We then went through the song without music to polish and clean every little bit so that went it came to putting it altogether and run through it properly, it is performed with exquisite precision to every little detail of dance technique and flow of the routine, ensuring enhanced performance and improvement to perfection.
At the end of the rehearsal, i felt a lot more confident with the dance to the point where when performing, it comes as muscle memory and the choreography come naturally. Jamie (choreographer) was also very pleased with our characterisation throughout the number, really bringing these individual characters as a newly formed trio. Facial expressions, body language and performance of character is vital and a very important factor even when dancing choreography, as otherwise you fall into the trap of it looking like a dance show or a performance of dance technique - which in my opinion, is boring to watch. This is the same for when singing also, performance of character and chractrisation interpretation through song (acting through song) is absolutely vital in musical theatre.
After running through the number properly for the last time, our chreography had said it was the best time he has seen us do 'Good morning'.
When the normal rehearsal started with the whole cast, our director told us that we were to run act 1 and then after the break, stage more scenes in act 2. We took the challenge of runing act 1 scripts down seeing that show week is soon arriving. In my opinion, the run went very well as it did last time at the fact the most of the principles were very good with lines and the flow of the first act seemed to now come natural for the rest of the cast, providing a smooth run of the first act. In terms of musical numbers, Harry and I struggled to remember sections of 'Fit as a Fiddle' and we are still strggling to withhold our harmonies during the number due to demanding of energy and stamina required for the number. Because of this Harry and i are forever singing throuhg our harmony lines for the song in our frees at school to ensure that we are confident and feel strongley about them so that they will not slip when reciting the routine. I am unaware of the reason as to why we fogort some parts of 'Fit as a Fiddle', but i reckon it might be due to the fact of the amount of choreography the two of us have to learn and know for this show just built up and our minds went blank - but we will make sure this will not happen again. On the subject of struggling, within the number of 'Moses Supposes', performed Don, Cosmo and the vocal coach, three of us find great difficulty in a particular section of simple tap where it relies hugely on timing with the music and with eachother. When done correctly, it should look very effective, but at the moment we have not quite mastered - which is fustrating as it seems like a its such an easy part compared to all the other dances and sections of dance i perform in the show. in regards to seens and dialogue though, everything went very smoothly with confidence.
Due to the girl playing Kathy Selden (Chloe Hare) not being at rehearsals next week (7th june), we stopped our act 1 run just before 'Good Morning' so that we could get on to start staging more scenes in act 2 and make use of Chloe.
When staging scenes in act 2, the one thing that i found myself most difficult during staging scenes, was spacing. Where most of the scenes in act 2 include the presence of lots of characters or big, space consuming pieces of set, i was unable to be confident with my spacing during the scenes and there were times when i was in an inappropriate place for certain bits of dialogue that didnt very much work, and also times where i got myself confused on where i should be. Due to this, at the end of today's rehearsal, i alone went through some of the scenes in act 2 in my scripts and analysed the dialogue within the scenes to work out my own individual spacing at the demands of my character. I tend to analyse and annotate into scenes, songs, dances, lyrics and dialogue a lot in all my scripts for shows i am in, for interpretation and analysis on elements like characterisation, purpose, subtext, spacing, status, objectives, focus, creativity, production, attitude and emotion.
At the end of the rehearsal, i felt a lot more confident with the dance to the point where when performing, it comes as muscle memory and the choreography come naturally. Jamie (choreographer) was also very pleased with our characterisation throughout the number, really bringing these individual characters as a newly formed trio. Facial expressions, body language and performance of character is vital and a very important factor even when dancing choreography, as otherwise you fall into the trap of it looking like a dance show or a performance of dance technique - which in my opinion, is boring to watch. This is the same for when singing also, performance of character and chractrisation interpretation through song (acting through song) is absolutely vital in musical theatre.
After running through the number properly for the last time, our chreography had said it was the best time he has seen us do 'Good morning'.
When the normal rehearsal started with the whole cast, our director told us that we were to run act 1 and then after the break, stage more scenes in act 2. We took the challenge of runing act 1 scripts down seeing that show week is soon arriving. In my opinion, the run went very well as it did last time at the fact the most of the principles were very good with lines and the flow of the first act seemed to now come natural for the rest of the cast, providing a smooth run of the first act. In terms of musical numbers, Harry and I struggled to remember sections of 'Fit as a Fiddle' and we are still strggling to withhold our harmonies during the number due to demanding of energy and stamina required for the number. Because of this Harry and i are forever singing throuhg our harmony lines for the song in our frees at school to ensure that we are confident and feel strongley about them so that they will not slip when reciting the routine. I am unaware of the reason as to why we fogort some parts of 'Fit as a Fiddle', but i reckon it might be due to the fact of the amount of choreography the two of us have to learn and know for this show just built up and our minds went blank - but we will make sure this will not happen again. On the subject of struggling, within the number of 'Moses Supposes', performed Don, Cosmo and the vocal coach, three of us find great difficulty in a particular section of simple tap where it relies hugely on timing with the music and with eachother. When done correctly, it should look very effective, but at the moment we have not quite mastered - which is fustrating as it seems like a its such an easy part compared to all the other dances and sections of dance i perform in the show. in regards to seens and dialogue though, everything went very smoothly with confidence.
Due to the girl playing Kathy Selden (Chloe Hare) not being at rehearsals next week (7th june), we stopped our act 1 run just before 'Good Morning' so that we could get on to start staging more scenes in act 2 and make use of Chloe.
When staging scenes in act 2, the one thing that i found myself most difficult during staging scenes, was spacing. Where most of the scenes in act 2 include the presence of lots of characters or big, space consuming pieces of set, i was unable to be confident with my spacing during the scenes and there were times when i was in an inappropriate place for certain bits of dialogue that didnt very much work, and also times where i got myself confused on where i should be. Due to this, at the end of today's rehearsal, i alone went through some of the scenes in act 2 in my scripts and analysed the dialogue within the scenes to work out my own individual spacing at the demands of my character. I tend to analyse and annotate into scenes, songs, dances, lyrics and dialogue a lot in all my scripts for shows i am in, for interpretation and analysis on elements like characterisation, purpose, subtext, spacing, status, objectives, focus, creativity, production, attitude and emotion.
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