Ready...Set...Rehearse

The show is cast and you have that special part. It’s now serious musical time. In our next few blogs, we’ll be covering some good rehearsal tips to keep you in your best rehearsal mode, and help you and your cast mates create the BEST show ever.

The show is cast. Parts are assigned and it’s time to take part in your high school musical. Fasten your seat belt and get ready for a fantastic ride. Oh, there will be a few bumps along the way, but I can promise you it will be quite the journey, and one you'll want to repeat again and again. Once you take part in your first high school musical, you’re hooked.

Most directors hold a general meeting with the cast and ensemble once the show is cast. This is where scripts and a printed detailed rehearsal schedule are distributed. Some schools even invite parents to this meeting just to let everyone know the amount of time it will take to get the show off the ground, and note any scheduling conflicts.

You will receive your scripts and musical score at this time. This is important. 

You’ve probably heard that your school buys rights to perform your musical each year. The scripts come from the musical theater libraries where the rights were purchased. They are only on loan. Your director will emphasize this over and over DO NOT lose them or destroy them. If you need to make director's notes light pencil only and keep them to a minimum. I actually like to see actors buy a small notebook that fits in a back pack for director's notes. They are not expensive and you can take more detailed notes. 

Directors will also set a time limit at first meeting when they want their cast off book-that means knowing all your lines. My advice is get cracking on learning those lines ASAP. You can work with fellow cast mates especially if you have mutual scenes together. Other student actors I know record the last line or two of their fellow cast mates’ lines and that helps prompt them with their own dialogue when memorizing at home.

Your director may have other ideas for learning lines, but the bottom line is you are going to need to learn them so the sooner you start the better, and whatever method works for you, use it. Likewise, your music. Many shows have a “karaoke” version that features the show’s instrumental accompaniment. An excellent way to practice songs when at home.

As soon as you get your rehearsal schedule, check it over carefully. Make sure there are no conflicts on the dates you need to be at rehearsal. Rehearsals begin slowly. As scenes reach blocking, however, and if you are one of the leads, there is a chance you will need to be at almost every rehearsal. It is imperative that you clear any conflicts with your director from the get go. Check doctor appointments, family vacation plans or any other school conflicts, school testing, school events, etc.

I touched on this a bit earlier but one of things I notice about my nominated musicals, the cast is so engaging. They draw in the audience and make you feel like they want to perform their very best for you. Mostly, they look happy and they look like they want to be on that stage right there at that very moment, more than any other place in the world.

When you accept a part in your musical, from lead to chorus, the number one word you need to adopt is commitment. I know high school students lead busy lives. You have lots of after school activities you belong to, sports, year book, prom committees, and other clubs. Not to mention events outside of school. There are dance lessons, piano lessons, karate. I could go on forever. You get the picture.

Your high school musical is going to eat up a huge amount of your after school time. In the beginning, there will be rehearsals and a read through, musical numbers and choreo rehearsals. You’ll be required to attend after school rehearsals when it’s time to stage and block your scenes.

However, as it gets closer to the show, about a month away, there will be full run through, and then tech and dress rehearsals, not to mention rehearsals with the pit. You will most likely be rehearsing every day after school, weekends and toward opening night, many nights. Commitment.

My advice to you is that if you really want to be a part of this show, if you want to do everything to make it the best show ever, by lending your time and talent, then, go for it. I guarantee you won’t regret it.

If however, you don’t want to let go of other activities, temporarily, and you’re not sure you can devote the time, let your director know. Directors want students that give themselves 100 percent to their musical. If you can’t, they understand. But you need to let them know-at the beginning.

My other piece of advice is to be a team player. Do I notice the casts that don’t seem to work well together? Yep, it’s obvious. Check egos at the door guys. Leads, welcome the newbie’s. Newbie’s, study your leads. Lend your best efforts to EVERY scene. At a recent performance, I saw an ensemble lend so much to a supporting player’s comedic scene. It truly made the scene the hysterical mishmash it was supposed to be. The supporting actor then managed to get the entire ensemble and him in a rousing tap dance number. Perfection. If that wasn’t team work, I’m not sure what is.

Another word you need to embrace is respect. Respect for your director and music director and choreo first and foremost. They’ve been doing this a long time. Listen to their suggestions. Listen to their advice. Does that mean you can’t suggest something that you think might fit your character? Absolutely, not. A costume suggestion, accent suggestion, and the way you walk and deliver a line. Directors love creativity, but always approach in a polite way.

Arrive on time at rehearsals ready and prepared. If something comes up and you can’t make a rehearsal, hey, things happen, it’s understandable. Just make sure you seek your director out to let them know. As you know musicals involve exchange among cast members whether in dialogue or song, so a missing person can upset the entire apple cart.

Make sure you are available for costume fittings (often these are mom volunteers) and they don’t have hours each day to work with your schedule. Likewise, extra music and choreo rehearsals. Remember guys, commitment is the word.

Respect also goes for your fellow cast mates. 

Instead of criticizing, offer to help them get acclimated. Get together with other cast mates and study and feed lines. It helps, believe me. It will make all the difference and shouts “this is a group that works as one awesome unit”.

The Production Number… Time to Knock Their Socks Off

One of my very favorite things to judge in high school musicals is the production number.

I’ve seen so many over the top, phenomenal, fantastic,  knock’ em dead production numbers I can’t list them all.

It is also the perfect part of the show for ensemble players to shine, and for show newbie’s to show their directors that they can give all they’ve got and are worthy of considering for future roles.

So here is my take on production numbers and some tips you can keep in mind as you and your fellow actors work to create that “show stopper”. Production numbers not only leave your audiences in awe but they are a wonderful way for leads to work with the ensemble and make your musical the talk of the town. So, while rehearsing your show stopper, consider the following.

Several years ago, I judged a high school production of Les Mis. They ended up winning best musical and I firmly believe their production number One Day More played a great part in that. It was a ten. Why was it a ten?

First, their entire ensemble. Yep, chorus people I’m talking to you. As a group, their voices were phenomenal and loud. I could HEAR them. Every single word. Actually, we should be able to put every high school musical ensemble in Radio City Music Hall and hear them. Sadly, however, I’ve judged many schools where the chorus sounded more like a group of church mice. Choruses you need to work on singing to the rafters. That’s number one.

Second is choreography. Your choreographer is not going to give you moves you can’t do and they know what your limits are, but, don’t be afraid to push the envelope. If you have a special talent, gymnastic flips, ballet on Pointe, or splits, let your choreographer know. They are looking for the wow stuff to place in that production number and you might just be the person to do it. Make sure you note this on your audition sheets, please.

If you want a production number like no other, you as a student have to be able to take a creative risk. Over the past few years, I’ve seen tons of schools attempt a tap dancing number. Impressed? You betcha. I am also willing to bet that nearly half of these kids never put a pair of tap shows on until they joined their show.

Energy, Exuberance and Excitement. The Three E’s. A fantastic production number has all three E’s. The ensemble and characters don’t just shuffle along, singing as if they are just rolling out of bed. At a recent production of 42^nd Street, the chorus girls in “We’re in the Money” had smiles on their faces from the second they started tapping. They showed the audience they were having fun and the audience had fun too.

Excitement. Yes, this is your production number. Watch us audience. We’re going to knock your socks off. Keep that energy from the second your music begins to the very last note, and I can guarantee 100 percent you will have the BEST production number ever.