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First discussion: we evaluated what our restrictions and criteria would be

The performance had to be Christmas based, it had to involve a degree of audience interaction whilst not being too strenuous for an older audience. We had to consider the limitations of the audience such as reduced mobility and conditions that may affect comprehension such as Alzheimer's.

We started off by brainstorming ideas involving these restrictions and managed to develop the idea of an interactive pantomime where the audience would be allowed to choose the storyline. However, this idea proved to be unoriginal when compared with the ideas of other groups and could potentially be too wordy and hard to follow for someone with impaired hearing or cognitive function. We decided to consider some possible performances between lessons and discuss them during our lessons.

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For this session we did research on chair exercise. We used a YouTube video as an inspiration for creating choreography for a chair exercise routine. With this research on chair exercise in mind and a discussion on what older people are most likely to watch we ended up with the idea of a talk show with a chair exercise segment. However, we felt that this idea was not “big” enough and wouldn’t be easy to follow or keep their attention and it did leave us with the Christmas criteria not being met, therefore the talk show became a characterized talk show. We planned to assume elf characters that have a gossipy talk show in the north pole. Thus, we created an agenda to flesh out characters for the show and create a script.

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This lesson was dedicated to creating a script for the talk show and defining some characters. We started off by defining the characters and this led to the idea of developing the talk show into something comedic and more like reality TV. I suggested the character of Mrs. Claus as being a diva, on the show to complain about Santa Claus’s cheating ways. From there we developed a show host, who would be wordy and charismatic and “witnesses” who would be North Pole Elves, one elf being silly and joyful and the other being gloomy and cynical. We then looked for examples of the kind of reality TV show we wanted to portray.

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Jekyll & Hyde – The Musical is based off "The Strange Case of Dr. Jekyll & Hyde", the gothic horror Novella published in 1886. The musical makes use of a range of techniques, stylistic conventions and designs to convey the Victorian culture and gothic horror present in the source material. It also uses pre-contemporary musical theatre styles and values to explore the taboo and bold topics of the novel.

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We drafted a storyline on a large piece of paper. I jotted down a jumble of different story points and plots and from this we pieced together a story. I suggested including some jokes and mapped out how these would go.

“This just in Mrs. Claus saw mommy kissing Santa Claus!”

Mrs. Claus faints.

“Somebody get her a stretcher”

“Stretcher? I hardly even know here”

The introduction of these jokes set the tone for the kind of script we were trying to create. We then developed the beginning of our piece. We chose “talk show music” that we would use to introduce the host. We also assigned roles: Harriet would be Mrs. Claus, I would be the Talk Show Host, Ash would be the Grumpy elf and Mia would be the Silly elf.

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As a pre-contemporary musical, it makes use of the values and styles of pre-contemporary musical theatre to explore the taboo topics of the story such as morality, human nature, mental illness, sexual abuse, and lust. All extremely popular topics for many pre-contemporary musicals.
The male ranges are high, and the musical is full of belts and thick folds, however I felt it sounded quite operatic as the style of voices are quite dark and sprawling and make frequent use of vibrato and open vowel sounds (I have included what I thought to be an example of this from the song Confrontation at 3:10 minutes in)). It also uses a traditional orchestral background which works with the serious, humanistic subjects to show influence from opera.

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We dedicated this session to discussing and choosing costumes and which story points were crucial for us to include. For costumes, we spoke with Mya and gained access to the costume closet and chose a long fur coat for Mrs. Claus. In pertaining to our research on “Christmassy outfits” we also decided that the talk show host and the elves would be dressed in bells, elf hats and ears and general Christmas apparel like jumpers.  We decided on some set story points, namely that Mrs. Claus was on the talk show to catch her cheating husband, the talk show would include a reference to “I saw mommy kissing Santa Claus” and Mrs. Claus would faint.

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The Choreography and dance used in Jekyll & Hyde- The Musical is also quite traditional and makes use of elements of ballroom dance during the songs Facade and The Engagement party. They mostly do not contain many elements of Modern dance or Jazz and are not over-exaggerated. The musical utilizes traditional influences of music and dance and pre-contemporary freedom and drama to allow the story of Jekyll & Hyde to unfold.

The musical is also a classical romp with lots of energy and drama, as is quite frequent for many pre-contemporary musicals. The musical being set in this period is very suited to the source material as the novel was an outrage when first published in the Victorian era "When it was first published in the year 1886... The Strange Case of Dr. Jekyll and Mr. Hyde aroused a storm of controversy" (Turner, 2022), thus this adaptation fully capitalized on the provocative nature of the original story and the newfound freedom of this era to experiment with these topics.

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We performed the piece we had so far to Oli and received feedback. The feedback pointed out how our story was at times convoluted and not fully fleshed out, we relied too much on the talk show host to further the story and some of the jokes were not appropriate for the target audience. We had also neglected the portion of chair exercise and audience interaction. Due to these realizations, we had an emergency group discussion and decided to change the atmosphere and story of our piece. We had three goals to realize in this process. We needed to create a scenario with no main character and allow each character to play a role in the scenario equally, we needed to simplify our idea and script and we needed to focus on including chair exercise and audience interaction. This became our main focus for our next brainstorm.

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Jekyll & Hyde- The Musical being a book musical as well as incorporating more naturalistic acting helps creates a linear plot that would be expected of a classic novel-based story and helps create a more serious and traditional gothic atmosphere that is line with the original novel. I feel a more exaggerated take on the acting and setting would not be able to accomplish the dark and brooding undertones of the original story. The more naturalistic acting allows for a more grounded and raw experience which allows space to explore those darker, personal subjects.  This, however, does not detract from the comedy of the show as it still employs risqué and dark humor.

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After a discussion, we changed our idea slightly to improve the performance's flow and appropriateness. We fully fleshed out a storyline that included chair exercise, a musical number and audience interaction in the form of the audience voting on present wrapping. We then drafted a script and made sure that the story was simpler by relying more heavily on the musical number and chair exercise to further the story. Harriet started developing some movements for the chair exercise and we started trying to choose a song for our musical number. We decided to be classically Christmas and perform jingle bells to align with the theme.

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However, Jekyll & Hyde – The Musical, as a piece based off Victorian literature, presents many themes and principles from the Victorian period. In terms of Victorian culture, the main principles explored were the importance of formality, the divide between the elite and the working class, and the rejection of taboo and unidealized topics. The costuming and dialogue are instrumental in creating this divide.

The speech of certain characters is formal and quite advanced, as it represents the speech of the Victorian upper class and creates a sense of distinction. This works to set the tone for the social climate of the Victorian period represented in the musical.  The characters who are deemed working class such as the prostitutes are given dialogue that is less formal and more simple, words are more often abbreviated to showcase a different accent, and they use informal terms to address others. Modern colloquialism, however, is not present in this musical as this would not align with the story's setting, as such, the dialogue does not represent current speech.

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We used this time to run through the script and discuss what props we would need and whether we would need to make them, buy them or borrow them from the school. We discussed what to source for costumes. Me and Harriet decided to use pantomime costumes and I used some items from my job as an elf, Ash also decided to use his costume from Garden King. Mia wore her Grinch outfit to fit with her character as the Grinch in our piece. We decided to give the audience palettes to hold up to choose their side. There were three categories of props we needed.
Props to create: two Christmas presents and palettes that have a good elf side and a bad elf side to choose their side. Ash has offered to make these.
Props to individually source: costumes
Props to ask Mya to bring to the site: Two chairs
Now that our script is more fleshed out and we have an idea of what props we need we booked rooms to allow us time outside of lesson to rehearse as the performance is soon.

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Rehearsal of the final musical piece in our performance. We decided not to go with Jingle Bells and decided to do something more contemporary and in line with our target audience. “Merry Christmas Everyone” by Shakin’ Stevens

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Pantomime is a light hearted form of theatre, with less nuanced themes. It usually involves good defeating evil, love stories and comedic banter.

"It's the same old story, all love and glory, it's a pantomime." (Roxy Music, 1973)

Pantomime is aimed towards children and families and is an alternative to more serious theatre.

The exaggerated nature of Pantomime comes from its history with dance and mime. Performers of pantomime used to have to convey a character through body movement and facial expression alone. They relied mostly on their eyes that were visible through the mask.

"ancient pantomime consisted of a solo mute dance performance based on a tragic libretto called fabula saltica" (Zanobi, no date)

Given the target audience of a pantomime and that it takes place on a stage, the over-the-top aspect of pantomime makes it more accessible and appealing to audience and allows non-verbal cues to be more obvious.

The audience plays an integral part in pantomime, more so than conventional theatre. The presence of fourth wall breaking and audience interaction is therefore not only a staple in pantomime but also helps bridge the gap between audience and play. The interaction helps create a more entertaining and informal experience for the younger target audience.

Comedy plays a big role in pantomime. Slapstick and the use of innuendo seem to be the main forms of comedy present. Slapstick, as an extension of the exaggerated style of pantomime, helps to draw the audience in as well as make pantomime feel "bigger" and more festive.

"Younger audience members will quickly become hooked on panto with so much fun mayhem to enjoy." (The Grand Theatre, 2023)

I noted that music and dance were a key feature for pantomime not only for entertainment purposes but also to further the plot without using dialogue. This did well in adding variety to pantomime and keep up the cheery tone of a pantomime. There are also tropes for the kind of music used and at what point it was used. The occasional use of dance and music in replacing dialogue also served in creating a fast-paced play, that would be appealing to a younger audience.

Overall pantomime is a great introduction to theatre for an audience and am actor.

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This was the first rehearsal of one of our chair exercises. Due to our piece being choice based we needed to develop two chair exercise choreographies for the audience to choose from. As you can see it needed some work on synchronisation and we still needed to teach it to the others in our group so this video was recorded as a teaching aid and also to help us work on being more aware of how in time we were.

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Comedy and Conventions in our pantomime 

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Comedy and Conventions in our pantomime 

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Our pantomime had many of the conventional aspects of pantomime such as a dame and principal boy, a love story, good vs evil, slapstick humour, innuendo and audience participation to name a few. I would like to discuss some of the most notable moments where we employed the classic tropes of a pantomime.

The humour of a pantomime is typically very topical and is local to pantomime. The use of slapstick and risqué humour that often goes over the heads of the younger intended audience are hallmarks in classic pantomime. Slapstick includes things like being injured in a funny way, it is usually humour that is very physically exaggerated and over-the-top. In our Pantomime there was the presence of slapstick in the original script however, I noticed as the play evolved elements of slapstick were introduced that otherwise weren't scripted. This shows how naturally slapstick develops in a pantomime. An example of this would be the Swamp scene (find specific scene) where the taller, lead elf is hiding behind a much shorter elf and screams in an unexpectedly high-pitched voice. This reversal of expectation and over the top humour was a typical convention that we deployed in our pantomime.

Our pantomime also made use of the topical humour expected of a pantomime in order to relate better with the audience. An example of this would be (find specific moment).

The dame in our pantomime was also pivotal in executing jokes that contained innuendo. This helped to keep the adult audience engaged as the pantomime is otherwise targeted for children

The inclusion of a stage fight or some form of acrobatics or dance is also a common feature in Pantomime and slapstick comedy. In reference to the Harlequinade it is a convention for pantomime to include an elaborate chase scene or fight scene with acrobatics or dancing. The physical comedy of a stage fight fits into the expected humour of pantomime. The pantomime we performed depicted a choreographed dance scene with elements of slapstick present such as when the good characters were expected to "beat up" the evil characters and we had a moment where the characters had to act in slow motion.

Our pantomime developed a romance between the principal boy and love interest. This culminated in a love song which played into the classic trope of pantomime. To expand on the use of song in the pantomime we also included the classic categories of music in our pantomime. The categories are expanded with examples from our pantomime in the page about Music.

In terms of audience interaction our pantomime included a classic scene of the good characters being stuck somewhere frightening and having the audience be encouraged to yell "It's behind you!" when they see something. This was one example of where our pantomime utilised this aspect and this made it more engaging for the younger members of our audience.

Finally, our pantomime included a resolution that may have been atypical for a pantomime. Typically pantomime shows the good characters defeating the evil characters however our pantomime resolved to having the evil character's side of the story be told and creating an understanding. This humanized the bad characters instead of labelling them as simply being bad.

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The costumes are also heavily detailed and elaborate to showcase Victorian culture. The elite characters are dressed in classical aristocratic costumes involving waistcoats, dress shoes and top hats and the costuming for Emma's engagement party is a prime example of this showcase of class, as the woman are wearing, at the time, the latest fashion and elaborate costumes. In order to support this, I found an excerpt from the discussion of the costuming for Jekyll & Hyde – The Musical.

"Lisa/Emma Carew epitomizes the era’s ideal of feminine grace and elegance, culminating in her wedding scene; her costumes are everything that the ladies of that time did best in styling." (ukproductions, n.d.)

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In text ref: surname, year it was published, page number

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This is a video of a rehearsal of the second chair exercise. In this rehearsal we developed some of the dance moves more . This rehearsal gave me a chance to get some input on some of the dance moves we both had thought of as we discussed with each other. We weren’t very confident in our choreography in this rehearsal which we addressed with independent rehearsal and group rehearsal outside of lesson.

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"Pantomime costumes are made to stand out, with spots, stripes and of course a ton of glitter." (Bournemouth Pavilion, no date)

The costumes of a pantomime need to be over-the-top and representative of each character. The dame in particular is dressed in garish colours and frills to accentuate her gaudy character. The good characters are usually dressed in lighter colours and the evil characters are dressed in darker colours associated with evil. This was an aspect of costuming we deployed in our pantomime with the bad characters being dressed in dark purple and black and the good characters being dressed in Christmassy colours like green and red. The makeup of most of the characters was not as pronounced as typical pantomime and had a more subtle appearance.

In terms of stage aspects lighting for a pantomime is usually quite simplistic and the stage does not have to be realistic therefore allowing for more creativity in terms of how location is depicted. Pantomime can get messy with the inclusion of a "slosh scene". This is where some kind of liquid or sticky substance is thrown over the characters. The slosh scene was not included in our pantomime however we did depict classic fairytale scenes using a combination of coloured lighting, ambient noise and some props.

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Lucy and the prostitutes are dressed in something more scandalous such as corsets and stockings that are indicative of their role and place in society as less moral and capable of buying the latest fashions. When not dressed as prostitutes or for the other characters present in The Dregs, their outfits are still shown to be simpler, less formal and more worn than their upper-class counterparts.

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Refer to this assignment brief to help you through all stages of your module and how to achieve your best potential grades.

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The music of pantomime typically involves the use of upbeat songs that are still accessible to children as they are the main audience. The songs are well known and range from pop-songs to musicals. I observed in my research that there were categories for the music in pantomime.

Opening Songs

This is a song that is sung at the beginning of the pantomime to set the mood

e.g The Muppets Christmas Carol

Celebration Song

This is a song that is usually sung by the good characters to celebrate a feat or create a lighter atmosphere.

e.g Step into Christmas - Elton John

Dame Song

This is sung by the dame. It is purposefully sung badly and is usually over-acted.

e.g I Need a Hero- Shrek 2

Buddy Song

This is sung by the good characters to improve the mood when they are feeling defeated. It serves to create a sense of optimism.

e.g Bring it all back - S Club

Villain Song

This song is negative and is when the villain laments the heroes or expresses their evil intent

e.g Christmas Time is Killing Us - Family Guy

Love Songs

These are fairly straight-forward and are sung at a point of romance in the pantomime.

e. g I See The Light - Tangled

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Bring On the Men is our musical introduction to the character of Lucy. It acts as a sort of bad girl song/character song for Lucy and helps to build the expectations of Lucy and her role as a prostitute in The Dregs. Lucy's livelihood depends on the number of "clients" she can draw in and as such this piece must be raunchy, titillating and convey a sexually aggressive character. These traits also serve to create a juxtaposition of Lucy's supposed character as a prostitute that she must create in this performance and Lucy's true nature which is shown to be kind-hearted and well-liked by her coworkers. The costumes within this piece typically consist of corsets and stockings and occasionally a skirt. The setting is within The Red Rat, a cabaret bar, and there are performances that utilize tables and a male ensemble to create this setting. The music starts off with the tuning of instruments as if preparing to play for the first time. This shows how a big part of this number is to create the understanding of a performance within a performance. The costumes and set are typically quite showy but must still be believable for the period the Musical is set in. The song is also meant to be quite raunchy with lots of innuendo. These creative decisions and the showiness of this piece need to bring an awareness to the fact that this musical number is a performance within a performance and needs to accomplish some form of spectacle and draw attention to Lucy.

I made use of some different interpretations to showcase the effect that certain creative decisions might have on the atmosphere, character of Lucy and story.

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Pantomime has its roots in both commedia dell'Arte and the tradition of the "Mummer's play". The influence of the Commedia Dell'arte is what gave rise to stock characters, slapstick humour and the musical aspect of the pantomime. The Mummer's Play was a middle age tradition that typically took place during Christmas and contained many of the associated features of pantomime such as the stage fights, risqué humor, gender role reversal and the concept of good defeating evil.

Pantomime first began as less of a dialogue driven production and focused more on choreography; this continued until around the 1700s.

More ornate scenery and larger sets and stage effects became popular in the 1830s .

In 1843 the Theatres Act lifted the restrictions on plays not being able to include dialogue and this is when we start to see the development of some of the conventions of pantomime today. Pantomime started including audience participation and the typical witty, over-the-top humour.

The late 19th century is when it became customary for pantomime to open on Boxing Day, solidifying pantomime as a christmas tradition.

The introduction of the character of Harlequin, which was the cunning magician type character, and the Harlequinade, a slapstick-ridden acrobatic chase scene brought about by the Harlequin, acted as hallmarks for the new age of pantomime that would bring pantomime closer to the modern traditions we see today.

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I found this Lucy to be the most interesting to watch. She frequently makes use of a "hands on hips" stance and takes up space on the stage by walking around it. I found that this subtly created a more confident and sensual Lucy which is fitting for the character she must be for this song. Vocally, I found this version to be more intense and riveting as Linda Eder added growls and roughness to her voice. This worked to make the song sound more sexually aggressive and even desperate at times.

This number is very extravagant, with elaborately costumed dancers and a big dance scene, in a way that I feel aligns more with the stylistic conventions of musical theatre and helps it to be notable in the musical. The pomp and spectacle allow us to fully understand the idea of this being a performance within a performance and that the goal of Lucy performing this song is to create a dramatized character to draw attention and clients to herself. Although the set was not as forthright showing that Lucy was performing in a bar, I found that the drama and confidence created within this performance worked well to aid Lucy's story and create a juxtaposition between her assumed character from the song and her actual character.

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LINDA EDER "Bring on the Men"  JEKYLL & HYDE

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Exploring Performance Styles (2 performance styles explored)

Style 1: Pantomime

Style 2: Singing Skills Showcase

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BBC Sounds - Elaine Paige on Sunday - Available Episodes

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BBC Sounds - Elaine Paige on Sunday - Available Episodes

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Listen to the latest episodes of Elaine Paige on Sunday on BBC Sounds

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Stock characters are overemphasized tropes of characters in pantomime. Stock characters can be identified by their distinct costume and mannerisms that overtly separates them from one another. Stock characters serve to make pantomime easily identifiable and accessible.

Principal Girl

The principal girl works with the principal boy to further the love story in the pantomime and act as the damsel in distress, giving the pantomime an objective.

Pantomime Fairy

Typically, maternal and caring. They are responsible for making sure everything goes according to plan and can be a tool for scene transitions. Often played by the Dame.

Pantomime Villain

Must be evil enough to be engaging and provoke the audience to participate but not frightening.

The Henchmen

Portrayed as eccentric and dim-witted. They are essential in pantomime's slapstick.

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This version done by Belinda Wollaston has included an accent which enhances the believability of the performance in the musical as a whole and allows for more of Lucy's character and role to come through during this song, thus making it a better character song.

I also enjoyed that this Lucy interacted with the female ensemble by addressing certain lines of the song to them such as the line " They make laugh, they make me cry...". I felt that this creates a livelier song and once again humanizes Lucy's character in this song as more than just a singular show girl.

The tables and set of the bar and the bar audience being present on stage also strengthens the visual storytelling of this piece.

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D10.1 Apply Stylistic Conventions tom material in response to a brief
D10.2 Apply skills and techniques to performance material in response to a brief
D10.3 Review the stylistic conventions of performance material

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‎Piece by Piece: The Musical Theatre Talk Show Podcast on Apple Podcasts

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Musical director Joe Bunker explores iconic musicals with the help of the artists behind legendary Broadway and West End productions. His guests include Tony Award-winning writers David Yazbek and Jeanine Tesori, directors like Dominic Cooke, David Cromer, Jo Davies, and Jeremy Sams; and Olivier Award-winning actors like Bertie Carvel, Janie Dee, Adrian Lester, Jenna Russell, and Sophie Thompson.

Filled with sizzling songs, quizzes, and scintillating conversation, Piece by Piece is a podcast for musical theatre fans everywhere.

Musical director Joe Bunker explores iconic musicals with the help of the artists behind legendary Broadway and West End productions. His guests include Tony Award-winning writers David Yazbek and Jeanine Tesori, directors like Dominic Cooke, David Cromer, Jo Davies, and Jeremy Sams; and Olivier Award-winning actors like Bertie Carvel, Janie Dee, Adrian Lester, Jenna Russell, and Sophie Thompson.

Filled with sizzling songs, quizzes, and scintillating conversation, Piece by Piece is a podcast for musical theatre fans everywhere.

Perfection to any MT enthusiast

Joe has put together some incredible moments for all the MT enthusiasts out there- audience members and actors alike. My new favourite way to spend any journey or walk! Bravo! 🙌🏻🙌🏻

Pure musical theatre joy!

I absolutely love this podcast and always look forward to a new episode and show to explore. The quizzes are my fave and Joe's theatre knowledge and insight into the shows discussed is wonderful!

Thoroughly Interesting Poddie!

Wonderful on every level. Why has no one thought of this before!? I'm hooked.

Get Julie Andrews on here immediately.

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piece by piece: the musical theatre talk show podcast

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‎Piece by Piece: The Musical Theatre Talk Show Podcast on Apple Podcasts

# data[].attributes.attachment_link.description
Musical director Joe Bunker explores iconic musicals with the help of the artists behind legendary Broadway and West End productions. His guests include Tony Award-winning writers David Yazbek and Jeanine Tesori, directors like Dominic Cooke, David Cromer, Jo Davies, and Jeremy Sams; and Olivier Awa...

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Gender swapped roles in pantomime really took off in the Victorian era with the inclusion of the principal boy, a female actor playing a male character. The gender swapped characters were very modern in thought and an opportunity to experiment with gender roles in theatre. Gender-swapped roles also influence the stock characters present in pantomime.

The two main gender-swapped roles are :

The Dame

Typically an older female character

Over exaggerated femininity whilst still maintaining obviously masculine traits

Meant to be seen as quite camp and is the main source of comedy

Dame is usually breaking fourth wall and using innuendo/ flirting with audience. In this way the dame's role is crucial in helping to connect the audience to the play.

Principal Boy

The romantic hero of the pantomime

In Victorian pantomime an actress revealing her legs was scandalous and therefore this role was not only challenging to the contemporary morals but was also a way to bring in a larger audience.

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This take of Bring on the Men sung by Josh Young capitalized on the scandalous and rule breaking quality of this song. Bring On the Men is meant to affirm the taboo topics (such as sex work and lust) explored in Jekyll & Hyde – The Musical as such, even though it is not cannon within the story and does not align with the original plot, I think it works to swap the gender roles to create a more thought-provoking and exciting performance. In terms of the actual performance aspect. To reiterate a point, I feel that allowing the character Lucy to languish on stage and move around space creates a more titillating character and builds the song up to a climax. The ensemble joining in during the final chorus serves to heighten the sense of drama and pomp that I feel is imperative to this musical number. This performance also gives Lucy a whip as a prop which I found heightened the sexuality of the performance.

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Josh Young "Bring On The Men" - Broadway Backwards 2013

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‎Studying the Song - Audition Prep and Musicianship for Musical Theatre on Apple Podcasts

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‎Studying the Song - Audition Prep and Musicianship for Musical Theatre on Apple Podcasts

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Fourth Wall Breaking/ Audience Interaction

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Fourth Wall Breaking/ Audience Interaction

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Fourth wall breaking goes hand in hand with audience interaction as it is an invitation to the audience to participate in the play. This aspect of pantomime is important to keep children engaged as this is the main audience.

"By ‘breaking’ the fourth wall, the character is acknowledging the audience's presence and inviting them to participate in the performance in a more active way" (Sherwood, 2023)

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In this video I noted that using frilled skirts worked to maximize the "tease" of this piece and create movement on stage whilst also aligning with the costume of that time. The use of chairs in the choreography also created an impression of a lap-dance which aligns with this number's goal. The chairs also allow Lucy to lounge, which I found heightens the sensuality of the song.

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PMTP-ShowCase & Exams 2016- Jekyll & Hyde/Bring on the men

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Creating Performance Material

Devising Theatre

Community Theatre

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Refer to this assignment brief to help you through all stages of your module and how to achieve your best potential grades.

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‎MusicalTalk - The UK’s Independent Musical Theatre Podcast on Apple Podcasts

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We are a weekly podcast devoted to
bringing you news, views, reviews, interviews and much more content devoted to musical theatre and
film. We discuss composers, writers, actors, theatres and shows and encourage listeners to join in.
Visit our site at musicaltalk.co.uk

We are a weekly podcast devoted to
bringing you news, views, reviews, interviews and much more content devoted to musical theatre and
film. We discuss composers, writers, actors, theatres and shows and encourage listeners to join in.
Visit our site at musicaltalk.co.uk

Great fun!

Great little podcast: informal, chatty but full of interesting information and insider knowledge. Recommended.

Fantastic

Brilliant podcast! Any musical theatre fan should listen! All the special episodes are my favs! All the special guests are amazing!!!!!! recommend to anyone.
As for the guy who says it needs More music in it.... dude.... it's not a radio show... or EP... podcasts are for discussions!!! Not radio. duh! Ha.
Joking. Just enjoy the info you get here coz it's fantastic

Wonderful

A fantastic listen - doesn't take itself too seriously, nicely chatty and informative. Some good interviews hidden away. At its best when lighthearted in style.

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musicaltalk - the uk's independent musical theatre podcast

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‎MusicalTalk - The UK's Independent Musical Theatre Podcast on Apple Podcasts

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We are a weekly podcast devoted to bringing you news, views, reviews, interviews and much more content devoted to musical theatre and film. We discuss composers, writers, actors, theatres and shows and encourage listeners to join in. Visit our site at musicaltalk.co.uk

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Audience Interaction is an extension of fourth wall breaking whereby the characters invite the audience to participate in the play. I noted there were some tropes involved.

It's Behind You

This typically happens when a group of the heroes get lost and something "scary" comes up behind them. The characters do not hear the audience and are usually chased off. This is a great tool for transitions to another scene or for the dame to confront the danger.

Oh No You're Not!

This is when the bad characters will argue with the audience and is used as a point of humour and to "rile up" the audience.

Boo!

Evil characters are booed whenever they appear on stage or do something bad. This is a stand-out for audience interaction as the audience takes the initiative to boo. This can be a good gauge on how engaged the audience is and how well the bad characters are being portrayed.

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In setting this piece I would take inspiration from Belinda Wollaston's version as I enjoyed the realistic and immersive set. I would include chairs in my performance to create that sense of a lap dance. In terms of ensemble, I feel the performance would benefit from having a permanent male ensemble on stage as allowing Lucy to interact with this ensemble would elevate the "tease" aspect of this performance as well as the story as the role of this song is to attract male attention. I would include a female ensemble that would interact with the male ensemble during the bridges of the song to create the atmosphere of the bar and show the audience the kind of setting it is. I would also have the female ensemble join in on the final chorus and chant the final lines of the song (big men, small men, short men, tall men. I guess that means almost all men, I´m a player, ´long as they are men men men!) during Lucy's final belt of Bring on the Men. I would have two of the male ensemble to dance with during the piece after the interlude.

In terms of costume and lighting, I felt dim lighting would work the best to create that seedy atmosphere I enjoyed the inclusion of long skirts in one of the versions and therefore would source long frilled skirts to create a costume more relevant for Victorian culture but also to give the performance somewhere to go, as I feel not revealing everything immediately would create suspense and sensuality.

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D11.1 Demonstrate an understanding of musical theatre and techniques when creating performance material in response to a brief
D11.2 Apply musical theatre skills and techniques to the creative process in response to a brief
D11.3 Apply technical skills when creating performance material

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‎The West End Frame Show: Theatre News, Reviews & Chat on Apple Podcasts

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‎The West End Frame Show: Theatre News, Reviews & Chat on Apple Podcasts

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Refer to this assignment brief to help you through all stages of your module and how to achieve your best potential grades.

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‎A Musical Theatre Podcast on Apple Podcasts

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‎A Musical Theatre Podcast on Apple Podcasts

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In this module you are assessed on:

Your ability to showcase your use of conventions specific to your showcase song.

A logbook containing research into the stylistic conventions of your chosen songs and how they have been executed in your performance.

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Performing Musical Theatre to an Audience

Full-scale Musical Theatre Performance

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For 6. Logbook, you should access this word document, and complete at strategic points throughout the development of the performance material. You are required to complete a minimum of 4 logbook entries, but should attempt to complete entries as frequently as possible.

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‎Vocal Warm-ups and Workouts with David Valks Singing School on Apple Podcasts

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A series of short vocal warm-ups and workouts for singers who want to exercise their voice. These can be your daily drills or you may want to dip in and out when your voice needs a bit of a workout.

As well as the vocal warm-ups, there will also be specific exercises such as articulation, dynamics, vocal placement, breath control, connecting breath with sound etc.

I always recommend that you have at least a few lessons with a singing teacher to ensure your technique is sound. A qualified singing teacher will give you advice on which exercises are best for your voice.

A series of short vocal warm-ups and workouts for singers who want to exercise their voice. These can be your daily drills or you may want to dip in and out when your voice needs a bit of a workout.

As well as the vocal warm-ups, there will also be specific exercises such as articulation, dynamics, vocal placement, breath control, connecting breath with sound etc.

I always recommend that you have at least a few lessons with a singing teacher to ensure your technique is sound. A qualified singing teacher will give you advice on which exercises are best for your voice.

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vocal warm-ups and workouts with david valks singing school

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‎Vocal Warm-ups and Workouts with David Valks Singing School on Apple Podcasts

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A series of short vocal warm-ups and workouts for singers who want to exercise their voice. These can be your daily drills or you may want to dip in and out when your voice needs a bit of a workout. As well as the vocal warm-ups, there will also be specific exercises such as articulation, dynamic...

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D12.1 Develop and realise a performance through rehearsal D12.2 Review creative decisions made in a rehearsal
D12.3 Apply performance skills and techniques to a musical theatre performance for an audience

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‎Singing Teachers Talk on Apple Podcasts

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Hosted by BAST Training expect interviews, conversations, and panel discussions to inspire and inform singing teachers and singers who want to teach. ABOUT BAST TRAINING We are here to help singers gain the knowledge, skills and understanding required to be a great singing teacher. We can help you whether you are getting started or just have some knowledge gaps to fill.

Website: basttraining.com FB & IG @basttraining

Hosted by BAST Training expect interviews, conversations, and panel discussions to inspire and inform singing teachers and singers who want to teach. ABOUT BAST TRAINING We are here to help singers gain the knowledge, skills and understanding required to be a great singing teacher. We can help you whether you are getting started or just have some knowledge gaps to fill.

Website: basttraining.com FB & IG @basttraining

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‎Singing Teachers Talk on Apple Podcasts

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Hosted by BAST Training expect interviews, conversations, and panel discussions to inspire and inform singing teachers and singers who want to teach. ABOUT BAST TRAINING We are here to help singers gain the knowledge, skills and understanding required to be a great singing teacher. We can help you w...

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Refer to this assignment brief to help you through all stages of your module and how to achieve your best potential grades.

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Laryngoscopy of an Opera Singer - 2017 CHRISTMAS LECTURES

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Use the template below to help you. This a comprehensive logbook that requires you to answer a wide range of questions. The tasks listed in the logbook are suggestions for you to try, but you can also chose to present information in your own format.

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‎Sing Better Fast! | Vocal tips, singing lessons, voice exercises, etc. on Apple Podcasts

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Wish you could sing better, higher and stronger, but don't have "natural talent?" Want some vocal tips, demonstrations, and exercise ideas? Looking for motivation and advice to become a better singer? Want to sing high in full voice without straining?

Then welcome to the Sing Better Fast Podcast, a podcast by vocal coaches and authors, Jaime Vendera and Ben Valen!

The Sing Better Fast podcast is exclusively for serious and passionate vocalists! You are now part of a professional group of smart and motivated singers who want to become masters of the voice and inspire millions with our music.

Get all of our podcast episodes, notifications for upcoming events, new podcast releases, and other vocal resources at singbetterfast.com!

Wish you could sing better, higher and stronger, but don't have "natural talent?" Want some vocal tips, demonstrations, and exercise ideas? Looking for motivation and advice to become a better singer? Want to sing high in full voice without straining?

Then welcome to the Sing Better Fast Podcast, a podcast by vocal coaches and authors, Jaime Vendera and Ben Valen!

The Sing Better Fast podcast is exclusively for serious and passionate vocalists! You are now part of a professional group of smart and motivated singers who want to become masters of the voice and inspire millions with our music.

Get all of our podcast episodes, notifications for upcoming events, new podcast releases, and other vocal resources at singbetterfast.com!

Great insights and advice for vocalists!

Jaime never fails to deliver useful insights and advice on singing better!

Yawn

So far singing hasn't been mentioned and I can hardly breathe from the stink of privilege coming off you. I look forward to getting past this to future episodes but so far, so bad.

Sing Better Fast!

Always great information and tips about how to really improve your voice especially for the working vocalist. Keep them coming Jaime!

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‎Sing Better Fast! | Vocal tips, singing lessons, voice exercises, etc. on Apple Podcasts

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Wish you could sing better, higher and stronger, but don't have "natural talent?" Want some vocal tips, demonstrations, and exercise ideas? Looking for motivation and advice to become a better singer? Want to sing high in full voice without straining? Then welcome to the Sing Better Fast Podcast,...

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Refer to this assignment brief to help you through all stages of your module and how to achieve your best potential grades.

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Planning a Career in the Performing Arts

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Video Footage - Care Home Entertainment 

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Video Footage - Care Home Entertainment 

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Voice experts and bestselling authors Dr Gillyanne Kayes and Jeremy Fisher have been chatting about voice for more than 20 years - this time they've switched the microphone on. Vocal technique? check. Musicals? check. The weird things you can do with your voice? check. Includes AMA on voice, singing, speaking, performance techniques, voice exercises and so much more.

Voice experts and bestselling authors Dr Gillyanne Kayes and Jeremy Fisher have been chatting about voice for more than 20 years - this time they've switched the microphone on. Vocal technique? check. Musicals? check. The weird things you can do with your voice? check. Includes AMA on voice, singing, speaking, performance techniques, voice exercises and so much more.

What a wonderful find!

I was so delighted to stumble across this podcast. Having had a couple of lessons with Gillyanne, it's been fascinating to get an insight in to what it's like from the teacher's perspective. I am bingeing my way through all episodes and will probably re listen on repeat 😀

Fantastic podcast

I've been really enjoying this podcast as a vocal coach myself, your 'turning points' episode in particular really resonated with me. Keep up the great work!

Fascinating and fun.

I'm a singer and singing teacher. I find this podcast to be an incredibly useful and inspiring resource. Jeremy and Gillyanne are very easy to listen to and yet they pack in an impressive amount of knowledge and wisdom in a clear and engaging way. I've found every episode fascinating and I'm so delighted that it's available on this platform. Thanks xx

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Voice experts and bestselling authors Dr Gillyanne Kayes and Jeremy Fisher have been chatting about voice for more than 20 years - this time they've switched the microphone on. Vocal technique? check. Musicals? check. The weird things you can do with your voice? check. Includes AMA on voice, singing...

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UPDATE: There is an updated version of this chart available here: https://scenicandlighting.com/article/theatre-hiearchy-chart-2021/

This is a theatre hierarchy chart that I made for a class in about 1999. I have used it for several classes since then.

In 2013, I contributed it to a open-education resource site, BroadwayEducators.com. It has gotten picked up by a lot of people since then. It comes up readily on Google for "theatre hierarchy." I think it's popular because it is not a pure hierarchy. It shows lines of communication rather than just who reports to who.

I recently found this blog entry from 2015 by Tom Cline at Oberlin College:
https://www.oberlin.edu/blogs/coming-home-summer-theater-adventures-and-org-charts
Mr. Cline color coded the chart to track what various people did for a children's theatre company. I like this because it acknowledges a reality: individual people wear many hats in this business. Even so, we all tend to pay attention to which job we are speaking from at a given moment - if not, we should try to.

The color coding neatly adds an extra dimension to the chart . He has simply blacked out any position that this company does not use.

A small company could post this with a key. Individual names could correspond to colors. It gets confusing in some companies when inviduals do lots of jobs. Developing professionals sometimes get confused and think multiple jobs are the same.

For a brief second I might suggest this color-coding for use in a high school theatre. That's where kids are learning what these jobs are for the very first time. It's perfect! Until we color-code it.

Let's label everything yellow that the H.S. Drama director probably does.

The typical high school drama director is a one-person creative and production team. I probably missed a few.

We host an annual theatre conference at our university. High schools from all over the state attend. Sometimes, in conversation, a high school director will say something apologetic or sheepish about the quality of the shows at their school.

If you are the running a theatre program in a high school, it is likely that you are the director, producer, technical director, set designer, costume designer, lighting designer, prop master, makeup designer, wardrobe supervisor, master carpenter, master painter, and sound engineer. You manage to mount a show using nothing but absolute beginners and a theatre space that may or may not double as a classroom, gymnasium, or assembly hall. You are probably working far beyond the hours on your contract.

Most of the time that I work on a show, we have an individual master electrician, director, costume designer, producer, sound engineer, and most of the rest of this.

I cannot say for certain that a show that my program puts up will look a little more impressive than your's. I tell you what, though: if it doesn't? Shame on us.

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The Theatre Hierarchy - Matt Kizer: Scenic & Lighting Design

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UPDATE: There is an updated version of this chart available here: https://scenicandlighting.com/article/theatre-hiearchy-chart-2021/ This is a theatre hierarchy chart that I made for a class in about 1999. I have used it for several classes since then. In 2013, I contributed it to a open-education resource site, BroadwayEducators.com. It has gotten...

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In this module you will explore several different styles of musical theatre dance. You will start by exploring the fundamental technique of Jazz which underpins traditional musical theatre dance. You will also explore commercial dance, contemporary dance, ballet and a combination of singing and dance simultaneously.

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F16.1 Understand the development of the performing arts industry. F16.2 Understand employment opportunities in the performing arts industry.

F16.3 Identify potential opportunities for the future performing arts industry.