Trial By Jury

Last revised: 03/08/2002

TBJ: GENERAL MUSICAL NOTES:

1) Watch the director and do not drag (particularly with: "Monster"

"Comes the broken flower"

"Monster"

"We love you fondly"

"For this sad slaughter atone atone"

2) Remember cutoffs

p. 10: "trial must be tried" /CUT.

p. 19 "Trial la law" /CUT/ "Trial la law" /CUT/ "Trial la law"/CUT.

p. 75 "Abate - ment"/CUT/

p. 77: We do object we do object we do object/CUT!!!!!

3) Watch dynamics

p. 16 "Tink a tank" starts PIANO, building to crescendo.

p. 17 "Oh I was like that when a lad" is PIANO.

p. 34 Men remember the crescendo/decrescendo on final "try."

p. 42 Men's "Ah sly dog" is PIANO

p. 43 Men's "we love you fondly" is PIANO.

p. 73 Basses "We would be fairly acting" is FORTISSIMO.

p. 80 Chorus "Oh joy unbounded" is FORTE.

4) Breathe in slowly A MEASURE BEFORE you start singing.

5) Be precise with rhythms, particularly:

p. 52 "Oh perjured lover, atone atone"

pp. 63-69: "A nice dilemma"

SPECIFIC MUSICAL NOTES:

p. 3 Don't accent EDwin and ANgelina.

p. 13 COME IN on "Monster", and be prepared to TAKE IT FAST!

p. 19: Men COME IN on "He shall treat us with awe"

p. 20 EVERYBODY BREATHE before final "la law."

p. 31 Basses LOUDER on "And a good judge too."

Song No. 1 (pp. 1-11)

FIRST "Hark the Hour of Ten is Sounding":

Jurymen on stage Left, in front of jury box, in two lines: front row: Jim, Izzy, Dexter, Rich, Bernie; back row Bill L., Bill A., John, (Paul).

Women opposite them, in two lines, stage Right.

THIRD "Hark the Hour of Ten is Sounding":

Usher enters from upstage center, takes stock, then moves ladies to their seats, and motions the Jurymen to enter the box.

p. 8: "Now Jurymen hear my advice": Usher crosses over to jury box and addresses jury.

[Defendant and Defendant's Counsel will be stage right, facing upstage]

p. 9: Chorus's FIRST "From bias free": Usher crosses center, and refers to Plaintiff.

[Plaintiff will be stage left, facing upstage]

p. 10 "Silence in Court!": Usher turns upstage (without moving upstage)

p. 10 "And when amid the plaintiff's shrieks": Usher refers to defendant.

[Everyone stays standing]

p. 11 "Silence in court": Usher crosses to upstage, takes his position; EVERYONE ELSE SITS DOWN.

Song No. 1A (p. 12-14)

p. 13: Monster dread their damages": ALL RISE ANGRILY. Men shake fists. Women take a few steps forward, and Usher dresses their line.
Replace their with our and They''re with We're

p. 13: "Hear me, hear me": Robbie comes to center.

p. 14:Breathe on quarter rest just before "That's a very true remark"
After "Ha ha ho ho ha ha ho ho", ALL SIT DOWN. Men look skeptical.

Song No. 2 (p. 15-20)

Men are sitting for the first verse, then they STAND between the verses, and Bernie, Rich, John, Bill L., (and Paul?) quickly and smoothly come out in front of the jury box. The rest of the men stay in the box, standing.

[Women are sitting all of this time]

First verse: Defendant goes upstage and sings to the women. Men act holier-than-thou.

First Chorus "tink-a-tank": Defendant comes down to center. DO NOT SLOW DOWN on "tink a tank"

pp. 15-16: Men look at David Root, and sing to him on "Tink a Tank."

p. 17: "Oh I was like that when a lad": Jurymen turn out to face audience, admitting their faults confidentially. Sing Piano

pp. 17-18: On "Oh I was like that when a lad," MEN SING OUT. On "He shall treat us with awe" MEN SING IN TO CENTER.

p. 18 "But that sort of thing is now over": Jurymen draw themselves up and look arrogant, still facing the audience.

p. 18 After "scrap of sympathy with the Defendant," Jurymen turn back toward center stage.

[Women are sitting all of this time]

p. 19: After men finish "Trial la law" and as Usher/Defendant/Foreman sing "Trial la law", the five men in front of the box go back to their seats.

p. 20: end of "Trial la Law": Men sit down.

p. 24. note alternating forte and piano.
p.25 ROund out ton in final "He'll tell us how." DO not make it strident.

No. 3 (21-26)

p. 21: After "bend!", ALL RISE.

p.21: Chorus's "All hail great judge": Wade and Guy come forward, split, and face upstage.

p.22: "All hail/All hail, all hail all hail all hail" (this is the Chorus's second "All hail sequence") ALL BOW SLOWLY DOWN, AND THEN SLOWLY BACK UP, FINISHING AT END OF SINGING.

p. 23. "For these kind words": Wage is stage left front; Guy is stage right front.

p.23: "He'll tell us how": Choristers sing to each other.

p. 26: Chorus's final "He'll tell us how": ALL STEP FORWARD BOLDLY, AND FACE OUT TO AUDIENCE.

p.26: "Silence in Court": Usher steps forward.

No. 4 : "When I, good friends" (p. 27-32)

ALL SIT DOWN at beginning of song, EXCEPT Wade, Robbie, and Guy.

CHORUS, on all responses, sing out to audience. (When judge is singing, pay

attention to him.)

p. 29: verse 3 of Judge's song: Men in center (Dex, Izzy, Jim) lean on rail to listen to judge when he comes near.

p. 30 When judge goes over to women, they pay attention to him.

No. 5 "Swear Thou the Jury" (p. 33--34)

p. 33 "Kneel, Jurymen oh, kneel": Jurymen kneel

p. 34, at end of song ("we'll try"), Jurymen sit.

No. 6 "Where is the Plaintiff" (p. 35-41)

p. 35: At beginning of song, BRIDESMAIDS (Michelle, Wendy, Kathleen,

Christina) line up stage right.

Bridesmaids enter during music at bottom of p. 35/top of 36; other

ladies stand up.

Bridesmaids throw flowers, and are in center stage.

WOMEN RISE at beginning of this song.

p. 37-38: "Wear the flowers till they fade": Angelina enters and proceeds downstage.

Wendy and Michelle to left, Christina and Kathleen to right.

pp. 37-39: Jurymen rise as Angelina passes by them, and drool and fawn over

her.

p. 40 "Wear the flowers..." Bridesmaids come forward and surround Angelina.

Usher comes forward.

[Men are still standing]

p. 41 At end of song, Wade escorts Angelina to downstage left.

p. 41: MEN SIT after "Happy be thy life O maid."

No. 7 ("Oh Never Never Never")

p. 42 Bridesmaids are still in center. Men are still standing.

p. 42: Men, still sitting, LEAN IN to listen to David Shimchick as Judge is singing "How say you is she not designed for capture?"

p. 43: On Men's FIRST "We love you fondly," Martin, Izzy, Richard, and Bill A. stand up. EVERYBODY ELSE STAYS SEATED!

p. 43: On Men's SECOND "We love you fondly", Bill L. and Paul stand up. EVERYBODY ELSE STAYS SEATED!

p. 44 "Monster, Monster": Bridesmaids go over to stage left, and look

stern.

p. 44: On "Monster, Monster, dread our fury" ALL THE REST OF THE MEN STAND UP.

p.44 At end of song, men sit.

No. 8 ("May it please you")

p. 47 top: Bridesmaids creep forward and pay attention to Wade. Men react

to Wade when he comes up to them.

p. 48 "Picture then, my client naming": Men rise.

p. 49 As Angelina fall sobbing on Counsel's breast, Bridesmaids move to the

right.

p. 50 Men still standing.

p. 50 At end of song, Bridesmaids are to left of center, flanking Robbie,

Lia, and Wade, who are in the center.

p. 50: At end of final "Cheer up," MEN SIT DOWN.

No. 9 ("That She is reeling")

Men are still standing.

p.53 At end of song, men sit down.

No. 10 ("Oh gentlemen listen")

p. 54 Bridesmaids are still to left of center.

No 14 "Oh Joy Unbounded"

p. 80. Principals come forward. As soon as this happens, women close in behind them Jurymen come out of box and close in behind women in 2 lines.

p. 89. IMMEDIATE after last note of singing, the chorus parts down the middle making a passageway upstage.

Judge and Angelina immediately go upstage through the passageway, followed by Bridesmaids, lawyers women choristers and then jurymen.