10th September 2024 - LB Rehearsal

 Warm Up

We started with our usual SOVT exercises - specifically using sharp staccato renditions - as well as primal sound activation (loud shouts of 'hey', 'ha' etc.) These things all come together to assist in strengthening our abdominal muscles, which play an integral role in our breath control and dynamics, including projection.

Following this, we applied our projection skills into a call-and-response of 'hello there', emphasising the long vowel 'o' sound and playing with ascending pitch. Not only this, we also played around with tone and laryngal placement, similarly to the previous rehearsal.

Main Rehearsal

As before, we separated into various groups in order to cover as much content as possible, but this time I was based in the main hall. Having covered the vocal aspect of The Harvard Variations in the previous rehearsal, we now went to put it into practise! With another member of the class directing, we pieced together the number; our rendition has similarities to the original, but our main director ensured that there were certain artistic differences that differed us.

Personally, I do not enter the number for a lot of the time, but when I do it is my first entrance on stage. Therefore, similarly to in our acting session prior, I needed to focus on my characterisation more than ever. In our rehearsal video we were primarily going through the motions, but now that I have learned the blocking I can now begin to plan my physicality and interactions with other characters. I have shown thought about this below as a plenary of the rehearsal:

I am entering with two characters who I am already close to at the start of the show: Warner and Whitney. For Whitney, my best friend, this was much easier, as we can openly be presented as comfortable with each other and excitable: smiling together and talking/pointing at items around the new environment (more on that later). 

However, although Vivienne is dating Warner at this stage, it is unknown (and is supposed to be) to the audience, in order to generate the greater shock later on. Thus, I need to ensure that I do not interact with him as much, whether that be through silent speech or body angles. 

As mentioned prior, I also need to show consideration of the space around me to create - alongside the rest of my cast member who will ideally be doing the same - a more authentic atmosphere of buzzing, eager new students in an illustrious school. Consequently, despite my more closed-off, composed demeanour (displayed via. a closed posture, imposing wide stance and gait etc.), I still need to use enhanced states of micro-reactions (particularly in my face) to convey the underlying joy she feels, as well as maintaining the Musical Theatre style of slight exaggerations.

Evidence of Rehearsal

Plenary

In preparation for the sessions to follow, I will implement my aforementioned plans for characterisation that I have planned in hindsight of said rehearsal. Not only this, I have been assigned as an Assistant Director to block an upcoming scene, which I will elaborate on in detail when this has been orchestrated!