Thursday, 30 June 2016

The 39 Steps - Characterisation (OTT)

As there is a lot of multi-rolling in this play characterisation was extremely important. Being over the top in movements and vocally over the top helps the audience to differentiate between characters and also adds to the vaudeville style and comedy of the piece. All of my characters were different, making them easy to create with voice and body language. 

Anabella - I used a European accent as she was a German spy, but had 'no country' so wanted to keep her accent unspecific. She is quite a sassy yet serious character, in what she is talking about that is, her body language would be slightly provocative. 

Pamela- I only play her briefly so I modeled this character mostly on how Freya played her as we had to be similar. Using a posh British accent and acting like a normal upper class woman. 

Margaret - she is quite a quiet character, from Glasgow, married to Crofter who is a harsh man. She obviously had a Scottish accent which I tried to do but is very difficult, her body language is reserved and much more closed than the other two. 

Thursday, 16 June 2016

The 39 Steps - Pace & Energy

The 39 Steps is in the style of vaudeville theatre. A main feature of this is the fast pace which we have been working on. Many elements of the play will only be comical if delivered quickly, for example the scene on the train with Hannay and the Clowns which needs to be quick and snappy to really bring out the humour, which will come with practice. Currently the only thing slowing us down are the transitions between scenes, as we do not have a crew so we need to move everything ourselves, but we are going to use plain blocks and a couple of chairs for most of our set to make it slicker. Once we have completely set our act we need to rehearse the transitions to make sure they run smoothly and do not take away from the performance.

Another important part of vaudeville is the energy. If we let the performance fall flat it will not be entertaining as it is not straight drama, the energy needs to be kept up throughout to bring the characters to life and make it more comical. Energy is very important for the multi-rolling as it needs to be obvious what we are doing, so everything needs to be massive. Although high energy is required, it should be used in different ways for the different characters. For example Anabella is more sarcastic and serious, where as Margaret is more excitable and innocent.

Friday, 6 May 2016

The Pillowman

This lesson we finished the run from where we left off last lesson, just after Michal admits to the murders. I think the murder of Michal went well as it was gentle and caring, even though the actual action is not, and shows the love Kat had for Michal deep down as if he is saving Michal from the even crueler fate he would face. Act 3 still needs some work as it is a bit slow at the minute and needs to be delivered more naturally and conversationally between Tapulski and Ariel if it is going to work. I think an important thing that will help this is learning lines which my group is struggling with at the minute. This is the biggest thing that we need to work on before the real performance but other than that the play is looking good and the scenes are becoming more dynamic and intense to watch. With a couple more run throughs I think we will be ready to perform.

Monday, 2 May 2016

The 39 Steps - Vaudeville

Vaudeville grew out of the culture of incorporation that defined American life after the Civil War. Before Vaudeville came along entertainment existed, but on a different scale. The term "vaudeville" refers specifically to the American variety entertainment and was selected "for its vagueness, its faint, but harmless exoticism, and perhaps its connotation of gentility", as Albert Mclean suggests. It came into common usage after the formation of " Sargent's Great Vaudeville Company" in 1871. Leavitt and Sargent's shows differed a little from the earlier entertainment, although their use of the term was an early effort to provide variety amusements to the growing middle class. 






Vaudeville was variety entertainment consisting of a highly diverse series of very short acts, or "turns." The acts ranged from singing groups to animal acts, from comedians to contortionists, from magic tricks to short musical plays. A typical vaudeville bill consisted of approximately 13 acts, most of which were typically 6-15 minutes long. Many of the modes of performance developed in vaudeville had a profound effect on popular culture that continues into the present day. For example, many of the ethnic stereotypes prevalent in television and film -- Jewish, Irish, Italian, African American -- derive from the ethnic caricatures that were a mainstay of Vaudeville comedy. Vaudeville had something for everyone, and particular acts in the vaudeville lineup appealed differently to different groups in the audience. Irish comics and tenors, for instance, found a ready audience among the "lace curtain" Irish in the audience while WASP mothers out shopping with a child might prefer the circus-like entertainment of an animal act or juggling.






In the early 1880's, Tony Pastor ( a ring master turned theatre manager) began to feature "polite" variety programs in several of his New York theatres, hoping to draw a potential audience from female and family groups. He also barred the sale of liquor in his theatres, got rid of questionable material and offered gifts of coal and hams to his attendees. Pastor's experiment proved successful and other managers soon did the same. B.F. Keith and E.F. Albee were also producers who helped to turn the earlier variety performances into respectable family shows by domesticating rowdy spectators and cleaning up the acts themselves. Keith and Albee introduced "continuous vaudeville," which became standard practice at the turn of the century. The performances ran non-stop all day and into the evening, allowing spectators to enter the theatre at any time and stay as long as they liked — much like turning on a television set.





Grand Theatre in Buffalo, NY around 1900


Prior to the Civil War, American audiences boisterously voiced their approval or disapproval at theatrical performances by screaming, hollering, stomping, throwing vegetables and other missiles, or in certain instances even rushing the stage to attack performers or plead for encores. As the century drew to a close, and the process of incorporation discussed by Alan Trachtenberg accelerated along with its related processes of industrialization and the formation of stricter cultural hierarchies, entertainment and audiences were forced to change. In creating and maintaining the air of refinement associated with his theatres, Keith successfully developed a form of variety amusements well-suited for the new middle class and their urban lifestyles. The sheer abundance, variety, and spectacle offered at Keith's theatres helped to educate and transform American audiences in their new roles as passive spectators and consumers of experience and sensation.


Kieth's New Theatre, Boston 1894



Sources: http://www.virtualvaudeville.com
                http://xroads.virginia.edu/~ma02/easton/vaudeville/vaudevillemain.html

Friday, 29 April 2016

The Pillowman

Today we ran the play from the top, trying to run it as well as we could with scripts. We really need to learn lines so that we can concentrate on our body language and movement which is very important because it is a naturalistic play. I think the relationships between characters are starting to develop and we are getting to be more natural in our roles, making everything more believable. The dynamics in the first act are beginning to come through and it is becoming more interesting to watch, with more interaction between Tapluski and Ariel making their relationship more developed and clearer leading up to act 3.

We got half way through act 2 which is going well so far. I am getting more in to the character of Michal, and his simple minded speach. I am finding it easier to get the switch in his personaltity when he admits to the murders, trying to be subtly sadistic and not too obvious at first. Also developing his relationship with Katurian and the changes in dynamic between them as the scene changes and they start to clash. 

Friday, 22 April 2016

The Pillowman

Today we set act three, finishing the play, and worked on the death scene. We decided that keeping it simplistic would be the best way for the death scene to keep it as naturalistic as possible, so it matched the rest of the play. I think Dom and Dan really need to work on their characterisation and on their relationship as it comes to blows in act 3 and brings more understanding to why there is so much tension between them.

We have also been talking about the stories that Katurian tells throughout the play and how we could tell them to make them more interesting. I had the idea of creating the stories using puppets to create a silhouette story which we could film and record Carl's voice over, meaning he wouldn't have to remember the stories which would be a big help to his line learning. This would add another technique to the performances and give the audience a break from all the straight dialogue and give them something interesting to watch, it also works better than us just reading the story which may be slightly boring especially as Carl struggles a little with story telling. The only problem with this is that it would be time consuming to create and none of us are particularly skilled in puppeteering. 

The Pillowman

This lesson we worked more on our characters and look at their development throughout the play, by their dialogue and behaviour.

Michal is quite a complicated character. From his opening description of "Katurian's simple minded brother" you would think him to be an easy character to understand but he has tricked even his own brother into thinking him innocent and unable to cause harm to anyone. I think Michal is actually very clever and manipulative. Although he probably doesn't realise the extent of what he's done, he still knows that it is a very bad thing to do, but justifies it to himself by blaming it on Katurian. At the start of the play MIchal seems quite sweet and almost confused abou the situation. He really shows his simple side during the first half of the scene, being very childlike in how he speaks and acts, for example talking about his "itchy arse" and being very silly and quite comical. His mood completely switches as he starts to confess to the killing of the children. He speaks of it in a sadistic, matter of fact way, pretending he has done nothing wrong and acting as if nothing has changed. This just shows that there is another side of Michal that is pshyopathic and messed up, which isn't really surprising considering his up bringing and all of the torture he endured. When Katurian starts to get angry with him Michal breaks and becomes more irate, because his brother has never spoken to him like that, and he has always expected unconditional love from him. Michal never apologises for killing the children, which is another sign of lack of empathy, he only admits to knowing it was wrong but does not seem to regret and merely describes it as "very interesting". Towards the end of the scene Michal goes back to trying to be normal with his brother, showing again his small mental capacity and inability to handle difficult situations, before eventually going to sleep and being murdered by his brother. 

I think the audience will feel some form of empathy towards Michal, even considering the hideous acts he has committed, because of his past and his many childlike features which are hard to ignore. 

Tuesday, 19 April 2016

The 39 Steps

Our next unit is applying acting styles. We have chosen to perform the play 'The 39 Steps' as we think it will be an enjoyable play and is very different to what we have previously performed. Before starting we work shopped some of the scenes, like the opening, to help us figure out who would play who. Our class is a group of 9 and the play is only written for 4 people ideally, so we decided it would be best to split into two groups and each do an act. This was quite easy as there is a lot of multi-rolling and so within the two separate groups we had enough parts for a 5.

With casting we were given who was playing Hannay in each group and then the two girls were given an act, hence deciding their characters. I was in act 1 so am to be playing Anabella, Margaret and Pamela. We decided the other parts between ourselves trying to share them out with the remaining boys, which was simple because of the many different characters in the play. Keeping the style of the play we still had multi-rolling to add to the humour which meant, when playing each person, we needed to be versatile and make use of accents and body language to make it clear who we were.

Friday, 15 April 2016

The Pillowman

Today we decided to look more in depth at the relationships between each of the characters, so the pairs that interact with each other.

Ariel and Tapolski -
These two have what seems like a normal colleague relationship at the start of the play but as we get further along we find out that there is a lot of underlying tension. Tapolski, being a very sarcastic character, really knows how to fire Ariel up and make him angry, ultimately undermining him in front of the prisoner. I think this is him asserting his authority and just generally enjoying himself, he seems to take pleasure in other people's discomfort. They have a very volatile relationship, and they don't seem to see eye to eye in the way they handle the case, for example when Ariel is setting up torture equipment and as usual Tapolski makes a sarcastic comment and manages to get more information than Ariel anyway.

Kat and Michal -
Kat and Michal grew up depending on each other, as they had no parents from quite an early age, so have a very close brotherly relationship. Kat does everything for his brother and loves him very much, which is why it is such a shock for him to find out he isn't the innocent simplistic Michal he thought he was. As the plot evolves and the truth is revealed their relationship changes drastically. First leaving Kat in a state of shock, not really knowing how to respond to it, then as the reality sets in he is overwhelmed by disgust for his brother and hatred. Michal's lack of remorse and understanding makes the situation and I think this is when Kat gives up on him and completely drops any kind of affection for his brother.

Wednesday, 13 April 2016

The Pillowman - meeting

26th February - minutes from meeting

  • We are going to use 10 pillows in total to make our Pillowman
Fundraising ideas -

  • eg waxing, kissing booth, quiz night, raffle, overnight camp at school
  • Kai will lend legs for waxing
  • Quiz night with games (head and tails)- pay to play
  • Sleepover at scout hut in school possibly

Free entry to performance-

  • buy raffle tickets on door/ ask for donations
Set-
  • 3 chairs
  • Table
  • Torture equipment (table, battery with attachments, pliers)
  • Duvet and pillow
  • Block

Costume -

  • Katurian casual
  • Ariel and Taplusi shirt and trousers
  • Michal dungarees/casual

Friday, 8 April 2016

The Pillowman

Today we started on Act 2 which I am in. This is set in the cell where they have been keeping Michal while questioning Kat. Again we decided to keep the set simple, with just a a big block to represent a mattress in the cell for them to sit on. It is quite a relaxed and funny scene until Michal admits to killing the children, at which point there needs to be a complete change in atmosphere which we have been trying to work on. Our tone and body language need to change as well as Kat moving away in disbelief. As the scene develops it becomes more spiteful and shows a new side to their relationship, with Kat no longer treating Michal like the innocent simple minded boy he thought he was.
We do not have much movement in this scene which I think we need to work on as it will get boring if we are stuck on the bed the whole time, but I think this will be easier once we have learnt our lines so we are not constantly looking at our scripts and we can properly get into character.

Friday, 25 March 2016

The Pillowman

This week we finished setting the first scene, working through the script. I am not in this scene so I was helping/ directing. It is quite a static scene as they are sat around the table so we had to add in some movement, mainly using Ariel. Ariel is a very aggressive and explosive so should not be sitting still as his character needs to bring tension to the piece. When setting this Dom was not playing the part as Ariel so we will have to keep working on his character to bring out the characteristics needed to bring Ariel to life.
Through the scene Ariel becomes progressively irate, starts pacing while Tapolski  talks to Katurian, and ends up physically grabbing Katurian with frustration. Ariel needs to be extremely physical as well as using the dynamics of his voice effectively to emphasize his mood swings and general anger. To go with this Ariel brings out some torture equipment to try and get Katurian to speak. We spoke about the kind of things we would have to go with the electrodes that are already in the script, like a hammer, pliers, a screwdriver etc, so just simple DIY tools that will be easy to get but still look intimidating.

Friday, 18 March 2016

The Pillowman

This week we decided to start with the opening of the play. Considering it is such a dark play we thought we would have a very contrasting song played at the beginning, at this point Katurian is sat at a table in the middle of the room with a bag over his head. This will create interest at the beginning of the play and get the audience thinking. We thought basic set would be best as it is supposed to be in a police interrogation room, so we will just have a table and three chairs which most of the play will be centered around.

The song we chose is the theme song from 'A Summer Place'. It is a light, airy, happy song which completely contrasts with the style of the piece and the opening scene although it does help to lighten it up a bit.




Friday, 11 March 2016

The Pillowman

We have started looking at a new play called the Pillowman. The Pillowman is a 2003 play by Irish playwright Martin McDonaghIt tells the tale of Katurian, a fiction writer living in a police state who is interrogated about the gruesome content of his short stories, and their similarities to a number of bizarre child murders occurring in his town.

This lesson we spent our time reading through the play so we could get to know the story and learn more about the characters. It is a very dark play with some humour but is very different to anything we have done, so it will be good to challenge us with more diverse characters. To decide who would take each role we ran through a couple of the scenes, switching characters around. It was decided that Carl would play Katurian, Dan Tapulski, Dom Ariel and I would be Michal. 

Michal is Katurian's brother, who is "slow to get things" following his years of abuse at the hands of his parents. He is found and saved by Katurian, who then continues to care and look after him, hence they have a close, loving relationship. 


Wednesday, 3 February 2016

Rent Evaluation

We have recently performed a workshop production of Rent the Musical. If I did this production again there are many things I would develop to make it more professional and a better performance.

Firstly if we had a bigger budget, which we could have raised by organising some fundraising, it would have been nice to perform it on a bigger stage and have more floor space to use. A theatre like the Brooke Theatre in Chatham would have been ideal as it has a good sized stage along with a good sized floor space in front of its raked seating. For the school hall the cabaret seating worked really well but in a bigger theatre I think raked seating would be more suited as it would make it more professional. With the increased floor space we could have had more set and more steel decking set out creating more spaces for performing. I think it would have been nice to have each place pre-set so it was clear where each place was and when we travelled between them which would have made the story easier to understand.

As a cast we lacked any kind of ethnic diversity which takes away from the reality of the show. It is set in New York and so you would expect there to be a range of people within the friendship group, which is emulated in the Broadway version of Rent. Collins, in my opinion, should have been played by a black man. Not only to add diversity but because of the songs he has to sing, which are written for a rich, smooth type of voice most common in black people. Making the cast more diverse would therefore make it more representative of actual New York and make the story more relatable.

If we had performed Rent in a proper theatre I think it would have been nice to have live music. It would also mean that the band could follow what we were singing and adapt what they’re playing if something goes wrong, which would have been very useful considering a lot of the songs include dialogue that has to be said in time with the music. Although this would have meant we needed a band call which we did not have time for. On the other hand backing tracks allowed you to practise with what you would use on the night so there was nothing unexpected when it came to the performance. The problem with backing tracks is that they are unchangeable, so if you get out of time it can be very hard and it can go very wrong, very quickly.

If we developed the show further it would have been good to include the whole show instead of cutting out parts of it.  With a longer show we would have had an interval which would allow for more costume changes and give the audience a break to talk about the show and get refreshments. It would also give us more scope for set changes if we needed them, and would reduce the need for the cast to move things off of the stage during the show. All of these things would help to make the performance more professional and allow us to charge for tickets and make some money out of the show.

We cut the show down quite a lot, taking out the insignificant parts or things we did not want to include. I think this may have made it more difficult for the audience to follow the story especially if they didn’t previously know what happened in it. It may be better in the future to advertise it to a more specific audience, for example people that are interested in musical theatre, so that they would understand the show. Another way to make the show more understandable would be to make the song and dialogue more balanced. As most of the show is singing it may be useful to adapt some of the vocals into normal dialogue to make the story clearer as sometimes I think people struggle to follow what is happening in songs as you are more focused on the singing than the lyrics.

Performing this show in a bigger theatre would allow for more set and more detail with it. A backstage team would therefore be helpful to move set and help with tech allowing the cast to focus more on the rehearsals and get the performance more polished as it would no longer be a workshop. A specific set crew would also mean the set would be better planned out and more interesting for each place, again helping to differentiate the different places.

As a play Rent is quite a loud and mostly song based production. We would have benefited from individual radio mics to bump up the volume and add to the atmosphere of the play, as some of it was not heard. We could afford this with the fundraising we would do. If we moved the production to a bigger theatre mics would definitely be necessary as it would be an even bigger space.
Originally we had had the idea to use a live video stream for some of the scenes where Ashley was using his camera. We did not do this but with more time I think it would have been a good thing to make some of the scenes more interesting. It would also add more media to the performance and give the audience different things to watch. Using projections could mean we use some pre-recorded footage, again adding another dimension of things for the audience to watch.

If we were performing in a bigger theatre we would need a technical rehearsal for the lighting and sound. We had an simple but effective lighting plan for our performance which could be developed and added to if it was performed at a bigger venue.

Costumes were quite difficult to plan as there were not many occasions within the show when we had enough time to get changed. If we did the whole show it would be easier to plan the costumes around what the characters were doing, not having the whole show made it hard to decide what they would be wearing for each scene as the different days became unclear. With more time to change the costumes could have been more detailed and accurate to the play.


Tuesday, 19 January 2016

Rent

This week is the week before the show so we have been running all of the numbers and picking out things that we need to work on. I think most of the numbers are looking good and we are nearly ready we just need to work on the transitions and lighting etc. We have not yet created the set which we need to do as we have some good plans to transform the stage into the loft and such.

I am excited about this performance as it is a show everyone knows and I think we have all enjoyed creating it together, so performing it should be fun too. With a bit more rehearsal and finalising of things I think it will be a entertaining and professional shorter version of Rent.

Wednesday, 13 January 2016

Rent

We spent the first two lessons this week running through the whole of the show, missing out the small things that we haven't done yet. As a first run it went quite well and we have less to do than I had previously imagined. Our main thing to work on is learning lines ad rehearsing with the backing tracks to make sure we are completely confident with them, which will make everything much more polished as well.

Notes: we need to go over and perfect La Vie Boheme, Seasons of Love B needs lyrics learnt and we need to work on the staging, Happy New Year B we need to work on the timing

We then worked on separate numbers again so Tom and I carried on with Light my Candle. I think we still need to work on the storytelling behind it as not enough happens at the minute. We have been getting used to the backing track and it is sounding better, we just need to keep practicing so we get the timing.

Wednesday, 6 January 2016

Rent

This has been our first week back since Christmas. We worked on Today for you as we needed to work on what the content of it as it is supposed to be high energy and packed with movement and some comedic parts. I think Dan is really good at playing this part because he is very over the top and thankfully very good at walking and dancing in heels so makes the routine look very good. This week we also worked on some of the other scenes we have done previously, like La Vie Boheme and Rent, which went well although some of it was a bit rusty so we may need to rehearse them again. Overall I think it is going very well and we are getting through the show well.