oliviawinspearlma32

[oliviawinspearlma32]

Bibliography and Figure list

Bibliography-

2005. Guide To Producing In Community Theatre. 2nd ed. [ebook] Toronto: Theatre Ontario. Available at: <https://www.theatreontario.org/media/9609/publication_guidetoproducing.pdf> [Accessed 15 March 2020].

2020. Manual Handling At Work A Brief Guide. [ebook] Available at: <https://www.hse.gov.uk/pubns/indg143.pdf> [Accessed 19 March 2020].

and other notes. 2018. Why Carrie Hope Fletcher Playing Veronica Sawyer Is SO Important. [online] Available at: <https://andothernotes.com/2018/10/10/why-carrie-hope-fletcher-playing-veronica-sawyer-is-so-important/> [Accessed 9 March 2020].

Andrews, A., 2014. Why Time Management Is Important. Good Time Management Brings Success.. [online] Activia Training. Available at: <https://www.activia.co.uk/blog/why-is-time-management-important-at-work> [Accessed 16 February 2020].

Buchanan, D., 2018. 'Heathers' Might Be 30 Years Old, But It’S The Musical We Need Right Now. [online] The Independent. Available at: <https://www.independent.co.uk/arts-entertainment/theatre-dance/features/heathers-musical-film-30-winona-ryder-carrie-hope-fletcher-the-other-palace-a8376286.html> [Accessed 5 February 2020].

Communication Theory. (2019). The Johari Window Model. [online] Available at: https://www.communicationtheory.org/the-johari-window-model/ [Accessed 1 Feb. 2020].

Caea.com. n.d. Health & Safety. [online] Available at: <https://www.caea.com/THEATRE/Health-Safety> [Accessed 19 March 2020].

Combs, N., 2017. How To Get Better With Singing Runs. [online] Our Pastimes. Available at: <https://ourpastines.com/how-to-get-better-with-singing-runs-12598840.html> [Accessed 21 March 2020]

Cormier, R., 2015. 23 Things You Might Not Know About <Em>Heathers</Em>. [online] Mentalfloss.com. Available at: <https://www.mentalfloss.com/article/62497/23-things-you-might-not-know-about-heathers> [Accessed 4 February 2020].

Docs.google.com. 2020. Health And Safety Examples. [online] Available at: <https://docs.google.com/document/d/1X7V79MiOmiaK7jqYf6H9S-q5dYRBsbqY/edit?pli=1> [Accessed 19 March 2020].

Ebert, R., 1989. Heathers Movie Review & Film Summary (1989) | Roger Ebert. [online] Rogerebert.com. Available at: <https://www.rogerebert.com/reviews/heathers-1989> [Accessed 5 February 2020].

Fletcher, C., 2018. Promoting Obesity. [online] Carrie Hope Fletcher. Available at: <http://www.carriehopefletcher.com/2018/09/promoting-obesity.html> [Accessed 9 March 2020].

Hescott, T., 2015. Explained: What Does A Producer Actually Do? | Features | The Stage. [online] The Stage. Available at: <https://www.thestage.co.uk/features/2015/want-next-cameron-mackintosh/> [Accessed 15 March 2020].

Hse.gov.uk. n.d. Theatre. [online] Available at: <https://www.hse.gov.uk/entertainment/theatre-tv/theatre.htm> [Accessed 19 March 2020].

Kezirian, A., 2017. How To Change Your Voice Pitch. [Online] Healthy Living. Available at: <https://healthy living.azcentral.com/how-to-change-your-voice-pitch-12308958.html> [Accessed 21 March 2020]

Labour.gov.on.ca. 2009. Occupational Health And Safety Act And Health And Safety Measures | Ministry Of Labour. [online] Available at: <https://www.labour.gov.on.ca/english/hs/pubs/child/gl_child_1.php> [Accessed 19 March 2020].

Labour.gov.on.ca. n.d. The Structure Of This Guideline: Child Performers Guideline     | Ministry Of Labour. [online] Available at: <https://www.labour.gov.on.ca/english/hs/pubs/child/gl_child_structure.php> [Accessed 19 March 2020].

Origintheatrical.com.au. (2013). Origin Theatrical | Heathers: The Musical. [online] Available at: https://origintheatrical.com.au/work/8551 [Accessed 4 Feb. 2020].

Ruch, D., 2019. How To Engage An Audience At A Concert - For Musicians And Performers. [online] Dave Ruch. Available at: <https://daveruch.com/advice/how-to-engage-an-audience-concert/#> [Accessed 9 March 2020].

Stanislavski system. 2012. Emotion Memory. [online] Available at: <https://heatheractingwork.wordpress.com/2012/12/20/emotion-memory/> [Accessed 19 February 2020].

Theatreweekly.com. 2018. New Song And Updated Script For Heathers The Musical West End Transfer. [online] Available at: <https://theatreweekly.com/new-song-and-updated-script-for-heathers-the-musical-west-end-transfer/> [Accessed 8 March 2020].

Timoney, B., 2016. Stanislavski And Emotional Memory - What Can You Learn?. [online] Brian Timoney Acting:. Available at: <https://www.briantimoneyacting.co.uk/stanislavski-emotional-memory/> [Accessed 19 February 2020].

Todd, L., 2018. Heathers Star Body-Shamed Over Lead Role. [online] BBC News. Available at: <https://www.bbc.co.uk/news/entertainment-arts-45497344> [Accessed 8 March 2020]

Figure list-

Figure 1

2016. [image] Available at: <https://theundercoverhuman.files.wordpress.com/2016/02/johari-model.jpg> [Accessed 1 February 2020].

Figure 2

Self Awareness (2013). [image] Available at: https://images.app.goo.gl/bdrqaiSUU24FB71cA [Accessed 1 Feb. 2020].

Figure 3

2015. [image] Available at: <https://jobfitau.files.wordpress.com/2015/02/manual-handling-training1.jpg> [Accessed 19 March 2020].

Figure 4

2015. [image] Available at: <http://3.bp.blogspot.com/-Pu8ELmJOQ30/UX3ebsAXNKI/AAAAAAAAAU4/JkGmt7iLAD4/s1600/Risk+Scoring+matrix.jpg> [Accessed 19 March 2020].

Figure 5

2014. [image] Available at: <https://tandbontheaisle.files.wordpress.com/2014/04/668d1-barrettwilbertweedasveronicaryanmccartanasjdandcharissahogelandasheatherchandlerinheathersthemusicalcreditchadbatka.jpg> [Accessed 22 March 2020].

[oliviawinspearlma32]

Professional Targets

Having worked towards our major performance of Heathers, I have considered the following;

1. What has been the biggest lesson learned though my journey?

The biggest lesson I have learned in my journey is to always give 110% and that at times I may feel like I am but I’ve set my standard to low and I have much more to give. After every number I should be out of breath, so that when I give that effort on a show I will not be so out of breath.

2. What do you need to give yourself credit for? 

I need to not doubt myself so often, I should give myself credit for knowing what I am doing and not letting the views of others contradict what I know.

3. How do you feel you contributed to the process?

I feel like I helped contribute to the process by always being attentive and willing for any changes and putting them into practice, I feel like I helped those who  asked or needed it in not only dances but in singing to.

4. Is there something you still need to work hard to improve on?

I need to work hard on my acting though dance and song. I’ve struggled with this for a while. I have been looking at myself in a mirror when singing to understand the acting choices I make and to improve my skill. When dancing I have been looking at those around me to see how they all react and act when dancing to try and copy and the create my own emotions when acting though dance.

5. What is your short term goal for the next six months as a performer? How is this achievable?

My short term goal for the next six months is to work on my flexibility, I will achieve this by hopefully stretching each day, but if not each day as often as possible.

6. How are you going to ensure you maintain professional standard over the next six months?

I’m going to ensure I maintain a professional standard over the next six months by attending any dance classes I possible can and vocal lessons. I will find monologues to practice and experiment with to improve or maintain my acting level.

7. What skills are you aiming to expand in the forthcoming months and how?

A skill I’m aiming to expand in the forthcoming months is tumbling(gymnastics) I am hoping to do this to give me an added skill for a course of Stunt work that I am hoping to do in the future. 

[oliviawinspearlma32]

Blue

Blue-

I spoke about this number in one of my earlier posts, this number has been replaced in the West End production of Heathers by a song called ‘You’re Welcome’ this may be due to the fact that although ‘Blue’ is a great song to preform it doesn’t send out a good message as it is essentially about date rape.

Our director decided that we will be sticking to the original script and score so we will be preforming ‘Blue’. I don’t really have an opinion on this, I feel like since the director has done this show 3 times previously that if they choose to keep ‘Blue’ in then it must get the correct feedback for it to be kept in, in our production.

Though this song was originally just Ram, Kurt and the Heathers the director decided to get a fuller sound that the ensemble and characters who are off stage to learn the ‘Heathers’ harmonies. With the help of some students our director decided to make the number sound more pop-e by changing up some of the harmonies. This was really fun to workshop and I felt like I learnt a lot. Though I would never feel confident enough to make my own harmony up, I feel like I have learnt enough to practice in my own time. The vibe of this number is to hopefully be a comedy number so when singing we were allowed to have fun and put on silly voices at times to give it a comedy edge. We were able to go away and practice the harmonies so that when it came to the next rehearsal we would feel confident and comfortable enough to sing while choreographing this number.

When it came to setting ‘Blue’ the ensemble ended up being a part of the number, though we are only sat in the wings for the beginning letting either our heads or arms pop out. This gave the song an added comedic layer, as well as other moves that fit with the lyrics.

Below is a video of myself and 2 fellow cast members. In this number towards the end we come out and are meant to be the knock off “Heathers” in Ram and Curts imagination. As you can see we are slightly off beat, so we went away after this rehearsal and used the video as reference since you can hear the director in the background counting the timing for us to perfect this section.

[oliviawinspearlma32]

The Me Inside of Me

Auditioning for Principal Gowan-

Another audition opportunity came up for the role of Principle Gowan, we individually sang the section we were told to. Unfortunately I didn’t not make it to the final two as my voice wasn’t strong enough. To strengthen my voice I have been doing vocal exercises everyday concentrating on my level of sound and trying to up it without pushing or inflicting injury. We have yet to cast this role though and it’s between 2 performers who each time we do the number they switch out for the Principal and an ensemble member.

Figure 5-

The Me Inside of Me-

This song comes directly after Heather Chandler dies, we learnt this number when our directors wasn’t there we were taught by another teacher who had the directors notes and a copy of their previous production of Heathers.

We set this over two days, on the first day we learnt the harmonies. Since it ended up being a massive jumble of notes and getting each part mixed up we separately recorded only the piano playing the notes we are to learn and sing so that we could go away and work in groups and then independently.

We started off this time by letting the leads in this scene/ number set everything until the ensemble comes in.

I was given a solo line of “that’s why she punched me in the face” I struggled to get the timing of this as at first I couldn’t hear it in the music and the my cue in was a line from a character by the actor wasn’t in. So I spent time listening to the original track and I asked a fellow classmate to say the line beforehand with the backing track.

When it came to adding the choreography, it began with just blocking out the scene as this number had a very minimal amount of movement. But the movement we did had went with the theame of the song. We begin with standing in 3 lines and acting like a choir bobbing up and a few other movements here and there this was to portray the fact that we are meant to be mouring for the loss of life. Our director decided to cut the song after Ms Fleming says “look we’re breaking though, Heather would be so proud of you” this was as the song just repeated itself and at the moment we cut it everything that needed to be said was said.

[oliviawinspearlma32]

Big Fun

Audition for Ram or Kurts mum-

Character like Ram or Kurts dad hadn’t been given out after the main auditions our director decided that roles like these could be auditioned as the scenes came up so that the cast could see this different dynamics of different actors together and understand how it was being casted. So when the opportunity to audition came up I jumped at it, even though the character were men it was decided that if the actors cast we female their is no harm in changing the character to females. When auditioning I went for both Ram and Kurts mum but each time I was with a different actor so the director could see the dynamics and flow between us. After a few tries of reading the sides, we were given some notes, one note for me was to bring my voice down as I tend to talk in a higher range when doing the American accent. According to (Kezirian, 2017) “relax your muscle - tighter muscles would oo raise your tone of voice.”

Big fun-

Like with all the other numbers we stared with the vocals of this number. It’s each verse and chorus is similar throughout with only the lyrics really changing. The biggest struggle for me was the first verse on the echo of “Big Fun” I think this was due to the fact that it was just the Sopranos against the rest of the cast and that it felt like it was flat. To combat my struggle with this as often as I could I would work with someone in my voice group and go over the section, leading to me becoming more comfortable with the first verse.

When it comes to the choreography of ‘Big Fun’ it was a number I was really looking forward to doing. It’s a number in the show where again the whole cast are in it but this time we are in a party atmosphere with no parental supervision so at some points we get to just let loose and have fun throughout.  We had some trial and error with working out the spacing of the triangle for the chorus and when people were to join in with the set choreography, as up till this point it has being improvised movement. For me improvising in dance is a struggle for me as I don’t want to do something that either doesn’t look good or doesn’t fit with the music. Improving is an important skill to have in dance as it can boost your confidence in not only yourself but in your skills, becoming to attached to dancing only choreographed pieces can lower you view in your own skill set and cause insecurities. According to (. )  “improvisation can help dances to find out who they are as dances, what style they like and even what they would like to do with dance in their future endeavours.” 

In the middle there is a section were we have to dance with a patner, I was put with a fellow class mate and felt like from the off we were quite awkward with each other. I hoped that we could work though this but our director made the decision to move us to the back. I agreed with this decision as we were in the middle and if we couldn’t give what was needed then someone more deserving should be given our spot.  I don’t know whether it was me and my upbringing that lead us to come across as awkward or if it was my partner but hopefully in the future we can both improve on our skills in this area of dance. 

When Veronica talks to Ram the ensemble were given a movement that will help us cross the stage but isn’t to big, after a few rehearsal we were given the note to act really drunk in this section. To have some people act like they were going to throw up and other to be slightly falling over, this really helped to portray the party scene. On another segment where we are doing movement over a speaking segment we were told to do a shoulder and rib isolation. After this section there is a change in rhythm that signals us to move, as a class we figured out that we run into place for a count of 8 and then 2 extra counts before we turn. In the video below you can see we didn’t get the timing right. So the next time we ran the number we did it with us all counting to achieve the correct timing. When it comes to the ‘Dang Dang’ section you can see that my core isn’t engage enough which is why I fall out of my pirouette, by engaging my core and pulling up on my leg I will achieve a better turn. I had a lot of fun learning this routine and it incorporated things that I thought I would struggle with but working on this number with other helped me feel more comfortable. 

Below is a clip of us rehearsaing Big Fun.

Some feed back I got doing this number is

• take more leadership. If I know the routine or I know what’s ment to be happening and other don’t to take charge if the choreographer isn’t around.

• Push the limits more. I may feel like I’m giving it my all but I can always give it more the next time.

[oliviawinspearlma32]

Holy Shit

Holy Shit was a number I didn’t know how to feel about. I didn’t know if we were going to keep it in our production of Heathers or if we were to cut it, but I found that I want 100% sold on the idea of the song but now that it’s finished I’m glad it has been kept in.

We started off with learning the vocals and recoding them for our use of rehearsal outside scheduled hours and to use when off practicing in our separate harmoniey groups. By separating into our different groups and having time to think about our sections independently really helped my vocal section the Sopranos to get the harmonies down. The only section I believe we really struggled with was the ending where we say ‘Holy Shit’ a few times. I feel that it was because we were starting quite low down in our rangers and then on the final time we say ‘Holy Shit’ we are back up in our top range.

We moved into the blocking this number the next day so we could have time to work by ourselves to try and get the vocals down for this number. When setting blocking at the beginning we don’t move much and are just in a freeze frame, when we finally start to move it is in slow motion as a class we found the majority of this number easy to learn until the ending. It was set so it was like we were on a boat that was rocking from side to side but we struggled to get our movements in sync and identical. In the end we broke the movement down in a separated rehearsal and all discussed what each of us was doing individually, we would then make the decision to do the movement that the majority of the cast were doing and as close to the choreographers set movements as possible. 

The choreography at the end was something we kept struggling with in every rehearsal or run though, we ended up coming into a rehearsal early to spend an extra 30-40 minutes going over it to try and perfect the number.

Below is a clip of us practicing the middle section of ‘Ahs’. We felt like if we were able to get this perfect it would be a moment the audience would remember.

[oliviawinspearlma32]

This is a video of us practicing the ending of ‘Candystore’ during the first vocal rehearsal we had for this number. While the director was working with the Heathers, the ensemble members spent around 5-10 minutes going over the bit we found tricky and this section was one we managed to record. It is not 100% perfect but it shows how we problem solved by going over problem sections

[oliviawinspearlma32]

Opening to CandyStore

‘Beautiful’ is the opening number to Heathers. This number is set in Westerburg High and it’s our first introduction to not only Veronica and the Heathers but to the whole student body. This number is energetic and wild, and the first thing audience will see of the cast. We were told to act unruly and to be “bully’s” to each other this is the school that no one really wants to go to, in my opinion it’s the school that all bad kids and those who are maybe from a not well off district go to; it’s the last and only option school.

We started off by learning the vocals first, we record our set harmoniey lines so when we have to spilt off into our groups to practice we have the correct music to be learning. We also use the recording to practice outside of the scheduled rehearsal hours so when we come back to rehearsals we don’t have to work backwards.

As a class I think we found the timing hard at points, for example when we sing “Beautiful” on bar 131 and bar 134 of ‘Beautiful II’ we were told that other years had also struggled at this section. We worked at a class to count out the timing, after listing to the section of music where it was to fit. All three years have been taken music theory lessons as part of our syllabus, learning to read music again has really helped me with learning the songs and harmonies quicker. I also feel that due to the lessons we all understood more of the score so could figure out the timing of this section easier that just counting with the track. Doing this allowed us to get the timing correct quicker then was expected of us and going over it as many times as we could before we moved on, helped us to put it into our muscle memory.

When staging the dance one key element we were reminded and talked about quite often was the ‘Attack’ of the piece making all our movement big, this is not to only allow for the audience in the back of the theatre to see and understand what we are doing but for the scene or dance to not come across as boring. If you see movement that looks miniscule at all times the audience will not be able to see it, but attack the movement no matter the size brings in a drive and power (attack) that will thrill the audience. Every movement must has a purpose. Attack can be not only in movement but in the voice as well. Attacking the vocals gives the song a clear sound, but I find that if you do not put any attack behind the vocals it can come across as flat. 

Below is a video clip of us practicing a section from ‘Beautiful II’ we as a class found this section difficult due to it being a 4 part harmony that didn't feel like it should have fit together. To combat this we were sent to off in our harmony groups to go over it by ourselves, then brought back to go over it as a company a few times. Our director always says “Strong and Wrong” this allows from them to hear us at the level we should be at even if we get it wrong as they will then be able to hear what is wrong and fix what needs to be fixed.

Allowing the alignment of your body to be seen by the audience and open placing yourself in their direct view giving a better picture than that of you’re behind. Each ensemble member had a charcter that they had chosen between themselves from Cheerleader, and Stoners to Nerds and Goths. I had chosen cheerleader and I feel like at the beginning of the number you can see my characterisation coming through in my movement. I tried to make it so that every once in a while I would be in a pose a cheerleader would do.

When the Heathers entered I feel that I lookes like we as the ensemble aren’t doing much but what we are doing is significant to the scene. Though we are not the main focus we are there to show how as a school the pupils not only worship the Heathers but how they in some cases what to be them or how we are petrified of them. We showed this though mime and acting with our bodies. 

The first rehearsal of ‘Beautiful’ took us 4 hours we managed to stage and choreograph 6 minutes 40 seconds leaving us only 1 minute 37 left for our next rehearsal. We finished it in the next rehearsal and allowed for the remaining time in said rehearsal to continuely run the number before moving on. We were reminded by our teacher to recognise just how long things take to do, and to remember our effort levels. We as a company need to continusley up our effort levels, we feel like we get to a good level and don’t have to do anymore than that. But the level we put in can always be push more giving us a better experience but also a better show and rehearsal process in general.

Some feedback I got in a rehearsal was

• Be in character when I’m dancing. When I’m acting in scenes I’m making all the right choices, so carry those choices over to when I’m dancing!

• We should all think about our reactions to Ram and Kurt when we are meant to be in the “Gym” one of them have just been hit in the balls so we need to react accordingly.

• Be calmer on the bounces, this is one moment where instead of being big you need to be small!

Candystore-

Candystore is the song where the Heathers show their true side of themselves. Like with ‘Beautiful’ we started off with the vocals, the boys weren’t involved in the vocals for this number so we spilt the female ensemble voices into 3 parts. The Highers, the Middles and the Lowers singing the coral parts of the song to add power and volume. I struggled with the key changed at the end of the first chorus, to combat this I not only went over it with my vocal group but I went through it in my own time and every time before we did the song until I felt it was in my muscle memory.

There is a riff section towards the end of the song which is normally Heather Chadlers, but the director allowed for all the girls who wished to audition for it. I felt like I wasn’t confident enough in my ability to audition as I feel like my voice isn’t strong enough to carry a riff. Though in my free time I have been practicing the riff and feel like I am gaining more control over my voice improving my singing ability and becoming more accustomed to riffs in general, this will help me in the future and will be something I will continue to practice. According to (Combs, 2017) “split the run into small sections, or riff, which are usually two to five not patterns” once you have done this practice each note patten individually until you reach a point where you can sing them confidently.

This number for ensemble is not necessarily a dance number but a movement number, we were given some moment at points but for the majority of the song we are just acting and reacting. As rehearsal went on some members of the ensemble would for get little moves dotted here and there, we worked as a team to remind each other. For this number we came in early a few times to be sure we had it down because even though it isn’t a dance number the the little movement are easy to forget. 

[oliviawinspearlma32]

A change of plan

Due to the outbreak of Covid-19 since the 23rd of march we have had to work from home in lockdown. We have been having daily meetings on Google Classroom for updates on work and any help we might need. For this tumblr we have been told to continue on as normal, but since we are unsure at this moment of time whether we will still be doing our Major Performance of Heathers the musical we have been advised to continue going over our harmonies for songs, dance routines and any dialogue we have. If we can be off script as soon as possible in the event that we can come back we will be jumping straight back in with rehearsals. We were also sent the video footage of last years production of Heathers just so we can formularies ourselves with it, as it can be a help to those of us who are visual learners but also the rest of the class in general. 

[oliviawinspearlma32]

health and safety

The Health and Safety law applies to theatres like it does to all other businesses. It is a major element not just for putting on a show but in the theatre at all times. These are some points that I felt that I wanted to talk about. 

Children-

Child performers need particular protection and care in all aspects of the workplace. Many aspects of their work activities and surroundings post a potential level of risk that is much higher for them the children than It is for adults. Resulting from their smaller physical size, shorter attention span, a lower tolerance to chemical hazards and temperature extremes. There is also an expectation in place that the child performers will not behave as responsibly as others at all times within respect to their own health and safety and that of the others around them. 

Here are some points from (Occupational Health and Safety Act and Health and Safety Measures | Ministry of Labour, 2009)

An employer is required to take every precaution that is necessary and reasonable, no child performer is required to do any activities work related or work in an environment where the child’s health and safety may be endangered.

The adult supervision that has been provided to a child performer should be DBS checked and appropriate to the present risk level in the workplace, the adult supervision should be appropriate to the number of child performers and the ages of said performers.

  The guardian and child performer must be given any information, regarding to any hazard and the safety to perform any activity. They therefore must be acquainted with any hazards they will be expected to perform

In the making of props, costumes, wigs and stage design the size and age of the child performer should be taken into consideration.

Work at height-

For safe usage of ladder and stepladders it is important to not go past the maximum time of 30 minuets. 

Allow for the ladder to be footed by a fellow worker to keep the ladders or stepladders steady. 

Be certain the workers are happy to carry out the required task and not suffering from injury that will impair the safety of said workers; when using tools or carrying them be sure the area surrounding you is clear of personnel. 

Manual handling-

Manual handling is a large part of theatres, especially for touring company's. Most loads that are transported are awkwardly shaped, heavy and difficult to move. Movement of this sort is often done in confined spaces and under times of stress and pressure. According to (Manual handling at work A brief guide, 2020) “more than a third of the injuries reported annually to HSE are related to manual handling”. The injuries reported tend to be long-term, having a serious impact on the lives of those involved. Assess the health and safety risks of workers (Risk Assessment)

 The 5 Principles of manual handling 

stable base 

bent knees

back straight

keep load close to the body 

keep the list smooth

Figure 3-

Fire Safety-

Fire Safety is taught to new members, Existing members, visitors and sub-contractors of the theatre.

New members of staff are provided with the written information on the inhouse fire safety in their joining pack when starting the job.

Existing members are provided with any written updates made to the fire safety procedures.

Visitors are given a verbal instruction in the precautions of fire safety.

Sub-contractors are also told verbally about the fire safety precautions, they will also be shown the fire exits and the assembly points to be uses in case of emergency.

Procedures within the Theatre Rooms

All personnel in the building should be reminded from time to time, to remain alert to a potential of a fire and what action should be taken in the case of an outbreak or a rehearsal of one.

All marked exits are to be kept clear of obstructions and unlocked during all times that their are personnel on the premises.

A count of all attendees to be taken.

Ensure that there are frequent checks on all fire extinguishers, making sure they are all in date or make the relevant arrangements to have the out of  date extinguishers changed or serviced.

Irregular fire drills carried out so all personnel treat the drill in a proper manner.

A nominated person will act as the contact between the fire brigade and theatre in case of an actual emergency.

First Aid-

A health and safety officer carries out checks to the equipment, practices and procedures to ensure they are being conducted safely and in accordance to the manual document onsite at a theatre. The first aid kit is a permanent fix to the theatre and should meet the content requirements and size for a specific number of people. The first aid kit should be kept in 

The wings adjacent to the exit door

Workshop

A record is to be kept for the location of the nearest telephone to be used in case of emergency, their should be two members of staff nominated to have a mobile phone present and at hand at all times to be used in an emergency. Any incident that requires first aid will be detailed and recorded in an accident book by an Health and Safety Officer. The officer is to take a statement from the victim and  in the case of any witnesses they will then sign any appropriate pages in the accident book.

Risk Assessment-

A risk assessment Is the process of examining the hazards and risks associated with activities, be that of the rehearsal room, the theatre or somewhere else; a series of situations to determine the potential of harm. To distinguish between a hazard and a risk you apply the definitions given below 

A hazard is something with the potential to cause harm.

A risk is the likelihood of it actually harming you in the circumstances presented by said hazard.

Examine the hazard or hazards that have been identified  > how they are controlled > who is exposed to it > what is their involvement at the time.

Below is a figure to show the categorised terms of probability and severity of a hazard and risk situation

Figure 4-

Each situation is assessed with a probability and severity factor and then recorded in a risk assessment register; the measures and remedies taken after the risk assessment are also recorded in the register and any re-risk assessments or amendments are registered  

Sign-in Sign-out-

The theatre uses a sign-in, sign-out policy for performances and rehearsals. The sheet will contain a list of each members name in alphabetical order most probably by surname and carries the time and date of each sing-in and sign-out. Responsibility for ensuring the signing is being used and correct falls to

Doorman/ backstage security

Each individual

Rehearsal director or producer

Stage Manager 

Lead technician

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Roles within a production

In order for a theatre to run a production of some kind there needs to be a team of people with specific roles. Theater in general is a collaborative art. It isn’t about the actor it’s about the team. While Actors bring to life the scripts that have been given to them, behind the scenes is a whole army of people that make the production happen. Many members of the public and those new to theatre aren't aware of the different roles that contribute to the success of a show aside from the actors.  Unless a person has served in a particular role or been acquainted with such role, they aren’t sure of all the things that that role is supposed to do. 

Producer-

The producer reports directly to the Board of Directors, and ensure that a production happens on time and in budget. This role can vary enormously and they “can assume the title of creative producer in recognition of the role they take in mounting a production” says (Hescott, 2015)

Director-

The theatre director for the overall practical and creative interpretation of a script and score. Involved in the whole process from start to finish, directors work closely with their creative team for example the choreographer; discussing which scenes require choreography and which scenes only require standard blocking. They also work closely with production teams, the performers and producers. They can be employed as either an artistic or resident director.

Assistant Director-

The assistant director is liable to the producer and director, they will be responsible for the smooth flow of auditions and preparing the character descriptions. Assistant Directors will take notes of blocking, exits and entrances and missed lines. In the absence of the director the AD will run the rehearsals in their place passing on the relevant information. The assistant director with preform other duties if they are assigned to them.

Choreographer-

The choreographer works with the director for the creation of all dances and, functioning as a movement coach throughout a show, to keep a certain style of movement appropriate to a certain time period. Choreographers audition the dancers and will help the director with casting by supplying recommendations. They together with the director and stage manager will schedule the dance rehearsals, choreographers will teach the cast how to accomplish the choreography. Choreographer will select and train a dance captain.

Music Director-

The music director is the director for all musical aspects of a production. They will audition the singers giving recommendations to the director for casting. They will schedule music rehearsals with the choreographer, director and stage manager. They not only teach the show music to the cast members, but can serves as the conductor. Music directors work with the sound designer on most/all sound related topics

Stage Manager-

The stage manager is answerable to the producer and director.  They will consult with the producer on the hiring and selection of the ASM (assistant stage manger). Stage managers will prepare sides for auditions. They will put together the list of preliminarily props and ensure that their are rehearsal props available. SMs will ensure a rehearsal space is available and safe they will spike the set on the rehearsal room floor before the first rehearsal. The stage manager will maintain a orderly, neat and easy to understand prompt book, they organizes cues and all technical rehearsals. When the show is running SMs are responsible for calling all cues and oversees the entire run of a show and all activates backstage making sure all runs smoothly. They make sure the first aid kit is well stocked and always full, in case of emergency they liaise with front of house about calling the fire department, an ambulance or the police.

Assistant Stage Managers.-

The assistant stage manager will be assigned specific stage management tasks by the stage manager and will execute them under their supervision. While the stage manager is calling the show from the booth the ASM may coordinate backstage traffic. An assistant stage manager would not be expected to call a show or oversee a rehearsal.

Technical Director-

The technical director works in contingent to the producer and director.  A technical director organizes and works out the costs of the technical needs of a show e.g. material for sets, costumes rental and materials, props , lighting and sound equipment; they will work within a budget. They will direct and manage the crew up until the final dress rehearsal, will supervise the Get in and Get out.

Set Designer-

The set designer will collaborates with the director on creating a set design ; by consulting with the costume  lighting designers and director a colour palette can be established for the show. Set designers will create drawings for the builders  and props/furnishings coordinator. They combine ideas with the scenic artirs and set painters. They will attend dress rehearsals and the Get in and Get out.

Costume Designer-

 The costume designer will work together with the director on establishing a costume design working to ensure the clothing represents a time period or theme. They will take measurements of all the cast members; costume designers buy, rent, borrow or make costumes and accessories. If needed they can supply a rehearsal costume or accessories, they will attend any necessary  rehearsals and the dress rehearsal. The costume designer will organize for dressers for costume changes and arrange to repair for costumes and cleanings during the run of a show.

Lighting Designer-

The lighting designer works with the director on establishing a lighting design for a show. They will create a detailed lighting plot and ground/elevation plan; they also create the cue sheet for themselves and the stage manager. Lighting designers will attend production meetings, rehearsals, the cue to cue rehearsal and will make any necessary changes to the lighting plan. The lighting designer will organize the rental of any additional equipment they might need.  Lighting designers attends the get in and oversees the hanging of lanterns, focusing , and level set.

Sound Designer-

The sound designer collaborates with the director and other production roles on creating and establishing a sound design. They will create a sound plot and cue sheets. Sound designers will attend production meetings and rehearsals when needed, they attend the cue to cue rehearsal making any changes necessary. The sound designers will organize the rental of any additional equipment they may need. They attend the Get in, they sound system set up and level set.

Props and/or Furnishings Coordinator-

The head of props and/or furnishings is responsible for the designers and director achieving their designs. They will extensively research to ensure they use the correct the correct thing. They will borrow, rent or build props and furnishings. Props and furnishing coordinators will attend production meetings and supply rehearsals with appropriate rehearsal props and furnishings; they are present at the Get in and set up. The props and furnishing coordinator will repair or replace props and furnishings during the run of a show.

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Audience

Are target audience for our production of Heathers in late Teen to Young Adult, but the film its based of is a cult classic. So the target audience could be set at the teens of the 80s. The material of this show would suit not only todays teens and young adults but those of the 80s due to it comedic songs and script but also the cult classic lines of things such as “fuck me gently with a chainsaw”  and “how very”. As a cast we have made considerations to the audience by keeping the original song “Blue” in our version of the show and cutting songs that we felt didn't need to be there like cutting down “The Me Inside of Me” 

It is important to consider your audience as a performer because without them you wouldn't have a job to do but also because as a performer I want to give the audience what they want. According to (Ruch, 2019) “ Know who you’re performing for – ask ahead of time about the expected makeup of the audience“, keep and eye on the audience do they look engaged, if you feel that the energy on stage is lacking so will the audience.

The 2018 West End production of Heathers the Musical announced ahead of it’s debut that a new song ‘I Say No’ has been written for leading lady Carrie Hope Fletcher, the song ‘Blue’ has been reworked into ‘You’re Welcome’ as well as the script being updated/ re-worked.

Carrie Hope Fletcher was body shamed online for her role as Veronica, although Carrie is a standard UK sized 12 woman, according to her blog (Fletcher,2018) she mentioned that “according to her BMI she is obese”. Lots of comments were made about her shape and size in an interview with the BBC, Fletcher told (Todd,2018) that "Someone said, for example, 'When did they decide Veronica Sawyer would be so fat and unattractive”.  A published blog online titled “Why Carrie Hope Fletcher playing Veronica Sawyer is SO important.” Talks about why they think its important for Carrie Hope Fletcher to be in this cult classic role of  Veronica Sawyer. Stating their view on handing over the role of Veronica to Carrie after “she had previously lived inside the likes of Winona Ryder, Barrett Wilbert Weed and Charissa Hogeland” says (And Other Notes,2018) believing that it was crucial to establishing that a role isn't defined by certain physical traits. Stating that it shouldn't and doesn't matter what the actor looks like as long as they have the ability to meet the technical and emotional needs of the character. 

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Audition Process

My Audition process for LMA’s production of Heathers the Musical- 

For LMA’s production we were emailed the material a few days before for all main characters and were advised to audition for a main even if we only wanted ensemble. For myself I decided to audition for Heather McNamara, Heather Duke, Ram and Kurt.

Ram & Kurt- For this audition I was to learn a script and the song Blue. I spent more time trying to learn Blue as it was in a lower registered when I was singing, I found this difficult due to my voice being higher. I tried to combat this by singing the song up the octave when doing my audition prep but then found that it sounded sharp in some areas of the song or didn't work with the track provided. I spent a short amount of time learning the script and asked for a family member to read in any other character that was in the scene. I researched what would be an appropriate outfit for these character and decided of an oversized t-shirt, jeans and converse. However before the auditions even went ahead I decided that I would not be auditioning for these characters due to my struggle with the song, I also felt that I wanted to break out of my go to audition, as the funny one or as the male. Though on reflection I felt that perhaps if I had took it to the panel and tried the song but told them of my predicament of the key of the song then it could have been modified for me. 

Heather McNamara & Heather Duke- I concentrated on the monologue first for this one as it was the same scene for both Heathers that I was going for just separate dialogue. I found that it was both a blessing and a curse to have the same script for both as it made it easier to learn the scene but I would then have to take extra care on portraying the character different. For myself I thought of Heather Duke as the dumber one of the Heathers and that Heather Duke sees herself as the next top dog, helping me to keep the characters separate in the audition room. When learning the song a used an acting technique called Affective memory to portray the emotions of the song more effectively. Affective memory is a strand of Stanislavski's Method Acting, it is technique an actor used to draw apon an emotion they once felt and applying in to a character in a scene or song on the belief it is applicable to the story. Thus allowing them to connect to the character and the feelings of the character. According to (Timoney, 2016) Aristotle said that “the secret to moving the passions in others is to be moved oneself”. We have been told to never dress as the character for auditions but to dress perhaps similar so as to give the casting director an idea of what you would look in the show. On the first day of auditions I wore dance wear with heals, and a check skirt with my hair half up half down in an 80s style. On the second day of auditions I added a white shirt to my outfit with black knee high socks. 

Auditions normally come through your agent if you have one but open auditions are always around and possibilities. You can find auditions online or on advertisements. For auditions we have been advised to get an “audition outfit” this can be either a dress that will not age and can be worn in any season or a nice blouse and jeans. With both these outfits we have been told to show off what we think is our best feature and hid what makes us uncomfortable so in the audition room we don't have any added stress. For physical auditions where dance is involved have a basic dance wear that shows of the physic of your bodies, you can add to this basic dance wear what ever you feel is appropriate for the audition. It is most probable that you will be required to bring your own audition song, and given sides on the day or emailed to you before hand. By buying the rehearsal track and sheet music for the songs in your own rep folder you as a performer are prepared for either being accompanied by a pianist or a premade track For sheet music I use a site called MusicNotes (https://www.musicnotes.com/) I can buy sheet music for the full song or an audition cut either long or short. For backing tracks I use either a youtube converter or I buy the tracks from site like MusicBackingTracks (https://www.musicbackingtracks.co.uk/).

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Planning

This plan is our outline timetable for completing our show of Heathers the Musical, this gives us the cast a vague outline for what we need to be prepared to learn before coming to class and keeps us on track. This form of communication between the actors and director means less stress for everybody involved. This will help us reach the industry standard that will are aiming to hit by having a clear visual representation of where we as a cast are meant to be, It keeps all parts of the machine running smoothly helping us to finish all numbers over the next 14 weeks. 

It is import to time manage according to (Andrews, 2014) “it can have a huge effect on your performance and productivity in the workplace.” it will not only make employees more efficient, but will help them meet deadlines, produce a higher quality of work and develop themselves as people.

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History and Background Research

Heathers is the high school Hamlet. It’s a dark, hair-raising revenge fantasy. Most probably all High School dramas are about the underdog nerds and/or dorks desperate to become the cool popular kid, showcasing their journey to finally become part of the in crowd. Hidden in the stories is normally a heavy-handed moral message for audiences that the end result isn't worth the work that went into getting there.  The story of Heathers (the film) blew this story outline up, figuratively and literally. In the film we meet Veronica as an anti-heroine already part of the in crowd, but bored by it. She’s seen as the Heathers lady in waiting ready to become one in all aspects bar name. After meeting bad boy Jason Dean (JD for short) who sees right through her act. Soon after their initial meeting JD is coxing Veronica into killing the people she dislikes or make a problem for her and making it look like a suicide, helping to expose the homophobia, bulling and cruelty of the high school like and hierarchy. After their deaths and the way the funeral and memorial events are handled portray the dead kids as saints, mislead in their ways and feeling that suicide is the only way that they will be forgiven for their behavior. This enrages both Veronica and JD even more. The film comes to its conclusion with Jason Dean trying to blow up the school, Veronica tries to stop him which she half success with but JD ultimately decides to clean the slate by blowing himself up instead. The camera then changes to Veronica approaching Martha as she invites her to hang out after homecoming. 

The musical is based on the classic 1989 film written by Daniel Waters, when he was still a Video Store Clark with some slight changes. Westerberg High is ruled by a shoulder-padded, scrunchie-wearing junta: Heather, Heather and Heather, the hottest and cruelest girls in all of Ohio. But misfit Veronica Sawyer rejects their evil regime for a new boyfriend, the dark and sexy stranger JD., who plans to put the Heathers in their place - six feet under. The revenge isn’t only directed at the Heathers but at the two most famous Jocks of Sherwood Ohio Veronica admits to wanting to scare Ram and Curt, JD. suggests to use “ich lüge“ bullets to do this. “ich lüge” directly translates “I’m lying” from German. So where as Veronica intends to scare the Jocks, JD intends to kill them. 

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Johari’s Window

Johari’s Window was developed by psychologists Joseph Lift and Harry Ingham in America 1955. The idea came as the upshot of group dynamics in the University of California, ‘Johari’ diverts from the joining of Harry and Joseph’s names. The model that is Johari’s window is used to enhance the individual perception on both themselves and others. Each four window panes signifies feelings, personal information, motivation and signifies whether that information in the panes are unknown or known to oneself or others.

Two of the window panes represent what is known to self while the other two represent what is unknown to oneself but is known to others. The information in the panes will transfer from one to the other as a result of feedback and mutual trust with those around.

Figure 1-

Figure 2-

Each pane represents something different.

1. Open area or Arena -  Here lies the information about a person that is known to themselves and known to others. Things like attitudes, behaviour, emotions, feelings, views and skills will go here. This area is where all the communication occur.

2. Blind self or blind spot - This is information about yourself that peers and public will know but you will be unaware of. This could make the way others see you different from how you may perceive yourself. 

3. Hidden area or façade - In this pane is where you keep the information that is well known to yourself but not to others. The information in this square is any personal information that you do not wish to share; including feelings, past experiences, fears, secrets and so on. Keeping information private so as not to affect relationships allows for when the time is right to move it into the open area to reduce the size of the pane.

4. Unknown area - In this pane is the information that is unknown too both yourself and others. Including information, feelings, capabilities, talents ect. Said person can be unaware of the unknown capabilities and qualities until discovered and through the observation of others, by being open in communication this can increase the opportunity to decrease the unknown area and learn more about ones self.

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Introduction

Introduction to Major Performance Heathers. 

Major Performance for Musical Theater is the culmination of all our education and training. this is our opportunity to work as part of a cast in the planning and creation of a major performance, focusing on our own technical prowess and the integration of these skills into the role/roles within our production.

This tumblr is going to be used to discuss my areas for improvement within my rehearsal process and evaluating my journey to performance, and finishing with an overall conclusion discussing how I have achieved performance level, being analytical in my delivery of the conclusion. 

We are expected to hit 8 learning out comes throughout the development and performance of our Major Performance.

1. Knowledge and Understanding - Demonstrate a systematic understanding of the key aspects of musical theatre and the performing arts, including acquisition of coherent and detailed knowledge of the industry informed by both enquiry, and creative and technical practice.

2. Application - Apply, at a professional level, appropriate skills and abilities to act, sing and/or dance in a range of musical theatre industry related contexts and/or mount successful live ad recorded performances, including the development of practical, technical and written projects, considering theories and principles.

3. Problem Solving - Develop appropriate methods to solve creative and technical problems. Make decisions informed by a systematic understanding of the key aspects of musical theatre performance in a range of industry related context. Investigate, engage with and challenge conventional and alternative ways of interpreting and presenting ideas and performance material.

4. Reflection - Manage your own learning, exercising initiative and personal responsibility. Demonstrate qualities and transferable skills necessary for employment and present in a professional manner appropriate to entering the musical theatre industry.

5. Communication - Communicate interpersonally using effective forms of written and oral expression. Analyse information and convey complex or abstract information, ideas, concepts and solutions to both specialist and public audiences.

6. Analysis - Examine and critically evaluate the complex aspects of musical theatre in a range of industry related contexts-theory and practice. Evaluate own abilities and limitations in order to identify personal and professional development needs. Question the effectiveness of creative technical processes in terms of producing work that meets industry expectations. 

Enquiry -  Deploy effective techniques of analysis and enquiry, demonstrating a professional approach to research and information gathering. Evaluate the ethical implications and appropriateness of information within your work and that of others.

7. Working with Others - Develop the communication and interpersonal skills necessary to become a leader, by heading management and/or creative and/or technical production teams. Motivate and peers when working to common goal, positively supporting the achievement of agreed outcomes.

To achieve a high level in this module I have to understand and hit all 7/8 of these learning outcomes to a high standard throughout the process of Heathers. This will also help me to preform to a professional standard, and increase my professionality for any future work I may have in the Musical Theatre Industry.