Monday, 29 June 2015
25th June - Rehearsal Diary
Cleaned stage, started set construction and continued working on building Audrey II
23rd June - Rehearsal Diary
Cast were absent for Children's Theatre performance
Worked on construction of Audrey II
Worked on construction of Audrey II
Thursday, 18 June 2015
Wednesday, 10 June 2015
9th June - Rehearsal Diary
- Sang through all musical numbers
- Ran Act 2
We started today by singing through all musical numbers with backing tracks. We did so without Kyle and Meg as they ran scenes and songs with Miss Cordell somewhere else. I enjoyed working out the tempo for 'Ya Never Know', as it was faster than we had rehearsed, but we all got hold of it pretty quickly.
After running through most of the musical numbers, we ran act 2.
- Ran Act 2
We started today by singing through all musical numbers with backing tracks. We did so without Kyle and Meg as they ran scenes and songs with Miss Cordell somewhere else. I enjoyed working out the tempo for 'Ya Never Know', as it was faster than we had rehearsed, but we all got hold of it pretty quickly.
After running through most of the musical numbers, we ran act 2.
Tuesday, 9 June 2015
Mushnik And Son
On the 8th June Dan, Kyle and I went into C6 to choreograph Mushnik and Son. The choreography itself is as follows:
- 'He'll think about it?' through to 'that's what I'd be if Seymour left?' stood outside the shop, performing as if I'm talking to the audience.
- 'SEYMOUR-' enter the shop and sit on counter with an alluring stance, beckoning Seymour comedically over to listen to the next proposal
- '(I never like him much before...' talk to the audience again
- 'Seymour, I want to be your Dad' grab Seymour and sing to him in an over exaggerated fashion
- 'How 'bout it Seymour?' back to the counter retaining the alluring stance from earlier
- 'Oh, I was joking!' arms round Seymour's neck in a choking fashion
- ''scuse the physical expression of my pride' in the middle performing in a pantomime operatic stance
- 'So?' right up in Seymour's personal bubble, verbally pushing him towards a conclusion
- 'Go ahead and say it, Seymour' Go DSL in a mock operatic dramatic stance
- 'I'll hold my breath until..'
- 'He'll think about it?' through to 'that's what I'd be if Seymour left?' stood outside the shop, performing as if I'm talking to the audience.
- 'SEYMOUR-' enter the shop and sit on counter with an alluring stance, beckoning Seymour comedically over to listen to the next proposal
- '(I never like him much before...' talk to the audience again
- 'Seymour, I want to be your Dad' grab Seymour and sing to him in an over exaggerated fashion
- 'How 'bout it Seymour?' back to the counter retaining the alluring stance from earlier
- 'Oh, I was joking!' arms round Seymour's neck in a choking fashion
- ''scuse the physical expression of my pride' in the middle performing in a pantomime operatic stance
- 'So?' right up in Seymour's personal bubble, verbally pushing him towards a conclusion
- 'Go ahead and say it, Seymour' Go DSL in a mock operatic dramatic stance
- 'I'll hold my breath until..'
Thursday, 4 June 2015
Costume - Mushnik
Black Smart Shoes
Beige Trousers
White Shirt
Coloured Tie
Vest Cardigan
Below is a rough idea of what Tom and I hope Mushnik will look like for our production.
Beige Trousers
White Shirt
Coloured Tie
Vest Cardigan
Below is a rough idea of what Tom and I hope Mushnik will look like for our production.
Wednesday, 3 June 2015
Ya Never Know
We recently choreographed 'Ya Never Know'. However I am only in the opening, and after the dialogue I take my leave of the scene. For my part of the song, I am overjoyed at the growing popularity of my florist shop, and just sing to everyone on stage and to the audience, keeping in the bubbly character that is blossoming as a result of Seymour's recent change of luck!
After leaving, myself and Meg, who are the only two not in the dance itself, sing offstage. I apply harmonies where possible to alleviate the power of the melody, allowing for different sounds to be heard.
After leaving, myself and Meg, who are the only two not in the dance itself, sing offstage. I apply harmonies where possible to alleviate the power of the melody, allowing for different sounds to be heard.
Monday, 1 June 2015
Mushnik and Son
Extra Lyrics
In the cast recording of the song,there are extra lyrics rather than a musical interlude which is what the script suggests. I listened to the track and noted down the words, as well as who sang them.
Both: In trouble, sickness and in health
Both: We'll share the planet, share the wealth
Mushnik: I'll call my lawyer
Seymour: Call me son
Mushnik: Son
Seymour: SON
As of the time of writing this, 1/6/2015, we are yet to stage this song. However, when the cast have worked on things that Kyle and I are not involved in, we have sung through this, working on characters and the relationship between them.
In the cast recording of the song,there are extra lyrics rather than a musical interlude which is what the script suggests. I listened to the track and noted down the words, as well as who sang them.
Both: In trouble, sickness and in health
Both: We'll share the planet, share the wealth
Mushnik: I'll call my lawyer
Seymour: Call me son
Mushnik: Son
Seymour: SON
As of the time of writing this, 1/6/2015, we are yet to stage this song. However, when the cast have worked on things that Kyle and I are not involved in, we have sung through this, working on characters and the relationship between them.
Characterisation
MUSHNIK
- fairly American accent
- Jewish (Yiddish dialect)
- Loud persona - prefers shouting to talking!
- Puts Seymour down to maintain power (later tries to manipulate Seymour to inherit his wealth, "share the planet, share the wealth" - Mushnik and Son)
- Marginally friendly with Audrey, seems to put up with her rather than appreciating her presence
- Despises the youth - "URCHINS"
- Likes to play detective - dream job(?)
To achieve the accent, I have listened to the film and cast recording versions of Mushnik, and based my vocals and dialect on theirs. This is helpful as I have cue lines that help me maintain the accent, such as "He'll think about it?" at the start of Mushnik and Son.
- fairly American accent
- Jewish (Yiddish dialect)
- Loud persona - prefers shouting to talking!
- Puts Seymour down to maintain power (later tries to manipulate Seymour to inherit his wealth, "share the planet, share the wealth" - Mushnik and Son)
- Marginally friendly with Audrey, seems to put up with her rather than appreciating her presence
- Despises the youth - "URCHINS"
- Likes to play detective - dream job(?)
To achieve the accent, I have listened to the film and cast recording versions of Mushnik, and based my vocals and dialect on theirs. This is helpful as I have cue lines that help me maintain the accent, such as "He'll think about it?" at the start of Mushnik and Son.
Scene 1
- sitting at desk 'working'
- Seymour is making a mess backstage, Mushnik (me) is shouting off asking what he has broken now!
- Yiddish dialect line: "Aron g'vorn g'voxen, akebebble, mit tzibeleh."
- leave the shop on the line "Look, God, what an existence I got..."
- be DSR by the line "So how do you intend to better yourselves?"
- freeze for the start of Skidrow, then follow choreography noted in the 'Skidrow' post
- seated at the counter after the song
- move to change the sign on the door on the line "don't bother coming in tomorrow"
- stand in between Seymour and Audrey on the line "What, what, what..."
- sit at counter on the line "I'm closing this God and customer forsaken place"
- move to the door for "Do you have any idea how ridiculous you sound?"
- Da Doo choreography as noted in the post titled 'Da Doo'
- after the song, return to the staging that was blocked before the song, with the same face held throughout both the entrance of Carl and through 'Da Doo'
- sit at counter on "yessir, right away, sir!"
- grab heart on "twice as many" - voice is losing grasp on the situation at this point
- LINE CHANGE - "Put that Audrey Two in the window where the passers-by can see. My God, I'd never have believed it." - CHANGED TO - "Put that Audrey Two on the counter for everyone to see. My God, I'd never have believed it."
- Seymour is making a mess backstage, Mushnik (me) is shouting off asking what he has broken now!
- Yiddish dialect line: "Aron g'vorn g'voxen, akebebble, mit tzibeleh."
- leave the shop on the line "Look, God, what an existence I got..."
- be DSR by the line "So how do you intend to better yourselves?"
- freeze for the start of Skidrow, then follow choreography noted in the 'Skidrow' post
- seated at the counter after the song
- move to change the sign on the door on the line "don't bother coming in tomorrow"
- stand in between Seymour and Audrey on the line "What, what, what..."
- sit at counter on the line "I'm closing this God and customer forsaken place"
- move to the door for "Do you have any idea how ridiculous you sound?"
- Da Doo choreography as noted in the post titled 'Da Doo'
- after the song, return to the staging that was blocked before the song, with the same face held throughout both the entrance of Carl and through 'Da Doo'
- sit at counter on "yessir, right away, sir!"
- grab heart on "twice as many" - voice is losing grasp on the situation at this point
- LINE CHANGE - "Put that Audrey Two in the window where the passers-by can see. My God, I'd never have believed it." - CHANGED TO - "Put that Audrey Two on the counter for everyone to see. My God, I'd never have believed it."
Thursday, 28 May 2015
Skidrow
Skidrow is the second big opening of the show. Following the famous song, Little Shop of Horrors, it illustrates everyone's characters even more. Therefore the characterisation of each cast member needs to be strong and visual so that the audience truly understand the diegesis of Skidrow.
The choreography, shown below, is subtle but effective. It allows the cast to use character to tell their narratives individually. An audience member could simply watch one character, any of those on stage, and get a narrative strand, with their own personal problems and inputs into the overall plotline of the scene.
The choreography, shown below, is subtle but effective. It allows the cast to use character to tell their narratives individually. An audience member could simply watch one character, any of those on stage, and get a narrative strand, with their own personal problems and inputs into the overall plotline of the scene.
Tuesday, 26 May 2015
Don't Feed The Plant
This the finale of the show, which therefore requires a huge level of commitment to the singing, as it needs the 'wow factor' at the end, much like the opening. The finale also counts as the bows, paying respects to the cast and crew and production team that put this production together.
It opens with Tom, singing to the audience, as the narrator once again explaining what has just been "witnessed". Soon the entire cast joins in, making it a powerful performance of vocals. Each cast member holds a plant pot, referencing the narrative at the end which explains Audrey II's expansion and subsequent takeover of Earth!
Each cast member also has a section where they bow in the song, making it equal for all performers. My particular bow comes after the solo lines, starting with mine and finishing with Meg. After her line, we wait four counts, and bow as a four (myself, Meg, Kyle and Dan).
There is minimal choreography as the finale is aimed at having a strong vocal performance, but on the line "and this theatre", everyone jumps and holds a 'High School Musical'-esque pose. This emulates the 'cheesy' factor from this show, and highlights the casts enjoyment of the song and the performance as a whole.
It opens with Tom, singing to the audience, as the narrator once again explaining what has just been "witnessed". Soon the entire cast joins in, making it a powerful performance of vocals. Each cast member holds a plant pot, referencing the narrative at the end which explains Audrey II's expansion and subsequent takeover of Earth!
Each cast member also has a section where they bow in the song, making it equal for all performers. My particular bow comes after the solo lines, starting with mine and finishing with Meg. After her line, we wait four counts, and bow as a four (myself, Meg, Kyle and Dan).
There is minimal choreography as the finale is aimed at having a strong vocal performance, but on the line "and this theatre", everyone jumps and holds a 'High School Musical'-esque pose. This emulates the 'cheesy' factor from this show, and highlights the casts enjoyment of the song and the performance as a whole.
Monday, 25 May 2015
Da Doo
Da Doo is a short narration-type song lead by Kyle, as he explains how he came across Audrey II. It follows a comedic scene where Mushnik yells that the plant wont attract business, but immediately does with the entrance of Carl, the customer. Upon this entrance,Carl explains his story, and the 3 Girls come in singing Da Doo. Whilst this happens, to further the comedy, myself, Meg and Carl hold our frozen states and bounce in time to the back of the stage, and much like a chorus would in a concert performance, we click in time to the music. But the comedic aspect comes from holding the facial expressions, with Meg being overjoyed, Carl having a cheesy grin and myself holding an expression of pure shock the entire time.
Everyone is moving in their own little narratives in this song behind Kyle, who jumps into the fake fantasy world built around him to visualise to the audience the purchase of his plant. The only designated choreography is when the words 'total eclipse of the sun' occurs. On 'sun', everyone looks up to the right of the hall, illustrating where the sun is, however it isn't there! So following that is a musical bump, to whicheveryone snaps their heads to the upper left corner of the hall. And as soon as the music kicks in, we are back to the movements we have created individually for the remainder of the song. The ending evokes more cheesiness as we all (still holding those facial expressions) crowd round Kyle and do the classic jazz hands ending that is stereotyped into musical theatre.
Everyone is moving in their own little narratives in this song behind Kyle, who jumps into the fake fantasy world built around him to visualise to the audience the purchase of his plant. The only designated choreography is when the words 'total eclipse of the sun' occurs. On 'sun', everyone looks up to the right of the hall, illustrating where the sun is, however it isn't there! So following that is a musical bump, to whicheveryone snaps their heads to the upper left corner of the hall. And as soon as the music kicks in, we are back to the movements we have created individually for the remainder of the song. The ending evokes more cheesiness as we all (still holding those facial expressions) crowd round Kyle and do the classic jazz hands ending that is stereotyped into musical theatre.
Friday, 22 May 2015
Auditions
3 days of auditions took place in the first week back after half term. We had to perform various pieces of dialogue as a multitude of characters, be it Mushnik, Seymour, the Dentist and Audrey.
After three days of dialogue and section of songs, the results came through:
After three days of dialogue and section of songs, the results came through:
Cast List:
Seymour = Kyle Starkey
Audrey = Meg Robinson
Mushnik = Harry Francis
Orin = Dan Smith
Plant = Dan McKay
Ron/Ronnette = Tom Falconar
Crystal = Ellie Curtis
Chiffon = Freya Beck
Voice = Toby Saddleton
Wino = Danny Lambert
Customer = Carl Tyler
Interviewer = Kai Brassington
Bernstein = Ali Heathfield
Mrs Luce = Ashley Clayton
Skip Snip = Liam McMorrow
Martin = Theo Benjamin
Bass = Kai Brassington
Guitar = Ali Heathfield
Drum = Dan Smith
Greek Chorus = Dom Payne, Toby Saddleton and Ashley Clayton
Plant Operators= Liam McMorrow, Danny Lambert and Theo Benjamin
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