Being Beastly with Beauty

Working with Children and Animals

2012-02-05T15:02:00.001-08:00

First, a quick update on what happened last week when I wasn't here again. Key things to note are: Matt's less than stylish placing of chewing gum when on stage; Rod's character is called Lord LANGFORD; the children picked up the dances a lot faster than the adults appear to have done; musicians like to have cues; teenagers wearing wigs is really really funny; we did the whole thing! There was more but since it's now a week overdue, I've left it a little too late. I promise not to go overseas again until after panto now. It's bad enough that there are rehearsals scheduled to clash with my poetry class, without missing Sunday rehearsals too! And now, on with this week's blog...

Lots of children here tonight so we start with the first two songs, which involve the children. A quick reminder to the children of their respective roles in these songs, a query over how much dialogue is to be done before the song as a cue (not much, is the answer), the band start to twang, bash and twiddle, and we're almost ready. Kim asks me to multitask and take a few photos but I'm so rubbish at taking photos that I cast around for someone else not involved in the first song (Rod) and delegate. The band experiment with some different harmonies briefly and the children make a valiant effort at the various movements. One of the groups has Miles and Sandy and lots of small children, so Miles and Sandy have to crouch to make their hands meet. Song Two has the galloping step which Lesley in particular seems to be enjoying, doubtless as it's warming her up. Rod is holding up a flag as high as he can manage but it still obscures Chris's face - just as well Chris isn't in the group in song one that involves all the children!

Martin is happy enough for now with that and moves swiftly on the Song Eighteen and the walk down. The children are grouped and then arranged at the back. They will look better if they link hands and walk forward together to bow, at which point the audience will applaud wildly (NB audience, you have been warned). We have a quick practice of the children walking forward and we do indeed all applaud wildly. Now for a practice with the music - we are allowed to clap if we are in time - and then the rest of the cast have to remember the order in which they walk down. Kim is running (literally) a little late but that's probably her royal prerogative. Catherine has opted for a plié rather than a bow, and then we've reached the end of the walk down for now. Martin makes an executive decision based on the length of one of the lines that the king and queen will come down separately and we go again. It has to be said that the Nursery Rhyme folk are less coordinated in their bow than the children - Lesley, keep up! Dan is finding the dance a little harder, as he has his arms full of small child. He tries putting her down but she'd rather be the 'real good friend' of the song and join in the dancing.

And so on to the final song. Beauty has been jilted again (she very much appreciated the Puppini Sisters song of that title that I lent her) but dances round an empty space in an inverse imitation of Norma Shearer (The Red Shoes, in case it's still on the tip of your tongue) most successfully.

Song Eighteen is going to happen again now as some of the moves are a little imprecise (aka some people don't know the moves). Daisy, Kim and Ellie have to stand at the front to demonstrate and everyone else is supposed to pay attention. See how good it looks when you all get it right together, Martin says. Random people try it out with varying degrees of success and even when everyone tries the first line again together, not all hands are moving in synchronisation. Liz suggests a simplified version which may not look as fancy but at least everyone can do it. Each line of choreography is broken down into simpler instructions and we do it a line at a time slowly, though we are trying to sing as well. Celia apologises for being a nag and repeatedly asking people to be quiet, but to be honest there's a lot of chatter and even if you know what you're doing, other people need to hear the instructions. Dan's small sidekick is really enjoying the dance, to judge by the grin on her face. It's a bit of a squish as lines of dancers have to move past each other and a few people check on minor details, but Mark asks if we can do the whole song again. Martin reminds people on the various lengths of the final notes but MD Steve disagrees. The decision is made to run it and see how it actually goes. A couple of people fail to turn towards the band but otherwise it's much better.

Finale song again now. A quick reminder of some of the lyrics as Dan resumes his correct place in the line-up (contrary to his sidekick's choice of location), a reminder to the band of which song it is, and off we go. A slight variation in the middle where salutes and bows are rather random means that's the bit that Martin targets. We work through that section slowly to a point of improvement, Martin reminds us that when we're facing the back, we need to turn our heads slightly in order to be heard singing (because of course we will all be singing and smiling, all the time!) and then we go through it again. Andy seems to be getting a little carried away with his regal waving but it does save him the trouble of learning the dance moves for that section.

Re-running the walk down again, children included before they go. Blossom (or is it Petal?) has got a bit previous, arriving for her bow with an entire family already! And then straight into the finale song so that everyone can demonstrate how well they know the words for the bit when they're at the front!

Quickly, Martin wants to do song number three. The children are required for this too and props are distributed. Everyone needs to be offstage before the scene starts and Quiet! After a moment.... It looks such fun capturing Rod that Little Dan Mark II runs forward to join in (again) - how she will be stopped during an actual performance, goodness only knows. Jackie would like it on record that Daisy went wrong in this song, though to be entirely fair, I've seen her go wrong earlier this evening too (and mislead Rod in the process, who was copying her at the time).

Now it's time to run through Andy and Shirley's duet, which also involves child dancers. Rod wonders who the big kid in black is (Teni!) but I think he knows really. Through it once more, with some energy this time... Martin apologises when they reach the end but they have to do it again because the children's line needs to be at least 10 times louder - but then Teni wants to do it to the end from there anyway, with or without mini-Dan Mark II. This nearly backfires when Teni and Shirley both almost collapses in fits of giggles but they survive and move on.

And now the children are able to go home, although if some of the older ones want to stay, Martin is happy for them to do some of their lines at the appropriate time. The rest of us are going to run it from the top! Once Steve has been dragged away from an in-depth conversation, the band are able to play the intro music and we can start getting into position.

Some of the lines are not quite the way Martin wrote them, and Charlie falls rather too realistically for comfort though it makes the cast laugh (meanies!) but on the whole people know what they're doing, and when. Dorota's efforts at being scary reduce those around her to gibbering laughing wrecks, even when she then offers to breathe loudly. By the time we reach song one, Dan has got onto his knees so that he can help mini-Dan Mark I with the dance steps but unfortunately,the Dame is sitting in the audience trying to offer helpful hints and Abby is completely absorbed by what he's doing instead. Mark II manages to give Dan the slip and instigates an obstacle course when the chorus are supposed to be galloping past which is entertaining for those of us watching. A stag is accidentally transformed into a slag by Martin so obviously Steve copies the director. The magic moment arrives and everyone is frozen, except Rod who is shaking with laughter as Mark II tries to help carry the flag and a conversation at the same time. In fact, she doesn't let go until Dan prises her hands from the flagpole.

Rod turns up halfway through the next scene with more hair than he's had in a long time - doubtless as a result of the magic wands that Mark II has been brandishing at all the cast during the first half of the scene. After we've *all* recovered from that, she helpfully starts to move the furniture across the stage, so Mark dutifully accepts the magic wand and then sits on the chair so that it can't be moved. Which is not for want of trying. Dan and Steve find it difficult to focus on their lines and forget many of them as the Dame flaunts her all in an effort to pin the chair down with her foot and then picks up the erstwhile removal lady and seats her on his shoulders. (Some confusion there over the pronouns but that's pretty much how the cast felt too.) There are suggestions that the next bit, as the Dame shows first her knickers and then her skill at landing head first in buckets, might scar poor little Mark II for life, but fortunately, despite her efforts at freeing the Dame, she is retrieved to the audience before she upsets the action or herself too much.

We get at last to Song three again, this time with fewer children, though those that are here have a pretty good idea of the dance steps. Things have calmed down a bit as Dan has left and taken his children with him. Martin stands in for the Beast but forgets the words of the song - it's obviously a while since he wrote them!

The rest of the act proceeds far more sensibly in the absence of any two year olds. Daisy agrees to have a birthday for the purposes of the birthday song and those on stage sing the audience song while the rest of us sit back and listen, since we can't see the words. Song Seven gets off to a slightly rocky start as Dorota grabs Andrew and steers him to the correct place in the line, by which time they've already missed a few bars. Jackie reckons that they need Dan to get it right but I'm sure that's not the case.

Giles is reminded to do some nasty drumming for the entrance of the baddy and we repeat the cue for Song Seven with added bars so that the chorus has more time to get into position - Martin clearly noticed Dorota and Andrew's delayed start. Beauty gets her thigh slap in and Cathy makes it to the end of the scene without her voice disappearing completely.

A few quick notes at the end of act one - Liz and Christine, please get the words right. Chris, love the entrance. Andy, don't anticipate your lines so much. Miles, please take the crossbow as Rod has his hands full. A few line additions to reflect the latest news and a couple of posture reminders, but now it's time for coffee. Amazingly, the queue has formed already...

After we've all stuffed our faces, Martin calls us back to order for announcements. A reminder to push ticket sales, especially for Thursday. Friday and Saturday matinees are going very well! Next Saturday the stage is being put together, so all hands to the till, and bring money if you want to eat lunch with everyone else - Lesley Thompson is organising pizza etc. Sunday is technical rehearsal day. Teenagers, bring a litre bottle full of sand or fizzy drink to keep your wigs on. Men, please bring your make-up sponge pots. Catherine will be there from 1.30 doing make-up. Monday is another dress rehearsal but without make-up. Wednesday the show will be run with an 'audience' of front of house and anyone else who can't make it any other night. Sarah puts in a request for more people to do the street promotion on Saturday - those who aren't strong enough to help put the stage together can help dish out leaflets and still join the rest of the cast for lunch.

Before we start on act two, Martin wants another look at song three as there was apparently a problem with the circles. It goes much better this time. But before everyone can start chattering about how well it went, Martin wants to get straight on with Act Two. The song begins.... and then stops again. We need to slot Andrew into the choreography as he was away last time. Everyone is already in a pair. Who wants a threesome? (This is Martin's phrase, not mine. I don't make it all up!) Serin and Chris very bravely volunteer and we can start Act Two again.

We move on through the scenes until we get to Dan's next scene. As previously mentioned, Dan has had to go home, so Andy helpfully reads the part and Nick takes his place cuddling an armful of socks so that Steve has a chance to demonstrate his knowledge of his lines, even if not all the actions are there. Martin asks the band if they could produce some quiet music to accompany a spinning over-frothing washing machine, which can't be too noisy as there is dialogue to be done too - so a real challenge, then. Jackie demonstrates a hitherto unrealised skill of sock waving but Kim hasn't taken a photo, I'm afraid, as she was also on sock waving duties.

Charlotte starts her solo but then Steve stops her - he has been experimenting with the sound setting. "Obviously this is the time to start experimenting!" says Mark, who is looking very fetching wearing his bonnet tied under his chin. Daisy and Charlotte have evidently been working on their pas de deux as they're now coordinated for the whole dance.

We have a full complement of teens tonight so it's rather fun to watch them all dance with attitude. Also the volume of the singing is better now that all eight of them are present. Shirley falls to her knees after the song with a cry of "Help, I'm sinking!" but I do wonder if it should be 'shrinking' instead as she is now noticeably shorter... The teens do their thing but are clearly not all boy scouts as their knot-tying is in need of practice. However, Shirley gets out of the mess with some help from Lauren who on this occasion doesn't need to do very much.

In the next scene, Mark's groans have to be provided by Hilary as Mark is receiving aid and/or instructions from Martin. Fortunately, Blossom and Petal don't realise it's Hilary talking and proceed appropriately.

A reprise of song eight disguised as song fourteen has a slightly quiet start as people find their places and remember what the words are this time. Never mind, we'll know it by this time next week!

Shirley and Andy do the whole of the scene that involves the children with only Lauren representing the children - and she does an excellent job, especially on the loud sung line!

Not content with standing in for Dan and oblivious to the fact that he's just done his own scene, Andy now volunteers to stand in for Mark, who has also had to leave early. He delivers the line about Jeremy Clarkson with suitable scorn and I do wonder, given that we're based in the same county, whether any of Mr Clarkson's friends might be at the panto. Would be fun if they were! In the same scene, we also need a stand-in for the Beast but Andy can't manage that one too so Martin does it.

Due to absences, we now skip the rest of the scene with the baddy and the love duet (Beauty is so not disappointed) and head straight for the final scene. Beauty manages to sound suitably astonished when Kim claims Martin as her son and asks, 'How can that be?' but Kim isn't thrown and even corrects Hilary when she tries to prompt her.

Catherine does her solo song, to which she now knows nearly all the words, and then Martin stops the action since we've already done the last two songs earlier in the evening. Martin gives a few notes to pick the pace up but not overdo it to the point that the words are lost. Back to the circles of Song Three, which clearly still need work... The band are allowed to start packing up and a few of the soloists who aren't involved also set off, though Tina isn't quick enough and is asked to stand in for Dorota, notwithstanding her wellies. But it's not long before Martin says everyone can go.

And for anyone wondering where the animals of the title of this entry were, don't worry, they were here - I'm just still trying to preserve *some* surprises for you!

Refining Act Two!

2012-01-22T14:58:00.000-08:00

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

2012-01-15T16:04:00.000-08:00

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!

2012-01-08T14:27:00.000-08:00

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

2012-01-02T14:18:00.000-08:00

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!

Absent again!

2011-12-29T11:32:00.000-08:00

Presumably, now that you've all run out of turkey and mince pies (well, nearly), your mind is turning to higher things, such as - "What happened at the last rehearsal?" "How much mulled wine had I drunk before I was supposed to deliver my lines?" "Just how many pieces of Mark's brownies did I eat?"

So, with a humungous smiley face :-) at Simon, Sarah and Charlie who *did* email me and a very severe frowny face >:-( at the rest of you for the shortage of notes on which to base this blog report, here goes.

We are suffering again from The Case of The Invisible Choreographer, who was stuck in Gloucester (but not Gloucester, Gloucester, because that would lead to a very cheesy joke...) but fortunately Kim has been forewarned of this possibility and therefore has revised some of the dance routines, which are the focus of the rehearsal. Teni also helps on Song 3, and Daisy just helps. Daisy hasn't been forewarned but she seems to cope anyway! In spite of it being incredibly cold in the hall, with some people sitting huddled in their coats, no-one feels brave enough (or rich enough) to try feeding a pound coin into the meter to see if this will bring the new fan heaters to life.

We start with Song 1 and this goes quite well despite the absence of more people than just the choreographer. Being the first number, this is a bonus as the audience will be impressed by the smiley energy and accuracy. Whether this lulls them into the proverbial false sense of security remains to be seen. Of course, it helped that Martin had asked everyone who wasn't 'on stage' to join in the singing, saying, "Those who aren't in it can sing," despite the subsequent remark that this was just a rumour. It seems that "smile" is still the director's favourite word: "You have to look like you're enjoying it -- even you three over there." Is "smile" perhaps the new "pace"?

We then go on to practise Song 3 - "Kim and Daisy can demonstrate". There is a misunderstanding about the timing of some words, which isn't entirely helped by the singers trying to work on their dance steps at the same time; after a mix-up about exactly which chord is the cue for the singers to come back in, Martin decides to move on and revisit Song 3 later if time permits. (It does, and singing through the song without the distraction of dancing clears everything up.)

On to Song 7, the one without words but which is now known as the Oi! song. This brings with it technical difficulties for the musicians when Martin suggests that the guitarists have to be on the down-stage-right steps, as there isn't room for them on the stage. This means that they can't hear the rest of the band (and vice versa) as they will be situated down-stage-left. At MD Steve's suggestion, Sarah (who is reinforcing the guitar melody on her clarinet) moves to be with the guitarists DSR, where Miles warns her that she'll have to dress as a gypsy -- and possibly a male one at that! -- if she joins the guitarists. Of more concern to Sarah is that she will have to memorize the tune!

Now it's time to practise Song 8 - this may be the one for which Martin suggests to the dancers, "Try to do the same as the person in front of you. Then if anything goes wrong it's the front row's fault!" - my informant was uncertain. The various members of the band each separately toyed with putting in a cheesy cha-cha-cha ending just to amuse each other. This is undoubtedly hugely helpful... Sounds like the band haven't got enough to do! It inspires a long discussion about the very end of the song; Martin points out "this is the last note of the first act", so clearly it's important to get it right, especially as the band's final sting is the cue for the last move of the dance. There are several runs-through of the very end, with various suggestions being made about the timing of Giles's final drum hit, until eventually the band settles on something that works for them as well as for the dancers. Phew!

Song 9 also inspires some debate as Steve wants to add some light and shade and is keen that the singers should continue to make the chorus sound louder than the verses; Martin comments, "I think they hit the chorus because they know the words." How well he knows us all!

Also in tonight's rehearsal schedule is Song 18. Cathy is initially the only person to admit to being in group 1. Others eventually join her. The chorus are then instructed to try to avoid crashing into each other during this song. Is this because during any other song it's okay? We've not been given this specific instruction before...

Doubtless there is more to be related but you're all keeping it secret. In the meantime, it just remains for me to remind you that Bob has produced DVDs of the dances which are now available for the super low price 50p, get one from Bob and practise over the Christmas break. Next rehearsal is on Monday 2nd January at 7pm, rehearsals thereafter at 6pm. (Bring a coat!)

BB: In Absentia, or Act Two: The Important Bits

2011-12-13T03:57:00.000-08:00

Huge thanks to all of those who sent me info about Sunday's rehearsal - I have attempted to blend your comments into a coherent whole. With varying degrees of success. Some key points i.e. several people raised the same issue, have come out of this exercise:

- Andrew is very tall.

- Nobody knows all the dance moves yet.

- There is likely to be a queue to be the Beast's understudy.

- Squirting your wife with water in public is highly entertaining. (I'm tempted to add, only if you're Nick, just in case Rod gets any ideas.)

- Charlotte appears to take after her mother in the singing stakes.

So, with apologies to anyone who meant to send something and hasn't quite got round to it yet, and to anyone else who feels slighted in any way, shape or form, here is this week's blog!

ACT TWO - THE IMPORTANT BITS!

The evening started with several cast members handing Christmas cards to other cast members, usually resulting in the traditional Christmas greeting: "Oh. I haven't started writing mine yet."

Martin's voice is going, so Celia asks chorus to be quiet as Martin was talking - he's not got much voice and if he shouts too loud he won't be able to speak to Celia on Monday (or was Celia inciting chorus to be noisy anyway?) Then we get into Act 2, which is simulated by the band starting to play with the lights off. Lights up, and off we go.

There was the part when Suzanne came on and she (and most of the cast) thought Martin was talking to her and giving her directions, when in fact he was talking to the teens. He said she had to come on using all 3 entrances. Her reply was, "I know I'm good but I'm not that good."

There was the time when Beauty was going on her journey and she asked which way then pointed towards the toilets when Miles called out, "Not that way, that's the way to the bog!!!"

There was an awkward pause whilst Tina and Diane had to determine which of the comedy duo men they wished to flirt with for the duration of the story; Diane did the decent thing and chose her real life husband. Two seconds later, Tina realised her real life husband gets to squirt her with water.

Nick was told he was the washing machine so he can get up to all sorts of nonsense as it is used in one of the messy scenes and was very pleased to hear that he has to squirt Tina in the face! About to rehearse the washing-machine scene, Martin calls out "Nick: you're the washing-machine, aren't you?", to which Mark replies "Is he a top loader?" There follow many bad washing-machine jokes, such as Mark's lame attempt at a joke by saying that someone had 'Nicked' his washing machine!

One of the best bits was when Beauty (who was Beastless on Sunday) was singing one of her songs with Martin when they decided as there was no Beast to leave it - but Steve carried on playing the whole song oblivious to the fact they were no longer singing!

Martin explains to Blossom and Petal that "You're airheads really."

As the teens meet up with the baddy, Martin tells them that they need to be nastier.

There is much excitement from Shirley when she realizes that she gets to slap her thigh!

Martin discovers that Andy (the 3-foot tall goblin) can whistle by putting his foot in his mouth.

After the teen song, Martin comments that the band's volume needs to be about a quarter what it was, and the teens' needs to be about double.

There is some hesitancy to the first attempts made by both teens and adults to rattle off a list of words, one per actor, at speed.

Chris sort of screamed when Martin encouraged the teens to be excited by the baddy.

Charlotte's song was fantastic - made everyone stop and listen!

The teenagers' scene with Suzanne... one of the lines they all have to say a word 'mischievous, etc' and it is beginning to shape up as a very funny scene.

Our lack of knowledge of the penultimate song - some did not even remember we had learnt it... one writer only knowing she stood next to Rod and Jackie, and Ellie only remembered because she wrote it down. Luckily Lauren will be there next rehearsal! Or as another cast-member put it, " The chorus forgot some dance moves...."

No need for chocks away, marks off!, we began marching at the start of the penultimate song long before the music had even begun!

Lots of dance routines that people can remember some of but no one can remember all of.

The words are "we've all had a JOLLY good time"

Smile...smile....smile!!!!!!!!!!!!!!

Dancing was lacking a leader - we miss you, Lauren.

The solos were brilliant tonight - Obviously lots of work has gone into them already - we have some great singers again this year.

Good Fairy was meant to say "I'll whistle them up" but ended up saying "I'll whistle up them." (Ed: No flute, then?)

Mark trying to make a scene with a tent look realistic with only a hoodie for a prop - it was an intents scene though...

In one scene, Suzanne refuses to continue until the rest of the people on stage react to her line with the required excitement.

Chris was on form tonight - the most enthusiastic teen of them all. And the moment when Beauty looked up and up ... and up at Andrew. She suddenly realises that both Andrew and Christopher are absolute GIANTS (and it isn't that she is a little vertically challenged) - shame we are doing Beauty & the Beast and not Jack & the Beanstalk!!! - they could play the Giant or the Beanstalk!!!

Shirley discovers a blindfold causes additional problems when you're not off-script yet.

The beast couldn't get to rehearsal this evening, so Martin stood in for a scene: Beauty and the Director. Martin Evans reading in for the beast when suits - he was sussed when Beauty was about to kiss him to turn him back to prince! Beauty seems to have been stood up at the altar......boo-hoo!!!!!

Catherine got the audience doing farmyard bird impressions.

Walkdowns. Martin realised he's not thought about the order, so Celia stepped in with a decisive, if uncontroversial suggestion: "Children first." Greeted by cheers and laughter, so that's all right then. There is consternation in the band about which tune to play for the walkdowns, with most suggestions having to be rejected because they have just been played or are just about to be played. They finally settle on Song 1, but in a slightly different style.

Song 18: a few people can't remember where on stage they're meant to be for it. Rod and Cathy discover that it's hard to hold hands if you're on opposite sides of the hall. Almost everyone forgets to slow down at the end of the finale song, which is then re-run a few times until the speed change has settled down; some members of the cast take the opportunity to suggest modifications to improve the flow of the words. Finally everyone is happy, and that's a wrap!

At some point there was an interval with some announcements: a request to the carol singers to arrive at Carol and Patrick's fairly early please as they are off the following day to India. (Presumably they want to do some packing?) And DVDs of this year's Summer Show were avilable from Simon for a massive £2 - there will also be DVDs of last year's show available next weekend.

I hope you've found this blog helpful as a summary of events, because I can't be at next week's rehearsal either, so the next one may be a little like this, once we've all *mulled* it over...

Dancing for Posterity

2011-12-04T14:38:00.001-08:00

First of all, apologies to Martyn, who was mistakenly referred to as Martin last week. He very kindly didn't say anything, but maybe partly because someone else saved him the trouble.

Secondly - who saw us at the turning on of the Christmas Lights in Bicester on Thursday? It may only have been the first of December but Advent calendars are already being opened, so the Christmas Lights are now ON!

Now, on to this week. Bob is recording the dances so that everyone can have a DVD to rehearse with and first up is Song One. There is some walking through of the steps, some hazier than others, and Celia reminds people what we're doing. Liz suggests that she had thought the sequence of steps was in a different order but apparently that was last year... While everyone practises the steps in this year's order, Bob assembles bits of camera and occasionally leaps up to the high-level tripod to check on the view. Time to record Take One. Bob is a little surprised at this but as Martin says, you never know which take will work. We may have time for a second ~~attempt~~ take, but we'll have to see how the time goes. But despite the laughter at the end, Martin thinks it's pretty good and there's no need to do it again.

Now it's time to do Song Fourteen. If you can't remember the steps for this, Celia reassures us: you haven't done it yet. That is definitely some consolation, though it also means another set of steps to learn. On the plus side, Lauren is back this week, so she'll make sure that we're doing the right thing. Steve and the band start to play, Lauren steps through her notes and everyone copies her and tries to join in the singing at the same time. There is a short section when Lauren doesn't appear to have scheduled any steps but Miles dances enthusiastically through it anyway. We get to the end of the song and Martin thinks we probably know most of it now but Lauren wants to step through it slowly anyway. Holding up two fingers in a family-friendly way encourages some mild naughtiness but that's half the fun of rehearsals! While we all practise holding up the right number of fingers, Sarah tries out some muted saxophone phrases in the latest key-shift. There is some debate about how the song should end and Miles suggests everyone doing the splits - with demonstration - but Andy has already had trouble pirouetting in the right direction and tells Miles he's on his own. By the time we reach the end of the rehearsal to the music, Miles is on his own, but Martin says that since Miles is a named character, it doesn't matter if he does it differently. This is apparently just as well.

Lauren moves on to verse two - I thought we'd got to the end of the song, but apparently not - and some stepping is demonstrated that has to begin on the right. It is decided that always starting on the right is best, mostly because it's easier to remember. She has us all stepping into a low lunge and then there is a pause as she consults her notes. Some of us are a little concerned that we won't be able to get out of the low lunge, at which point Lauren says not to worry, we need to bounce in that position briefly anyway. We run through the song from the beginning now and then carry on into the key-change which feels as though it's changed tempo too, judging by some of the pirouettes. There are quite a lot of pirouettes and some people feel a little unbalanced by the end of the song, leading to some staggering. This has nothing to do with coming to the rehearsal via the pub but is a genuine dizziness issue as none of us can quite manage the fancy head-move that top ballerinas do to help keep their balance. Different options are suggest to avoid the problem but the conversation has to be terminated so that the song can be filmed, mistakes and all. Martin reminds us all that even if we don't know the tune, the words or the steps, we all know how to smile! And in fact for the recording, no one appears to lurch in an ungainly fashion when they should be pirouetting.
Now to try Song Two. Some of the temporary audience have to get up and do some work now. The Prince is unable to be here at the moment so obviously Shirley stands in. Could this be wishful thinking? By the time I've finished typing the sentence, Shirley has sat down and Andrew is standing in instead. Well, he's the right height for a start, if not a little taller, quite apart from being a chap. Martin reminds us of a few of the finer points of this dance and suggests that this will also be done in one take. He's such an optimist! Steve says it was a bit slow and quite a few people forgot to make the ending a little shorter, so we will be doing it again, at a slightly faster pace! Also, Martin would like everyone to look to the front a little more rather than studiously watching the back of the person in front of them. (A demanding optimist, then.) That's better, Martin says, so that's a wrap.

Back to Lauren for a revisit of Song Seven, the instrumental, so at least we don't need to remember any lyrics for this one. There are a few partners missing so some potential kind souls stand in, which will doubtless make the routine much more interesting! Lauren does the first section; you all know that now, says Martin. Jan is shaking her head but once the music starts, she might surprise herself. Recording is about to start and we get another reminder from Martin to SMILE! Four bars in and Martin is already saying how miserable we look and Smile! which leads Jan to scowl at him but actually she smiles at herself scowling, so mission achieved. We get to the end but Martin needs it to be done again for filming purposes, with More Smiling. There is a theme developing here. What it really needs is for Lauren to have a piece of paper pinned to her back with a large Smiley on it, since everyone is watching her so closely. The audience all have fixed grins in an attempt to make them smile, but no one's watching! Even so, we get to the end more or less satisfactorily.

And on to Song Eight. Lyrics again, folks, but Lauren reminds us of the steps first. Martin helpfully puts a chair markers to demonstrate where the side of the stage is, and if anyone wants to be on the stage, they need to be on the right side of the chair. Bob offers to record the first run through, but Martin seems to think this one will be a rehearsal. His optimism is clearly beginning to wear thin. Possibly with reason, as Christine and Lesley take the view partway through that provided they smile, it won't matter if they don't remember the steps. Some of the turns elsewhere are looking very confident, however, particularly from Jackie, who fortunately can't see what's going wrong behind her. Take two is to be recorded for posterity, so make sure we smile for posterity too - this is Martin's appeal so with any luck it'll work. Martin is happy with the outcome of this, so take two is a wrap.

Next we're going to do Song Eighteen. Song words are re-engaged for this and Lauren has a new set of steps to demonstrate. Mark kicks the chair out of his way and is reminded that he has now extended the stage in an impossible manner, but he's asserting himself and kicks it further, promptly followed by putting his hands on his hips. Clearly getting into character. There's so much discussion (chatting) about some of the steps that Lauren has to yell 'Shut up!' at one point, which shocks us all so much that we shut up. It's complicated stuff, Song Eighteen, with handholding and all sorts, so really we do need to shut up.... We run through the first section with the band playing, and it needs to go on record that even though it's not being recorded yet, Jan Is Smiling. Charlotte takes the opportunity to 'accidentally' step on Andy's feet but he just laughs so she's got away with it. He might want to watch out for her elbows in the next step, though. The rest of the steps are demonstrated and it's time to run through the whole thing. Martin says it didn't look bad in a tone that suggests he certainly wasn't expecting it to go well, probably partly because Kim was doing such a good job of smiling front and centre,and Bob presses the record button again. Reach the end and everyone charges for one of Lesley's famous lemon crumbles before Martin can ask us to do it again.

Announcements as the last few of us cram the last few crumblies in. Rehearsal on Monday 2nd January - please could someone volunteer to do the coffees. Christmas lights went brilliantly - thanks to everyone who was there, lots of people in Bicester and Sandra made us a wonderful game to play. Advance notice of the village fete - do we want to do it, June 30th, with the summer show less than a month later? Something to consider. Find your own props for January 2nd if possible. Sunday 18th December there will be photos in the morning for as many nursery rhyme characters as possible. And next week we're running Act Two so have a read-through of it before then.

Back to the rehearsing - Song Twelve! This is our Song with Attitude but not everyone needs to join in the dance. Not quite sure why Mark is up there for the rehearsal but perhaps he likes the song... It's a while since we've done this, it seems and Chris at least has completely forgotten his steps, but I'm sure he'll remember them soon. Especially when Lauren notices him standing still - he does rather stand out! He may get away with it for a bit as Lauren needs to consult her notes and remind herself what's going on. The dancers are told they need to practise the Coffee Grinder move in the kitchen, but Chris is still trying to untangle his very long legs, which for this dance are most definitely not an advantage. Time to record it - but Mark is possibly more of a distraction than a help. Anyone trying to learn this dance from the DVD, don't watch Mark! Charlotte, on the other hand, reckons she deserves a round of applause. Which she does. Lauren runs through the steps in more detail for everyone's benefit and Kim continues to take photos for the website, as well as the programme (in case anyone wants to check it out). This takes a little while before they are ready to record, but eventually they get there while the audience boosts the singing volume by about 98%.

Now Song Nine, which Martin reminds us is the opening song to Act Two. I think he's trying to suggest that therefore it will need Energy, but obviously we will need to Smile too. "From the top, doing any of the moves you remember, and then we'll sort it out." Lauren stands at the front doing the moves in case anyone looks in that direction, which does seem to help. There are a few steps to be rehearsed though Liz seems to have perfected the 'knock-kneed' step that I am still convinced lost Cliff Richard the Eurovision Song Contest back in 197something. Could it be she's a Cliff Richard fan? Whatever, it's time to try recording the song and see whether we can all smile for the DVD. Apparently not... But before we do it again, Martin has been informed by an anonymous source who might know how to make lemon crumblies that it's Ellie's birthday soon, so we have an impromptu birthday wish for her, accompanied by the band, which is probably just as well. While she recovers from the embarrassment, exacerbated by Liz helping her wave her arms in time to the music, we do another take of Song Nine. Christine has a tip to help us all remember to smile for this song: it's like line dancing on a Wednesday afternoon at the nursing home. If that doesn't bring a smile to your face, then nothing will.

Final song to record is the Finale Song, appropriately enough. Everyone is reminded which line they are supposed to be in first, and surprisingly few have to move as a result of this information. Lauren reluctantly stands in for the missing prince but then enters into the part with muscles and chivalry (The Choreographer Latterly Known As Prince). The dancing goes okay but different people reach the end at different times... Celia puts in a request to do the last verse again, generally regarded as a good idea. Martin asks if we can do it again at not quite such a breakneck speed, which even he acknowledges is unusual for him. Quick bowing practice, a reminder to Bob to make sure he's recording, and then we do it for a final time before heading home.
By the way, I misquoted Chris Cook recently, trying to rely on my memory rather than actually checking my facts. There are now 74 days until we do this to an audience. So no pressure, folks!

Act One Take One!

2011-11-27T14:57:00.000-08:00

Now there is a smell of woodsmoke in the air, it must be time to run through Act One! A few faces who haven't been here for a couple of weeks surface and catch up with the rest of the chorus while Giles warms his drums up and the saxophone toots melodiously in the background.

Martin claps his hands for a start and not much happens initially but then our opening speakers take the 'stage' and we can get going, while the chorus play the part of the audience - well, we are all sitting down like an audience, so it seems not unreasonable. It can run fairly smoothly in many ways as we're not off book yet, this being the first full rehearsal of Act One as opposed to songs and dances. Speaking of which, our songs and dances are going to be a little late starting as the bandleader/keyboard player has been unavoidably delayed, so it's all script reading at the moment. Which side entrances and exits need to be on is still being refined and not everyone is aware of how long the lines before their entrance are going to take. A brief musical interlude gets all the teenagers on stage although the newest addition to the teen chorus is almost immediately assigned more than she might have chosen! Two of them are then chased around the stage by Nick, who frankly is old enough to know better... But I won't say any more yet in case I spoil the surprise. Martin (a different Martin) hasn't done the dance for Song One but Director Martin tells him he can just stay by his trolley (not off it, then) and join in the singing. The singing is a little ropey but we are attempting it without the keyboards, and doing the dancing at the same time. Martin says we'll do it again when Steve gets here and I can hear mutters of agreement from the rest of the band.

Barely two lines later, and it's time to do Song Two. Well, actually it's seven lines later, but it still comes as a bit of a shock, including to the band who are still making notes about Song One. The singing this time is better but the dance is a little less intricate, which may have something to do with it. Charlotte has to make a hasty crossing of the stage on her knees - she is probably regretting volunteering for this role already, to judge by the face she's pulling. There's a call for sound effects and Sarah has fun creating weird and wonderful noises with her electronic gizmo. A little more script work and the scene is set, as the saying goes, for the next part of the story to be take to the stage.

The next scene runs remarkably smoothly given that the Dame isn't here yet but the cast cope without him and Martin reads his lines is a suitably high voice. In fact, the Dame gets here just as the next scene starts, but I'm sure he'll have plenty of opportunity to read some lines later on Act One. Especially since Martin tells the players of Scene Two that now that the Dame is here, they can do it again. Their performance is punctuated by the arrival of the keyboard player and all his kit but they still manage to get to the end of the previously rehearsed section without too many mishaps and a few ad libs. Then it's on to the other half of the scene, which takes lots of input from the Dame and a first time up for the comedy duo. This provides plenty of entertainment for those of us not on stage at present, seeing the correct actors reading the part rather than just anyone, as at the initial read-through. They're trying to enact the messy scene, which is possibly even funnier without props. (Though obviously it'll be amazing once it's all on stage with props and no scripts, so do buy tickets when they're available in the New Year!) Kim takes a few photos, possibly for the programme, so yet another reason to come along in February. :-)

Now that the band are all here, we do Songs One and Two again. Having the keyboards backing the singers is definitely helping, though it could be because each practice improves the general level of memory. However, on reaching the end of Song One, Martin asks the band to do it again, at approximately twice the speed so that it's less dirge-like. It wasn't that slow, so I'm hoping it won't be twice that next time... After about four lines, Martin stops the band again, claiming that they've slowed down again already! The band rise to the challenge, going at a breakneck pace which makes it a little harder to fit all the dance moves in, but we make a manful effort. Now for Song Two again - what speed will Martin want this one doing? Giles tries out a few tempi on the drums just to wind us up, though when we get going, it's not that much slower.

Time for some coffee and approved chatter. Announcements reflect the amount of work already ongoing with regard to props and costumes and a request from Martin for people to join him in Bicester on Thursday when the Christmas lights are being turned on. We are also asked to collect large perfume bottles (don't ask) and reminded that Lauren is back next week so she'll do the dances again, and this time Bob will film them for us. Something to watch over Christmas, Martin says, when there's nothing on TV.

Now on with Act One. Because there's still quite a lot to be done! This is quite complicated for the band as half their number are still doing the washing-up but we start without them and then realise that the dancing isn't quite the way it's supposed to be. Start the song again! Teni has kindly joined the rehearsal to help us with our dance which for some is probably just as well, though there are a few who know what they're doing, all exacerbated by the absence of a few chorus members.

Finally we get to a scene between Beauty and the Beast - I'm not really giving anything away, I think, telling you that, unless you hadn't yet noticed the title of this year's pantomime. And a fetching song for them. The band want to do the song again, but there's no time yet.

Now our resident baddie has her moment. There is a song coming up; by now the band are having 'an issue', but as far as Sue is concerned, there's a bigger issue in that she doesn't know how the song goes yet. Martin sings along with her to give the band the chance to play the song through and agrees with her that the key will change - the power! (Mark claims she's like that at home, but I couldn't possibly comment.)

After a little more script stuff, we reach the instrumental song. Although the dance is not perfected, it's made more difficult by the disagreement between director and band about the length of the intro that the dancers will get before they start. I'm momentarily confused by Sue the baddie turning up in the chorus line, but I suppose she's standing in for someone. Or is bored. One or the other... We get to the end and Martin announces that we won't do that again. Probably more than anyone's sanity can manage.

The next song seems to have a particularly random dance but actually it's the cast changing their minds about where they're supposed to be. Several times. By the time the last chord is reached, we're all in the right place. Just not much before the last chord. Knowing which dance routine we're supposed to be doing helps, so Martin suggests we do that one again.

This is technically now the end of Act One, so Martin takes the opportunity to run through some of the earlier sections again. Sue gets a chance to be really bad without having to sing and then the chorus gets to sing Song Three again. Rod decides to sit down and not sing it instead of standing in the middle of the chorus not singing it, but I have to tell him off for starting to join in quietly. He mustn't develop bad habits this early! It takes a while to remind people where they're starting and partners are different for this week ( because of those absences) but eventually we get going and once through is enough for Martin to allow us all to go home. A brief mention of the CDs that are available for a mere 50p and we stack the chairs and head off.

Everybody wants to be a teen...

2011-11-20T15:24:00.000-08:00

We start with a change as Lauren has a paying gig, which obviously takes precedence over teaching us sorry lot how to dance. Consequently, rather than the original scheduled song, we begin with a sing through of the Finale song, which is different words to a familiar tune. Until it changes.... We did reasonably well until that point.

Now to Song Seven, an instrumental, and in Lauren's absence, Kim takes us through the steps again. Lauren taught Kim all the steps yesterday but just in case, Kim has filmed them too. The musicians start, the guitar is strumming, the dancers... just stand there. A brief review of what has to be done by checking the camera, and then try again. Beauty is not on stage at this point, so she offers to watch the camera and tell Kim what is needed. This will be an excellent suggestion once Beauty works out how to operate the camera. (She has given me permission to mention that she is blonde, though I'm sure this has nothing to do with her excellence or otherwise.) There's also the difficulty of who partnered who last time, but between us we will probably remember.

And off we go. Eventually, the step-count is worked out for group one and they manage to get through their first section. At which point, group two are supposed to start dancing, an opportunity of which some of them are aware. There's a certain amount of hilarity and scuttling as people catch up and then disintegrate because they've forgotten what comes next. To be entirely fair, most people remember some of it, so the collective memory can reconstruct it. There's quite a lot of debate now and then some dancing props are produced and Martin asks the chorus to take it from the beginning again. He's going to count the four beats and warns us not to get ahead of ourselves, because we have more time than we think. We get to the end relatively successfully this time though Martin has had to tell a few people to slow down and one dance step was left out altogether (sorry, Lauren!). Once more for good luck or measure, with feeling. Martin's verdict: it's getting better. As consultations take place over the order of various steps, Martin asks if they'd like to do it once more. There's no answer which he takes as a yes, so we go again. There's a brief moment of distress as two people go in opposite directions, but at least they're going, so surely that's more important?

Now it's time for the teenagers to learn the dance that goes with their song. We do a sing through of the words first, though the actual teenagers stand in the middle of the floor while everyone sings along. Is this because everyone else will be singing from the wings, or is there some other reason? Watch this space and you might find out.... Martin sings this song with such gusto, I think he's discovered a hidden longing, but for now we'll just say he's showing the others how he wants it done. Now Kim explains how the dance is going to work. Mostly it seems that Daisy has to learn the whole thing and the others need to copy what she's done. So no pressure, Daisy! It's quite entertaining watching Kim doing a 'teenager with attitude' dance when she was more recently seen as a Hot Box Girl, strutting her stuff rather more elegantly. She kicks off here shoes to show the teens the second verse - it's more memories of Hot Box girls, but with Take Back Your Script - and promptly demonstrates some street dancing that may owe something to the Cossacks. Round of applause after Kim has demonstrated, though the teens are not convinced they can do it (and sing, as Celia quietly observes). A bit of practice and some more shoes removed and they make progress. It's a tricky sequence and no one expects them to get it straight off, though a couple of them are worried that they'll never get it. We have faith, teenagers, you'll be fine!

After every few bars, Kim consults the camera, runs through the moves quickly by herself and then shows the teens, at which point they try to do the steps. Several steps later, they try to do it from the beginning again. It's mostly in place now but Martin thinks it's time some of the rest of us do some work, so the teens are told to go elsewhere and rehearse and we assemble for Song Eight. Though, the teens are now told they need to be in Song Eight, so the rehearsing will have to happen some other time.

The tune of Song Eight is apparently familiar to the chorus but you would have thought that most of the dancers had never been shown steps for it. Not our finest performance! It was getting there by the end, so Martin uses logic to deduce that more of it will be there if we do it again. Turns out that Martin was sort of right as it is much better the second time, so the decision is made to leave that dance on a high and move on to Song Nine.

Song Nine starts once everyone has worked out which group they will ultimately be in, though the groups then have trouble remembering their dance steps (come back, Lauren, please!) and there is a debrief at the end to remind us what we're doing when and a short rehearsal of one step that is staggered across the groups. Then it's time to practise the song again, but just from the chorus so that we can demonstrate our staggering skills. Martin wants to do the verse part too and fortunately Dan knows how it goes, so he ends up standing in the middle of the room trying to show everyone how the dance goes, even within our groups. There's a box step and some nodding, but again, it's staggered. Good job we're all experienced at staggering. Dan is again brought in to demonstrate the steps and he looks as though he's regretting admitting he knows what to do. But, astonishingly, it seems to have worked! We get to the end of the song with a certain amount of confidence and accuracy! Time for coffee and cake before we jinx it.

Some extremely delicious home-made cake later, a few announcements about carols, costumes and sets, and it's back to work. One of the teens has had to leave, so Mark kindly stands in for her as they rehearse Song Twelve again. I say kindly, because it's so entertaining for the rest of us. And for some of the dancers, unfortunately, which I say as it's hard to concentrate on dancing when you're collapsed in a fit of giggles. Mark exacerbates this by following Kim when she goes to check on the lyrics and moves - anyone would think he was in a pantomime! Poor Kim continues trying to show them what they're doing while Mark appears to have joined the cast of Karate Kid, but I suppose he's only standing in for someone, so perhaps it doesn't matter as much. They're still worried after going through it a couple of times quite successfully, but as Celia points out, Lauren can go through the end with them next time.

Now it's time to sing the Finale song. We'll sing it through a couple of times from our chairs before getting up and trying to work out some dance steps. Everyone will be on stage for it so it will be quite a squish. Martin has worked out an arrangement of fours rows so we're called out in order to take up position in the correct row. The good news is that with so many people on stage, the opportunity for complicated dance steps is considerably reduced. Undaunted, Martin proceeds to instruct his four lines in some frankly quite complicated dance steps... It doesn't take long for the cast to simplify them and we attempt to sing and dance at the same time. At a critical moment, the Beast arrives and is immediately directed to his position in the finale song.

We have a go at the combination with our almost complete cast on stage, at which point a number of the words appear to be 'la'. Oh well, we've got nearly 200 days until performance, plenty of time to learn the words (I am indebted to Chris Cook for this calculation, so if it's wrong, you can blame him. But I suspect he's right.). The adulation for the hero isn't quite up to the required level yet but hey, we're still learning the words. The choreography has led to something that Mark calls a Mexican bow, but it works. Martin thinks we should know it by now, so it's on to Song Three.

Teni is helping refresh memories of the steps for Song Three and it goes relatively smoothly. It helps that some people have now been able to go home, not being needed for Song Three, so it's less crowded. This dance is one in which the dance partners are not necessarily going in the same direction all the time, which explains the confusion in the earlier song. Song Three is quite a bit slower than the finale so walking in time is key - it's much more leisurely, so dancers need to be more laid back. Despite the slower tempo, the steps prove to be quite challenging, necessitating lots of chat, and Martin is reduced to saying sssh! quite a bit. Not everyone has remembered the steps and others are standing in for missing cast members, so it's all very complicated. Talking it through only works to a certain extent, so Martin asks us to go from the top and go as long as we can. We appear to get to the end, but there are definitely some muddy areas in the middle, mostly involving the rotating circles.

Because it's not complicated enough yet, props are issued and we go from the top again. Despite this added excitement, it mostly goes okay, though the mathematical amongst you will be unsurprised to learn that the hardest part appears to be changing a circle to a straight line.

After all this, Martin decides that we've all worked hard enough so we pack up to go home or elsewhere, and the chats continue down at the pub - what a wonderful way to spend a Sunday evening!

Week Two - Potential Amnesia

2011-11-13T14:37:00.000-08:00

We start with Song One again, to see if anyone has remembered how the song goes, what the steps are, etc. We've started rather promptly with not everyone here yet, so there's a little bit of people sidling into the hall and joining in halfway through a line. However, we seem to have remembered a surprisingly large proportion of it, if not necessarily in the right order. The spinning wheels almost spin out of control but stop before they hit the wall, so it's all good.

Now onto a new song, Song Seven, which Lauren has choreographed. This is the first dance she's choreographed for us, so her first step is very sensibly splitting the dancers into two groups and then sending half of them to sit down. Arguments ensue about the order in which they are standing, and a stand-in for Nairne is needed. Several people volunteer each other for this role but eventually someone is left standing and the teaching proceeds. Fortunately for the dancers, this number is a dance only, i.e. no singing involved, so at least they don't need to worry about trying to sing and dance at the same time. Lauren puts them into pairs and they are instructed in box steps and a variation of the grapevine. Then it's time to try it out to music! They reach a point where some punctuation might be appreciated and Martin suggests an 'oi!', which Giles then accompanies on the drums. A repetition of the routine so far has a few people remembering to 'oi!' if not all, but it's their first time so we'll be kind. And in fact, it's a deserved kindness, because the next time, they all remember to 'oi!'.

Now it's the turn of the second group, who all have to pretend they have scarves to wave like a local gymnastics team, with touches of flamenco dancing woven into it. One or two are waving their scarves as though they are whips, which may force Lauren into a change of plan, though it still may not involve whips. I'm pretty certain that as they rehearsed the steps at one point, Lauren prompted them with a "pas de bourree" or some similar technical term, the significance of which will have been lost on 90% of her pupils, but they were copying what she was doing, so who knows, perhaps they'll learn the name of the step at the same time. They seem to be doing almost what Lauren is demonstrating on the next run through though what Lauren will think when she turns round to watch them instead of standing with her back to them and doing the dance with them, who knows. There's a brief rethink of one step as the count changes once the music is added but Lauren quickly comes up with something entirely doable. Round of applause from the other half when they finish and then the dreaded words: let's put the two halves together, shall we?

Though actually, it's not as bad as you might have thought. Lauren has watched some of it, this time, so after the first time through, they have a slow step through before dancing it to the music again. Celia appears to leave her shoe behind and nearly gets trampled by the second half of the troupe but fortunately retrieves it in time. Everyone now forms a filled-in vee at which point a very unhelpful Rod calls for a bowling ball but we don't have one so the dancers are safe. The second part of the dance is learnt remarkably quickly - everyone must be in the zone now - so it's back to the top and the whole dance is run. Successfully.

On to song eight now. As when learning new songs last week, everyone sings it sitting down a couple of times first. It's pitched a little low initially so Steve transposes it and everyone sings it again. It sounds much brighter so Martin hands over again to Lauren and the whole chorus stands up ready to learn the dance. The principals who will have been involved in the scene before the song are placed centre stage once they've been identified and the rest are in a line. There is some debate over the speed of the steps, given the sentiment of the song and the ability of the dancers, but Martin has the final word, so they're slower. Though after a few bars, Martin also decides that the music needs to be a little faster, so it probably meets in the middle. Here is a picture of Lauren trying to instruct some of the chorus:

Clearly, they're all paying attention.

Some pivot steps are introduced that require the dancers to move back at the same time. One of the dancers asks if they're taking a step backwards but no one answers... A brief rethink as Lauren establishes that the ultimate stage is not as large as the parish hall but it's only a slight tweak. Arms are supposed to be raised in a high vee though Andy is achieving more of a w, with his head as the central stroke, though doubtless he'll improve (won't he?). For those who watched Third Rock from the Sun, think French Stewart channelling the Big Giant Head. But the steps continue to be issued and kneeling is involved as well as turning in time. The 'helpful' singing from the three people not on stage is of variable volume and accuracy but as they're not the ones who are going to have to sing it in the end, it probably doesn't matter much. At the next run-through, the chorus ask Lauren to watch them and see if they're doing it right. They're a brave bunch! It does mean she can see when they're not facing forward but plenty of time to sort out minor details like that. Round of applause for Lauren and it's time to sing through song twelve while the coffees are brought to fruition.

Technically song twelve is for the teen chorus, but several people who are trying to stay young are promoted to 'teenagers' so it's a very loose definition of 'teen'. Pretty much anyone with attitude and a deficiency of grey hair, I think! Eat your heart out, Mick Jagger. :-)

Time for coffee and cake. Or tea and biscuits. And congratulations to Scott and Amanda on the arrival of Alistair James. Much slurping and munching ensues, facilitated by Sandy and Kim, to whom many thanks.

Before we start again, Martin passes on a request from the sports and social club to park cars along the lane in such a way that other people can get round the bend without needing to invoke their insurance policies. Also, congratulations to those Village Players who are also in BCOS and were part of the very successful Guys and Dolls. A reminder about the carols, which will be rehearsed on 16th and 19th (private coaching for anyone who can't manage those dates). Next week, Song Twelve and Song Fourteen, and try not to be too heavy footed on stage.

Now on with Song Nine. There seems to be some impromptu harmonising on the chorus which Martin thought we would already know, but Martin actually encourages it so that's all right. It gets one sing through but it's very straight forward so it's on with dancing after that. Beauty decides to sit this number out so that she can take some photos on Kim's behalf, provided she can join in the chorus... It takes all sorts! Kim may not be thrilled with the results as there's one in which Kim appears to be counting the ceiling tiles.

But back to the dancing. More box steps and some nodding, which is supposed to be just your head rather than your entire top half. Pointing, which is all supposed to be in the same direction, in spite of Liz's suggestion that one night everyone should point in different directions. That may or may not be the plan (you'll just have to buy a ticket and find out what happens!). Jackie looks as though she may have done the kick step before, which could explain why Steve is sitting on the other side of the hall. No key change this time, Martin says, to save the Westlife moment for the reprise. There is discussion about going down and who feels comfortable about it, but the answers are fairly incoherent through the giggles. Some of us have our minds not so much in the gutter as lying a few feet under it. Anyway, they do the whole number reasonably successfully with Lauren leading the dancing, so now it's time to attempt the dancing while Lauren watches. Martin sings along but still finds time to remind people to smile while they try to remember the words, the tune and the steps.

Before we finish, since we've made such excellent time, Martin wants to sing through Song Three. Anyone who wants to do the actions is invited to do so, yet strangely everyone remains seated.

Then it's on to Song Seven again - remember that one? You did it this evening? Not many oi!s were remembered though the steps weren't too bad, but Martin is a stickler for oi!s so it's gone through again. Much better this time! Lauren's key tip - go home and practise. Shell bring a notebook next week to write down exactly who's doing what, even though she doesn't know any names, so it should be pretty easy to confuse her if you really want to.

Back to Song Eight again. People are in position surprisingly quickly. Some of them are even singing along in places. Dan gets to the end with a "boo-yar!" (or however it's spelled) of relief because, putting so much effort/passion into it, he's getting rather tired by now. [I found out as we were packing up that he'd been up since 4 this morning and did a 12-hour shift before coming to rehearsal, so frankly, he's done well!] Twice through but people seem to know it.

And before we finish, a final performance of Song Nine with a chorus that even I know by now. I don't know if it's meant to be an audience song, but they may find the audience joining in by accident in February. Some of the steps get forgotten but it's nearly 10 o'clock so maybe they're just exhausted after so much dancing.

Well done, everyone, you've survived another intense week of learning dances and songs together. Next week - more dances!

First rehearsal - Game on!

2011-11-06T14:41:00.000-08:00

Welcome to the blog of the Launton Village Players' 2012 pantomime, Beauty and the Beast. Martin has written another original pantomime, Steve has written some more tunes for the songs, the hall is booked, the read-through and casting done.... time to start the rehearsals for a show that will be performed over the half-term week of the Spring Term. Better get on with it then!

Everyone has scripts with lyrics in so without any formal welcome, once the clock in the parish hall reaches 7 pm, it's straight into Song 1. An email was sent with details of who was needed for each song, so as soon as the song is announced, they all know who is involved. Singing begins while seated. The tape that Martin and Steve made earlier for rehearsal purposes has been playing in the background and those who made it to the read-through will have heard it already, but even for those who haven't, they seem to be picking it up pretty quickly. There are a few places when the singing gets a little quieter, but it's mostly when the line starts on the off-beat.

Martin now asks for it to be done once more with feeling, and without looking at the words... There is general laughter but at the same time a slightly uneasy sense that he's not entirely joking. The band start up again and off they go again.

Now it's time to look at the moves. Some characters are named and therefore placed first. The rest of the chorus then need to join in groups, which obviously necessitates a lot of conversation. But Celia is undaunted and the steps are demonstrated, copied and then put to music, with some singing at the same time, augmented by Martin to help the singers work out whereabouts in the song they are. Part of the dance is reminiscent of Ring-a-Ring-of-Roses, with a script in the middle rather than a pile of handbags, but it doesn't last for very long and I suspect it won't look quite the same by the time a paying audience sees it. Several practices later and Martin wants to take it from the top, with all audience members singing to bulk up the volume while the chorus concentrates on remembering the dance steps. They get to the end of the song and Martin asks for feedback. Unfortunately, everyone is so excited at having reached the end that they don't hear him. So it's once more through Song 1 before moving on to something else. Martin congratulates all those who were singing really loudly; those who were singing *and smiling* - even better!

In a stunningly logical move, they are now going to have a look at Song 2. The same structure is applied to learning the song: sing it while sitting down and with the lyric sheet to hand. The key seems to be largely okay, which suits the band as it means they don't have to alter what they're already playing. After just the one sing through, those involved need to stand and be ready to be put into position. It turns out to be a paean to the hero, so he prepares to be praised with his hand in his pockets while the chorus are instructed on grouping, marching and synchronisation. Martin tells them he's not bothered if they bump into each other at the moment because he reckons they'll soon learn not to. Optimism or experience? Judging by the way the first verse works, it's experience speaking though it's possible that the floor is bouncing slightly. The second verse adds a couple of minor characters into the routine which almost sabotages it, but the chorus pulls through and the end of the song is reached. Now Martin wants to add an additional move to the last line of the second verse but because this is largely dancing in safe mode, there is no individual rehearsal of it; it is simply to be included at the end of the next run-through. The singers have been told to put their song-words down so that they can concentrate better on the dance moves. This makes the singing a little quieter but the dancing is a little heavier-footed. They all get so carried away with the dance steps that they forget the additional move that Martin wanted at the end of verse 2, so it all has to be done again before they can stop for coffee. They don't quite know the words well enough yet to remember when they are supposed to stop for the final steps, but doubtless it will come.

There had been mention of stopping for coffee but in fact Martin wants to see if they can still remember Song 1 - with the instruction 'don't forget to sing, don't forget to smile and don't forget the steps!' There's a well done from Martin and it's time for coffee.

Coffee and cake later, Martin has a few announcements. Firstly is about the blog, the Facebook group (Launton Village Players) and the twitter name (LauntonPlayers). No one appears to demur so it looks like I shall get away with it. Next a word about carol singing rehearsal dates. (We will be revisiting those descants and, all being well, learning the Carol of the Bells.) Then Lauren is introduced as a new member who also does choreography and will be making the dances more complicated next week. Tina promotes a wine-tasting night, Steve promotes his gig which unfortunately clashes with the wine-tasting (19th November) and Teni promotes a Regency dance evening (3rd December) for which formal dress and gloves, (but not necessarily a partner), are required.

Now it's on to Song 3, which Teni has choreographed. The ladies and gents are separated for this and Teni has some moves first for the ladies. Mostly it's arm movements at the moment, turning to face the same way, which may be stage left or stage right, I can't remember, but it's right first from where I'm sitting. Stage front hand has to be kept low, with the other hand curving up and over. The word 'sexy' is mentioned which causes a brief titter, but mostly from the audience as the dancers are trying to concentrate.

Time for the chaps to learn their routine - again, arms are involved, though remembering which arm is down and which way to face may prove challenging for one or two.

The ladies are now put into pairs, working both facing each other and away, still with arms moving, turning and now trying to add some singing. This is more complicated than the first two songs so the run-through is not as immediately successful as the earlier ones. The ladies step it out again while the chaps prop up the back wall looking worried. However, for the moment, it's only the heroine's father who has to participate.

A few tweaks later and it's time to add the chaps in, swaying more or less in time, though there is some debate about which way people should sway when. Stop the music, work out the next move which involves pointing thumbs down and fingers up as well for each of several turns. This seems much harder, especially when a few folks develop a fit of the giggles. Still, Teni persists and a few more steps are learnt. Back to the beginning and with encouragement and singing from Martin who is actually holding his song words, they get to the end of what has been rehearsed so far. Trying to stand in two concentric circles with partners seems quite challenging, especially when giggling, but Teni takes them back to the beginning again with a reminder of how some of the moves need to look.

In the circles, the gents have to stand still but their lady partners will be moving on four people. It transpires that it will be easier for everyone if Teni works with each circle individually, so there is more time for the giggles to try to work it out of their systems. Circle one gets it, then circle two - can they both do it to the music? Apparently not... However, time is running short so Martin says they need to do it from the top as best they can. Other than a few people forgetting which way they were turning, it worked reasonably well. So well, in fact, that...

Song 1 and then Song 2 to show how well they can still remember them before every one is allowed to go home! It's amazing how well the song words have sunk in already in addition to the steps, which do in fact seem to be mostly there, usually in the right place too. So while it may not be an actual wrap, the cast are allowed to go home now. What better way to spend a Sunday evening. :-)