IMFourPlay

Finding Your Way in the Crowd: Rehearsal Number Fourteen

Tonight was the third and final open Master Class. Building from our last two sessions, we explored tempo, ensemble dynamics and how to end a song convincingly with a bang (or actually with one of ten different bangs!) As an instructor, I often have a secret fear that I may not have enough material so I over plan--I know this about myself! Once again, we covered about half of what I had prepared, but I was very happy with this workshop in particular, and with the series overall. Jim and I were more in our stride together as co-facilitators, and I think I was personally more on point with the lessons. (Jim is always on point on the keyboard!)

Much of the first half of the session was spent finding comfort with the Madrigal song format. This was one of the first musical games I learnt as a teenager in New Zealand with Theatresports (it was United Theatresports then thanks to a major corporate sponsor.) I love this game! It's joy comes from an under-estimated simplicity: merely using benign slogans and the human voice, players weave together these limited elements and uncover musical and lyrical gems. I like the purity of this device. The humor evolves simply through surprising combination. For our purposes, this game also encapsulates the skills needed for group song creation: strong listening, fearless attack, clear focus transitions and the importance of establishing and nurturing an organic song structure. This is another game that I wish we played more in the Lab at SAK.

Then we put Jim to work by examining a series of possible song ending devices. Last year I had stumbled over this material a little, so I had my game plan a little more developed this time around. We had LOTS of great choruses developed during this section of the workshop. After a well-deserved break we jumped into some quick rhyme warm-ups, a little Christmas Carol crooning, and then wrapped up with a group song we use in the show where players create verses through each singing a line in turn. There were several other formats that I would have liked to get to as well, but that was all old man time would allow. While we didn't get as many full scenes/songs in as we did in the other two workshops, I felt there was still some strong growth and evidence of some good light bulb moments. I'm resigned to the fact that I can really only scratch the surface in three workshops.

For those playing at home, several little nuggets of wisdom re-emerged for me personally through the process in terms of how to create strong group numbers:

1. A simple chorus is a blessing to everyone!
2. Strong and clear leadership is a must. It should be shared as the song dictates, but it rarely serves the song for everyone to be too polite as the song starts up.
3. Fermata endings are over-used - a quick in tempo button works just as well if not better. To avoid this over-used choice, someone really has to step up and lead the final moments of the song (and everyone else has to pay attention to this offer).
4. Lowering the risk (often tempo) of the song can also lower the audience enjoyment. Songs are still scenes with discovered games and the audience likes to see us stepping out of our comfort zones as performers.
5. Group songs demand full involvement: tripping is far less egregious than not pulling your weight.
6. Don't be afraid to play to your strength: some are born soloists; some are great with rhythm; some excel at harmonizing; some do well providing the foundation; some are great lyricists. Strong group songs require all of these things coming together.
7. Don't be afraid to recognize your limitations: following someone else's lead can be a great gift; knowing if you are better at setting up or rhyming with teammates can help the overall song flow; if you are not particularly musically adept, allowing another to establish the tone or chorus might, in turn, set you up to shine brighter later.
8. Sell the song. Don't apologize for singing. Put your energy into it and tap into your emotions. Songs happen in musicals because the emotions demand that the characters sing. It's a trap, therefore, to allow yourself to retreat into your head. While I like a good dose of rhyme in my songs, I find myself not caring about this at all when the character I am watching is fully invested and passionate about their words.

As is the time-honored tradition for New Zealand directors, there will be no rehearsal on July 4th.

I haven't had any posted comments for a few days... :( I'd love to know if you're reading this and what, if anything, you find of interest so I can do more of it!!!

Today's photo was from last night's rehearsal on the stage. Does anyone else quite like it with just the undercoat showing on the platform units?

Your hoping-someone-is-out-there Director, David C.