credit value: 10 14 musical theatre performance · 2014. 4. 26. · investigate and research roles...
TRANSCRIPT
1
Credit value: 10
Learning outcomesAfter completing this unit you should be able to achieve the following learning outcomes:
1 Understand a role or roles in a musical theatre work
2 Be able to apply the appropriate performance skills
3 Be able to rehearse for a role in a musical
4 Be able to perform a role in a musical
14 Musical theatre performance
Musical theatre is an extremely popular and enduring form of drama. It has the ability to appeal to a wide-ranging audience many of whom might not consider visiting the theatre to watch other forms of drama.
From its origins in the music hall and operetta of the 19th century to the large-scale musical productions of the 21st century, the musical has continually developed and reinvented itself. In the late 20th century, for example, the jukebox musical brought musical theatre to a new audience of pop and rock fans via stage and screen versions of Mamma Mia!, based on the music of ABBA. Traditional musicals also continue to be popular with revivals of classic musicals such as Guys and Dolls, Oliver! and The Sound of Music drawing large audiences in London’s West End.
For the performer, musical theatre presents a range of challenges. The genre combines singing, movement and acting skills, and the performer is often expected to be a master, not just a jack, of all these trades. This unit will allow you to develop skills in these three areas as well as exploring the ways in which all three interact in performance. You will have the opportunity to investigate and research roles from specifi c musical theatre repertoire, and develop the technical skills needed to realise these roles. You will also have the opportunity to use the skills and knowledge you develop in the rehearsal and performance of a musical theatre work or extract.
BTEC Music Theatre Perf final.in1 1 16/2/10 15:29:
M1
D1 D2M
2
u m
ust
do
in o
rder
to
ach
ieve
a p
ass,
mer
it o
r d
isti
ncti
on
gra
de,
and
in
thi
s b
oo
k to
hel
p y
ou.
To a
chie
ve a
mer
it g
rad
e th
e ev
iden
ce m
ust
sho
w t
hat,
in
add
itio
n to
the
pas
s cr
iter
ia,
the
lear
ner
is a
ble
to
:
To a
chie
ve a
dis
tinc
tio
n g
rad
e th
e ev
iden
ce m
ust
sho
w t
hat,
in
add
itio
n to
the
pas
s an
d m
erit
cr
iter
ia,
the
lear
ner
is a
ble
to
:
X)
X) X)
X)
exp
lain
an
inte
rpre
tatio
n an
d
real
isat
ion
of a
role
or
role
sA
sses
smen
t ac
tivi
ty 1
a (p
age
XX
)A
sses
smen
t ac
tivi
ty 1
b (p
age
XX
)A
sses
smen
t ac
tivi
ty 1
c (p
age
XX
)A
sses
smen
t ac
tivi
ty 1
d (p
age
XX
)
anal
yse
an in
terp
reta
tion
and
re
alis
atio
n of
a ro
le o
r ro
les
Ass
essm
ent
acti
vity
1a
(pag
e X
X)
Ass
essm
ent
acti
vity
1b
(pag
e X
X)
Ass
essm
ent
acti
vity
1c
(pag
e X
X)
Ass
essm
ent
acti
vity
1d
(pag
e X
X)
X)
X) X)
X)
use
the
app
rop
riate
ski
lls a
nd
tech
niq
ues
with
min
imal
sup
por
t an
d g
uid
ance
Ass
essm
ent
acti
vity
2a
(pag
e X
X)
Ass
essm
ent
acti
vity
2b
(pag
e X
X)
Ass
essm
ent
acti
vity
2c
(pag
e X
X)
Ass
essm
ent
acti
vity
2d
(pag
e X
X)
use
the
app
rop
riate
ski
lls a
nd
tech
niq
ues
auto
nom
ousl
yA
sses
smen
t ac
tivi
ty 2
a (p
age
XX
)A
sses
smen
t ac
tivi
ty 2
b (p
age
XX
)A
sses
smen
t ac
tivi
ty 2
c (p
age
XX
)A
sses
smen
t ac
tivi
ty 2
d (p
age
XX
)
ss
mak
e va
luab
le c
ontr
ibut
ions
to
the
rehe
arsa
l pro
cess
mai
ntai
ning
a
hig
h le
vel o
f reh
ears
al d
isci
plin
eA
sses
smen
t ac
tivi
ty 3
(pag
e X
X)
cont
ribut
e si
gni
fican
tly t
o th
e re
hear
sal p
roce
ss m
aint
aini
ng a
co
nsis
tent
ly h
igh
leve
l of r
ehea
rsal
d
isci
plin
eA
sses
smen
t ac
tivi
ty 3
(pag
e X
X)
y o
use
per
form
ing
ski
lls e
ffect
ivel
y to
cre
ate
a p
erfo
rman
ce t
hat
com
mun
icat
es a
con
sid
ered
in
terp
reta
tion
to a
n au
die
nce.
Ass
essm
ent
acti
vity
4 (p
age
XX
)
use
per
form
ing
ski
lls c
onfid
ently
to
cre
ate
a p
erfo
rman
ce t
hat
com
mun
icat
es a
det
aile
d a
nd
imag
inat
ive
inte
rpre
tatio
n to
an
aud
ienc
e.A
sses
smen
t ac
tivi
ty 4
(pag
e X
X)
This
uni
t w
ill b
e as
sess
ed b
y an
inte
rnal
ass
ignm
ent
that
will
be
dth
e tu
tors
at
your
cen
tre.
You
will
be
asse
ssed
on
your
ab
ility
to:
•in
vest
igat
e a
role
or
role
s fr
om a
mus
ical
the
atre
wor
k •
app
ly a
nd c
omb
ine
sing
ing
, mov
emen
t an
d a
ctin
g s
kills
with
ip
erfo
rman
ce o
f a m
usic
al t
heat
re w
ork
•re
hear
se fo
r a
role
in a
mus
ical
the
atre
wor
k•
per
form
a ro
le in
a m
usic
al t
heat
re w
ork.
The
wor
k yo
u p
rod
uce
dur
ing
you
r w
ork
on t
his
unit
may
incl
ude
•a
per
form
er’s
por
tfol
io•
DV
Ds/
vid
eos
of re
hear
sals
and
per
form
ance
s.
M1
M2
D1 D2
Mar
lon,
20
year
-old
m
usic
al th
eatr
e le
arne
rM
y fir
st e
xper
ienc
e o
f the
the
atre
was
bei
ng in
an
d t
he A
maz
ing
Tec
hnic
olo
r D
ream
coat
. I w
asst
ill re
mem
ber
it li
ke it
was
yes
terd
ay. I
was
co
mp
by
the
exp
erie
nce
and
I lo
ved
eve
ry m
inut
e o
f the
per
form
ance
s. I
rem
emb
er c
ryin
g m
y ey
es o
ut a
fter
tb
ecau
se it
was
all
ove
r. A
fter
tha
t I w
as p
rett
y m
uch
hoo
keg
roup
I w
as a
mem
ber
of d
id p
rod
uctio
ns e
very
yea
r, an
d w
hen
I was
eno
ugh
to b
e ca
st a
s O
liver
in t
he m
usic
al o
f the
sam
e na
me.
Whe
n I w
as 1
6, I
join
ed a
BTE
C N
atio
nal i
n Pe
rfo
rmin
g A
rts
cour
se a
The
cour
se a
llow
ed m
e to
dev
elo
p m
y sk
ills
as a
mus
ical
the
atre
per
my
sing
ing
, act
ing
and
dan
ce s
kills
. I a
m n
ow
hal
f-w
ay t
hro
ugh
a B
A
Mus
ical
The
atre
and
I am
ho
pin
g t
o e
vent
ually
ear
n m
y liv
ing
as
a m
per
form
er.
Mus
ical
the
atre
is h
ard
wo
rk a
nd t
here
are
hig
hs a
nd lo
ws
to d
eal w
itd
isap
po
intin
g w
hen
you
do
n’t
get
a ro
le y
ou
have
set
yo
ur h
eart
on
rehe
arsa
l and
pra
ctic
e o
ften
do
n’t
leav
e m
uch
time
for
soci
alis
ing
. It
whe
n yo
u ar
e st
and
ing
in t
he w
ing
s o
n th
e o
pen
ing
nig
ht o
f a n
ew p
Ove
r to
yo
u•
Wha
t ex
per
ienc
e d
o y
ou
have
of m
usic
al t
heat
re p
erfo
rman
ce, e
colle
ge
pro
duc
tions
?
•D
o y
ou
enjo
y ta
king
par
t in
and
/or
wat
chin
g m
usic
al t
heat
re?
M3
M4
D3 D4
ctur
e o
nsid
er a
n th
eatr
e w
ork
, it
is
form
and
str
uctu
re
al is
a t
ype
of
fere
nt g
enre
s, e
ach
atric
al c
onv
enti
ons
.d
erin
g a
ran
ge
of
Op
eret
ta o
r Li
ght
Op
era
is a
form
of m
usic
al t
heat
re
that
bo
rro
ws
som
e o
f the
co
nven
tions
of o
per
a an
d t
reat
s th
em in
a li
ght
er, m
ore
po
pul
ar m
anne
r. O
per
etta
s o
f W.S
. Gilb
ert
and
Art
hur
Sulli
van
set
the
blu
eprin
t fo
r th
e g
enre
. Dur
ing
the
late
19t
h an
d e
arly
20
th c
entu
ry, G
ilber
t an
d S
ulliv
an w
rote
num
ero
us
op
eret
tas
such
as
The
Pira
tes
of P
enza
nce,
The
Mik
ado
,HM
S Pi
nafo
re a
nd T
he Y
eom
en o
f the
Gua
rd,
whi
ch w
ere
succ
essf
ul o
n b
oth
sid
es o
f the
Atla
ntic
. M
any
follo
w a
form
ula
as fo
llow
s:
• a
com
ic c
entr
al p
lot
invo
lvin
g a
pai
r o
f yo
ung
love
rs
• tw
o a
cts
with
one
co
ntin
uous
sce
ne/s
ettin
g p
er a
ct
• a
rang
e o
f sup
po
rtin
g c
hara
cter
s in
clud
ing
a c
om
ic
role
for
a m
idd
le-a
ged
/eld
erly
mal
e
• a
rang
e o
f mus
ical
num
ber
s in
clud
ing
so
los,
due
ts,
smal
l ens
emb
les
and
rous
ing
cho
rus
pie
ces.
The
op
eret
tas
rem
ain
po
pul
ar w
ith a
udie
nces
to
thi
s d
ay a
nd s
ince
bei
ng o
ut o
f co
pyr
ight
fro
m t
he e
arly
19
60s
have
bec
om
e p
op
ular
per
form
ance
pie
ces
for
amat
eur
dra
mat
ic g
roup
s. T
he P
irate
s o
f Pen
zanc
eg
aine
d a
sec
ond
life
in t
he 1
980s
whe
n A
mer
ican
th
eatr
e p
rod
ucer
, Jo
sep
h Pa
pp
, rev
ived
and
up
dat
ed
the
sho
w in
a B
road
way
pro
duc
tion
and
a s
ubse
que
nt
fi lm
.
y ag
reed
up
on
way
s
g,
py
per
form
and
the
cha
ract
ers
you
will
po
rtra
y. In
thi
s p
art
of t
he
typ
ical
mus
ical
the
atre
role
s. W
e w
ill c
ons
ider
ho
w t
hese
role
s st
ruct
ure
of a
mus
ical
, and
exp
lore
way
s o
f int
erp
retin
g a
role
.
Styl
e and
gen
re o
f a m
usica
l the
atre
wor
k‘T
he m
usic
al’ i
s a
term
use
d t
o d
escr
ibe
a nu
mb
er o
f d
iffer
ent
gen
res
and
sty
les
of p
erfo
rman
ce. I
ts o
rigin
s lie
in e
nter
tain
men
t g
enre
s o
f the
late
19t
h ce
ntur
y w
hen
mus
ic h
all,
vaud
evill
e an
d o
per
etta
wer
e p
op
ular
in
Brit
ain
and
the
USA
.
Brit
ish
Mus
ic H
all a
nd it
s A
mer
ican
co
unte
rpar
t,
Vaud
evill
e, w
as a
form
of v
arie
ty e
nter
tain
men
t th
at in
clud
ed s
ing
ing
, dan
ce ro
utin
es, c
om
edy
and
sp
ecia
lity
acts
. Thi
s fo
rm o
f ent
erta
inm
ent
dev
elo
ped
in t
he m
id t
o la
te 1
9th
cent
ury
as a
form
of
ente
rtai
nmen
t fo
r th
e p
op
ulat
ion
that
had
mo
ved
into
to
wns
and
citi
es a
s a
resu
lt o
f the
Ind
ustr
ial R
evo
lutio
n.
In A
mer
ica,
Vau
dev
ille
sho
ws
in t
he e
arly
20t
h ce
ntur
y le
d t
o a
form
of m
usic
al a
nd d
ance
revu
e kn
ow
n as
‘F
olli
es’.
Folli
es w
ere
mus
ical
rev
ues
with
ela
bo
rate
,an
d D
olls
,My
Fair
LaM
e K
ate
wer
e p
erfo
rin
to fi
lms.
The
Am
era
dev
elo
pm
ent
of t
hm
any
of t
he k
ey fe
at
Op
eret
ta
Com
ic c
entr
al p
lot
invo
lvin
g a
pai
r of
yo
love
rs
Two
acts
with
one
co
ntin
uous
sce
ne/s
ett
per
act
A r
ang
e of
sup
por
ting
char
acte
rs in
clud
ing
a
com
ic ro
le fo
r a
mid
dl
aged
/eld
erly
mal
e
A r
ang
e of
mus
ical
nu m
incl
udin
g s
olos
, due
ts,
ense
mb
les
and
rous
ing
chor
us p
iece
s
The
Am
eric
an m
usic
trad
itio
n in
whi
ch d
aM
any
mus
ical
s w
ritt e
dan
ce ro
utin
es, a
nd
dan
ce p
iece
s. In
Ok l
feel
ing
s fo
r C
urly
are
seq
uenc
e th
at w
as c
Activ
ity: O
pere
ttas
and
Fol
lies
Wat
ch a
n ex
trac
t fr
om
an
op
eret
ta b
y G
ilber
t an
d
Sulli
van
on
vid
eo a
nd/o
r an
exa
mp
le o
f a F
olli
es
sho
w.
Dis
cuss
the
sty
le o
f the
pie
ce(s
) in
rela
tion
to t
he
‘ess
entia
l fea
ture
s’ o
f a m
usic
al y
ou
iden
tifi e
d in
th
e ea
rlier
act
ivity
.
If yo
u ar
e ab
le t
o w
atch
bo
th e
xtra
cts,
co
mp
are
and
co
ntra
st t
he fe
atur
es o
f eac
h.
The
follo
win
g D
VD
s w
ill b
e us
eful
for
this
act
ivity
:
Pira
tes
of P
enza
nce,
198
2, U
nive
rsal
Pic
ture
UK
Zieg
feld
Fo
llies
, 194
6, W
arne
r H
om
e V
ideo
.
Dec
emb
er 1
927
a sh
ow
op
ened
o
rk t
hat
is n
ow
co
nsid
ered
the
ex
amp
le o
f a c
lass
ic A
mer
ican
.e
. a ‘d
ram
atic
’ pla
y w
ith m
usic
.
at b
y O
scar
Ham
mer
stei
n an
d
Ker
n is
a s
emin
al w
ork
, whi
ch
man
y fe
atur
es t
hat
are
now
o
us w
ith t
he m
usic
al t
heat
re
lot
that
sp
ans
ove
r 47
yea
rs
ires
num
ero
us s
ets
incl
udin
g a
p
i the
atre
bo
at a
nd a
nig
htcl
ub
o.
a n
ove
l by
Ed
na F
erb
er, i
t st
ory
of t
he h
ighs
and
low
s o
f a
bet
wee
n a
river
bo
at g
amb
ler
dau
ght
er o
f the
ow
ner
of a
o
at (t
he S
how
Bo
at).
Sho
w B
oat
co
ntin
ues
to b
e p
erfo
rmed
p
rofe
ssio
nally
and
by
amat
eur
gro
ups
to t
his
day
. In
2006
it b
ecam
e th
e fi r
st
mus
ical
to
be
per
form
ed a
t Lo
ndo
n’s
Ro
yal A
lber
t H
all w
here
it w
as s
tag
ed in
th
e ro
und
.
Ove
r to
yo
u•
Wha
t d
o y
ou
thin
k ar
e th
e es
sent
ial
feat
ures
of a
mus
ical
?
• D
ivid
e in
to p
airs
or
smal
l gro
ups
and
co
me
up w
ith a
list
of e
ssen
tial
feat
ures
(e.g
. ‘m
emo
rab
le s
ong
s’).
• Sh
are
and
dis
cuss
yo
ur id
eas
with
the
w
hole
gro
up.
• Ill
ustr
ate
your
idea
s b
y p
rod
ucin
g a
list
o
f ess
entia
l fea
ture
s o
r a
min
d m
ap.
mus
ical
are
b
ecau
se t
hey
ber
in t
he
pg
gm
imic
s d
ialo
gue
, kno
wn
as ‘r
ecita
tive’
, is
used
to
link
th
e m
ore
lyric
al s
ong
s (a
rias)
in t
he s
core
.
Whi
lst
the
Am
eric
an m
usic
als
of t
he m
id 2
0th
cent
ury
touc
hed
on
serio
us is
sues
, man
y m
usic
als
of t
he la
te
20th
cen
tury
aim
ed t
o t
ackl
e th
em h
ead
on.
Evi
ta is
th
e st
ory
of E
va P
eró
n at
the
tim
e o
f her
hus
ban
d’s
rise
to p
ow
er in
Arg
entin
a. B
loo
d B
roth
ers,
the
198
8 m
usic
al b
y W
illy
Rus
sell,
exp
lore
s th
e th
eme
of n
atur
e ve
rsus
nur
ture
thr
oug
h th
e st
ory
of t
win
s se
par
ated
at
birt
h. T
hese
mus
ical
s d
o n
ot
incl
ude
an u
plif
ting
ch
oru
s nu
mb
er w
ith a
dan
ce ro
utin
e at
the
end
of t
he
sho
w w
hen
ever
ythi
ng is
reso
lved
. Blo
od
Bro
ther
s, fo
r ex
amp
le, e
nds
in a
ver
y o
per
atic
man
ner
with
a m
oth
er
grie
ving
ove
r th
e b
od
ies
of h
er t
wo
so
ns.
In 1
989
Ret
urn
to t
he F
orb
idd
en P
lane
t o
pen
ed in
th
e W
est
End
. It
had
a p
lot
loo
sely
bas
ed o
n a
1950
s sc
ienc
e fic
tion
mo
vie
of t
he s
ame
nam
e, w
hich
was
in
tur
n b
ased
loo
sely
on
Shak
esp
eare
’s Th
e Te
mp
est.
The
sho
w w
as d
irect
ed b
y B
ob
Car
lton
and
rat
her
than
incl
udin
g m
usic
al n
umb
ers
esp
ecia
lly c
om
po
sed
th
e p
iece
use
d e
xist
ing
po
p a
nd ro
ck s
ong
s fr
om
th
e 19
50’s
and
60’
s. T
he s
crip
t in
clud
ed p
assa
ges
of
dia
log
ue t
aken
fro
m a
ran
ge
of S
hake
spea
re p
lays
.
The
sho
w w
as o
ne o
f the
firs
t ex
amp
les
of w
hat
has
bee
n d
escr
ibed
as
a so
ngb
oo
k o
r ju
keb
ox
mus
ical
. It
was
a h
igh-
ener
gy
pro
duc
tion,
whi
ch re
qui
red
the
ca
st t
o s
ing
and
pla
y th
e so
ngs
live
on
stag
e. R
etur
n to
th
e Fo
rbid
den
Pla
net
also
dre
w fr
om
the
pan
tom
ime
trad
itio
n, in
clud
ing
a g
oo
d d
eal o
f aud
ienc
e p
artic
ipat
ion.
The
sho
w w
as a
hug
e su
cces
s in
the
d R
od
ger
s an
d
e p
artn
ersh
ip
lyric
ist
The
Soun
d o
f d
I an
d C
aro
usel
.
he L
ilacs
by
Lynn
n
of t
he c
entu
ry
he t
wo
riv
als
for
d J
ud, a
farm
feat
ures
tha
t w
ere
Okl
aho
ma!
is a
m
usic
al g
enre
, i.e
. an
d d
ance
pie
ces
nclu
des
a g
oo
d
he u
nder
lyin
g
y in
whi
ch J
ud is
d
rat
her
than
a
confl
ict
bet
wee
n
! an
d n
ote
ho
w
are
inte
gra
ted
into
for
this
act
ivity
:
ox
Ho
me
res
(Nat
iona
l
mus
ical
co
ntin
ued
an
tic. A
ndre
w L
loyd
d
evel
op
men
t 97
0s. H
e in
itial
ly
Activ
ity: E
vita
Wat
ch a
n ex
trac
t fr
om
Evi
ta b
y A
ndew
Llo
yd
Web
ber
and
Tim
Ric
e.
Dis
cuss
the
diff
eren
t si
ngin
g s
tyle
s us
ed in
the
ex
trac
t, n
otin
g t
he t
hro
ugh
sung
sty
le o
f the
pie
ce.
Ho
w d
oes
thi
s co
mp
are
with
oth
er e
xam
ple
s yo
u ha
ve s
een
whe
re t
he m
usic
sto
ps
for
dia
log
ue
sect
ions
?
py
yin
clud
esM
amm
a M
ia!,
We
Will
Ro
ck Y
ou,
Jers
ey B
oys
and
Dad
dy
Co
ol.
The b
ook,
the l
yrics
and
the m
usic
A
mus
ical
is a
co
mb
inat
ion
of t
hree
ele
men
ts: t
he b
oo
k,
the
song
lyric
s an
d t
he m
usic
. Diff
eren
t p
eop
le o
ften
cr
eate
the
se e
lem
ents
. One
per
son,
for
exam
ple
, may
w
rite
the
bo
ok
and
the
lyric
s, w
hils
t an
oth
er c
om
po
ses
the
mus
ic. T
hese
ele
men
ts m
ust
com
bin
e to
get
her
seam
less
ly t
o c
reat
e a
succ
essf
ul p
iece
of t
heat
re a
nd
par
tner
ship
s b
etw
een
writ
ers
and
co
mp
ose
rs h
ave
bee
n re
spo
nsib
le fo
r m
any
succ
essf
ul m
usic
als.
The b
ook
The
bo
ok
is a
lso
kno
wn
as t
he ‘l
ibre
tto
’ (fr
om
the
It
alia
n w
ord
‘lib
ro’ w
hich
mea
ns b
oo
k). L
ike
a sc
ript
for
a p
lay,
the
bo
ok
cont
ains
the
sp
oke
n d
ialo
gue
for
the
mus
ical
alo
ng w
ith s
tag
e d
irect
ions
. As
with
any
pie
ce
of d
ram
a, t
he d
ialo
gue
nee
ds
to c
om
mun
icat
e th
e p
lot
in a
cle
ar m
anne
r.
Activ
ity: T
he b
ook
Loo
k at
the
‘bo
ok’
for
a m
usic
al a
nd c
om
par
e it
with
a s
crip
t fo
r a
conv
entio
nal p
lay.
No
te h
ow
the
mus
ical
num
ber
s ar
e re
fere
nced
in
the
bo
ok.
Dis
cuss
the
sim
ilarit
ies
and
diff
eren
ces
bet
wee
n th
e b
oo
k an
d t
he s
crip
t.
The l
yrics
Th
e ly
rics
are
the
wo
rds
with
in t
he m
usic
al t
hat
are
set
to m
usic
. The
lyric
s ar
e o
ften
(but
no
t al
way
s) w
ritte
n b
y th
e p
erso
n w
ho c
reat
ed t
he d
ialo
gue
for
the
bo
ok.
Th
e re
latio
nshi
p b
etw
een
the
lyric
s an
d t
he m
usic
, and
th
eref
ore
bet
wee
n th
e ly
ricis
t an
d t
he c
om
po
ser
of t
he
mus
ic, i
s a
clo
se o
ne. M
any
par
tner
ship
s co
ntin
ue o
ver
man
y ye
ars
and
man
y m
usic
als.
•so
lo s
ong
s
Solo
s ar
e a
key
feat
ule
adin
g c
hara
cter
s w
song
to
del
iver
. So
loch
arac
ter
to s
hare
th
aud
ienc
e. ‘H
op
eles
sin
Gre
ase
and
‘So
lilo
exam
ple
s o
f thi
s ty
pe
•d
uets
Due
ts a
re s
ong
s fo
r t
man
y ex
amp
les
of m
bet
wee
n th
e tw
o le
afe
atur
e o
f the
mus
ica
Say
We’
re in
Lo
ve’ f
rYo
u’ fr
om
Pha
nto
m o
as ‘B
rush
Up
yo
ur S
hal
so fe
atur
ed in
man
allo
w t
wo
cha
ract
ers
the
Man
To
day
’ fro
min
volv
es a
co
nver
sati
Ad
elai
de
and
Sar
ah,
par
tner
s an
d t
hen
try
•sm
all e
nsem
ble
p
Whi
lst e
nsem
ble
son
not a
s co
mm
on in
mu
exam
ple
s ca
n b
e fo
uTi
nhor
ns’ f
rom
Guy
s a
by
thre
e g
amb
lers
, Ni
of th
e sh
ow, a
nd it
se
•ch
oru
s p
iece
s
Man
y m
usic
als
feat
ud
ance
num
ber
s th
at
sho
w s
top
per
s o
f th
feat
ure
one
or
mo
re
mus
ical
. Mem
ora
ble
cho
rus
incl
ude
‘Sit
DG
uys
& D
olls
and
‘Bi
Key
term
sC
horu
s–
anen
sem
ble
in t
he m
usic
al
an
ove
rtur
e, w
hich
ad
e up
of s
egm
ents
e
sho
w. G
ypsy
(with
si
c ex
amp
le o
f the
f a
ran
ge
of e
xtra
cts
nce’
s ap
pet
ite fo
r
r’ac
te a
nd a
pla
y-o
f the
sho
w a
s th
e p
laye
d o
ver d
ialo
gue
thin
the w
ork
gen
eral
ly fa
ll in
to
upp
ort
ing
role
s.
a m
usic
al t
heat
re
stan
d t
he fu
nctio
n
roun
d a
love
n
as t
he ro
man
tic
uys
and
Do
lls, t
he
Thei
r st
ory
is t
ypic
al
l, b
oy
and
girl
are
n
man
y sh
ow
s. T
he
swee
t an
d in
noce
nt
ks a
ll th
e b
oxe
s fo
r an
d s
op
hist
icat
ed
Sky-
typ
e ch
arac
ters
fil
m v
ersi
on
and
E
nd re
viva
l.
e ‘ro
man
tic le
ads’
. , f
or
exam
ple
, the
H
igg
ins
who
has
hi
s p
upil,
Eliz
a, t
he
ve s
tory
bet
wee
n lo
t to
the
mai
n o
m a
co
ckne
y
Guy
s an
d D
olls
: man
y m
usic
als
revo
lve
aro
und
a
love
sto
ry b
etw
een
the
two
lead
ing
cha
ract
ers.
Supp
ortin
g ro
les
Mus
ical
s g
ener
ally
incl
ude
a ra
nge
of s
upp
ort
ing
role
s fo
r p
erfo
rmer
s o
f all
ages
.
For
exam
ple
, sup
po
rtin
g ro
les
mig
ht in
clud
e:
• Th
e ‘s
eco
nd’ c
oup
le w
ith a
n ex
istin
g re
latio
nshi
p,
e.g
. Nat
han
and
Ad
elai
de
in G
uys
and
Do
lls; A
do
A
nnie
and
Will
Par
ker
in O
klah
om
a!
• Th
e fa
ther
/mo
ther
fig
ure,
e.g
. Net
tie in
Car
ous
el;
Mad
ame
Dub
onn
et in
The
Bo
yfrie
nd; A
unt
Elle
r in
O
klah
om
a!
• C
om
ic ro
les,
e.g
. Ali
Hak
im in
Okl
aho
ma!
; Nic
ely-
Nic
ely
John
son
in G
uys
and
Do
lls.
Sup
po
rtin
g c
hara
cter
s ar
e es
sent
ial t
o t
he s
ucce
ss
of a
sho
w. T
hey
put
the
mea
t o
n th
e b
one
s o
f the
st
ory
. The
y so
met
imes
pro
vid
e a
com
ic s
ub-p
lot
that
b
alan
ces
with
the
mo
re s
erio
us s
tory
of t
he le
adin
g
char
acte
rs. M
any
of t
he m
ost
mem
ora
ble
mo
men
ts in
th
e m
usic
al t
heat
re re
per
toire
hav
e b
een
pro
vid
ed b
y su
pp
ort
ing
cha
ract
ers,
for
exam
ple
the
Mo
ther
Ab
bes
s p
ersu
adin
g M
aria
to
follo
w h
er h
eart
and
retu
rn t
o
Ca p
tain
vo
n Tr
app
in T
he S
oun
d o
f Mus
ic b
y si
ngin
g
mus
ical
the
atre
wo
rk, t
he p
roce
ss t
hey
go
thr
oug
h sh
oul
d b
e ap
pro
ache
d in
a s
imila
r w
ay t
o t
hat
of a
ny
wo
rk w
ritte
n fo
r th
e th
eatr
e. T
he p
erfo
rmer
mus
t ca
refu
lly s
tud
y th
e te
xt (t
he b
oo
k), t
he ly
rics
and
th
e m
usic
al e
lem
ents
. The
y w
ill n
eed
to
ana
lyse
the
co
ntex
t o
f the
sho
w t
hro
ugh
rese
arch
to
find
out
ab
out
th
e se
ttin
g (t
ime
and
pla
ce) a
nd a
ny h
isto
rical
or
soci
al
issu
es. T
hey
will
nee
d t
o a
naly
se a
nd re
sear
ch t
he ro
le
in w
hich
the
y ha
ve b
een
cast
so
tha
t th
ey d
evel
op
an
und
erst
and
ing
of t
heir
char
acte
r’s jo
urne
y th
roug
h th
e p
lot
of t
he s
how
and
the
ir re
latio
nshi
p w
ith o
ther
s in
the
cas
t. In
thi
s w
ay, t
he p
erfo
rmer
will
dev
elo
p a
fu
ll an
d d
etai
led
und
erst
and
ing
of t
he ro
le t
hro
ugh
a co
mb
inat
ion
of t
heir
und
erst
and
ing
of t
he t
ext
and
p
erso
nal r
esea
rch
into
the
wo
rk.
Asse
ssm
ent a
ctiv
ity 1a
Whe
n p
rep
arin
g t
o p
lay
a ro
le in
a m
usic
al t
heat
re
pie
ce, i
t is
vita
l tha
t yo
u b
egin
with
a g
oo
d
und
erst
and
ing
of t
he s
how
as
a w
hole
.
You
sho
uld
sta
rt b
y re
adin
g t
he b
oo
k an
d lo
oki
ng a
t th
e sc
ore
. Thi
s is
imp
ort
ant
even
if y
ou
are
fam
iliar
w
ith t
he w
ork
. Rem
emb
er t
hat
film
ver
sio
ns y
ou
may
ha
ve s
een
may
no
t b
e th
e sa
me
as t
he o
rigin
al s
tag
e ve
rsio
ns.
Dep
end
ing
on
the
gen
re a
nd s
tyle
of t
he m
usic
al y
ou
are
stud
ying
, yo
u m
ight
co
nsid
er s
om
e o
r al
l of t
he
follo
win
g:
•H
ow
the
sho
w o
pen
s –
how
is t
he s
cene
set
for
the
aud
ienc
e, h
ow
do
the
y kn
ow
whe
re a
nd w
hen
the
sho
w is
set
?
•H
ow
the
mus
ical
nse
ctio
ns o
f the
pie
bet
wee
n d
ialo
gue
etc.
?
•Th
e hi
gh-
ener
gy
mth
e b
ig s
how
sto
p
•M
om
ents
of t
ensi
ob
e fo
und
and
ho
w
•Th
e en
d o
f the
sho
the
plo
t re
solv
ed,
ener
gy
end
ing
?
scrip
t is
the
onl
y te
xta
pla
y. In
mus
ical
the
abo
ut t
he b
oo
k an
d
As
we
have
alre
ady
sd
ialo
gue
and
sta
ge
dm
usic
al n
umb
ers
and
wo
rkin
g in
mus
ical
th
mat
eria
l yo
u ar
e re
qu
liste
ning
and
rep
eati
that
you
are
ab
le to
uis
set
out
. Alth
oug
h (k
now
n as
‘sig
ht s
ing
time
to m
aste
r, b
eing
mel
od
y yo
u ar
e b
ein
Onc
e a
per
form
er h
ap
lot
of t
he s
how
the
co
ntex
t o
f the
pie
ce
Man
y m
usic
als
are
s etim
es in
his
tory
. Fo
r e
New
Yo
rk in
the
Pro
hPh
anto
m o
f the
Op
eo
fthe
20th
cent
ury
B
PLTS
Res
earc
hing
the
co
ntex
t o
f a s
how
is a
n ex
celle
nt
op
po
rtun
ity t
o d
evel
op
yo
ur p
erso
nal,
lear
ning
and
th
inki
ng s
kills
by
wo
rkin
g a
s an
ind
epen
den
t en
qui
rer.
Dur
ing
yo
ur w
ork
in t
his
activ
ity y
ou
sho
uld
sho
w t
hat
you
can:
• an
alys
e an
d e
valu
ate
info
rmat
ion,
jud
gin
g it
s
h an
exa
min
atio
n o
f u
sho
uld
no
w t
ry t
o
he s
how
.
pla
ce in
whi
ch t
he
ch t
he a
ctio
n ta
kes
•fin
din
g o
ut a
bo
ut t
he o
rigin
s o
f the
sto
ry, i
.e. t
he
bo
ok,
pla
y o
r hi
sto
rical
eve
nt t
he s
how
is b
ased
on
(if a
pp
licab
le)
•co
nsid
erin
g t
he w
ork
in t
he c
ont
ext
of t
he m
usic
al
thea
tre
in g
ener
al.
tion,
lyric
s
with
the
sho
w a
nd it
s at
e th
e ro
le t
hey
are
he ro
le is
vita
l to
a
ract
er. R
esea
rchi
ng
al is
muc
h th
e sa
me
uld
und
erta
ke. T
hey
s to
the
cha
ract
er
s ha
pp
ened
bef
ore
P1M
1D1
1c he s
how
and
its
ow
yo
ur c
hara
cter
fits
ns
ab
out
ho
w t
he ro
le
d a
nd re
alis
ed.
und
erta
king
so
me
or
ll fo
r yo
ur c
hara
cter
.
gs
your
cha
ract
er
ake
note
s ab
out
the
tho
ught
s an
d fe
elin
gs
of t
he c
hara
cter
ab
ove
the
re
leva
nt ly
rics.
•W
rite
a ch
arac
ter
bio
gra
phy
, e.g
. a d
iary
ent
ry, ‘
a d
ay in
the
life
’ ext
ract
, or
a m
ono
log
ue a
bo
ut s
om
e as
pec
t o
f yo
ur c
hara
cter
’s b
ackg
roun
d.
Reh
ears
als
and
oth
er p
rep
arat
ions
•D
urin
g re
hear
sals
and
oth
er p
rep
arat
ions
, yo
u sh
oul
d m
ake
note
s ab
out
any
dec
isio
ns m
ade
reg
ard
ing
the
inte
rpre
tatio
n o
f yo
ur ro
le.
This
exp
lora
tion
will
be
gui
ded
by
the
dia
log
ue
seq
uenc
es in
eac
h o
f the
sce
nes
the
char
acte
r is
in
volv
ed in
. The
per
form
er w
ill a
lso
nee
d t
o t
ake
into
co
nsid
erat
ion
the
dire
cto
r’s v
isio
n o
f the
cha
ract
er. A
d
iscu
ssio
n w
ith t
he d
irect
or
of t
he s
how
will
pro
vid
e va
luab
le in
form
atio
n as
to
ho
w t
he c
hara
cter
fits
into
th
e d
irect
or’s
ove
rall
visi
on
of t
he s
how
. If t
he ro
le
invo
lves
dan
ce ro
utin
es, t
he c
hore
og
rap
her
will
als
o b
e a
sour
ce o
f inf
orm
atio
n an
d s
upp
ort
.
The
song
s th
e ch
arac
ter
sing
s w
ill b
e ke
y to
a
per
form
er’s
und
erst
and
ing
of t
he ro
le. S
olo
s, fo
r ex
amp
le, a
re o
ften
use
d t
o a
llow
a c
hara
cter
to
exp
ress
th
eir
tho
ught
s an
d fe
elin
gs.
Fth
idd
tiit
if
hi
The
way
tha
t a
char
acte
r re
late
s to
oth
ers
in t
he p
iece
an
d h
ow
the
y re
act
in e
xcha
nges
with
oth
ers,
will
p
rovi
de
very
imp
ort
ant
clue
s fo
r th
e p
erfo
rmer
in t
erm
s o
f int
erp
reta
tion.
pp
rovi
de
info
rmat
ion
gro
up a
nd t
heir
rela
t
Asse
ssm
ent a
ctiv
ity 1d
You
sho
uld
inve
stig
ate
your
cha
ract
er’s
rela
tions
hip
w
ith o
ther
cha
ract
ers
in t
he p
iece
.
Res
earc
h
You
sho
uld
beg
in t
his
pro
cess
by
und
erta
king
so
me
or
all o
f the
follo
win
g a
ctiv
ities
:
•C
reat
e a
min
d m
ap t
hat
illus
trat
es y
our
cha
ract
er’s
rela
tions
hip
with
oth
er c
hara
cter
s at
the
beg
inni
ng
of t
he p
iece
.
•C
ons
ider
ho
w t
hese
rela
tions
hip
s ch
ang
e d
urin
g
the
pie
ce.
•A
naly
se d
ialo
gue
sec
tions
to e
xplo
re y
our c
hara
cter
’s re
actio
ns t
o t
he a
ctio
ns o
f oth
ers
in t
he c
ast.
Reh
ears
als
and
oth
er p
rep
arat
ions
Use
imp
rovi
satio
n to
exp
lore
yo
ur c
hara
cter
’s re
latio
nshi
ps
with
oth
er c
hara
cter
s in
the
pie
ce;
exp
lore
eve
nts
that
hap
pen
‘off
stag
e’, e
.g. b
efo
re w
e jo
in t
he a
ctio
n.
Evid
ence
for
Ass
essm
ent
Act
ivit
ies
1a,
1b, 1
c, 1
dYo
ur p
erfo
rmer
’s p
ort
folio
– s
ecti
on
1
Kee
p y
our
rese
arch
no
tes
in a
per
form
er’s
po
rtfo
lio.
Gra
ding
tip
s fo
1a, 1
b, 1
c an
dM
1 T
he e
ntrie
s in
– se
ctio
n 1
sho
uld
giv
ing
reas
ons
for
abo
ut in
terp
reta
ti oex
amin
atio
n o
f the
wor
k yo
u ha
ve d
onYo
u sh
oul
d e
xpla
ind
ecis
ions
ab
out
yo
D1 T
he e
ntrie
s in
you
have
car
ried
oro
le (o
r ro
les)
usi
ngso
urce
s w
hich
yo
uin
terp
reta
tion.
De
role
(or
role
s) s
hou
reas
one
d a
rgum
enth
e te
xt, y
our
intu
iso
urce
s.
New
e kills
ons
ider
the
mse
lves
o
me
mig
ht d
escr
ibe
d a
ct, w
hils
t o
ther
s w
ho d
ance
and
act
. ha
t th
ey a
re m
ore
ey
do
nee
d t
o b
e ha
t is
ap
pro
pria
te t
o
prac
tice
he ro
le
s, a
nd p
rep
arat
ion
may
beg
in w
ith t
he
hose
req
uire
d b
y
fina
Gabr
ielle
Jose
fina
Gab
rielle
is
pro
bab
ly b
est
kno
wn
for
her
Oliv
ier
Aw
ard
-no
min
ated
role
as
Lau
rey
in t
he
Nat
iona
l The
atre
’s 19
98 p
rod
uctio
n o
f Okl
aho
ma!
Jo
sefin
a tr
aine
d a
t A
rts
Ed
ucat
iona
l in
Lond
on
and
late
r jo
ined
the
Nat
iona
l B
alle
t o
f Po
rtug
al.
cto
r, Tr
evo
r N
unn
and
o
man
wer
e lo
oki
ng fo
r o
per
form
in t
he d
ream
o
f the
mus
ical
usu
ally
th
e ro
le o
f ‘d
ream
e’
s ac
ting
, sin
gin
g a
nd
fect
ly m
atch
ed t
o
Spea
king
in a
n in
terv
iew
for
a th
eatr
e-g
oer
s w
ebsi
te in
200
1, s
he re
flect
ed o
n he
r d
ance
ski
lls
in re
latio
n to
mus
ical
the
atre
per
form
ance
:
“My
dan
cing
has
bee
n a
hug
e as
set
to m
y w
ork
in
mus
ical
s. M
y fir
st m
usic
al w
as C
aro
usel
at
the
Nat
iona
l The
atre
, whi
ch w
as c
hore
og
rap
hed
by
Ken
neth
Mac
Mill
an. I
had
just
left
the
Nat
iona
l B
alle
t o
f Po
rtug
al (w
here
I w
as a
so
lois
t), s
o
dan
ce w
as m
y st
rong
est
dis
cip
line
at t
hat
time.
Th
at m
eant
I w
as lu
cky
eno
ugh
to jo
in t
he c
ast
of
Car
ous
el a
s a
dan
cer.
Bei
ng s
urro
und
ed b
y al
l tha
t ta
lent
eve
ry n
ight
, it
was
eas
y to
be
insp
ired
to
get
b
ack
into
cla
ss a
nd re
awak
en t
he re
st o
f m
y tr
aini
ng.”
Ove
r to
yo
u•
Wha
t d
o y
ou
thin
k yo
ur m
ain
stre
ngth
s ar
e in
te
rms
of t
he d
iffer
ent
skill
s re
qui
red
for
mus
ical
th
eatr
e p
erfo
rman
ce?
•W
hich
ski
ll(s)
are
yo
u le
ast
confi
den
t ab
out
?
•H
ow
mig
ht y
ou
imp
rove
the
ski
ll(s)
tha
t ne
ed
q,
bal
ance
bet
wee
n th
e th
ree,
diff
ers
fro
m ro
le t
o ro
le.
Chi
cag
o b
y K
and
er a
nd E
bb
is a
hig
h-en
erg
y m
usic
al
whi
ch, s
ince
its
op
enin
g o
n B
road
way
in 1
975,
has
b
een
per
form
ed in
the
atre
s ac
ross
the
wo
rld. T
he W
est
End
pro
duc
tion
op
ened
in 1
997
and
ran
for
nine
yea
rs
in t
he A
del
phi
The
atre
bef
ore
tra
nsfe
rrin
g t
o t
he
Cam
brid
ge
Thea
tre.
The
sho
w re
qui
res
a ca
st w
ith a
ra
nge
of s
kills
plu
s an
ens
emb
le w
ho c
an b
oth
sin
g
and
dan
ce.
The
prin
cip
al ro
les
in t
he W
est
End
pro
duc
tion
have
b
een
pla
yed
by
a ra
nge
of p
erfo
rmer
s.
Asse
ssm
ent a
ctiv
ity 2
a
Co
nsid
er t
he ro
le (o
r ro
les)
yo
u w
ill b
e p
layi
ng in
the
m
usic
al t
heat
re p
iece
yo
u ar
e p
rep
arin
g.
•W
hat
skill
s d
oes
the
role
req
uire
?
•W
hat
is t
he b
alan
ce b
etw
een
actin
g, d
ance
and
si
ngin
g s
kills
?
•H
ow
wel
l do
yo
ur p
rese
nt s
kills
mat
ch t
he s
kills
re
qui
red
by
the
role
?
• W
hat
are
your
cur
rent
feel
ing
s ab
out
yo
ur a
bili
ty
to p
lay
the
role
an
be
do
ne?
(Fo
r ex
aap
pre
hens
ive
or
e
Evid
ence
Your
per
form
er’s
po
Ad
d y
our
ans
wer
s to
to
f yo
ur p
erfo
rmer
’s p
o
act,
dan
ce a
nd s
ing
to
a hi
gh
leve
l. Le
igh
Ruth
Roxi
e H
art
This
role
req
uire
s an
all-
roun
der
with
goo
d a
ctin
g,
sing
ing
and
dan
ce s
kills
.Ji
ll H
Den
i
Jenn
Suza
Mam
a M
orto
nTh
is ro
le re
qui
res
a p
erfo
rmer
with
a b
ig v
oice
and
go
od a
ctin
g sk
ills.
Alis
o
Kel
ly
Bre
n
Bill
y Fl
ynn
This
sua
ve c
hara
cter
nee
ds
a p
erfo
rmer
with
goo
d
sing
ing
and
act
ing
ski
lls a
s w
ell a
s an
ab
ility
to
dan
ce.
Dar
iu
Dun
c
John
Am
osTh
is c
hara
cter
req
uire
s a
per
form
er w
ith g
ood
act
ing
an
d s
ing
ing
ski
lls.
Les
D
Nig
e
Joel
Whi
ch o
f th
ese
role
s w
oul
d y
ou
be
mo
st s
uite
d t
o p
lay?
PLTS
Co
nsid
erin
g y
our
ow
n sk
ills
agai
nst
the
req
uire
men
ts
of a
role
in a
mus
ical
is a
n ex
celle
nt o
pp
ort
unity
to
d
evel
op
yo
ur p
erso
nal,
lear
ning
and
thi
nkin
g s
kills
by
wo
rkin
g a
s a
refle
ctiv
e le
arne
r.
Dur
ing
yo
ur w
ork
in t
his
activ
ity y
ou
sho
uld
sho
w t
hat
you
can:
ICT
– D
evel
op
, p
rin
form
atio
n
Pres
ent
info
rmat
ioan
d a
udie
nce
Func
tiona
l sk
mus
ical
, yo
u w
ill
ysic
al m
anne
rism
sac
ter.
the
gro
und
up
and
ra
cter
mo
ves
can
hey
are.
Whe
n us
t co
nsid
er h
ow
ca
l man
neris
ms
they
but
e th
at is
dis
tinct
ive
ar in
the
Vic
toria
n er
a g
.
eativ
e te
am d
ecid
es
a s
how
.
Did
you
know
?
Whe
n p
ract
isin
g a
nd re
hear
sing
, it
is im
po
rtan
t to
co
nsid
er t
he s
hoes
the
cha
ract
er w
oul
d w
ear.
If yo
u ar
e p
layi
ng a
tra
diti
ona
lly g
lam
oro
us w
om
an,
for
exam
ple
, yo
u w
ill n
eed
to
find
an
app
rop
riate
p
air
of e
leg
ant
sho
es. P
ract
isin
g in
tra
iner
s w
ill
mak
e it
diffi
cult
to m
ove
in a
n ap
pro
pria
te m
anne
r.
gg
row
n m
usic
als
may
req
uire
the
per
form
er t
o a
do
pt
an
acce
nt t
hat
is n
ot
thei
r o
wn.
In a
dd
itio
n to
get
ting
the
ac
cent
rig
ht, a
per
form
er m
ust
cons
ider
the
man
ner
in
whi
ch t
he d
ialo
gue
is d
eliv
ered
, so
tha
t th
e m
eani
ng o
f th
e te
xt is
cle
ar a
nd t
he m
otiv
es b
ehin
d w
hat
is b
eing
sa
id a
re fu
lly c
om
mun
icat
ed t
o t
he a
udie
nce.
P2M
2D2
2b ona
l pre
par
atio
ns
ysic
al m
anne
rism
s u
are
pla
ying
, and
ca
l ski
lls a
pp
rop
riate
ctio
n 2
Mak
e no
tes
in y
our
per
form
er’s
po
rtfo
lio a
bo
ut
dec
isio
ns m
ade
in re
latio
n to
vo
cal a
nd m
ove
men
t w
ork
.
Tuto
r o
bse
rvat
ions
You
tuto
r w
ill o
bse
rve
your
wo
rk in
rehe
arsa
ls a
nd
oth
er a
ctiv
ities
, and
ass
ess
your
ab
ility
to
dev
elo
p a
nd
use
app
rop
riate
vo
cal a
nd p
hysi
cal s
kills
.
As
we
have
alre
ady
seen
, the
mus
ical
can
enc
om
pas
s a
wid
e ra
nge
of d
iffer
ent
styl
es a
nd g
enre
s o
f the
atre
. Th
is m
eans
the
per
form
er m
ust
be
fam
iliar
with
, and
ab
le t
o u
se a
ran
ge
of d
iffer
ent
actin
g, s
ing
ing
and
d
ance
sty
les.
Alth
oug
h th
e st
yle
of a
ctin
g u
sed
in a
mus
ical
will
be
larg
ely
the
cho
ice
of t
he d
irect
or,
the
styl
e an
d g
enre
o
f the
sho
w is
like
ly t
o s
ugg
est
a p
artic
ular
ap
pro
ach.
M
any
mus
ical
s, fo
r ex
amp
le, r
equi
re a
nat
ural
istic
sty
le
of a
ctin
g t
o b
e ad
op
ted
, tha
t is
, whe
re a
‘no
rmal
’ vie
w
of p
eop
le in
a d
ram
atic
or
com
edic
situ
atio
n is
p
rese
nted
. Tre
vor
Nun
n’s
pro
duc
tion
of O
klah
om
a!, f
or
exam
ple
, was
a la
rgel
y na
tura
listic
pie
ce.
Som
e m
usic
als,
ho
wev
er, m
ay re
qui
re a
mo
re s
tylis
ed
app
roac
h to
act
ing
sim
ilar
to t
hat
used
in m
elo
dra
ma
or
pan
tom
ime.
The
juke
bo
x m
usic
al R
etur
n to
the
Fo
rbid
den
Pla
net
is a
hig
hly
styl
ised
pie
ce t
hat
req
uire
s a
mo
re e
xag
ger
ated
sty
le o
f act
ing
typ
ical
ly fo
und
in
pan
tom
ime.
Did
you
know
?
The
crea
tive
tea
m in
a m
usic
al
Rath
er th
an w
orki
ng w
ith a
sin
gle
dire
ctor
, p
erfo
rmer
s in
mus
ical
s of
ten
wor
k in
rehe
arsa
ls
with
a c
reat
ive
team
con
sist
ing
of:
•a
dire
cto
r w
ho o
vers
ees
the
crea
tive
conc
ept
of t
he w
hole
sho
w, a
nd d
irect
s th
e ac
tion
in
dia
log
ue a
nd m
usic
al s
ectio
ns o
f the
sho
w
•a
mus
ical
dire
ctor
who
wor
ks w
ith th
e si
nger
s an
d th
e m
usic
ians
•a
chor
eog
rap
her w
ho w
orks
with
the
dan
cers
an
d c
reat
es th
e d
ance
rout
ines
.
gsu
ch a
s E
mile
in S
ou
req
uire
a s
ing
er w
ithM
any
mus
ical
s w
ritt e
sing
ers
who
can
per
fex
amp
le J
udas
in J
eG
reas
e. M
usic
als
suc
a ja
zz s
tyle
of s
ing
ing
acco
mp
lishe
d s
ing
ero
f the
se s
tyle
s, h
ow
ep
rod
uctio
ns t
he v
oca
take
n in
to a
cco
unt
w
Dan
ce s
tyle
s w
ithin
mw
idel
y us
ed in
the
mch
ore
og
rap
hers
suc
hst
yle
Jazz
dan
ce t
end
mus
ical
the
atre
. Oth
mus
ical
s to
o. T
ap, f
oan
dTh
e B
oyf
riend
. Mal
so b
e fo
und
in m
usO
klah
om
a! is
in b
alle
ofW
est
Sid
e St
ory
isse
que
nce
that
tel
ls o
and
the
Jet
s.
s fo
r d
evel
op
ing
s
app
rop
riat
e to
ea
rsin
g a
nd
Furt
her
gui
dan
ce o
n d
iffe
rent
sty
les
of
acti
ng
is in
clud
ed in
Uni
t 1
9: P
rinc
iple
s o
f A
ctin
g
Furt
her
info
rmat
can
be
foun
d in
usic
als
and
dis
cuss
d
ance
use
d.
exam
ple
, are
ne
rism
s us
ed o
r
r exa
mp
le, i
s th
ere
m a
nd ti
min
g?)
g, d
ance
and
/or
act?
o t
he w
ork
bei
ng
plo
yed
, do
all
the
for
this
act
ivity
:
res
(Nat
iona
l
os
Ho
me
tain
men
t (V
HS)
Fox
Ho
me
vers
al P
ictu
res
UK
.
e are
fully
pre
par
ed
ey a
re c
ast.
Mus
ical
s st
amin
a, a
nd
reg
ime
is t
he b
est
ared
, pra
ctic
e m
ight
as p
roje
ctio
n, t
one
,
e vo
ice
whe
n si
ngin
g
sing
ing
gin
g
and
flex
ibili
ty
•im
pro
ve s
tam
ina
and
gen
eral
fitn
ess.
A p
ract
ice
sess
ion
sho
uld
alw
ays
beg
in w
ith a
n ap
pro
pria
te w
arm
-up
, and
sho
uld
incl
ude
exer
cise
s d
esig
ned
to
imp
rove
tec
hniq
ues
as w
ell a
s w
ork
on
spec
ific
song
s, ro
utin
es a
nd/o
r d
ialo
gue
seq
uenc
es.
Your
sin
gin
g, d
ance
and
/or
actin
g t
uto
r m
ay s
ugg
est
thes
e ex
erci
ses.
Setti
ng p
erso
nal t
arge
ts an
d m
eetin
g th
emD
esig
ning
a p
erso
nal a
ctio
n p
lan
is a
n ex
celle
nt w
ay
to t
rack
yo
ur p
rog
ress
as
a re
sult
of p
ract
ice
and
re
hear
sal.
An
actio
n p
lan
sho
uld
alw
ays
incl
ude
a se
t o
f ac
hiev
able
tar
get
s.
Targ
ets
set
sho
uld
be
SMA
RT.
Thi
s m
eans
the
y sh
oul
d b
e:
• Sp
ecifi
c: y
our
tar
get
s sh
oul
d b
e d
esig
ned
to
ad
dre
ss s
pec
ific
skill
s th
at n
eed
to
be
dev
elo
ped
an
d im
pro
ved
.
• M
easu
rab
le: y
ou
sho
uld
des
ign
your
tar
get
s in
a
way
tha
t w
ill a
llow
yo
u to
mea
sure
yo
ur p
rog
ress
to
war
ds
them
.
• A
chie
vab
le: y
our
tar
get
s m
ust
be
achi
evab
le. S
mal
l st
eps
are
bes
t.
• R
elev
ant:
the
tar
get
s yo
u se
t sh
oul
d b
e re
leva
nt t
o
the
role
yo
u ar
e p
rep
arin
g fo
r.
•T i
me-
bo
und
: yo
ur t
arg
ets
sho
uld
be
time-
bo
und
, i.e
. yo
u sh
oul
d s
et a
pp
rop
riate
tim
esca
les
for
thei
r ac
hiev
emen
t.14
.2.2
Mem
oris
atio
nTo
del
iver
a s
ucce
ssfu
l per
form
ance
in a
mus
ical
, yo
u m
ust
kno
w t
he ro
le (o
r ro
les)
insi
de
out
. Thi
s m
eans
m
emo
risin
g li
nes,
vo
cal s
ing
ing
par
ts a
nd
cho
reo
gra
phe
d m
ove
men
ts.
Dia
log
ue s
ectio
ns o
f the
sho
w n
eed
to
be
mem
oris
ed
as q
uick
ly a
s p
oss
ible
. The
dire
cto
r m
ay p
rovi
de
a d
ate
by
whi
ch p
erfo
rmer
s ne
ed t
o b
e o
ff b
oo
k an
d it
is v
ital
that
thi
s d
ead
line
is m
et. P
erfo
rmer
s le
arn
lines
in
vario
us w
ays
fro
m re
cord
ing
and
list
enin
g b
ack
to
them
, to
read
ing
and
rere
adin
g.
PLTS
Co
nsid
erin
g y
our
ow
n sk
ills
agai
nst
the
req
uire
men
ts
of a
role
in a
mus
ical
will
use
yo
ur s
kills
as
a re
flec
tive
le
arne
r. Y
ou
sho
uld
sho
w t
hat
you
can
asse
ss y
our
sk
ills,
iden
tifyi
ng o
pp
ort
uniti
es fo
r im
pro
vem
ent
and
ac
hiev
emen
ts t
o d
ate.
Key
term
Off
bo
ok
– ab
le t
o p
e
No
te-b
ashi
ng –
a re
hete
ache
s a
song
to
per
fth
e p
iano
.
Step
1: C
ons
ider
the
ski
lls n
eed
ed fo
r th
e ro
le (o
r ro
les)
yo
u ar
e p
layi
ng.
You
iden
tified
the
se in
Ass
essm
ent
activ
ity 2
a. R
evis
it th
e no
tes
you
mad
e fo
r th
is a
ctiv
ity.
Step
2: A
sses
s yo
ur c
urre
nt le
vel o
f ski
ll ag
ains
t th
e sk
ills
req
uire
d t
o p
lay
the
role
.
Mak
e a
list
of t
hose
ski
lls y
ou
are
confi
den
t ab
out
an
d t
hose
yo
u ne
ed t
o im
pro
ve. W
here
ski
lls n
eed
im
pro
vem
ent,
see
k ad
vice
fro
m t
he re
leva
nt t
uto
r to
en
sure
you
hav
e a
rang
e of
exe
rcis
es th
at y
ou c
an fo
llow
.
Step
3: D
raw
up
a p
erso
nal a
ctio
n p
lan.
Mak
e su
re y
our
tar
get
s ar
e SM
AR
T. T
his
will
ens
ure
that
the
wo
rk y
ou
do
is c
orr
ectly
focu
sed
.
Step
4: P
lan
and
und
erta
ke a
pra
ctic
e re
gim
e
Dec
ide
whe
n an
d w
here
yo
u w
ill p
ract
ise,
dra
w u
p a
st
ruct
ured
pla
n fo
r yo
ur p
ract
ice
reg
ime,
and
kee
p a
re
cord
of w
hat
you
do
.
Step
5: R
evie
w y
our
pin
terv
als.
Kee
p a
n ey
e o
n yo
ur
set.
Ask
for
feed
bac
k yo
ur p
eers
.
Mak
e ad
just
men
ts t
o
nece
ssar
y
Evid
ence
Your
per
form
er’s
po
Mak
e no
tes
in y
our
po
five
step
pla
n. K
eep
ap
lan
in y
our
po
rtfo
lio
Tuto
r o
bse
rvat
ions
You
tuto
r w
ill m
oni
tor
abili
ty t
o m
anag
e th
ene
ed t
o u
nder
take
yo
Song
s ar
e no
rmal
ly
taug
ht t
o p
erfo
rmer
sin
note
-bas
hing
sess
ions
roun
d t
he
pia
no, w
hich
are
led
b
y th
e m
usic
al
dire
cto
r. A
ccur
acy
is
vita
l in
thes
e se
ssio
nan
d t
he p
erfo
rmer
m
ust
dev
elo
p t
heir
liste
ning
ski
lls t
o
ensu
re t
hey
can
corr
ectly
pic
k up
the
mel
od
y an
d r
hyth
m
New
pho
to –
to
be
confi
rmed
y o
f mem
oris
ing
s
pra
ctis
ing
, the
y e
rep
eatin
g t
he
A p
erfo
rmer
mus
t an
d m
ake
ked
mis
take
can
be
ated
a n
umb
er o
f rm
er re
spo
nds
to
y,p
y
Dur
ing
the
rehe
arsa
l pro
cess
, all
thes
e el
emen
ts w
ill
need
to
be
com
bin
ed a
nd it
is n
ot
unus
ual f
or
chan
ges
to
be
mad
e. A
dan
ce ro
utin
e m
ay n
eed
to
be
alte
red
to
tak
e in
to a
cco
unt
the
po
sitio
ning
of s
cene
ry o
f ro
stra
, fo
r ex
amp
le. A
t th
is s
tag
e, n
ew in
form
atio
n,
such
as
stag
e p
osi
tioni
ng, e
ntra
nces
and
exi
ts w
ill
need
to
be
take
n in
and
mem
oris
ed. T
he p
erfo
rmer
m
ust
ther
efo
re re
mai
n al
ert
and
dea
l with
cha
nges
as
they
hap
pen
.
P2M
2D2
2d pra
ctic
e se
ssio
ns
ong
s, m
ove
men
t u
are
taug
ht t
akin
g
g t
o c
orr
ectio
ns a
nd
ctio
n 2
ort
folio
on
the
wo
rk
yo
ur a
bili
ty t
o
Gra
ding
tip
s fo
r A
sses
smen
t ac
tivi
ties
2
a, 2
b, 2
c an
d 2
dM
2 D
urin
g p
rep
arat
ions
, yo
u sh
oul
d s
how
tha
t yo
u ca
n ap
ply
the
ski
lls y
ou
alre
ady
po
sses
s to
ne
w c
ont
exts
, fo
r ex
amp
le, u
sing
dan
ce s
kills
d
evel
op
ed in
jazz
cla
sses
for
cho
reo
gra
phy
le
arnt
for
the
mus
ical
. Yo
u sh
oul
d b
e ab
le t
o
follo
w in
stru
ctio
ns, a
sk q
uest
ions
whe
n re
qui
red
an
d u
nder
take
pra
ctic
e w
ith o
nly
a sm
all a
mo
unt
of g
uid
ance
fro
m y
our
tut
ors
. Yo
u sh
oul
d a
lso
b
e ab
le t
o o
rgan
ise
your
tim
e ef
fect
ivel
y o
utsi
de
clas
s tim
e in
ord
er t
o c
ons
olid
ate
new
lear
ning
.
D2 Y
ou
sho
uld
use
ski
lls c
onfi
den
tly a
nd
ind
epen
den
tly, a
nd s
how
tha
t yo
u ar
e ab
le t
o
find
the
rig
ht g
estu
re, t
one
of v
oic
e, d
ance
m
ove
, rhy
thm
and
pitc
h o
f a n
ote
and
ap
ply
th
em t
o t
he c
ont
ext
of t
he w
ork
at
hand
. Whe
n q
uest
ioni
ng a
tut
or,
you
sho
uld
dem
ons
trat
e th
at y
ou
und
erst
and
the
wo
rk y
ou
are
und
erta
king
, and
mak
e su
gg
estio
ns a
bo
ut s
tyle
an
d in
terp
reta
tion.
for
a ro
le in
a m
usic
alTh
e re
hear
sal p
erio
d fo
r a
mus
ical
can
oft
en b
e lo
nger
an
d m
ore
co
mp
lex
than
tha
t o
f a p
lay
or
dan
ce
per
form
ance
. The
mer
gin
g o
f the
var
ious
ele
men
ts
take
s tim
e an
d re
qui
res
the
colla
bo
rativ
e sk
ills
of t
he
dire
cto
r, th
e m
usic
al d
irect
or
and
the
cho
reo
gra
phe
r.
•Th
e m
usic
al d
irect
or
will
lead
mus
ic re
hear
sals
an
d w
ill e
nsur
e th
e p
rinci
pal
s an
d c
horu
s kn
ow
the
m
usic
al n
umb
ers.
•Pe
rfo
rmer
s w
ill re
hear
se d
ialo
gue
seq
uenc
es
sep
arat
ely
with
the
dire
cto
r.
•Th
e ch
ore
og
rap
her
will
ho
ld d
ance
rehe
arsa
ls.
•Th
e d
irect
or
and
cho
reo
gra
phe
r w
ill o
ften
wo
rk in
co
llab
ora
tion
on
any
sect
ions
of t
he p
iece
tha
t ne
ed
mus
ical
sta
gin
g.
•Th
ese
pro
cess
es w
ill le
ad t
o a
n in
itial
sta
gg
er
thro
ugh
in w
hich
all
the
elem
ents
co
me
tog
ethe
r fo
r th
e fir
st t
ime.
•Fu
rthe
r re
hear
sals
will
nee
d t
o b
e un
der
take
n to
re
fine
and
po
lish
mat
eria
l.
•Th
ese
lead
to
tec
hnic
al re
hear
sals
in w
hich
the
sho
w
is r
un in
‘rea
l tim
e’ t
o a
llow
the
tec
hnic
al t
eam
to
re
hear
se li
ght
ing
, so
und
and
oth
er c
ues.
•Th
e re
hear
sal p
erio
d fin
ishe
s w
ith th
e d
ress
rehe
arsa
l(s).
Activ
ity: T
he re
hear
sal s
ched
ule
As
a cl
ass,
co
nsid
er t
he m
usic
al y
ou
are
wo
rkin
g o
n.
Dev
ise
a re
hear
sal s
ched
ule
for
the
sho
w
rem
emb
erin
g t
o in
clud
e:
•in
itial
rehe
arsa
ls fo
r so
ngs,
dan
ce ro
utin
es a
nd
dia
log
ue s
eque
nces
•th
e in
itial
sta
gg
er t
hro
ugh
•su
bse
que
nt re
hear
sals
to re
fine
and
pol
ish
mat
eria
l
•te
chni
cal r
ehea
rsal
(s)
•d
ress
rehe
arsa
l(s)
•th
e o
pen
ing
nig
ht.
Post
a c
op
y o
f the
sch
edul
e o
n th
e w
all o
f yo
ur
hl
dd
iib
ih
thea
tre
per
form
er n
esi
ngin
g a
nd a
ctin
g s
kth
e m
usic
al t
heat
re p
of m
ore
gen
eral
ski
llp
erfo
rman
ce is
read
y
Tim
e man
agem
Poo
r tim
ekee
pin
g is
th
e re
hear
sal p
roce
sp
reci
ous
. Eve
n a
few
of e
ach
sess
ion
bec
aso
meo
ne t
o a
rriv
e ca
was
ted
. In
the
pro
fes
to p
rovi
de
per
form
ed
ay. M
emb
ers
of t
h ean
d w
here
the
y ar
e n
the
rehe
arsa
l.
Focu
s, co
ncen
traIn
rehe
arsa
l, th
e p
erf
atte
ntio
n o
n w
hat
is
be
leng
thy
and
per
f oa
pas
sag
e o
f dia
log
ua
song
sev
eral
tim
esm
aint
ain
thei
r co
nce
dire
ctio
ns a
re t
aken
ne
cess
ary.
Thi
s re
qu i
Reh
ears
als
oft
en in
clex
amp
le, w
hen
a p
eth
e ac
tion.
It is
imp
od
isru
ptiv
e b
ehav
iour
exam
ple
, by
talk
ing
m
ob
ile p
hone
.
Coop
erat
ive at
tiPe
rfo
rmer
s m
ust
dis
pw
ork
bei
ng re
hear
seo
f oth
er p
erfo
rmer
s to
dire
ctio
n. In
the
th
go
es –
a p
erfo
rmer
mIt
is im
po
rtan
t to
rem
is t
o h
elp
the
per
form
per
form
ance
they
ca
for
rehe
arsa
ls,
for
line
lear
ning
p
ract
ice
in t
heir
l the
atre
pie
ce
vita
l tha
t th
e t
of b
reat
h af
ter
fyo
u ar
e re
qui
red
ue
seq
uenc
e. T
he
cally
pre
par
ed fo
r
men
ts
with
the
mus
ical
ng
s an
d w
ork
on
arni
ng a
so
ng
es
es
g e,
the
cho
rds
used
sco
re fo
r a
song
w
hich
the
sco
re
d t
he p
iano
sung
. Try
to
he
pitc
hes
of t
he
ting
ho
w t
hey
rise
elp
to
thi
nk o
f the
a
pat
hway
. No
te
y g
oes
sud
den
ly
vice
ver
sa.
es. L
ook
and
list
en
th o
r if
they
diff
er.
ectio
ns in
clud
ed
the
dyn
amic
s.
ece
and
follo
wed
p
iece
, lea
rnin
g it
Ke
y te
rms
py
gg
(g
21) a
s th
e vo
ice
will
co
ntin
ue t
o d
evel
op
and
cha
nge
wel
l int
o a
dul
tho
od
. Vo
ices
are
typ
ical
ly d
ivid
ed in
to s
ix
typ
es –
fro
m s
op
rano
, the
hig
hest
fem
ale
voic
e, t
o
bas
s, t
he lo
wes
t m
ale
voic
e. It
is c
om
mo
n, h
ow
ever
, fo
r yo
ung
fem
ale
sing
ers
to h
ave
a m
ezzo
so
pra
no r
ang
e (m
idd
le C
to to
p G
), an
d fo
r you
ng m
ales
sin
ger
s to
hav
e a
sim
ilar
rang
e an
oct
ave
low
er w
hich
is h
igh
bar
itone
.
Wo
rk w
ith y
our
tut
or
to e
stab
lish
your
vo
cal r
ang
e.
You
can
do
thi
s b
y st
artin
g w
ith a
mid
-ran
ge
note
and
si
ngin
g fi
rstly
up
, the
n d
ow
n th
e no
tes
of t
he s
cale
.
An
imp
ort
ant
tip is
nev
er s
trai
n to
get
a h
igh
note
. Yo
u co
uld
dam
age
your
vo
ice.
Co
rrec
t b
reat
hing
tec
hniq
ues
are
imp
ort
ant
for
sing
ers.
B
reat
h co
ntro
l is
not
just
ab
out
lear
ning
to
get
thr
oug
h lo
ng p
hase
s w
itho
ut g
oin
g b
lue
in t
he fa
ce; t
he b
reat
h su
pp
ort
s th
e vo
ice,
so
the
way
in w
hich
a s
ing
er
cont
rols
the
bre
ath
will
dra
stic
ally
affe
ct t
he s
oun
d a
nd
tone
qua
lity
of t
heir
sing
ing
vo
ice.
Whe
n so
meo
ne b
reat
hes
norm
ally
the
y te
nd t
o in
hale
sh
allo
wly
, tha
t is
, the
y d
o n
ot
fully
infla
te t
he lu
ngs.
A
sing
er n
eed
s to
inha
le t
o fu
lly fi
ll th
e lu
ngs,
the
n ex
hale
in
a c
ont
rolle
d m
anne
r.
Bre
athi
ng
Whe
n yo
u b
reat
he d
eep
ly, t
he lo
wer
rib
s (w
hich
are
m
ove
able
) exp
and
.
Plac
e yo
ur h
and
s o
n ea
ch s
ide
of t
hese
low
er r
ibs.
B
reat
he d
eep
ly a
nd y
ou
will
feel
the
rib
s an
d y
our
in
terc
ost
al m
uscl
es m
ovi
ng.
Ano
ther
mus
cle
whi
ch h
elp
s yo
u b
reat
he is
the
d
iap
hrag
m. I
t is
loca
ted
bel
ow
the
rib
s, b
ut a
bo
ve t
he
sto
mac
h. T
o fe
el t
he d
iap
hrag
m m
ovi
ng, p
lace
the
flat
o
f yo
ur h
and
just
ab
ove
yo
ur s
tom
ach
and
bre
athe
d
eep
ly.
Go
od
po
stur
e w
ill a
lso
hel
p y
ou
bre
athe
co
rrec
tly.
Rem
emb
er t
o s
tand
up
right
with
yo
ur s
houl
der
s d
ow
n an
d re
laxe
d. D
o n
ot
allo
w y
our
sho
uld
ers
to r
ise
whe
n yo
u in
hale
.
Sele
ct a
so
ng fr
om
the
mus
ical
yo
u ar
e re
hear
sing
.
Prep
are
the
song
for
a ‘p
erfo
rman
ce’ t
hat
will
be
vid
eoed
, rem
emb
erin
g t
o t
hink
ab
out
ch
arac
teris
atio
n (v
oca
l and
phy
sica
l).
Wat
ch y
our
per
form
ance
bac
k an
d c
ons
ider
ho
w
wel
l yo
u:
•m
aint
aine
d y
our
focu
s an
d c
onc
entr
atio
n th
roug
hout
•co
mm
unic
ated
the
mo
od
and
em
otio
n o
f the
so
ng t
hro
ugh
voca
l and
phy
sica
l exp
ress
ion
•p
erfo
rmed
with
go
od
into
nati
on.
14.3
.3 M
ovem
ent r
equi
rem
ents
D
urin
g re
hear
sals
, per
form
ers
in m
usic
als
wo
rk w
ith
the
cho
reo
gra
phe
r w
hose
job
it is
to
cre
ate
the
dan
ce
rout
ines
for
the
sho
w. P
erfo
rmer
s m
ust
be
able
to
pic
k up
rout
ines
qui
ckly
, res
po
ndin
g t
o t
he c
hore
og
rap
hy
with
rhy
thm
ical
acc
urac
y.
Som
e se
ctio
ns o
f the
sho
w m
ay re
qui
re m
usic
al
sett
ing
. Thi
s is
whe
re c
hore
og
rap
hed
mo
vem
ent
wo
rk
is u
sed
to
mo
ve t
he e
nsem
ble
and
/or
prin
cip
als
roun
d
the
stag
e. A
war
enes
s an
d u
se o
f sp
ace
and
oth
er
per
form
ers
is v
ital d
urin
g m
ove
men
t w
ork
. A b
usy
stre
et s
cene
, fo
r ex
amp
le m
ust
be
care
fully
pla
nned
an
d re
hear
sed
to
ens
ure
it lo
oks
nat
ural
.
Activ
ity: M
ovem
ent a
ccur
acy
With
a p
artn
er, r
ehea
rse
a sh
ort
mo
vem
ent
seq
uenc
e yo
u ha
ve le
arne
d in
cla
ss.
Perf
orm
the
seq
uenc
e to
eac
h o
ther
and
giv
e fe
edb
ack
abo
ut a
ccur
acy
of m
ove
men
t. P
ract
ise
the
seq
uenc
e to
get
her,
if p
oss
ible
in fr
ont
of a
mirr
or.
Do
yo
u lo
ok
the
sam
e w
hen
you
are
per
form
ing
?
pw
ith c
lass
ical
tra
inin
gm
emb
ers
had
to
be
be
com
pet
ent
sing
eac
com
plis
hed
dan
c ein
mo
vem
ent
and
da
vary
. The
‘ens
emb
le’
req
uire
d t
o s
ing
as
wd
eman
din
g d
ance
ro
Activ
ity: M
us
Wat
ch a
n ex
trac
t o
ense
mb
le.
Dis
cuss
the
tec
hni
wo
rk. A
re t
he e
nse
com
ple
x p
iece
of
mo
re li
ke a
mo
vem
The
follo
win
g e
xa
The
title
so
ng fr
om
Guy
s an
d D
olls
, 20
‘The
Far
mer
and
tfr
om
Okl
aho
ma!
Okl
aho
ma!
, 200
4,
Thea
tre
Pro
duc
tio
New
p
cene
with
out
sy s
hop
pin
g s
tree
t ca
ntee
n o
f a b
usy
enta
l mus
ic (a
bo
ut
cro
wd
sce
ne t
o.
ch c
hara
cter
is,
ey a
re g
oin
g, e
tc.
o fa
mily
and
/or
ere
is a
lway
s hi
ng g
oin
g o
n.
s an
d e
xits
.
ce’ o
f yo
ur s
cene
. w
suc
cess
ful y
ou
king
sce
ne.
– Ch
orus
mem
ber
‘I am
cur
rent
ly a
m
emb
er o
f the
ch
oru
s in
a t
our
ing
p
rod
uctio
n o
f Guy
san
d D
olls
. Thi
s is
m
y fir
st p
rofe
ssio
nal
job
. I c
om
ple
ted
a
Mus
ical
The
atre
co
urse
at
univ
ersi
ty
just
ove
r a
year
ag
o, a
nd I
have
b
een
wo
rkin
g in
a
sho
p w
hils
t g
oin
g
to a
uditi
ons
eve
r w
hen
I fina
lly g
ot
my
first
oru
s re
qui
res
a ra
nge
hen
you
have
to
ble
nd
the
next
min
ute
you
are
rtin
anen
erg
etic
dan
ce
rout
ine.
In t
his
pro
duc
tion,
the
dire
cto
r w
as k
een
for
the
cho
rus
mem
ber
s to
dev
ise
a ch
arac
ter
for
them
selv
es c
om
ple
te w
ith a
bac
k-st
ory
. I fo
und
thi
s re
ally
hel
pfu
l par
ticul
arly
in t
he c
row
d s
cene
s as
it
gav
e m
e a
sens
e o
f pur
po
se.
Bei
ng o
n to
ur m
eans
we
per
form
in a
diff
eren
t th
eatr
e vi
rtua
lly e
very
wee
k. N
o t
wo
sta
ges
are
co
mp
lete
ly a
like,
so
yo
u ha
ve t
o re
ally
co
ncen
trat
e to
mak
e su
re y
ou
kno
w w
here
yo
u ar
e in
rela
tion
to
the
set
and
oth
er p
erfo
rmer
s. It
als
o t
akes
a lo
t o
f en
erg
y to
giv
e it
your
all
nig
ht a
fter
nig
ht. I
try
to
th
ink
of e
very
per
form
ance
as
an o
pen
ing
nig
ht.
Ove
r to
yo
u•
Wha
t p
ress
ures
mig
ht p
erfo
rmin
g in
a lo
ng r
un
(a la
rge
num
ber
of p
erfo
rman
ces)
put
on
a p
erfo
rmer
?
•H
ow
mig
ht t
hey
keep
the
ir p
erfo
rman
ce w
ork
fr
esh?
dev
elo
pm
ent
wo
rk in
to p
ract
ice
und
er t
he g
uid
ance
o
f the
dire
cto
r. Th
e d
irect
or
advi
ses
on
inte
rpre
tatio
n an
d a
pp
licat
ion
of a
pp
rop
riate
act
ing
sty
les
to s
uit
the
sho
w a
nd t
he d
irect
or’s
cre
ativ
e vi
sio
n o
f the
pie
ce.
The
dire
cto
r g
ives
feed
bac
k o
n an
act
or’s
per
form
ance
th
roug
hout
the
rehe
arsa
l per
iod
. The
y g
ive
inst
ruct
ions
ab
out
the
act
or’s
use
of m
ove
men
t an
d g
estu
re, t
heir
voca
l wo
rk a
nd t
heir
inte
rpre
tatio
n o
f the
ir ch
arac
ter.
The
acto
r m
ust
take
tha
t fe
edb
ack
po
sitiv
ely
to
imp
rove
and
dev
elo
p t
heir
per
form
ance
. It
is im
po
rtan
t to
rem
emb
er t
hat
the
dire
cto
r is
no
t m
akin
g p
erso
nal
rem
arks
or
criti
que
s. T
hey
wan
t th
e ac
tor
to g
ive
the
bes
t p
erfo
rman
ce t
hey
po
ssib
ly c
an.
Dur
ing
ear
ly re
hear
sals
thi
s fe
edb
ack
may
hap
pen
co
nsta
ntly
as
a sc
ene
is s
top
ped
and
sta
rted
, wo
rked
an
d re
wo
rked
. In
late
r re
hear
sals
, whe
n th
e d
irect
or
wan
ts t
he p
erfo
rmer
s to
run
a la
rger
sec
tion
of t
he
sho
w w
itho
ut in
terr
uptio
n, t
he d
irect
or
may
giv
e no
tes
at t
he e
nd o
f the
rehe
arsa
l. It
is im
po
rtan
t th
at a
p
erfo
rmer
list
ens
care
fully
to th
e d
irect
or’s
no
tes,
no
ting
d
ow
n an
y fe
edb
ack
that
rela
tes
to t
hem
, and
put
ting
in
stru
ctio
ns in
to p
ract
ice
dur
ing
the
nex
t re
hear
sal.
Your
cha
ract
er m
ay u
nder
go
var
ious
em
otio
ns
dur
ing
the
co
urse
of t
he s
how
, fo
r ex
amp
le:
•fe
ar•
ang
er•
exci
tem
ent
•ha
pp
ines
s•
wo
rry
•fr
ustr
atio
n
Take
a s
cene
fro
m t
he s
how
and
co
nsid
er t
he
emo
tiona
l sta
te o
f yo
ur c
hara
cter
dur
ing
the
sce
ne.
Co
nsid
er h
ow
the
em
otio
n(s)
mig
ht m
anife
st
them
selv
es in
the
cha
ract
er’s
beh
avio
ur, i
.e. i
n th
eir
voic
e, fa
cial
exp
ress
ions
, mo
vem
ents
and
ges
ture
s.
You
coul
d d
o t
his
by
thin
king
bac
k to
a t
ime
whe
n yo
u fe
lt th
e sa
me
emo
tion(
s), e
.g. w
hen
you
wer
e w
orr
ied
ab
out
an
exam
resu
lt, y
ou
mig
ht h
ave
bee
n fid
get
y an
d u
nab
le t
o s
tay
still
.
Use
thi
s m
emo
ry t
o in
form
yo
ur w
ork
whe
n re
hear
sing
the
sce
ne.
Asse
ssm
ent a
ctiv
ity 3
Take
par
t in
rehe
arsa
ls fo
r a
mus
ical
pro
duc
tion.
Initi
al re
hear
sals
may
incl
ude
wo
rk o
n:
•m
usic
al n
umb
ers
•d
ance
and
mo
vem
ent
sect
ions
•d
ialo
gue
sec
tions
.
Late
r re
hear
sals
will
req
uire
the
co
mb
inin
g o
f thi
s w
ork
as
the
sho
w c
om
es t
og
ethe
r.
You
sho
uld
co
ntrib
ute
to a
ll re
hear
sals
yo
u ar
e re
qui
red
to
att
end
, mai
ntai
ning
a s
uita
ble
leve
l of
dis
cip
line
thro
ugho
ut.
Evid
ence
Your
per
form
er’s
po
rtfo
lio –
sec
tio
n 3
Mak
e no
tes
on
the
wo
rk y
ou
und
erta
ke in
rehe
arsa
ls.
Tuto
r o
bse
rvat
ions
You
tuto
r w
ill m
oni
tor
you
and
ass
ess
your
ab
ility
to
co
ntrib
ute
po
sitiv
ely
to re
hear
sals
.
Rec
ord
ing
s
Rec
ord
ing
s o
f mile
sto
ne re
hear
sals
may
be
reco
rded
o
nD
VD
top
rovi
de
evid
ence
ofy
our
cont
ribut
ion.
Gra
ding
tip
sM
3 Y
ou
sho
uld
foan
d c
ont
ribut
e id
ed
iffer
ence
to
the
pco
nten
t o
f a s
cene
You
sho
uld
hav
e a
pun
ctua
lity
reco
rd
You
sho
uld
arr
ive
ate
rms
of w
arm
ing
an
d/o
r m
ove
s, w
eha
ving
car
ried
out
D3 Y
ou
sho
uld
ha
to re
hear
sals
and
bta
sk o
f int
erp
retin
gm
usic
al t
heat
re m
are
hear
sal p
roce
ss,
the
crea
tive
pro
cesu
gg
estio
ns t
hat
h
You
sho
uld
hav
e a
pun
ctua
lity
reco
r db
tik
dem
ons
trat
e yo
ur s
kkn
ow
tha
t yo
u ca
n c
tow
ard
s co
mm
on
go
Spea
king
and
list
eco
ntrib
utio
ns to
di
pre
sent
atio
ns in
a
Func
tiona
l sk
cal
ethe
r in
the
l o
r co
lleg
e, is
an
all i
nvo
lved
. It
is
k th
at h
as b
een
the
dire
cto
r, r
mus
t st
ep b
ack
with
the
sho
w.
elem
ents
of
the
ocal
man
ce o
f a m
usic
al
r to
put
into
vo
cal a
nd p
hysi
cal)
rsed
.
s w
ill in
clud
e:
nd p
hysi
cal r
ang
e
mic
s in
mo
vem
ent
e m
om
ents
of h
igh
rk is
req
uire
d a
s w
ell
ents
run
of p
erfo
rman
ces
stre
tchi
ng t
o m
ont
hs o
r ev
en
year
s. W
hils
t th
e ca
st m
ay a
lter
fro
m t
ime
to t
ime,
m
any
per
form
ers
will
sta
y w
ith a
sho
w fo
r co
untle
ss
per
form
ance
s, a
nd t
hey
mus
t en
sure
the
sho
w re
mai
ns
as fr
esh
as it
was
on
the
op
enin
g n
ight
. Fo
r th
e ca
st
it m
ay b
e th
e ‘u
mte
enth
’ tim
e a
sho
w h
as b
een
per
form
ed, b
ut fo
r th
e au
die
nce
it is
the
firs
t tim
e th
ey
have
see
n it.
Mai
ntai
ning
focu
s an
d c
onc
entr
atio
n th
roug
hout
the
per
form
ance
is v
ital.
You
will
nee
d t
o t
hink
ab
out
:
•vo
cal p
roje
ctio
n –
can
the
aud
ienc
e he
ar y
ou?
•p
hysi
cal e
mb
od
imen
t o
f a ro
le –
are
yo
u ef
fect
ivel
y us
ing
mo
vem
ent,
ges
ture
and
phy
sica
l exp
ress
ion
to p
erso
nify
the
role
yo
u ar
e p
layi
ng?
•co
mm
unic
atio
n o
f mo
od
and
em
otio
n –
are
you
effe
ctiv
ely
com
mun
icat
ing
the
mo
od
s an
d e
mo
tions
yo
ur c
hara
cter
is fe
elin
g d
urin
g t
he p
iece
?
•co
mm
unic
atio
n o
f int
erp
reta
tion
– ar
e yo
u ef
fect
ivel
y in
terp
retin
g t
he m
ater
ial y
ou
are
per
form
ing
, i.e
. so
ngs,
dan
ce ro
utin
es, s
crip
ted
el
emen
ts?
•co
mm
unic
atio
n w
ith o
ther
per
form
ers
– ar
e yo
u re
latin
g a
nd re
actin
g t
o o
ther
per
form
ers
in t
he
pie
ce in
an
effe
ctiv
e m
anne
r?
Perf
orm
ance
elem
ents
Fina
l pre
par
atio
ns b
efo
re t
he o
pen
ing
nig
ht o
f a
mus
ical
will
incl
ude
tech
nica
l and
dre
ss re
hear
sals
. Th
ese
rehe
arsa
ls a
llow
per
form
ers
to g
et u
sed
to
the
va
rious
per
form
ance
ele
men
ts th
ey w
ill b
e w
orki
ng w
ith.
Thes
e ar
e lik
ely
to in
clud
e:
Lig
htin
g: M
any
mus
ical
s ar
e st
aged
with
lig
htin
g a
nd
oth
er t
echn
ical
effe
cts.
Per
form
ers
mus
t p
osi
tion
them
selv
es c
orr
ectly
to
ens
ure
they
are
lit.
Scen
ery:
So
me
mus
ical
s m
ay h
ave
a nu
mb
er o
f el
abo
rate
set
s. P
erfo
rmer
s m
ust
ensu
re t
hey
are
fam
iliar
with
the
item
s o
f sce
nery
, tak
ing
par
ticul
ar c
are
whe
n d
iffer
ent
leve
ls, e
.g. r
ost
ra a
nd s
tep
s, a
re u
sed
.
Soun
d: W
heth
er w
ork
ing
with
a li
ve b
and
, key
bo
ard
or
bac
king
tra
ck, t
he p
erfo
rmer
s’ v
oic
es n
eed
to
bal
ance
w
ithth
eac
com
pan
imen
tSo
und
ste
chni
cian
sm
ust
gp
erfo
rmer
s’ h
airli
ne o
n th
e fo
rehe
ad u
sing
sur
gic
al
tap
e.
Co
stum
e: C
ost
umes
in m
usic
als
can
be
elab
ora
te o
r si
mp
le. T
he c
ost
ume
team
und
erta
ke fi
nal fi
ttin
gs
bef
ore
the
dre
ss re
hear
sal,
and
mak
e an
y ad
just
men
ts
need
ed a
fter
the
dre
ss re
hear
sal i
n tim
e fo
r th
e fir
st
nig
ht. P
erfo
rmer
s m
ust
be
awar
e o
f and
pre
par
e fo
r an
y co
stum
e ch
ang
es d
urin
g t
he s
how
, par
ticul
arly
th
ose
whe
re li
mite
d t
ime
is a
vaila
ble
.
Pro
ps:
Pro
ps
(als
o k
now
n as
‘pro
per
ties’
) inc
lud
e se
t d
ress
ing
s an
d fu
rnis
hing
s th
at t
he p
erfo
rmer
s ha
ndle
d
urin
g t
he s
how
. Whe
n no
t in
use
, the
y ar
e us
ually
pp
pre
spo
nsib
ility
of t
he
14.4
.3 In
tegr
The
per
form
ance
of
invo
lves
the
brin
gin
gte
chni
que
s. T
he p
erf
and
sin
gin
g s
kills
to
of t
heir
role
. The
y s u
thei
r o
wn
role
(or
rol
pro
duc
tion
conc
ept,
as a
pp
rop
riate
. The
ym
akin
g a
dju
stm
ents
Asse
ssm
ent a
ctiv
ity 4
Take
par
t in
the
per
form
ance
of a
mus
ical
pro
duc
tion
usin
g p
erfo
rman
ce s
kills
to
co
mm
unic
ate
an
inte
rpre
tatio
n o
f yo
ur ro
le (o
r ro
les)
to
an
aud
ienc
e.
Evid
ence
Rec
ord
ing
s
The
per
form
ance
(s) w
ill b
e re
cord
ed o
n D
VD
to
p
rovi
de
evid
ence
of y
our
co
ntrib
utio
n.
Gra
ding
tip
sM
4 Y
ou
sho
uld
pr
tech
nica
lly s
ecur
e,ar
e o
ccas
iona
lly in
per
form
ance
sho
uw
ith m
emor
able
el
eng
agem
ent
with
in
terp
reta
tion
of y
D4 Y
ou
sho
uld
pe
in e
very
thin
g y
ou
dd
emo
nstr
ate
the
aro
le (o
r ro
les)
with
co
mm
itmen
t.
PLTS
Taki
ng p
art
in t
he p
erfo
rman
ce o
f a m
usic
al w
ill
dev
elo
p y
our
ski
lls a
s a
self
man
ager
.
You
sho
uld
sho
w t
hat
you
can
wo
rk t
ow
ard
s g
oal
s,
sho
win
g in
itiat
ive,
co
mm
itmen
t an
d p
erse
vera
nce.
Spea
king
and
list
eco
ntrib
utio
ns to
di
pre
sent
atio
ns in
a
Func
tiona
l sk
Top
tips
s o
f a ‘f
olli
es’ s
how
?
per
etta
hav
e in
co
mm
on
with
the
cla
ssic
Am
eric
an m
usic
al?
ebo
x m
usic
al?
the
follo
win
g t
erm
s:
wee
n th
e w
ork
car
ried
out
by
the
dire
cto
r, th
e ch
ore
og
rap
her
and
the
es) w
ith c
are
and
att
entio
n to
det
ail.
Use
yo
ur fi
ndin
gs
as a
way
of g
ettin
g t
o
d in
form
yo
ur in
terp
reta
tion.
dev
elo
pin
g a
nd u
sing
the
ski
lls a
nd t
echn
ique
s re
qui
red
in t
his
unit.
Reh
ears
al
y th
e d
irect
or.
Wo
rk o
n d
evel
op
ing
and
imp
rovi
ng y
our
ski
lls in
yo
ur o
wn
time
roo
m.
dis
cip
line
in re
hear
sals
. Co
ntrib
ute
in a
po
sitiv
e m
anne
r, b
eing
sup
po
rtiv
e o
f d
irect
ion
in a
n ap
pro
pria
te w
ay.
ce. T
hink
ab
out
yo
ur c
hara
cter
and
ho
w y
ou
can
com
mun
icat
e im
agin
ativ
ely