Showing posts with label VIDEO. Show all posts
Showing posts with label VIDEO. Show all posts

Monday, May 14, 2012

Jack Sullivan, 1939-2012


This is a post long in the making, I feel rather ashamed for not posting this sooner.  I'm hoping you'll understand why.

I remember that rehearsal quite vividly, not just for obvious reasons.  The Hot Box Girls were out at a local lingerie shop choosing our 'Take Back Your Mink' costumes and running into scheduled rehearsal time.  We were concerned we were late, but more concerned about the costume at the immediate moment.  I was in a foul mood and tried not to show it; having an arranged time to meet, I had skipped dinner to make sure I was on time, only to have the rest of the girls an hour late.  I tried not to let tension seep out of me, I enjoy spending time with my castmates, especially these girls.  This is my escape from the week, my second family.  Three nights a week for a few hours at a time, you get to know people quite quickly in an atmosphere of trust.

The more time we took, the more anxious I was getting.  I had noticed a couple of the other girls were sitting in a different frequency of tension, so I pushed my own down for the sake of not adding fuel to a fire I didn't build.  I bit my tongue as we headed for rehearsal, looking forward in losing myself in tonight's work.

Which would be futile, to say the least.

We were greeted by our producer in the rehearsal hall's green room to inform us that one of our cast members, Jack Sullivan, had passed away that afternoon, in his sleep, from a heart attack.  Our Arvide Abernathy, our sweet grandfather, the man with the smile for everyone, one of the warmest and most welcoming souls I'd ever had the pleasure to meet, had left us.

It put so much more into perspective.

I wear my heart on my sleeve.  I try not to, but it seeps out of me before I can contain it.  I tend to associate myself with a similar breed, and theatre folk tend to tune into that same frequency at times.  I had only met Jack during Guys & Dolls and had heard nothing but wonderful things about him and his performance ethic, his friendliness, his open sense of trust.  With all the tension pushed down from before, and the sudden impact of mortality, it was just all too much to take.  I had no idea of whatever strain was put upon him, he never seemed to show.  His energy seemed to be boundless, especially for a man in his wiser years.  I understood this to be his third or fourth show in a row; Annie, Ann of Green Gables, Joseph, Wizard of Oz ... it's difficult to pull a man away from doing what he loves, and he certainly seemed to love what he was doing with us.  We loved him.  We adored him, he was the perfect 'grandfather Arvide', and embodied that protective patriarch rather perfectly.  He was that for all of us.  I didn't know how I was going to go through with this.

Our producer had said we would still be going through with rehearsal, and obviously understandable to emotional states, it would be a subdued evening.  The announcement was made to the cast and crew in attendance at the start of rehearsal, so everyone was in a state of grieving in their own way.  Jack would have come tonight for rehearsal, so we would still have one.

I had completely lost my appetite at that point, not rather caring about my own needs but more of the collective comfort.  Although a good cry in the bathroom alone got most of it out, I'm not too sure if I could have held up the rest of the night if it wasn't for a particular cast member who reached his arms out to me as soon as he saw me when I quietly snuck into wardrobe.  I didn't hesitate, I knew I'd be safe there.  He had been a bit of an emotional crutch for me that night; I'm not too sure if he understands how much I appreciated him, how much I still do.  If anything that Jack's sense of precious time taught me, is to let those people know how much they're loved and appreciated.

We all banded together that night, and the energy shifted.  We all felt vulnerable; raw and tender in grief that held its mist over our heads.  We tried not to let it cloud our eyes that night.  We knew going through with rehearsal was the best thing we could do for Jack's legacy.  We knew it was best, most of all, that being together - this family that Jack helped build - was the best thing we could do for each other.

The show has since drawn its final curtain, with our director stepping into Jack's role.  It was the right decision, we agreed in some unspoken way, to keep the role 'in the family'.  Our music director had also said at one point she didn't have it in her heart to teach the song to someone else after Jack.  Jack's wife, Carolyn, and a substantial number of his family were in attendance at our final show.  We had received such overwhelming support from the Sullivan family in regards to this show, we were and continue to be so grateful.  I only wish there was such a way I could personally express the loss I feel in not getting to know Jack better. 

Out of this, I keep precious the things around me.  I take the time to remember the genuine people around me, the new lights in life that keep me warm and safe, to take the time to acknowledge their kindness and let them know how much their loved.  Jack did the same for all of us in his own way.  We, the cast and crew of Guys & Dolls, try to continue that spirit, even after the show has drawn its curtain and the last note is sung.  We remember the precious time we have and to not take it for granted, but to also not waste it and fill it with as much life as possible.

I had the opportunity to design and create the show programme, which included a page dedicated to Jack's memory.  I had included a quote from Alexander Pope's "Essays on Man": "Act well your part; there all the honour lies."  It was something that struck me as reflective of Jack's character, that he put so much dedication to his work, and his legacy will always remain with us his dedication and love for the magic we created on stage and the respect he showed for all those who met him.

I was lucky to have an audio recording of Jack in rehearsal singing "More I Cannot Wish You" from a late January rehearsal.  I've created a tribute video featuring this recording, with the help of Jack's cast mates from previous shows.  Hopefully a fitting tribute to Jack, something we can continue to remember.

Thursday, April 5, 2012

BMT's 'Guys & Dolls' on Rogers Daytime!


We're on television!

Cecily Restivo-Petroff (Miss Adelaide) and Noel Fernandes (Benny Southstreet) were interviewed on Rogers Daytime about our show!  You can check it out by clicking here and you'll find them about five minutes into the show itself.  You might even catch a photo of the Hot Box Girls in rehearsal!

Enjoy!

Saturday, March 24, 2012

Synergy Theatre Arts: ANNIE Script for Class Recital

The recital for Synergy Performing Arts Academy is fast approaching (May 5!), and I think I might be more nervous than the kids.  This entire experience has been jarring, rewarding, stressful and full of valuable lessons about my own creative process.  The most rewarding part for me is seeing the kids really enjoy themselves and trusting the process together.  Although I've had to go through rewrites, dropped students and changes in lineups, I've managed to come up with a couple of scenes for the kids to lead up to the songs.

Without futher ado, here's the script for the kids for ANNIE!  The orphans are named after the kids in the class to keep the script simple.  This skit was actually a compilation of excellent audition monologues I had found and had arranged them into a scene that would lead into their performance of the number "Hard Knock Life."  Enjoy!



The orphans are all asleep in makeshift beds around the stage.  A few make soft, muffled sounds in their sleep while shifting positions.  DRYDEN and her sidekick, TIFFANY, snore in unison rather loudly from their sleeping positions.  Suddenly, MYA starts to stir from a nightmare and starts to talk in her sleep.
MYA (in her sleep):
Mama!  Mama!  Mommy!  Wait, Mommy!  Mama!

MYA continues to toss and turn in bed, waking KHANDACE, KEYANNA and SOMER from their beds, noticing MYA’s dreaming condition and begin to worry.  KHANDACE rushes over to MYA’s bedside.

KHANDACE:
Oh my goodness, oh my goodness!  Molly’s talking in her sleep.  Her eyes are still closed.  She don’t know how loud or soft her voice is when she’s asleep.

KEYANNA:
At least she’s not snoring, like those two.  (She gestures with annoyance over to DRYDEN and TIFFANY, still asleep and snoring.)

MYA awakes with a start and a yell, which startles the other girls awake.  They all stretch from their slumber and look around to see where the noise came from, finally focusing on MYA.

MYA:
Oh, no!  I was dreamin’ ‘bout my Mama.  We were on the merry-go-round and she was smiling and holding my hand, and then she was gone!  I couldn’t stop the merry-go-round and I couldn’t find her no more.

DRYDEN:
Shut up, MYA!  Can’t anyone get some sleep around here?

TIFFANY:
Yeah, can’t anyone sleep?

THE ORPHANS try to shush DRYDEN and TIFFANY silently.

KEYANNA:
Pipe down, or Ms. Hannigan will hear you!

DRYDEN:
What?  You’re telling me to pipe down?  You’re beggin’ for a black eye, pal!

TIFFANY:
Yeah, you’re beggin’ for it!

DRYDEN and TIFFANY both ‘put their dukes up’, ready to take on the crowd.  AALIYAH jumps in the middle of everyone to try to break the tension.

AALIYAH:
Pipe down, all of you!  Do you want Hannigan to hear you?  (She goes to MYA.)  Shhhh, MYA, it’s alright, we’re here for you.  (She pulls a hankercheif out and holds it in front of MYA’s face.)  Here, blow.  (MYA blows her nose rather noisily.  THE ORPHANS react in disgust and worry it was too loud.)  It was only a dream, you know, but it’s after 3am and we’ve all gotta get back to sleep.

SOMER:
ANNIE, why don’t you read us your note again?  It always makes us feel better.  Then we’ll all promise to go back to sleep, yes?

THE ORPHANS all nod in agreement.  DRYDEN and TIFFANY snicker.

TAYLOR (ANNIE):
Alright then, if you’d like … (She pulls out a folded piece of paper from her makeshift mattress and sits beside Molly.  THE ORPHANS gather round and make themselves comfortable, with DRYDEN and TIFFANY hanging back and making fun of the rest of them.  TAYLOR clears her throat and begins to read.)  “Please take care of our little darling.  We’ve named her Annie.  She was born on October 28 …”

DRYDEN and TIFFANY let out a loud, mocking laugh.  THE ORPHANS turn to look at them with daggers in their eyes.

MARTYNA:
So, you’re laughing, are you?  You wanna sleep with your teeth inside your mouth or not?

DRYDEN, TIFFANY and MARTYNA start what becomes an all-out pillowfight brawl all around the stage, until they hear the shrill voice of MS. HANNIGAN.

MS. HANNIGAN:
What is all this!!?!?!???!!!!

THE ORPHANS run into their ‘soldier lines’ and stand at attention at MS. HANNIGAN’S entrance.  She is in a loud and colourful dress with terrible makeup and curlers in her hair.  MARTYNA and DRYDEN are still picking on each other when MS. HANNIGAN isn’t looking while she marches up and down, scowling at THE ORPHANS, who don’t move an inch and follow her with their eyes.

MS. HANNIGAN:
You want to be up in the middle of the night?  FINE! You’ll stay up all night until this dump shines like the top of the Chrysler Building!  Now say it!  Say it!!

ORPHANS:
(Not really meaning it, but fearing her wrath if they don't say it:) We love you, Miss Hannigan.

MS. HANNIGAN:
 (She turns to the audience with a knowing look and mumbles:)  ‘Little girls!’

THE ORPHANS remain in their soldier line positions until MS. HANNIGAN exits.  They turn in her direction and make the silliest, most ridiculous faces and gestures of extreme dislike in her direction.

CUE MUSIC!

Friday, March 23, 2012

Synergy Theatre Class: 'Pinball Wizard' Skit for TOMMY

My biggest challenge yet when it came to my Theatre Arts classes at Synergy Performing Arts Academy was with writing a skit for my class performing 'Pinball Wizard' from the rock musical TOMMY.  Technically, the musical is a rock opera without actual spoken parts, so I wanted to make sure I wrote a scene that would reflect the message of the play; that being yourself, regardless of what makes you different, is the best thing you can offer the world.  I'm really proud of the kids and how they've taken to the material, being such a heavy piece itself, and they took to the message rather with flying colours.

I had written with script excluding our main character, Tommy, who is deaf, dumb and blind throughout most of the play.  Instead, I had picked out a few characters to focus on in the skit who are celebrating Tommy's achievements as they walk the red carpet before the 'Pinball Wizard Spectacular' begins. 


PINBALL WIZARD SKIT – THE RED CARPET ENTRANCE


SALLY SIMPSON and MRS. WALKER, the red carpet interviewers, are already on stage, amongst the cheer and applause of TOMMY’S fans behind them, behind a ‘velvet rope’ and holding support signs, awaiting to enter the concert.  (Think ‘Entertainment Tonight’ with your delivery!)

SALLY SIMPSON
Hi, I’m Sally Simpson, president of the Tommy Fan Club …

MRS. WALKER
And I’m Mrs. Walker, proud mother to the Bally table champion himself …

SALLY SIMPSON
And we’re live at the biggest event of the year – Tommy’s Pinball Wizard Spectacular!  What an incredible feat - this deaf, dumb and blind boy has managed to beat every pinball wizard in the country!

MRS. WALKER
That’s right, Sally Simpson, and with us tonight to celebrate Tommy’s amazing success are his family, friends, and a few celebrities we’re bound to run into here on the red carpet!  Sally, you look rather dashing, who are you wearing?

SALLY SIMPSON
Why, thank you, Mrs. Walker!  I’m wearing … (ad lib)  And tell me a bit about who you’re wearing?

MRS. WALKER
You’re too kind!  I’m wearing ... (ad lib)

SALLY SIMPSON
Hey, look!  I think our first guest is Cousin Kevin, onetime childhood adversary to Tommy.  Tell us how you’re responsible for his success today?



COUSIN KEVIN enters and struts to the ladies.

COUSIN KEVIN
Well, it’s simple, really.   I was trying to make fun of him at first, because what deaf, dumb and blind kid can play pinball, really?  I mean, what are you going to do – smell your way through a game?   Well, he sure showed me!  Those digit counters started falling, and all I could think was “WOOOOW! He sure plays a mean pinball!”

MRS. WALKER
What message do you have for Tommy tonight?

COUSIN KEVIN
Well, Tommy, I’m sorry I picked on you so much all these years, but you’re a big inspiration to all of us, because you show us that we can be ourselves and still be awesome!

PINBALL WIZARD enters and walks over to the fans to sign some autographs.

MRS. WALKER
Thank you, Cousin Kevin!  (COUSIN KEVIN exits, waving goodbye.)  And look who else we have – former Pinball Wizard Champion (name here)!  (PINBALL WIZARD struts over to the ladies.) Tell us about the moment you heard that Tommy, a deaf, dumb and blind boy, beat the highest score on the Bally table of all time, yours?

PINBALL WIZARD
I’ve been playing in arcades all over this country, and I’ve never met anybody like him.  It’s like he becomes part of the machine!  I’m happy to give up my crown to such an amazing player.

SALLY SIMPSON
Any hopes for a rematch?

PINBALL WIZARD
Oh, we’ll see!  I’ve got to get a bit more practice in if I’m gonna try to beat him!  But I’ll be playing a special role in tonight’s concert – my band and I will be introducing the new champion!

SALLY SIMPSON
Well, we can’t wait to see it!  (TOMMY’S FANS roar with excitement.)  My goodness, let’s say hello to the fans!

TOMMY’S FANS, mostly young girls, all holding handmade signs and pictures supporting TOMMY, get into mass hysteria and excitement when the ladies approach them.

MRS. WALKER
Hello, ladies!  You’re all part of Tommy’s fan club, aren’t you?

TOMMY’S FANS all scream at once, “YES!” and proceed to try and talk over each other about how they proclaim to be TOMMY’S #1 FAN.  They are silenced by SALLY SIMPSON.

SALLY SIMPSON
Well, I’m the president and I’ve got a say – you ladies right here are amazing for being here, and I know for a fact that Tommy is so thankful for your support – that’s why you’re all getting front row seats!

TOMMY’S FANS all scream in surprise and proceed to high-five, hug and congratulate each other.

MRS. WALKER
I think we might be due for a few more celebrity appearances – wait!  Is that who I think it is?  None other than PAC-MAN himself!

PAC-MAN enters the stage, and TOMMY’S FANS go absolutely wild!  PAC-MAN approaches the ladies.  PAC-MAN won’t actually talk, but it will be ‘pantomimed’ instead.

SALLY SIMPSON
What an honour to have you here, Mr.  … uh, MAN!  As an arcade legend yourself, do you have any inspirational thoughts for Tommy this evening?

PAC-MAN nods ‘yes’ and goes to say something into the microphone.  Suddenly, a GHOST appears and PAC-MAN is on a mission and chases the GHOST offstage.

MRS. WALKER
Well, I think I know what I can get from that …

MRS. WALKER/SALLY SIMPSON
Practice makes perfect!

CUE MUSIC!

SALLY SIMPSON
The Pinball Wizard Spectacular is about to start, and you’re in for an event you’ll never forget!  (MUSIC STARTS.  Everyone rushes onstage into position, we can’t wait for the concert to start!)  We’ll see you in there!

SALLY SIMPSON and MRS. WALKER take their positions for the beginning of the music number.

Tuesday, February 14, 2012

BMT Youth Troupe - "I Hope I Get It!"


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.
(continual dialog TBD)

ALL:                                                  MAGGIE:
Still it isn’t over,                                What's coming next?
It isn't over.                                        MIKE:
I can’t imagine what he wants           What happens now?

GIRLS:
I can't imagine what he...

ALL:
God, I hope I get it!
I hope I get it.
I've come this far, but even so
It could be yes, it could be no,
How many people does he...?

I really need this job.

A FEW VOICES:
My unemployment is gone.

ALL:
Please, God, I need this job.

A FEW VOICES:
I knew I had it from the start.

ALL:
I've got to get this show!

Monday, February 13, 2012

"Here I Go Again" with BMT Youth Troupe!

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.


SHERRIE:
I don't know where I'm going
But I sure know where I've been
Hanging on the promises
In songs of yesterday
An I've made up my mind
I ain't wasting no more time
But, here I go again
Here I go again

DREW:
Though I keep searching for an answer,
I never seem to find what I'm looking for
Oh lord, I pray
You give me strength to carry on
'Cause I know what it means
To walk along the lonely street of dreams

SHERRIE/DREW:
Here I go again on my own
Goin' down the only road Ive ever known
Like a drifter, I was born to walk alone
And I've made up my mind
I ain't wasting no more time

STACEE:
I'm just another heart in need of rescue
Waiting on love's sweet charity

DENNIS:
And I'm gonna hold on
For the rest of my days

LONNY:
'Cause I know what it means
To walk along the lonely street of dreams

COMPANY:
And here I go again on my own
Goin' down the only road I've ever known
Like a drifter, I was born to walk alone

REGINA:
And I've made up my mind, oh yeah
I ain't wasting no more time

FRANZ:
But, here I go again

SHERRIE:
Oh, here I go again

DREW:
Here I go, here I go
Here I go again
Oh yeah, here I go

[GUITAR SOLO!]

COMPANY:
And here I go again on my own
Goin' down the only road I've ever known
Like a drifter, I was born to walk alone

SHERRIE:
And I've made up my mind

DREW:
Oh yeah, I ain't wasting no more time
Come on!

COMPANY:
And here I go again on my own
Goin' down the only road I've ever known
Like a drifter I was born to walk alone
'Cause I know what it means
To walk along the lonely street of dreams
Here I go again!

Wednesday, February 1, 2012

BMT's 'Guys & Dolls' - New & Improved Video!

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.

Enjoy, lovelies!

Tuesday, January 17, 2012

BMT's 'Guys & Dolls' Rehearsal Recordings - 'Sit Down, You're Rocking the Boat' (I)


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!

Friday, November 25, 2011

GetUp! Australia: A Moving Video to 'End Marriage Discrimination'

I don't think there is anything I could possibly say that would prepare you for the story you're about to embark. It's really something you need to see.

I can't stop crying, this will stay with me for a long time.  I just need to do my part to get as many people as possible to see this video.  You can share this video below on Facebook or Twitter.

BMT Youth Troupe: 'Steal Your Rock n' Roll' Piano Accompaniment

Alright, kids.  I'm talking to you.

Technology sucks, especially when you need it to work really badly.  Albeit, the piano accompaniment for your performance is finished and ready to go!  Many thanks to Josh Priess, music director extraordinaire, for the beautiful playing on such an epic song.

Find the lyrics after the video!




Friday, November 18, 2011

Flashback: Brampton Music Society's 'Evita', Fall 1991


Company: Brampton Musical Society (currently Brampton Music Theatre)
Production: Evita, Fall 1991


This was my very first musical at the impressionable age of eleven - and what subject matter!  This community theatre production ran a full two weeks, if I remember correctly, at the Lester B. Pearson Theatre in Brampton - this was pre-Rose Theatre days, before the idea was even conceived at the time.  My father - in the General's Chorus, to the left of the nun - managed to get us auditions for the orphaned children's chorus that sing to Evita in thanks for her charity and goodness and all that good stuff orphans appreciate.  My brother, D'Arcy - he's inspecting his toes, front row left - was the smallest of the group, earning him the opportunity to present 'Santa Evita' with a bouquet of flowers.  I remember one performance him turning to the audience and waving, 'hello!'.  He was only six or so at the time, so it's forgivable, I guess.  Adds to the cute factor, no?

Monday, November 14, 2011

Inception: The App

So, I need to geek out about something.  So, everyone reading this with an iPhone or iTouch, get it now.  You'll thank me later.  This app is genius.


I'm a huge appreciator of Christopher Nolan's work, and the idea of Inception intrigued me: a sci-fi action heist film based on the concept of dreams-within-dreams and planting original ideas into someone else's subconscious.

In a world where 'shared dreaming' technology exists, Dom Cobb, played by Leonardo DiCaprio, is an expert 'corporate extractor'; a man who can enter into your subconscious through your dreams and steal your secrets - for a price.  Wrongly accused of his wife's murder and separated from his children, his most recent target, a wealthy Japanese businessman, gives Cobb an opportunity to be reunited with them - for a price of his own: perform the act of 'inception' to convince the son of an ailing wealthy tycoon to break up his vast energy conglomerate at his inheritance.

It's not as easy as you think.  Joseph Gordon-Levitt plays Arthur, Cobb's right-hand man, explaining the difficult concept to Ken Watanabe playing Mr. Saito, the Japanese business man proposing 'inception'.  He's got a great moment that clarifies the difficulty:



Betcha you'll be thinking about elephants for a while.

Tuesday, November 8, 2011

BMT Youth Troupe Sings 'Seasons of Love'

I'm a lucky lady, y'know.  It's not every day you get to work with awesome kids who are dedicated to their work like this.

I've been teaching kids on Saturday mornings for Brampton Musical Theatre's Youth Troupe.  This particular group has the honour of singing 'Seasons of Love' from the popular rock opera Rent.  Since everybody and their monkey's uncle knows this song, I had put on the backing track to see what the kids could do, where they felt comfortable vocally, who would break out in dance and all that.  The kids are also working with Melissa, a dance teacher and choreographer, for some fancy footwork to go with the song.

We'll be performing in a couple of weeks, and the kids are sounding amazing.  Check it out for yourself in the video here, taken by Brittany, one of the students in this group.  (I'm in the green scarf and the black 'STAFF' shirt.) I'd like to point out this is all before I had officially taught them the harmonies - they all gravitated towards what they felt comfortable, which helped me out immensely.  Kudos to Madison and Leah for taking on the solos!

(To quote Hermione Granger, "Does my hair really look like that from the back?!")

Wednesday, October 26, 2011

Toronto Zombie Walk 2011: Working the Camera for blogTO.com

To any photographers that got in my face, I'd like to give a little apology from the actor-in-charge, so to speak - zombie Cassandra doesn't like lingering cameras, so if I started screaming and/or was incredibly violent to you, I'm so sorry, it was all in good fun!  I did find a couple of really awesome shots from some folk who have been kind enough to forward links - check these out!

Photo by Chris Cheung

Photo by Konstantina Photography
Photo by Chris Cheung
Photo by Jeff Currey

There was a particular memorable moment with a few handsome zombies and their tripod-and-camera setup.  They had the camera pointed at me, looking at the viewscreen while I was sitting on the ground, 'shackled' to Nick, trying to rip open my brain-and-Jell-O package.  I had noticed the camera focused on me and figure I'd have a little fun.  I had mentioned earlier that zombie Cassandra doesn't enjoy lingering cameras, and this one lingered for quite some time.  I had built up the zombie frustration to a point where I threw the brain aside and began to scream like a maniac at the camera, telling them in my best zombie-speak to F@#! OFF AND GET THAT CAMERA OUTTA MY FACE!!!  My message was lost in translation because handsome zombie man and friends started to applaud my 'demonstration' while Nick 'dragged' me away.  Nick had later discovered they were a couple of bloggers from blogTO.com, capturing images from this year's Zombie Walk - and they had included my zombie tantrum in their short video!  You can check it out here, it's a really impressive video - you'll find me and Nick's big gun at the 1:08 mark. 

Thanks to everyone who's been forwarding me links and pictures they snapped of me at the Zombie Walk!  Lemme know if you happen to come across any more!

Thursday, September 15, 2011

Extra Work on Total Recall 2012


Everyone's career in film starts somewhere, right?  Looks like Nick and I are off to a potentially good start - with background acting work on the set of Total Recall starring Colin Farrell at Pinewood Studios in Toronto!

Nick and I had answered a Craigslist ad looking for "clubby/seedy/funky people" to fill a street scene in New Asia, where it's "always raining in this part of the world".  We were asked to bring our own clothes in rust and earth green tones - about two thirds of my own wardrobe - for the costume folks to take a look at and see if there's anything to use.  They liked just about everything I brought, which I'm told makes the process a whole lot easier on shoot day.  Here's what we got:

:: khaki green three-quarter length sleeve jacket, H&M (gift) :: Mandarin-collar olive green button-up shirt, Alfred Sung :: rust brown dress pants, Ricki's :: paisley pashmina scarf with gold thread detail, gift :: knee-high brown 'leather' wedge-heel boots, gift (not pictured) ::

Funny enough, this is stuff I wear on the regular, so I'm just gonna look like myself!

I've been reading up on the movie itself, being it a remake of one of my favourite Arnie movies.  The original concept of Total Recall came from the short story We Can Remember It For You Wholesale, written by Phillip K. Dick.  The story is a mesh of reality, false memory and real memory, all in the mind of Douglas Quail, a simple and ordinary man who would one day like to visit Mars, a plausible vacation destination of the future.  Since he is, however, a simple and ordinary man, he can't afford it, so he gets the next best thing - a mental vacation courtesy of Rekal Incorporated, offering "extra-factual memory" to fulfill his dream.  As the "Mars memory" implantation proceeds, the staff at Rekal reveal that Quail is an actual government agent with a brain full of dangerous secrets.  Frightened by what they may have stumbled across, the staff at Rekal hurry him out of the office, where Quail finds more physical evidence to support that his Mars 'memories' are actually real.  The government puts a bounty on his head, but he manages to make a deal: he returns to Rekal to have his memories of Mars suppressed and replaced with "heroic wish-fulfillment" false memories as compensation.  As the Rekal staff prepare to implant the memories, they uncover an older and different set of suppressed memories that reveal the unbelievable events they're about to implant to be actually true.  

In Mr. Dick's story, Quail doesn't go to Mars.  Arnie's "Quaid" does in the 1990 film.  I don't think Colin will be going, though.  From what I understand, this remake will be closer to the short story than a frame-for-frame remake of Arnie's sci-fi action adventure.  I've always been into this stuff, and I'm crazy excited to be a part of this.  Hopefully, I won't be on the cutting room floor when this is all said and done.  

But if we're going to remake this film again, maybe we can see something along the lines of this:




Source material from Wikipedia.org.  Those guys are the best, yeah?

Tuesday, July 12, 2011

Synergy Arts Camp: Tap Dance

Tuesday is Tap Day at Synergy Arts Camp!  Tap dance is one of my favourite dance forms, I've been an appreciator of tap for some time, recently purchasing my very first pair of tap shoes from Synergy!  (We've got all sorts of dancewear here!)  I've been practicing with them on my balcony and some spare time in the Grand Ballroom at the academy.  I'm rather elated, actually, and will be considering proper tap lessons in the future.  I've had some basic lessons a few years ago and remember the steps, and have also looked up a few basic moves that are really good for balance and weight transfer for young kids to try.  Here's the handout for tap dance, as well as an activity sheet for the kids to fill out on the parts of a ballet pointe shoe.  (First one to finish got their choice of sticker!)  Enjoy!


Tap dance was developed in the United States during the nineteenth century and has gained popularity around the world!  The name 'tap' comes from the sound of the small metal plates on the soles of a tap dancers' shoes when they touch a hard floor.  This dance form uses precise and quick foot patterns in rhythms, choreographed to a pace in the music very much like a drummer in a band.  American composer Morton Gould has composed concertos for tap dancer and orchestra - using the dancer as the rhythm section!

A history of tap can be seen in traditional clog dances in the Netherlands, Irish and Scottish jigs, as well as the rhythmic foot stamping of African dances.  North American tap dancing has two modern techniques: classical tap and hoofers.  Classical tap blends elements of ballet or jazz dance into the upper body movements into the tap choreography, and tend to stay on their toes.  Dancers like Ginger Rogers, Fred Astaire and Julie Andrews are great examples of classical tap.  Hoofers use every part of the shoes to make their feet sound like drums – a great example is the Broadway show Stomp!, where the dancers also incorporate objects like trash cans and broomsticks into their rhythmic choreography!

Tap dance is also a regular part of musical theatre choreography, with many shows specifically composed for ‘tap dancer accompaniment’.  Busby Berkeley started the trend of ‘movie musicals’ with hundreds of dancers tap dancing at once!  Other popular musicals featuring tap dance are Anything Goes, 42nd Street, Singin’ in the Rain, Mary Poppins and many more!


Basic Tap Dance Warm-ups and Stretches

Arm Circles
Holding your arms straight and out to the sides, gently circle your arms about 20 times; 10 to the front and 10 to the back.   (A tap dancers uses the arms and shoulders for balance, so these will need to be nice and loose!)

Ankle Rolls
Standing with your weight on one foot, point the toe of your other foot into the floor.  Gently roll the heel of your foot around your toe.  Perform 20 turns on each foot, 10 to the front and 10 to the back.  (This helps stretch the muscles and tendons in your legs and feet!)

Point and Flex
Stand with your weight on one foot.  Point your other leg to the front, keeping your knee straight.  Change from one foot to the other until each foot has had 20 turns.  (This helps stretch your calf muscles in the back of your legs!)

Runner’s Lunge
To perform a runner's lunge, lunge forward on one knee, straightening the other leg behind.  Place your hands on your lunged knee.  Push the heel of your back leg into the ground, feeling the stretch through your entire calf area.  Hold the stretch for 20 seconds on each leg.  (A tap dancers’ lower legs work very hard – this stretch helps stretch those out a little more!)

Hamstring Stretch
Stand with one leg in front with your foot flexed.  Place your hands on your thighs to support your body weight.  Lower your upper body towards your leg.  Hold the stretch for 20 seconds on each leg.  (This will help stretch the back of your thighs!)



Tap Dance Shoes


Here are some great tap dance videos to inspire!



Gene Kelly and Julie Andrews are two of the most popular classical tap dancers, having entertained in movies and musicals together with their singing voices and tap dancing.  This clip features a very interesting way you could practice your tap moves!



Ms. Sutton Foster stars in the Broadway revival of the musical Anything Goes, full of romantic antics aboard a steamer cruise ship across the Atlantic.  This tap dance number, as performed at the 65th Annual Tony Awards celebrating Broadway theatre, is of the title song 'Anything Goes' that closes the first act.  And for an added surprise ...



The opening credits from one of my favourite movies, Indiana Jones and the Temple of Doom!  Here's Kate Capshaw peforming 'Anything Goes' in Mandarin - and a Busby Berkley tribute to tap dance!
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