# data[].attributes.body
Within the rehearsal process, it was necessary to communicate with all working in order to produce performance. This included the cast, director, technician and crew.

Being able to communicate effectively is a life skill and can benefit those working within the Performing Arts Industry. Communication is simply the act of transferring information from one place to another. Like actors on stage, in our daily life, communication is both vocal and non-verbal, using body language. How well information can be transmitted and received is a measure of how good our communication skills are.

Examples of the importance of communication within this process were:

- Discussing creative choices in response to material with the director.

- Informing other cast members of changes when they were not present.

- Contributing ideas in response to material.

- When helping other cast members with the timing within songs and creating harmonies.

- The body language within musical numbers, most evident within 'Expose', interacting with another cast member.

- Prompting other cast members with their dialogue from the script.

I believe that I demonstrated my communication throughout the duration of this process, creating and developing the performance. I did this throughout the use of examples (as shown above, and is not limited to), and found doing so very easy due to my experience communicating within similar process of performance.

# data[].attributes.body
A physical warm up holds just as much importance as a vocal warm up within musical theatre, due to the amount of movement, both choreography and blocking.

Musical theatre differentiates from many other forms of theatre as performers are required to sing, act, and dance, and execute these to a high standard.

Knowing this, it is mandatory for performers to warm up physically, and correctly. Performers should take part in a combination of cardio (to build and maintain stamina) and stretch after doing so (to loosen the muscles), which ensures that when rehearsing or in actual production, the performer does not injure themselves physically. Not only is this beneficial to the performer but also regarding the health and safety risks within theatre. Although this musical does not involve intense choreography, other musicals, such as 'The Phantom of the Opera', use a much more demanding physical warm up. With performers en pointe, the dancers involved in said musical will need to have a more specific and focused warm up regime in which they can prepare their ankles at the bar and in centre, just like a regular ballet class, going through the motions, transferring from flat, to demi pointe to pointe.

# data[].attributes.body
Design meetings are valuable to performers as they allow discussion regarding the choice of scenery, props and other moving objects. Participating in these meetings, performers understand and are informed of what items are being used within performance, where they are placed and thus knowing where to avoid during the rehearsal process. Moreover, this meeting will deem relevant to the performers as they may need to take responsibility for certain props that their character uses, or helping alongside the cast to assist in the moving of scenery or large props.

The meetings attended for Zombie Prom were for these reasons.

# data[].attributes.body
After initially listening to the soundtrack, I had a concept of how my character would behave and appear within the performance but after reading the script, this changed.

In order to characterise effectively in response to the material, I analysed the script in order to understand the events that occurred within my characters life that cause her to behave and be the way that she is. An example of this is during the Zombie Prom (Prelude)/Delilah's Confession. During this track, we learn that having once acted upon impulse, her parents had her secreted away to a home for unwed mothers, and then had her child adopted. From this, I was able to realise that due to her tragic experience, Miss Strict had become reclusive in order to prevent herself becoming hurt like she once had been.

In response to Toffee's behaviour regarding her involvement with Jonny Warner, this reminds her of her forbidden love with Eddie Flagrante in her own high school experience.

From this discovery, I decided to adapt the character to appear more similar to a concerned guardian than that of a cruel headteacher as this seemed more relevant when considering the characters backstory. I attempted to do this throughout the use of a 'nagging', consistent tone of voice when addressing Toffee, instead of that of an aggressive one. I originally thought Miss Strict to be an naturally nasty character due to the underlying tone within her songs on the soundtrack but again, after analysing the material, this opinion soon changed.

Another creative choice that I made in response to the material was to become more chaotic during the second act. Due to the events on stage during the second act (including protesting, requesting the reinstatement of Jonny Warner, disobedient students and the constant appearance of past lover, Eddie Flagrante), I believe that the character would become more frantic due to the stress of said events. From this overlapping strain, I believe that the character would reach her breaking point with 'The Lid's Been Blown' (hence the choice of song title), where her tone of voice becomes more antagonistic, as well as her physicality, incorporating much more pointing in order to address other characters and pressure (displayed throughout the use of pacing and heaviness within movement). Throughout the performance, I made the creative decision to progressively show how Miss Stricts actions represent her loss of control throughout the play. During the first act, Miss Strict holds all power and authority within the school environment but as the performance progresses, she loses this due to the rebellion of students and since she has never had to deal with this situation before, she reacts with animosity towards all other characters.

Furthermore, during 'Expose', both the cast and audience can see that Miss Strict falls week under the influence of Eddie Flagrante due to his position within her past. Whilst rehearsing, the director choreographed, whilst I understood that the character would appear reluctant to Flagrantes advances towards her, yet at moments show weakness to his character throughout the use of facial expression and body language. From this, I came to the conclusion that Miss Strict is denying Flagrantes advances in order to abide by her parents expectations of her, and not have to experience the pain that this brought her; despite this, her undeniable love for him, and his for her, means that she is unable to resist. Her reaction to Flagrantes interactions on stage show the audience (and myself whilst rehearsing, emphasising on this factor) that her once hostile state is wearing thin.

Overall, I found myself adapting the character in a way that shows the audience Miss Strict progressively becoming unstable due to loss of control over her own and others situation. The school seems to be the only aspect of her life that she has ever been in control of and so losing this would mean that she may feel as though she has no sense of influence in her own life.

# data[].attributes.body
In order to condition my body in preparation of both rehearsal process and production, I participate in both exercise and healthy living. Not only this, but I also ensure that I am physically relaxed, both body and mind.

Whilst I already take part in physical warm ups within my regular classes at UNI, including this performance project, I also physically exercise at a gym within my spare time. Doing this will not only allow me to develop my stamina but also maintain a healthy lifestyle.

It is a professional necessity for us performers to physically condition our bodies, where we have the time to. Exercise improves singing by increasing your cardiovascular strength and breath stamina. A good sweat during this physical exercise stimulates your endorphins and strengthens overall muscle tone.

Regarding the conditioning of the mind too, if you chose the right kind of exercise at the right time of day, you will feel relaxed, clearheaded, invigorated, and more capable of facing the pressures of your overloaded schedule.

In relation to a healthy lifestyle, healthy eating and a balanced diet is essential. The food consumed must meet the physical demands of a performers routine. Our diet should consist of micronutrients and macronutrients. We need these nutrients in our diet to maintain a balanced diet:

Micronutrients:

Micronutrients are needed by the body in small amounts and are vital to help the body to function correctly. Micronutrients are vitamins and minerals and can be found naturally in fruits and vegetables.

Macronutrients:

Macronutrients make up the majority of the food that what we eat. Macronutrients are fats, carbohydrates and protein.

Fats: Healthy fats are needed to fuel the body and assist hormonal balances. You can find healthy fats in nuts, dairy products and certain meats.

Carbohydrates: Carbohydrates are needed for energy and fuel the body. You can find them in starches which are found in foods containing grains, pasta, rice and potatoes.

Protein: Protein is needed to help repair and build muscle. You can find it in meat, fish, eggs and quorn. When it comes to meat: the less legs, means more protein i.e. chicken or turkey has more protein than beef.

It is vital to ensure your daily intake of micro and macronutrients is suitable to the activity level of that day. If you are using more calories than you consume your body will experience an energy deficit which can lead to poor performance, illness and injury. The amount of calories an individual should have per day is dependent on height, weight, activity schedule and their gender. It will also change depending on their goals.

If the aim is to gain weight or muscle an individual will require a diet that allows a higher intake of calories; in comparison, if the goal is to lower body fat percentage or lose weight less calories will be consumed. In any of these cases the caloric intake will still be based on the individual’s genetics and amount of activity performed.

As performers who sing, dance and act, illness and injury can hinder a musical theatre student’s development. It is vital to get enough sleep; muscles repair and process any information whilst we are asleep. It is recommended to get around eight hours sleep per night. When the immune systems begins to shut down, increasing the chances of illness and the body starts to feel run down, sufficient rest, adequate hydration and an increased intake of fruits and vegetables can help boost the immune system due to the consumption of extra vitamins and minerals.

# data[].attributes.body
By participating in various rehearsals that involve choreography within songs and the blocking of these acts, I find myself automatically learning the material. Due to us repeatedly running sections of material in order to correct it, the choreography and blocking alongside the dialogue becomes muscle memory. Muscle memory is a procedural memory feature which allows a person to remember what they are doing via repetition.

# data[].attributes.body
Thursday 19th March 2020.

# data[].attributes.body
'Zombie Prom' is a 1950s horror comic book that was revised as a musical and has further been adapted as a film. The film explores Americas "Atomic Age" and the "Golden Age" of horror comic books.

Set in the 50s, sweet senior girl, Toffee and 'rebel without a cause' fellow student, Jonny, fall in love.

Their principle, Miss Delilah Strict, of the school 'Enrico Fermi High', alongside her parents, convince Toffee to break up with Jonny due to his 'reckless' ways that label him a 'hoodlum'. Deeply saddened by this betrayal and heartbreak, Jonny drives his motorcycle into the nearby 'Francis Gary Powers Nuclear Power Plant' which sends him into the nuclear cooling tower.

Not just lonely, but also ridden with guilt, Toffee mourns the loss of Jonny, until suddenly, he returns, having risen from the dead as a nuclear zombie. Jonny continues to profess his love and attempts to win Toffee back with his charming, despite now unappealing ways. In order to do so, he swears to and intends to 'clean up his act', complete his studies and then take her to the senior prom as previously planned before his demise.

Although Toffee is already indecisive to the situation at hand, Miss Strict refuses to allow Jonny, as a nuclear zombie, to return to her 'highly regarded educational institution'. She clearly states that "The satanic walking dead are strictly prohibited at Enrico Fermi High." She even threatens to cancel the senior prom when discovering that her students are in support of this 'cadavers' cause.

Whilst this is happening, Eddie Flagrante, a TV show host and reporter is informed of the issue at Enrico Fermi High and decides to investigate, finding a cause for story.

When Eddie arrives at the school, we soon realise that he and Miss Strict have a shared past, which is still a mystery to the audience.

As the school ascends into chaos, the following questions are raised:

Will Toffee take Jonny back?

Will Miss Strict let Jonny come back and finish school?

Or will she cancel Senior Prom, ruining the most important night in the lives of the students of Enrico Fermi High?

# data[].attributes.body
Within our spare time during UNI hours, as a collective, we would source the music room in order to rehearse both our individual and company songs. Doing this enabled us to figure out how to harmonise with each other in certain numbers, as well as incorporating characterisation in these, when we could.

Although we had been provided with sheet music, and I have learnt within my experience of participating in various other musical productions, due to my inability to play the piano, it deemed easier for me to read the lyrics for how they were displayed within the script. Although, it was pointed out to me multiple times how beneficial a score can be in order to present underlying tones of the soundtrack, and so I did take this knowledge and studied the score in order to further differentiate similar songs, including reprises, to understand how the plot has affected these minor changes in music.

# data[].attributes.body
During the rehearsal process, blocking was set quickly; this is due to the short duration of time we had to rehearse before the final performance. After blocking a scene, we would move on to the next, and this would be repeated until completed. Due to this method of blocking both acts within performance, we would (as a collective) need to remember the blocking set as it would not be touched upon until running the performance in final rehearsals. We found that annotating the script and also capturing video footage allowed us to make note of alterations and blocking set.

In regards to choreography, similarly, the choreography has to be created quickly and memorised by the cast through the use of annotation and footage. Again, due to the lack of time to rehearse and produce the final performance, the choreography is moderately basic which thus allows us to easily memorise it and focus heavily on more important elements of the performance such as characterisation and musical numbers.

# data[].attributes.body
Vocal warm ups are absolutely necessary within every aspect of musical theatre due to the nature of the form and the amount of vocal production involved.

By doing a comprehensive vocal warm up, incorporating breathing exercises to humming and also scales, the performer can develop their vocal stamina in preparation for both the production and use within the future. By participating in these warm ups, the performer can ensure that they aren’t damaging their voice, alongside a correct vocal regime.

# data[].attributes.body
The costume helps define a character and represent their input to the plot of a story. Performers should attend the meetings regarding costume as they may need to provide their own props/costume, depending on what the college can provide.

# data[].attributes.body
When analysing and rehearsing with both the soundtrack for reference and then the backing track, as spoken about within the character column regarding analysis of material to understand creative choices, I was able to understand underlying tones with respect to character.

As stated within the character section of this column, the audience are able to see the progression of Miss Strict losing control within the play as this is obvious throughout the increasing intensity of soundtrack. With the opening number involving the character appearing positive and also enthusiastic about the environment she is working within, and then after the return of Jonny Warner, her tone becoming 'nagging' and stern.

Her tone alters from light to heavy throughout the duration in response to the text.

After analysing audio material, I made some creative choices in order to characterise whilst remaining true to the playwrights intentions.

Per example, with the play and its adaptations all being American, I used a generic American accent, moulded by the voice of Miss Strict that I had heard throughout the soundtrack. Due to my previous experience using the accent within performance, I am able to snap in and out of this and can do so naturally which became beneficial within this process. Being able to naturally perform with this accent deemed helpful when singing with the same accent, as it created a realistic interpretation of the character and a consistent one.

In both song and dialogue, using the American accent was evident throughout distinct differences from this and the British accent.
Americans usually pronounce every "r" in a word whilst the British tend to only pronounce the "r" when it is the first letter of a word. This meant that when addressing 'Jonny Warner', the accent was prevalent.

A choice made in response to material was to sing in a lower key during the last verse of 'Trio (Case Closed)'. This was due to myself being an alto, and the original track, Miss Strict being a soprano. I found it straining and rather difficult to hit the same note as I had heard and learnt and with me addressing this with the director, she suggested that I drop the key that I had already been singing in, in order for the note to sound generally better and also to ensure that my voice was not strained or damaged by me attempting to force this.

# data[].attributes.body
My vocal regime consists of regular exercise of the voice within my classes (refer to vocal warm up as listed within 'Warming up' column) and also using practical methods such as steaming to condition the voice.

I steam my voice as this is the best way to get direct hydration to the vocal folds. As you breathe in the steam the moisture will reach your vocal folds and help to re-hydrate, warm and soothe them, it may also help to reduce swelling and generally help to improve the condition of your voice.

Additionally, leading up to and during the week of a performance, I will take certain measures in order to sound my best. An example is eliminating all dairy products. Dairy products cause congestion as excess mucus forms due to stomach-spleen disharmony.

As mentioned within my physical regime, sleep is very much important within musical theatre and performing as a whole sector. The cells need to reboot, and sleep is the only instance where one can shut down to let the body miraculously heal. And the throat is quiet for a change. Meditation, when practised regularly, has the same benefits. Placing heat on the chest at night is also wonderful for keeping warm. And it is also relaxing.

# data[].attributes.body
Learning dialogue is a more difficult element of performance, that I particularly struggle with; however, as previously spoken about, by the use of repetition, I find that I am able to grasp an understanding of the dialogue in relation to the scene at hand.

There are two popular methods in which actors use to remember dialogue/script.

The first being that of repeatedly running scenes, thus having the blocking and choreography as muscle memory. This allows you to associate words with movement.

The second being that you learn the dialogue only, in your own time. By doing this, you enable yourself to remember what occurs before and after your lines.

I prefer to use the second method as this is the method that I have the most experience with, using this in preparation for previous performances that I have been involved with. This is beneficial for me due to my inclination to work individually, and often alone. I tend to learn script and complete work within my personal time as I find myself easily distracted by others, as well as the fact that I am easily distressed by noise when attempting to work both practically and theory based.

Furthermore, learning dialogue with this method means that I build a trust and confidence within myself to have knowledge of the text before and following my own, which can be helpful when prompting and aiding another performer if needed.

# data[].attributes.body
We were given the deadline of our last February rehearsal to be 'off book'. This rehearsal took place on Thursday 27th February 2020. Being 'off book' means to have learnt the script.

This allows the cast to take part in full show run through (s) without script in hand, focusing on characterisation and interaction with our peers on stage. Additionally, concentrating on our vocals when singing and also the choreography within the production.

# data[].attributes.body
Zombie Prom is an Off-Broadway musical, with music by Dana P. Rowe and the book and lyrics by John Dempsey.

In the US, it opened off-Broadway in New York City at the Variety Arts Theatre in 1996.

In the UK, it opened November 2009 in London with a UK Premiere at the off-West End Landor Theatre.

Although it began as a musical, it was later adapted as a film which was first produced at the Red Barn Theatre, Key West, Florida in 1993.

# data[].attributes.body
During the last two weeks of the rehearsal process, we continuously ran the show, 'full out'. To rehearse 'full out' means to perform as we would during final performance. However, with the previous deadline of being off script, as a cast, we were able to complete these final runs without the use of a script, meaning that we could give our centre of attention to polishing/cleaning the show.

The cleaning process isn’t about making the show looking aesthetically pleasing, as this is executed through songs, blocking and choreography. Cleaning is the process of ensuring that transitions are fluent and unnoticeable to an audience.

For example, every cast member should know what they are taking on and off (props. costume, set), where they are doing their quick change, and also which wing they are using as an entrance and exit.

# data[].attributes.body
Starting position: stand tall with your feet shoulder width apart, knees slightly bent, and shoulders back.

Swing your arms side to side.

Keep swinging your arms, and add twisting your torso into the swing, so you’re engaging your core.

Reach your arms all the way above your head and look to the ceiling, stretching out your abs.

With your arms still fully extended, lean over to the right, stretching out your obliques. Then lean to the left.

Lean all the way over and touch the floor, or as close to the floor as you can. Hold there for a moment.

Slowly roll back up to standing, vertebrae by vertebrae, letting your arms and head hang heavy. Your neck and head will be the last parts to roll up.

Roll your neck around in circles both clockwise and counterclockwise.

Roll your shoulders back several times, then front several times.

Extend your arms fully out in front of you and clasp your hands. Look at the floor and take a deep breath. This stretches out the top of your shoulders (trapezius muscle).

Extend your arms fully behind you and clasp your hands. Look at the ceiling and take a deep breath. This stretches out the muscles around your collarbone and chest (upper pectoralis muscle).

Let your arms fall back to your sides, and shake your arms and hands out.

Keep swinging and twisting, now engage your legs by adding a small squat as your swing. Swing, and squat. Swing and squat.

Return to starting position and extend your arms fully out at their sides. Circle your arms around to the right like a windmill.

Paying attention to the face and neck:

Make a big, wide face. Open your eyes, mouth, nose, cheeks as far as you can open them.

Scrunch your face tight. Close your eyes and mouth, and hold all your facial muscles as tight as you can.

Stick your tongue out as far as you can, then bring it back in. Alternate a few times.

Give your cheeks, temples and facial muscles a massage.

Buzz your lips or roll an "R" to get your lips and tongue in motion.

# data[].attributes.body
I find that musical numbers are easier to learn and memorise than the previously discussed material; my reason for this being that my learning style is auditory, and thus meaning that listening to material is unchallenging for me to learn.

In addition to this, in preparation for and during the rehearsal process of a production, I will repeatedly listen to the specific soundtrack, meaning that the songs, including the lyrics, timing, tone and key of voice become engrained in memory. An example of this being that you are listening to the soundtrack and can audibly hear a booming chorded section of music (the phantom of the opera overture, as an example within another musical production), and you immediately recognise that a section of singing will follow directly after this section. This is beneficial when using just the backing track or singing alongside a band within rehearsal and show since you will understand your timing in the sense of instrumental cues.

# data[].attributes.body
Whilst I had received my costume on the morning of Tuesday 17th March 2020, we completed a 'dress run' in this afternoon. A 'dress run' means to perform the production, in rehearsal, in costume.

Completing this dress run allowed us to ensure that the costumes were suitable with respect to the production (an example, being time period specific) and checking other aspects such as the costumes fitting and if quick changes would become an issue with the items used.

For instance, the song 'Expose' included complex choreography in which I would at one point, climb upon a table. In order to ensure that the costume was suitable (e.g. allowing me to mount the table, not becoming revealing), this dress run became essential within the rehearsal process.

# data[].attributes.body
Jonny Warner –

Jonny is the lead male character. An orphan who arrives at Enrico Fermi in order to study; whilst attempting to fit the mould of those around him, he falls in love with Toffee. As explained in the plot, when betrayed by Toffee, he commits suicide when driving his motorcycle into a nearby nuclear power plant. When Jonny suddenly returns to Enrico Fermi High as a teenage nuclear zombie, he endures Miss Stricts attempts of refusing him to return to school and the consequences which follow; deciding to ignore this, he proceeds to attend the prom with Toffee, to which he then discovers that his biological parents are actually Miss Delilah Strict and Eddie Flagrante.

Toffee –

Toffee is the lead female character. Toffee is a sweet senior girl who falls in love with Jonny Warner. After she breaks up with him and he then commits suicide, she becomes depressed and is guilt ridden by the tragic event. When her and Jonny eventually reunite within the plot, with him now being a nuclear zombie, they declare their love for each other and she intends to support his cause which is that of him being allowed to return to school.

Miss Strict –

Miss Strict is the principle of Enrico Fermi High. Due to his 'hoodlum' ways, she forms a strong disliking towards Jonny; in response to his return from the dead, she begins to cancel all extra-curricular activities, even threatening to cancel the senior prom if she discovers that students are continuing to support Jonny's cause. She is later revealed as Jonny’s mother

Eddie Flagrante –

A reporter who takes an interest in Jonny and his case. He unearths the truth that he is Jonny's father and that it is Miss Strict who is his mother and upon his and Miss Stricts reunion, they get married during the curtain call.

Jake, Joey, Josh, Candy, Ginger and Coco –

These characters are Jonny and Toffees school friends. Jake is your typical high school student, with Joeys sole interest being girls, constantly whittling about who he will take to the senior prom. Josh is a 'nerdy' and the most academic character of this friendship group and finds social situations awkward.

Candy, Ginger and Coco are Toffee’s friends. Whilst Candy and Coco are the stereotypical high school girls, obsessed over teachers, boys and the prom, Ginger shows similarities to Josh' character.

# data[].attributes.body
There are various types of technical rehearsals that take place within theatre, which are:

- A Dry Tech

A 'dry tech' is the term for a rehearsal where the show is plotted and programmed without the actors present. Without the actors present means the tecnician can test flys and special effects in the safest way.

- Cue to Cue

A 'cue to cue' is the term for a rehearsal where the show isn’t run, only the sections before technical cues are ran, allowing the performers jump to the next cue.

- Running Tech

A 'running tech' is the term for a rehearsal where the show is run in its entirety and the lighting programmer/designer programmes the show alongside its running.

- Pick Up Tech

This 'pick up tech' is a term for a rehearsal which takes place after the main technical rehearsal (one of the above) this rehearsal is used for adjusting or creating solutions for any issues that may have occurred. Usually, the programmer will take notes during the dress and tech rehearsal of any problems that prevail. Any issues outlined will be fixed in a pick up tech.

During the process of creating, rehearsing and performing Zombie Prom, a running tech or cue to cue will take place. Although, a cue to cue technical rehearsal usually is more time consuming than a running tech, but there are often less problems to be solved during a pick up.

# data[].attributes.body
Make an ambulance siren sound: sing "woo" starting at the bottom of your range, slide up to the very highest pitch you can make, and then slide back down to the very lowest pitch you can make, ending with a growl or crackle sound.

Make a “ng” sound, like the end of the word “singing.” This sound resonates in the back of your mouth/nose area. Sing “ng” on a 1-3-5-3-1 scale pattern in the middle area of your range.

Now warm up the bottom of your voice: sing “mee, may, mah, mo, mooh” on a 5-4-3-2-1 pattern, going lower each time.

Warm up your upper range: sing “vi, vi, vi, vi, vi, vi, vi” on a 1-3-5-8-5-3-1 pattern, going higher each time.

Practice diction: say, “the lips, the teeth, the tip of the tounge” as a tongue twister repeated quickly, and really stress each consonant. You can speak this or sing it on pitches.

Engage your diaphragm by making a “ts” sound. Say “ts” 4 times, then hold for 4, for a total of 8 counts, like this: “ts, ts, ts, ts, tssssssssssss.” Repeat this and make the hold longer to challenge yourself, you can hold for 4, 8, 12, 16, etc.

# data[].attributes.body
The 'tech run' took place on Wednesday 18th March 2020. The term 'tech run' means to create a programme in which the lights, musical and other technical elements will run throughout the show.

# data[].attributes.body
Act 1:

Zombie Prom opens at Enrico Fermi High School. The students go through their daily routine and the audience meets Jonny, a rebel who spells his name without the traditional 'H.' We also meet Miss Strict, the principal of Enrico Fermi High School,and Toffee. The routine is ended abruptly by an air raid siren, where everyone ducks under tables, and Jonny and Toffee fall in love. They begin dating, and end up going out for several months before Toffee's parents forbid her from seeing Jonny on the grounds that he is a bad person. She breaks up with him, and Jonny commits suicide by hurling himself into the Francis Gary Powers nuclear power plant. He is buried at sea in international waters with the rest of the nuclear waste.

Three weeks pass, and Toffee's peers begin to notice that she's been upset and is unable to focus on her baton twirling. She expresses her sadness over Jonny's death, and retells the night of Jonny's death from her point of view. Meanwhile, the rest of the school gets itself ready for the senior prom, which is rapidly approaching. Toffee continues to wear black clothing in mourning for Jonny. Her friends insist that she should go to Prom, and get over Jonny's death, since it's been "three whole weeks!"

Toffee begins to hear Jonny's voice on occasion. Her friends tell her, yet again, to move on from Jonny, but Toffee insists "he's dead, but he ain't gone." She gets frustrated and states that "life's a trap of the same old crap." 'Crap,' however, is a taboo word at Enrico Fermi High, and Miss Strict begins to discuss the philosophy of the school.

At school, much to her surprise, Toffee begins hearing Jonny's voice loudly from her locker. Jonny begs to be let free, and he bursts from the locker, shocking the other students. His reappearance is not well-received, and the students are scared and disgusted by Jonny's deteriorating appearance.

Not to miss out on a story, reporter Eddie Flagrante picks up on the story from Josh, a cub reporter from Enrico Fermi High.

Trying to cope with Jonny's unexpected reappearance, Toffee talks with him about what brought him back. As it turns out, a voice he heard, saying "Jonny, I love you so" brought him back. It's revealed that the voice was Toffee. Inspired to come back to school, Jonny returns ready to graduate. Miss Strict, however, has different plans. She does not approve of zombies and refuses to let him return to school. Jonny has had a change of heart and appreciates the wisdom of what Miss Strict teaches. Even so, she refuses to let him return.

Toffee is not certain what to do. She confers with her friends, who believe that she should not have to take Jonny back. Jonny's friends, on the other hand, believe that if she still loves Jonny, she should take him back. Toffee ends up rejecting Jonny. Josh points out Jonny to Eddie, who recognises Miss Strict. They proceed to argue over Jonny's rights and end up in a stalemate. Flagrante believes Jonny should return, while Miss Strict believes the school rule on zombies should be enforced: "Rule Number 7, Subsection 9, of the handbook of student life, says: No zombies, no zombies!" After the end of their discussion, Act I ends.

Act 2:

The students at Enrico Fermi High school have begun to believe Jonny should be let back into school. Some students put up posters and flyers, and Miss Strict elects to cancel the pep squad, to the dismay of the students. Not slowed by her tactics, the students continue to protest and begin to disobey the dress code. Miss Strict dismantles the baseball team. Even so, the students go on, and make a petition to reinstate Jonny as a student. Strict puts all seniors on probation, and threatens to cancel all after-school events. She also promises that at the next sign of rebellion, she will cancel the senior prom.

Eddie has continued with the Jonny Warner story. During a commercial break, Eddie Flagrante asks for the number to Our Lady of Divine Masochism, a Catholic Orphanage. The reason is unknown. He interviews Jonny about what he plans to do. Jonny goes on to explain that he cannot give up love because it is what brought him back. He goes as far as to propose to Toffee on national TV.

Meanwhile, Toffee can't keep focused on her schoolwork. She debates with herself if she should take back Jonny. Her friends, Candy, Coco, and Ginger, call on a party line and talk with her about her situation. None of them missed Jonny's TV appearance, which was broadcast on "all three channels." In the end, Toffee chooses to take Jonny back.

Flagrante tracks down Miss Strict and begins flirting with her. It is revealed that they were lovers in high school, and had a very physical relationship. The last time they were together, as Miss Strict says, was in the back seat of Eddie's father's Studebaker. They discuss their relationships in art class, Glee Club, and French class. At the end of the song, they both sing how the other had left them, but no specifics are revealed.

Prom night arrives. The students marvel at how the school has been decorated for the prom. Toffee approaches Jonny, and tells him that she'll always be with him. They dance and continue to discuss their love for each other.

Jonny's appearance at prom did not go unnoticed by Miss Strict. She halts the music and the prom when she calls him out for being there. Eddie appears in order to confront Miss Strict with her secrets. Being questioned on why she hates Jonny Warner, she replies, "No comment." The prom is cancelled. Pushed by Flagrante, Miss Strict tells the students her past. As it turns out, she and Eddie conceived a child on the night of their senior prom, but it was taken away as soon as it was born, and she never knew who it was. Eddie, who had done some digging, reveals that Jonny is her long-lost son. Overjoyed at the discovery, Miss Strict allows the prom to continue, and Toffee and Jonny get to do one more dance before the curtain drops.

# data[].attributes.body
The dress rehearsal for this show took place in the morning of Tuesday 17th March 2020.

This rehearsal is upmost important within the process as (stated within 'Deadlines' column) it ensures that the costumes are suitable with respect to the production (an example, being time period specific) and checking other aspects such as the costumes fitting and if quick changes would become an issue with the items used.

The dress rehearsal also allowed us to understand how the costumes reacted to the movement that we as the performers were doing,.

For example the dresses worn by the female ensemble:

Did they move to the extent that they were required to wear shorts underneath?

Did they have enough time to quick change?

Were costumes too big or too small?

These are the questions that can be answered during a dress rehearsal.

Considering the director, the dress run allows the director to view what the audience will view, and decide then if any alterations should be made in response to this. The effect of the show will be enhanced by the technical elements, or changed by them, but the director will be able to see the show in its entirety.

# data[].attributes.body
Wednesday 11th March 2020.

# data[].attributes.body
1. Enrico Fermi High - Toffee, Jonny, Kids and Miss Strict

2. Ain't No Goin' Back - Toffee, Jonny and Kids

3. Jonny Don't Go - Toffee and Girls

4. Good As it Gets - Toffee and Kids

5. The C Word - Toffee, Jonny and Kids

6. Rules, Regulations and Respect - Miss Strict and Kids

7. Blast From The Past - Jonny and Kids

8. That's The Beat For Me - Eddie, Secretaries and Copy Boys

9. The Voice In The Ocean - Jonny and Toffee

10. It's Alive - Jonny, Miss Strict and Kids

11. Where Do We Go From Here? - Jonny, Toffee and Kids

12. Trio (Case Closed) - Eddie, Miss Strict and Jonny

13. Then Came Jonny - Miss Strict, Jonny, Toffee and Kids

14. Come Join Us - Ramona Merengue, Eddie and Jonny

15. How Can I Say Good-Bye? - Jonny and Motorwise Guys

16. Easy To Say - Toffee and Girls

17. Exposé - Eddie and Miss Strict

18. Isn't It? - Kids

19. Forbidden Love - Toffee, Jonny and Kids

20. The Lid's Been Blown - Eddie, Miss Strict and Kids

21. Zombie Prom (Prelude)/Delilahs Confession - Miss Strict

22. Zombie Prom - Full Company

# data[].attributes.body
During the rehearsal process, the majority of our classes were filmed for grading purposes. Despite the camera being present, due to our experience of being filmed within lesson and rehearsals, it was natural to us and so we were not distracted, nor did we notice being filmed.

The rehearsals that were not recorded for grading purpose were recorded so that we (the cast) could review our performance within rehearsal and also use this footage to jog our memory of blocking, choreography and alterations made throughout the process. This was an efficient method of documenting the rehearsals not just for grading purposes, but also in aiding us in improvement of performance.

For example, with our annotations in script, a note could be to walk to downstage left when Jonny says “hello”, however the video evidence will show where downstage left you are, and how close you are in relation to other cast members, the wings, scenery etc.

Due to the show being cancelled due to the recent news of 'COVID-19'. we were unable to perform and have our performance filmed.The show would not have been recorded as they record Broadway shows, where several cameras and editors are used in order to cut all the clips together. This filming would be one static recording which gets paused at the interval, and then continues filming Act Two.

# data[].attributes.body
Thursday 26th March 2020.

# data[].attributes.body
Song rehearsals for this show were split into two, the first being us (cast) spending two to three weeks sat around a piano/keyboard, singing through songs without blocking; where we were able to understand the timing and tune of songs, as well as being accustomed to the backing tracks, and each other.

The second rehearsal was spent in the music room throughout different stages of the rehearsal process where we had time to work on and with our harmonies in certain songs or just generally practice.

These song rehearsals were necessary due to the form of theatre. The songs within a musical production convey the tone of the show and character development.

# data[].attributes.body
Thursday 23rd April 2020.

# data[].attributes.body
'Sitzprobe' is the term for the orchestra and the performers joining together for the first time.

This collaboration enables the cast to practice working alongside the orchestra and the orchestra vice versa.

In musical theatre, there is usually a great deal of underscoring for dialogue sections when the show isn’t sung through completely, therefore the orchestra usually has vamp sections.

These vamp sections can only be rehearsed to a certain point without the performers present as they generally do not have a script in front of them, regarding dialogue.

During a sitzprobe, everything in relation to music, songs and underscoring is ran, meaning that the orchestra can grasp an understanding of when the vamp needs to stop to go to silence, or to the next section.

Band call is just the band, no performers.

During this musical, Zombie Prom, we are using backing tracks, therefore there is no need for a sitzprobe or band call, however our technical director will need to know when the vamped sections end.