CODA. A cash or deferred arrangement under Code Section 401(k) which is part of a profit sharing plan and under which a Participant may elect to make Pre-Tax Contributions and/or Xxxx Contributions in accordance with Section 3.4.1.
CODA. And finally, an extra word or two for when the show is a MUSICAL; additional time, resources and personnel will almost certainly be required • The Director should directly approach their preferred Musical Director (this is not an area that the Technical Team covers) and together they should arrange their own musicians and consider the possible need for a rehearsal pianist. Please note that expenses for musicians can be the biggest single cost in a musical so the Musical Director must be involved in all budget planning for the show. The budget for musicians must always be agreed at an early stage; any future deviation from this needs to be discussed • The Director should also approach their preferred Choreographer (again this is not an area that the Technical Team covers). Choreography rehearsals may need a larger rehearsal space. If so, please liaise well in advance with the Theatre Manager, specifying which are dance rehearsals and therefore need extra space. • Musicals will usually need a longer rehearsal period than other shows. The Director should liaise with the Theatre Manager about rehearsal requirements. • The Director, Set Designer and Musical Director should liaise over the location of the musicians. This will have an impact on the overall sound. A band of two or more is likely to be louder than a singer; in particular wind instruments and drums will be louder than voices. The band can be placed directly behind the set or on the Upper Mezzanine to decrease their volume • The Director/Musical Director should also liaise with the Sound Designer to ensure any amplification is arranged well in advance. The singers can be miked if desired; cabled microphones and radio mics are available. • Where possible actors should be rehearsed together with the musicians. At the least, a sitzprobe, when the singers and musicians work together without the staging, should be organised. The Musical Director should be in overall charge of this rehearsal.
CODA. Decades after Rowson’s death, a nation caught up in the discourse of Manifest Destiny elected President James Polk in 1844 on a platform that Oregon territory would become part of the U.S. In taking up the Oregon Question, politicians took up the question of title to American land, a matter that Rowson and her (intimate) contemporaries in the expanding U.S. had been asking about the nation since its beginnings. In keeping with the terms of the Nootka Convention, the U.S.’s claim to Oregon territory derived from discovery (1792), exploration (1805) and settlement (1811), a series of events that began with figures like Rowson’s brother.43 Echoing Columbus in more than name, this discovery led politicians to justify the Oregon territory’s exploration by Lewis and Clark and its settlement by John Jacob Astor and company. In arguing for the U.S.’s title to Oregon territory in 1846—when a compromise between the British and the U.S. settled the border where it currently exists between the U.S. and Canada—Democratic congressman William Sawyer traced the nation’s right to the land from time immemorial to Columbus in a series of events that mimic much of the action of Reuben and Rachel. Combining the language of the Bible with the language of the Declaration, Sawyer conflates sacred and secular time to naturalize a U.S.-American geography that extends from sea to shining sea:
