The cast have tackled the very challenging song 'Tonight Quintet' and have successfully taken ownership over the song. What is apparent from rehearsal is that this song is where the Jets and Sharks psych themselves up for the rumble.
On Friday 9th April Terri Power ran a accent workshop with the cast on their New York and Puerto Rican accents. Following this extremely useful workshop, the detail in cast's work on authentic accents is noticeable. Not only is this noted in the scripted lines but the cast also now have improvisational phrases to use in scenes which helps to bring the scenes to life.
Some of the phrases the 'New Yorkers' worked with to help them are "New York", "I want you to listen to me", "Bring her here", She's bringin' me somthin'", "Don't worry about it", "Get in the car", "Get outta here", "We went to the store for coffee".
The Puerto Ricans also did a lot work on accents. See the video below for an insight into their accent work.
Saturday, April 10, 2010
More Rumblings....
Just a note on the Rumble....
I think what is starting to coming across in the action now, whether that action be musical, movement or textual dialogue and scene work, is the reality of the situation in hand, the central human condition at the core of the action. It began to be grasped by the cast today as we worked through the reality of the awful situation of the rumble and the culmination of the tensions that bring the story to this harsh point; the brutal fact that by the end of the scene, all involved in this pivotal moment have actually been complicit in murder - the taking of another human life. At the end of Act one there are two bodies on the ground, put there by boys playing at being men who can kill. But when reality hits home and those boys realise the full depth and resonances of their actions - what it really means to be a man who kills, play time is over for ever.
The beginnings of a rumble...
We're starting to delve into the darker parts of the story...
The dirty underbelly of that 1950's New York tension is really coming through now - deep-seated racial tension and the unreachable American dream all together in a hot, listless, combustible Holden Caufield summer. The first generation of discontents. The first teenagers, who had no war to go to and didn't have to like the same music as Mom and Pop.
Today, we also has the luxury of working OUTSIDE(!) A sunny day in Bath gave us a timely opportunity. Luke Cheater and Bijan transformed the open air space in front of Refectory into a full scale mock up of the Minack.
The glorious backdrop of the Newton park campus had a significant impact on the way the actors moved and worked. Stepping up the game to meet with the expectations of a space as grand and awe inspiring as the Minack is a significant challenge and as we worked outdoors and tackled the complexity of the music and movement of the Rumble, the climax of Act One, The change in the actors was visible. They reflected on exactly how much more energy it took to sustain the height, intensity and tension of that work! We also felt exactly how tough it is to move on a floor with no give!
The dirty underbelly of that 1950's New York tension is really coming through now - deep-seated racial tension and the unreachable American dream all together in a hot, listless, combustible Holden Caufield summer. The first generation of discontents. The first teenagers, who had no war to go to and didn't have to like the same music as Mom and Pop.
Today, we also has the luxury of working OUTSIDE(!) A sunny day in Bath gave us a timely opportunity. Luke Cheater and Bijan transformed the open air space in front of Refectory into a full scale mock up of the Minack.
The glorious backdrop of the Newton park campus had a significant impact on the way the actors moved and worked. Stepping up the game to meet with the expectations of a space as grand and awe inspiring as the Minack is a significant challenge and as we worked outdoors and tackled the complexity of the music and movement of the Rumble, the climax of Act One, The change in the actors was visible. They reflected on exactly how much more energy it took to sustain the height, intensity and tension of that work! We also felt exactly how tough it is to move on a floor with no give!
Link: JFK Speeches - 1956
Click here for a link to President John F Kennedy's speeches in 1956
Great information for the Jets to understand what would have been played out on the radio at the time, and the political/social front.
Enjoy...
Emma
Friday, April 9, 2010
A few clips
Hi Guys and Girls
I have been fortunate enough to have sat in on some of the Jet Boys rehearsals and have recorded parts of these to share with you all, (they are already looking brilliant, well done to all involved!) if you haven't managed to sit in on any rehearsals that you aren't directly involved in, I would definitely recommend doing so, it really helps to open your mind up to the entirety of the piece as it is easy to forget where your character sits in the grand scheme of it all (also it is really genuinely entertaining)
For me, the beginning of this process has been absolutely fantastic. To see everything coming to life in the last week or so and has really confirmed for me that we have something extremely special in the making, I have already had a few 'goose-bumpy' moments and feel truly privileged to be a part of such a hugely talented and passionate ensemble.
Unfortunately I can't be with you all for the last couple of rehearsals, but I wanted to say good luck and that I will look forward to being reunited with everyone soon (ish)... until then...
Buena suerte
Kyli xxx
I have been fortunate enough to have sat in on some of the Jet Boys rehearsals and have recorded parts of these to share with you all, (they are already looking brilliant, well done to all involved!) if you haven't managed to sit in on any rehearsals that you aren't directly involved in, I would definitely recommend doing so, it really helps to open your mind up to the entirety of the piece as it is easy to forget where your character sits in the grand scheme of it all (also it is really genuinely entertaining)
For me, the beginning of this process has been absolutely fantastic. To see everything coming to life in the last week or so and has really confirmed for me that we have something extremely special in the making, I have already had a few 'goose-bumpy' moments and feel truly privileged to be a part of such a hugely talented and passionate ensemble.
Unfortunately I can't be with you all for the last couple of rehearsals, but I wanted to say good luck and that I will look forward to being reunited with everyone soon (ish)... until then...
Buena suerte
Kyli xxx
Dancing, Eating and Kissing
Another full and productive day in rehearsals. The 'dance at the gym' is really coming together, and the company are coping well with the high octane choreography and pace of the scene. (check out the video clip below of the work in progress). It is already feeling like a thrill to watch the power and energy of this company, and particularly unique is the sense of ownership that the cast have. It feels already like a genuinely creative process. It was good to glue the movement together with scene work too, introducing Peter Peasey's 'Gladhand', the 'Square' in amongst the testosterone fuelled teens. I liked Pete's description: 'Like a children's entertainer offering jelly and ice cream at a whiskey bar'. After three hours of working this scene, we enjoyed a break. The sun shone while we tasted the cakes, and I must say we have some talented bakers in the crew! Particularly awe struck by the amount of pink icing that Mitch (Tony) had managed to get into his cake for Jenny (Maria). Sunshine and icing sugar created a general regression amongst the company, so that inevitably water was poured into people's belly buttons, bodies rolled down grassy hills, and cake ended up on faces and the floor. Ah...the joy of it all, and hopefully this sunny theme will remain with us until June.
In afternoon rehearsals, we enjoyed some really detailed character exploration. Riff and Tony explored their back stories through improvisation, which took them back to age 11 lying on the bonnet of cars in the parking lot of JFK airport watching the jet planes fly overhead - and to discover that tender time when the Jets were formed. Both Mitch (Tony) and Drew (Riff) found some beautiful pathos and honesty in the scene, and we start to feel the restlessness of these young men who are searching, striving, defining themselves. It is so rewarding when this level of detail can then be woven into the scene, and we can enter the world of this story, and feel the history of these relationships. Similarly, we had a first session with the Puerto Ricans, Chino, Maria, Anita and Bernado - exploring in depth (through improvisation, remaining in character throughout) how they first met, the stories and memories they share, their fears and desires, their 'American Dreams'. In Act 1 Scene 3, we spent time on Maria's first realisation that she is becoming a woman - when she turns to the mirror to see herself in the white dress that Anita has made for her. She fears she will be the baby at the ball, but is shocked and surprised when she sees a very different reflection looking back at her. I feel that this moment marks the start of her love story.
Much frivolity followed when Sammy (Anita) and Rocky (Bernado) tried to smoothe their way through their stage smooch. The otherwise agile, confident and playful pair suddenly became terribly self aware!
Both Sam and I have realised through the course of rehearsal how brilliantly structured a piece this is, the rhythm of the text, the genius of the music and the scope for really exploring a profound set of stories.So all in all - a grand day, and how lovely to be working on a production where each rehearsal is so joyful.
Emma x
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