January 22)

Mondays from 4:30 pm to 6:30 pm (beginning Monday, January 22)

Tuesdays from 11 :00 am to 12:00 pm (1 st rehearsal Friday, January 26 @ 11 am)

Tuesdays from 5:00 pm to 6:00 pm (beginning Tuesday, January 30)

Wednesdays from 4:30 to 6:30 (beginning Wednesday, January 24)

Thursdays from 4:00 pm to 6:00 pm (beginning Thursday, January 25)

Fridays from 12::00 pm to 2:00 pm (beginning Friday, January 26)

Fridays from 4:30 pm to 6:30 pm (beginning Friday, February 2)

Saturdays from 5:00 pm to 7:00 pm (beginning Saturday, January 27)

Weekly rehearsal schedule will be as follows:

Romeo and Juliet David Storrs and Dana Nichols

The Tempest Josh Coomer and Jessica Guthrie

As You Like It Rodney Coe and Kim Ruse

Henry V Paul Buranosky and Robyn Norris

Richard III Bill Surber and Carrie Schlatter

Twelfth Night Carrie Schlatter and Dana Nichols

Othello Paul Buranosky and Warren Jackson

Much Ado About Nothing Michael Downey and Katie Otterman

Taming of the Shrew Josh Coomer and Nancy Moore

January 22 - 28 January 29 - February 12 February 12 - 17 February 18 - 2~3 February 23 - 29

Rehearse all Scenes - Read Throughs and Paraphrasing No Rehearsal Rehearse all Scenes - Blocking No Rehearsal Possible Rehearsals

....... Please learn your lines over spring break. Rehearsals for Midsummer will begin the week we come back.

Thanks,

c"""'" Monday, January 22

Thursday, January 25 Friday, January 26

Saturday, January 27 Monday, January 29 Tuesday, January 30 Thursday, February 1 Friday, February 2

Saturday, February 3

Monday, February 5 Tuesday, February 6 Friday, February 9 Saturday, February 10

Monday, February 12

Tuesday, February 13

Thursday, February 15 Friday, February 16

Saturday, February 17 Monday, February 26

WhaT 'TIS TO Love Rehearsal Schedule

1 :00 - 3:00 Romeo and Juliet Read Through/Paraphrase 4:30 - 6:30 The Tempest Read Through/Paraphrase 4:30 - 6:30 Twelfth Night Read Through/Paraphrase 11 :00 - 12:00 As You Like It Read Through/Paraphrase 12:00 - 2:00 Othello Read Through/Paraphrase 5:00 - 7:00 Taming of the Shrew Read Through/Paraphrase 1 :00 - 3:00 Romeo and Juliet Blocking 11 :00 - 12:00 As You Like It Paraphrase 4:00 - 6:00 Twelfth Night Blocking 12:00 - 2:00 Othello Blocking 6:00 - 7:00 Much Ado About Nothing Read Through/Paraphrase 5:00 - 7:00 Taming of the Shrew Blocking 7:00 - 1 0:00 ?Midsummer Night's Dream? Read Through/Paraphrase 1 :00 - 3:00 Romeo and Juliet Work Scene 11 :00 - 12:00 As You Like It Blocking 12:00 - 2:00 Othello Blocking 1 :00 - 4:00 ?As You Like It? Blocking 5:00 - 8:00 Taming of the Shrew Blocking 1 :00 - 3:00 Romeo and Juliet Work Scene 4:30 - 6:30 The Tempest Blocking 11 :00 - 12:00 As You Like It Work Scene 5:00 - 6:00 Henry V Read Through/Paraphrase 4:00 - 6:00 Twelfth Night Work Scene 12:00 - 2:00 Othello Work Scene 4:30 - 6:00 Much Ado About Nothing Blocking 1 :00 - 4:00 ?Midsummer Night's Dream? Blocking 1 :00 - 3:00 Romeo and Juliet Work Scene 4:30 - 6:30 The Tempest Work Scene

_ .... Tuesday, February 27 11 :00 - 12:00 As You Like It Work Scene

---

Thursday, February 29 Friday, March 1

12:00 -1:00 Richard III Blocking 4:00 - 6:00 Twelfth Night Work Scene 12:00 - 2:00 Othello Work Scene 4:30 - 6:30 Much Ado About Nothing Blocking

@@@@@@@@@@@@@@@@@ @@@@ @@ @ALL SCENES OFF BOOK@@@@@@@@@@@@@@@@ @@@@@@@@ Monday, March 11 1 :00 - 3:00 Romeo and Juliet Work Scene

Tuesday, March 12

Wednesday, March 13 Thursday, March 14

Friday, March 15

Monday, March 18

Tuesday, March 19

Wednesday, March 20 Thursday, March 21 Friday, March 22

Friday, March 29

Saturday, March 30

Sunday, March 31

Monday, April 1 Tuesday, April 2 Wednesday, April 3

4:30 - 6:30 The Tempest Work Scene 11 :00 - 12:00 As You Like It Work Scene 5:00 - 7:00 Henry V Blocking 7:00 - 10:30 ?Henry V? Work Scene 4:00 - 6:00 Twelfth Night Work Scene 7:00 - 10:30 ?Much Ado About Nothing? Work Scene 12:00 - 2:00 Othello Work Scene 4:30 - 6:30 Much Ado About Nothing Work Scene 1 :00 - 3:00 Romeo and Juliet Work Scene 4:30 - 6:30 The Tempest Work Scene

HANNOVER COLLEGE TRIP 11 :00 - 12:00 As You Like It Work Scene 5:00 - 7:00 Henry V Work Scene 7:00 - 10:30 ?Much Ado About Nothing? Work Scene 7:00 - 10:30 ?Othello? Work Scene 4:00 - 6:00 Twelfth Night Work Scene 12:00 - 2:00 Othello Work Scene 4:30 - 6:30 Much Ado About Nothing Work Scene 12:00 - 2:00 Othello Work Scene 4:30 - 6:30 Much Ado About Nothing Work Scene 5:00 -7:00 ?Much Ado About Nothing? Work Scene 7:00 - 10:30 ?Henry V? Work Scene 1:00 Run Show 7:00 Music Rehearsal 7:00 Run Show 7:00 Run Show 7:00 Run Show

Thursday, April 4 7:00 Run Show Monday, April 8 8:00 Tech Tuesday, April 9 8:00 Dress/Tech

,,,",,,,, Wednesday, April 10 8:00 Dress Thursday, April 11 8:00 Opening Night Friday, April 12 8:00 Performance Saturday, April 13 8:00 Performance Sunday, April 14 8:00 Performance

WhaT 'TIS TO Love Rehearsal Schedule

Monday, January 22 1:00 - 3:00 Romeo and Juliet Read Through/Paraphrase .. --- 4:30 - 6:30 The Tempest Read Through/Paraphrase

Thursday, January 25 4:30 - 6:30 Twelfth Night Read Through/Paraphrase Friday, January 26 11 :00 - 12:00 As You Like It Read Through/Paraphrase

12:00 - 2:00 Othelio Read Through/Paraphrase Saturday, January 27 5:00 - 7:00 Taming of the Shrew Read Through/Paraphrase Monday, January 29 1 :00 - 3:00 Romeo and juliet Blocking Tuesday, January 30 11 :00 - 12:00 As You Like It Paraphrase Thursday, February 1 4:00 - 6:00 Twelfth Night Blocking Friday, February 2 12:00 - 2:00 Othello Blocking

6:00 - 7:00 Much Ado About Nothing Read Through/Paraphrase Saturday, February 3 5:00 - 7:00 Taming of the Shrew Blocking

7:00 - 10:00 ?Midsummer Night's Dream? Read Through/Paraphrase Monday, February 5 1:00 - 3:00 Romeo and Juliet Work Scene Tuesday, February 6 11 :00 - 12:00 As You Like It Blocking Friday, February 9 12:00 - 2:00 Othello Blocking Saturday, February 10 1 :00 - 4:00 ? As You Like It? Blocking

5:00 - 8:00 Taming of the Shrew Blocking Monday, February 12 1 :00 - 3:00 Romeo and Juliet Work Scene

4:30 - 6:30 The Tempest Blocking Tuesday, February 13 11 :00 - 12:00 As You Like It Work Scene

5:00 - 6:00 Henry V Read Through/Paraphrase Thursday, February 15 4:00 - 6:00 Twelfth Night Work Scene Friday, February 16 12:00 - 2:00 Othelio Work Scene

4:30 - 6:00 Much Ado About Nothing Blocking Saturday, February 17 1 :00 - 4:00 ?Midsummer Night's Dream? Blocking Monday, February 26 1 :00 - 3:00 Romeo and Juliet Work Scene

4:30 - 6:30 The Tempest Work Scene ,_ Tuesday, February 27 11 :00 - 12:00 As You Like It Work Scene

5:00 - 7:00 Henry V Blocking @@@ @@ @ @@ @@ @@@@@ @@ @ @ @ @@ @@ALL SCENES OFF BOOK@ @@ @@ @ @@@@ @@@@ @ @@@ @@ @@ @@

Monday, March 11 1 :00 - 3:00 Romeo and Juliet Work Scene 4:30 - 6:30 The Tempest Work Scene

Tuesday, March 12 11 :00 - 12:00 As You Like It Work Scene 5:00 - 7:00 Henry V Blocking

Wednesday, March 13 7:00 - 10:30 ?Henry V? Work Scene Thursday, March 14 4:00 - 6:00 Twelfth Night Work Scene

7:00 - 10:30 ?Much Ado About Nothing? Work Scene Friday, March 15 12:00 - 2:00 Othello Work Scene

4:30 - 6:30 Much Ado About Nothing Work Scene Saturday, March 16 2:00 - 5:00 ?Midsummer Night's Dream? Blocking KI

5:00 - 8:00 ?Taming of the Shrew? Work Scene Monday, March 18 1 :00 - 3:00 Romeo and Juliet Work Scene

4:30 - 6:30 The Tempest Work Scene 7:00 - 10:30 ?Henry V? Work Scene

Tuesday, March 19 11 :00 - 12:00 As You Like It Work Scene 5:00 - 7:00 Henry V Work Scene 7:00 - 10:30 ?Much Ado About Nothing? Work Scene

Wednesday, March 20 7:00 - 10:30 ?Othelio? Work Scene Thursday, March 21 4:00 - 6:00 Twelfth Night Work Scene Friday, March 22 12:00 - 2:00 Othello Work Scene

4:30 - 6:30 Much Ado About Nothing Work Scene Saturday, March 23 1 :00 - 4:00 ?Midsummer Night's Dream? Work Scene KI

5:00 - 8:00 ?Taming of the Shrew? Work Scene Monday, March 25 1 :00 - 3:00 Romeo and Juliet Work Scene

4:30 - 6:30 The Tempest Work Scene ,.....,., 7:00 - 9:00 ?Midsummer Night's Dream? Work Scene

9:00 - 10:30 ?Taming of the Shrew? Work Scene Tuesday, March 26 11 :00 - 12:00 As You Like It Work Scene

5:00 - 7:00 Henry V Work Scene 7:00 - 10:30 ?Taming of the Shrew? Work Scene

Wednesday, March 27 7:00 - 10:30 ?Midsummer Night's Dream? Work Scene

Thursday, March 28 4:00 - 6:00 Twelfth Night Work Scene

Friday, March 29 12:00 - 2:00 Othello Work Scene 4:30 - 6:30 Much Ado About Nothing Work Scene

.-.. Saturday, March 30 5:00 - 7:00 ?Much Ado About Nothing? Work Scene 7:00 - 10:30 ?Henry V? Work Scene

Sunday, March 31 1 :00 Run Show 7:00 Music Rehearsal

Monday, April 1 7:00 Run Show Tuesday, April 2 7:00 Run Show Wednesday, April 3 7:00 Run Show

Thursday, April 4 7:00 Run Show Monday, April 8 8:00 Tech Tuesday, April 9 8:00 Dress/Tech

Wednesday, April 10 8:00 Dress Thursday, April 11 8:00 Opening Night Friday, April 12 8:00 Performance Saturday, April 13 8:00 Performance

Sunday, April 14 8:00 Performance

WhaT 'TlS TO Love MelUo

Hi everyone, just a little note here about the schedule etc. for the next few weeks. Actually three--yes that's right, we open in three weeks. I feel that everything is going pretty well, but because I'll be out of town for the next week (until March 28) I thought I'd let you know the deal.

Item number one--please get off script as soon as possible. I know some scenes have rehearsed more than others, but it is really impossible to make any progress while still on book. Juliana Heeter (our brave stage manager, in case you didn't know), will be happy to work with you individually if you need to, or she will be on book if you meet with your partner. Her number is 287-9608--please give her a call. Anita will also be happy to work with you, you can reach her at our house which is 284-7028.

Item number two--schedule from now until the close of the show: Friday, March 29 12:00 Othello

4:30 Much Ado About Nothing Saturday, March 30 1 :00 Midsummer Night's Dream

4:00 Much Ado About Nothing 5:00 Henry V

Sunday, March 31 1 :00 Midsummer Night's Dream 5:00 Henry V 7:00 Music Rehearsal

Monday, April 1 1 :00 Romeo and Juliet 4:30 The Tempest 7:00 Run Show - Discussion Following

Tuesday, April 2 11 :00 As You Like It 12:00 Richard III 5:00 Midsummer Night's Dream 6:00 Run Show - Add Music

Wednesday, April 3 4:30 Taming of the Shrew 7:00 Run Show

Thursday, April 4 4:00 Twelfth Night 7:00 Run Show

Friday, April 5 12:00 Othello

Saturday, April 6

Sunday, April 7 Monday, April 8

Tuesday, April 9

Wednesday, April 10

Thursday, April 11 Friday, April 12 Saturday, April 13 Sunday, April 14

4:30 Much Ado About Nothing 7:00 Run Show 1:00 2:30 7:00 7:00 1:00 4:30 11 :00 12:00 7:00 4:30 7:00 8:00 8:00 8:00 8:00

Taming of the Shrew As You Like It Tech Tech Romeo and Juliet The Tempest As You Like It Richard III DressfTech Taming of the Shrew Dress Opening Night Performance Performance Performance

We will most likely rehearse individual scenes after the runs, we'll decide when we get there. I'd really appreciate it if everyone was mostly off book by April 1. Midsummer folks--since we haven't worked much just give it your best shot, we've got plenty of time. If you are in a scene, but haven't rehearsed for it (i.e. Baptista, Alice, etc.) don't worry, you'll have plenty of time when the runs begin to get into the scene. The narration parts in between scenes will be ready by the first run, they will be on cards--so you can just read it. If you have any questions about any of this let Juliana know, I'll be in contact with her.

Item number three - Thanks for all of your hard work in the past weeks. I know everyone is busy, and I appreciate your attention to this show. I am very excited to see this thing come together. Break a leg Merrily and Dutchman folks!

WhaT 'TIS TO Love Rehearsal Schedule Revised 3/1/96

....,...." Monday, March 11 1:00 Romeo and Juliet 4:30 The Tempest 7:00 Henry V 8:30 Twelfth Night

Tuesday, March 12 11 :00 As You Like It 12:00 Richard III 5:00 Midsummer Night's Dream

Wednesday, March 13 4:30 Taming of the Shrew 7:00 Henry V 8:30 Tempest

Thursday, March 14 4:00 Twelfth Night 7:00 Much Ado About Nothing 8:30 Romeo and Juliet

Saturday, March 16 1:00 Midsummer Night's Dream 4:00 Richard III 6:00 Twelfth Night 7:30 Othello

Sunday, March 17 HANNOVER COLLEGE TRIP Romeo and Juliet The Tempest

If Possible Henry V Twelfth Night Much Ado About Nothing Othello

Monday, March 18 1 :00 Romeo and Juliet 4:30 The Tempest .....,.. 7:00 Othello 8:30 Much Ado About Nothing

Tuesday, March 19 11 :00 As You Like It 12:00 Richard III 5:00 Midsummer Night's Dream 7:00 Much Ado About Nothing 8:30 Henry V

Wednesday, March 20 4:30 Taming of the Shrew 7:00 Othello 8:30 Tempest

Thursday, March 21 4:00 Twelfth Night 7:00 Romeo and Juliet 8:30 Henry V

Friday, March 29 12:00 Othello 4:30 Much Ado About Nothing

Saturday, March 30 1:00 Midsummer Night's Dream 5:00 Much Ado About Nothing 7:00 Henry V

Sunday, March 31 1:00 Midsummer Night's Dream 7:00 Music Rehearsal