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. :-)
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