Week Three - Week Four 2007

Week Three: Movement and Improvisation

(Miming circus skills through mime)

 This week was an extremely strange experience. It was the first week in about seven years of Children's Theatre were Reg Bolton was not teaching circus skills. Many people had only met Reg once during a three hour workshop, however can remember Reg fondly.  He was funny, irreverent and seemed to teach in a style that contradicted every thing I have ever been taught in education approaches... but it worked. A great man, a great loss.

Andrew Kocsis

Circus is astonishingly underrated as a learning tool. Why is it so good? ‘cause it makes up for all those things that are missing in current childhood…hard work, self-design, risk, trust, aspiration and fun. All of those things that you get the least out of childhood, circus pulls it back in"

- Reg Bolton (1945 - 2006)

(This improvisation was titled 'Hitler's Dinner Party'... huh!)

The following is a copy of Mel's ideas for a great audition. Although it was written two years ago, it is, of course, just as relevant. Well now, I bet you all thought that the actual performing was going to be the toughest thing about Children's Theatre, right?  The thought of getting up in front of all those kids and saying all the right lines, in the right order and not walking into the furniture, was the worst it was going to get, right?  Ha!  You all forgot about the audition, didn't you?  I bet you thought all you needed to do to get a role was to ask Jenny very nicely to give you one, huh?  Unfortunately, it's not that easy.  Auditions, or cattle calls as we like to call them, are an evil necessity.  You get up in front of Jenny and Darren (and possibly the rest of class, depending on how the auditions are run) and in a short space of time convince them that you are the best person for a certain role.  I can tell you not to stress, that it's actually not that big a deal and can be a lot of fun, but you're unlikely to believe me.  So I'll give some more practical advice.

1. Wear comfortable, neutral, clothing.  I personally prefer to present what I call "a blank slate" so that a director can see the potential.  You want them to see what you can be as opposed to what you are.

2. Don't try to learn the lines.  No one expects you to know them off by
heart ten minutes.  Focus more on character, voice and physical movements.

3. If asked to read again, in a different way, don't take it as a bad thing.
Obviously Jenny sees some potential in you, or it could simply be that she's looking to see if you can take direction.  So don't argue artistic integrity or any other such thing and just do it.

4. Don't read for just the one role.  Of course there's going to be one
character that you feel you absolutely must play, but don't limit yourself.
The more you read the more versatility you can show.

5. Don't be afraid of making a fool of yourself.  This is Children's
Theatre, you have to work pretty darn hard to make an idiot of yourself.  If you think the character you're auditioning for would run around, barking like a dog, then, by crikee, do it!

6. Bring water and avoid chocolate and caffeine.  You want your voice to be at it's absolute best.

7. Have fun.  Seriously. You'd be amazed at the difference between those
auditioning who are enjoying themselves and those that clearly are not.

Melissa Merchant

(Practice for Auditions sees a read through of last year's script)

As you start to improve your reflection, try reviewing other performances to see ideas for growth. Reviewing a play, or even just an in-class improvisation could help you identify what is missing from your own process. As you review others performances for your journal, you could start by asking..

Andrew Kocsis

(Fantastic new interpretations of old Snottygobble charters)

As our group worked, I  felt my character, Caballus, building well and enjoyed the interaction between our group members…. We bounced off each other well and in the short time we worked together took each other on a real journey. When it came time to perform our piece I realised I was facing Darren- who had played Caballus in the recent production and decided it was make or break. Would I add new things to his character? Could a female pull off being a nasty male character? On reflection our performance worked well, Jenny said less about our group than others, except to say it was a well rounded performance. Is this a good sign? I guess only time will tell whether she is “lighter on” when she feels the actors are comfortable with their performance. Darren said nothing so…….we’ll see. For my 2c worth I have to say “I just love being evil, ahhhhahhhh”. I loved seeing another groups interpretation of the same piece, the other Caballus emphasised bits I didn’t, as did all characters. Jenny did comment how interesting it was to see the different interpretations and I have to agree. She jokingly said “lets put Snottygobbles on again”. Although the plot would remain would our new interpretations of characters lend a new air to the outcome?

 Rebekah Ozanne

(Rebekah pictured above, being evil... very, very evil!)

Week Four: Auditions

(Audition time once again!)

(With little rehearsal time provided, audition pieces were superb)

Starting to write in a journal can be so difficult. Writers block, or simply a lack of things to say could stop you from writing or even starting an entry. Try these starters as a means to develop your ideas...

Andrew Kocsis

(A provisional list of the characters that are set to appear in this year's production)

Here are the words for one of Darren's great tongue twisters, good luck...

What a to-do to die today at a minute or two to two

A thing distinctly hard to say but a harder thing to do

For they'll beat a tattoo at two to two

a rat-ta-ta, tat-ta-ta, tat-ta-ta, too

And the dragon will come when he hears the drum

At a minute or two to two today, at a minute or two to two

(The audition process is a great event to reflect on in your journals)

The Return of the Snow Queen

 Written and Directed by Jenny de Reuck

Designed by Lindsay Lloyd

 Synopsis

 It is many years since Gerda rescued Kai from the clutches of the Snow Queen but she has neither forgotten nor forgiven the children for defeating her dreadful plan for global domination. In an effort to regain her power she has teamed up with the evil Hobgoblin to mend the magic mirror so that once again it will reflect nothing but nastiness. They need only one final fragment for their plan to succeed and they know in whose heart it lies hidden …

 This moral fable picks up the story where the Hans Christian Anderson fairy tale left off, bringing together the creatures of the Arctic and Antarctic in a quest that ranges across the globe. As the Snow Queen’s icy grip extends north, south, east and west to Australia and beyond, it is up to Dingo and his friends to rally the creatures of the earth to prevent her from achieving her wicked goal.  Join the animals of Australia and the North and South Pole as they embark on an adventure that pits Good against Evil in a final battle for control of the earth and all its inhabitants.

 This production is aimed at children in the primary school and will appeal particularly to Years 3 – 6. Once again, Murdoch is offering a dramatic spectacle in Nexus Theatre, with a magnificent set, moving lights, lavish costumes, original music and a script that blends physical theatre with an appealing story-line.  As with all our productions, we seek not merely to entertain, but to educate as well, in the true spirit of Theatre in Education.

(Who's this handsome student???)

The following is a small excerpt from Rebekah's journal after viewing auditions...

... who do I think should play roles….

v    well I would love to play the Snow queen but I am not alone in that desire and Sam would certainly do a great job however she’d also do a great feline of some description--- am I typecasting her because of her current role in CATS??

v    Natalie looked great as Thylacine.

v    Andrew a cute and playful but intense Dingo.

v    Emmett was the bomb for Reynard Le Fox!

v    For Jenny to suggest to me to read for Felicity I was stunned…. I wouldn’t have considered reading that part for a moment…but it left me wiv a bizarre kind of accent all day it did…. I wanted to sidle up to people and ask ‘em “wassup then Guv?”…kind of like a criminal from The Bill meets the Emo style forensic scientist from NCIS. That’s what I pictured anyway…a Gothic Cat…a bit of lip… a bit of attitude…. Deep breathe and become me again…….. God knows if I’ll get the role.

v    Reading for Miss Severity was a bit of fun too- I see a cane under my arm and a Pith Helmet…rather “What-ho” not that I read it like that…but it could work with that sort of interpretation.

v    Jenna makes a great Faeirie or bush animal……so do some of the other girls. I’m not the faerie sort! Beyond the innocence stage I think. But who knows…yet again.

Rebekah Ozanne

(Great progress to report on the charcoaling of the backdrops)

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This page last updated: 7th April 2007