We start with a discussion about "How to communicate with your musical director".
The musical director is your pianist. At Cabaret Live, if I haven't been able to rehearse with the pianist, the accompaniment has sometimes been a surprise. Quicker than how I've practised it, or a different style from what I expected. So this advice is exactly what I need.
The main message is "Know what you want, and ask for it with respect and openness". We talk about key (provide sheet music in the key you want), tempo (sing a bit of the song for them), style (pop, rock, ballad or "follow me"), and form (how many verses, how many repeats, is there an instrumental break etc).
We discuss what to do on stage if the tempo isn't quite right, and learn how to sticky-tape our sheet music together to make it easier for the pianist to handle.
Next is the ballad workshop. I don't have many ballads in my repertoire, but I've come up with a little-known Brazilian song that might fit the bill. It's "Photograph" by Antonio Carlos Jobim. I've never performed it before. It encapsulates a happy moment for lovers, who are unaware that their relationship will soon end: "You and I, we two, together in this terrace by the sea; the sun is going down, and in your eyes I see the changing colours of the sea..."
I'm up first. I sing the song, imitating what I have heard in the Astrud Gilberto recording. Now it's time for me to be workshopped. Ben is assigned to be my "lover". We sit down together and I have to speak the lyrics to Ben as if I mean the words with all my heart. This is an acting challenge, as Ben is young enough to be my son. The idea is to to phrase the lyrics conversationally.
Then I'm told to lean into the curve of the grand piano and drape my body over it, as if it's our bed. "Now sing the song!" commands Catherine. In the first verse, I am to set the tempo and Matthew will "follow" me. I feel physically and emotionally uncomfortable. I am visited by an image of Michelle Pfeiffer in the movie "The Fabulous Baker Boys", cavorting on a grand piano as she sings "Making Whoopee". In contrast to Michelle, I feel lumpen and ungainly. Who do I think I am? I'm no movie star. As I sing, I try to picture the sunset scene whilst attempting to settle myself on the piano.
I've heard it said that you cannot do anything that is not in keeping with your own self-image. I've spent my entire career wearing conservative suits and sitting behind a desk; now I feel completely exposed. I can't help thinking "I'm a lawyer draped over a grand piano. What am I doing here?"
I get through the exercise and it's morning tea time. As I exit the rehearsal room, I burst into tears. I've been way outside my comfort zone. But I'm guessing that zone is a whole lot bigger now.
Each person works through their individual challenges. Christine doesn't like making eye contact with people in the audience. She is required to sing to each person in the group, and we all encourage her.
At the end of the day, we discuss how to select songs for the miniature cabaret shows that we will each perform on Sunday night. It's best to have three songs of different genres.
I'm still trying to select a theme, and I'm beginning to worry about falling behind.
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