Refining Act Two!

White Rabbit-like, I'm late. Amanda has already started finessing the dancing to Song Eight when I get here - apparently it takes longer than I had realised to drive from York to Bicester and then eat some tea. Anyway, the dancers need to concentrate for this. I suspect the dancers need to concentrate for all of it, but perhaps Amanda just means she needs us to focus. There's a lot of der-der'ing though I think that is meant to represent the count, not the singing. Late arrivers are slotted in in pairs. On the second der, it's up. This may mean something to the dancers (or it may not. Were you concentrating?) and we go back to starting positions. Amanda demonstrates the step involving both the pointy toes and graceful arms and we are all going the same way. Yes, Steve, we *are* all going the same way!  Jackie briefly loses her partner Katie so that Amanda can show us how it works with a partner, but most people try to join in during the demo so Amanda has to do it again, slowly.   The next step is limited to people who feel comfortable doing it so Steve is skipped but Nick, Andy and Chris amongst others are persuaded to join in. Some take more persuasion than others. The rest of us are allowed to do repeated box steps until 'the end' and no, that's not the end of the song/dance. But it's back to the beginning and Smile! when you sing the words and do the steps. But that's only two-thirds of the way through, so there's still another few steps to master. Now there's some jogging involved to move from an arched line to straight lines/blocks. Andy and Jan, and also Nick and Kim have to move back a bit - they're clearly keen on being front and centre but Amanda's not ready for them to do that yet.  The joggers now have to organise ourselves by height, which bizarrely requires much giggling and chatter but we get there and are given additional steps in our pairs. Amanda is now demonstrating with Jackie so poor old Katie is having to work solo temporarily. We're rolling out to box steps rather than barrels but I'm still a little concerned and clearly so is Amanda as she wants to do this bit slowed down some. However, it works (more or less)! Once more with Amanda dancing in front and then she wants to do it again and watch. Martin wants us to sing, smile and move - a demanding taskmaster!  There are a few worried faces in places and some arms and feet that don't move quite in sync with the rest but it's good enough for now, and Amanda wants us to revisit Song Two, which we did last week - can we still remember it?

Rod and Steve aren't quite sure what they should be doing as they weren't given specific instructions last week but Amanda has plans for them, including galloping on. Rod is dubious...  Most of the song goes reasonably well, considering, but the middle bit needs a little work. Since Millie is here with Amanda, she gets a preview of what the children will be doing in this song and stands stage left with Sandy. Martin has a couple of reminders for us all regarding other things/people on the stage at this time so everyone except the back row has to take a step back and get a little tighter (though not in an alcoholic sense) before we run it again. Jackie takes huge pleasure from the galloping, to judge by the smile on her face. It's pretty good, so we get a chance to learn another new dance routine.

Song Nine needs debate. There are only two lines of dialogue at the beginning of Act Two before the song starts, so Martin is in favour of everyone being in place before the lights come up. Amanda has planned choreography based on everyone moving into place from the scene. A decision is reached. People are arranged in pairs to form square sets. Cathy is given the opportunity to be left out of this dance as she has a line after it, but she's happy to dance anyway. As we try to work out who is still missing from the positions, Dan is mentioned. Martin notices Steve sitting down and says in that case Dan can't be doing it. I definitely heard Steve say he would do it in that case, a comment he quickly retracts as soon as he realises he inadvertently said it out loud. There will be some inner circles and Martin suggests that maybe Beauty could be moved from circle to circle in the course of the dance but Beauty remains seated for now; time will tell. Circles are formed, unformed and reshaped into squares, then there are turns and bounces followed by a Charleston. Just in case this is too easy, we now need to do something which is subsequently named the Charleston flip step - turning and touching the heel of our right feet in the process.  We now run the song this far, particularly with half the circles facing out so that we are also facing forward. Some chassées and more cross-turn-bounce before Amanda has to leave and Martin wants to start the rehearsal proper. Fortunately, Amanda can probably make it to Friday's rehearsal so for now, we just rerun Song Eight to help embed it.

We’re starting Act Two for real at this point, so everyone needs to get into position to try out the choreography Amanda has just given us now that she's gone. Beauty tries to join in with the occasional bounce but she hasn't been given specific instructions yet so it's a little tricky for her. The rest of us don't do a bad job, though Amanda might not have shared my opinion had she been here.

Anyway, the action starts. Beauty's attempt at sounding positive isn't positive enough and I wonder if she should slap her thigh at this point, but Martin doesn't suggest it. Dan is unfortunately off saving lives again so Jackie stands in, though the Dame calls her Boris. Or Doris. One or the other. Or maybe that was Steve?  At the next line, about signing for the delivery, Jackie is the one who has to bend over - perhaps that's why she was volunteered for the role of stand-in. Mark soon has to describe Steve as an idiot and Diane is forced to defend him, so some serious acting called for.  We get to the end of the scene with Celia making occasional notes about additional acquisitions that need to be made, including wet socks. Obviously.

Charlotte does her solo to much applause again and that scene proceeds pretty well, though she and Daisy still need to work on the second half of their dance.

Next up (ish) is the teen scene and we have a full complement of teens, eight of them.  Their coffee grinders are all pretty good, though the singing is still a little quiet but perhaps it's just that not enough of the 'audience' are singing along with them.  After the first time, Martin asks for a repeat, with a little more attitude and volume in the singing, and he adds Suzanne to the stage presence, though she doesn't need to join in the dancing (shame!). He also asks Giles to play a little quieter - so that'll be a challenge! The audience are asked not to join in the singing this time. For a group of eight teenagers, they're just not yet scary enough but I'm sure they can practise that. Shirley gets to tie herself up and does it remarkably quickly so Andy assumes audibly that she's done that before. Cue much laughter.

Diane and Tina ham their next scene up considerably to much amusement though Tina grabs her stick at the wrong end initially (also the cause of much amusement). The beating goes well but Martin asks for it to be done again, despite Mark's protests, because they need to time it with the drums. After a third attempt at perfecting beating Mark, Tina and Diane appear to channel the Keystone Cops but Martin is happy to move on for now. Mark appeared to be asking for another rehearsal but perhaps he was being ironic.

We're getting ready for another chorus number now and Jenni acquires a line, though she has to deliver it with a bit more welly, which is administered via an additional five voices.  The step-slide manoeuvre in the next dance leaves a few of the back line, notably Liz, Sandy and Chris, narrowly avoiding a full-on collision with the back wall but they soldier on nobly. Miles develops an interesting distribution method for the sweets that involves his feet but Martin may not allow him to do that on the night.

The lights are dimmed for the special effects scene rehearsal which presents a problem for the musicians who can no longer see their music.  Someone finds a light for Steve and another light is shone on Sarah's music so that she can see. There's a brief rehearsal in the dark so we can all we how it works but then Martin is prepared to have the lights back on so he can direct those involved more easily. He (possibly foolishly) says that after this rehearsal of the scene we will stop for coffee, which means that all those not involved in the scene are in line within seconds, hoping to be first up for choice of cake, presumably. Fortunately it's not a problem for those rehearsing and even the band is in line before Martin has finished talking to the rehearsers.  (Disclaimer: This did not include Giles.)

Lots of homemade cake later, announcements:

·         Street promotion next Saturday with Teni, Tina, Simon and Sarah in Sheep Street - please support them!

·         Four weeks tonight it will all be over! 400 tickets sold already, get more sold. There will be more big boards going up when Bob is available to help. But push Thursday evening especially!

·         Painting - next weekend, please, all welcome, however minimal your painting skills. There's a big set so Gordon needs lots of help.

·         Costumes - Jackie and Cathy are making fantastic progress. Next Sunday from 11 a.m. chorus up at the barn for a costume call.

·         There's also a children's rehearsal next Sunday 10 to 11.30 in the hall. If any can be around in the evening between 6 and 7 too that would be great.

·         Another rehearsal next Friday of anything for which we have the cast.

·         Socks - please lend them if you can. They're only going to get wet! They don't even need to be clean (though they won't get washed).

·         Info sheets to Rob for the programme - if you don't get them to him, he will make up something embarrassing for you ("he does anyway!").

·         Donations for Martyn - there is a box that will be brought for the next few rehearsals.

·         Teens - please get hold of leggings or jogging bottoms - you need to look like little thugs (or in Chris’s and Andrew's cases, big thugs).

And now back to the action.  Andy demonstrates severe grumpiness most successfully though he might find a set of shoe trees helpful!  Tina and Diane have to indulge in some clasping which they do for longer than is possibly necessary (could someone please tell Keith at the Black Bull, I'm still trying to persuade him to come to the show!) but it's probably part of their hamming.

Someone has been plaiting the Beast's hair and he's looking rather too fashionable so some unbraiding will have to take place at some point.

The Chief Goodie tries to run through how the audience participation is going to work and considering we have the script (or at least have seen it), we seem to be remarkably slow on the uptake. Suzanne asks at a time-critical moment if we can run through it again but she is ignored; is this an experience she is used to?  We’ll have to ask Mark.

Beauty gets to the Beast and is concerned initially that he is dead. However, the shuddering laughter would indicate that she is wrong. This distracts both of them from delivering lines, or even what the lines are. Never mind, Hilary is here! Fortunately, they have both recovered by the time they reach the love duet. The hand-holding and cat-calling induce more giggles but they just about reach the end of the song.

Lots of people assemble in the wings ready for the next entrance, but Martin reminds us that only named characters, who have a line, should be coming on. Poor Emily and Jan sidle back to their seats. Nairne and Charlie are so busy spatting that I thought for a moment they weren't paying attention but it seems they were actually acting. Martin then gets us to run through the scene again but with a little movement choreographed into it so that it looks more natural.  There's a general reminder that if you can't see the audience, they're looking at your back.  They run the scene again and it works better though Martin has been taking notes.

Time now for Catherine's solo again which is even better than last time I heard it.  Some of her dance steps... Well, you'll have to buy a ticket and come and make your own decision.

The walk-down goes well enough but anyone who thought it would be time to go home gets a timely reminder from Martin - we're going from the beginning again. Back to the opening song for Act One!  We've all warmed up by now so the lines and laughs come - well, if not thick and fast, at least relatively fluently.  Although Charlotte seems uncertain about the direction she should be crawling in and Sandy has to duck out of the way.

Matthew does a semi-gallop across the stage but his 'horse' is not only too far behind him but has also failed to acquire any coconut halves. Monty Python have nothing to worry about.

For the hunting scene, there is a difference of opinion between Martin and Sarah about the build-up so although Sarah has played something, Martin continues to demonstrates a dum-de-dum until Sarah takes the hint.  Suzanne varies the cue for the mass exit of the chorus but they don't realise this until Martin points it out though then they beetle off quickly enough.

Beauty is perfecting the delivery of her goody-goody lines to the point that several members of the audience are nauseated in addition to the cast, so this bodes well for the performance, which, as I've already mentioned, is less than a month away.

We stop after a short while to revisit Songs Eight and Nine, which were done earlier in the evening so the possibility of having forgotten them already is pretty high. Between us, we probably remember the whole of Song Eight, though there are a few patchy sections of chorus line. Consequently, Martin wants it done again. It's um better, according to Martin, but for now it's best to move on to Song Nine.

This is slightly dodgier. I suspect that it is not meant to be a comedy number, nor is it meant to be completely static in verse two but so many people have forgotten how it's supposed to go that there's no one to follow/copy. However, Martin is deep in conversation and Amanda isn't here so the best thing is probably to give up for now, which is what we do.

I'm away again next Sunday (and Friday too, for what it's worth) so if you want a blog update for those rehearsals, I'm going to need some notes off you again. Email them ASAP and we'll see what happens!

Running the whole thing

Kim is disappointed that I didn't mention her double glasses last week - so for all those who missed out, Kim was at times wearing two pairs of glasses at the same time. Doubtless this was why she couldn't tell her left from her right!

Songs first - and a big welcome to Amanda who has come to help with the choreography which is apparently required when we're singing! Lauren is unfortunately just so busy with her career that she can't make it again, and Kim and Daisy have been brilliant, but it really needs someone to watch while we're dancing, so Amanda's eagle eye has been brought in. And radically, we start with Song One...

There are a few people missing which means that one group circle consists of Dan and Miles but they take it in good heart. We get to the end roundabout the same time that a couple of people arrive, but Amanda is ready with her notes already. Hands and feet need to go in the same direction and she wants Big Gestures for the opening number. Run through it again to demonstrate that we're all putting her notes into practice and a couple of lines in Amanda already has to remind people to SMILE!  Stop partway through again for more reminders, including huge waves to Nairne and Charlie. Cue laughter as Jackie points out that we'll have to do a *really* big wave for Charlie to see as he's not here yet. Back to the circles. Amanda isn't happy with some of the counts, which differ from circle to circle, and the circular shift across the stage which just looks *odd*, so both aspects are addressed using the central group of Jackie, Liz, Lesley and Christine to demonstrate.  Quick rehearsal of all of us and then back to the beginning of the song again.

Jazz hands at the end of that and Amanda is ready to do song two, but Jackie has a question about the end of song one to do with lunges. Amanda needs Miles’s body and there is a suggestion that Miles needs to get a new body but the windmill arms are agreed and we have the promise of potentially revisiting it later as we need to move on now.

The Prince is absent and his two sidekicks are involved in deep but irrelevant conversations so the song takes a little longer to get started than intended. Amanda tries counting to get everyone quiet and in position but even on reaching twelve, we're not all ready. Less than a month, people!  We don't get to the end before Amanda stops and asks if she can change it. Steve protests weakly, saying we haven't finished yet, but Amanda has watched the DVD so she wins.  The new version is a little more energetic and it means that the chorus will no longer have the security of something we can do in our sleep (and sometimes it may look as though we *are* asleep!) but it is probably more exciting to watch. Dan takes to the new dance with the biggest grin in history - how long can he keep this up?  Our Prince arrives at this crucial point and despite the change of routine, recognises it as being a song that he is in - impressive! There's a lot of galloping on the spot and I'm tempted to ask if anyone has any coconut halves but Amanda has already made it clear that she doesn't have long today so I won't upset her. There has been a fair amount of walking this number through but as we get to the point of doing it from the beginning again, Martin asks if we can do it with the band as they need to practise too! Girls in heels are warned to practise galloping with flats so that we don't need to utilise any of our first aid skills.

That seems to go quite well so now we move onto the act one finale before Amanda has to go.  There's an awkward moment when Cathy forgets both her lines and her moves but she soon picks up her thread again.  Amanda wants to rearrange the chorus into an outer line and an inner line which Liz mishears as dinner time but perhaps she hasn't had her tea. The lines are organised and a step given which is rehearsed to "back smile forwards back smile forwards" from Amanda. Steve likes these particular lyrics but I don't think Martin will change them for him. Amanda also wants heads out front and the look on Steve's face suggests he's wondering about a tortoise dance but he'll get there... There's a changeover now which may not have enough time for the outer line to cross completely unless they run. Amanda tells them to stay where they are and not to panic but once we've tried it out it doesn't work so there is a rethink.  She settles on a weave to be done in the style of rumba which we rehearse once before going back to the beginning of the whole song. A couple more tweaks before Amanda has to leave and we have to move on.

Thank you to Amanda before we all sit down ready to run the whole show through - a challenge!  Martin reminds people that they need to have their props now, or at least something in their hands if they don't have their prop for some reason, which should probably not be their scripts, though he doesn't say this.

Act one goes relatively smoothly in the opening couple of scenes though a few people aren't quite in place in time, including Dorota who makes up for it by then tripping substantially over Jenni (we can all laugh as no-one is injured). Dorota looks as though she would be a really good Twister player.  Rod is expected to multitask and Nick is loitering as long as possible on his chair rather than under the table but he eventually makes it into position and is not late for his glorious entry! Suzanne requests some more music to mark her entry and promptly forgets her line. (She only got back from her hols today so she's probably jet lagged.) Liz freezes with her mouth open but is too slow when Matt points at her and he retains all his fingers.

The Dame is mid-opening speech when the Beast returns from the gents with some of his costume on, which completely distracts 'her' and makes the rest of us laugh.  Comparisons with Cheryl Cole are made but that's a little unfair. The Dame is also distracted when Tina tries to kiss Diane sooner than scripted, which again makes the rest of us laugh, including Tina and Diane. Nairne stands in for Beauty which is a bit of shock because Rod has to change the angle of his neck considerably when talking to her.

At this point in proceedings, Simon and Sarah have clearly decided that it's too cold to play musical instruments and after inserting some money into an appropriate slot, turn on the heaters. They're a little noisy but will doubtless warm the room up a bit. Mark positions himself so that his head can also be warmed up while Steve inadvertently dismantles his pasting brush. Celia makes a small note in the script.  Dan tries to avoid being hidden behind the wallpaper so he clearly hasn't read the script in enough detail!  The head-in-bucket moment in enhanced by the addition of the brush to the bucket so that when tipped up, the brush falls out past the Dame's nose.

Time for the backstage crew to do some work and we move on to the next scene. Rod does some rather risqué improv and one can only assume he's hoping to be the Dame next year. The Beast appears to be in some considerable discomfort and I really hope he's acting!

Song Three is not one that Amanda looked at and it shows so after two and half lines; Teni stops the band and the singers ready to remind us of the steps. As the chorus splits into two halves it transpires that Andrew doesn't know which half he is supposed to belong to as he is left standing in the middle of the back before scuttling vaguely towards the nearest group. Sarah reminds us that it's sniff-always travelling and Teni has a couple of other notes for us. Celia wonders if just doing the song again will sort the problems though Martin is clearly dubious. In addition, the quality of the singing has deteriorated as we concentrate on the dance moves. Even MD Steve has noticed! After some debate and another run through, Martin decides to move on.

The Beast induces lots more laughter on his next entry and Nairne continues to stand in for poorly Beauty. She is hoping to get out of the song but the audience and Martin over-rule her.  After a Beastly rendition, we break for coffee.

The main announcement this week is about Martyn's funeral - 1.30 this Wednesday at Launton church and then the sports and social club afterwards. Some singing in church, in a small group, then more of a jam at the sports and social club. There is a meeting at Mole Hole tomorrow 7.30 for informal rehearsal. There will be a collection from LVP - flowers are family only - for something like a tree or similar. Helen has suggested a couple of charities that could be supported and much of the panto proceeds will go to those.

Costumes have had a major sort and progress from Jackie and Cathy - the sparrows have hatched... Advertising - has anyone who wants to advertise not been approached yet? See Nikki or Martin and Celia.  10-11.30 next Sunday for children's rehearsal. There is a cd with their music on for anyone who needs it.  Chorus costume call 29th (except for Daisy).

Is that everything? Probably. So, on with the show. The Good Fairy has had to go home poorly so Serin agrees to stand in for her. Action continues with other stand-ins until Suzanne has to encourage additional audience participation while she remembers her next line... She successfully survives her solo song and then says, "I've got no idea after that."  Fortunately, Hilary is ready and waiting!

The Birthday Song reminds me that I completely forgot to wish Liz and Chris happy birthday earlier this week, for which my most profound apologies. And Happy Birthday, both of you. We also scoot past the Audience Song, which has some inspired dancing from the chorus though Martin won't let us do it again. The Birdy Song has nothing on us!

We skip half a scene that only involves the two stand-ins and head for the Oi! song. It's a little ... um... And we move on to the rest of that scene.  Miles seems to be confused between anything and nothing but Audrey's amazing prop distracts us for him. We get to the act one finale song but the dancing is not quite as fluent without Amanda's beady eye on us.

Straight on to Act Two and Song Nine. That's Song Nine, not Song Seventeen, Steve. Once we've got the right tune to sing to, we stand more of a chance.  Next is the second messy scene, less messy at present as the props aren't all here. There is a brief instruction to Nick to get into the bucket, but he ignores it. We skip the end of the scene to give those involved more chance to learn their lines and move onto Charlotte's solo - from the extremely ridiculous to the rather sublime. Charlotte and Daisy's dance still needs some work but Martin will try to get them together with Amanda to choreograph it completely.

Suzanne teams up with the teens next, who have some very bad behaviour planned. Typecasting, Martin! Chris even channels Igor despite the height difference. Serin gets so carried away with being evil that she skids into a face-down position on the floor, but immediately bounces back up. The things some people do to get into the blog!

Mark's next appearance is wearing a tent - a different look for him. Trying to navigate before he has found the small hole through which he can see is a challenge, especially when inadvertently attached to a chair which follows him. After a brief visit to the gents which may or may not have been tactical/deliberate, Diane and Tina wield their umbrellas most successfully. 

Song Fourteen may have a familiar tune and similar words but the dance for the verse is presumably different as there seems a certain lack of fluency in it. Doubtless it will go on Martin's list for additional rehearsal. Especially the way the song continues after a key change, since some people seem ready to leave the stage a little too early.

It's getting a bit late now so Martin calls a halt to the action and says that next week we will tart with Act Two. Check words over in the meantime - there's clearly been a lot of work done already but it still needs more.  We're just going to rehearse the SFX scene since the band would like to work on it, but everyone else can go.

The SFX dancers make their first attempt at the scene and then get some advice from Martin. Sarah carries on practising the riff in the background and Steve MD wants to do it again, which I'm pretty certain will happen once the discussion has finished. Which it does. And so to bed. Or the pub, whichever you prefer.

Act Two, with songs!

Early start for the chorus - the dances from act two. We start with the final finale, with the instruction to "do what you can remember, then we'll fill in the gaps and then we'll do it again. And don't forget to sing!"

This seems to go quite well considering although the oi! that the ending has acquired is not exactly in unison. We get ready to do it again with Martin muttering under his breath that he'd probably better do it too this time. The music starts as a couple more members of the chorus join the lines and Martin is nowhere to be seen but then I spot him, loitering in a back row where it will be less obvious if he should happen to get the dance steps wrong. Director's perks! There is a short debate at the end of this run through about who should bow when, as Steve wants his own bow and is somewhat miffed that he doesn't yet have one, but Celia gives in to his demand almost immediately! Rod is confused about which hand he should be saluting etc with when, so the natural choice of someone to stand in the middle and remind him (and anyone else who is having trouble) is Daisy. She's a good sport!

Before a final attempt at this number, Martin and Celia tag-team each other on reminders and notes until Martin tries to speak over Celia - apparently it just pops out while he's thinking about it. Slightly worrying over-share? It goes pretty well although a couple of people who shall remain nameless (to spare Jackie's and Lesley's blushes) are carrying the song lyrics with them for occasional reference.

Now it's back to the beginning of act two, everyone's favourite song. No, not *that* favourite song, the other one! This would be so much easier if I could name everything but I don't want to spoil the surprise for anyone.... Again, "do what you can remember though," Martin says, "I'm sure you've been studying your DVDs over Christmas." After the first run-through, Martin asks if there are any problem bits. There's no answer but this is partly because a gaggle of dancers has surrounded Kim and her notes to clarify all those problem bits. Kim starts stripping off again as she, Daisy and Celia do the steps of the final line slowly, fitting the song-words to the steps. An earlier verse is now stepped through as we all watch Lesley. Well, watch/copy though for some, there's a bit less copying and a bit more watching.

For the next verse, there is a lot of debate about who moves when, and precisely what the moves are supposed to be, a debate exacerbated by the persistent of the band in practising various runs and chord sequences, all done individually quietly but cumulatively with the debate and the stepping, rather loud! However, they do reach a decision and Celia asks if we can do it again. This time, Kim will demo for one half and Daisy for the other half. This would work better if Kim was used to the routine for the side she is supposed to be leading, but never mind! That was kind of all right, Martin decides, so now it's on to a different number, the teen routine, while everyone else gets a chance to rest their feet and check the words.

The teens do a pretty good job of the dance steps, coffee grinder included, despite their depleted numbers, though the singing support they are supposed to be getting from those sitting down is non-existent, or failing that, drowned out by the various conversations.

Now time for our other favourite song. Those who like twirling are instructed by Martin to stand in the front row, those who don't should head for the back and hope. The back row is surprisingly not overloaded! Mostly people are happy with this, so Martin asks now for a rendition of song 18. This includes everyone except Beauty and the Beast, so there's not much of an audience left. This is probably just as well, given the familiarity (or lack thereof) with the steps as demonstrated by some of the dancers. Once through with the music and then it's time to break the steps down into smaller sequences and practise them. Daisy and Kim debate some of the finer points but between us we reach a consensus of what the steps *should* be. Twice through with the music and then Martin wants to move on. Time to start Act Two!

Everyone has sat down and it takes a moment before we realise that after two lines, the chorus have a song and dance number to do, so it's everyone up again! Given that we've just done this one, the singing is a little subdued in places, but perhaps it's because Beauty is standing in the middle of them this time.

Without giving too much away, the Dame's substitute is no substitute when it comes to writing on people, and Beauty's sisters simper and giggle quite beyond belief. Quite nauseating, though obviously, you can still eat ice-cream in the interval.

Also, I get to hear Charlotte sing her solo, which is pretty awesome. It seems my informants were not exaggerating! There's a dance shortly after this for which it appears the music has not been decided. There is a lengthy discussion about the length, style and tempo of this piece both with and within the band. Eventually a decision is reached and we are able to proceed.

We get to the teen scene. There's a dance, but then there's some acting. The delivery is very much in a teen-style, but despite laughter from the audience, Martin says that's appropriate! Once they've gone, it's time for one of Shirley's solos. She's a bit worried about this but it sounds fine to me.

The action progresses despite Hilary having to do some prompting - one line Shirley hadn't even highlighted - and then it's another chorus number, preceded by some speech. Everyone has a word or two but they seem to have forgotten them since the last rehearsal of this scene. Work continues on to another dance number which is cast now, to the surprise/pleasure of those cast, and some new music, which MD Steve tells me later was only asked for this morning, so it was almost composed as we went along.

A break for coffee and then announcements before we start again, including another request for help with the set-painting. Also, next weekend we'll try to run the whole show, which should be interesting. Ideally, know the words, especially for the songs if that's all you do, and remember to smile. Start at 6 again, with a run through of act one routines first.

And then we can carry on. Andy has a brief moment of semi-glory doing a duet with Shirley, and Audrey commits herself to making even more props. Nairn has to stand in for Suzanne and takes particular relish in the line "I'm enjoying this!" Martin is standing in for the Beast and tries to do the kissing scene again but their relative heights stops him...he tries again at the end of the duet but there's so much laughter from the audience that he gives up. Another line that Shirley forgot to highlight is - um - highlighted when she forgets to deliver it. I get to hear a solo song from Catherine for the first time, in which she demonstrates remarkable comic talent as well as her singing abilities (though it may have been my imagination that she sang 'characters to eat' rather than 'meet', or at least let's hope).

A couple of familiar-looking numbers follow, mostly because we did them earlier this evening, though a couple of peebles are still a little hazy in places, and Beauty gets jilted *again* as the Beast isn't here. 'Jilted Again' is a Puppini Sisters number, but all our music is original so we're not doing that.

We've reached the end now but there is time left, so Martin gets Catherine to do her song again - mostly for the pleasure of listening to it, I suspect - and then another pass at song 18, as Martin thinks he's not the only one who hasn't got a confident grasp on the steps. It's just as well for Rod that he has Cathy next to him who knows what he should be doing, otherwise he'd be in completely the wrong place. There's some spinning and stepping into lines from groups, so the central group, which includes (surprise surprise) Kim and Daisy, demonstrates perfectly. Lots of small group practice and argument, and then Martin wants to take it from the top. A bit too much noise for him to be heard, so he tries again, with support from Dan, and we do indeed take it from the top. It's definitely better than it was, but there's still room for improvement. Since there's also time for improvement, we take it from the top again...

A quick go at song 9 again... We'll see how quick is quick. But once through is 'not bad' in martin's opinion, so then it's on to song 14 again. Just as well we're practising this as there's a lyric fail in verse two and then, because they've been thrown by the lack of lyrics, Daisy and Jackie talk behind their hands about what the next step should be. That's the only problem with learning steps to words - once you forget the words, you stand no chance of remembering the steps! We do it again and I'm sure I can hear Jackie calling out, "Right, back, left," at more than one point, despite an improved volume in the singing.

Another opportunity for the teens to do their dance now, which the chorus gratefully accept as an opportunity to sit down. Unfortunately they do it far too well which means in no time at all we're all standing up again for a chance to do the walk down and the final song again. The (small) audience applauds nobly as each section of the cast takes their bow, although why Rod walks down by himself is a little baffling... Presumably he's supposed to have a thing going on with his housekeeper, who is absent this evening.

Dont forget to sell tickets is the final instruction from Martin! So, don't forget!

A New Year, a New Rehearsal

Happy New Year! Rehearsals are off to a strange start as it's Monday, bank holiday Monday even, but that has to be an improvement on rehearsing on New Year's Day when everyone is still nursing their party heads.  Tonight Martin hopes to do Act One off book, or as I put it, off script. Time will tell. And Hilary, our hard-working prompt, has joined us for the first time, so let's hope she has a quiet evening.  Martin has a request for all conversations to take place quietly in the kitchen and the rest of us to be an audience please.

We're about to start when Steve MD stops us so that he can demonstrate the intro - which then has to stop as a penetrating whistle reaches our collective auditory ranges. Once it's been identified and terminated with extreme prejudice, Steve starts the intro again - and we're off. Immediately we are presented with a goodie and a baddie and our temporary audience gets plenty of opportunities to cheer or boo, hopefully in the respective order.  The first two characters manage to do without scripts altogether and don't need much help but a couple of the next few are supported by solitary sheets which they crib from occasionally. The vast majority, however, know their lines if not necessarily in the right order or from the expected direction. There are a few people missing, most notably in one of the dancing groups in Song 1. Segueing into the action from Song 1 is more challenging, however, as the temptation is to discuss which steps and words hadn't quite gone according to plan.

In no time at all, it's Song 2, which Steve stops halfway through verse one as he has noticed that the singing is following a different tempo from the band (partly as there's no Giles today so it's harder to hear once we're all singing). The bass plays a little louder and we can all sing Here Comes The Hunt again.

On reaching the end of the song, Martin goes back to a cue shortly before Song 1 so that the two songs and the lines between them can be rehearsed to develop a little more fluency. (A lot would be better, but I'm a realist.)

All goes (fairly) well and the action continues, although Kim is oblivious to the fact she needs a prompt, standing waiting for someone to speak even though Hilary has given her the line twice.  A bit of practice for the line given in unison, which does sound more impressive when it really *is* in unison.

On to scene two, by which time most of the cast are sitting down being an audience though there's quite a lot of talking too! How long before Martin tells everyone to be quiet again... and there's a shhh! Not a massive effect yet, but who knows. Anyway, there's some pretty good acting off book with minimal prompting. The Dame is demonstrating an interesting range of facial expressions that amuse us but may not be in the final performance.

Time now for a messy scene. They have some props though I don't think the really messy stuff will be involved yet.  The Dame moves on from interesting facial expressions to a suggestion of adult-only-suitable costume ornamentation. The physical aspects of the messy scene progress well even in the absence of actual messy stuff. Kim grabs a quick photo of Martyn wearing a piece of wallpaper which may or may not be an improvement.  The Dame lies on the floor exhausted, which is appropriate as the line "I'm exhausted!"

On to scene 3. Rod doesn't say the name of the Scottish play but does the next worse thing: runs across the back of the stage with an *open umbrella* so the panto is potentially doomed.  As we head towards Song 3, the audience gradually becomes the chorus although Martin asks us to practise walking quietly as the collective clomping rather drowns out the lines.  Judging by the hesitancy in sections of this song, people were rather too busy over Christmas to watch this one on the DVD. As Nairne points out, it is harder in the circles with so many people missing, but Martin asks Teni to take us through it again anyway.  A few reminders and then Martin asks us all to do it again, on the grounds that it's always better the second time. Sarah adds a reminder about a sniff, the timing of which had been variable. I didn't notice the sniff but the dancing did seem to be improved. Martin is so impressed he decides to go for a third attempt! Steve MD is keen to remind us to step on the beat and then sing, but Martin thinks we're better at the dancing now and we need to concentrate on the singing more. Jackie's dancing in this third attempt is so exuberant that Daisy is lucky to have two eyes and Rod is only a little bruised.

At this point we stop for coffee, though Daisy takes advantage of the break and the fact that most of the teenagers don't drink coffee to take them through the steps of their dance, in particular the coffee grinder step. (This will probably make up for Suzanne's refusal to attempt to moon-walk earlier.)  The band have also finished their coffee and are running through a few riffs over the noise of the conversation.  Finally Martin draws the break to a close with a number of announcements. Firstly, tickets go on sale this Thursday, at Launton post office and Bicester Oxfam in Sheep Street. Cast please get as many of your tickets as possible from the post office. Street promotions on 28th January and 11th February - we need 3  or preferably 4 people each time, volunteers? The 11th is also the day we're putting the stage up - at which reminder, several people volunteer, lazy lot! Set painting next weekend 10.30 Saturday or Sunday, a few people volunteer for each day. Props - now we're off script, the need for the prop is more apparent, so if you need a prop, source it from somewhere. Thank you to Hilary, our lovely prompt (cheers and applause) and to Nairne's helpers in the kitchen who stepped in at short notice. Next week all chorus at 6pm- starting with act 2 songs. At 7, we'll do act 2.  Costume call for chorus on 29th January at 11 am, please bring everything you already have. Principals at 11 the following Sunday, 5th February.

And back to the rehearsal. Shirley is somewhat disconcerted when Martin tells her that needs to channel Julie Andrews and be ultra-positive but she and Matthew then do a duet which Julie Andrews certainly couldn't manage.  They reach the end of the scene and then it's another opportunity for Suzanne to demonstrate her evil laugh. Her solo song is interrupted when both she and Martin realise that the keyboard setting is radically different from usual - but she wants me to point out that she's not being a diva. (There is a dirty rumour in the row behind me that she's asking for her own dressing room, but I don't believe it. Her own supply of Twisters, though.)

Back to the Dame, who is attempting to work up a sympathetic ahhh! from the audience. It's pretty quiet, though, at which point he says, "It's sadder than that - I can't remember the next line."

Another chorus number now and another reminder from Martin to come on quietly. It's supposed to be the audience song, but since there are no words yet and no music, having assembled, the chorus now disperse to the 'auditorium', though Martin promises we will have both for the next rehearsal of act one in two weeks' time.

Shirley gets to do some acting with Rod next, though she rather usefully is not off book yet, so both of them do Hilary out of her job and keep checking the lines. Rod has to tolerate being put in his place by Shirley and I'm sorry to say that the look on his face seems far too well practised. If I ever catch him pulling that face behind my back, he is in so much trouble!

Shirley comes off stage at the end of the scene only to be reminded that she's in the next scene too, which she hadn't noticed as she read her lines from the script. Martin had noticed she wasn't off book yet; Shirley's excuse? "I've been ill."  Honestly, no dedication to her craft!

Catherine is back on stage now and demonstrates that she really has been studying her script over the hols, having both hands free to act. Some of the words don't come out in quite the right order, so she tries some alternatives but gets there in the end.

On to the Oi! Song. This is made harder by the gaps in the lines but Audrey and Andy in particular both work hard at dancing with the Invisible Man and Woman respectively.  Lauren is unfortunately not here so Martin has to refresh people's memories before we run through the steps again - at least we know the word to this one.  Jackie reminds everyone  that the final spin is a slow measured one not a fast manic one.  We're going to do it again, until everyone is smiling, Martin says - and if in doubt, watch Daisy!  Some of the smiles look more like grimaces so Martin tells us it will be done again...  This time, everyone smiles except the band. We move on.

The first demonstration of a special effect causes much laughter, which is a shame as it's supposed to be magic. Clearly none of us have retained our inner child, but instead our inner dismissive teenager. You know the sort, the one that's not impressed by anything its parents do but is amazed by its own ability to walk in a zigzag line after two pints of cider. (Not like the teenagers in our panto, then, obviously!)

We get as far as the final song though the words are a little hazy so Martin does the end of the scene again, leading into the song, and asks the remaining audience to join in, in the hope that the additional singing will help those on stage remember the words.  It sort of works, although those not involved in the song possibly don't know the tune quite as well.

Martin knows when to call time, so we finish now, although Celia asks people if possible to take a poster to put up and says there will be more when Rob gets back. For now, though - go home and watch the DVD!