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?
Monday, October 4, 2010
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NOTE: Michael Adams has been replaced by freshman Michael Tallon.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.
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