Tech/Dress Run

In today's tech/dress, it was clear that the first act was much stronger than the second.

One of the main concerns with Act 1 is the use of space, other than that, it is only minor - requires slight tweaking. In the 'Prologue: Jellicle Songs for Jellicle Cats', the beginning of the music has little action, making us (actors) appear unsteady and indirect. Therefore, we need to assign ourselves specific activities, which will make us look smooth and direct. This will also fill the beginning of the music, ensuring the stage isn't empty and that the opening is strong throughout. 

I had the issue of finding the time to  change shoes after 'Naming of the Cats' in to 'The Old Gumbie Cat'. It has now been decided that tap shoes can be left onstage. As me, Ellie and Grace are models, it makes sense to change shoes infront of the audience, as opposed to the rush of running on and off. It can reflect the hustle and bustle within our fashion house.

Another thing which has been decided is the addition of year 12s for the beginning of Rum Tum Tugger. This will enhance a piece which is already considered very energised. 

Bustopher Jones' comical journey is still progressing. For those who have solo verses, we have had the thought of creating a hat with a different coloured ribbon, which they could wear. This would represent the signature Bustopher hat. We may also incorporate a cane because he is fairly old. Movement still needs to be bigger to emphasise Bustopher's size.

For Old Deuteronomy, the press conference feel needs to be maintained. It is easier when all the year 12s are involved. I enjoy them being on during the song, as it provides more miming opportunities. 

The Jellicle Ball has slight timing issues, for example the two slides and a turn in our lines. Otherwise, it is just the matter of rehearsing solo sections. Also, the clicking at the back during other solos needs to be spaced out; stage left and right needs to be balanced in terms of the number of people. Lastly, we need to create some mess at the end of the song. I put forward the idea of poppers/streamers, as the song is a large grand party in our concept. The mess can provide Grizabella with the activity of cleaning in 'Memory (1)' and it will work well for 'Moments of Happiness', which is showing the morning after the night before. 

Act 2 is rather different to Act 1. In terms of music, it is a much slower pace, which means that our movement and vocals need to go up a level. Another difficulty with Act 2 is the clarity of the storyline.

In 'Moments of Happiness', each character involved needs to have a goal in their mind, which they can achieve by the end of the song. My goal is to find Josh (Asparagus), as I am his PA. So I am going to act worried but also frustrated towards the other characters on stage. Finally, the choral singing of 'moonlight...then a new life will begin' needs to sound more assured. At the moment, it isn't coming across this way because I am slightly unsure on the cue in the music. 

For 'Gus: The Theatre Cat', I need to sing through my solo verse, as I am struggling sliding from chest to head voice, which there is a lot of in the song. In terms of the look of the piece, me and Josh have planned to take pictures of us dressed in several different costumes. They will show us in our past shows, highlighting the nostalgia. The pictures will be put on PowerPoint slides, which will be projected on the back wall. Next, 'Growltiger's Last Stand' needs recapping both movement and vocal wise. 

Finally, 'The Ad-ressing of Cats' has to show the return to everyday life in the crazy world of fashion. Instead of flicking through the rails and fixing mannequins, me and Ellie are going to enter the song as special guests/experts. The models on the runway have earned some type of qualification and we are there to congratulate them. A real life version of us would be Kendall Jenner and Gigi Hahdid. 

Q&A - First Cats Run

 Q1) What stage is your choreographed song at? Gus the theatre cat is complete, and just needs to be gone over. Growltiger has been started but not yet completed. Ballad of Billy has not been looked at. 

Q2)How well do you know lyrics?

Familiar with majority of my solo verse in of Gus. I am mainly having trouble remembering the order of lines, as it's quite lengthy. Overalls, I am more confident in the group songs, such as the Prologue.

Q3) What thought have you given to the narrative?

Before Gus is Moments of Happiess which sets a dream-like, dazey mood. During Gus, the mood is reflective, as is Growltiger but with more energy/animation. Ballad of billy is jolly. The narrative of Gus is that he is being celebrated for a successful career - a magazine has been brought out in his honour. The song takes place at a ball which everyone has been invited to, apart from characters that obviously wouldn't be involved, i.e Grizabella and Old Deuteronomy. 

Q4)Have you considered stage movement?

Jelly is part of a duo, still Gus is of a higher class. She is friends with Jennyanydots. I think she most belongs with Demeter and Bombalurina. I think I need to interact with these two more, for example, do make up in the mirrors alongside them, looking at clothes together.

Q5)Have you sorted costume?

Trying to source off friends. If unsuccessful, I will buy something that roughly matches my design.

Q6) Have you completed your production role?

I think I got put on props whilst I was away. As far as I know, a props list has already been complete so I'm confused on what my role is.

Q7) Have you attended any extra rehearsals? No.

Q8) Have you cleared your diary? Yes.

Cats - Impressions

Early Impressions

1. How did you initially react to the script? How did you start to create your character?

My initial reaction to the script was concerning as I came to realise that it was made up of only lyrics, and no straight acting dialogue. This concerned me because I was worried about how I was going to maintain the portrayal of a character through different songs. Once receiving my role and learning that I'd have breaks in between songs, I felt more settled. Furthermore, my concern about character portrayal diminished as I began to understand the relationship my character shared with others. With the new knowledge of my relationships, my character status became confirmed. Jellylorum being friends with Jennyanydots and Asparagus highlights how elders enjoy her company, meaning that she is considered to be mature for a young person. I learnt that she was more of a younger character because of her occasional participation in a trio with Bombalurina and Demeter - two young and playful girls. This shows how Jellylorum finds herself in the middle, suggesting that her social class is of a good standard.

One main lyric concern was a verse in 'Prologue: Jellicle Songs for Jellicle Cats':

Practical cats, dramatical cats
Pragmatical cats, fanatical cats
Oratorical cats, Delphic Oracle cats
Skeptical cats, Dispeptical cats
Romantical cats, Pedantical cats
Critical cats, parasitical cats
Allegorical cats, metaphorical cats
Statistical cats and mystical cats
Political cats, hypocritical cats
Clerical cats, hysterical cats
Cynical cats, rabbinical cats


These lyrics were challenging because they were in a tongue twister fashion. I know that I have to rehearse this section repeatedly in order to sing it confidently.

2. What did/do you think of the concept of changing the context to the fashion world?

Our synonpsis: "Old Deuteronomy is the head of the fashion house “Deuteronomy Designs” with the help of her right hand women Skimbleshanks and Munkustrap. The elite team of models who are chosen to showcase her designs and the designs of her apprentices are called “Jellicle Cats”. Everyone knows who the Jellicle Cats are and everybody wants to be them or be with them. Each January Deuteronomy releases a bumper magazine called the “Heaviside Layer” setting out the styles and fashion that will be in for that year. Each December the Jellicle Cats come together and Deuteronomy chooses a young model to grace the cover, which can elevate their career to new levels they may have never reached before. However occasionally Deuteronomy can surprise the world and choose an ex “Jellicle Cat” and give them a comeback that will put them back into business for years. Each “Jellicle Cat” model showcases their talent. Look out for Bombalurina, Demeter, Rum Tum Tugger, Jellyorum and Tutti who are the public's favourites. Each designer also puts on a fashion show, such as Mr.Mistoffolees and Jennyannydots who will showcase their sometimes called “wacky” designs, all to try and impress Deuteronomy the most. Will Mungojerrie, and Rumpleteaser’s mischievous antics finally put them out of the competition? Will Grizabella ever be accepted into the “Jellicle Cats” again after her controversial downwards spiral? Will Gus ever get his big break after all these years? Who will it be? Who will it be?"

My Interview - see for response to concept.

Initially, I wasn't fond of the concept. This was because I felt excited about playing an animal, as it would've been a new experience for me. The show has always been kept to how it was originally performed, so this concept is considered very adventurous, which I think scared me. I was worried that the audience wouldn't understand the storyline. As the rehearsal process continued and new concepts were established, I began to feel comfortable and take liking to the fashion world spin. 

Mid Way Impression

3. What has changed about your understanding of your character?

Originally, Jellylorum is quite the motherly figure, which has stuck, despite the fashion theme. An example of her maternal instinct is seen when she takes Demeter away from Grizabella because she is 'dangerous.' However, her traditional protection over the young ones (kittens) doesn't always exist. For instance, in Rum Tum Tugger, she acts starstruck by him like the other girls. She is very excited and acts immature for someone who is meant to be an elder. The more mature female seems to be Munkustrap, who belongs to the agency group of characters. Whereas, my character belongs to the model group of characters. Yet, she has close bonds with those above her, like Asparagus. I have learnt that Jellylorum is a 'happy medium'. She acts sensibly when needs be, but is very playful at the same time. In the narrative, she is Gus' PA, as well as a model. The serious side of her personality is highlighted in songs like Gus: The Theatre Cat and Old Deuteronomy. Whilst, her playful characteristics shine through in songs like Bustopher Jones and Macavity.

4. Discuss a number of the ideas/possibilities that you have tried out whilst rehearsing

• Cartwheeling over the runway in the Prologue
• Making the choreography in Gus literal - to match the lyrics

5. What ideas worked and which didn't?  ...and why?

Cartwheeling over the runway went well in rehearsals. However, when it came to show week and practicing with the set, it became more of a risk, leading me to remove it from my mini dance solo in the Prologue. Wearing character shoes made general movement a lot slippier.

A concern I had with making the choreography literal in Gus: The Theatre Cat was how it appeared to an audience. Although, the song itself is slow and simple, I didn't want the choreography to appear basic. We have some fantastic uptempo numbers and I don't want this song to be a weak link in the show. I think making the movement literal was an effective choice. Everyone onstage performing the same movement looks slicker, in my opinion.

Draft Scene - Script

WWW:

Comical moment - giving the play some balance between the light (Ton's hope) and the dark (his doubt/past).

Lynn - 'How do you always manage to bring everything back to you?'

Ton - 'You asked, remember'

Lynn (rolls eyes)

Clear instructions for actor - I am bringing the characters I've created to life, through features such as stage directions. For example:

Ton - 'Oi, do you think my life only consists of disasters?' (serious tone and expression)

Creating my characters has been my favourite part of the script writing process. 

EBI:

Less cliche dialogue (romance) - it is currently lacking some realism. In reality, the relationship is turbulent and to an extent, destructive.

No movement direction