The running crew had the stage to themselves today to run a "cue-to-cue" rehearsal of the entire show. The Director and the Stage Manager called "lights" and "black-out" for every scene as the Tech Director and the Stagehands moved the scenery and spiked the floor. The Technical Director dealt with a myriad of logistical issues to make things flow smoothly. The whole process went smoothly and in record time for such a huge production as The King and I.
Mrs. Tutterow orchestrates the change of the king's dais platform from behind the painted scrim.
Seth and Tris strike the ladder that is used for Buddha in the Uncle Tom's Cabin ballet.
Claire, our Stage Manager, calls
"black-out" for the start of the next scene change.
Seth and Tris, seniors on the stage crew, preset a practical
gas lampost for the "reception scene" at the top of Act II.
Katie, our stage-right Assistant Stage Manager, reviews the property flow-chart with Kerne and the others.
Simran, our stage-left Assistant Stage Manager, rips spike tape so the crew can mark the placement of scenery.
Here is a temporary spike mark for the steamer trunk in Act I, Scene 1. Later we will add glow tape beside the spike, and then seal it with a layer of
Sculpt-or-Coat so the dancers won't scuff it off the floor during the run of the show.
Our Director keeps the ball rolling all afternoon because tomorrow we will add the huge cast to the mix.
Mrs. Tutterow orchestrates the change of the king's dais platform from behind the painted scrim.
Seth and Tris strike the ladder that is used for Buddha in the Uncle Tom's Cabin ballet.
Claire, our Stage Manager, calls "black-out" for the start of the next scene change.
Seth and Tris, seniors on the stage crew, preset a practical gas lampost for the "reception scene" at the top of Act II.
Katie, our stage-right Assistant Stage Manager, reviews the property flow-chart with Kerne and the others.
Simran, our stage-left Assistant Stage Manager, rips spike tape so the crew can mark the placement of scenery.
Here is a temporary spike mark for the steamer trunk in Act I, Scene 1. Later we will add glow tape beside the spike, and then seal it with a layer of Sculpt-or-Coat so the dancers won't scuff it off the floor during the run of the show. 
Our Director keeps the ball rolling all afternoon because tomorrow we will add the huge cast to the mix.
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