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The performer entertains the audience through their artistic expression, such as acting, singing, dancing, or playing a musical instrument. The performers may perform in a variety of venues, including theatres, concert halls, clubs, television studios and outdoor locations where they specialise in specific genres or styles of performance. Through their performances, they use their talents and skills to captivate audiences, arouse emotions, and communicate stories and messages, often relying on training, techniques, and creativity to deliver memorable and meaningful experiences. As their work brings people together, creates shared experiences, and provokes thought and reflection, performers often have a profound impact on society. Performers can captivate audiences with their soul-stirring musical performances, mesmerising dance routines, or forceful monologues, leaving a profound impression and adding to the diverse fabric of human expression.

A performer's job is to make guests laugh by showcasing their skills and talents in many artistic mediums, all while making a living. To demonstrate their ability for the benefit of the audience, performers need to have strong communication skills, especially when they deal with people regularly. To guarantee seamless transitions and advances in live shows and exhibitions, they collaborate with a variety of production and stage professionals. For the best possible experience for the audience, a performer also takes care of the costumes and props, helps with stage designs and takes part in run-throughs.

Performers have other responsibilities in addition to the apparent performing. They have to learn their lines well, study the role and various acting techniques, show up to rehearsals, work with other actors, and follow the director's instructions. A career as a performer requires a wide range of skills and is not without its difficulties.

Being a performer is a rewarding and sometimes difficult endeavour. Whether they are acting, dancing, singing, or doing magic, most performers are born artists. Professional instruction is necessary to hone their abilities. This frequently entails enrolling in dance lessons, acting schools, or vocal coaching. Some actors advance from little roles to larger, more prominent roles, while others obtain experience through school plays or community theatres. Persistence, resiliency, and the capacity to accept rejection are frequently necessary for success in this line of work. The role entails lengthy and irregular hours, with performances occurring on most weeknight evenings. Also, you can be required to participate in daytime productions or matinees. Since both auditions and rehearsals are held during the day, you'll also need time to travel to work and the auditions. You can spend a lot of time away from home if you are to travel to the production.

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This video is of us rehearsing the Legally Blonde Remix.

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This video is from the 1st of May. The first time rehearsing the songs with the band. I am singing Find My Way.

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Hair and Makeup

Costumes, hair and makeup in theatre play a vital role in bringing characters to life on stage. In theatre, hair and makeup are important parts that help actors fully embody their characters. The way a character's hair is styled and the makeup they wear can greatly enhance the audience's understanding of the character's personality, emotions, and the time in which the play takes place.

In theatre, the purpose of hair and makeup is to create a visual representation of a character that complements their personality traits and the overall theme of the play. The use of wigs, hair styling techniques and makeup applications can completely transform an actor's appearance, allowing them to more convincingly step into their character's shoes.

From subtle enhancements to dramatic makeovers, hair and makeup artists work closely with actors to ensure their looks match the director's vision for the production. Hair and makeup details can help actors feel more connected to their characters, enhancing their performance and bringing authenticity to the stage.

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For my role as Paulette in Legally Blonde, my hair and makeup emphasised Paulette's fun, quirky and intelligent personality. Working with the costume and makeup team, I was able to create a look that not only complimented my character, but also added depth to my performance. The hair and makeup transformation really helped me embody Paulette's humour, warmth and unique charm that captivated the audience and brought joy and laughter to the show. In addition, Paulette's comedic timing and skill can be emphasised with makeup. Playful and expressive eye makeup, such as winged eye makeup or colourful eye shadow, can add humour to her character. Lip choices can also affect her overall look, whether it's a bold lipstick that matches her bold personality, or a softer shade that adds warmth to her.

With Paulette's hair, I had fun playing with styles that reflect her quirky and lovable personality. Paulette's hair is often styled in a way that exudes warmth and charm, just like her character.

I thought of playful and expressive hairstyles like loose curls or waves that add reality to her look. I also experimented with fun accessories like colourful hair and buckets to complement Paulette's quirky style and show her fun loving nature. I put my hair in natural curls and added some colourful butterfly clips to frame my face. I believe that by choosing this hairstyle, it complemented Paulette's character and personality, allowing me to delve deeper into the role and bring her to life on stage with authenticity and elegance.

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In "Legally Blonde," expect pink and gorgeous makeup from Elle Woods. Giving Elle a light foundation for a flawless base and dewy finish to capture her polished, coordinated look. Enhancing her features with subtle contouring and highlighting to create dimension and bring out her natural beauty. Added some pink colour to her cheeks for a healthy glow that complements her bubbly personality. As for Elle's eyes, a soft shimmery pink and neutral eyeshadow gives her a bright, open eye. Winged eyeliner and thick eyelashes to add glamour and sophistication, emphasising Elle's elegant nature. Finishing  Elle's makeup with a pink lip colour that completes her overall look. Whether it's a soft pink gloss for a more natural feel or a bold pink lipstick to finish, the key was to channel Elle's confidence and charm with her makeup. By embracing Elle's iconic pink aesthetic and paying attention to the details of her makeup, I believe we truly embodied  her character on stage and wowed the audience with our beautiful portrayal of Elle Woods.

To achieve Elle's hairstyle, we focused on creating smooth hair with volume. We chose a sleek blowout wig with a light curl at the ends to add dimension and depth, capturing Elle's put-together look.

Whether we chose her hair in a loose wave or a sleek ponytail or an updo, the key was to embody Elle's confidence and glamour in her hairstyle. Paying attention to detail and capturing the essence of Elle's iconic hair, we channelled her character and she shone on stage with a hair look that exuded a chic personality.

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Date | What we did | How did we achieve it
26/02/24 | As a class, we all learnt the choreography to the Legally Blonde Remix.  | We go over the routines in our college show enrichment and in our spare time, we practise the routine.
04/03/24 | Whoever is in Bend and Snap learnt the routine today. | Our dance teacher taught the choreography to us.
11/03/24 | Today we went over what those who are in serious and what you want are to do. | I am not in the serious number however they went over the whole scene and went over character timings.
18/03/24 | Today we brought in our costumes (if you had yours). And we blocked what you want part 1 and 2. | We looked at everyone’s costumes and what people have just in case other people have something you could use.
25/03/24 | We ran through scenes people were struggling with. | We went over scenes that we were all unsure of with the help of our teachers.
01/04/24 | Today we had some people come in to watch our full run through of the show. | In the college show enrichment, we went over the whole show and got feedback from our teachers and guests.
15/04/24 | After half term, we ran through all the routines and cleaned them. | We went over scenes and routines in Act 2.
22/04/24 | The people in the positive number learned the new choreography and those who are in What You Want Part 2 learned new choreography. | My dance teacher ran through the routines and we got some more feedback from industry professionals.
29/04/24 | We checked all the costumes. | We went through everyone's costumes for their characters and did some scene work.
06/05/24 | We went to City College and rechecked spacing for most of the routines. | Our teachers went over scenes and routines in the new space.

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Legally Blonde is a musical based on the novel Legally Blonde by Amanda Brown and the film (2001). It tells the story of Elle Woods, a girl who enters Harvard Law School to win back her ex-boyfriend Warner. He discovers how his knowledge of the law can help others and successfully defends fitness queen Brooke Wyndham in her murder trial. During the show, no one believes Elle Woods, but she manages to surprise them by defying expectations and staying true to herself.

The musical Legally Blonde opened on Broadway in April 2007, followed by a West End production in January 2010 at the Savoy Theatre. The West End production was nominated for five Laurence Olivier Awards and won three, including Best New Musical.

In the film adaptation of Legally Blonde, some major differences from the book include changing or compressing certain plot points into a suitable film format. Additionally, the film focused more on Elle Woods' journey through Harvard Law School, emphasising her growth, determination, and ability to succeed on her own terms. While the book and film share similar themes of empowerment and self-discovery, the film introduced new characters and stories to strengthen the overall story and create a more immersive screen experience for audiences.

The musical has some significant differences from the film, with additional songs, dance numbers and production elements that enhance the storytelling and bring a new dynamic to the production. Live performances allow for more complex and immersive musical sequences, creating a lively and energetic atmosphere that immerses the audience in Elle Woods' journey in a different way than on film. The musical format also offers the opportunity to deepen certain characters and themes, offering a fresh perspective on a familiar story while maintaining the essence and charm of the film.

The characters are portrayed in a deeper and more nuanced way than in the film. For example, Elle Woods is even more determined and resilient on stage, with additional songs and scenes emphasising her growth and transformation throughout the story. The musical form allows for a richer exploration of the characters and adds layers to their personalities and relationships that might not be featured as prominently in a film adaptation.

Paulette's character is further developed through additional songs, scenes, and interactions that showcase her humour, sassiness, and loyalty in a more vibrant and dynamic way compared to the movie. The live performances allow for a deeper exploration of Paulette's personality, bringing out her charm and unique quirks on stage. Through lively musical numbers and engaging interactions, the audience gets to see more facets of Paulette's character, making her even more memorable and endearing in the musical adaptation.

Legally Blonde received a lot of love and appreciation from audiences for its funny and empowering story, memorable characters and catchy musical numbers. In particular, the musical adaptation was praised for its energetic performances, witty humour, and positive messages of self-discovery and empowerment. Fans of the show often praise the infectious energy, heart-warming moments and overall feel-good experience it provides.Legally Blonde is still receiving a lot of attention and affection.

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This video is from the 15th of January. The first week of rehearsals. We are looking at What you want part 2. Exploring what else we could do in the routine to make it better. For example, formation changes.

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I believe I brought a sparkling energy to the performance of Legally Blonde. I feel my portrayal of Paulette was a delightful combination of charm, wit, and vulnerability. While there were areas where I could improve, I demonstrated a strong understanding of the character and brought her to life in a way that engaged the audience.

Strengths:

My physical comedy skills were impressive, and I  effectively utilised my body language to convey Paulette’s awkwardness and exuberance. My facial expressions and reactions were particularly noteworthy, adding a lot of humour to the performance.

I had a strong sense of Paulette’s motivations and desires, and her emotional depth added depth to the character. My scenes with Elle were particularly effective, showcasing my ability to create complex relationships with your fellow characters.

My vocal range and diction were excellent, allowing me to project my voice clearly and accurately throughout the performance. My singing voice was strong, and I handled the musical numbers with ease.

Areas for improvement:

There were times I felt I struggled to maintain consistency in my character's tone and demeanour. There were moments where Paulette felt more caricatured than fully realised. Working on developing a more nuanced sense of her personality and quirks could help to create a more cohesive performance.

My scene work with the supporting characters could be tightened up in places. Some of the dialogue felt rushed or lacking in emotional resonance, which detracted from the overall impact of the scenes. Practising these scenes with my fellow actors could help to create a more natural flow and chemistry.

While I feel my singing was strong, there were moments where my harmonies could be improved. Working on blending my voice with the other actors in the ensemble could help to create a richer, more cohesive sound.

How I could improve:

Maintain my efforts to deepen Paulette's emotional understanding and inner life. As a result, the audience will be able to root for a more rounded and likeable individual. To establish a more organic flow and chemistry, practise scene work with the supporting cast members. This will contribute to improving the performance's overall calibre. Make an effort to perfect my harmonies and harmonise my voice with the ensemble's other actors. This will contribute to a more polished tone.

Overall:

Overall, I felt that my rendition of Legally Blonde showed a solid basis, and I could have elevated it further with a focus on the small things.

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Example of a performer: Barbara Streisand

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Example of a performer: Barbara Streisand

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Barbra Streisand, the Oscar-winning actress and filmmaker, has wowed audiences on the silver screen for several decades with her incredible talent and notable films like Funny Girl, Hello, Dolly!, and What's Up, Doc? She made her film debut in the musical Funny Girl at the end of the 1960s, earning her first Oscar nomination and winning Best Actress.

Streisand began studying acting while still in high school after joining a summer theatre group in Malden Bridge, New York, with the initial goal of becoming a dramatic actress. She moved to Manhattan after graduation, where she got her first break in 1960 when she won an amateur talent contest, dropped the second a from her first name, and sang at a small local nightclub. She landed a small comic role as Miss Marmelstein in the 1962 Broadway musical I Can Get It for You Wholesale and stole the show after performing in Greenwich Village cabarets. She became an instant celebrity thanks to her frequent appearances on television, most notably on The Judy Garland Show. In addition, she released a string of best-selling record albums beginning in 1963 that featured vibrant and original interpretations of well-known songs. Her most memorable independent collection, The Barbra Streisand Collection, won Grammy Grants for collection of the year and best female vocal execution — the initial two of many.

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For shows, productions, or events, a choreographer plans and manages the dance and movement sequences. To create, develop, and present dance routines that improve a performance's artistic vision, emotional expression, and storytelling, choreographers collaborate closely with directors, producers, and performers. They might have a focus on jazz, hip-hop, modern, ballet, or contemporary dance, among other dance genres. Apart from choreographing dance routines, choreographers might also be in charge of instructing and practising actors, perfecting movement patterns, and making sure that dancers follow choreography with accuracy, timing, and emotion. They can work in a variety of venues, such as live events, dance studios, film and television studios, theatres, music videos, and educational institutions, where they can share their artistic vision and knowledge to produce dance experiences that are memorable and profound. The majority of choreographers have danced in the past, and resident choreographers who have worked with the same company for a while will already be familiar with the identity and aesthetic of the company. It is extremely uncommon for a choreographer to have no dance training at all, though some students who receive dance instruction go on to become choreographers rather than professional dancers. It's common for choreographers to become recognized for their distinct styles, which may start to take shape during their training. Their use of movement vocabulary, the music, the way the movement and music interact, and other elements like lighting, costumes, and stage design can all be indicators of their style.

Creating sequences and organising them to produce a dance piece is the art of choreography itself. While some choreographers may create original movements that are subsequently taught to the dancers, others may collaborate closely with their dancers to develop movement material that draws on each dancer's unique style and inventiveness. Choreographers are frequently involved in the dancer selection process, selecting dancers whose movement style and ability will complement the choreographic concepts. Typically, a choreographer knows exactly what kind of work they want to make and chooses dancers that fit that vision.

There are no basic requirements for becoming a choreographer. But, to succeed in the industry, you do need to be very knowledgeable about dancing and have great routines. Even though education offers the theoretical groundwork required to work as a choreographer, dance experience is a must. Years of dance training, both as a dancer and a dance designer, are required for employment as a professional choreographer.

After enrolling in dance classes, you might put your newfound skills to the test by going to shows, expos, and auditions for productions and dance companies. After gaining a solid foundation in dance, you can apply to become a certified teacher at a dance studio or an apprentice to other choreographers. These positions involve working together on beginner routines and introductory classes and offer beneficial mentoring. You progress to associate choreographer or dance director from there, and eventually full choreographer. Due to the demanding nature of teaching during the day and additional classes or performances in the evenings, choreographers typically put in long workdays. This is particularly true if, as is frequently the case, you are working on multiple performances at once.

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Example of a choreographer: Matthew Bourne

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Example of a choreographer: Matthew Bourne

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Bourne entered the world of dance moderately late. Even though he had been a fan of musical films and theatre since he was a kid (when he made up his own versions of shows he had seen), he didn't start taking dance classes until he was 22 and went to the Laban Centre in London to study. Bourne got a four year certification in dance theatre in 1985. He diminished the quantity of his dance appearances, as he took on increasingly more choreographic work for TV, theatre , and other dance organisations , remembering experiences for Films (AMP), the London-based organisation that he helped to establish in 1987. Swan Lake (1995), with its all-male chorus of swans and subsequent phenomenal international success due to his homosexuality, is by far the most well-known of the Bourne remakes.

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The managing director is in charge of the business's performance, which is determined by the board's plan. The primary goal of the position is to oversee and manage the business's operations and provide the board with strategic direction and guidance to guarantee that the company meets its goals and mission.

The producer or executive producer, who is ultimately in charge of a production, employs them. Screenwriters and occasionally a script editing team collaborate with directors as they begin with a script. It happens frequently that the director also writes the screenplay. A director's responsibility is to visualise the script. The heads of departments, including the director of photography, assistant director, and production designer, are appointed in close collaboration with the producers once the production has secured the necessary funding, either through funding or commission. When a screenplay is prepared for production, a director of film collaborates with the heads of departments such as producers, editors, production designers, cinematographers, and screenwriters to make the movie that embodies their vision. The director is the person the crew looks to during the film's production for important creative decisions. These decisions can involve anything from camera angles to choosing the right prop for a scene. Film directors also collaborate with actors to get performances that support the narrative objectives of the film.

To be successful as a director, you need to have an artistic eye. Working with a variety of moving parts requires the ability to see a project through to completion and to visualise its final state. The majority of directors and aspiring directors watch a lot of movies in order to determine what works and comprehend the process involved in creating each scene.

A bachelor's degree is usually required for producers and directors. Additionally, they usually require several years of experience working on sets in theatre, television, film, or other productions as actors, cinematographers, film and video editors, or in related fields like theatre management.

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American actor and director Gene Kelly revolutionised the industry with his blend of classical ballet technique and athleticism. He boldly used group dance, solo dance and unusual camera angles to create a story that was entirely visual. In the 1940s and 1950s, Kelly was the epitome of athleticism and exuberance. Kelly not only starred in some of the most famous films of the genre, but also made amazing contributions to behind-the-scenes choreography and direction. Kelly is best known for his starring role in Singin' in the Rain, considered by some to be the greatest dance movie of all time. He directed: Hello, Dolly! , Gigot , Tunnel of Love , Cheyenne Social Club and A Guide For The Married Man. He also directed the Broadway musical Flower Drum Song.

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A costume designer's job on a production typically begins with a close reading of the script to comprehend the roles and relationships of the key characters in order to build a vision for the show's design and direction. Initial meetings with the director, set designer, lighting designer, sound designer, and other key players of the production come next. Following that, the costume designer begins researching the era's most popular looks, fabrics, and colours in addition to further nuances like how they might depict a character's socioeconomic class. During this process, designers can assign research topics to their costuming team members or seek assistance from a dramaturg.

It makes sense that many costume designers think they work in the same field as fashion designers. Initial meetings with the director, set designer, lighting designer, sound designer, and other key players of the production come next. Following that, the costume designer begins researching the era's most popular looks, fabrics, and colours in addition to further nuances like how they might depict a character's socioeconomic class. During this process, designers can assign research topics to their costuming team members or seek assistance from a dramaturg.

It makes sense that many costume designers think they work in the same field as fashion designers. The media and skill sets employed in the two positions are similar. Both must possess a great deal of expertise in wardrobe design. Naturally, both must be proficient in the art of clothing creation. The reason they are producing clothing, however, sets them apart. A fashion designer typically designs a wardrobe or sets of garments for a certain event, such as a gala. A costume designer, on the other hand, is in charge of designing a character's look for a story. Because of this, clients must prioritise and comprehend storytelling when designing a film's costumes. Much of what makes a character memorable comes from the efforts of outfit designers.

Most professional costume designers begin their careers as assistants in theatrical costume stores or film wardrobe departments, regardless of their educational background. Aside from gaining practical experience in these entry-level roles, prospective designers are required to assemble portfolios showcasing a wide variety of costumes they have created. While some costume designers work for particular theatrical groups or production firms, the majority do freelance work on a range of shows. The chance to develop a wide range of costumes and investigate original stories and characters with every new project is a big part of what makes costume design so exciting and alluring. Costume designers in film and television may work in production studios, costume departments, or on-location shooting sites. Costume designers work closely with directors, producers, and cinematographers to create looks that highlight the style and plot of the film. They may spend a great deal of time researching historical or thematic references, designing costumes by hand or using a computer, and collaborating with seamstresses and costume makers in order to make their ideas come to life. Costume designers oversee on-set fittings, change as needed, and ensure that ensembles remain true to type during filming.

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Example of  a costume designer: Emilio Sosa

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Example of  a costume designer: Emilio Sosa

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Emilio, one of the most outstanding talents of Broadway, grew up in New York after being born in the Dominican Republic. He started working at Grace Costumes before rising to the role of creative director of the theatre. He considers this period as the beginning of his career.Hip Hop pioneers that Emilio made music videos for were Kid and Play, MC Lyte and Salt-N-Pepa. In addition, he created designs for music directors Gloria Estefan, Mariah Carey and Diana Ross. Emilio caught the attention of filmmaker Spike Lee and hired him as an in-house stylist. He worked on national and international advertising campaigns before deciding to live his dream of becoming a Broadway director. With the direction of George C. Wolfe, he developed his first Broadway production, TOPDOG/UNDERDOG. Her previous Broadway credits include LADY DAY EMERSON'S BAR AND GRILL, MOTOWN: The Musical, PORGY AND BESS (Tony Award nominated) and ON YOUR FEETS! The story of Emilio and Gloria Estefan. In addition to creating a new permanent number for the famous Christmas show with The Rockettes, he has the rare honour of being the first colour designer for The Radio City Music Hall Spring Spectacular.

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MUSICAL THEATRE:
Four main components make up a musical theatre performance: acting, dancing, spoken dialogue, and songs. Musical theatre uses a variety of expressive mediums to convey its emotional content, including words, movement, music, and technological enhancements. These mediums are combined to tell the tale and convey emotions such as love, rage, humour, and pathos.
Because it lies in the centre of dance and opera, musical theatre is unique. That being said, there is a clear distinction between these art styles. In contrast to ballet or opera, musical theatre honours conversation, dance, movement, and music equally. The term "musicals" has been used to refer to musical theatre works from the early 20th century. There are many genres included in musical theatre, such as pop, rock, jazz, gospel, blues, and classical.
Classics like "West Side Story" and "Oklahoma!" that frequently include dancing elements into the storyline, idealised locations, and love storylines.
Rock, pop, hip-hop, and rap are all included into the scores of contemporary musicals like "Hamilton" and "In the Heights."
Musicals  such as "Chicago" and "Cats" prioritise a concept or motif over a conventional storyline.

ACTING:
Since it enables actors to completely inhabit their roles and bring them to life for the audience, acting is a crucial component of musical theatre. The actors are able to realistically communicate the feelings and motivations of their characters through their acting. This ensures that the audience is completely engrossed in the drama and helps to establish a connection between the performers and the audience by giving the characters a sense of reality. Furthermore, by giving their best to the roles, the actors are able to establish stronger bonds with one another and produce a more seamless and credible performance as a whole. This is particularly crucial in musical theatre since the performers frequently have to perform, dance, and sing at the same time.
Each of the performers are able to fully merge their acting, dancing, and singing by giving their all to their roles, which results in a fluid and captivating performance.

DANCE:
Dancing for musical theatre is a kind of dance that has its roots in the rich history of Broadway musicals rather than a specific style. Musical theatre dancers prioritise musical interpretation and are actors first and foremost. Musical theater dance is at the intersection of choreography and written text, whether dialogue or sung words. Dance, an extended expression of language, is an example of the collaboration between choreographers and writers. As a dancer, you use movement, gesture and body language to portray a character, story, situation or abstract concept to an audience, usually accompanied by music. This usually requires an interpretation of the choreographer's work, although sometimes it may require improvisation.