Watching Act 1 and 2

Act 1

To analyse the run , I watched each song separately to create more specific development for myself, and general development for the group.

#1 Prologue: Jellicle Songs for Jellicle Cats
I think that as a class we have a good knowledge of the choreography. A general development for this song would be to maintain the strength in singing. Due to the amount of choreography, it is easy for us to let the lyrics slip. A point of self development is to treat every run like a real performance, whether I am ill or not. This also includes no fiddling on stage and performing the movement as full out as I possibly can.

#2 Naming of Cats
The focus for this song is the volume and timing. Although, we have been directed to whisper the words, this stage whisper needs to be enhanced. In doing this, the volume of the track can be increased and we can therefore improve the timing.

After watching these two songs, I decided that a general development for the show is the transitions. Each entrance and exit needs a narrative, and be purposeful to your character.

#3 The Old Gumbie Cat
Self development for this song is to work closely with Ellie and Grace to ensure the harmony is right. Furthermore, we all need to be more familiar with the 2nd verse/chorus lyrics as it assists Beth for her own lyrics. Knowledge of lyrics can be done through rehearsal at home, whilst figuring out a harmony can be done with Kim or Claire. 

A positive about this song is the progress in comedy. John and Magic being awful on the runway provides my character with a reaction. 

#4 The Rum Tum Tugger
This is one of the strongest numbers in the show. The only development I have for it, is to maintain the energy (the excitement) that the girls feel about Tugger.

#5 Grizabella: The Glamour Cat
This song is a complete shift in mood which can be complimented with even slower movement. The main development for this song is to make the ignorance towards Grizabella clearer. This can be done by deliberately brushing past her and giving an evil stare. I also had the idea of the addition of year 12 'models'. In more people ignoring her, it would highlight how much of an outcast she really is.

#6 Bustopher Jones
This song is progressing nicely in terms of comedy. The song is meant to be funny, which is something we hadn't fully grasped until recently. A development for this song is the timing of the last line - 'Bustopher Jones in white spats'. This can again be fixed by singing it with Kim or Claire.

#7 Mungojerrie & Rumpleteaser
This is another strong number in the show. John and Catrina have really listened to the lyrics of the song, which everyone can learn from and apply to their solos.

#8 Old Deuteronomy
With the addition of year 12 'media', it has really helped with providing action for those not singing. The miming in this song is going well. 

#9 Pekes & Pollicles
The pace is fast and exciting, through Sophie's delivery of lyrics and the year 12's surrounding choreography.

#10 The Jellicle Ball
This is one of the liveliest songs of the show. A point of self-development is to recap the group solo dances, and general development would be for everyone to make more of their facial expressions. We all have the opportunity to do this, as we aren't singing. 

#11 Memory (1)
This song should strongly emphasise the rejection of Grizabella. It needs to be harsher than Grizabella: The Glamour Cat. To emphasise the rejection, we could include improvised discussion as she enters after The Jellicle Ball. For example, tutting and scowling, saying to eachother 'what is she doing here?'

Act 2

#1 Moments of Happiness
To improve myself in this song, I need to be more confident in my miming. In order to become confident, I need to ensure that I keep reinforcing the narrative of my character in mind. I need to create a goal for my character in the song, and decide how I am going to achieve it by the end of the song. This should also provide some interaction with other characters. 

#2 Gus: The Theatre Cat
I think me and Josh need to show a stronger connection/relationship. This can be done by an occasional hand on the shoulder and more eye contact. It would show that my character has respect for his, and cares about him. Also, when listening to Josh singing, I need to differentiate myself from the others. Whilst, they are amazed and in awe of him, I have heard the stories before but still act sensitively.

#3 Growltiger's Last Stand
We need to start incorporating our planned props (swords) in the song. Furthermore, the choreography needs tightening, which me and Josh can direct in a future lesson. The song is a fantasy, which can be established more when there is lighting effects etc. 

#4 Gus Reprise
This is effective being kept simple and emotional.

#5 Skimbleshanks: The Railway Cat
The scene's busy atmosphere needs to be obvious. I see myself in the video experimenting with different clothes in a hurried fashion which I think is good. I think there could be more running across the stage.

#6 Macavity: The Mystery Cat
Watching the song, I have realised there is an imbalance of numbers on each side of the stage. To eliminate this issue, I will perform the final Macavity movement on Grace's side, as opposed to Ellie's. This will make the piece look aesthetically pleasing.

#7 Mr Mistofelees 
I think there needs to be more interaction between Mistofelees and everyone else. Niamh's character is the main focus and at the moment we're not paying as much attention to her as we should. Furthermore, the return of Old Deuteronomy needs to be more important and grander. 

#8 Memory 
At the moment, the song is very still. Perhaps, Sax and Ellie could gradually come closer through the song. This would highlight the acceptance of Grizabella and would also provide some movement to the piece. 

#9 Journey to the Heaviside Layer
All the characters need to be the opposite of how they have been towards Grizabella before this moment. There needs to be a lot more congratulating her. On my side of the stage, we should add different levels.

#10 The Ad-dressing of Cats
In Elsie standing up and the rest of us sitting down shows her authority, reminding the audience of the different social statuses. A general development is for everyone to know their lyrics. Also, the transition between the different groups and their verses needs to be slicker.