I am exhausted! I haven't felt this ravaged since Bob took a week off and Juanita suggested I travel by The Public Transport.
Arlene was, I don't mind admitting, a beast in my intensive Dance workshop! She worked me very hard indeed; she almost didn't allow our regular G&T breaks, until I pointed out that we BOTH needed to stay hydrated if we were going to achieve anything productive. We worked on all the sections of the show I have been choreographed in so far, and I think the cast and production team are going to be pretty impressed when we run Act One. I don't actually stick to all the choreography I've been given per se, but the Pans People section myself and Arlene have added in When Will I See You Again is very exciting, and as for the Ballet Russe inspired Gimme Gimme Gimme... well... it speaks for itself.
Piano practice wasn't quite as successful as I'd hoped, but I am now playing Frère Jaques almost entirely with two hands, and that's quite an accomplishment!
Vocally, Jules really whipped me into shape. I know it's a seventies disco show, but I might ask if we could pop in the Flower Duet (the British Airrways advert, Dear Diary) as Jules says my vibrato is so wide, it's almost like I'm singing both vocal lines at the same time; bless him, he's so full of praise.
Understandably, I was very eager to get to rehearsals today and share my new ideas with everybody.
But, alas, it wasn't to be - no singing or dancing today. We did a great deal of work on the script. Now, forgive me for sounding a little condescending, but in my vast experience, one should never be "off script" too soon. I find it really obstructs the creative process. Apparently, Sarah Mahoney (Marney) and Matthew Quinn aren't of the same opinion, and so the work was very much slowed down by them both grasping for lines, and yet they both seemed a little frustrated when I asked Matt Devitt for my motivation for every line. Perhaps the frustration is them feeling insecure at being made to look foolish by a clearly far more "method" actor? I must remember to offer them words of encouragement, and perhaps a few pointers as we go along?
It does feel very refreshing, however, to be treading the boards again, after so long working the cruises with dear Jane. Why she ever said yes to Loose Women, I'll never know. The gossip in the Fiddlington-On-The-Knobbe W.I. has featured nothing else for months!
So, I'm now sitting at home, "actioning my text". I'm not entirely sure what that is, but I heard Mr Quinn mention it. I'm sure, however, that it definitely has something to do with sherry, so I'm working tirelessly on my bottle of Amontillado. I'm so very devoted to my profession.
In for my next costume fitting tomorrow, and apparently the designer is going to be there, so I'm very much looking forward to seeing whether or not he's whipped the wardrobe team into shape. I'll let you know how it goes.
Anyway... Back to my script... Hic!
Arlene was, I don't mind admitting, a beast in my intensive Dance workshop! She worked me very hard indeed; she almost didn't allow our regular G&T breaks, until I pointed out that we BOTH needed to stay hydrated if we were going to achieve anything productive. We worked on all the sections of the show I have been choreographed in so far, and I think the cast and production team are going to be pretty impressed when we run Act One. I don't actually stick to all the choreography I've been given per se, but the Pans People section myself and Arlene have added in When Will I See You Again is very exciting, and as for the Ballet Russe inspired Gimme Gimme Gimme... well... it speaks for itself.
Piano practice wasn't quite as successful as I'd hoped, but I am now playing Frère Jaques almost entirely with two hands, and that's quite an accomplishment!
Vocally, Jules really whipped me into shape. I know it's a seventies disco show, but I might ask if we could pop in the Flower Duet (the British Airrways advert, Dear Diary) as Jules says my vibrato is so wide, it's almost like I'm singing both vocal lines at the same time; bless him, he's so full of praise.
Understandably, I was very eager to get to rehearsals today and share my new ideas with everybody.
But, alas, it wasn't to be - no singing or dancing today. We did a great deal of work on the script. Now, forgive me for sounding a little condescending, but in my vast experience, one should never be "off script" too soon. I find it really obstructs the creative process. Apparently, Sarah Mahoney (Marney) and Matthew Quinn aren't of the same opinion, and so the work was very much slowed down by them both grasping for lines, and yet they both seemed a little frustrated when I asked Matt Devitt for my motivation for every line. Perhaps the frustration is them feeling insecure at being made to look foolish by a clearly far more "method" actor? I must remember to offer them words of encouragement, and perhaps a few pointers as we go along?
It does feel very refreshing, however, to be treading the boards again, after so long working the cruises with dear Jane. Why she ever said yes to Loose Women, I'll never know. The gossip in the Fiddlington-On-The-Knobbe W.I. has featured nothing else for months!
So, I'm now sitting at home, "actioning my text". I'm not entirely sure what that is, but I heard Mr Quinn mention it. I'm sure, however, that it definitely has something to do with sherry, so I'm working tirelessly on my bottle of Amontillado. I'm so very devoted to my profession.
In for my next costume fitting tomorrow, and apparently the designer is going to be there, so I'm very much looking forward to seeing whether or not he's whipped the wardrobe team into shape. I'll let you know how it goes.
Anyway... Back to my script... Hic!