Thursday at Cabaret Summer School 2013
This morning we are introduced to another guest mentor, Johanna Allen. Johanna is a seasoned performer and has toured with national musicals over the past several years. She has worked as a vocal coach on "The X-Factor". Most people in the group seem to know who she is.
We sit down in the theatre, and Johanna asks who'd like to sing something. There is silence. Everyone seems to hang back, perhaps a bit over-awed about the fact that it's Johanna.
I volunteer to go first. I'm not in awe - I don't move in musical theatre circles, and so I haven't come across Johanna until now. She seems perfectly nice, so I step up onto the stage. Being my third time through Summer School, I know how quickly the week passes, and how important it is to make use of the time.
I start with some patter and lead into "Song of the Jet". When I finish, Johanna advises me that when I'm telling a joke, I should "sit in the pause" long enough to allow the audience to "get it". Then she corrects my posture. I don't normally stoop, but maybe I'm doing this in order to sing into the microphone, or perhaps it's because of the way I'm breathing - trying to breathe low and deep, and trying to feel the back of my ribs expand. We also talk about eye contact, and where to look in the room.
Everyone sings in turn. Johanna is constructive and caring. Each singer's performance is dramatically improved. Again we are working on "connecting with the text".
Johanna engages us all in a posture exercise. Her explanation is very clear, and I get the feeling of being more upright and open.
In the afternoon Matthew discusses with us the role of a Musical Director. Whereas an accompanist will play the music you put in front of them and then go away, a Musical Director can help you develop your show. We talk about the economics of presenting a cabaret show.
The evening session is a musical theatre workshop. However, those of us without a musical theatre song are encouraged to try whatever song we have with us. I have another go at "Two Kites". In this song I play the composer Tom Jobim, singing to me in my dream. Johanna suggests that instead of locating "me" on the stage, I find "me" in the audience. I give it a go.
When I sing again, Johanna observes that I lock my knees when I sing. This is a revelation to me. It's a hot day and I'm wearing a short skirt. Johanna has noticed my knees. This would explain why I feel stuck to the spot when I perform. She teaches me a simple samba dance move that allows my hips to rock subtly. I try it and it feels quite natural. It's amazing that one small change can make such a big difference.
Later when I watch the video, I marvel at the improvement. I'm finding the videos of each workshop a fantastic aid to learning, and a way to avoid repeating the same mistakes.
Video of "Two Kites"
This morning we are introduced to another guest mentor, Johanna Allen. Johanna is a seasoned performer and has toured with national musicals over the past several years. She has worked as a vocal coach on "The X-Factor". Most people in the group seem to know who she is.
We sit down in the theatre, and Johanna asks who'd like to sing something. There is silence. Everyone seems to hang back, perhaps a bit over-awed about the fact that it's Johanna.
I volunteer to go first. I'm not in awe - I don't move in musical theatre circles, and so I haven't come across Johanna until now. She seems perfectly nice, so I step up onto the stage. Being my third time through Summer School, I know how quickly the week passes, and how important it is to make use of the time.
I start with some patter and lead into "Song of the Jet". When I finish, Johanna advises me that when I'm telling a joke, I should "sit in the pause" long enough to allow the audience to "get it". Then she corrects my posture. I don't normally stoop, but maybe I'm doing this in order to sing into the microphone, or perhaps it's because of the way I'm breathing - trying to breathe low and deep, and trying to feel the back of my ribs expand. We also talk about eye contact, and where to look in the room.
Everyone sings in turn. Johanna is constructive and caring. Each singer's performance is dramatically improved. Again we are working on "connecting with the text".
Johanna engages us all in a posture exercise. Her explanation is very clear, and I get the feeling of being more upright and open.
In the afternoon Matthew discusses with us the role of a Musical Director. Whereas an accompanist will play the music you put in front of them and then go away, a Musical Director can help you develop your show. We talk about the economics of presenting a cabaret show.
The evening session is a musical theatre workshop. However, those of us without a musical theatre song are encouraged to try whatever song we have with us. I have another go at "Two Kites". In this song I play the composer Tom Jobim, singing to me in my dream. Johanna suggests that instead of locating "me" on the stage, I find "me" in the audience. I give it a go.
When I sing again, Johanna observes that I lock my knees when I sing. This is a revelation to me. It's a hot day and I'm wearing a short skirt. Johanna has noticed my knees. This would explain why I feel stuck to the spot when I perform. She teaches me a simple samba dance move that allows my hips to rock subtly. I try it and it feels quite natural. It's amazing that one small change can make such a big difference.
Later when I watch the video, I marvel at the improvement. I'm finding the videos of each workshop a fantastic aid to learning, and a way to avoid repeating the same mistakes.
Video of "Two Kites"
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