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.
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.
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.
#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.
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.
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 HappinessTo 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.
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