John McQuiggan, who designed the sound for the show, sits and watches. Let's do this puppy. There's a big dfference between seeing the model of the set and working from an outline on a rehearsal-hall floor and setting foot for the first time on the real thing. A dancer, for example, might have a lot of room to swing an arm in the hall and then find himself against a wall on the actual set. The platform on which Joseph first appears can be seen too early through a scrim painted to look like a large book.
Time is lost trying to figure out how to maneuver the camel around the well, which keeps leaking.
The rough surface of the steps leading to the platform turns out to be hard on the kids wearing shorts. It's a long night and by 11 p.m., Joseph still has not been sold into slavery by his brothers, a point which will come about halfway through the first act. The children are to leave at midnight. After the rehearsal stops at midnight, a production meeting begins, led by Modereger. Lighting designer Yeager points out that he has been able to set only 40 light cues and now is faced with the prospect of setting 200 more in the five hours set aside for rehearsal on Tuesday.