Script Writing.

Scene 1: Outside. Jack is slumped, sitting on the floor, with a bloody swollen face. Michael, Jack's friend is holding is phone to his ear and puts it away as the scene begins.



Michael: I called your mum, she's on her way.



Jack: okay..



M: oh dude, don't get up/you shouldn't



J:/ I want to, okay?



M:..



J: ah ( breathes in sharply in pain)



M: omg, I told you, just (gently pushes him back down) stay there buddy, don't be a twat.



J: I can do it.. (struggling to get up)



M: I'm not saying you can't, just be smart for once jack, we don't know whats wrong with you yet so don't move, you might fuck yourself up.



J: ...How does it look..?



M: Mate, I'm not gonna lie to you, you face is p h fucked.



J: Omg, my mum is gonna freak the fuck out…she's gonna be so mad.



M: Seriously, you think she's gonna be mad at you, she's not gonna be worrying about who did what at the minute, she's just gonna want to make sure you're okay.



J: Right…




Scene 2: Holly Jackson and her best friend Nicole are at college, they have just finished their lesson
and have gone outside to sit in the sun. Holly, as she often does, is serenading Nicole in a jokey fashion and as they reach the rest of their friends everyone is laughing and joining in.



Nicole: Okay..shut up now. (Smile at everyone.)



Holly: ..You love me.. aha,  ya it's a nice day.



N: mm.. Finally I missed summer.



H: Same.

*
H: Yo Michael. (To Michael)



M: You alright Holly?



H: I'm not bad you?



M: I'm good, You finished for the day then?



H: yep aha you?



M: ah lucky, no, I've Music with Jackie next, I swear she hates me aha.



H: aw I love Jackie.
*



Whilst this conversation is occurring, Jack comes over and sits by Michael and they engage in
conversation, Holly turns to talk to Nicole who signals for her to come in close.



N: That was the guy from the other day!!



H: *stares blankly at Nicole*



N: OMG, the one I told you about the other day… the cute one who was staring at you?!



H: I have no idea what you're talking about, you probably didn't tell me.



N: ..He's doing it again, LOOK!



Holly looks up and Jack is smiling at her, she turns away smiling shyly, and laughs, she turns back into him, and he's still smiling at her.



J: Hey, I'm Jack.



H: Hey, I'm Holly.



In this exchange they both have been looking in each others eyes,  In unison they both say


J + H: You have nice eyes.. (and they both laugh and smile at each other)



H: I swear I've never seen you at this college, do you even go here? (she laughs)



J: I've seen you before (he smiles) yeah I do but I hardly come in for my lessons anymore.



H: Why not?



J: I just don't want to..



H: Right..what are you not studying then? (she laughs)



J: History, Statistics and Biology.



H: Oh I see, so basically what you're telling me is that it's all too difficult for you? (she smiles
cheekily)



J: Oh shut up.. (he smiles)



During the exchange Nicole and Michael are watching them intently.




N: (Whispering to Michael) They can't stop smiling at each other... it doesn't matter what they talk
about, they just keep smiling.



M: (Whispering back) I know, I've never seen Jack like this..



N: I've never seen Holly like this..




Scene 3: Holly and Jack have been talking constantly for over a week now, messaging, calling and skyping each other, they really enjoy each others company and Jack has been coming in to college just to see Holly, with Holly's encouragement he's also started going to his lessons.

Jack is walking to college, on the phone to Holly



J: Okay, I'll meet you by the main entrance, bye. (he hangs up and smiles down at his phone)

His phone rings again and he picks up laughing down the phone, not checking the caller ID.



J: What did you forgot Hun? (he laughs)



His face drops and stumbles over his words



J: Just give me a few more weeks, that's all I need, and I'll have the money..

*answers on phone*



J: I swear if you touch her… (getting brave because he's on the defensive)

*Hangs up*



J: Shit…



Runs rest of the way to college, to find Holly waiting for him on a bench, she sees him and smiles genuinely, its relief to see him as always.



H: Hey, (she smiles, but then her face falls, noticing his expression) whats wrong?



J: Oh nothing, just breathless from running here.



H: oh (she relaxes) why did you run here?



J: So I could see you sooner, silly (smiling)



H: aw cute (breathes out)  right what lesson do you have now?



J: err History.



H: Okay, shall we go then babe.



Jack looks her and smiles, as they walk into college he looks over his shoulder.




Scene 4: Holly has been hanging out with a big group of friends ,who meet up daily, 6pm at the clock
tower, she has encouraged Jack and Nicole to come along and meet everyone on Saturday. Tonight is slightly different because everyone is coming out tonight.

(Entering from stage left)



H: aw I can't wait for you to meet everyone.



N: I have met most of them already.



H: Well, you haven't met them all together, there different when they're all there.



N: I can't believe you do this literally every day.



H: It's just normal now. I can't imagine doing anything else with my evening really.



N: I love staying at home and having evenings in.



H: I have to get out the house or I get angry with being by myself, I know, it sound so silly. (She
Smirks to Nicole)



N: Isn't that Jack? (she points off stage left)



H: (Holly looks over in concern at the figures off stage) No..(she hesitates).. but that can't be him, that is his hat but I can't see his face and he's with someone.. and he's supposed to be at work..but you know



N: (cutting Holly off) Probably some guy with the same hat then (being dismissive), come on, lets go find your friends.
(pushing the still staring Holly off toward stage right)



H: Wait! (She grounds herself, still staring, Nicole tries to move her but fails) Let me ring him, then we'll know. (She pulls out her phone and puts it to her ear and waits, still staring)

(She frowns in confusion, then suddenly jumps and takes her phone away from her ear and hangs up)



N: Whats wrong?!



H: That's him, he picked up the phone, I didn't give him a chance to speak but that was definitely him, and when he went to put the phone to his ear, he moved and I saw the person he was with...  (She turns to leave)



N: Wait, what? Who is he with? (grabbing Holly's arm)

(Holly stops walking but doesn't turn)


H: (Her voice is dead) His ex. (She continues walking and exits stage right, Nicole watches her walk off and then runs after her)



N: Holly wait!



Scene 5: Holly has been ignoring Jack for a week now, rejecting his calls and not replying to his messages. Jack has no idea why the sudden change toward him has occurred, he plans to go to her at college and confront her.

Jack enters stage right, Holly is sitting with Nicole down stage left, as he approaches Nicole looks and smiles at him, Holly turns noticing this and gets up to leave.



J: Holly.. wait ( grabs her wrist)



H: I don't want to hear it. (trying to release his hold )



J: (Doesn't loosen his grip) I don't understand why you're not speaking to me, I thought we had
something good going on. (Looks at her in despair)



H: I saw you… with her. ( looking off stage)



J: What? Who? (moving into her eye line)



H: Natalie, you were with her on Saturday, did you forget I was going out that day, because you were
supposedly at work (laughing hysterically)



J: No, you don't understand, I had to meet someone through her, it was to do with work… (trailing off)



H: THATS THE BIGGEST LOAD OF BULL CRAP IVE EVER HEARD! YOU'RE A LIAR!
(Shouting at him)



J: (Shouting back) ITS NOT MY FAULT FOR FUCK SAKE!! I'M IN TROUBLE, I OWE A LOT OF MONEY TO THE WRONG PEOPLE! (running his hands through his hair in frustration)



Nicole: Guys stop shouting, just listen to each other. ( standing between them with her arms extended towards them both)



H: I..I don't understand, what do you mean? You deal drugs?! (calming down,her expression softens)



J: I got involved with the wrong crowd before I met you, I didn't want to tell you, you are too important to me, I can't risk loosing you. (reaching to hold her face, but looking away before he makes contact)



H: (stares after him ) how do i know this isn't an excuse? (softly)



J: Because I LOVE you.

exits stage left.



Scene 6: Holly has forgiven Jack, but is struggling to except his past, she wants to meet these people he's involved with, surely they can't be as bad as he says, Jack is not so keen, but she is persistent, she wants to understand. They go to a drug den, Holly is aware of the danger, but she's with Jack, jack will look after her.

Entering stage left, down to down stage right.



J: Don't say anything, I'll do the talking, they have to accept you first, you need to earn their trust (holding her hand, pulling her slightly behind him as they approach)



H: (nods and nervously smiles at him)



Shaun: (22 years old, the nicest out of the lot, the ring leader, greets her straight away) Hi doll, I've heard a lot about you (winks at her suggestively, and goes to punch Jack playfully in the ribs) aha I'm only kidding mate, how you been bruv?



J: yeah not bad, this is Holly, the one i was talking about…. (shifting to place her slightly behind him)



H: (steps in front of Jack, holding her hand out to greet Shaun) Hi, whats your name? (she smiles, Jack shoots her a worrying look that she ignores)



S: I'm Shaun doll, I run things around here, Jacks a boss lad, Im sure he's told you all about me. (throwing a knowing look at jack, testing him)



H: no i don't really know a lot, Jack likes to keep me out of things, thats why i wanted to meet you. (looking slightly uncomfortable) can i use your loo?



S: Yeah, sure thing sugar, its down the hall on the left. (smiling at her)



H: cheers (smiling nervously, as she goes to leave the room, travelling towards down stage right to exit)



(Shaun watches her leave, his eyes travelling up and down her body, Jack notices this and nudges shaun back)



J: Come on man. Leave it out.



Kevin (A 17 your old, drug pusher, the youngest of the lot) enters upper stage right, passing Holly as he enters, and stops to watch her leave.



K: She's pretty isn't she? (laughing as he saunters towards Shaun and Jack)



Jack has been staring at him since he entered the room.


J: Don't start..


K: I'm sure we could use a pretty little thing like her, business would go up. (he laughs.)


J: You know what guys... I can't do this anymore, I want out, I was gonna wait a while longer but if you're seriously thinking of using Holly for this bullshit then I'm leaving.. (making his way to bathroom to retrieve Holly)


S: Aha (blocks Jack's way and places his hand on Jack's chest), Im sorry..? he smirks But I don't recall allowing you to leave...


J: Just leave it okay? I know I owe you money but I'm leaving right now. I'll pay you back and shit.. I've been saving up.


S: Wait here okay (pushing Jack onto the sofa, whilst he pulls his phone out and begins using it.)


Holly Re-enters at this point, and goes to sit down next to Jack. Unaware of the intense exchanged that has occurred, she relaxes and leans onto Jacks shoulder and he in turn places his arm around her shoulders.


S: Hey Sweetheart (he crouches down to meet her eye level ) when I say so, go wait outside, okay?


H: erm..okay.


Jack glares at Shaun and he smiles and winks back at him.
There is a knock on the door and Kevin laughs and runs off to open the door.


S: Remember what I said love? talking to Holly


H: um whats going on? (she sits up, and looks at Jack, who's watching front door)


S: Don't ask me questions I don't have time for babes, just go wait outside (turning to walk in the hallway)


H: Jack../


J: ..../just go wait outside....(he turns away from her, she grabs his face in her hands and kisses him, then turns to walk out the front door)


Shaun walks back into the room with a grin on his face.


S: Jack mate, of course you can leave the crew, I have no problem with it...unfortunately the boys don't like it so much and I can't force them to be cool with it, now can I?  So they decided they want a proper send off...(looks at Jack and grins as he opens the door that leads to the kitchen).


Out walks the rest of crew and the 7 of them crowd around Jack.
Blackout.

Final show links

Part 1 

Part 2

Part 3

Part 4

Part 5

Strengths and weaknesses.

Strengths:

• The opening is very strong and with the aid of toning down our solo routines the singing has raised in level.
• The Tap in Gumbie Cat is now at a great standard. We are performing it in perfect unison which makes this song one of the most enjoyable to watch because it is so different.
• I feel that mine and Magic's dance during Rum Tum Tugger is slick and well rehearsed. 
• During Bustopher Jones when we sing as a group our mockery of him has improved vastly. 
• Now that we have performed with them, our interaction with the years 12's during Old Deuteronomy looks very professional. We represent well that they are supposed to be portraying media/press characters. 
• My group dance sections in Jellicle Ball are now much stronger than they were and I am beginning to enjoy myself more, I don't need to remind myself to smile anymore.
• Growltiger is improving vastly now. The sword fights at the beginning of the piece are slick, well rehearsed and very effective for setting the fantasy scene.

Weaknesses:

• Lyrics/Timing of 2nd trio verse in Gumbie Cat - currently singing off beat. This can be easily sorted by listening to the track prior to the next show and practicing it altogether.
• More sneering looks for the start of Grizabella: The Glamour Cat' at the minute its not to obvious that she is shunned by mostly everyone making the audience feel sympathy for her..

Post Show Evaluation

A drawback in our Thursday matinee performance was the level of vocal volume in the more challenging songs. An example of this would be, in the Prologue the verse 'practical cats...rabbinical cats', everyone was concentrating to much on making their solo dance routines to complicated so the level of volume dropped as we all ran out breath. We have been advised to not worry to much about the solo dances, to just to do simple, effect movement, this was the singing will not be completely overshadowed. During the Naming of Cats, it was predominant that not everyone knew the words or timing pattern, if the the knowledge of lyrics were worked on then this would be a much stronger song. Even though the song is supposed to be whispered, doesn't mean that the volume levels should be so low and this fact was blatant due to the backing track being turned down so low.

Another point of development would be the balance of people on stage. An example of this would be that during Sophie's speech, which occurs just after Josh and Cherkanah have sung a small due-ted verse, I was the only person stage left, and there were 5 people stage right. I have now spoken to a few people who will move across if need be.

The Old Gumbie Cat and Rum Tum Tugger ran very well, as they are two of our strongest numbers. It is now just the matter of tightening up the movement, making sure we all know how we are extending our hands and feet as to look like a strong unit, in sink with one another.

I would still say that there is from improvement in the Jellicle ball, as it is the liveliest, most exciting number. Facial expressions still need to worked upon, I find myself concentrating so hard on the movement, that I end up with a completely neutral face and I will try to work on the movement so that I am more confident and are able to look up, out and smile because I do enjoy myself during this song.

What really impressed me in our Thursday matinee was our group's ability to improvise and carry on. As me and Niamh were about to start singing 'Moments of Happiness', the music cut out, but with stopping we continued smoothly into the song, which lead into Ellie singing her solo acapella also because the fault could not be corrected but as a group we all watched each other and I knew I could rely on any one of them to cover something if  anything went wrong.

I felt that performance in Macavity was well rehearsed and ran smoothly. I made it a point to look out at the audience at all times, to keep them connected with the song. I feel I remembered the movement well and performed to song to a high standard. A point of development for both myself and Ellie during this song, would be to have more eye contact because this effects the connection that we are trying to portray to the audience,

During Growltiger, we were missing two swords, because someone had misplaced them and not set them in the correct place for the song, so we had two 'swords' between two pairs in which only one of the pair would have a sword. As a member as props team and made it my goal to find and set the swords myself for each future performance.

Finally, The Ad-dressing of Cats has improved, but there are still a few minor issues that remain. For instance, lyrics need to be properly learnt, it is very clear that the pauses that occur are not supposed to be there because everyone is watching each other frantically waiting for a bit they know. It's a viscous circle that because they are singing quietly, the music is quieter but because the music is quieter , they can't hear when the are supposed to be singing.

Tech and dress rehearsal

Act 1

#1 Prologue: Jellicle Songs for Jellicle Cats
I think that the choreography for this song is now running much more smoothly, it was a smart move that we worked on this dance routine during our dance period because people who are not so confident with the movement have had extra time to grow in confidence, giving them an overall confidence for dance throughout the whole show once they see that they can do it. A general development for this song would be to maintain character and strength in singing. En light of the choreography to lyrics ratio, it's easy for the volume levels to slip, but, I believe that by making it a point to stay in character the overall standard would be raised because everyone would be truly concentrating on how they're being portrayed from an audience point of view. A point of development for myself that I always try to focus on is to treat every run like a real performance, and always keep it as professional as possible. 

#2 Naming of Cats
The main focus for this song, in my opinion would be timing, at this stage volume isn't to much of a set back because we havent rehearsed this number as uch as we maybe should of, but timing is key to keeping this 'song' watchable. We have been directed to stage whisper, which really isn't that different to normal speaking, if anything its more powerful because coupled with the timing, it can be a very strong way of showing our skills for working in a group. Development for myself in this song will be learning the order of the verses to better understand what I am supposed to be portraying.

After watching back these two songs, I decided that a general development for the class would be to have a reason behind every moment on stage, a narrative, working on this for the transitions is vital. For an audience member watching someone finish a song, then leaving the stage out of character,it makes you loose focus and you become less attached to the show.

#3 The Old Gumbie Cat
A self development note for myself on this song would be to work closely with Ellie and Cherkanah to ensure the harmonies for a sections are on point and be able to deliver the lyrics together in such a way that we sound like our discussed inspiration, 'The Andrews Sister's'. Additionally, we all need to be more familiar with the 2nd verse/chorus lyrics because it intertwines with Beth's  lyrics. Lyric learning can be easily sorted as it only a few words we are not confident with and helping each with lyrics will be helpful as well, harmonies are easy enough figure out we just have to make sure we always stick with our own individual harmonies and not pick and choose on show nights. 

A positive about this song is the development and confidants that has grown with the comical side in this song. John, Magic and Catrina 'mucking up' their runway walks and Me, Cherkanah and Ellie showing them how its done gives us more things to react to.

#4 The Rum Tum Tugger
This is one of the strongest numbers in the show, vocally and movement wise. The only thing that needs to be worked on is to maintain the energy and the excitement throughout that the girls feel about Tugger, I do feel like half way into the song there is a dip in excitement level.
To solve this problem it has been decided that the year 12's we be involved for the beginning of Rum Tum Tugger. This will re-energies the piece.

#5 Grizabella: The Glamour Cat
This song is the complete opposite mood to the song prier and the shift in mood and tempo can be complimented with character moving much slower so the audience understand the change immediately. The main place for development for this song is to make the ignorance towards Grizabella clearer. This can be done by watching her move across the stage at any point with a look of confusion, deliberately avoiding contact with her by moving to the opposite side of the stage to talk to another character as soon as she approaches you. 

This is shown clearly when me and Cherkanah remain on stage to watch in disbelief as Demeter (Ellie) joins in with song to sympathies with Grizabella but as soon as Demeter places her hand on Grizabella, we grab her by the shoulders and encourage her to leave her alone.  


#6 Bustopher Jones
This song is developing well in terms of comedy and confidence. The song is meant to be comical, which is something that for a long time we didn't understand because at the time we were unfamiliar with the story line and meaning behind the song. A part that needs to worked on thoroughly is the final line of the song, because it slows down to such a magnitude, and because of the level of sound we are producing we can't hear the music slow down, therefore the ending is a bit messy, but can easily be sorted through singing it through with Kim.

#7 Mungojerrie & Rumpleteaser
This is another strong number in the show. John and Catrina have worked hard out of lesson to come up with an intricate routine, you can tell they have really thought out their process because they have kept it as entertaining as they could being only two people. Their commitment and loyalty to the show should act as inspiration for everyone else to work just as hard. 

#8 Old Deuteronomy
Now with the addition of year 12's as the 'media', it has really helped  with filling the stage and providing action for those not singing. The miming in this song is going very well. 

#9 Pekes & Pollicles
This song is a quick paced, fast and intriguing number, Sophie's commitment to the delivery of fast coming lyric and the year 12's surrounding choreography come together nicely to create a hectic atmosphere.

#10 The Jellicle Ball
This is one of the most quick pace, and one of the liveliest songs of the show. A point of development would to recap all group dances, until everyone is sure and confident, incorporating all the changes we made to choreography for easier access to stage and for safety reasons. General development for the class would be again, channeling your character, even if you forget the movement, recovery is key to being a great performer. Facial expression and body language is another vital part to making this song the most memorable, extension in hands, arms, feet, and legs even by a margin would vastly improve this number, showing the audience that you are enjoying yourself is easily done through smiling. In one part of the song we have people clicking at the back during other solos and this needs to be sorted out in terms of spacing and the number of people available. 

#11 Memory (1)
This song should have strong emphasis on the rejection of Grizabella. It needs to be more like shes in exile than 'Grizabella: The Glamour Cat.' To emphasise the rejection and hatred, we need to work on our reaction timing as she enters after the Jellicle Ball, as we've all just had an amazing time together, in which she was not involved in at all, it just highlights how much of an outcast she is.

Act 2

#1 Moments of Happiness
To work on this song I need to get my comical timing right, the story line for this song is 'The Morning After', a giant after party had been thrown after the Jellicle Ball and things got messy, we decided that during the interval we need to make the stage messy, as if to look like a giant party had been thrown the night before, we decided to use party poppers, random pink tissues, odd shoes and empty alcoholic beverages.  I have just been found under a pile of coats and I won't start the duet for Moments of Happiness for a good two minutes after I am found, so I have to make sure I have a narrative, a goal that I will complete before singing. Such as blinking up at Niamh (Quaxo) and making it obvious I'm not well, struggling to get up, maybe falling back over once I'd stood up.

After me and Niamh have sung we then exit the stage leaning on each other, as if we getting a glass of water and then re enter slightly more refreshed to gather around Ellie for her solo. 

#2 Gus: The Theatre Cat
I think the movement for this song could be sharper, its a nice soft, slow tempo and movement is lovely but we should work together more as a team and watch each others movement to compensate, an example of this was when me and Catrina would watch each other on a certain point of the song, so that both groups swayed at the correct time and direction. When we listen to Josh from either side of the catwalk we all look at him with such admiration and respect. A way for myself to improve would be show more actions of admiration, such as when I go to exit, I could place my hand on his shoulder then leave.

#3 Growltiger's Last Stand
We need to start using the prop swords we have planned on using in our choreography. The dance needs tightening and lyrics need to be learnt, but that can be sorted out with a bit of directing and a few runs of the song. 

#4 Gus Reprise
This is a very sweet and emotional song kept effective by being simple.

#5 Skimbleshanks: The Railway Cat
A note for the group for this song, would be, that it needs to be made more prominent that the opening to song is supposed busy and eratic because at the minute it looks like there just mindless walking around the stage. One note for this song would be the level of singing, confidence just needs to raised so rehearsing this song would improve that, and singing it through. 

#6 Macavity: The Mystery Cat
I find that this piece is almost completely finished, and that we have pulled together to create a good piece of choreography, it's a simple phrase that gets repeated at the beginning of each chorus but it's very effect. The singing needs to be worked on, just for lyric learning, on one of the chorus'. 

#7 Mr Mistofelees 
When watching this song I didn't feel like I'd understand what's going on if I were an audience member, for this problem to be solved Niamh's character should move around the stage more and interacting with the other characters as she goes. It just needs to be rehearsed more so that it involves more movement and so we then in turn pay more attention to Niamh's character, who is after all supposed to be the main focus of the song. Finally, when Mrs Mistofelees brings back Old Deuteronomy, it needs to feel more important and there should be some year 12's on stage to fill out the stage and make it seem like a grander event. 

#8 Memory 
At the moment, the song is mostly positioned in the same place and is very still. Perhaps, to represent acceptance, they can do a small duet dance in the bridge and then move to the the front of the stage to finish to song there.  

#9 Journey to the Heaviside Layer
All the characters now accept Grizabella and act the complete as to how they treated her before, because she is now the feature model for the Heavyside Layer. There needs to be a lot more of congratulating her and handshakes to celebrate her achievement. 

#10 The Ad-dressing of Cats
With Elsie standing on the runway and rest of us at different levels around her, it gives her an edge of authority because everyone is watching her and she is above everyone, literally and physically, reminding the audience of the importance of this character. A general development is for everyone to know their grouped sections of singing properly.

Q&A - First Cats Run

 Q1) What stage is your choreographed song at? 

Almost complete, we are working on finishing the last minute in our next dance lesson.

Q2)How well do you know lyrics?

I almost have the lyrics down as far as learning them goes, now its just making sure the timing is right and not out of order. I have learnt Macavity and I am only unsure on one or two lines. Overall, I am more confident in the group songs, such as the Prologue.

Q3) What thought have you given to the narrative?

I like to give my character there own story line when I'm a show, I have certain ad-lib movements and conversations that i will repeat at certain moments throughout the show. The narrative of Bombalurina is that everyone knows who she is, everyone speaks to her and socialises with her. 

Q4)Have you considered stage movement?

If I find myself doing nothing on stage I will immediately walk over to someone and start conversation. I also like to weary of spacing, I know some people prefer to linger by the sides of the stage but I feel like if i'm on stage I need have an action I will do, I need a purpose. 

Q5)Have you sorted costume?

Yes, but still need to speak to the directer about my decisions.

Q6) Have you completed your production role?

Yes.

Q7) Have you attended any extra rehearsals? Yes.

Q8) Have you cleared your diary? Yes.

First impressions of Cats.

1. How did you initially react to the script? How did you start to create your character?

My initial reaction to the script was surprise, I didn't realise that it was just purely singing, and no speaking dialogue. This concerned me because I find that with some musicals without the aid of characters speaking to each other the help understand the story line, its quiet difficult to understand what is going on. Once I had found out my role I highlighted through the whole script wherever my character appeared and at first was a bit worried about how many songs I was in, once we'd listened to the whole soundtrack, it relaxed my mind to know how long the playoffs were for each song. It made the knowledge I already had about my character grew exceptionally, because I now have the back ground knowledge as to who they knew and who hang around with through the songs. For me learning that Bombalurina is essentially part of a trio involving Demeter and Jellylorum tells me that shes a young playful character, but can still be in charge. 

One main lyric concern that I think the whole class would agree with, was a verse in 'Prologue: Jellicle Songs for Jellicle Cats':

Practical cats, dramatical cats
Pragmatical cats, fanatical cats
Oratorical cats, Delphic Oracle cats
Skeptical cats, Dispeptical cats
Romantical cats, Pedantical cats
Critical cats, parasitical cats
Allegorical cats, metaphorical cats
Statistical cats and mystical cats
Political cats, hypocritical cats
Clerical cats, hysterical cats
Cynical cats, rabbinical cats


These lyrics are very challenging because the timing changes after almost every couplet. I know that this section will be a struggle to pronounce not necessarily to remember.

2. What did/do you think of the concept of changing the context to the fashion world?

Our synopsis: "Old Deuteronomy is the head of the fashion house “Deuteronomy Designs” with the help of her right hand women Skimbleshanks and Munkustrap. The elite team of models who are chosen to showcase her designs and the designs of her apprentices are called “Jellicle Cats”. Everyone knows who the Jellicle Cats are and everybody wants to be them or be with them. Each January Deuteronomy releases a bumper magazine called the “Heaviside Layer” setting out the styles and fashion that will be in for that year. Each December the Jellicle Cats come together and Deuteronomy chooses a young model to grace the cover, which can elevate their career to new levels they may have never reached before. However occasionally Deuteronomy can surprise the world and choose an ex “Jellicle Cat” and give them a comeback that will put them back into business for years. Each “Jellicle Cat” model showcases their talent. Look out for Bombalurina, Demeter, Rum Tum Tugger, Jellyorum and Tutti who are the public's favourites. Each designer also puts on a fashion show, such as Mr.Mistoffolees and Jennyannydots who will showcase their sometimes called “wacky” designs, all to try and impress Deuteronomy the most. Will Mungojerrie, and Rumpleteaser’s mischievous antics finally put them out of the competition? Will Grizabella ever be accepted into the “Jellicle Cats” again after her controversial downwards spiral? Will Gus ever get his big break after all these years? Who will it be? Who will it be?"

My Interview - see for response to concept.  (From 6 minutes in.)

Initially, I was rather apprehensive upon hearing the concept. This was due to the fact the when I originally heard we were doing Cats and I was excited about playing an animal, as it would've been a completely new experience for me. The show has always been kept to how it was originally performed, so this change in concept is extremely adventurous and risky, which did concern me. I was worried that the audience wouldn't understand the storyline because we are changing it so much. As the rehearsal process continued and new concepts were established, I began to feel comfortable and take liking to the fashion world spin. 


Mid Way Impression

3. What has changed about your understanding of your character?

Originally,my first impression of Bombalurina is that she act's quite motherly toward Demeter, which I do always try to keep in mind during rehearsals. An example of this protective instinct is seen when she takes Demeter away from Grizabella because she'd be worried about her manipulating her. However, that doesn't mean she doesn't still have fun, when Rum Tum Tugger is involved she becomes very flirtatious and starstruck by him like all of the other girls. She is very excited and acts very carelessly for someone who is supposed to be mature. The more mature female seems to be Munkustrap, who is second in command at Deuteronomy Designs, my character is part of the group of models that work with Deuteronomy Design, and she does many Catwalk shows with with them. She knows every member involved with the magazine and some close bonds with others in the business, you see her socialising with people like Asparagus, Jennyanydots, Rum Tum Tugger and Skimbleshanks, she is of a high status for someone of her age, a well respected and trusted character. 
The serious hard working side of her personality is highlighted through songs such as 'Prologue: Jellicle Songs for Jellicle Cats', Old Deuteronomy and Jellicle Ball. Whilst, her playful characteristics show in songs like the beginning acting segment before the song 'Moments of Happiness' and the song 'Macavity'.

4. Discuss a number of the ideas/possibilities that you have tried out whilst rehearsing

• Coming up with brief solo dances during certain songs when the movement on stage needed to be erratic. 
• Keeping eye contact with the audience, by looking up and out.

5. What ideas worked and which didn't?  ...and why?

The main dance number, Jellicle Ball, involves a lot of movement and when we were rehearsing in large space we had no probably with the movement but when we practiced with the staging it made it a lot harder because we had to dodge the runway that runs down the middle of the stage, so this to having to redirect entrance and exit's.

Even though it is, in some places, it is a relatively quick paced number, Macavity works well being populated by only two characters, for the majority of the dance. As an audience member, its intriguing to watch with two characters, it builds up the tension, you also you understand why these only two people on stage, because they are the two people who the most about Macavity.
When everyone else burst on stage with such little notice, it really livens up the movement and entraps the audience attention.

Introduction to Cat's The musical.

Synopsis:
One night a year, all the Cat's gather for a special event, The Jellical Ball, where Old Deuteronomy will chose the most worthy cat, who then go to the Heavyside Layer where they will be re-born. Each cat gets a chance to prove why they should be chosen, Grizabella gives her story of being the outcast, because she's not 'Grizabella The Glamour Cat' anymore and she is eventually chosen to go to the Heavyside Layer to be reborn into a whole new Jellicle life.

Cats is directed by Trevor Nunn, with Gillian Lynne as Associate Director and Choreographer and designs by John Napier. Book is by T. S. Eliot with music by Andrew Lloyd Webber. Cats, one of West End and Broadway's longest-running shows, it received its world premiere at the New London Theatre in 1981 where it then played for 21 record-breaking years with almost 9,000 performances. The production won Best Musical at the Olivier and Evening Standard Awards . In 1983 the Broadway production became the recipient of seven Tony awards including Best Musical, and ran for eighteen years. Since its world premiere, Cats has been presented in over 26 countries, has been translated into 15 languages and has been seen by over 50 million people world-wide. Both the original London and Broadway cast recordings won Grammy Awards for Best Cast Album. The classic Lloyd Webber score includes Memory which has been recorded by over 150 artists from Barbra Streisand and Johnny Mathis to Liberace and Barry Manilow.

About: 

Since its opening, CATS has been presented in over thirty countries and over three hundred cities, including such diverse destinations as Buenos Aires, Seoul, Helsinki and Singapore.

Within two and half years of the London opening there were productions in New York, Tokyo, Budapest and Vienna, and the first of tour US touring productions had hit the road.

Old Possum’s Book of Practical Cats – on which the musical CATS is based – was written by T S Eliot during the 1930s and first published in October 1939 by Faber and Faber, with illustrations by the author himself on the cover. It cost 3 shillings and sixpence a copy. Although Eliot generally intended his cat poems to be for children, they were appealing and amusing to adults.

Many of the cats were modelled on other literary figures (Macavity is styled on Moriarty, the infamous villain who challenged Sherlock Holmes and Skimbleshanks on a work by Rudyard Kipling – The Long Trail).

It was the first European production that didn’t play at usual theatres but used a tent that was specifically designed for this tour with the set NAP 19.There had been tent tours in Australia and Asia before.

‘Memory’ has been aired on radio and television in the United Kingdom 46,875 times and over a million times in the USA (if you listened to the song non-stop 1 million times it would take five years!).

The touring show requires 8 forty-foot trucks to move it from theatre to theatre, transporting the sets, musical instruments, and sound and lighting systems, together with hundreds of costumes and wigs and over one hundred lamps for the lighting rig.A team of over 70 people will work around the clock to ensure the show is ready for the opening night.Since 1981 the crew has replaced over 6,124 seats, added 96,525 new screws, used over 36,625 posters and 356 gallons of varnish to cover the floor, replaced the wood for the star trap 6 times a week and used 3 litres of cleaner a week (2,316 litres).

The sound department has used 30 new microphones a year (450 in total), 50 new aerials a year (750 in total) and 50 batteries a week (39,000 in total).

Stage Management has used 1,000 plastic cups a month, 2,000 elastic bands a year, 50 painkillers a week and 449,280 throat lozenges in total. They used a pint of milk a day (not for the cats) and over 200 loo rolls a week – for everything but the loo!

The wardrobe department has replaced 5 pairs of shoes a week (3,900 pairs), sewed on six knee patches per night. In total they sewed 3,450 costumes for 262 different performers, using 11,954 lbs of wool and 2,825 miles of cotton.

The stage electronics department has changed 23,166 bulbs in the London auditorium (there are 1,166 bulbs in total, 30 are changed per week and each has been changed roughly 12 times) and used 22,405 feet of cabling.

The make-up department has used 10,800 sponges and 72 batches of each eyeshadow, pencil, blusher, lipstick and mascara per year. Cast members get through a box of tissues each every week.

The London Box Office has used 1,179,800 envelopes, 772,200 paper cups and 31,875 headache tablets!

Rosas Danst Rosas Review

Rosas Danst Rosas, choreographed and staged in 1983 by Anne Teresa De Keersmaeker and was originally performed by 4 members of the Rosas company. In the 1997 film, a shorter version was portrayed by 18 female dancers in total including Keersmaeker, directed  by Thierry De Mey. The film is set in the former school of architect Henry Van de Velde in Leuven and De Mey takes full advantage of the spatial and geometrical quailites of the building, its as if the building helps give a certain feel to the dance piece, the ghostly corridors and sense of emptiness or abandonment. 
 The dancers perform in and around the dormant rooms and walls. Their costumes are  various dull colours, grey over sized shirts with black skirts, to me its not dissimilar to a hospital gown for a mental health institute, the uniformity also links back to the location in which it is in. 

Repetitive, minimalist, pedestrian and abstract styles are used throughout the film, a signature style for Anne Teresa De Keersmaeker and the Rosas company, The dance has eight different sections, Moving In, Floor, Chairs, Building, Glass, Lying Down, Inner Court and Coda. I will be focusing on only 3 sections, Floor, Chairs and Glass . 

The dance opens with a long shot of a corridor, four dancers run in at different moments and face away from the camera,then suddenly they drop to the floor in unison. The movement in the floor section opening the piece is very slow and accompanied by not music, as such, but of every sound they could hear whilst recording, such as the heavy breathing of the dancers, and the sounds there bodies make against the surfaces they are working in such as, running across the floor or sliding their arms across the floor when they lower to the ground. Key movements involve rolling in both canon and unison, pushing up from the ground and falling back towards it, the camera angles used in this section work together with the movement to entice the audience, it brings you in to each dancers personal space, and as a viewer you feel more linked with piece, it creates a more intense quality movement structure and heightens the atmosphere. Linking back to the building used, it is quite a hollowing experience.

This whole floor section is 8 minutes long and nearing the end of the 8 minutes the movements suddenly become very fast and sharp, their breathing picks up and over takes everything you hear, it intensifies the atmosphere surrounding the piece. I think the use of extreme opposites of speeds made it very effective when combined with the close up camera angles. 

In the chair section of Rosas, the women repeat a selection of motifs, creating a growing routine (they'll do one movement, then repeat that movement then add something else to it, then do the first and second movement and adding a third) whilst sitting on chairs. The music changes from just their breathing to include a beat. The whole section is representational of a storm, the way it builds up and becomes more and more hectic.

Choreographing Cats - Performance Workshop.

For performance workshop, me and a group worked collaboratively on each of our chosen songs together, they were five of us and we came the concepts and ideas for four songs- 'The Prologue', 'Invitation to the Jellicle Ball', 'Gus: The Theatre Cat' and 'Growltiger's Last Stand. The first thing we did was adapt the fashion concept to all of our songs.

'Prologue: Jellicle Songs for Jellicle Cats' is quite an upbeat, slightly manic song so the idea is for the song to portray that everyone is                         packed backstage at the rehearsal of a fashion show, so it's people looking through clothing rails, holding outfits up against each other, chatting among themselves, everything just goes a little bit fast paced and visually entertaining.                                                           
My Pitch 
Prologue 1st assessment

'Invitation to the Jellicle Ball' 

For this song I helped come up with the first concept of this song of someone handing out invitations to everyone to come to the Jellical Ball, It begins with Quaxo singing in the middle of the Cat walk then walking down the cat walk to hand out the invitations until the last line 'Jellicle's Come To the Jellicle Ball' is sung,  the rest of the invitations are thrown in the air. Everyone then rushes to pick them up but pauses to listen to Munkustrap. Then the music changes and everyone thanks Munkustrap for the invite and then goes back to work.

Niamh's Pitch
Jellicle Ball 1st assessment

'Gus: The Theatre Cat' is a long, slow and mellow song, because of its length we decided that it should be cut down because there's only so much we can do to keep it entertaining. Due to the song being at such a slow pace, it meant for a challenging task to include simple movement that fills the stage. There are an equal number of dancers so we paired up for a section of the dance to float around graciously not drawing focus but keeping the stage alive. In our concept Asparagus is an old, respected, well-lived designer/ex-model/ex-actor, so en light of this information we came up with the idea that the song would be a masquerade ball being held in his honour. The ball is taking place because Asparagus has been featured on yet another high end Fashion Magazine, being praised for the work he has done throughout his life. In the article, there is a double page spread of pictures of productions and events Gus has been involved with in duration of his entire career. 

Cherkanah's Pitch
Gus 1st assessment

'Growltiger's Last Stand' is a portrayal of Gus thinking back to when he was a young fashion designer, showcasing his designs, coming straight after Gus: The Theatre Cat, Cherkanah and Josh remained the same characters and it was if as if they are narrating the chaos of the fantasy. We then discussed what props we may need to highlight what is going on to make the story line clearer, so we decided on swords that we will also incorporate into the choreography. The pirate fantasy is a flashback to one of Gus' highly anticipated and incredibly successful fashion shows.

Growltiger 1st assessment

Later rehearsal of Gus:

https://www.youtube.com/watch?v=-ZwbBTfkmeY&index=89&list=PLl8RU1N6TfpJpZWLRF3dBzBufipRHux9- 

Later rehearsal of Growltiger:

https://www.youtube.com/watch?v=Lna3I-YMvNw