After many months of absence, and deadlines looming, I decided to return to this blog for not only your sake but also mine. Despite this, I have not received an opportunity to direct since November. This was an interesting show, we had a very short amount of rehearsal time and I was undertaking a lot during that short time. I was also co-producing and stage managing a different show, starting off on committee for a new society, getting all the paperwork done to start my new job and finally I have a degree to complete. This was an interesting experience to say the least, which I am fully aware from my experience of directing Bad Girls last year that I could've managed far better. Running from commitment to commitment meant I was forced to arrive late regularly, and after completing my commitment to a different show, exhaustion took hold and I committed the ultimate directorial sin and missed the first hour of my rehearsal. Were I to go back to the opportunity, this is the one thing about it that I would change, I now know not to take on so much, even if it's physically possible, the commitment overload really does have an effect on your performance in the role as well as your wellbeing. Now that my commitments are much less dense, I'm happy to say that I feel a lot more at ease. Here is a little bit more about how the show was constructed and my directing process, despite what I said, there was a lot of merit to the event as it was welcoming to new members and was a lot of fun for those involved.
The show itself was constructed of thirteen numbers. Four were assigned to each director, and the remaining number was set up as a choreographed opening number. My four numbers were:-
- I just can't wait to be king, from The Lion King
- Skyfall - from the film of the same name
- Hellfire - from The Hunchback of Notre Dame
- Always Look on the Bright Side of Life - from Life of Brian
The first number that I worked on was Skyfall, and this grew to be like my own child as I arranged it myself for a female choir and three soloists. This went through many different forms on stage, the arrangement itself changed regularly and the interest was beyond the scope of those who took part. Originally formed as a traditional choir with a rumba dance solo between "bond" and a "bond girl". The latter of these was sadly cut as I didn't want it to distract from the arrangement. Also, when we got to the theatre, it was apparent that a spotlight effect was being used for another director's number. I decided to use this to my advantage and rearranged the choir in these spotlights. This number had tricky harmonies, and I am very grateful for having such a patient choir especially with the limited rehearsal time. They gave up a lot of free time to rehearse and I couldn't have pulled it off without them.
My next number was "I just can't wait to be king". A classic that anybody who grew up in the 90s is bound to know. Due to the talent of my lead roles, I decided to expand Nala's role so that all three performers had an equal amount of time in the spotlight. This number had more practise as I completed it earlier, and because it was such a popular song we had an enthusiastic chorus of "animals" who came along to experience the fun. With its bright colours and upbeat singing/choreography. I feel as if this number came out to be my strongest.
Following on from this, I started working on the Monty Python number. I incorporated this into the compere slot which was placed just before this number. I was a bit unsure as to how I would attack it, I only had a score for the version used in Monty Python Spamalot, which didn't have the macabre joy and reassurance that the original had. I decided to go with this for simplicity until I spoke to the musical director and realised that we didn't necessarily need sheet music. With this revelation, I quickly reblocked with this in mind. The new ending provided an opportunity to break the fourth wall much as Eric Idle did in the classic film. This breaking gradually became an ad-lib by the two soloists, and it certainly paid off. I had a smaller chorus than I was expecting, and those who were involved put their apsolte best into the performance which involved a lot of swingy clicks and a chorus line esque moment which I had in mind for a full chorus, nonetheless they worked really well with it. Sadly however, due to lack of rehearsal time and mishaps on my part, this number felt a bit sparse, not because of the chorus at all, they were brilliant, but because the blocking itself needed more content. This could've been resolved had there been more rehearsal time. But the fourth wall moment to close was incredibly popular with the audience and a great relief.
My final number was a number with very talented performers. Hellfire was one of my favourite Disney villain songs out there. It only had a week of rehearsals sadly, this was a slight issue as the chorus were expected to learn latin hymns in that time. When we got to the show itself, I was incredibly nervous. Part of me thought it wouldn't work out as it was very reliant on physical theatre to provide an effect that should be considered menacing. The actual performance itself was actually quite good. The chorus put a lot of effort into learning the latin, and were precise with their movements. I was also blessed with a soloist who had such an admirable voice, even if the number had fallen apart he still would've had a bold response from the audience. Another asset to this number was a flamenco dancer who took on the role of Esmeralda, the gypsy who Frollo obsesses over in this song. She mate her choreographing debut with this number and performed a sensual dance that fit swimmingly well into the scene. Even with the short amount of time, this number was pulled off incredibly well. Although simple, it was down to a strong cast.
Whilst there was a lot that I could've done very differently with this project, I learnt a lot from it, being my first attempt to choreograph movements as I had previously worked with choreographers. This has expanded as I now feel more comfortable with such aspects of theatre. Since then, I have taken up tap dancing as an evening hobby, and research the technical aspects of ballet to expand my knowledge of dance. This being an area of theatre that I lack most experience in, I am glad that I've taken the time to learn more about this.
Since this experience, I have displayed regular interest in directing again, however an opportunity has not arisen. I have however had the opportunity to see others' approach to directing in the meantime. After Christmas, I was involved in a production of Anything Goes. For the first time since I left home, I was involved in a traditional musical with a full orchestra. The director took a more traditional approach to blocking and gave precise moves to certain cast members as she desired, she also paid a lot of attention to the rule of "every move must have a purpose". This was clear in rehearsals where she placed a certain location for every stage exit (i.e. The exit up the riser on the back of the stage would lead to the ship's bar). I didn't get much more of an insight into her methods or approach, however I would love to learn more about it soon.
Recently, I've also been able to attend performances which my friends had directed. Firstly, last month I saw a production of The Miracle Worker which was a moving show about a deaf-blind girl. What took my interest was the directors use of flashback sequences which I have always wanted to experiment with but have never been given an opportunity with a show that includes such aspects. Another merit to the director was her use of split-blocking, with different rooms in the house being present on stage at once, and events going on in more than one. The director was also careful to specify from where should the characters enter or exit when changing rooms. This was another forte that I highly valued. Recently, another friend directed a semi modernised version of "A woman of no importance" by Oscar Wilde that had been updated to the 1930s. Whilst I found the upper class style very enjoyable from an audience perspective, one thing I disliked about the script itself is the imbalance of narrative between acts. The first act seemed more focused on upper class discussions, whilst the second contains a majority of the actual plot. Regardless of this, it was interpreted by a very talented director. One of her best aspects was her use of the servants at the manor at which the play is set as a tool to keep the story going even during the interval or before the play has officially started. This simple addition for me said "This is a great director" before the play even started. At times there were a few cast members turning their back to the audience, which might've been errors on the actual night, but otherwise should've been addressed. Otherwise, the blocking was effective and the emphasis on social class was present in how people stood or where they stood in relation to others.
Currently, I have no greenlit plans to direct in the future. I plan to apply for more opportunities when I return to university after my placement in Southampton next academic year. Currently, I am focusing on my course, and on the organisation of an awards ceremony hosted by the students union. I might use this blog to review performances that I've seen and appreciated. But until next time. I hope you have a good day! It's been far too long.
Much Love
Ben
