I've always thought that matinee audiences were the worst. That was the only thing wrong with how today's performance went. For some reason, the Sunday afternoon crowd was very nonresponsive; so many things that the audiences on the other nights laughed, applauded or responded to fell to silent response from this afternoon's crowd. While this was a little discouraging, I feel confident enough in the job I did to know that I was giving it my best.
And thus ends our run of Baby. With this senior project of mine coming to an end, it's been a wake-up call for a lot of things. B.J. told me, Tabby and Steven how proud he was of the three of us, which made me realize how he's been there since I first came to this school and was on the running crew for his project. I realized that this will probably be the final show I do at this school with old friends like Steven and all the new freshmen I've been able to watch take their first steps towards growth. The biggest realization for me, though, was that, for once, I actually feel like I've grown as an artist. I've looked back on who I used to be and who I am now, and see that there's SO much difference. And yet I still feel that there's room to improve. The minute I stop admitting that, I stop growing, and Baby has made me see how much of that I can still do.
That wraps up my blog! Thanks so much to everyone who followed along and read about my progress. I plan to keep this up, and as soon as I get pics from the show I'll post them! Thanks to my friends and family for their support, Marcus for his amazing guidance, and of course, Jesus Christ, through whom all of this is possible!
Curtain
Monday, November 22, 2010
11/20/10 - 3rd Performance
This has been the best show we've had so far in the run!!! Everything felt great; acting, singing, technical aspects, everything! Not that it was perfect, but it was still an amazing run. Along with the afternoon I had had before the show, this was a great way to cap off a really awesome day.
11/19/10 - 2nd Performance
Second nights usually have a few problems, and Baby was no exception. Certain scenes with Mary Kate didn't feel as connected as they usually do, and my singing was a little pitchy at certain points. The biggest screw-up, though, was on my part. My prop cell phone for the band crossover in Act I, Scene 12 was missing; I eventually had to borrow Anna, a member of the costume crew's, iPhone for the scene. I was pretty upset, assuming that someone had taken it and not put it back. It wasn't until I looked through my stuff, though, that I found that that someone was me; I forgot to put it back the last time I used it. Aside from that embarrassment, everything else went well, just not as well as last night. These things happen, though; I'm not going to let it get to me.
11/18/10 - Opening Night
Opening nights are always so thrilling! While I said that having the audience last night was good, nothing compares to having a near-full house waiting to see this show's first official run. And they loved it! Tonight's run went great. There was one big technical issue, unfortunately: the auto-tuning didn't turn on for "Fatherhood Blues!" That was kind of disappointing, but the audience still loved the number. It's hard to believe that we only have three more times to do this. I can't wait to see how they turn out!
11/17/10 - Invited Dress
Having an audience there tonight, as small as it was, was so useful. I admit I had to fight a little bit of Jimmy Fallon. though. I didn't expect there to be laughter when there was, or at least for it to be as strong as it was. At the same time, when something really worked, they let us know. A few more notes here and there, but overall, I feel SO ready to open tomorrow night.
11/6-16/10 - 30th-40th Rehearsals
So I've fallen behind on my journaling for the past week and a half. Due to the fact that these rehearsals have been complete run-throughs and tech runs, a lot of the events have blurred together, so I figured I would just address the highlights all in this one entry.
On the night of our 31st rehearsal, I hit the lowest point I've had in this whole process...in terms of my self-confidence. Nothing went wrong, I was just being way to self-critical and thought I wasn't performing as good as I should be, and this led to me having a private emotional breakdown backstage. Marcus noticed my behavior afterwards, during our intermission break, and spoke to me for a bit. He raised my spirits back up, and helped me realize that while I'm working, that's all I need to focus on: the work. I could worry about the self-criticism at the end of the day. This really helped me out, and I'm now working on a new, more affirmative way to approach my rehearsal process.
On the same night, we finally added auto-tuning to "Fatherhood Blues." It sounds so cool! I've never done a show with anything like it before! The kinks have been getting worked out as we've kept working on it, and now it's gonna be great when we put it in front of an audience. Carl also came by one night and choreographed some new choreography. It took some getting used to; I tend to panic a little when something that new is added this late in the rehearsal process. Eventually, though, I got the hang of it. It looks good, and goes well with the auto-tuning.
On a vocal note, Laurie and Marcus told me to cut the rock singing. They're worried that it's taking too much of a toll on my voice. I'm okay with this; I know how to make the songs sound contemporary enough to still meet Marcus's vision while still singing safe.
The band was added to the show, and they sound amazing! It gives this old '80s show a totally new sound. I love the rock influence, and I know the audience is going to love it, too.
These are the simplest costumes I've ever worn for a show, since they're so close to what I wear everyday anyway. Two things have me stoked: a Thundercats T-shirt and pleather pants! I may sound like a real geek in saying this, but they make me feel so cool!
Finally, I have to mention the awesome crew that has been brought in for set transitions. They caught on quick to the flow of the show, and have worked as hard as the rest of us. I really hope their work helps them become successful in this department.
Tomorrow night is our invited dress rehearsal, our first night with an audience and with every element coming smoothly together. We're so ready to open! I'm excited!
On the night of our 31st rehearsal, I hit the lowest point I've had in this whole process...in terms of my self-confidence. Nothing went wrong, I was just being way to self-critical and thought I wasn't performing as good as I should be, and this led to me having a private emotional breakdown backstage. Marcus noticed my behavior afterwards, during our intermission break, and spoke to me for a bit. He raised my spirits back up, and helped me realize that while I'm working, that's all I need to focus on: the work. I could worry about the self-criticism at the end of the day. This really helped me out, and I'm now working on a new, more affirmative way to approach my rehearsal process.
On the same night, we finally added auto-tuning to "Fatherhood Blues." It sounds so cool! I've never done a show with anything like it before! The kinks have been getting worked out as we've kept working on it, and now it's gonna be great when we put it in front of an audience. Carl also came by one night and choreographed some new choreography. It took some getting used to; I tend to panic a little when something that new is added this late in the rehearsal process. Eventually, though, I got the hang of it. It looks good, and goes well with the auto-tuning.
On a vocal note, Laurie and Marcus told me to cut the rock singing. They're worried that it's taking too much of a toll on my voice. I'm okay with this; I know how to make the songs sound contemporary enough to still meet Marcus's vision while still singing safe.
The band was added to the show, and they sound amazing! It gives this old '80s show a totally new sound. I love the rock influence, and I know the audience is going to love it, too.
These are the simplest costumes I've ever worn for a show, since they're so close to what I wear everyday anyway. Two things have me stoked: a Thundercats T-shirt and pleather pants! I may sound like a real geek in saying this, but they make me feel so cool!
Finally, I have to mention the awesome crew that has been brought in for set transitions. They caught on quick to the flow of the show, and have worked as hard as the rest of us. I really hope their work helps them become successful in this department.
Tomorrow night is our invited dress rehearsal, our first night with an audience and with every element coming smoothly together. We're so ready to open! I'm excited!
Friday, November 5, 2010
11/5/10 - 29th Rehearsal
Tonight was a very smooth run of Act II. It went really well. The best part of the night, though was afterward, when Marcus held me and Mary Kate back to re-stage "Two People in Love." He said the choreography just wasn't working out for him, and, to be honest, we felt like it wasn't either. I didn't want to say anything, but it's the same reason that it wasn't for Marcus; it felt too unnatural for the two of us. The three of us went through and did a lot of things out of our own ideas. The number feels SO much better now! Mary Kate and I feel really good about it.
11/4/10 - 28th Rehearsal
Tonight we ran through Act II, with a lot of start-and-stop. One change that happened for me was an addition to the blocking for the scene before "Two People in Love." After I say the line which stops the fight and the pause that follows, I cross to the rocker that's downstage right and sit. It felt like it made the scene more physically active, and emotionally it gave me somewhere to go.
My voice feels better tonight. Luckily, all of my singing in Act II requires just my normal voice, so there was no strain from any rock singing. The only problem was that Mary Kate and I were flat on "Pre-Two People in Love." I'll ingrain the right sound into my head on my own.
My voice feels better tonight. Luckily, all of my singing in Act II requires just my normal voice, so there was no strain from any rock singing. The only problem was that Mary Kate and I were flat on "Pre-Two People in Love." I'll ingrain the right sound into my head on my own.
11/3/10 - 27th Rehearsal
Tonight's run of Act I got off to a bad start for me...mainly because I was bleeding! I cut my finger on one of the guitar strings during Scene 2 and didn't realize I was bleeding badly until after the song started. I tried and failed to get Marcus's attention, so I kept going. As soon as it was done, though, we got my hand cleaned and my finger bandaged. Hard to believe that much blood could come out of one small cut!
The run of the Act went well, with a few bumps here and there. Marcus "showed mercy" on me and Mary Kate and, rather than have us sit on the bus station bench in the dark during "Romance I" and Alan and Arlene's scene, let us exit once the lights go down on us and re-enter before they come back up. This is great; that's a long time to sit in the dark!
Marcus and Laurie came up to me again about my voice. They told me to give it a break tomorrow and not do any rock singing, just my normal voice. I'm sure that that will a good break for it.
The run of the Act went well, with a few bumps here and there. Marcus "showed mercy" on me and Mary Kate and, rather than have us sit on the bus station bench in the dark during "Romance I" and Alan and Arlene's scene, let us exit once the lights go down on us and re-enter before they come back up. This is great; that's a long time to sit in the dark!
Marcus and Laurie came up to me again about my voice. They told me to give it a break tomorrow and not do any rock singing, just my normal voice. I'm sure that that will a good break for it.
11/2/10 - 26th Rehearsal
Tonight was a very start-and-stop run of Act I. We worked out a lot of kinks here and there and even changed some scene order. B.J. and I now enter later for Scene 6 due to the Nurse-Pam scene getting placed in the beginning, and Pam's bad news dialogue interrupts "At Night She Comes Home To Me" before we finish. Some of my blocking for "I Chose Right" also changed so that I'm not blocking myself off from house right. There was an issue with the rest of the chorus guys not being there during the crossover of Danny's bad during Scene 12, which Marcus addressed.
One big thing, though, was that Marcus and Laurie talked to me about my voice. They notice that it's starting to sound strained and worn out. I'll admit, today was an off day for my singing. They suggested that I start doing a vocal "cool-down" after rehearsals and start gargling salt water in the mornings. I'll start on that tomorrow and see how things go.
One big thing, though, was that Marcus and Laurie talked to me about my voice. They notice that it's starting to sound strained and worn out. I'll admit, today was an off day for my singing. They suggested that I start doing a vocal "cool-down" after rehearsals and start gargling salt water in the mornings. I'll start on that tomorrow and see how things go.
11/1/10 - 25th Rehearsal
Tonight we finished where we left off on Friday with Act II, starting with Scene 7 and going until the end. Marcus gave me a new way to perform the final scene. Rather than just "playing the lines," I rush in, excited and amazed at the birth I've just witnessed. Once I kept doing it and getting into that frame of mind, I found myself actually close to being speechless!
Then we spent the rest of the night working on transitions. Not much new that affected me, except that I now help with the bed after "What Could Be Better." Marcus did make the announcement that, due to family issues, Carl would not be able to come back until the 10th. This is the first I've heard of this; I hope everything's okay.
Then we spent the rest of the night working on transitions. Not much new that affected me, except that I now help with the bed after "What Could Be Better." Marcus did make the announcement that, due to family issues, Carl would not be able to come back until the 10th. This is the first I've heard of this; I hope everything's okay.
10/30/10 - 24th Rehearsal
We attempted to have our first full run of the show tonight. We only got as far as Act II, Scene 6, but we almost made it! It went really well. Mary Kate and I are starting to click in terms of our chemistry; "What Could Be Better" really brightened my day. I'm also feeling more in touch with the character physically. Being off-book has allowed me to experiment more with my choices and movement. This has really renewed my confidence from the way it was last night.
10/29/10 - 23rd Rehearsal
Tonight was a dance review with Carl. I got a few tweaks here and there, such as some extra stuff in "We Start Today" and some changed positions in "Two People in Love." It went alright, except that I'm still having trouble giving Marcus the physicality he wants, particularly in "Fatherhood Blues." It's a little discouraging; I'm worried that I'm so far out of my league with certain aspects of this role that I'm going to turn in a terrible performance. This isn't because of Marcus or anyone else, but my own mentality. I'm sure if I just take a night and rest, things will feel better tomorrow.
10/27-28/10 - 21st & 22nd Rehearsals
The past couple of nights were very recent changes to the schedule. All we did was sing through all of the numbers we were having problems with, most of the issues concerning the chorus's transitions. Mary Kate and I did have some issues in terms of our mid-song dialogue for "What Could Be Better" and "Two People in Love." We fixed the first one out with Laurie, and the second one we eventually realized would sync up fine when we did it with the staging. We've always been firm in our knowledge of the music, though, so with the exception of the problems mentioned above, it's been a pretty stress-free couple of nights.
10/25/10 - 20th Rehearsal
Tonight we blocked everything else involvng Lizzie and Danny, so there's plenty to talk about.
First we blocked a new crossover in Act I, Scene 12, where we get to see me with my band. Lizzie tries to call me to let me know that the baby has started kicking, and when I answer the phone, the rest of the guys take my phone and run off with it. It's cool to have that addition to my story.
Next was Act I, Scene 2 and "What Could Better." This is such a fun scene to do, because while the first scene served as an introduction, this is where we really get to see how these two function as a couple, especially upon finding out that Lizzie's pregnant. My nature at this point in the story is very caught off-guard; I remain loyal and supportive, but at the same time I'm absolutely clueless on what to do. These dynamics will definitely help out when we return to later scenes that we've already blocked.
We moved on to Act I, Scene 7, where I tell Lizzie about the audition for the punk band and put my foot down on her attempts to persuade me not to. This is a big moment for Danny, because, while not at the same level as the one in Act II, this is the closest thing to a fight we see these two get into by this point. This is also probably the most I've stood up to Lizzie before, powered by my sense of responsibility, my urge to do what's right, and my need to fulfill my role as the man of the relationship and the father of my child.
Finally, we blocked Act I, Scene 11, our scene at the bus station leading into "I Chose Right." It's a nice scene for me to overcome my own goofiness in order to be romantic for Lizzie. There's a great comedic moment where I try to command her to sit, then back down when I see I'm about to cross a line. The look Mary Kate gives me makes it so hard to keep a straight face.
Overall, tonight felt great having everything come together to complete my story arc. I can't wait to start run-throughs.
First we blocked a new crossover in Act I, Scene 12, where we get to see me with my band. Lizzie tries to call me to let me know that the baby has started kicking, and when I answer the phone, the rest of the guys take my phone and run off with it. It's cool to have that addition to my story.
Next was Act I, Scene 2 and "What Could Better." This is such a fun scene to do, because while the first scene served as an introduction, this is where we really get to see how these two function as a couple, especially upon finding out that Lizzie's pregnant. My nature at this point in the story is very caught off-guard; I remain loyal and supportive, but at the same time I'm absolutely clueless on what to do. These dynamics will definitely help out when we return to later scenes that we've already blocked.
We moved on to Act I, Scene 7, where I tell Lizzie about the audition for the punk band and put my foot down on her attempts to persuade me not to. This is a big moment for Danny, because, while not at the same level as the one in Act II, this is the closest thing to a fight we see these two get into by this point. This is also probably the most I've stood up to Lizzie before, powered by my sense of responsibility, my urge to do what's right, and my need to fulfill my role as the man of the relationship and the father of my child.
Finally, we blocked Act I, Scene 11, our scene at the bus station leading into "I Chose Right." It's a nice scene for me to overcome my own goofiness in order to be romantic for Lizzie. There's a great comedic moment where I try to command her to sit, then back down when I see I'm about to cross a line. The look Mary Kate gives me makes it so hard to keep a straight face.
Overall, tonight felt great having everything come together to complete my story arc. I can't wait to start run-throughs.
10/21/10 - 18th Rehearsal
Tonight was cleaned up and reviewed everything. Marcus was back, feeling better than he did last night. Not much to update, except for wishing Tabby's broken finger a quick recovery!
10/20/10 - 17th Rehearsal
Tonight we finally staged the "Birth Sequence" and the finale. Marcus was unfortunately too sick to be there, so Carl had full command of the night. I like what he's developed for my part of this number. The main word I'd use is hesitance. There's this big panic to get Lizzie to the hospital when she starts having contractions, but as soon as she gets me to stop and take in the moment, there's the huge uncertainty of if I'm ready to be a father. I eventually decide that I am, making the moment I take her hand much bigger for me. It's a great way to finally get the character to the final stage of his journey.
And the finale...well, it's a FINALE! It's awesome!
And the finale...well, it's a FINALE! It's awesome!
10/18/10 - 16th Rehearsal
We blocked Act II, Scene 6 tonight, which is the scene leading into "Two People in Love." It goes from having this initial awkwardness into a serious fight into the resolution, which leads into the song about how much they love each other...so, pretty complicated! Marcus's direction really made something click, though. The underlying issue with Danny in this scene is that he wants to say one thing: "I love you." But there's a fear of saying it, and a loss for how to say it. In fact, fear seems to what be what dominates me throughout the majority of the scene, because that seems to be what drives me to say the things I say during the fight.
The scene works, and with more time and repetition, it will have a really smooth flow.
The scene works, and with more time and repetition, it will have a really smooth flow.
10/17/10 - 15th Rehearsal
The only part of the night that I was called for was reviewing "Baby, Baby, Baby." There were a few changes on my part, but not much to report.
Thursday, November 4, 2010
10/13/10 - 14th Rehearsal
First order of business for the night was Carl choreographing "Two People in Love" with me and Mary Kate. It's very playful and energetic, and a lot of fun to do. The big challenge for me is breathing; I actually had to sit down for a minute to gather myself. It's a lot of movement with a lot of singing, so I really need to build up some endurance. A minor challenge was to not make it look so choreographed and make it feel more natural and playful.
We spent the rest of the night reviewing and tweaking the songs we've staged already.
We spent the rest of the night reviewing and tweaking the songs we've staged already.
10/9/10 - 13th Rehearsal
Marcus excused me to be a little late for rehearsal so that I could go meet my aunt and the producer offering me the backstage job at the Drama Desk Awards for breakfast. Unfortunately, due to a series of events on the way back to Montevallo, I was later than I intended to be. Upon typing this, I realize that it was my 13th rehearsal, so maybe I should have expected at least a little bad luck!
Nevertheless, as soon as I arrived, rehearsal went well. We worked "Fatherhood Blues," and I worked more on loosening up physically. Letting my hair down definitely helped me get into it mentally. I'll have to take note of it, because my hair's current length definitely won't be here for long!
At the end, we blocked “I Chose Right.” It’s very simple, all revolving around the bus station bench in the scene. What’s special about this, though, is what Marcus wants for the bridge of the song, which is to get completely lost in rock star mode. This feels really good, and absolutely right for the scene.
Nevertheless, as soon as I arrived, rehearsal went well. We worked "Fatherhood Blues," and I worked more on loosening up physically. Letting my hair down definitely helped me get into it mentally. I'll have to take note of it, because my hair's current length definitely won't be here for long!
At the end, we blocked “I Chose Right.” It’s very simple, all revolving around the bus station bench in the scene. What’s special about this, though, is what Marcus wants for the bridge of the song, which is to get completely lost in rock star mode. This feels really good, and absolutely right for the scene.
10/7/10 - 12th rehearsal
Another sing-thru of the show. Everyone is definitely getting more and more comfortable wit their music. Mary Kate and I are definitely on top of ours, which gives us a little more room to play. I'm also finally getting the hang of the rock sound that Marcus is looking for from me. I'm just going to have to keep developing it on my own and find my own way of doing it without causing any vocal harm.
10/4/10 - 11th Rehearsal
Tonight was a clean-up night, reviewing everything we've blocked so far (The Sperm Ballet; "We Start Today;" "Baby, Baby, Baby;" and "Fatherhood Blues"). Still getting notes about loosening up and singing "pretty." I have to keep figuring out how to bring the rocker out of me.
10/2/10 - 10th Rehearsal
Carl Dean is trying to kill us all! ...Okay, not really, but he definitely created one exhausting number!
The only number on the schedule for today was for Carl to choreograph "Fatherhood Blues." First off, Carl had a different take on the staging, so all this called for was us reversing what we had blocked last night, which was easy. We spent the rest of the day staging the song. This is probably one of the hardest dances I've done with Carl as choreographer. It's very lyric-driven and has a lot of '80s and '90s influences; he even managed to work in some Michael Jackson in there! It all culminates in a unified, boy-band finish.
This will be a HUGE challenge for me, because all of my choreography is punk rock-based, complete with head-banging and pulsating. It's so different from the way I'm used to dancing. I have to loosen up or this will be way harder than it has to be.
I did make a breakthrough in one way, though. After singing the song and running the dance over and over again, I finally found the vocal sound that Marcus is looking for. It's a kind of rock growl, less smooth and more gritty. I have to figure out how to do that on command.
The only number on the schedule for today was for Carl to choreograph "Fatherhood Blues." First off, Carl had a different take on the staging, so all this called for was us reversing what we had blocked last night, which was easy. We spent the rest of the day staging the song. This is probably one of the hardest dances I've done with Carl as choreographer. It's very lyric-driven and has a lot of '80s and '90s influences; he even managed to work in some Michael Jackson in there! It all culminates in a unified, boy-band finish.
This will be a HUGE challenge for me, because all of my choreography is punk rock-based, complete with head-banging and pulsating. It's so different from the way I'm used to dancing. I have to loosen up or this will be way harder than it has to be.
I did make a breakthrough in one way, though. After singing the song and running the dance over and over again, I finally found the vocal sound that Marcus is looking for. It's a kind of rock growl, less smooth and more gritty. I have to figure out how to do that on command.
10/1/10 - 9th Rehearsal
Tonight rehearsal plans changed; we're ahead of schedule!
Since work on "Baby, Baby, Baby" went so well the night before, Marcus decided to work on two different scenes. The first was the opening of "We Start Today," which is really like three mini-scenes which introduces us to each of the three couples. Danny and Lizzie are just moving into their below-ground-level apartment; Lizzie folds clothes while I sit composing on my guitar. As I hit a bump in my songwriting, Lizzie gets me to stop and take in the moment, and we sing of how ready we are to start a new life together. Marcus's direction brought up some interesting points. Danny and Lizzie aren't quite at the point Nick and Pam are; there's still a lot about each other that they're figuring out, so while they are crazy about each other, there's still some distance there.
Next we blocked the scene before "Fatherhood Blues." My only part of the scene before the song starts is that I run in in my punk rock costume to tell Nick that I got the job with the band. Not much else happened concerning me. Although Marcus did tell me that we were modeling my costume after the band Gwar. I've never heard of them, so I need to look them up.
Since work on "Baby, Baby, Baby" went so well the night before, Marcus decided to work on two different scenes. The first was the opening of "We Start Today," which is really like three mini-scenes which introduces us to each of the three couples. Danny and Lizzie are just moving into their below-ground-level apartment; Lizzie folds clothes while I sit composing on my guitar. As I hit a bump in my songwriting, Lizzie gets me to stop and take in the moment, and we sing of how ready we are to start a new life together. Marcus's direction brought up some interesting points. Danny and Lizzie aren't quite at the point Nick and Pam are; there's still a lot about each other that they're figuring out, so while they are crazy about each other, there's still some distance there.
Next we blocked the scene before "Fatherhood Blues." My only part of the scene before the song starts is that I run in in my punk rock costume to tell Nick that I got the job with the band. Not much else happened concerning me. Although Marcus did tell me that we were modeling my costume after the band Gwar. I've never heard of them, so I need to look them up.
Monday, October 4, 2010
9/30/10 - 8th Rehearsal
Tonight Carl blocked "Baby, Baby, Baby," so only the three couples were called.
Danny and Lizzie's portion of the song shows them having a picnic, drinking beer out of champagne glasses with a napkin as their picnic blanket. It's another sweet moment of fun and intimacy between the two, preparing themselves before facing the challenges of young parenthood. My main struggle for the night, though, was grasping the rocker/goofball side of Danny in this song. Marcus told me to open up and start playing more with the choices I was making, addressing a concern I had about reverting to stock choices in Career Prep class. This marks the beginning of really finding Danny's personality; what about it is similar to or different from mine? How can I make my performance different than anything I've done before?
Danny and Lizzie's portion of the song shows them having a picnic, drinking beer out of champagne glasses with a napkin as their picnic blanket. It's another sweet moment of fun and intimacy between the two, preparing themselves before facing the challenges of young parenthood. My main struggle for the night, though, was grasping the rocker/goofball side of Danny in this song. Marcus told me to open up and start playing more with the choices I was making, addressing a concern I had about reverting to stock choices in Career Prep class. This marks the beginning of really finding Danny's personality; what about it is similar to or different from mine? How can I make my performance different than anything I've done before?
9/28-29/10 - 6th & 7th Rehearsals
Dance week begins!
For the past couple of nights we've been choreographing the opening number, "We Start Today." Carl's staging of the couples mainly furthers our introduction from the preceding scene. This scene hasn't been blocked yet, so there's still some feeling out to do. In Danny and Lizzie's case, it shows more of the fun and intimacy that the two share.
The biggest moment for the couples is the discovery of and reaction to the women's pregnancies. Danny's reaction is very compounded; I'm fearful, but quickly put on the mask of an uneasy smile as I hug Lizzie on the final button of the song. This will inform a LOT of my work for the rest of the show, as Danny tries to be cheerfully responsible to hide how terrified he is.
The only other work that has been done at these rehearsals is the opening "sperm ballet," which I am unfortunately not part of, but come on...how often can you say you're part of a show with a sperm ballet?
NOTE: Michael Adams has been replaced by freshman Michael Tallon.
For the past couple of nights we've been choreographing the opening number, "We Start Today." Carl's staging of the couples mainly furthers our introduction from the preceding scene. This scene hasn't been blocked yet, so there's still some feeling out to do. In Danny and Lizzie's case, it shows more of the fun and intimacy that the two share.
The biggest moment for the couples is the discovery of and reaction to the women's pregnancies. Danny's reaction is very compounded; I'm fearful, but quickly put on the mask of an uneasy smile as I hug Lizzie on the final button of the song. This will inform a LOT of my work for the rest of the show, as Danny tries to be cheerfully responsible to hide how terrified he is.
The only other work that has been done at these rehearsals is the opening "sperm ballet," which I am unfortunately not part of, but come on...how often can you say you're part of a show with a sperm ballet?
NOTE: Michael Adams has been replaced by freshman Michael Tallon.
Tuesday, September 28, 2010
9/25/10 - 5th Rehearsal
Today we had a second sing-through of the show, and you could tell that there was SO much improvement. Not only did everyone know their music, but you could tell that everyone was really getting in touch with their characters. Some great choices were starting to be made. Mine and Mary Kate's songs felt great as ever, and I was able to hit the rock wail again! The show sounds great now, and I can't wait to start dances next week!
9/24/10 - 4th Rehearsal
After having a couple of nights off, it was back to work.
First, B.J. and I worked on "At Night She Comes Home to Me." I have to say, it's really cool getting to work with B.J. one more time. The last show we did together was Hair (with B.J. as Claude and me as Berger), back in Fall 2008, and it's great to be able to play off of each other again. B.J. had worked on his portion of the song earlier in the week, so there was a bit more focus on my segment. Marcus told me to really emphasize the punk rock for my first few measures, really punching the words and getting more physical. Then he asked for something I didn't expect: a high-falsetto rock wail at the climax of my part of the song. That's a high, octave-jumping G (or, as I call it, the Jesus Christ Superstar note)! I'll admit that I've worked on this on my own (mostly during car rides), but have never had to do it for anyone else before, never mind a show. But much to my amazement, I pulled it off on the first try! Unfortunately, I started wearing down after the third run of the song, so I put it to rest for the night. It's just one more thing I have to work on. I know I can do it without damaging my voice, it's just a matter of breath support and dramatic build.
The rest of the night was just with the three couples. We first ran "We Start Today," which is pretty much the same, except for a new extension that shows some of the private conversations amongst the characters; in Danny's case, he's calling his mother to let her know he's switching his major from science to music. This is some backstory that was never clearly emphasized before, so I love it.
The big hurdle to jump, though, was "Baby, Baby, Baby." It wasn't a problem for any of the actors, though. It was a big picture problem for Marcus; the song as it's written is just too much of a lounge number. With the stuff he's been working on with all of us, it really clashes with the pop/rock/blues vision he has for the show, and runs the risk of sticking out like a sore thumb. Luckily, though, with Laurie's help, I think we have the song rearranged for the better. We took it uptempo, and Marcus asked us to take more liberty with the style and play with the riffs. I think that by the time we get it staged and have an orchestra together, it's going to fit in well with the rest of the show.
First, B.J. and I worked on "At Night She Comes Home to Me." I have to say, it's really cool getting to work with B.J. one more time. The last show we did together was Hair (with B.J. as Claude and me as Berger), back in Fall 2008, and it's great to be able to play off of each other again. B.J. had worked on his portion of the song earlier in the week, so there was a bit more focus on my segment. Marcus told me to really emphasize the punk rock for my first few measures, really punching the words and getting more physical. Then he asked for something I didn't expect: a high-falsetto rock wail at the climax of my part of the song. That's a high, octave-jumping G (or, as I call it, the Jesus Christ Superstar note)! I'll admit that I've worked on this on my own (mostly during car rides), but have never had to do it for anyone else before, never mind a show. But much to my amazement, I pulled it off on the first try! Unfortunately, I started wearing down after the third run of the song, so I put it to rest for the night. It's just one more thing I have to work on. I know I can do it without damaging my voice, it's just a matter of breath support and dramatic build.
The rest of the night was just with the three couples. We first ran "We Start Today," which is pretty much the same, except for a new extension that shows some of the private conversations amongst the characters; in Danny's case, he's calling his mother to let her know he's switching his major from science to music. This is some backstory that was never clearly emphasized before, so I love it.
The big hurdle to jump, though, was "Baby, Baby, Baby." It wasn't a problem for any of the actors, though. It was a big picture problem for Marcus; the song as it's written is just too much of a lounge number. With the stuff he's been working on with all of us, it really clashes with the pop/rock/blues vision he has for the show, and runs the risk of sticking out like a sore thumb. Luckily, though, with Laurie's help, I think we have the song rearranged for the better. We took it uptempo, and Marcus asked us to take more liberty with the style and play with the riffs. I think that by the time we get it staged and have an orchestra together, it's going to fit in well with the rest of the show.
9/21/10 - 3rd Rehearsal
Tonight's entire rehearsal was focused on the songs between me and Mary Kate.
I can't say enough about how cool it is to work with this girl. She's so professional and comes ready for anything, but at the same time has a great energy about her. It's so much fun to sing with her, so I can't wait to get to act with her. Marcus really had us play around with our two duets, "What Could Be Better" and "Two People in Love." It's starting to develop a chemistry for us, and I think that it'll really come further into play once we start blocking scenes. It also might help us to hang out a little more outside of rehearsals.
When we got to "I Chose Right," Marcus asked me to really start playing up the rock vocals during the bridge of the song. He wants there to be a definite difference between Danny's musical theatre sound and the punk rocker he wants to be, using the bridge as a demonstration of the performer he's going to be while he's gone. It's something I hadn't really thought about, since I thought that this was Danny at his most sincere. It still is, but the vocals give the song more levels, and show off more of Danny's personality. I'll have to keep playing with it; give it some grit without hurting my vocal chords
I can't say enough about how cool it is to work with this girl. She's so professional and comes ready for anything, but at the same time has a great energy about her. It's so much fun to sing with her, so I can't wait to get to act with her. Marcus really had us play around with our two duets, "What Could Be Better" and "Two People in Love." It's starting to develop a chemistry for us, and I think that it'll really come further into play once we start blocking scenes. It also might help us to hang out a little more outside of rehearsals.
When we got to "I Chose Right," Marcus asked me to really start playing up the rock vocals during the bridge of the song. He wants there to be a definite difference between Danny's musical theatre sound and the punk rocker he wants to be, using the bridge as a demonstration of the performer he's going to be while he's gone. It's something I hadn't really thought about, since I thought that this was Danny at his most sincere. It still is, but the vocals give the song more levels, and show off more of Danny's personality. I'll have to keep playing with it; give it some grit without hurting my vocal chords
Monday, September 27, 2010
9/20/10 - 2nd Rehearsal
I was only called tonight for about a half hour later on in the evening. This was for further work on "Fatherhood Blues."
Marcus got me to do a few things that really helped progress my physicality. The term he used that stuck out to me most was for me to "open up;" to put some focus on my center going outward instead of pulling inward. He set a chair aside, and during my two big builds in the song, he had me leap off of it. I could really understand what he was talking about whenever I jumped, and I've taken a mental note of what to work and focus on.
Marcus got me to do a few things that really helped progress my physicality. The term he used that stuck out to me most was for me to "open up;" to put some focus on my center going outward instead of pulling inward. He set a chair aside, and during my two big builds in the song, he had me leap off of it. I could really understand what he was talking about whenever I jumped, and I've taken a mental note of what to work and focus on.
9/19/10 - 1st Rehearsal
Marcus informed us that our entire first week of rehearsals are strictly going to be learning music. Next week will dance-focused, then week three will start the scene work. He stressed the importance of learning our music now so that everything else will be easier when we get to it.
Tonight was a first rough sing-through of the show. It had its stumbles here and there, but mainly out of unfamiliarity with the material. It just showed what needs to be worked on in the coming week. I felt really glad that I knew so much of my music. I made sure that part of my summer was spent listening to the cast album over and over and over again so that it would get ingrained into my head, and it really paid off.
Unfortunately, we already have some illness starting amongst the cast. I have to be sure to stay careful with my health.
To follow up on something I mentioned in my last entry, we finally got to hear the new song, "The End of Summer," in action. It's absolutely beautiful! It almost sounds tailor-made just for Tabby, Lindsey and Mary Kate. I'd be lying if I said it didn't put a lump in my throat.
Speaking of whom, singing with Mary Kate feels so good. We sound really great together, and I have a good feeling that working with her is going to be a lot of fun.
Before we let out, Marcus returned to a couple of numbers. One was "Fatherhood Blues." While he worked with everyone, the thing he focused on with me was getting me to loosen up, physically and vocally. Rather than focusing on getting the song right, he said he wanted me to just let my voice out, and really start tapping into the wannabe punk rock side of Danny. Tonight was a start, so I hope it progresses further.
Tonight was a first rough sing-through of the show. It had its stumbles here and there, but mainly out of unfamiliarity with the material. It just showed what needs to be worked on in the coming week. I felt really glad that I knew so much of my music. I made sure that part of my summer was spent listening to the cast album over and over and over again so that it would get ingrained into my head, and it really paid off.
Unfortunately, we already have some illness starting amongst the cast. I have to be sure to stay careful with my health.
To follow up on something I mentioned in my last entry, we finally got to hear the new song, "The End of Summer," in action. It's absolutely beautiful! It almost sounds tailor-made just for Tabby, Lindsey and Mary Kate. I'd be lying if I said it didn't put a lump in my throat.
Speaking of whom, singing with Mary Kate feels so good. We sound really great together, and I have a good feeling that working with her is going to be a lot of fun.
Before we let out, Marcus returned to a couple of numbers. One was "Fatherhood Blues." While he worked with everyone, the thing he focused on with me was getting me to loosen up, physically and vocally. Rather than focusing on getting the song right, he said he wanted me to just let my voice out, and really start tapping into the wannabe punk rock side of Danny. Tonight was a start, so I hope it progresses further.
9/18/10 - Reading the New Script
NOTE: Yes, I've fallen behind AGAIN on posting my journal entries, but I have been keeping track of what's going on, so consider these next six entries my catching up.
During my research at the beginnning of the summer, I read about the 2004 production of Baby at the Paper Mill Playhouse. The production contained a revised libretto and new music. But when looking back on MTIShows.com (MTI licenses the performing rights of the show), the only version mentioned was the 1987 National Tour, the copy Tabby, Steven, and I had recieved at the end of the semester. I pushed the thought of the new script out of my mind to focus on what I had. Once I returned to school, though, I went back to the MTI site and saw the 2004 version listed. When I asked Marcus which script we would end up with, he said we would have to wait to see when they arrived. It turns out that the official script for Baby is now, in fact, the revised version, and I wondered how it would be in comparison.
SPOILER WARNING! IF YOU ARE READING THIS BLOG, AREN'T IN THE CAST OR CREW, AND STILL PLAN ON SEEING THE SHOW, STOP READING THIS ENTRY NOW!!!!
The answer is that it's so much better than the '87 version! The script (while not entirely) fixes some of the problems I had with the older one, removing and/or rewriting some of the cheesier and dated dialogue to make it more contemporary and timeless. The new material adds so much to the story. The biggest change comes as part of Alan and Arlene's story; in this new version, Arlene has a miscarriage halfway through Act II. This was something the writers wanted from the beginning but had to change before the Broadway opening, and I have to admit it works. They still reach their happy ending of rediscovering and renewing their love for each other, but only after hitting rock bottom, and this gives us a bigger dramatic payoff. There's also the new song, "The End of Summer," where the three leading ladies have another trio, this time expressing their fears for the future. I can't find a single recording or video of the song, so I can't wait to hear it.
The biggest change involving Danny and Lizzie, however, is the scene leading into "Two People in Love." It's completely rewritten, removing all the over-the-top goofiness the older version had. In short, it's more realistic and gets to the point of Danny's conflict! Danny returns from his tour with the band totally changed, fearful of his future with Lizzie and his ability to provide for her and the baby. He doubts his career in music, and now says he doesn't want to marry Lizzie so she won't have to change. They fight, which culminates in the realization that it's too late; they BOTH have changed. We then get to my favorite addition: a soft-spoken intro into "Two People In Love," which briefly reprises "I Chose Right" and "What Could Be Better?," and thus the following song has newer, stronger meaning. It's not just a declaration of their love anymore, but an affirmation of their strength and faith in each other.
Overall, this new script is great, and with this and the cast we have I KNOW now that this show will be amazing!
During my research at the beginnning of the summer, I read about the 2004 production of Baby at the Paper Mill Playhouse. The production contained a revised libretto and new music. But when looking back on MTIShows.com (MTI licenses the performing rights of the show), the only version mentioned was the 1987 National Tour, the copy Tabby, Steven, and I had recieved at the end of the semester. I pushed the thought of the new script out of my mind to focus on what I had. Once I returned to school, though, I went back to the MTI site and saw the 2004 version listed. When I asked Marcus which script we would end up with, he said we would have to wait to see when they arrived. It turns out that the official script for Baby is now, in fact, the revised version, and I wondered how it would be in comparison.
SPOILER WARNING! IF YOU ARE READING THIS BLOG, AREN'T IN THE CAST OR CREW, AND STILL PLAN ON SEEING THE SHOW, STOP READING THIS ENTRY NOW!!!!
The answer is that it's so much better than the '87 version! The script (while not entirely) fixes some of the problems I had with the older one, removing and/or rewriting some of the cheesier and dated dialogue to make it more contemporary and timeless. The new material adds so much to the story. The biggest change comes as part of Alan and Arlene's story; in this new version, Arlene has a miscarriage halfway through Act II. This was something the writers wanted from the beginning but had to change before the Broadway opening, and I have to admit it works. They still reach their happy ending of rediscovering and renewing their love for each other, but only after hitting rock bottom, and this gives us a bigger dramatic payoff. There's also the new song, "The End of Summer," where the three leading ladies have another trio, this time expressing their fears for the future. I can't find a single recording or video of the song, so I can't wait to hear it.
The biggest change involving Danny and Lizzie, however, is the scene leading into "Two People in Love." It's completely rewritten, removing all the over-the-top goofiness the older version had. In short, it's more realistic and gets to the point of Danny's conflict! Danny returns from his tour with the band totally changed, fearful of his future with Lizzie and his ability to provide for her and the baby. He doubts his career in music, and now says he doesn't want to marry Lizzie so she won't have to change. They fight, which culminates in the realization that it's too late; they BOTH have changed. We then get to my favorite addition: a soft-spoken intro into "Two People In Love," which briefly reprises "I Chose Right" and "What Could Be Better?," and thus the following song has newer, stronger meaning. It's not just a declaration of their love anymore, but an affirmation of their strength and faith in each other.
Overall, this new script is great, and with this and the cast we have I KNOW now that this show will be amazing!
Wednesday, September 8, 2010
BABY CAST AND CREW
Baby
Book by Sybille Pearson
Music by David Shire
Lyrics by Richard Maltby, Jr.
Danny..........Grant Bowen
Lizzie...........Mary Kate McLaurine
Pam............Tabby Stott
Nick.............B.J. Underwood
Alan............Steven Williams
Arlene..........Lindsey Bristol
Chorus:
Frank Demming
Michael Adams
Trent Loggins
Stephen Means
Jenna McCown
Meghan Browning
Keeli Berman
Bethany Dawson
Director - Marcus Lane
Choreographer - Carl Dean
Music Director - Laurie Middaugh
Stage Manager - Hannah Jean Farris
Asst. Stage Managers - Kayleigh Funderburk, Stephen Billy, and Brittany Ellard
Congrats to everyone who got cast and great job to everyone who auditioned! I can't wait to get started!
Book by Sybille Pearson
Music by David Shire
Lyrics by Richard Maltby, Jr.
Danny..........Grant Bowen
Lizzie...........Mary Kate McLaurine
Pam............Tabby Stott
Nick.............B.J. Underwood
Alan............Steven Williams
Arlene..........Lindsey Bristol
Chorus:
Frank Demming
Michael Adams
Trent Loggins
Stephen Means
Jenna McCown
Meghan Browning
Keeli Berman
Bethany Dawson
Director - Marcus Lane
Choreographer - Carl Dean
Music Director - Laurie Middaugh
Stage Manager - Hannah Jean Farris
Asst. Stage Managers - Kayleigh Funderburk, Stephen Billy, and Brittany Ellard
Congrats to everyone who got cast and great job to everyone who auditioned! I can't wait to get started!
2/4/10 - Dance Auditions
This is the most confident I've ever felt coming out of a dance audition. Sure, after having worked with Carl Dean twice already, I will admit this was a different combination than what he normally comes into auditions with. Rather than functioning by counts of eight, it was lyrical, and focused on what was going on musically within that cut of the song he chose (which was the show's opening number, "We Start Today"). The thing is, that's how I function best as a dancer anyway. There was a little bit of a rough start in the beginning due to my focus on trying to get every step right. But after the first group was let go Carl spoke to us about focusing on the performance rather than the accuracy, and putting out more energy. Once I focused on that, I found that my dancing actullay got better, and I suddenly tapped into an energy that I feel I'll soon need for Danny.
Eager to see how the cast turns out! Can't wait!
Eager to see how the cast turns out! Can't wait!
UPDATE FOR FOLLOWERS
Hey guys! Thought I'd put this post up before I put up my next entries. I've been having to balance preparing for Baby with getting into the swing of classes starting back, so I've been behind on getting these posts up. Once we actually start rehearsing regularly, it should be easier to write every night. Rest assured, though, I am keeping track of things; just because they haven't been posted doesn't mean I haven't started writing them yet.
One more thing before I post the next one: even though I have written a journal entry about this, I am not going to post the one about callbacks. I figured it would be best to avoid publicly mentioning names in the scenario where people were still competing for roles. I do have written it though, and saved it as a draft on my account.
Thanks again to everyone who's following my process! I promise it's going to be more regularly updated from now on.
One more thing before I post the next one: even though I have written a journal entry about this, I am not going to post the one about callbacks. I figured it would be best to avoid publicly mentioning names in the scenario where people were still competing for roles. I do have written it though, and saved it as a draft on my account.
Thanks again to everyone who's following my process! I promise it's going to be more regularly updated from now on.
Thursday, September 2, 2010
8/31-9/1/2010 - Auditions
Even though I've already been cast, I'm still required to audition, so I still wanted to do well and pick appropriate material.
My monologue was the one I used in Acting from the Camera last year, from the movie Kicking & Screaming. I know something from a movie isn't always what's to be used in a theatre audition, but it's an obscure piece, and the closest thing to a character resembling Danny I have in my repetoire. Like Danny, Grover [the character from the movie] is younger, is doing whatever he can for the girl he loves, and is really taking a big step to change himself for the better in the face of serious circumstances. There's nothing in the monologue that's just like anything in Baby, but I feel there's enough of a connection to my character for me to display.
I had a few ideas for my song that would suit Danny. Among them were "I'm Alive" from Next to Normal (already one of my stronger audition cuts) and Jason Robert Brown's song "Someone to Fall Back On." But I figured a smarter choice would be to reflect the more romantic side of the character and show his certainty in his commitment to Lizzie, so I decided to use "I Chose Right" as a template. I found the song in my rep book that I felt matched that perfectly; Billy Joel's "She's Got a Way" (more specifically, the arrangement used in Movin' Out). It's a beautiful song of admiration, and Joel would probably be one of Danny's idols.
As for how my execution of these went, however, I feel it could've gone better. I'm can't really pinpoint what went wrong. I just didn't feel I took the monologue far enough, and even though I sang the song well, my performance of it felt very wooden. Maybe I'm being too hard on myself as usual, but that's how it honestly felt. Even though I'm already in the show, I still wanted to prove myself to the faculty. I'll just learn from this one and move on.
My monologue was the one I used in Acting from the Camera last year, from the movie Kicking & Screaming. I know something from a movie isn't always what's to be used in a theatre audition, but it's an obscure piece, and the closest thing to a character resembling Danny I have in my repetoire. Like Danny, Grover [the character from the movie] is younger, is doing whatever he can for the girl he loves, and is really taking a big step to change himself for the better in the face of serious circumstances. There's nothing in the monologue that's just like anything in Baby, but I feel there's enough of a connection to my character for me to display.
I had a few ideas for my song that would suit Danny. Among them were "I'm Alive" from Next to Normal (already one of my stronger audition cuts) and Jason Robert Brown's song "Someone to Fall Back On." But I figured a smarter choice would be to reflect the more romantic side of the character and show his certainty in his commitment to Lizzie, so I decided to use "I Chose Right" as a template. I found the song in my rep book that I felt matched that perfectly; Billy Joel's "She's Got a Way" (more specifically, the arrangement used in Movin' Out). It's a beautiful song of admiration, and Joel would probably be one of Danny's idols.
As for how my execution of these went, however, I feel it could've gone better. I'm can't really pinpoint what went wrong. I just didn't feel I took the monologue far enough, and even though I sang the song well, my performance of it felt very wooden. Maybe I'm being too hard on myself as usual, but that's how it honestly felt. Even though I'm already in the show, I still wanted to prove myself to the faculty. I'll just learn from this one and move on.
Saturday, August 28, 2010
8/10/2010 - Reading the Script
NOTE: This entry was handwritten on the date mentioned in the title. I'm just transferring it to the blog.
As we enter the final week of employment at Unto These Hills, I finally have the time and mental focus to begin working on Baby. I've been listening to the cast recording since I found out that this was going to be my project, and had hastily read through the script once when I first got it. But today I decided to actually sit down and really start to analyze the show, closing myself off in my room to read the script and listen to each song as I got to it.
I stand by my statement that I think it will be a great show. The setting of a college town, the ages of the six main characters, and the overall scenarios are going to hit home for a lot of audience members. My only mild concern is about some of the dialogue, which walks a thin line. If executed well, it actually can come off as real and genuine conversation. If not, it could come off like a sitcom; a series of set-ups and punchlines with the occassional dramatic moment. I have faith in Marcus, though, and trust that we'll have a capable cast that can do it justice.
Danny is much more as a character than I originally thought. At first I had just seen him as this all-around nice guy who was just trying to do the right thing under his given circumstances. But as I really read the script, I picked up on a lot of details I had either missed or not let sink in; that he switched his major from science to music, that he has always had a punk-rock fascination, the few details given about his mother, etc. I realized that his goal isn't JUST to become a good father; it's to actually grow up and become an adult. Not only does he have a lot to prove to Lizzie and the rest of the world, but mostly to himself. This is actually something I can relate to big-time, because that's the kind of stage I feel my own life is at right now. I'm sure the more I work on the analytical assignments, things will get more in-depth.
As we enter the final week of employment at Unto These Hills, I finally have the time and mental focus to begin working on Baby. I've been listening to the cast recording since I found out that this was going to be my project, and had hastily read through the script once when I first got it. But today I decided to actually sit down and really start to analyze the show, closing myself off in my room to read the script and listen to each song as I got to it.
I stand by my statement that I think it will be a great show. The setting of a college town, the ages of the six main characters, and the overall scenarios are going to hit home for a lot of audience members. My only mild concern is about some of the dialogue, which walks a thin line. If executed well, it actually can come off as real and genuine conversation. If not, it could come off like a sitcom; a series of set-ups and punchlines with the occassional dramatic moment. I have faith in Marcus, though, and trust that we'll have a capable cast that can do it justice.
Danny is much more as a character than I originally thought. At first I had just seen him as this all-around nice guy who was just trying to do the right thing under his given circumstances. But as I really read the script, I picked up on a lot of details I had either missed or not let sink in; that he switched his major from science to music, that he has always had a punk-rock fascination, the few details given about his mother, etc. I realized that his goal isn't JUST to become a good father; it's to actually grow up and become an adult. Not only does he have a lot to prove to Lizzie and the rest of the world, but mostly to himself. This is actually something I can relate to big-time, because that's the kind of stage I feel my own life is at right now. I'm sure the more I work on the analytical assignments, things will get more in-depth.
Intro: Welcome to my BFA journal!
Hey guys! You're probably wondering what's up with this. As you may or may not know, part of completing a senior BFA project at the University of Montevallo is to keep a journal of the rehearsal process and any thoughts you have or research you do before or after the show. I decided to start keeping a blog for this journal because:
Let's see how this goes: as they say in the show, "we start today!"
- It's easier than writing everything out by hand.
- It's a way to save the journal should anything happen to my computer.
- It's one less thing to cram onto a Flash drive with the rest of the assignments that go into the book.
Let's see how this goes: as they say in the show, "we start today!"
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