I had a photo shoot a couple of weeks ago with my friend Yoko from The Black Umbrella, a photography studio based out of Toronto, Ontario. The studio currently has an anti-abuse awareness initiative called "Wife Beater," featuring local musicans, actors and other artistic personalities wearing the infamous 'wife beater' tank top in various environments. Here's a statement from the studio's Facebook page about the campaign:
"Domestic abuse can exist in many forms, including physical, mental, emotional and spiritual abuse. This cultural phenomenon is visible in every single nation, race, sex and class that resides on this planet. Wife Beater is a series intent on raising an awareness and healthy discussion based on the concept/reality of domestic abuse."
There is a train bridge behind my apartment building that used to be covered in gang tags and foul language. Garbage was strewn everywhere, it was rather filthy. Across the bridge is a local public school; families use the bridge quite often to get to and from school. I would imagine looking at swear words painted on cement just outside the playground can make children rather curious in unnecessary ways, so it was wonderful to see the transformation. The city of Brampton had started a 'neighbourhood beautification' initiative of sorts and commissioned local artists to turn seedy-looking environments like this bridge and cover it with inspirational art.
I had sent a few quick shots to Yoko to give him an idea of the place. It's great to see that someone saw potential in something that seemed so broken. I guess that's why I chose this spot.
You'll see behind Ali there (far right) there's a sunset painted on the inner panel. That's the background for the shot above. Yoko had centered my head with the sun, asked me to put my back against the wall and 'take two steps forward'. We had a few more shots with the Love graffiti as well as long shots on the bridge. And yes, it was cold. Jeeeeeesus, was it cold, but I played into it. I wanted to feel a certain kind of physical uncomfortableness that I could channel into an intense presence. I had my coat ready to throw on in between shots, and we didn't spend too long outside - I'll suffer for art, but I've got limits.
But I'm just the latest model in a beautiful series of moody shots of artists making a stand against domestic abuse, a few of them friends and acquaintances. You can visit The Black Umbrella on Tumblr and on Facebook and learn more about their anti-abuse campaign.
Thank you again, Yoko, for having me in this campaign!
Personally, I've been waiting to do this number with somebody. Even better - I get to teach it. Boy, is the BMT Youth Troupe senior class gonna have a great time with this one ...
If you are one of those awesome students Melissa, Antonio and I see on Saturday mornings, welcome! Very glad to have you, please don't be afraid to browse the blog and hit that 'Follow' button on the right to keep updated on other cool stuff. (You'll find some posts about the BMT show Guys & Dolls here, as well!) In the meantime, let's talk about the piece you'll be performing in May - the opening number, "I Hope I Get It" from the rousing Broadway classic A Chorus Line!
The entire show is an audition process, taking place on a bare stage with a a bevvy of dancers auditioning to be chosen for a chorus line in a Broadway show. We see a glimpse of each character as they describe events in their personal lives that lead them to choose their 'career path'. Each with a unique background, here are the nineteen main characters of A Chorus Line (source from Wikipedia):
Zach, the imperious, successful director running the audition.
Larry, his assistant.
The Auditioners:
Don Kerr, a married man who once worked in a strip club.
Maggie Winslow, a sweet woman who grew up in a broken home.
Mike Costa, an aggressive dancer who learned to tap at an early age.
Connie Wong, a petite Chinese-American who seems ageless.
Greg Gardner, a sassy Jewish gay man who divulges his first experience with a woman.
Cassie Ferguson, a once successful solo dancer down on her luck and a former love of Zach's.
Sheila Bryant, a sexy, aging dancer who tells of her unhappy childhood.
Bobby Mills, Sheila's best friend who jokes about his conservative upbringing in Buffalo, New York.
Bebe Benzenheimer, a young dancer who only feels beautiful when she dances.
Judy Turner, a tall, gawky, and quirky dancer.
Richie Walters, an enthusiastic black man who once planned to be a kindergarten teacher.
Al DeLuca, an Italian-American who takes care of his wife.
Kristine Urich (DeLuca), Al's scatter-brained wife who can't sing.
Val Clark, a foul-mouthed but excellent dancer who couldn't get performing jobs because of her looks until she had plastic surgery.
Mark Anthony, the youngest dancer who recounts the time he told his priest he thought he had gonorrhea.
Paul San Marco, a gay Puerto Ricanwho dropped out of high school and survived a troubled childhood.
Diana Morales, Paul's friend, another Puerto Rican who was underestimated by her teachers.
Cut dancers:
Tricia, who has a brief vocal solo.
Vicki, who never studied ballet.
Lois, who dances like a ballerina.
Roy, who can't get the arms right ("Wrong arms Roy").
Butch, who gives attitude in the audition.
Tom, an all-American jock.
Frank, who looks at his feet when he dances ("headband").
Like with most audition processes (or for those who haven't done an audition before, think a job interview that you'd really like to score), it can become a high-tension environment, especially when you're surrounded by your competition. There's some great character work and 'nightmare audition moments' we'll have some fun with to really bring the authenticity to the piece.
Check out the original Broadway cast from 1975 perform "I Hope I Get It" on the Tony Awards and check out some of the character work done by the actors.
The musical has also been made into a movie in 1985 and has quite a cult following. Here is the movie cast (you might catch a glimpse of Michael Douglas!) performing the finale number, One. Watch how the chorus line becomes never-ending through the mirror - watch closely!
And now that brings us to your practice video - with lyrics! I will be creating a practice track based on the 2006 Broadway Revival cast, to which Melissa will be arranging the choreography. Did you remember the groups she put you into? Okay, try your best to remember, there's a clue in the video what it's for. You can copy n' paste the lyrics after the video to print for yourself, if you like. AND A WARNING - this may be edited for length, dance segments may be changed, as well as spoken dialog! We'll let you know of those changes ...
In the meantime, enjoy! (I'm rather proud of this one, lemme know what you think!)
ZACH:
(spoken)
Step, kick, kick, leap, kick, touch...Again!
Step, kick, kick, leap, kick, touch...Again!
Step, kick, kick, leap, kick, touch...Again!
Step, kick, kick, leap, kick, touch...Right!
That connects with...
Turn, turn, out, in, jump, step,
Step, kick, kick, leap, kick, touch.
Got it?...
Going on. And...
Turn, turn, touch, down, back, step,
Pivot, step, walk, walk, walk.
Right! Let's do the whole combination,
Facing away from the mirror.
From the top.
A-FIVE, SIX, SEVEN, EIGHT!
[DANCE BREAK]
ALL:
God, I hope I get it.
I hope I get it.
How many people does he need?
BOYS:
How many people does he need?
GIRLS:
God, I hope I get it.
ALL:
I hope I get it.
How many boys, how many girls?
GIRLS:
How many boys, how many...?
ALL:
Look at all the people!
At all the people.
How many people does he need?
How many boys, how many girls?
How many people does he...?
TRICIA:
I really need this job.
Please God, I need this job.
I've got to get this job.
ZACH:
(spoken)
Okay, now the ballet routine …
(continual dialog TBD)
And, one-two-three four-five-six!
[DANCE BREAK]
ALL:
God, I really blew it!
I really blew it!
How could I do a thing like that?
BOYS:
How could I do a thing like...
ALL:
Now I'll never make it!
I'll never make it!
He doesn't like the way I look.
He doesn't like the way I dance.
He doesn't like the way I...
[DANCE BREAK]
ZACH:
(spoken)
Alright, I’m eliminating down now.
Girls first row, boys second row …
(continual dialog TBD)
ALL:
GOD, I think I've got it.
I think I've got it.
I knew he liked me all the time.
ZACH:
(spoken)
Alright, I need your pictures and resumes, please.
It's another session with BMT Youth Troupe, and it's packed full of awesomeness like you wouldn't believe!
If you are one of those awesome students Melissa, Antonio and I see on Saturday mornings, welcome! Very glad to have you, please don't be afraid to browse the blog and hit that 'Follow' button on the right to keep updated on other cool stuff. (You'll find some posts about the BMT show Guys & Dolls here, as well!) In the meantime, let's talk about the song you'll be performing in May - "Here I Go Again" from the musical Rock of Ages!
Melissa and I wanted to make sure we found you a song that was going to be, first and foremost, fun for everybody. We are so happy and relieved that y'all are happy with the piece, because we've got some amazing stuff planned for you.
Rock of Ages is what's called a 'jukebox musical', where the songs themselves are pop songs that are widely recognizable, stuff found on just about everyone's classic rock playlist you can find. "Here I Go Again" was originally performed by British hair metal band Whitesnake and became a hit single in 1987. You can still find the song in most karaoke machines and '80s metal compilations.
The music video created iconic imagery for the '80s hair metal era, with vixen Tawny Kitaen prancing on the hood of a Jaguar XJ in scant white lingerie and seducing the lead singer while he's driving. We also have shots of the band who are performing in what seems to be an empty stadium. It's a cheese video, but it made it huge. We can rip on it later. Check it out below - if you dare!
I also must apologize for the recording that I had played for you, which was a live performance from the original Broadway cast. After finding the London West End cast performance for a televised fundraising benefit on BBC, I'm rather upset I didn't play that one instead. If you'd like, check out the Broadway cast, but it's not worth it to post here. You're better off with this one. :)
Which brings us to a little video I made for you guys! This is a practice track from the Whitesnake version of the song, which is essentially the same at the musical version, other than some minor differences. This will most likely be the track we perform to, but you'll be warned of any changes, naturally.
And that guitar I was talking about? Here it is! One of you lucky people will get a chance to use this beauty in our performance! I'll bring it in sometime for everyone to check out ...
Enjoy your practice video! The lyrics are after the video, if you'd like to copy n' paste into a document.
For your listening - and practicing! - consideration, please enjoy this all-new and improved rehearsal recording with video-note accompaniment for your convenience!
I'm currently editing the most recent tracks and developing them into videos of similar format, which means I'll be PERFECT. I'd just better remember this stuff when it comes to the actual performance.
Well, we had finally finished learning 'Sit Down You're Rocking The Boat' as a full cast, and I have the recording to prove it! I just need to edit the recording a bit and get all the 'blue talk' outta there first. Don't want to implicate anyone, but I'm waiting for a certain possibly incriminating photo that I can't wait to PhotoShop.
Abi and I were secretly thanking SHOUT! when it came to our vocal training and working with Josh, especially dealing with the music. (I'm gonna have to scan a page or so to show you just how nuts this music really was.) We're also crazy to take on the soprano parts. Of course, since Abi is playing General Cartwright, she's gotta hit that crazy high C at the end of the song, and we thought we would challenge ourselves. It's not as bad, we don't sound like dog whistles or dolphins ... not all the time. I put trust in Sharon, our musical director, a self-proclaimed 'technique nut'. Hence, the recordings for future and classroom reference. The first rehearsal recording doesn't have any of the warmups, but that's in the second one (coming soon!).
Our third recording - still to be edited - has the complete workup of the warmups, all the harmony parts, dynamic notes and just about everything else Sharon talked about to make this song great. So, castmates, take heed! It's here whenever you need it!
We have what might be called a 'staggered' rehearsal schedule. For example, a scene with a few major actors will be blocked from 7pm to 8pm, the entire cast would come at 8pm to run through necessary blocking or music rehearsal, and that'll go for about an hour. After that, another scene with a few principle actors will be blocked for about an hour, and we call it a night. We don't get a chance to see the blocking for the scenes we're not called in for usually until full run-throughs, but it's great time management when there's only four months of rehearsals.
Thursday's rehearsal started at 8pm for the entire cast to run through 'Sit Down' and do a flash-run of a few scenes that were already blocked before we headed to the bar. Well, I'll go next time it's on a pay week, if y'know what I'm sayin'.
Here's a few shots of John Carson, Brad Bryson and Noel Fernandes running through the blocking for 'Fugue' and 'G&D'. At one point we had an a cappella performance!
Well done, boys! Off to the bar!
The second and third rehearsal recordings will be up very soon!
I managed to get away with acting like an idiot and being lauded for it. Only in theatre!
Yesterday's rehearsal brought us the blocking for Sister Sarah Brown and her Mission Band performing 'Follow the Fold', whilst the gamblers, drunkards and bobbysoxers on the street laugh her words away. Joe, our director (burgundy shirt, top row to the right), hadn't given me a 'role' yet in regards to ensemble designation, which should prove interesting. He had already led on that he's got something good for me in the 'Havana scene'. But to open the show as a drunk bag lady! Nice!
Joe has me slumped on the ground, upstage left, bottle in hand, where the Mission Band make their entrance. 'Missionary' Cullen (dude in thinking position, bottom left) will have a large pair of cymbals he'll be crashing, so I figure I play a bit into that, get a little drunkenly startled without being too distracting. Can't wait to have the actual things for rehearsal. I then wait for the audio/visual cue of Lynette and Alicia (that's Lynette's beaming face, middle right) being all rude-like and laughing out loud at poor Sister Sarah - our lovely Stephanie (she's making faces at you, bottom right) when she's on her soapbox trying to save New York City from the Devil. They're over at stage right, and then cross over to stage left. See, problem is, I'm playing drunk, so I'm not too sure what kind of debauchery Susan and Joanne (look out, Joanne! Susan's gonna get your face - middle right!), the two 'street walkers' are up to. When I see Lynette and Alicia cross, I stumble up and go to to Arvide, portrayed by Jack (grandfatherly gentleman, top left) up-centre stage and proceed to flirt with his 'big bass drum'. No really, he'll be carrying one. No, an actual bass drum ... stop it!
There's a line cue in Sister Sarah's sermon where I get my drunk ass right up in her personal space, toast her with my bottle and take a good swig, falling with the utmost trust into Lisa's safe 'Missionary' arms. (She's that Amazonian beauty, top left). She then, on Joe's direction, leads me off stage with my own bottle of alcohol like leading a donkey with a carrot. I had a few castmates tell me they had a hard time keeping straight faces with this routine. I had a hard time keeping a straight face through the whole thing myself. But I swear - I am not exercising method acting. There's no vodka in the water bottle.
Funny thing is, my drunken stumble is very similar to my zombie walk. I might need to keep that in check before I start grunting and trying to chew off Sister Sarah's femur.
The marching choreography for the Mission Band is really something! I love to watch marching band formations, how geometric shapes and lines can be so graceful and visually stunning. I'll have to take some video next time they run through it. I won't be able to see it later, drunk and passed out on the ground.
The rehearsal was short, bittersweet. I can't seem to get enough of these.
I have a recording of our second rehearsal working on 'Sit Down, You're Rocking the Boat' (dated 12/1/2012) that's just over an hour long and doesn't want to seem to upload. I'll be shortening it into two parts and posting it very soon! Check out the first rehearsal (dated 10/1/2012) here!
Finally edited and finished - and in a nice little movie!
I love my little iPod Touch. It's got a voice memo recording app I wish I had during SHOUT! So, I've opted to press 'record' each rehearsal, from beginning to end. It's not a bad reference to have, especially learning and memorizing harmonies in choral. Please enjoy our first rehearsal learning the vocal arrangements for 'Sit Down, You're Rocking the Boat' featuring John Carson as "Nicely Nicely" Johnson and our musical director, Sharon Vandrish, taking the lead.
And if you're a fellow cast member, leave me a comment below if you'd like me to email you the .mp3 file!
