One of the paperwork projects I pursed while mixing “We Are The Tigers” was creating my first digital A1 script. It was especially tough getting this started on a new musical, since I was constantly getting script changes right up until we froze, and I couldn’t commit to working out of just one word doc in case things changed but I’m pleased with the work I’ve been able to put in so far on developing my digital “style”, even if I am going to be mixing this one on the original paper script with “analog markup” for the remainder of the run.

I really want to make this a part of my process on every show I do going forward because it could potentially save me a lot of time (and paper and office supplies expenses) on future projects. I personally like to “white out” everything on the page that isn’t words that an actor says (stage directions, etc) for the sake of cleanliness. Being able to do this on the computer is making it much easier to maintain the SM’s original page numbers but also eliminate a lot of the clutter that I as the A1 don’t need.

Here’s some example pages below, plus a glossary (or, as I call it in my scripts, “The A1’s will”) which briefly explains my markup “language” and how to interpret it, plus some guidelines for whoever ends up mixing the show god forbid that bus finally hits me.

My “A1 will” for this book
For those reading the fine print, this show is pretty nonstop once we get started, and the longest dance break in the entire thing is only 5 bars long. Hence the need for the camelbak – there really isn’t time to even reach for a water bottle!
This page is nothing but visual sound cues, hence the red dots and glasses icons.
The first big musical number in the show. All told there are FOURTEEN switches back and forth between singing and underscored dialogue in this song alone! But it’s a fun way for us to meet all the ladies coming to the annual Tigers Cheerleader Squad Sleepover 🙂
The gray text at the top is the last line from the previous page carried over to help with the fact that this page turn is really quick.
As you might be gathering, the vocal arrangements on this show are INSANE, and I mean that in the best way! Mad props due to writer Preston Max Allen and music supervisor Patrick Sulken. Come hear me mix this beast in person through April 1st!