Balance is an important part of Ballet when Plies, turns and releves are included in a variety of exercises. These exercises that consist of these techniques can help build the strength and stability needed for more advanced movements. Core muscles are a key essential and this can provided control during complex movements. Good posture links with this as it will allow dancer to execute movements with precision and control whilst maintaining balance independently. I encompassed this target and it will help with a variety exercises containing, Plies, releves with the leg risen up and significantly more exercises that consist this. Whilst doing the technique exercises, I perceived more balance during certain exercise, this was provided by good posture and a sustainable amount of core muscles. My Aim is to perfect the routines I struggled to remain balance and significantly perfect this by strengthening my core muscles.

Staying focused in Ballet is key ad it can help execute movements accurately, ensuring proper form and alignment is provided. Focusing is crucial for control an balance , this reduces the risk of injuries by being attentive to my body's positioning and movement helping to prevent accidents. Concentration will help in developing muscle memory allowing me to perform complex routines more effortlessly over time. focused practice will help me embed these movement ,provided at the barre and Centre work, into muscle memory. Staying focused will also allow me to fully immerse myself in my performance enhancing my artistic expression. During this lesson, I maintained more focus, this allowed me to embrace the technique i have and provide interest throughout te lesson.

Timing is another essential aspect to jazz as this grants me the opportunity to stay in sync with the music and the beats. Perfect timing ensure that every movement and step is clear and distinctive, this contributes to the overall flow and rhythm of the routines. By honing me time skills, I have been able to participate more intricate and engaging routines. This focus has significantly help me develop on my better sense of musicality and timing.

Rhythm is the heartbeat of dance as a whole especially in jazz, perfecting it key to participate dynamic and expressive performance. A strong sense of rhythm allows me to experiment with the different patterns used within, adding more depth and complexity. By concentrating on the rhythm, I have been able to enhance my creativity within the plie sequence making my performance more unique and memorable. This focus has connected me to the music more deeply. My future aim would be to perform with more expression as this will help me to convey more emotion through my body language.

The music I will be providing is Maybe by Sienna Spiro. The Dance technique I provided was Contemporary ballet.

Theme and emotions

This is a powerful song that delves into themes of pain, sadness, and anger. The song's poignant lyrics and emotive melody provided a rich canvas for expressing deep emotions. I provided  sharp, angular movements to convey anger and frustration, while fluid, sweeping motions can illustrate the underlying sadness and longing. The dynamic shifts in the music, this allowed contrasting moments of stillness and explosive energy, mirroring the internal conflict and raw vulnerability expressed in the song.

Details of my routine from start to finish

I began this  routine with minimal, almost hesitant movements, creating a sense of vulnerability. As the music progressed, I introduced protracted, sharp movements to convey the escalating intensity of pain and anger. These dynamic, angular gestures captured the raw emotional turmoil at the heart of the piece. Towards the end, I returned to the minimal movements similars to the beginning bringing the routine to a full circle and highlighting the lingering sadness and unresolved emotions. This cyclical structure emphasised the ongoing struggle and the haunting nature of the feelings expressed in the song.

Throughout this choreography, by not repeating choreography in my contemporary routine provided a fresh and unpredictable performance, my aim was to maintaining the audience's engagement and highlighting the creativity and versatility in the routine.

w/c Mon 3rd March 2025

SHOW DATES:

Tuesday 10th & Thursday 12th June 2025

3pm & 7pm

HAND IN DATE (COURSEWORK):

Friday 23rd May 2025 10am

HAND IN LOCATION:

• Send a link to your padlet to Jess via Teams

AND....

• Download Padlet as PDF and submit through Teams Assignments

  
  

In my monologue performance, I demonstrated strong facial expressions to convey my characters emotions, particularly while auditioning with Mike Monologue. This ability to express the characters feelings visually was a significant strength. Despite this, nerves led to a few mistakes in my lines, which were noticeable during the audition. To improve, I will focus on memorisation techniques and practice under simulated audition conditions to better mange my nerves, Incorporating mindfulness practices and physical warmups can also help reduce anxiety and improve focus. Overall, I am optimistic that my strengths will execute through and allow me to shine as a performing, aiming for the roles such as Bobby, Mike, Christine, or Val.

https://youtu.be/IU4CPHEMQyE?si=gpNcAV_Ws3YA7Yz9

We then transitioned into learning the choreography for "I Hope I Get It". The choreography incorporated elements from the audition, while introducing new steps that added a fresh dynamic to the routine. This blended familiar movements, keeping the learning process engaging and stimulating, allowing a deeper connection with the material.

STRENGTHS

Throughout the lesson, several strengths were evident. My ability to quickly pick up choreography was a notable asset, this enabled me to learn and execute new dance movements with ease. Additionally, my techniques skills were significantly improved, contributing to more precise and clean movements that enhanced the overall performance. Choreography retention was an other strong point, as I was able to remember and reproduce the steps accurately. Furthermore, my sense of musicality and rhythm added an extra layer of refinement to the lesson, ensuring that my movements were well timed and harmonious with the music.

WEAKNESSES

Despite these strengths, there were areas that required improvement. One area was facial expressions. I need to work on conveying emotions and expressions through my face to enhance the storytelling aspect of the performance. Another area for improvement was the application of energy throughout. Maintaining consistent energy levels is crucial for delivery a compelling and dynamic performance.

In future lessons, I can enhance my facial expressions by practicing in front of a mirror to become more aware of my expressions and seek feedback from instructors and peers. Incorporating acting exercises will also help me to convey emotions more effectively. For energy consistency, I will ensure through warm-ups to focus on my breath control to manage my energy levels. Practicing the choreography in segments with full energy will build endurance, and visualise the techniques whilst helping to maintain motivation and focus.

One of my key strengths during this session was my ability to quickly pick up the lines while going over the script. My sustained interest throughout the lesson enabled me to absorb every detail and nuance discussed. However, I identified a coupe of areas for improvements. Firstly, I struggled with the timing of my monologue, which is crucial for delivering a compelling performance. Secondly, my initial lack of understanding of the story line hindered my ability to fully gasp the musicals meaning.

To address these weaknesses, I pan to dedicate more time to practicing my monologues, focusing on the rhythm and pacing to ensure it aligns seamlessly with the rest of the performance. Additionally, I will engage in more in-depth script analysis to enhance my comprehension of the storyline, which will in turn, enrich my portrayal of Bobby Mills. By addressing these areas, I aim to deliver a more polished and insightful performance.

one of my notable strengths during this session was my ability to retain lyrics quickly. Additionally, I demonstrated strong rhythm and timing with the lyrics, and my diction was clear and precise. However, I identified several areas of improvement. Firstly, i need to focus on cutting the end sentences more sharply to enhance the clarity of my delivery. Secondly, I must work on projecting my voice more effectively to ensure my performance reaches the audience. Lastly, I need to practice the challenging jump from a higher octave to a lower octave and back to a higher octave in bars 136-137.

To improve these weaknesses in future lessons, I plan to concentrate on the following strategies.

1. SENTECE ENDINGS- I will practice cutting the ends of each sentence more sharply by recording my performance and listening for areas where my delivery can be crisper. This will help me identify and correct any issues with clarity

2. VOICE PROJECTION- I will engage in exercises that focus on breath control and diaphragm support to enhance my vocal projection. Techniques such as practicing with focus on projecting to the back of the room will be beneficial.

3. OCTAVE JUMPS- I will dedicate time to practice the specific bars 136-137, focusing on smooth transitions between each octave. Using scales that incorporate octave jumps will help me build the necessary vocal agility.

By addressing these areas, I aim to deliver a more polish and impactful performance in future lessons.

Following the warmup, we delved into the new choreography for "I Hope I Get It". Learning this new choreography was an enriching experience that required focus and dedication. As a class, we took the time to space ourselves, which was beneficial in understanding our positions and movements for when we practice in the performance hall. This spatial awareness is essential for a polished and coordinated performance, as it allows me to anticipate the movements and alignment that overall flows with the dance.

In terms of strengths, one of the standout aspects was my ability to quickly learn and retain choreography. This skill is fundamental for efficient rehearsals and confident performances, as it allows me to build my knowledge and refine specific movements within each practical session. Additionally, the execution of movements demonstrated a solid grasp of the techniques within dance, which is crucial for delivering a professional and polished performance. The effective use of different levels adds depth and visual interest to the choreography, enhancing my overall aesthetic of the performance by making it more engaging.

However, there are some areas that require improvement. Firstly, this is a need to inject more energy into a performance. This can be achieved by fully committing to each movement and maintaining a high energy level throughout the routine. Physical conditioning, such as incorporating more cardiovascular exercises into my routine, can help build my stamina and endurance, while metal focus and visualisation techniques can ensure that i stay engaged and motivated during rehearsals.

Secondly, facial expressions are a vital component for performances. Engaging the audience with expressive faces can significantly elevate the emotional impact of the routine. Practicing infront of a small group or infront of a mirror can help me become more aware of my facial expression and how they can be used to convey a wide range of emotions. Additionally, spending time understanding my characters emotions behind each piece of choreography and reflecting that in my facial expressions can enhance my performance significantly. Seeking feedback from peers and teachers on my facial expressions and making adjustments accordingly can also be highly beneficial.

Lastly, precision in timing is essential for synchronisation with the music and fellow dancer. Improving timing will lead to a more cohesive and harmonious performance. Using timer with specific and precise beat at a consist rate during practice can help me develop a better sense of timing and rhythm, while counting out loud can help internalise the timing of movements. Spending more time rehearsal with a group can also improve synchronisation and timing with fellow dancers, ensuring that we all move as on cohesive unit.

By focusing on these areas, I can enhance my performance and address the identified weaknesses. Continuous practice and commitment for improvement will ensure that I will always deliver and strive the best performance I can provide.

We began the lesson with a warmup that effectively loosened my limbs and prepared my body for the physical demands of the routine. This warmup was particularly beneficial for the kicks within the choreography, enhancing flexibility and range of motion. Following the warm up, we concentrated on technique, specifically kicks and turns from the back of the room. This focus on technique allowed me to refine my movements and understand how to apply them within the choreography, ensuring precision and control was taken inconsideration.

In terms of strengths, the effective use of dynamics and levels within this choreography stood out. This added depth and visual interest to the performance, making it more engaging for the audience. Additionally, knowing the timing of the entrances and exits was a significant strengths, crucial for maintaining a flow of performances and ensuring smooth transitions. Another strengths was my spatial awareness, which allowed for a coordinated routine and alignment within the over flow of the dance.

However, there were areas that required improvement. One of the areas needing attention was my balance when turning. This can be addressed by focusing on core strength and stability exercise, which will improve balance and control when turning. Another area of improvement is injecting more energy into the performance. This can be achieved by committing my full interest and energy whist also maintaining high energy levels throughout the routine. Incorporating more cardiovascular exercises into my daily routine will help build more stamina and endurance. Lastly maintaining concentration is another area of improvement. By setting specific goals for each lesson and taking short breaks to refresh and refocus can help maintain the concentration and keep my engagement up to a high standard.

We also started learning choreography for the routine "One", with particular focus on spacing the finale section when the song is repeated. This step was essential in understanding our positions and movements within the space, ensuring the finale is coordinated and impactful. By focusing on these areas of improvements throughout this rehearsal, I can enhance my performance and address the identified weaknesses. Continuous practice and commitment to improvement will ensure that I have always strived and displayed my best performance.

The journey of A Chorus Line began with several workshops and an Off Broadway production, culminating in its Broadway debut at the Shubert Theatre on July 25th, 1975. The musical quickly became an unprecedented box office and critical sensations, Directed by Michael Bennet and co-choreographed by Bennet and Bob Avian. This production compiled twelve Tony award nominations, it won nine , including Best Direction, and Best Choreography. Additionally, it was honored within the 1976 Pulitzer Prize for Drama, a testament to its profound impact on the theatre landscape.

The Broadway production of A Chorus Line successfully achieved a remarkable longevity, running for an astonishing 6,137 performances. This record breaking performance made its longest- running production in the history of Broadway, until it was surpassed by Cats in 1997. It also reached the title of the longest - running Broadway musical originally produced in the United States until 2011, when the revival of Chicago the Musical overtook.

After working on vocals, we ran through the Song "AND", allowing me to refine the timings and rhythm of my lines and how they were executed. A significant strength I demonstrated was my ability to pick up my monologues quickly, ensuring I was prepared when my cue arrived. Additionally, I had a clear understanding of when my lines began and finished, which portrayed a strong preparation. However, I identified a weakness in maintaining the precise timing and rhythm of my lines. Throughout the lesson , I actively worked on this, significantly improving my timings.. Moving forward, I will continue to practice with a the backing vocal and focus on internalising the musical phrasings to ensure that my delivery remains consistent and aligned with the ensemble.

We also worked on the song One (Bows) , running through the entire piece and analysis the different harmonies within it. This was particularly useful in reinforcing the boys harmonies and ensuring that the different octaves were clearly established. One of my main weaknesses was switching from mid- octave to low-octave in certain areas, which occasionally caused inconsistencies in my vocal placement. Additionally, some parts required more attention to the lyrical rhythm and timing. However, I excelled in picking up the majority of the lyrics quickly whilst having a strong foundation of familiarity with the song, this allowed me to engage confidently in the run through. To improve, I will continue to rehearse transitions between octaves, ensuring hey re illustrated smoothly. I will also use rhythmic exercises to enhance my precision of the lyric delivery, enabling me to maintain consistency in timing.

In addition to vocal work, we focused on characterisation, specifically on how our characters present themselves when delivering lines at the beginning of chorus line. My role as Bobby requires me to portray a highly energetic and hyperactive character, meaning my delivery must be fast-paced and filled with excitement when speaking to Zach, who is the main character within the show. One of my challenges is ensuring that my energy remains high while maintaining control over my delivery, as there is a risk of speaking to quickly resulting in a loss of clarity. To improve this, I will work on pacing techniques and breath control, allowing me to balance excitement with precision in my speech. Additionally, I will study Bobby's character in further depth to develop a stronger physical presence, guaranteeing my movements and expressions will reflect his personality effectively.

Overall, these sessions were highly productive in strengthening my vocal ability, timing and character development. By addressing my weaknesses though targeted exercise and practice strategies, I will be able to refine my performance on a deeper aspect and achieve a more polished and professional standard for show day.

• Jazz technique

• Choreography retention

• Muscle Memory- this helps when recapping over choreography an scenes.

• Improvising choreography

• Singing confidently in front of peers

• Expressing a range of emotion when performing. - Provides a deeper meaning of my character and the story line behind this.

• Team work- brings the presence of each rehearsal with more energy and provided more work to be completed.

• Hard working

• Flexibility in certain areas.- this will provide a more larger range for cleaner kicks and other skills presented.

WEAKNESSES

• Constant switching from high to low notes when singing.

• Providing constant high energy.

• Learning lines spot on.

• Flexibility in certain areas.-

OPPOURTUNITIES

• Dancing outside of college- Engaging in dance lessons 5-6 times a week to enhance my skills and stamina.

• Rehearsing set choreography at home- practicing routines at home to refine movements and incorporate facial expressions.

• College shows and trips - Practicing in college performances and excursions will improve my portrayal of routines.

• Watching musicals - Observing musicals to better express emotions and body language, to relate to the shows during performances.

• Taking part in various events- involvement in pantomimes, rare production shows, Alton towers, Disneyland Paris, chance2dance events, The Super weekender and London events to gain diverse performance experience.

THREATS

• Transport to performances.

• Illnesses- Can significantly affect my vocal chords and voice.

• Sore throat and pulled muscles- Effect the way I perform choreography .

• Not enough money for shows or trips.

• Medical condition- Can affect my attendance, if a low blood sugar accurse or a high blood sugar my mood and behaviour could be affect by the way I perform.

• Confidence.

• Time of arrangements.

CASTING AND NOBLE PERFORMANCES.

• Cassie, whom was originally casted as Elizabeth Seal ( known for "Irma La Douce), was withdrawn at a critical juncture, being replaced by her understudy, Petra Siniawski.

• Zach was portrayed by a French Actor and Dancer Jean- Peirre Cassel, adding an extra layer of international flair to the production.

• The different variety of other key cast members including Diane Langton as Morales, Jeff Shankley as Al, and Stephan Tate as Greg, had the option to became veterans of the West End and British Television whilst being portrayed as actors.

  
  

Despite initial concerns of this Musical being conveyed as "Too American" for the British audiences, the production was met with critical acclaim. These concerns were raised about the appeal to the U.S. touring audience outside New York City. The originality of the production had its abilities to address serious themes while maintaining a strong connection of entertainment that value won over many critics. The adaptations for the British audiences contained a few minor changes to ensure the musical resonated with the British point of view. The jokes about public school were removed to avoid confusion, due to British public school are private, fee-paying institutions, whilst being conveyed differently with the American Counterparts.

The awards and legacy's of this London production ran for three years and achieved significant accolades. An Oliver Award was issued as the first recipient of the Oliver Award for the best musical. The evening standard award was also won by significantly showcasing the best musical. The success of the London production solidified A Chorus Line as a timeless and universal piece of theatre, transcending the capability of cultural boundaries and resonating with the audiences world wide.

This critically acclaimed revival, received two nominations for the Tony Awards in 2007: one was designated for Charlotte d'Amboise in the category of featured roles and additionally for Best Revival of a Musical. These nominations underscored the performers exceptional talent and the productions quality. Furthermore, the revival was the highlight of the documentary film " Every Little Step", which provided the in-depth look of the casting process and the impact on the show, further cementing its cultural significance. A notable aspect t of the 2006 Broadway Revival was the financial agreement attained in February 2008, in the midst of dancers and Michael Bennett's estate. The original contract for A Chorus Line supported the provisions for sharing revenues with the directors and dancers who participated in the initial workshop sessions. Nevertheless, the contract did not specify revenue sharing for the revival. The agreement ensured the contributions of the original creators were honored , reflecting the collaboratives spirit, that has continually been the foundation of A Chorus Line.

The Vietnam War, otherwise known as the second Indochina War, was a protracted and controversial conflict that took place from 1955 to 1975. This hollowed the communist government of North Vietnam, supported by the Soviet Union and China, counter to South Vietnam, which was endorsed by the United States and other anti-communist allies. The war was a direct manifestation of the Cold War tensions and the theoretical struggle between communism and capitalism.

ORIGANS AND ESCALATION

The conflict began in the aftermath of the first Indochina War, which was overseen by the defeat of French colonial forces in Vietnam. Upholding the Geneva Accords of 1954, Vietnam was divided temporarily divided at the 17th parallel into two separate entities: The communist led North Vietnam and the pro-western South Vietnam. The United states posited the fall of one country to communism would lead to the spread of communism in the region, driven by its policy containment of the domino theory, beginning to provided the substantial military aid and support to the South Vietnamese government.

As the escalation of the war rised, the United States increased the military involvement, experiencing a climax of over 500,000 American troops stationed in Vietnam by 1969. The conflict escalated to becoming increasingly controversial due to its high human cost, with catastrophic causalities on both sides, the use of polarising tactics such as napalm and Agent Orange.

DOMESTIC IMPACT AND ANTI-WAR SENTIMENT.

The Vietnam War had a substantial influence on Americans Society. The drafted lottery system disproportionately impacted the working class and minority communities, the lottery randomly selected eligible young men for military service. The anti-war movement gaining impetus, fueled by graphic media coverage of the brutality of the wars, incorporating the ionic photography of a young Vietnamese girl, Phan Thi Kim Phuc, running naked and burned after the napalm attack. A catalysed emergency resulted along side the war of the counterculture movement. Hippies and other young Americans, disillusioned with mainstream society, materialism, conformity and rejected war. This advocated for peace, love and equality, often displaying folks music as a meaning of artistic expression and protest. Songs by the artists such as Bob Dylan, and Joan Baez became anthems of the movement of peace, reflecting the growing disenchantment within the war and the desire for social change.

CULTURAL AND POLITICAL LEGACY

The Vietnam War was marked as a critical turning point in the relationship of politics and music. The explosion of proleptical music during this era underscored the power of art as a tool for social justice and advocacy. The ending of the war took place in 11975, with the fall of Saigon and the unification of Vietnam under communistically control, leaving a lasting legacy on the American foreign policy and domestic politics

The historical context of the Vietnam War provided a backdrop of the significant cultural shifts, involving the complexed geopolitical dynamics and the growing discontent of the American people. The themes of struggle and aspiration in A Chorus Line, which premiered in 1075, can be illustrated by the reflection of the boarder societal context of the era. The musicals focus on individual dreams and challenges resonated deeply within the audiences thought process who were grappling with the aftermath of the war and the broader quest for collective and personal identity

ANIT-WAR SENTIMENT

One of the core concepts in Vietnam War fold music was the opposition of resounding the war itself. featured songs captured the growing disillusion within the conflict and its criticising government, expression outrage over draft and the imbalanced responsibility placed on the working class, further more, these songs connected with this experience: "Fortunate son" by Creedence Clearwater revival and " What's going on" by Marvin Gaye.

HUMAN COST AND LOSS

Many peoples songs addressed the human experience of war, emphasising the loss of life and the suffering endured by civilians and soldiers. The emphasise of the tragic consequences of war and the emotional and physical trauma was experienced by these songs and those involved : "The Universal Soldier" by Buffy Sainte-Marie and "Billy Don't Be A Hero" by Paper Lace.

PROTEST AND ACTIVISM

Folk music served motivational slogan for activism and appeal to action. Artists featuring Phil Ochs and Country Joe McDonald wrote songs challenging directly, the war and eagered individuals take the stand to be against it. The ionic bond related song like "I-Feel-Like-I'm-Fixin'-To Die Rag" by Country Joe and the fish became an anthem of protest, urging people on to question authorit6y and demand certain changes.

PEACE AND RECPONCILIATION

Amidst the violence and chaos, folk songs offered reconciliation and a vision of peace. Song featuring John Lennon's "Imagine " envisioned an atmosphere of world free from conflict and division, promoting understanding and unity. The offer glimpsed the vision of hope and inspired individuals to strive for a greater future

VETERANS' EXPERIANCE

Folk music provided a platform for veteran's to share their stories and experiences. song featuring Bruce Springsteen's "Born In The USA" and " I Was Only 19" by Redgum shed light on the struggles faced by the veterans returning, confronting issues such as post-traumatic stress disorder (PTSD) and the difficulties to adjust to the life of a civilian.

These themes linked with the Vietnam war fold music captured a range of complexity and diversity of emotions surrounding the conflict itself. They served by giving the voice of pain, disillusionment, and the hope of the deeply affected generation. The strong sensation of these songs lay in their ability to provoke through and inspiration through actions, creating a sense of solidarity among those seeking further justice and peace.

THE DEEP DIVIDE AND ANTI-WAR MOVEMENT.

The Vietnam war demonstrated a divide in Americans society, within the anti-war movement contributing to a gain of significant momentum as the conflict escalated. Folk music became the background music for this movement, illustrating a powerful voice for those opposing the war and involving individuals to source action. Iconic songs like Bob Dylan's "The Time They Are a-Changing" and John Lennon's " Give Peace a Chance" became the anthems of the peace movement, drawing people together in their call for an end to the war.

FOLK MUSIC AS A UNFIYING FORCE.

As an unifying force, the folk music brought individuals together from diverse backgrounds and ideologies of political sources. The created a platform for dialogue and shared experience's, adapting to a sense of community and empathy upon those dedicate to the opposing war. Many spaces became a open minded for individuals to connect, organise and express their dissent through art and music such as Coffeehouse's, folk festivals and campus gatherings.

CHALLENGING TRADITIONAL VALUES.

The impact of the Vietnam war folk music extended beyond the immediate anti-war movement. The contribution to the broader cultural shift challenge traditional values, amplifying the voices of communities. Many artists explored themes of social justice, equality and the power of grassroots activism, encouraging a different generation to the authority and work towards the positive changes. This time of day marked a critical point in the relationship between politics and music, as artists began finding their own voices in advocating for justice and change.

LASTING LEGACY AND INFLUENCE.

The cultural shift of the Vietnam war sparked the impacts it illustrated on the folk music extending far beyond the 1960s and 1970s. The anti-war movements and the music that defined within it laid the groundwork for the subsequent social and political activisms, influencing the shaping of the course of history and future generation. This served a reminder of the power of music and art, illustrating change and foster collective actions.

INITINAL ARREST AND BREAK IN.

On June 17th. 1972 five burglars were apprehended after breaking into the Democratic National Committee Headquarters located in the Watergate Hotel complex in Washington D.C. The charge of burglary and wiretapping were held on their account within day of the arrest. Among these implications, G.Gorden Liddy, general counsel of the committee to Reelect the president, and a former white house aide. Despite the constant persistence press reports, the suggested involvement by the administration, Nixon and his aides heavily denied the connection to the break in.

THE 1972 ELECTION AND SUBSEQUENT TRIALS.

In November 1972, Nixon was reelected with a significant margin despite the scandel, this issue resurfaced in January 1973 during a trial of the burglars before Judge John Sirica. The accessions of five pleaded guilty, while 2 others were convicted b the jury. The direct questioning of witnesses by the Judge unraveled hidden information on the coverup orchestrated by senior White House officials, including H.R. Haldeman, John D, Ehrlichman, and John W Dean. This reveal coursed the resignation of these official's and Attorney General Richard G.Kliendienist in April 1973.

IMPACT AND LEGACY.

The Watergate scandal had far-reaching consequences for American politics. This resulted in significant changes in legal and educational practices, portraying a stronger presentation on the professional responsibilities and ethics. The scandal also adapted a spirit of skepticism towards government actions and a demand for greater transparency in political decision making.

RACIAL EQUALITY.

The fights towards racial equality was portrayed and characterised by the events marked by landmarks and legislations that endeavored to abolish segregation and discrimination. The following events were participated by activists, sit-ins, marches and protests, increasing their lives of riskiness to demand justice. The featuring achievements of The Civil Rights Act of 1964 and The Voting Rights Act of 1965 were key legislative achievements that were contradicted by within the era.

Women played a significantly crucial role within the Civil Rights Movement which was often overshadowed by their males counterparts. This led local organisations serving as lawyers whilst facing gender discrimination within the time period. Throughout this experience there were several key figure facing a similar problem whilst speaking out their problems to society.

GWENDOLYN ZOHARAH SIMMONS.

Gwendolyn Zoharah Simmons was a member of the Student Nonviolent Coordinating Committee (SNCC) and one of the three women who contributed to the field director for the Mississippi Freedom Summer Project. Gwendolyn faced a significant amount of challenges in her role, gender discrimination was a massive part, resulting in needing to fight for resources and respect, She also took a strong and persistent energy against sexual harassment within the ,movements.

LONNIE KING.

Lonnie King highlighted the issues of the male privilege within the movement whilst contributing to being an activist with the SNCC in Atlanta, He expressed his emotions that Diane Nash, a key figure in the Nashville movement, not electing as a representative, contributing this oversight to sexism.

EKWUEME MICHAEL THEWELL.

Ekwueme Michael Thewell took place as a leader of the Nonviolent Action Group at Howard University, reflecting on the sacrifices made by Women college students who join the struggle. He took inconsideration that these women often faced constraints and were excluded from the conventional of societies normality.

MILDRED BOND ROXBOUROUGH.

Mildred Bond Roxborough significantly emphasised the crucial roles women played in the organisation whilst taking an a role as a long-time secretary of the NAACP. She highlighted the contributions of women like Daisy Lampkin, who extensively traveled to organise and provide branches and garner memberships.

DORIS ADELAIDE DERBY.

Doris Adelaide Derby describe the resourcefulness and the strength of women in the moment. The notations she took inconsideration were women who relied on each other and who work together to overcome there challenges. This was investigated whist she contributed to the SNCC Activist.

RUBY NELL SALES.

Ruby Nell Sales overcame psychological traumas from racial violence, this emphasised the broader context of Rosa Parks activism. The explanation of parks refusal to move to the back of the bus was a part of a larger rebellion against the daily assaults that took place against the daily assaults faced by African American women.

The Civil Rights Movements in the time period of 1960-1970, alongside the enormous impact of music and the reflection of nature of Broadway Productions, had a significant impact influencing the cultural landscape. These moments provided a broader landscape of the groundwork for the subsequent social and political activism, shaping the course of its history and inspiring future generations to work on a more equitable world for others.

The era of 1960 did not provide a standalone chapter within the history, however the result of years of advocacy for women's rights were portrayed. Early activists involving the suffragettes of the early 20th century, laid the outline for change. The effortless effects for women's voting rights came to frustration within the ratification of the 19th Amendment in 1920. This struggle continued, leading World War II where many women were reverted to the traditional domestic roles as me transformed back from the military service, unraveling the constraints put in position on the women's behalf, igniting a new wave of activism.

The memorable rallies and protests of this decade was marked y a series of compelling rallies that reunited women from diverse backgrounds. The following pivotal events included The 1963 March on Washington providing a vital platform for women advocating gender equality and racial rights. The 1968 Miss America Protest ,led by feminists like Robin Morgan, challenged the standards of beauty standards, imposing on women being crowded by a pig name Porkchop as a symbol of their defiance. Women's strike for equality took place in 1970, which took place on the anniversary on the 19th amendment, striking the nationwide o thousands of women advocated for equal pay, affordable child care, and reproductive rights, illustrating the varied issues women faced. Each of these events highlighted women's struggles, empowering many other who are inspired by there movement. The bravery and dedication portrayed by countless women establishing a foundation for legislative reforms and the reshaping of societal normality's.

The women's rights movements of the 1960s was lead by a numerous of passionate leaders who provided bravery and who could solve the reshape of society. The following women were some key figures listing : Betty Friedan who was an author and activist, her significant impact of her work ignited a wave of feminism, co-founding the National Organism for women in the 1966 era. Gloria Steinem emerged as a leading figure of the feminist movement in the late 1960s and 1970s. Whilst working alongside as a notable journalist, a groundbreaking platform for women's issues was explored whist co-funding Ms. Magazine. Shirley Chisholm was the first African American women elected to congress, the unique challenges faced by women of colour was advocated and addressed for intersectional of the all the difficult challenges faced upon.

While the Women's Rights Movement of the 1960s addressed the range of complicated issues, it was important to acknowledge that the movement was not homogeneous. Women of different socioeconomic background, races and experiences were confronted inequality uniquely. Women of colour intersectionally gained prominences throughout this timeframe as they frequently encountered systemic racism alongside sexism, leading to movements that addressed both of these challenges. These looks were emphasised by both leaders Audre Lorde and Bell Hooks. On the other hand, working class women had economic disparities remaining a concern. Many working class women campaigned for there labored rights, that significantly impacted their wages and the conditions that the were working in. Making the contributions they took part in more vital to the movements broader agenda.

"In the face of Oppression, we must unite our voices; together, we rise and elevate one another."-Nada Alahdal.

A Chorus Line was one of the first major Broadway musicals to address its characters when their homosexuality was open and free. One of the main characters  Paul, executed by Sammy Williams in the original Broadway production, delivered a poignant monologue about his experiences and the way he handled his life as a gay man. This monologue reveals the struggle he took upon with identity and acceptance of how everything was different particularly the heartbreak he faced when his parents discovered his sexuality.

Paul's story was inspired and created by the real-life experience of Nicholas Dante, one of the co-authors of the musical.  Nicholas Dante's personal narrative of growing up poor in New York City was a feeling of being scorned because of his homosexuality in reflected of Paul's character This honest and open portrayal provided a voice to the LGBTQ+ community and resonated deeply with audiences, especially the offering of inspirations and courage to those facing similar challenges to this day in age.

The visibility of LGBTQ+ characters in A Chorus Line had a greater impact on the community. The success and critical acclaim of the musical helped to normalise queer identities and the experiences in the arts. This won nine Tony Awards and the 1976 Pulitzer Prize for Drama, becoming the longest-running production in Broadway history at the time

The film adaptation of A chorus Line, was released in 1985, continuously highlighting these themes, bringing the story to a wider range of audiences. The character of Paul, played by Cameron English in the film, remained a centrist  figure in portraying the struggles, challenges and triumphs of LGBTQ+ individuals.

The representation of LGBTQ+ characters in A Chorus Line was part of a broader movement within musical theatre, this significant gave a voice for  diverse and authentic aspects. Other musicals of the era, such as "Cabaret" and "Hair," also featured gay or bisexual characters, pushing boundaries and challenging societal expectations.

A Chorus Line stood out for the direct discussion of the sexual aspects of its the played characters lives, moving beyond the stereotypical portrayals that had previously dominated the stage through musicals and plays. This shift upon  more nuanced and realistic realities of LGBTQ+ individuals marked a significant step forward in the fight for equality and acceptance.

A Chorus Line played a crucial and important role in advancing  the rights of   LGBTQ+  and the representation of the arts. The honesty and heart felt  portrayal of queer characters provided visibility to the community, inspiring many people and contributing to the larger  movement for social justice.

This musicals was transformed through a series of taped workshops, illustrating Broadway dancers who showcased there stories. This system provided a more authentic and personal narrative into the musical, illustrating a more genuine perspective on the lives of unique dancers. This approach was innovative due to its diverged traditional process of developing musicals, this therefor typically included a more greater approach where composers and writers created the music and narrative separately as individuals. However, this method involved the direct attraction from the performers within the creation process, providing a more reflective final production of their real life experiences. The significant shift in how the musicals were developed, highlighted the importance of the collaborations and authenticity within storytelling, paving the right footsteps for future productions and the adaptions for similar approaches. The value of the incorporation of real life experiences and stories, demonstrated a value within the shifts of the theatrical productions, making them more relatable and impactful for the audiences views.

sets. This transformation was a significant industry where higher production costs often recommended bigger and bolder names to draw a more broader selection of audiences, fixating on the raw talent and stories of individual performers, compelling a range of content that could attract and sustain a larger view.

The first profession show was opened at the Shubert Theatre on July25th, 1975, this ran for 15 ongoing years with a total of 6,137 performances with a broad range of audiences and performers. The long performances of this time period, gave this musical a name for the longest-running shows in Broadway history, alongside the exceeded musical of Cats which took place in 1997. By the year of 1990, A chorus line had uniquely created $146 million from its Broadway gross and $277 million altogether in U.S. grosses. This succession made a path for other productions to modify similar strategies that were cost-effective, leading to some adaptations towards its financial landscape of Broadway.

Within A chorus line, the light of the realties faced through economic statuses provided complications with Broadway dancers. The musicals narrative resolved around the audition process for Broadway itself illustrating the financial challenges and instability which was significantly inherited into every dancers career. The faced periods of unemployment, physical demands, and the inconsistent income of the profession provided the limit between each performers career and longevity. The success within the show underscored the brilliance of the ensemble cast, uplifting the status of each dancer whilst highlighting their contributions to the success of a production. The difference of the atmosphere helped provided a broader range of attention to the professional struggles and the economics of each dancer, adapting a greater appreciation for the work provided within the industry.

A chorus line brought the life back to the economic realities faced by Broadway dancers, highlighting the financial and instability challenges in the careers they took part in. The narrative of the musical revolved in an atmosphere fill with student prepping for the audition process for a Broadway show, the poignant depicted the competitive behavior, often demoralising the audition process for undergone dancers. This groundbreaking aspect portrayed the stories and struggles of dancer who took center stage for the first time within musical theatre production.

FINACIAL INSTABILITY AND JOB MARKETING CHALLENGES.

The succession of The musical A Chorus Line had a prefunded impact within the careers of every Broadway Dancer. This illustrated an unprecedented visibility to those performers of colour and the diverse backgrounds, on the other hand white casting was a predominantly normal action that took part within this era. Specific character like Diana Morales and Paul San Marco offered sophisticated portrayals of ethnic populations, highlighting the aspirations and struggles committed. The groundbreaking representation of this action provided a clear path for more inclusive casting within future productions. Subsequently, the focus of this musical was based on the personal and professional struggles of dancers and performers, creating a greater appreciation for the work within the industry. The emphasis on the importance of the ensemble casting and the assistance of elevated dances, progressively rose the statuses and highlighted the economic and professional challenges.

LONG TERM ECONOMIC IMPACT.

The long-term impact upon A Chorus Line on Broadway dancers was meaningful, delivering a successful moment through demonstrating a compelling storyline of raw talents the draped the audience. The influence of this measure equipped more interest on future productions and a broader economic strategy of Broadway. This shift created a more diverse and innovative production to emerge, reducing the risk of financial problems associated with a higher budget range for other shows. Furthermore, this musical delivered a broader range of awareness for the economic struggles faced by dancers, fostering a wider appreciation for the work and contributions committed for a successful production. This brought a large increase on visibility and recognition towards the lasting effected on the economic status of Broadway dancers, helping to adjust the working conditions and job security.

• Much more detail in your SWOT, on your weaknesses especially, for example: 'Flexibility in certain areas' HOW will you look to overcome this weakness?? Elaborate more.

• You must complete your skills audit

PLANNING AND PRODUCTION:

• Costume... I can't see your board design? Also, write some detail about WHY you have chosen the outfit/colours etc based on your character research. Much more detail on these things...

• Add images of your own personal make-up and hair trials?

• Props lists missing

• Add in your character resume to this column

RESEARCH:

• Love all your various production research, consider now attaching any images from your findings... I would love to see images of the original cast/production etc

• In fact, consider adding images into all your research to support your writing.

• Make sure you note in your research how these events in history impacted Broadway, performers, and influenced A Chorus Line

• 100'qs on character (Character research) is missing

• Message in a Bottle is missing

PRACTICAL SKILLS:

• Include voice recordings of your particular harmonies

• Write about warm-ups, or include footage of one of our warm ups

  
  

EVALUATIONS:

• Consider when discussing your performances in rehearsals, how your character and general research is helping your with your performance

BIBLIOGRAPHY:

• Consider adding a one document (Word/PDF/one column on padlet) for this

A Chorus Line developed and addressed several social issues, illustrating the economic struggles of performers, the pressures of body images and the challenges of pursing a career in the arts. The candid of the musical portrayal of these complications hovered within the audience, bringing attention to the overlooked realities of a life as a performer. The challenges within the real life helped humanise the characters and bring their stories to life with a relatable experience. This lasting impact had revived the show several time since the original run, continuing on to be popular with a world wide of audience members and new faces. Its innovative approach to staging and choreography brought inspiration to countless productions, providing a shape for the evolution of musical theatre.

The message of self-discovery and the power of the arts continues to reverberate with people universally. The inspiration of countless performers and artists both personally and professionally brought an emphasise within the cast and the contributions of how the dancers fostered a greater appreciation for the work they provide within the industry.

The fashion choices Bobby was integral to his characters portrayal. Bold and colourful outfits reflected the extroverted and flamboyant nature bobby experiences. His fashion visually represents his personality, making him stand out from a crowd of dancers, adding to his distinctive and quirky appearance. The choice helps to emphasise the unique flair and individuality. bobby brings to the surface and to the Chorus Line.

Bobby Mills comes from a wealthy part of Buffalo, New York. Despite the atmosphere he lived in, he often up brings jokes about the lack of taste his parents portrayed. This links to Bobby's humourism told through stories, such as the time he spray painted a chid silver in his bizarre recitals that took place in his garage for productions such as Frankenstein, illustrating his creative and eccentric personality. In A Chorus Line, Bobby is a supporting character but his presence is significantly due to his memorable personality and his interactions with other characters. Bobby is a highly skilled ballet and jazz dancer, which is an essential key for the stringent audition process depicted within the musical. As a part of auditions, singing is an essential part for musicals like A Chorus Line. This skills asset isn't his strongest but Bobby's vocal range is based around a Baritone, with a high note of C4 and a low note of B2.

Bobby's character demonstrates an insight of diverse backgrounds and personalities of Broadway dancers, highlighting the key fixation of individuality within performing arts. The humours and flamboyant nature helps brighten up the mood during the intense audition scenes, making bobby a beloved character among the audience. The fashion of bobby was an inspiration from many other performers and fans, portraying a different level of ionic elements with his character. The cultural significance of bobby reflects the themes of A Chorus Line, involving the struggles and triumphs of dancers within a competitive world of Broadway.

LARRY/LORRIE- Zach's assistant, professional, supportive.

MIKE COSTA- The first to speak during his solo of "I Can Do That ", energetic, confident, full of skills.

RICHIE WALTERS- A lively, athletic dancer with a big heart and personality.

BOBBY MILLS- Witty and flamboyant, know for his humorous jokes and quirky stories of his past.

SHIELA BRYANT- Sarcastic and mature, has a sharp tongue and a vulnerable side.

KRISTINE URICH- tone-deaf, nervous and married to Al.

AL DELUCA - Kristine's supporter, husband to Kristine, often speaks for her.

VAL CLARK- Bold, bossy, known for her song number " Dance 10; Looks 3".

DIANA MORALES- Strong willed, passionate, delivers her speak through the songs " Nothing" and " What I Did For Love".

PAUL SAN MARCO- Quiet and introspective, portrays a powerful monologue through identity and acceptance.

CONNIE WONG- Petite, bubbly, often casted a young role.

MARK ANOTHONY- The youngest dancer, enthusiastic, curious.

MAGGIE WINSLOW- Dreamy and gentle, sings At The Ballet with Sheila and BeBe.

GREG GARDENER- Openly gay, posh, shares a humorous story about adolescence.

DON KERR- Married, former nightclub performer, grounded and practical.

In A Chorus line, each character as an individual share a personal stories that is on a deeper level, revealing hoe their identities have been transformed by their backgrounds, traumas, and aspirations. This show emphasises the importance of each individual being heard and seen especially in an industry that treating dancers and performers as interchangeable.

Pauls monologues was a good example of a powerful moment as it portrayed his emotions about his sexuality and family rejection compelling the vulnerability and identity affirmation.

DREAMS AND AMBITIONS.

This show revolves around dancers auditioning for a dream role within the chorus line, Theirs stories reflect the sacrifices and relentless ambitions requiring to pursue a career within the performing arts industry.

The opening number of this music "I Hope I Get It " captures the anxiety of each performers and the hope that defines the auditioning process.

SACRAFICE AND PERSEVERANCE.

Many character expressed the physical, emotional and financial sacrifices they made for there career paths. The theme perseverance is a central point as it pushes dancers who are injured, rejected or have any personal losses to keep on pushing for there dream and to keep on performing to their best. The song "Nothing" sang by Diana expresses the struggles with the dismissiveness from an acting teacher, yet she continues to pursue her passion and dream big.

BOBY IMAGE AND PHYSICALITY.

This Musicals addresses the intense disappointment dancers face regarding there body's in any form. Val's number " Dance Ten; Looks three" criticises the industry's obsessions with everyone's body appearance and how it can affect the casting decisions.

Due to this, Val undergoes plastic surgery to be taken seriously by every performer, illustrating the pressure to confront to the beauty standards.

GENDER AND SEXUALITY

One of the first mainstreams musicals to openly discuss about LGBTQ+ identities and role is A Chorus Line, A couple character like Paul and Greg speak openly about their experiences and gay men within the heteronormative industry. Paul emotional wreck of a monologue was performed around become a drag queen and also coming out to his family.

AGING AND CAREER LONGEVITY

This musical explores the fear of aging out of the physicality demanding the profession. Performers like Sheila and Zach reflect on how long they can continue performing and directing performances and musicals.

Sheila is one of the only dancers who takes their time onstage with a limit, using her sarcasm as a mask to hide her identity.

COLLECTIVE VS INDIVIDUAL.

While A Chorus Line expresses the individuality, it also explores the nature of the ensemble and the collective work within. The finale "One" visually and thematically unites all the dancers, showing the blend into the units. Within this performance despite the unique stories. This routine consists of identical costumes with the final number, symbolising the tightness between the personal identity and professional conformity.

Early 1960s:

Ladylike Elegance Influence of Jacqueline Kennedy:

The early 1960s fashion was a continuing trend from the 1950s' portraying ladylike elegance, advanced  by First Lady Jacqueline Kennedy. Her style and clothing  featured tailored skirt suits, sheath dresses, and luxurious coats, often paired with accessories like pearls, gloves, and pillbox hats.

Designers: Prominent designers included Hubert de Givenchy and Cristóbal Balenciaga

Mid-1960s: Youthful and Mod Styles

Swinging London: The mid-1960s started trending  the youthful and vibrant styles of Swinging London, creating a powerful vibe by designers like Mary Quant. The fashion of mini skirt became a fashion staple.

Space Age Influence: like André Courrèges and Pierre Cardin were designers who embraced futuristic designs, using materials like PVC and metallic fabrics

Late 1960s:

Hippie Movement Hippie Fashion: The late 1960s saw the rise and contrasting fashion of the  hippie movement, characterising the loose, flowing garments, tie-dye prints, and natural materials like cotton and silk.

1970s Fashion

Early 1970s: Bohemian and Casual Styles

Trend: The bohemian trend paired clothing  with long, flowing dresses, peasant blouses, and maxi dresses featuring bold prints.

Casual Comfort: The Fashion Trends became more casual and comfortable, focusing on natural fabrics like Cotten and relaxed silhouettes 2.

Mid-1970s:

Punk Fashion Punk Movement: Punk fashion emerged as a turbulent style, taking inconsideration of ripped jeans, leather jackets, band t-shirts, and brightly-colored mohawks.

Late 1970s:

Disco Era Disco Fashion: The disco timeline  brought a drop glamour and excess, with sparkly fabrics, platform shoes, and bold makeup.

Key Accessories

Pillbox Hats: Popularised by Jacqueline Kennedy in the early 1960s.

Platform Shoes: iconic during the disco era

Influential Figures

Jacqueline Kennedy: Her soft style and sense of fashion toned the early 1960s fashion

Mary Quant: Known for popularising the mini skirt and youthful designs

John Travolta: His work in "Saturday Night Fever" epitomized disco fashion

Early 1960s:

Classic Elegance Influence of Hollywood: The early 1960s makeup was deeply  influenced from the Hollywood glamour. Women constantly worse  a polished look with matte foundations, subtle blush, and red or pink lips

Eyes: Eye makeup was carried by neutral eyeshadows and thin eyeliner. Mascara was applied to both upper and lower lashes to enhance the eyes making them look doll shaped.

Mid-1960s: Mod Look

Bold Eyes: The mid-1960s saw Increase of the  Mod look, characterising the dramatic eye makeup. White or pastel eyeshadows, thick black eyeliner, and false eyelashes were taken out and brought back by popularity.

Minimalist Lips: Lips stayed  pale or nude to draw a wider attention to the eyes

Late 1960s:

Hippie Influence Natural Look:

The late 1960s embraced a more natural, bohemian aesthetic. Makeup was on a low , with a focus on natural skin tones and a sun-kissed glow

Earthy Tones: green and blue eyeshadows and lip colors were popular, reflecting the hippie movement's connection to nature and earth itself.

1970s Makeup

Early 1970s: Natural and Feminine

Soft and Natural:

The early 1970s continued the natural trend from the late 1960s. Women favored light foundations, soft blush, and natural lip colors

Subtle Eyes: Eye makeup was subtle, with neutral eyeshadows and light mascara

Mid-1970s:

Glam Rock and Punk Glam Rock: The mid-1970s introduced the bold and theatrical makeup of the Glam Rock era. Glittery eyeshadows, bold eyeliner, and bright lip colors were popular.

Punk: Punk makeup showcased the rebellious and edgy style, featuring dark, smudged eyeliner, bold eyeshadows, and dramatic lip colors

Late 1970s:

Disco Fever Disco Glam: The late 1970s was about the disco glam. Women wore shimmering eyeshadows, bold eyeliner, and glossy lips.

Early 1960s: Bouffant and Beehive

Voluminous Styles: The early 1960s favored voluminous hairstyles like the bouffant and beehive. These styles were achieved with backcombing with a lot of  hairspray.

Influence of Jackie Kennedy: Jacqueline Kennedy popularised the bouffant’s, making it a symbolism of elegance

Mid-1960s:

Mod and Geometric Cuts

Short and Sleek: The Mod look brought short, sleek hairstyles into fashion. Vidal Sassoon’s geometric cuts, like the five-point cut, became iconic.

Bobs and Pixies: Bobs and pixie cuts were popular, reflecting the era's modernist aesthetic

Late 1960s:

Hippie and Natural Long and Flowing: The late 1960s saw a shift towards the natural, flowing hair. Long, straight hair with a center part was the point for the hippie movement

Natural Textures: Embracing natural hair textures became more common, with less emphasis on styling.

1970s Hair

Early 1970s:

Natural and Feminine Soft Waves: The early 1970s continued the natural trend with soft, feminine waves and curls.

Long and Straight: Long, straight hair remained popular, often worn with a center part

Mid-1970s:

Shag and Punk Shag Cut: The shag cut, characterised by the layers and tousled look becoming popular. It was a versatile style that suited both men and women.

Punk Styles: Punk hairstyles were bold and unconventional, featuring brightly colored hair, mohawks, and shaved sections of the head.

Late 1970s:

Disco and Big Hair Disco Curls: The disco era brought big, bouncy and voluminous curls into fashion.

Afros: The Afro became a powerful symbol of Black pride and identity during the 1970s

My strengths within this rehearsal reflected a high level of skill and commitment. My choreography retention illustrated a strong ability to learn and retain sequences efficiently. This showcased both natural aptitude and effective focus during instructions. Musicality and timing are the key point for this routine as it enhances the overall impact of the piece, aligning well with the musical structure. My confidence with spacing in ensemble work, particularly in final numbers where precise and synchronised, this is an essential term for the routine so no mistakes happen. My familiarity within the chorus sections of the routine stood out, this helped me maintain the structure and momentum of the group choreography.

While my technique execution was at a strong point, there are some areas that could be improved and developed to elevate my performance. One of the problems was not providing consistent energy levels. At some areas of the rehearsal my energy dipped, particularly in less demanding sections. In a high- impact number like the finale, the sustained amount of energy is vital for keeping the audience engaged. There were moment where my movements could have been pushed further in terms of commitment and expression. Performing a routine full out rehearsal will not only help with muscle memory but will also prepare myself for demands of a live performance. Linking with performances, adding more facial expressions will engage the audience more and portray a higher performance quality bringing an extra layer to my dancing. The finale is a moment of celebration and connection with the audience, this can be the most effective when performers are expressive and animated.

My targets for future lessons is to commit fully to a performance mode within rehearsals whilst maintaining a high energy, this will help on focusing on bringing a higher projection and presence making myself standout from the crowd. Developing my facial expressions will help provide the correct emotion behind the piece and to inspire more authentic reactions.

In the ballet sections, I focused on maintaining a lifted posture with my head held high. This physical choice was made to create a clear contrast between the boys and the character Roy. Throughout the routine, Roy is characterised by his lowered posture and downcast gaze. By keeping my head elevated, I not only highlighted the differences in the characters but also helped draw more attention to Roy, emphasising his struggle and isolation.

Following this, I contributed to learning and cleaning the choreography for the Finale Routine One. This routine is heavily based in unison work, which is essential in portraying a sense of unity and collective hope among the characters. Performing in unison symbolises the shared ambition of the ensemble everyone is fighting for a place in the spotlight. The uniformity and precision required in this sequence reflect the professional expectations of the audition process and create a visually powerful impact. It also reinforces the theme of equality in the audition room — no one stands out unless they break the rules or bring something truly special.

In the second half of the lesson, I worked one-on-one with my tutor in a separate space to discuss how to deepen my portrayal of Bobby, particularly during my monologue and song. The feedback I received was to fully embody Bobby’s pride and enthusiasm. He is a character driving with energy and passion, and part of his charm is that he doesn’t feel ashamed or different, even if others may perceive him as such. To Bobby, his life is completely normal — this creates an interesting contrast between his inner world and the views of those around him.

The following strengths I identified were:

• Effectively using my facial expressions to convey Bobby’s emotional journey.

• I showed a strong understanding of the text, especially in key lines that required emphasis or tonal shifts.

• My characterisation was consistent during the group sections and transitions.

The areas that need improving are:

• I need to continue working on my diction and accent to ensure clarity and authenticity in my performance.

• Improving pronunciation of specific words will help maintain the believability of the character.

• I aim to be fully off-script as soon as possible. This will allow me to stay in character more fluidly and respond more organically to the action around me.

• I will also develop silent scenes (physical storytelling) that I can mime between my lines while others are singing. For example, I could reference moments from Bobby’s earlier monologue to show how his past influences his current behaviour and reactions in the group or recreating a scene from my previous lines.

Next, we performed "Bows" vocally, which we did successfully. Because the parts in this number were in unison and had a constant structure, the harmonies were easier to understand. Improving my vocal projection was my main objective while performing this song, especially to make sure that the male vocal parts are balanced and more noticeable within the ensemble. My ability to recall songs and follow harmonies, which became evident strengths during this session, gives me confidence.

We started practicing "Hello Twelve, Hello Thirteen, Hello Love – Montage 1" later in the day. This aspect was harder for me, especially when it came to learning the songs by heart. In order to help with fluency and retention, I intend to divide the song into manageable chunks and play each one several times. My solo line also needs to be improved. The arrangement, which deviates from the usual masculine key, places it in a higher vocal range. I will therefore have to modify my technique in order to securely and comfortably achieve those notes.

My primary goals for the future are to increase my confidence in all songs and to keep improving my knowledge and performance of harmonies. In addition to enhancing my performance on my own, this will help the ensemble dynamic as a whole.

Strong choreographic memory, precise timing, and general movement accuracy were my main advantages throughout this session. The overall cohesiveness of the performance was enhanced by my confidence in my ability to follow the choreography consistently and remain in time with the ensemble. But I also pointed out areas that needed improvement. One of my biggest flaws was that I didn't show emotion or facial expression at crucial points, which made my performance seem less genuine. I also periodically lost track of the lyrics while dancing, which interfered with the clarity and steadiness of my voice.

Increasing my performance energy and learning to sing all the necessary vocal parts consistently, even during physically taxing choreography, are my goals for upcoming rehearsals. In order to prepare for show day, this will help me condition my endurance and develop the habit of giving a full performance. I will additionally concentrate on enhancing my body language and connection to emotion to the material to bring more depth as well as impact to my role.

Strengths: Throughout the routine, I showed excellent timing and choreographic retention. My ability to remember movements and maintain rhythm with the group was reliable, which raised the piece's overall calibre. Areas for Improvement: • Consistently using facial expressions to boost my performance is one thing I need to work on. My energy levels occasionally declined a little, which had an impact on my stage presence and overall effect. To make sure my performance is neat, intricate, and captivating from beginning to end, I will also concentrate on honing the dynamics of my choreography and fixing specific moves in subsequent rehearsals.

We studied Richie's Montage in the second lesson. The lively pace and great energy of this piece really captivated me. Strengths: • I was able to pick up the choreography quickly and performed with a strong intensity that matched the music's tone and pace; • I also connected well with the piece's atmosphere, which enabled me to make my movements more expressive and energetic. Areas for Improvement: Performing certain actions on the wrong side was one of my main weaknesses. I'll divide the routine into manageable chunks and practise them extensively to make sure muscle memory is properly developed.

Future Objectives: • My primary objective going forward is to continuously improve the emotional content of my performances. This involves making use of body language and facial expressions to more effectively convey character and intention. I will be able to give a more thorough and polished performance by fusing expressive detail with technical accuracy.

After that, we studied the choreography for Montage Four. Although the style of this routine was simpler, it still demanded a strong sense of character and constant energy. Understanding the tone and purpose of the choreography helped me better embrace my character through expressive posture and movement, which was one of my main strengths in this area.

I did, however, have trouble placing my feet in some sequences, which occasionally led to instability and fluidity hiccups. I'll keep practicing the choreography at home in shorter bursts, preferably while listening to music, to assist me internalise the dance and make this better. In addition to helping me become more accurate and balanced, this repetition will give me the confidence I need to confidently add more character and performance detail. We started adding dynamics and spacing the choreography after the first learning phase to increase the overall impact. This was a great chance to concentrate on stage placement and make sure that movement changes were seamless.

My aim for future lesson is to be more focused during the learning process in future classes so that I can remember the choreography effectively and precisely. This will lessen the need for me to re-learn certain parts and help me develop better muscle memory. Keeping up with all of the routines will also guarantee that I maintain my ensemble consistency and can keep improving the calibre of my performances without falling behind.

After that, we went on to the solo-driven Montage One. To improve their harmonies and make sure the parts fit their vocal range, our coach worked one-on-one with each soloist. I made the most of my waiting time by practicing additional songs, like Montage Two and Montage Three, and going over What I Did for Love again, with a peer's help to make my performance stronger. Future Goal: I want to be able to confidently perform all of the harmonies in future lessons after I have learnt them. I'll be able to contribute vocally more, especially since Im taking on a male role  and I'll be ready for both solo and group parts.

Strengths: • I showed that I understood the harmonies and lyrics for the song “Sing”

Areas for Improvement: • I had trouble maintaining proper posture at the ballet, becoming sidetracked and fumbling with my clothes and hair. This took away from my presentation of the role and was seen in the mirror. I'll keep my mind active by going over the choreography or future lyrics inside my head while remaining in character to provide better and well prepared character.

The collective performance's impact and clarity were much enhanced by these little tweaks. Montage Four was the subject of the second lesson. This session was used to finish the last parts of the routine as well as to review previously learnt material. After the core movement was complete, we took the time to make sure every performer was aware of their specific roles within the number, including timing and placement. The significance of muscle memory—repeating motions accurately to increase consistency and decrease hesitancy during performance—was also covered.

Starting to include character into the choreography was a major priority. This involved expressing our duties more clearly through posture, intentional movement, and facial expressions. This was especially helpful to me because it made it possible for me to begin establishing a closer link between the dance and the goals of my character. Future Goal: I want to completely commit the dance to memory, paying close attention to the placement of my arms and feet during future rehearsals. In order to add depth and vitality to the routine, I also intend to improve my performance by strengthening my character development and utilising my facial expressions and body language. This will improve my stage presence and enable me to make a more significant contribution to the overall impact of the group.

I need to concentrate on honing my ballet technique in order to do this, which includes pointing my toes, keeping proper posture, and using muscle memory more often through repetition. After that, we staged I Can Do That. In order to capture Mike's energy and narrative, we had to respond as a group in real time to his performance in this scenario. This put my ability to remain in character and react physically to the movement of another actor to the test, which is essential for group work. After that, we went back to Montage Four and focused on establishing distinct spacing and tidying up choreography that needed improvement. Checking alignment, timing, and presentation as a whole was made possible by this excellent opportunity.

We performed everything of the choreography we had learnt so  far and got input from teachers and peers who were watching as well. The feedback I received was to Increased  my facial expressions, sustain high energy levels, and attention to technical aspects like pointing toes and straightening arms at particular times were among the things I took inconsideration.

My areas for development was to have more uniformity in face involvement and character expression are areas that require improvement. • Increased accuracy in arm and foot positioning during routines. • A stronger bond with my character to improve the calibre of my performance.

My Future Goal:

In order to get better, I want to learn more about my character, particularly how he uses movement to express himself, and use that knowledge in my performance. I will be able to contribute more successfully to the production's overarching narrative and give subsequent routines greater depth, purpose, and authenticity as a result.

Strengths: • I stood out more clearly in the group since I was comfortable with the lyrics and had better vocal projection. Areas for Improvement: • In certain parts, I was singing the wrong harmonies, especially when I slipped into the female vocal lines. I need to practise my particular harmony lines on my own outside of college in order to get better, paying close attention to consistency and pitch correctness. We practiced the harmonies for Montage Four in the second class. This involved learning new information as well as going over earlier topics.

Strengths: Throughout, I maintained a solid vocal projection and relied on muscle memory to remember the lines.

Areas for Improvement: • I had trouble with the time at the start of the song. In order to increase my accuracy and confidence, I intend to practise this section with peers who have similar harmony.

Future Objective: I want to be able to sing all of the harmony parts and lyrics by heart in future courses. This will enable me to concentrate on performance quality rather than technical details, utilising body language, physicality, and facial emotions to make the songs come to life and give a more polished and captivating performance.

After which, we discussed staging direction for Montages 1 and 4, paying particular attention to the placement and delivery of solo lines and monologues. I need to work on being more deliberate and accurate with my motions for my solo in Montage 1. By remaining loyal to the emotional core of the scene, I hope to convey to Zach and the audience my character's resolve and drive. In order to get the routines finished, we also started choreographing the latter portions of these sections. We performed a thorough run-through of the production with Cast A in the second lesson. Due to absenteeism, certain positions were replaced temporarily, but the run offered a useful chance to gauge overall performance readiness.

. Strengths: Despite missing a prior session where some steps were changed, I was able to adjust well and retain excellent vocal projection and constant energy throughout the run. I also remembered the choreography for almost all of the numbers. My character's position in the queue has to be maintained more regularly, which is one of my areas for improvement. Maintaining physical commitment aids in upholding stage discipline and moral purity. For my musical performance and introduction, I also need to be completely off-book. I'll be able to concentrate on using the right movement cues and adding character  as a result. I also need to gain confidence when I enter a queue too early. I should either improvise in character or commit to the following manoeuvre without hesitation. This exhibits professionalism as well as innovative flexibility.

Future Objective: My primary objective is to execute my scene entirely off-book, giving every movement and detail my whole attention, just like on show day. I can make sure my performance is polished and powerful by honing my vocal delivery, body language, and character consistency.

• make sure costume Pinterest board is completed

• Make sure makeup and hair Pinterest board is completed

• Complete research on the broadway production itself

Deadline - 31/03/2025

• import photos of make up that would be an idea for the show

• Provided inspiration for the costume of clothing that’s owned

• Complete political and social research

Deadline - 12 May 2025

Additionally, I recognised the need to strengthen my breath control. At times, I found myself breathing heavily during their delivery, which affected the clarity and projection of my lines. Establishing stronger breath support will not only allow me to deliver my the lines with more regulate but will also enhance my terminology and speaking, making my speech more articulate and expressive for the audience. Going forward, I aim towards striking a better balance between line accuracy and character physicality, while continuing to refine my vocal technique and physicality.

Disruptions for spatial awareness: Without the correct staging and set for the FMP show when rehearsing, this can affect my struggle for accurate spacing and positioning, leading formations on stage to be collided and misaligned with each other.

Blocking and staging: In specific scenes, stage positioning and routines can be miss lead affecting the intended staging and the visual of how each dance routine and individual scene will be illustrated. This can lead to a more collapse spacing for my routine giving me less space to portray my character.

Inconsistency between rehearsals and performance: Rehearsing with the incorrect set can provide confusion due to more adaptation to the current set. This can have a huge impact on mistake being made and layouts.

STATERGIZE

Supporting peers: Helping out my peers adjust to the unexcepted spatial shifts can be helped by sharing the space equally improving the groups coordination and positivity.

Proactive communication: By regularly communicating with Paul, the technical side can reassure any awareness of any set changes, delays or inaccuracies so choreography and staging can be adapted.

Positivity: Spreading positivity on the showcase can influence communication and team work. This can help strategize the different ways we can work around the extra staging within the routine.

CONCLUSION AND RELFECTION.

The absence of the correct set has proposed a challenge to spacing within rehearsal that have taken place in the performance hall. This has threatened the distributions towards the stage dynamics, performer safety and patterns. This solution can be solved through collaborative efforts from both myself and other peers with forward thinking. This can apply a temporary set marking the spatial awareness's through rehearsals despite missing components. By seeing images of the set, this helped picture an image of how much space it covered and how much the choreography will need adjusting.

Character Feedback (Bobby Mills): • Recommendation: I should speak more quietly because I was starting to sound like Maggie. Strengths: I made excellent character decisions for Bobby and gave my line delivery instant vigour.

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Session Two:

Run-through:We rehearsed from the beginning of “I Hope I Get It” to place the more sharper aspects of some choreography movements through to “I Can Do That”. Choreography performed by Mike Costa.

The areas of improvements I received where to :

• Stay in character consistently.

• Use more facial expressions, even when I’m not speaking.

• Remember my line after Mark says, “20 years.”

Cleaning from Notes:

• We cleaned Montage 1, focusing on the soloists’ delivery.

• I need to work on singing my lyric with confidence, without sounding nervous or anxious—it’s very noticeable.

• We also cleaned Montage 3, concentrating on foot placement during our entrance and the main dance sections.

Final Run-through:

• We ran through Montage 1 to Montage 3 with both Cast A and Cast B, applying the notes and focusing on consistency across groups.

We then focused on the montage 4 choreography and fixed the spacing and timings of when each move needs to be illustrated

We then ran through the choreography so everyone had the correct steps and timings of when they will be performed and illustrated.

In the second lesson, we focused on at the ballet choreography, we fixed the timing and choreography retention for the way people hold themselves up and head alignment, this would help us look more professional when performing

In the last lesson we focused on doing a full run through of the choreography I hope I get it, at the ballet, montage 4, one, tap routine and Bows

The feedback we received in the following routines

I hope I Get it run through

• Point toes

• Don’t make hands stiff

• Continue acting throughout when dancing and when not dancing

• Be clear when working from turn out and parallel

• use face

• Remember to sing

At the ballet

• spotting when turning

• Dance on top of myself to stay in formation

• in the first sequence turn to the diagonal to prevent hitting people within the surroundings.

Montage 4

• Be more enthusiastic when dancing

• Have more stamina in voice

• Get lower on the movements for “think Richie “

• Be louder in boys harmony

One

• don’t squish. Space ourselves out

• Start right in front of an audiences even though we are facing the back

• Keep elbows up

• Sing  louder for boys harmonies

• UAE face, smile

• Whisper louder on the singing parts that contain whispering

Tap routine

• Perfect timing

• Use face as can be seen in the mirrors at the back

• Eye-line, look in the mirror not at my tap shoes  in the mirror

Bows

• Be lighter on feet when going in the circle

• Provide more broader extensions

• Bend lower on beginning

• Straighten arms on kicks

• Kick legs to 90•

• 
  

Disrupting flow and pace of scenes:

By forgetting or hesitating when speaking my lines, can cause pauses and silences disrupting the flow of the performance breaking the rhythm and emotional momentum of the performance

Affecting character development and believability:

By being unsure of a line, the delivery of this line can provide lack of conviction or emotional depth. This can portray my character more weakened as their portrayal for the audiences connection to the story behind my character.

Reduce rehearsal efficiency:

The time that would be spent in choreography, spacing. Learning new lyrics can be effected due to recapping the lines within the scene and the way you portray them. This can reduced the time that is required for rehearsal on other sections of the performance.

Stratergize

Breaking down the script into manageable sections:

Instead of learning huge chunks of my lines a simpler way is to divided each scene into smaller sections and focus on mastering them each step by step to improve my retention and reduced overwhelm feelings.

Record and listen :

Setting aside and taking videos or voice notes of my lines and songs can help me build auditory familiarity to the songs and scenes that need attention.

Working with peers:

By practicing with other peer, the timing and cues of and emotional tone can be improved. Mistake can also be pointed out or prompted if needed

Reflection and conclusion.

Struggling to learn lines can significantly affect my stage presence and individual performance. By focusing and breaking the script into sections can help build the meaning of how each line can be portrayed and read as. This process can strengthen my ability to provide confidence and teamwork allowing me to contribute effectively towards the production. This can highlight the importance of the preparation and routine in developing a professional standard.

By not being present during critical rehearsals especially when reviewing places for next steps can create a struggle on learning new choreography and staging that were missed. This risks the vital blocking decisions, choreography spacing and formations, these are an essential part for accurate staging and ensemble work. By having an absence this can lead to confusion on timing, positioning, time cueing and anything else that resulted in any change. This can provide a significant impact to other peers as that are focused on the group being synchronised and I time with each other. Furthermore, this can have an impact on the student professional performance, commitment and reliability if there is no communication with one another.

Strategise

Review rehearsal footage: studying any recorded material can help visually understand and placement changes and choreography with notes from when an absent accures.

Maintaining strong communication: Talking to peers and staff members by informing in advance of unavoidable absents can help plan cover for missed content  and to recover and changes made.

Catch up with peers : immediately talking to the teacher or peers about going over the choreography or scene changes by requesting a recap of what was covered.

Reflection and conclusion

Missing rehearsals due to look onto different college and university for my next steps can be challenging, as this creates gaps in my understanding of staging and disruption towards my confidence for group scenes. However, by taking immediate action towards asking peers, looking back at rehearsal footage of by speaking up before the appointment, I was able to catch up with the missed points that accrued during the lesson. This also reinforced how essential being present and participating are for sustaining ensemble cohesion and supporting the overall production

Falling behind on evaluations and time management is a crucial importance and can significantly impact both personal progression and overall contribution to a successful project. In a performance setting, evaluations are crucial for tracking progression and developments throughout each day, reflecting on the creative decisions through demonstrating an understanding of the rehearsal process. Poor management can lead to rushed or incomplete reflections, missed deadlines and reduced clarity when self evaluating. This not only has effects on the assessment process but therefore shows a lack of professional understanding and organised points. Balancing both of these objectives can be essential in achieving a positive and successfully outcome.

Strategies

Prioritise key deadlines:: identifying which evaluations need to be done first and focusing on the high impacted tasks will help ensure the academic and creative expectations without last minute planning.

Creating a realistic schedule :breaking down each day to day tasks and evaluations into smaller sections can help allocate specific times in a weekly / daily plan to help complete them alongside rehearsals

Combining tasks : using the rehearsal space as opportunities to bring together content for both creative development and written evaluations can help make any spare time more efficient.

Set personal times and checkpoints : using reminders or to-do-lists can help track my progression and hold myself together to be self deprecated to complete these deadlines.

Reflection and conclusion

Catching up on evaluations whilst keeping on top of challenges can become a valuable learning experience within time management and self - discipline. By creating a clear schedule of specific timings and due dates by breaking up tasks, I am able to retain control from the other work without compromising the quality of my written work or practice work. By setting these goals, I have been able to experience and understand how to forward plan my future goals with a clear organisation and vision environment. Moving forward, I will co tipsy apply these strategies to help maintain consistency, reducing stress and handing in work on the correct deadline.

Confusing the harmonies between boy and girl when playing a male role as a girl is very important and in need of perfecting as this can affect and disrupt the music balance between the male and female roles of the performance and the comprising of the ensemble singing. As a performer playing a male role, it is essential to have a clear understanding of the harmonies and aligned with the vocal lines of my characters role. Mistaking harmonies can lead to clashes in pitch, the sound blend and the distraction from both the audience and cast members. This can also lead to lack of communication and preparation or unclear confusion between the character embodiment.

Strategies

Rehearsing vocals separately: using an isolated areas for separating the male and female harmonies can be a guide of practicing  the sections without distractions for other vocal parts, illustrating confidence and accuracy.

Record and reflect : Recording rehearsals and run throughs can allow me to listen back and identify where the harmonies are placed within my vocal range and correct any mistakes made within

Staying in character vocally : playing a male role consists in adapting the appropriate vocal tone and placement which can be difficult many ways. Staying in character will help me anchor the correct harmonies and vocal texture.

Reflection and conclusions

Confusing the harmonies between the boys and girl roles that are being played is a challenge as it brings confusion into the vocal harmonies. Furthermore, seeking the correct ways to distract from learning the females harmonies can provide a deep er meaning of my character after knowing the harmonies, allowing me to overcome this issue. This experience reinforced the importance of musical precision, consistency through character, and team work. I have also learned how crucial it is to take ownership of my vocal responsibilities, est when portraying a gendered role. Going forward, I will continue on using detailed preparations and reflecting on the voice recordings to ensure my contribute on was effective for both the musical numbers and the elements of the production.

We started a costume walk after the run-throughs to evaluate character distinctiveness and visual coherence. My outfit included a green blouse, a green flannel shirt, and black flared trousers. I wore my hair in plaits. In addition to keeping a consistent style with the rest of the ensemble, this costume was specifically designed to highlight the contrast between the show's usually male and feminine characters. After examining the unique costumes of each cast member, we proceeded to try on the One Bows number's hired outfits. Unfortunately, a major problem we ran across was that a lot of the clothes we rented were too small. This hampered our progress and made it clear that the costume department needs to improve collaboration and communication. As a team, we must finish and double-check all costume requirements to make sure that measurements are correct and that every outfit satisfies the production's practical and aesthetic criteria in order to avoid further setbacks of this nature.