text: Finally a crescendo to the climax of the action: good job! Also, nice ensemble work. How could you have closed the canovaccio in a more pointed way?
  Ilana (and Jeremy): the packages serve you well for your interactions with Pantalone. It’s not clear, at the beginning, whose father Pantalone is.
  Andrew: Capitano is convincing, with appropriate and varied steps, but once you stand, where’s your “monument,” “ready to be photographed” posture?
  Erin: Funny “serious” Doctor! You could definitely enhance the “being full of yourself” part. Great toilet paper prop.
  General level of energy is pretty low guys, but most of all there is not much thinking behind the story, so all seems weak and disconnected. Why don’t people want to sing? Are they busy doing something else? Do they dislike the First Zanni? Finding the reasons would help you move the situation and weave it together. Where is the SILENT scene? Really, how long did you actually rehearse TOGETHER?
  John: Good explanation of the situation. FYI: Pantalone is no scarecrow, he uses his arms freely, and uses a normal voice, not a semi-falsetto. Your version is funny though
  Mike R: 1. You were supposed to play the White-Face character, who does not have a mask and has a completely different movement. 2. But even as Zanni, TOUCHING THE MASK IS FORBIDDEN (I counted at least 11 times!), plus you cannot really walk as yourself when you have the mask... oh boy! The “4 o’c(l)ock” pun is somewhat funny at the beginning but unsupported by more stage business, actions, character, etc. and it becomes boring soon. Long time with your face to the back and covering other characters...
  Jordan: What happened to the Zanni steps? Not very clear by any means: you look like a Capitano at the beginning and then I am not sure about your role in this canovaccio at all...