Introduction

In this portfolio, I will reflect on my skills as both performer and Dance Captain during the Wonderful Town’s development. I will assess how well I collaborated with my fellow performers and creative team during the rehearsal period, whilst comparing it to the overall planning and collaboration of the project, observing how effectively I was able to manage these roles. I will analyse how I adapted to difficult situations and how well I implemented the practice of a performer and Dance Captain throughout the rehearsal period, assessing if my input benefitted the cast overall. This reflection will highlight how well I have developed in these roles this year & what areas I still need to improve.

Reflection and Analysis

On 20^th February, a multi-course session took place in order to review and discuss our opinions to decide what show we wanted to perform an excerpt from for the performance project. We were given the options of Mary Poppins, A Spoonful of Sherman, Steel Pier and Wonderful Town. MA Company then gathered to discuss these options, giving our personal and professional opinions on what show we wanted to do and why. It was taken to a vote, resulting in Wonderful Town being chosen. After confirming our choice, we began learning Wrong Note Rag with Tom until the end of the session. At this time, Scott Harrison informed students they could approach him about the opportunity of having a role within the creative team. This resulted in a group of us having named roles and taking extra responsibilities, including:

Jason Wolff- Writer

Julian Schwartz, Lara Brown, Yezi Guo, Dan Savage and Tom Maxwell- Musical Directors

Molly Jamison and Lucy Mailey- Directors

Kaz Gilbody- Choreographer

Annelise Manojlovic (myself)- Dance Captain

At this stage, I was volunteered as Dance Captain by my peers to Scott, however I was intending to offer myself regardless, since I saw this as an opportunity to hone my skills and apply my previous research of the role into performance project. My roles were to be a performer and Dance Captain. However, I was unable to fulfil my role as Dance Captain until 27^th February, since there were many setbacks that prevented progression for any choreography or blocking to take place.

From 26^th January to 6^th February our module tutors were absent as Gus was hospitalised and Scott was in Australia. This left the students to lead the sessions, being advised to use 27^th January to hold auditions for the project. The panel consisted of the Writer and Musical Directors, and performers were required to perform a solo song of one of the main characters (Ruth, Eileen, Wreck or Baker) and read an excerpt of the script as the same character whilst Jason read in as the other character(s). While we were allowed to audition for multiple characters, I chose to audition solely for Eileen as I felt my casting was best suited to her character and my vocal range aligned with the characters. As a performer, I researched the role to best embody the character. I read the script for context, learned the excerpt to prevent any reliance on the text, allowing for expression in my acting, and preparing the song and implementing performance throughout to show my performing ability. The decision was made to have the show cast on 30^th January, however this was cancelled due to illness and further delayed until a decision was made about which section of the show would be performed. Tom and Julian decided we would further develop Wrong Note Rag and begin working on My Darling Eileen on the same day as the casting. As a performer, I utilised my skills by listening to instructions given by the Musical Directors and applying them. Also remembering the harmonies and retaining the lyrics and structure of the songs so I knew what and when I was supposed to sing. However, I neglected to record the harmonies of the songs to later refer back to, meaning future practice was limited to memory and cast recordings which are not always accurate to the score.

On 2^nd February, an official decision was made about which section of the show we would perform by Molly, Lara and Jason. This gave the creative team a clear idea of what we would cover in the allotted sessions. From this, Julian and Tom made the decision to work on Wrong Note Rag and My Darling Eileen, then begin learning the vocals for Swing in the next day’s rehearsal. Unfortunately, we only worked on the first two as we had a late start. This was due to student concerns of “crossing the line” of a strike on 3^rd February. I ensured I was in the building ready to start the rehearsal but could not use the time to revise any learned content, whilst waiting for the rest of my cohort. I also allowed the late start to affect my mood, which inhibited my receptiveness, and affected how I responded to instructions. On 5^th February, Lara cut the script and the Musical Directors chose what songs would be performed; the Musical Directors with Jason had also cast the show. This was released to Company (by Molly) on the same day. Although we had confirmed the content, the rehearsal on 6^th February was cancelled due to absences of the cast. We were instructed by the creative team to learn your specific songs over the half term break (9^th -13^th February), and set individual goals to aid in moving rehearsals forwards when we came back. I listened to the cast recording, memorising as much of the harmonies as I could. I studied my lines within the script, however did not memorise them.

From 16^th to 20^th February, we held a Research and Development week for our Major Project, so had no rehearsals for performance project. Members of Company also assisted Jason with his own R&D. I used my spare time to practice material for Major Project and for Jason’s piece, neglecting the work for performance project.

On 24^th February, we practised the vocals for Wrong Note Rag and My Darling Eileen. A decision made by Tom to refresh our memories after such a long period without guided rehearsals. From this point Molly, Kaz and Lucy spear-headed the decision making for the majority of rehearsals. On 27^th February, Kaz and Molly requested work on individual songs whilst the rest of the cast learned choreography and blocking for Conga. I was now able to begin my dual role of performer and Dance Captain. I took the responsibility to learn my own staging and choreography, whilst also memorising where the rest of the ensemble should be. However, again I failed myself as a performer and Dance Captain and both Choreographer and cast by not recording the routine thus far, or at least requesting to record what we had completed.

On 2^nd March, Kaz requested we learn the choreography for Swing, then use the remaining time to the learn vocals. On 3^rd March, the rehearsal plan was changed by Scott to learn and stage the scene prior to Conga. He also restaged/ altered the choreography. This was the first time the cast heard Conga on piano, instead of the cast recording. Although, the cast recording was still used multiple times in the rehearsal. As a performer, I worked on characterisation and memorisation of the current and new choreography. As Dance Captain, I gave verbal cues to the rest of the ensemble to remind them of staging and choreography. I also assisted Kaz by gaining the attention of the group, giving reminders of steps/ footwork and passing on instructions to the ensemble. Again though, I forgot to take a recording of Conga or request Kaz make a recording for later referral. This meant I was self-reliant on memory and practice, which would prove ineffective in a later rehearsal. On 6^th March, Molly suggested Julian should work on Swing vocals with Sophie (cast as Ruth for the scene and song), while Molly and Lucy block the scene after Conga. For this rehearsal my role as Dance Captain was not required, and my role as a performer was minimal. I decided the best use of my time would be to learn my lines for the scenes I had dialogue in.

On 9^th March, Kaz used our free morning (Company were off timetable for London To Broadway rehearsals) to teach some choreography for Swing. Molly then requested we cover Swing in the next days rehearsal, with Kaz explaining what we learned and what needed to be covered. As Dance Captain, I reminded Kaz to record the choreography for future reference. I also carried out the same duties as I did when rehearsing Conga. As a performer, this time was used to learn the choreography, request clarification on staging, choreography and timing and to think about how to apply characterisation. The 10^th March was used to learn vocals for Swing and combine these with the choreography, whilst also hearing the cut score played all the way through. Until this point, the majority of dance rehearsals were led with cast recorded tracks. As Dance Captain, I reminded the ensemble of choreography, staging and timings of the routine. I took note of any alterations made by Scott and remembered to request to film the routine, as Kaz realised we did not do this for Conga. As a performer, I let certain practices slide as I was too focused on retaining the changes, maintaining Dance Captain ideology and remembering lyrics. I neglected to implement instruction from Scott about performing throughout the routine. No rehearsal was held on 13^th March, due to the London To Broadway performance Company had that evening.

On 16^th March, Kaz used the independent session to complete all sections of choreography for Swing. My role as Dance Captain was rather limited in this instance, since there were many absences. This made staging and spacing harder to execute for everyone present. Most of my input was reminding Kaz of the positioning of the missing members and where they travel to. The rest of the time I prioritised learning the new sections and contextualizing when we executed it, to account for inconsistencies added in the cast recordings. My performer role was also minimal because I again chose to focus on retention, then linking the new choreography with what we already learnt. Later that day, Kaz and Molly confirmed the plan for the next rehearsal was to work on scenes. Kaz also requested a recording for a track for Swing from the Musical Directors, but this was ignored by another request to work on Jason’s song. On 17^th March, we carried out the original plan by blocking as many scenes as possible. Scott also instructed Hayley to practice Jason’s song during this time. I fulfilled both my roles well this rehearsal, as I took on instructions quickly and applied them immediately. As Dance Captain, I marked Hayley’s role in one of her scenes, allowing the staging to be set. Then informed her of the blocking, so she could rehearse it at a later opportunity. On 19^th March, Kaz and Molly decided to work on Conga and Swing with Lara and Yezi, then continued by blocking the scenes surrounding these numbers. As a performer I lost my characterisation during the practice of the dance pieces. I focused on trying to align the choreography with the piano and refining small details. I had a stronger focus on characterisation for scenes, taking on all direction as well and as swiftly as possible. As Dance Captain, I did well to go over details for Swing, however, the lack of recording for Conga limited the required input of Dance Captain, because I forgot most of the alterations and new additions. This caused frustration in myself because I felt I let the cast down, not having it committed to memory. On 20^th March, Kaz enquired if Musical Directors were available to assist with a potential earlier rehearsal-as a timetabled class had been cancelled-for cast that had not yet worked on their songs with a piano track. This was denied due to conflicts with their timetables, however a compromise was reached. They agreed to assist the following Monday in rehearsal time that had been booked. Kaz, instead, used the time to set the choreography for Wrong Note Rag (with assistance from myself and Hayley). Kaz then decided to teach the choreography, in that evenings rehearsal. I implemented my position as Dance Captain extremely well. I suggested, and offered to participate in the recording of the choreography, giving the cast a point of reference. I also suggested filming a section of Conga, since Kaz chose to change the arms in the dance break and in a group section preceding the dance break. As a performer, I used prior knowledge of the time period of the show, to influence a section of choreography in Wrong Note Rag. Kaz tasked us with creating our own step that would fit the dance style, putting it in the number. I also made an offer in Swing by clapping my legs in the group section on “Come on Jackson, you’re getting hep!”. Kaz preferred this to what we had done previously, claiming it fit the style better. On 22^nd March, Molly made a request to the Musical Directors to record backing tracks for the songs, allowing the cast to practice with them. We were still working with cast recordings during rehearsals, making it unclear as to when cuts were and the timings that would be played. Unfortunately, the request was denied and the cast were still practising with alternate tracks in their own time.

On 23^rd March, we had to cancel rehearsals as we realised there had been a booking error of the rehearsal spaces. The exact room and timeslots that were booked for us, had been pre-booked for a masterclass the week prior. There were also no other spaces available on such short notice. On 24^th March, Kaz and Lucy had originally planned to work on transitions between scenes. This was changed by multiple members of the creative team, including Kaz and Lucy, to working on the songs that were requested by cast members. Then, anyone not working on songs would work on scenes in Rooftop Bar. As Dance Captain, I was unable to do much other than read in for cast that were occupied and stand in for them in the scenes. As a performer, I put as much effort as possible into distinguishing each of my characters. Giving them different nuances, voices, posture and presence in the scenes. At this point, I wanted to try and make my performance as strong as I could for Friday. On 26^th March, Scott instructed us to work on vocals when the Musical Directors arrived. Before they arrived, Molly and Lucy made the decision to create a transition between the scene following Conga, leading into the police station scene. This was because there was a lack of context as to why Eileen is arrested at the end of the previous scene. As a performer, in this moment, I remembered I stayed onstage after Conga and knew I would need to be receptive to all the additional blocking to make rehearsing easier. I also put a lot of effort into creating an exciting environment for My Darling Eileen, as this had only just been set. When Scott arrived, I performed the choreography to my best but forgot about giving a strong sense of character. However, I did take on the changes to the new transition quickly as we were running out of time and there was a lot of frustration within the space. As Dance Captain, I was able to step back as all cast knew the choreography and blocking at this point. This excludes one cast member who had forgotten to look at the video for Wrong Note Rag, however, Kaz was the one to go over the choreography again. On 27^th March, we had an extra rehearsal slot during the day and Molly made the decision the use the time to work on transitions. I at this point reverted back to mainly a performer role, using this time to listen to instruction and making offers as to how we can make transitions concise. In the evening, we prepared for the showing by looking at the Wrong Note Rag scene and song and creating the transition into Jason’s song. Revisiting the transition into the police station scene, had a debrief with Scott then the official performance.

Conclusion

Upon reflection, although I did technically fulfil my roles as a performer and Dance Captain, there were key points in earlier rehearsals where I could have done this more effectively. Some factors outside of my control did prevent me from carrying out these roles, however, I could have prevented a lot of issues if I had thought ahead or given more input. For example, the lack of Conga recordings meant I was reliant on my own memory, and when that failed me, I allowed it to cause frustration instead of realising that it still needed filming for everyone’s benefit. For my performer role, I could have done a lot more work in terms of characterisation, especially regarding the dance numbers. I also could have been more proactive when practising outside of rehearsal spaces, which would have enabled rehearsals to progress more smoothly than they had in practice. I will use this information, understanding what I did well and expanding on that, but evaluating where I was not as strong as a tool to improve my own rehearsal practice in the future and identifying what I can do to help myself and others. This will build a good rapport with my fellow cast and develop the tools and work ethic needed within the industry.