How many rehearsals do I need? How long is a piece of string? I need as many as possible. I could never have enough. I could rehearse forever, and never be ready to perform.
But I need to find the answer to this question. I need to book them with pianist Emma, because she is hotly in demand, and has a tightly-packed schedule leading up to the date of my first show.
Emma has offered me a fixed price for two shows and two rehearsals. But I'm convinced I'll need more than that. I book an extra two rehearsals; four in total.
On the day of the first rehearsal, I get lost. I follow Google Maps and it sends me to the wrong address; a street with an almost-identical name, in a different suburb. I feel really stupid when I phone Emma to let her know I'll be late. Finally I arrive, and we work through about half the songs.
Emma proves to be a good choice of musical partner. She offers some suggestions for my story. It is great to be working with someone who is interested in discussing this. Emma saw my piece develop during the week of Cabaret Summer School, so she has a good understanding of what I am trying to achieve.
But I'm so accustomed to receiving advice, criticism and approval from my mentors, I am somewhat lacking confidence in putting the show together. It doesn't take long to realize that I've now need to have the courage of my convictions. I've got to make some decisions about the story. I've had plenty of advice up to this point; now I have to create my own piece of art.
I start to play a game with myself, called "What would Catherine say?" I pose the problem and imagine what Catherine Campbell would say. She is critical and discerning; I hear her words in my head, and make decisions accordingly.
Gradually, the piece comes together. I need every minute of our rehearsal time. I could happily have more.
Cabaret is a high-wire act. The story has to be engrossing, the jokes have to be funny and I have to sing well.
During the lead-up to the show, I get the opportunity to have a lesson with Johanna Allen, who is in town for a new opera, "Ode to Nonsense" about the life of Edward Lear. I go to her house for the one-hour lesson. Johanna is wonderfully encouraging; says I must take some risks. She thinks I have yet another half an octave, and gets me going for a high B (which I'd never dared to attempt). She teaches me how to "float" onto the note, instead of pushing with my larynx. We workshop one of the songs in my show, and she invents some jazz variations for me to try. At the end, Johanna wishes me well for the show, and advises me "Go for it - don't hold back!"
In my singing lessons, I work on the songs with Rohan. During this period he doesn't introduce any new techniques, but simply reinforces what I'm doing well and encourages me to do more of it. My confidence grows, but there are still a few awkward notes that occasionally cause me a bit of trouble.
I practise as much as I can. I don't care who hears me.
But I need to find the answer to this question. I need to book them with pianist Emma, because she is hotly in demand, and has a tightly-packed schedule leading up to the date of my first show.
Emma has offered me a fixed price for two shows and two rehearsals. But I'm convinced I'll need more than that. I book an extra two rehearsals; four in total.
On the day of the first rehearsal, I get lost. I follow Google Maps and it sends me to the wrong address; a street with an almost-identical name, in a different suburb. I feel really stupid when I phone Emma to let her know I'll be late. Finally I arrive, and we work through about half the songs.
Emma proves to be a good choice of musical partner. She offers some suggestions for my story. It is great to be working with someone who is interested in discussing this. Emma saw my piece develop during the week of Cabaret Summer School, so she has a good understanding of what I am trying to achieve.
But I'm so accustomed to receiving advice, criticism and approval from my mentors, I am somewhat lacking confidence in putting the show together. It doesn't take long to realize that I've now need to have the courage of my convictions. I've got to make some decisions about the story. I've had plenty of advice up to this point; now I have to create my own piece of art.
I start to play a game with myself, called "What would Catherine say?" I pose the problem and imagine what Catherine Campbell would say. She is critical and discerning; I hear her words in my head, and make decisions accordingly.
Gradually, the piece comes together. I need every minute of our rehearsal time. I could happily have more.
Cabaret is a high-wire act. The story has to be engrossing, the jokes have to be funny and I have to sing well.
During the lead-up to the show, I get the opportunity to have a lesson with Johanna Allen, who is in town for a new opera, "Ode to Nonsense" about the life of Edward Lear. I go to her house for the one-hour lesson. Johanna is wonderfully encouraging; says I must take some risks. She thinks I have yet another half an octave, and gets me going for a high B (which I'd never dared to attempt). She teaches me how to "float" onto the note, instead of pushing with my larynx. We workshop one of the songs in my show, and she invents some jazz variations for me to try. At the end, Johanna wishes me well for the show, and advises me "Go for it - don't hold back!"
In my singing lessons, I work on the songs with Rohan. During this period he doesn't introduce any new techniques, but simply reinforces what I'm doing well and encourages me to do more of it. My confidence grows, but there are still a few awkward notes that occasionally cause me a bit of trouble.
I practise as much as I can. I don't care who hears me.
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