Tune Up #1 & #2 - We used the stage space a lot better here I think, and interacted a bit better with each other; so for example, during the voice mail #1 (which splits tune up #1 from tune up #2), it is Mark's mother calling, and Henri starts to mock me and laugh because of what the mother says. We also clearly understood what was going on here a lot better, especially with when Collins is very briefly introduced, I never understood what happens to him or why we throw him down the key but never comes up. But I now that when we throw him down the key, he gets mugged which is why he says "I may be detained" and then the phone hangs up. There was a couple of bits where I stumbled on the lyrics but I was able to pick myself back on track. Also, I feel a lot more comfortable with the timings of it all now, so now I can focus properly on the acting as well as the singing, which is why I feel this number went really well today. This runs straight into the next song Rent so there isn't really any transition for this.
Rent - I think this was the best run of this song we've ever done: all of the singing was good all round, and I think I acted it well today, and in terms of projection I think everyone did a pretty good job. However, Henri and I still think the small dance isn't necessary - we feel so awkward doing it because a) it's so cheesey, we just think it contrasts badly against everything else and it is very out of place, and b) we are the only two doing it. This whole number takes place primarily in Roger and Mark's apartment, with the odd cross cut to the street, Joanne's place or Benny, so the main stage set is a table and possibly a sofa, this then runs into tune up #3, which is still in the apartment so there are no set changes here. It's just simply a case of everyone else leaving the stage, but we were told that when we leave the stage after a number or scene, we need to leave with purpose instead of just simply moving into the wings.
Tune Up #3 - This was the first proper time we actually done this today, it is very short so there is not much to say. A couple stumbles on lines between both me and Henri but nothing major. This part is mainly about Mark giving the audience some more information on Roger and his backstory, so to show the contrast between talking to Roger and the audience, I sort of retract form Roger's space and come forward closer to the audience and make eye contact with them so it is obvious that I am talking to them.. This then runs straight into One song Glory as soon as I leave, so there was nothing worry about for any transitions, except I take the wood burning stove off.
One Song Glory - This runs straight into Light my candle, so again nothing to worry about for any transitions.
Light my candle - Watching this today, this is definitely one of the best numbers and rehearsed numbers in the show, both Taylor and Henri seem to know exactly what they are doing and look very comfortable with each other and what they are doing. Voice mail #2 is a cross cut scene, so the set for the apartment stays on stage.
Voice mail #2 - No transition.
Today 4 U - Since I researched and looked further into this song for my character, I feel a lot more confident in this one now (even though I am just singing). Mark is amazed by Angel, and is very fascinated by his/her appearance and how much he looks like an actual woman. So when Angel is dancing and singing, I start to film her for the documentary because Mark wants everyone to see him/her and what he/she can do. I only have one line in this song and it is spoken, I say "and you earned this on the street?" to Collins in amazement that you could find such a character on the street; I say it with quite a loud and higher pitched tone to show enthusiasm and amazement. I want to also move around to different points of the stage to get different angles of Angel for the camera, which will again help show my enthusiasm and amazement towards Angel because I want to make sure I get a range good shots of Angel.
You'll see - This went very well all round today - we are each using a lot more space of the stage, and coming forward at points to highlight something or someone: for example, when I say "You're wasting your time...and you broke your word, this is absurd!", I move in directly towards Benny and point at him to highlight that I am talking to and about him - I think this move also makes me seem a bit more serious about the situation and highlights my feelings towards Benny and what he has done. Also, vocally I think it was the best we'd done it; we were all almost perfectly in time throughout and we each remembered all our lyrics and acted each well accordingly. For the transitions, this number is in the apartment so it follows after Today 4 U straight away, but at the end I take the table off, Lewis pushes Owen in the chair off, Lorna brings on the white box as the amp and the microphone stand to down stage left ready for Tango: Maureen.
Tango: Maureen - Today wasn't as good as last time, mainly the dance; possible because we had not done it for 2 weeks. But I think our acting and singing was good - not much change from the previous time. At the end of this song, I take the white block and microphone stand off stage and Henri and Warren bring the table on for the part of the apartment we show during the cross cut between the apartment and the life support group ready for life support.
Life support/Another Day- This number is now becoming consistent so there was no change. No transition because another day is in the apartment.
Will I? - At the end, me and Henri turn the table round to reveal a brick print out on the back of the table to show that we are in the street for Santa Fe.
Santa Fe - No change in this number either. This runs straight into I'll cover you which is also in the street so there is no transition.
(No transitions for the rest of act 1)
We didn't get time to perform act 2, so we just discussed and practiced the transitions.
La Vie Boheme - Me and Warren take a round table to downstage left, Lewis and Tyler take a round table to centre stage and Lorna and Owen take a table to downstage right. We each put a sheet over the table. At the end of the song, me and Warren take our table off and Lewis and Tyler take theirs off too, but Lorna and Owen just adjust their sheet on their table to make it look scruffy to be the table in the apartment. This remains for Voice mail #3, Happy new year B and Take me or leave me.
Without you - Will brings on the chair and Tyler brings on the table with the sheet over it and pillows. At the end, we have a blackout, during this Taylor takes the chair off and Owen takes his pillows off, then I take the black stage block from the front of the stage to behind the table upstage centre for Owen to be on for I'll cover you reprise. The table with the sheet over remains for Voice mail #4 and I'll cover you (reprise).
There is now no set for the rest of the show (Goodbye love and Seasons of love).
Rent - I think this was the best run of this song we've ever done: all of the singing was good all round, and I think I acted it well today, and in terms of projection I think everyone did a pretty good job. However, Henri and I still think the small dance isn't necessary - we feel so awkward doing it because a) it's so cheesey, we just think it contrasts badly against everything else and it is very out of place, and b) we are the only two doing it. This whole number takes place primarily in Roger and Mark's apartment, with the odd cross cut to the street, Joanne's place or Benny, so the main stage set is a table and possibly a sofa, this then runs into tune up #3, which is still in the apartment so there are no set changes here. It's just simply a case of everyone else leaving the stage, but we were told that when we leave the stage after a number or scene, we need to leave with purpose instead of just simply moving into the wings.
Tune Up #3 - This was the first proper time we actually done this today, it is very short so there is not much to say. A couple stumbles on lines between both me and Henri but nothing major. This part is mainly about Mark giving the audience some more information on Roger and his backstory, so to show the contrast between talking to Roger and the audience, I sort of retract form Roger's space and come forward closer to the audience and make eye contact with them so it is obvious that I am talking to them.. This then runs straight into One song Glory as soon as I leave, so there was nothing worry about for any transitions, except I take the wood burning stove off.
One Song Glory - This runs straight into Light my candle, so again nothing to worry about for any transitions.
Light my candle - Watching this today, this is definitely one of the best numbers and rehearsed numbers in the show, both Taylor and Henri seem to know exactly what they are doing and look very comfortable with each other and what they are doing. Voice mail #2 is a cross cut scene, so the set for the apartment stays on stage.
Voice mail #2 - No transition.
Today 4 U - Since I researched and looked further into this song for my character, I feel a lot more confident in this one now (even though I am just singing). Mark is amazed by Angel, and is very fascinated by his/her appearance and how much he looks like an actual woman. So when Angel is dancing and singing, I start to film her for the documentary because Mark wants everyone to see him/her and what he/she can do. I only have one line in this song and it is spoken, I say "and you earned this on the street?" to Collins in amazement that you could find such a character on the street; I say it with quite a loud and higher pitched tone to show enthusiasm and amazement. I want to also move around to different points of the stage to get different angles of Angel for the camera, which will again help show my enthusiasm and amazement towards Angel because I want to make sure I get a range good shots of Angel.
You'll see - This went very well all round today - we are each using a lot more space of the stage, and coming forward at points to highlight something or someone: for example, when I say "You're wasting your time...and you broke your word, this is absurd!", I move in directly towards Benny and point at him to highlight that I am talking to and about him - I think this move also makes me seem a bit more serious about the situation and highlights my feelings towards Benny and what he has done. Also, vocally I think it was the best we'd done it; we were all almost perfectly in time throughout and we each remembered all our lyrics and acted each well accordingly. For the transitions, this number is in the apartment so it follows after Today 4 U straight away, but at the end I take the table off, Lewis pushes Owen in the chair off, Lorna brings on the white box as the amp and the microphone stand to down stage left ready for Tango: Maureen.
Tango: Maureen - Today wasn't as good as last time, mainly the dance; possible because we had not done it for 2 weeks. But I think our acting and singing was good - not much change from the previous time. At the end of this song, I take the white block and microphone stand off stage and Henri and Warren bring the table on for the part of the apartment we show during the cross cut between the apartment and the life support group ready for life support.
Life support/Another Day- This number is now becoming consistent so there was no change. No transition because another day is in the apartment.
Will I? - At the end, me and Henri turn the table round to reveal a brick print out on the back of the table to show that we are in the street for Santa Fe.
Santa Fe - No change in this number either. This runs straight into I'll cover you which is also in the street so there is no transition.
(No transitions for the rest of act 1)
We didn't get time to perform act 2, so we just discussed and practiced the transitions.
La Vie Boheme - Me and Warren take a round table to downstage left, Lewis and Tyler take a round table to centre stage and Lorna and Owen take a table to downstage right. We each put a sheet over the table. At the end of the song, me and Warren take our table off and Lewis and Tyler take theirs off too, but Lorna and Owen just adjust their sheet on their table to make it look scruffy to be the table in the apartment. This remains for Voice mail #3, Happy new year B and Take me or leave me.
Without you - Will brings on the chair and Tyler brings on the table with the sheet over it and pillows. At the end, we have a blackout, during this Taylor takes the chair off and Owen takes his pillows off, then I take the black stage block from the front of the stage to behind the table upstage centre for Owen to be on for I'll cover you reprise. The table with the sheet over remains for Voice mail #4 and I'll cover you (reprise).
There is now no set for the rest of the show (Goodbye love and Seasons of love).
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