Dance For Camera - Rehearsal Process

Firstly, I improvised choreography to fit with my girls stimulus. From this improvisation came motifs and once getting confident with these, I began filming, playing around with various camera angles. For instance, a motif of mine was filmed using an establishing shot and then again but from behind the dancer and closer. 

As I am the dancer in my video, I asked Elsie to peer assess the choreography I was creating. If she liked a piece of movement, we would film it a number of times, applying choreographic devices; for example, performing it slower or faster (dynamics), performing it at different levels, changing the amount of space used.  She has assisted me filming in rehearsal and will do in the final videos. I directed her, saying which angles I wanted. Deciding on what camera angles to use was more or so a trial and error process; we had to experiment a fair bit to see what looked most visually effective.

Elsie's feedback:

WWW - I come across happy and confident when performing the choreography.

EBI - The choreography could be more specific to the stimulus.

Gathering all the clips taken in class rehearsals, I uploaded them onto a computer and used iMovie to edit them, for example, I had to mute the sound in the clips, as it would be heard even with music added on top. Once in iMovie, I was able to import music from my iTunes library. I looked at upbeat songs with lyrics to match my message, which led me to Beyonce - Run The World (Girls).

Further Development - Cats

If Cats were to go on tour...

I would like to see more clearer attitudes towards Grizabella, before and after she is accepted. When she receives the envelope in  'Journey to the Heaviside Layer', I want a mix of reactions. In the show, me and Sophie were stunned. This shock could be slightly more bitter and even angry. This would contrast to those who are overly happy for her and immediately begin to clap when she is announced as the new face of the magazine. As Ellie's character - Demeter - is the only one by her side up until the finale, I think their relationship needs to have more secretive moments and affection. Perhaps in Grizabella: The Glamour Cat, they could embrace eachother so quickly because they are scared of Demeter getting caught. However, I do worry that won't match the pace of the song. 

Another aspect I would further develop is Mungojerrie and Rumpleteaser's reputation. I think the agency characters need to frown upon them more. For example, they could try and enter the party during Old Deuteronomy but be rejected.

As for my own character, I'd like Jellylorum to have a closer relationship with Gus prior to their duets. Also, I'd wish to interact more with Bombalurina and Demeter. Originally, they are the 3 queens. Currently, they share no closeness, except for in The Old Gumbie Cat and Grizabella: The Glamour Cat. Their friendship could simply be shown if the formations were rearranged on stage so that they're always in the same line or performing group dance sections together, like they do in The Jellicle Ball.

Final Show Links

Part 1 - The Old Gumbie Cat (Acapella)

Part 2

Part 3

Part 4

Part 5

Show Strengths & Weaknesses

Part 1
Part 2
Part 3

Strengths:

• Tapping in Gumbie Cat is at a great standard. We are performing it in unison which really shows as everyone does the same arms and legs.

• I'm beginning to channel Bustopher Jones well. For example on the line 'because I've preserved all my life a routine...', my mockery of him is obvious.

• Good meandering and interaction between year 13s and 12s in Old Deuteronomy. It shows that their media/press characters. It also creates an effective visual image.

• My group dance sections in Jellicle Ball are really strong. I am being as energetic as possible, whilst keeping extension of the body always in mind.

• Growltiger is growing in animation. The sword fight at the beginning is slick and effective for setting the fantasy scene.

• Skimbleshanks has a strong opening - the scene is hectic which is our exact intent.

Weaknesses:

• Solo lines in Prologue - my voice sounds strained, this is probably because I had just recovered from a sore throat. To improve the quality, I think I need to keep the whole line in either chest or head voice, and not go from one to the other.

• Timing of 2nd trio verse in Gumbie Cat - currently singing behind the music. This weakness can be fixed by listening to the track prior to the next show and singing it altogether.

• Exit stage earlier for the start of Grizabella: The Glamour Cat. With me offstage, it will highlight Grizabella's isolation, making the audience feel sympathy.

• Lower volume of voice in Growltiger to match Josh's. As a duet, we need to be equal with eachother.

• Fuss around more/longer when getting into first front line formation in Skimbleshanks, as the other side do. Perhaps try fixing something of Ellie or Catrina's.

Artistic, Vocational, Professional Views

What were you trying to achieve? 

To show a genuine friendship with Gus.

How did you achieve this?

I achieved this by singing more at Gus, rather than the audience, in our duets. This was effective because it showed how I was deeply engaged in his character. Our friendship was shown in my gentle manner and the constant smile I gave him. My gentle manner was clear when I discussed his physical state 'his coat's very shabby and he's thin as a rake'. Occasionally, I would put my hand on his shoulder or thigh, which reflected how sensitive I was with him. Furthermore, I gathered the others in the song to come closer and listen to Gus during his verse. This shows how my character is proud to be friends with Gus and wants others to hear of his success, as she herself finds it remarkable. You could say that Jellylorum is inspired by Asparagus. The way I sung also helped represent our friendship. I sang my solo verse softly and often used my head voice, creating an angelic-like sound.

What would you do to further this? 

To further the showcase of Gus and I's friendship, I would like our characters to have more interaction throughout the show. Prior to our songs in Act 2, we don't pay much attention to one another, and there are definitely opportunities to do so. In the final show, we spontaneously spun together in The Jellicle Ball, which was a moment of improvisation, but I would include again if there was another show.

Post Show Evaluation

Show 2:

Part 1
Part 2
Part 3 - Moments of Happiness (acapella)
Part 4

A drawback of our Thursday matinee performance was our volume level in the more challenging songs. For instance, in the Prologue 'practical cats...rabbinical cats' verse, confidence was lacking, hence a lower volume. It has been advised that we tone down the dance solos slightly so the singing is not completely overshadowed. The following song - Naming of Cats - is whispered by all. However, at the moment you are only hearing the people who know the words, which I would include myself in. Nevertheless, the knowledge of lyrics should mean the volume is loud and clear, and this is not the case. The backing track can only be increased if we on stage are louder. With the backing track increased, it will become easier to hear and understand the timing, which is a factor we are collectively struggling with and contributes to the current low volume.

Another aspect that needs development is the balance of people on stage. For example, during Sophie's speech which comes after Josh and I singing 'Jellicle cats come out tonight...to the jellicle ball', there are far more people stood stage left than there is stage right. To overcome this problem, I've decided I will come off the runway to be on the same side as Josh. If I still notice an imbalance, I plan to improvise and mime to other characters that they need to move. 

The Old Gumbie Cat and Rum Tum Tugger are our strongest numbers. It is now just the matter of tightening the choreography, so having flat hands whilst tapping and making the arm and leg movements sharper in the fast pace instrumental of Tugger.

Another area of improvement is facial expressions in The Jellicle Ball. This is a target I would definitely apply to myself. Up until show week, my main concern for this song was being fully confident with the choreography. I believe I have achieved this confidence through the rehearsal process. Therefore, my focus now switches to how I reflect this confidence, which is through strong facial expressions. 

What went really well in our Thursday matinee was the group's ability to improvise. During 'Moments of Happiness', the music cut out. This led to Ellie singing part of her solo acapella and the group singing- 'Moonlight, turn your face to the moonlight. Open up, enter in' with no backing either. Personally, I enjoyed the song acapella. It lowered the mood of the piece even more which is what we are striving to achieve in the opening of Act 2.

Watching the video back, I felt my vocals weren't at their best for Gus: The Theatre Cat. Prior to the show, we were unable to do a group warm up which has taught me to fully warm up alone if we ever don't get the chance to do so. Furthermore, the emotional content in Gus, i.e. the admiration that Jellylorum has for him, needs to be made more obvious. At the moment, I am making a lot more eye contact with Josh than he does with me. This effects the connection we are trying to portray to the audience; to prevent this, Josh and I have planned to rehearse our songs before the evening show, in which we will strongly focus on eye contact between eachother and to the audience. In Growltiger, we were missing a sword, which was later found. Being part of the props team, I felt responsible and wish to strictly set everything next time.

Finally, The Ad-dressing of Cats has largely improved. Yet, a few minor issues still remain. For instance, me and Ellie tend to rush the weaving through the agency characters, which takes place at the back of the stage. This causes us to travel asymmetrically. This can be fixed if me and Ellie take a moment to look at eachother. Seeing as we are presenting Grizabella, a shared look with a smile is appropriate because it would show our happiness for her. The presentation of Grizabella could be greater; as me and Ellie release her, we need to maintain our arms to be up and out towards her as she takes the runway.

Rehearsal Evidence - Cats Solo

https://www.youtube.com/watch?v=f0kAo95fZ3c&index=24&list=PLl8RU1N6TfpJpZWLRF3dBzBufipRHux9 - watch from 3 minutes onwards.

https://www.youtube.com/watch?v=M-p82JO6okg&index=25&list=PLl8RU1N6TfpJpZWLRF3dBzBufipRHux9-