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."
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