Check out what all three of them look like fresh from the playwright.
(and yes, we are rehearsing in the men’s dressing room as there was an event scheduled in the NextStage)
With these tools, the always effervescent Don Kot dove in and taught them this song…yes, the song itself had only existed for a few hours before our actors were singing it, harmonizing it and finding comedic nuggets all thru it.
Also, luckily, one of our cohorts was there this evening and he reported.
This is Roger Gans:
Yes, I missed days five through seven because my life got in the way.
We started in the Nextstage for the first hour, staging two of the musical numbers: the opening and the most catchy. We then adjourned to the lower level, gathered around a piano in the men’s dressing room, for vocal and musical refinement under the able guidance of Don Kot. I wasn’t able to stay for the whole thing as I has a rehearsal of my own to go to, but I very much enjoyed the refinement process. The actors had prepared the songs, and Don was able to work from there, working both on harmonies and diction, and helping refine what words are the important ones, with a view to making the songs clearer. This is very important, from my perspective as audience, because the songs are both clever and unexpected (the contents are a wee bit weird from place to place).
A lot of this was a wee bit technical from the perspective of a non-musical person. I know that notes exist, and I know that harmonies are pleasant, but the process by which these things are introduced to a production are completely unfamiliar to me. I learned a lot today, but finally, it is a matter of hard work by knowledgeable people, both the actors and the musical director. Would that a more musically literate cohort member could have been in attendance.
I remain impressed by the musical talent of this set of actors, and the effective harnessing of it by Sean and Don.” – Roger Gans