With five weeks until the show, Sarina is perhaps now the most stressed of anyone involved with the production as she has to arrange all the technical aspects of the show, including costumes, makeup, sets, lighting, and a venue, all on a very limited budget, which means the help of family and friends who will get paid nothing. Despite having one hundred fifty costumes to produce, Gail, with her team, seem to have issues under control. The sets are another matter, which will be built by Sarina's son and nephew, Quentin and Miles, who seem unmotivated and unsure about what they should do to get the job done. She also has mixed feelings about holding the performance at The Music Hall. She loves the actual theater and its location, but the state of the renovations and lack of back stage change areas scare her. She does manage to hire a stage manager who vows she can handle a cast who will probably be freaking out on performance day. And Sarina brings in former pro wrestler Torpedo Tony to choreograph a fight scene. Sarina has ulterior motives for bringing him in: he is her father, and she, who didn't see him much when she was growing up, has always wanted to work with him and show him what she does for a living. With the cast, Sandra tests her witch impersonation out on unsuspecting children on Halloween. Jodi begins to fall into the Taz camp of feeling overwhelmed and wondering if she should bow out of the production. On the other extreme, Michael M., who wanted a lead role but didn't get one, is relishing his experience as the lead chorister, which perhaps provides him with a greater variety of acting challenges. He, who has no professional actor friends, asks for advice from Sarina about if he has the chops to actually work in the performing arts for a living.
—Huggo