I’m A Brass Band – The Actorvist

Last night the cast had a vocal clean up rehearsal. Keeping to my promise of working numbers out over the course of the week, I got there at 5:30. We went over Brass Band, not as many times as I wanted, but more than we have had the chance to do in a single rehearsal. On Tuesday, I had taken video of the run through and showed the cast how close they are to getting the dances down. I think they need to see for themselves that the steps are in their heads, they just have to stop over analyzing. The great thing about a Bob Fosse show is that he uses musical cues for so many of the steps that when creating something in this style you have the music to help guide you through. In most productions, I’m A Brass Band is done as a tap number (in the movie Fosse didn’t have them tap nor in the Broadway version), with huge chunks of music edited out for not only time, but for ease of creating a piece. The steps in my version are simple, but the fact that they are interchangeable create a barrier in the mind that you have a choice as to which step comes next. Luckily, we have muscle memory, and I emailed detailed notes to everyone after the dances are complete.

At 7:00, when Rachel, our music and vocal director came in, we switched gears and began singing. Listen to me say “we”. I didn’t sing. They sang, and they sound great. Rachel is concerned about the breath because after the dances, you can hear that they are low on air. However, I fully believe that since they didn’t sing while they rehearsed the dances, that is the cause of the problem. With practice, they will get it, and as we head in to “Hell Week” they are going to have plenty of time to practice this. I planned on heading home once Rachel got there, but she said that she wanted to fix a couple of things and have the people run the dances. I went home to grab a bite to eat and when back at 8:00 like she asked.

Rachel works with Ian — Rachel Michelberg (Musical DIrector) works with Ian Teter on Cry at Weddings.

The cast ran through Rhythm of Life. Looks pretty good. I will make some small adjustments. SMALL.

Brass Band: Once they get the trumpets for the jazzy part the ladies can really put the hurt with that body swing and contraction step. Then the percussion will be a huge help for the section that it’s ONLY percussion that’s playing. Will change one step for the ladies. At the end, have to get that jete on 7-8.

Cry at Weddings: Just have to get Herman to address all of the cast at the beginning.

Not too shabby. Not too shabby at all.

Hello Patrons!!!

I figure that since enough time has passed, I can post some things about my ideas and concepts for this number in Sweet Charity. Jeez, where to begin…

I performed Sweet Charity with another local group back in 2000. I was one of the trio that start the Frug and Daddy Brubeck (after the original guy that was cast for it left the show). I loved performing in the show not only because it’s great campy fun, but because of the Frug. However, when it came time for the choreographing of this number, the staff decided that cutting out the middle section of the song was going to be the best way to go. I was so disheartened by this. You see, I am a great admirer of Bob Fosse and the unique style that he created. I jumped at the chance just to perform some of these songs. Little did I know that I would actually be doing the choreography that was from the movie. So I guess I have to call it more of a re-staging than actual choreography. I say this because to choreograph something is to create movements to a piece of sound or music, and to restage is to take something that is already created and teach it to new people. And at the time, I was okay with that.

Then last year, when I found out about this show, it made me think of all the potential that it could have had. The direction of the 2000 production was full of gimmicks. The costumes were stunning. And the dancing was fun, but unoriginal.

One night in the beginning of summer, I had a dream where music filled my head. It was the da dada da da da of the trumpets at the beginning of Big Spender. I was sitting in the audience, and the dance hall hostesses came down the isle talking to the men with their lines, “Hey good looking you wanna talk? What’s the harm in a little talk?” and all that jazz. There was this mood of anticipation, excitement and yet unease that hung over the crowd because they were no longer safe in the separation between voyeurs and participants. They were in the show. This feeling is something that I felt needed to be addressed but it never does. It’s a great feeling to sit in a show and physically feel the vibe. Bob Fosse was able to create this sort of atmosphere ever so slightly in the movie by utilizing camera shots full of shadows, smoke and lipstick. Unfortunately, in the amount of time we have in theater, this is not something that can be properly conveyed.

After the proposals, the hostesses head behind the bar (which is cut in the middle) , slightly upstage. A safer distance from the audience and as they go behind, the bar slams shut behind them, in a small way symbolizing the fact that they are stuck in this life. Incidentally, Charity isn’t in this number, and if you know the ending, you will know why I believe this would have been a great idea. Unfortunately, the bars we have aren’t incredibly easy to move, so open they stay. A small hint to the audience that this show is more than just a comedy about love. As the hostesses sing the first verse and chorus everything happens behind the bar, but when they ask for some time to be spent with them, the genie is out of the bottle and isn’t secured until the end of the number. It’s in your face. It’s sexy. It’s sassy. And it’s a little dark. But hey, they aren’t exactly innocent church ladies are they?

It was when I woke up from this dream that I kept thinking about this show. I kept thinking, can I actually try to work on this show and create something Fosse-esque? I thought about it so much that I finally got the nerve to ask the producer. I started thinking and researching and planning right away even though I had almost 5 months time. I found old Vogue photos that became my inspiration for some of the poses in the number. Here are some of my faves:

These models were sexy yet classy. Yet, I needed something a little more intense. So the angles of the models are a little sharper and so are the attitudes.

I can’t decide if Big Spender or Rich Man’s Frug is my current favorite. Although I’m A Brass Band is coming along quite nicely! So at this point I am torn, and I hope that you are too when you see the show!

Until next time, break a leg!