Progression on "You've Got To Pick A Pocket Or Two" was the focus of this week's rehearsals, learning the song confidently and forming a basis of choreography. When performing the song, the previous difficulty I had of upkeeping a Cockney accent whilst singing arose once again, so to combat this the class assisted me in coaching me through a Cockney accent and gave feedback on pitches, length of syllables and attitude to words to help not only give me a genuine Cockney accent but to make sure it sounded good as well. We planned a brief choreography with a simplistic element of acting our certain words. For example, for the line "Robin Hood, what a crook!", I will make an action similar to pulling a bow which is a reference to the charitable thief. I feel that whilst it wasn't too explorative in its choreography, it was an effective movement with a clear reference and was easy to learn considering the approaching performance.
"I'd Do Anything" rehearsals were also extremely useful this week as we were successful in implementing some choreography into the song. This is implemented between the break between Oliver's lyrics to Fagin's, and consist of a synchronised clap, followed by a patting of our left leg on both angles, a waltz movement where we briefly engage in a dance and then moving around in a circular movement with locking arms. I really feel this particular use of choreography was extremely effective as not only was it simple to learn, it was a fun and explorative example of a movement which would assist in the pragmatics of family Nancy and Fagin do their best to promote. It was sounding good too, with the improvement in my Cockney accent assisting in the candour of my lines with my role.
For next week, I need further work on my Fagin accent to solidify my familiarity with it, and we will focus more on making the two songs more entertaining to the audience.
Solo
This week's rehearsals had another emphasis on "Pretty Women", regarding how in my opinion, that is my weak point. The song was still difficult for Matt to obtain, so I decided to focus more on the characterisation and subtle techniques we could use to let the audience understand the danger Judge Turpin is in and how tense the situation is in the song. I am going to make the situation more tense by using the unknowing Judge to my advantage, as whilst I am shaving the Judge I will make longing, creepy stares at him and frequently stop to look at my blade whilst singing. This is essential as the audience need to view Sweeney as a dangerous character, and this creepy manner of shaving will make the audience view Sweeney as demented and psychotic. I have also focused on timing my shaving strokes so that they occur in a rhythm, hence I will argue they are a subtle use of choreography and movement I have embedded into "Pretty Women."
Next week I will need to desperately ensure the lines to "Pretty Women" are learned by Matt so we can progress with developing the piece, and if this is not achievable, then find another last minute Judge who can fill in for the role.
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