Musical Theatre Performance Gail Deal BTEC BTEC – Unit 14

Introduction Gail Deal is a senior moderator/ Examiner for OCR. She is head of The specification for Unit 14 Musical Theatre Performance can be found at the performing arts at Esher College, and following website address: began her career as a professional ice https://qualifications.pearson.com/content/dam/pdf/BTEC-Nationals/Performing- skater and dancer. She has an MA in Arts/2010/Specification/Unit_14_Musical_Theatre_Performance.pdf Literature and Culture, with BA (Hons) in Modern Languages and Arts. She This unit is worth 10 credits and takes 60 Guided Learning Hours to deliver. is a fellow of the Chartered Institute The scheme is based on 12 weeks with four hours a week of lessons and 12 hours’ of Educational Assessors and a fellow worth of weekend rehearsal. of the Royal Society of Arts. She is One teacher should take directorial control of the production. Staffing should interested in all forms of live and include teachers with expertise in acting, dancing and singing. A singing teacher recorded performance. with excellent piano skills would be the most important factor when considering putting on a musical theatre production. If such a person is not available you will have to rely on backing tracks when learning the songs for the show, which is not ideal. The specification asks for a live musical accompaniment for the performances. In some schools there will be an orchestra, but if this does not exist in your school or college, you will have to consider carefully how to provide live accompaniment on the piano for the songs. Introduction to the unit It is necessary to read the specification carefully before embarking on the delivery of the unit. Learners will be required to use skills in three art forms: acting, singing and dancing. A learner must take on a role or roles in a musical theatre production, research and interpret the role, rehearse and perform the role in the final performance. Roles can be tailored to suit learners. In the specification for the unit, it states on p.10: ‘It should be noted that working on an ensemble or chorus role is as valid and important as taking on a leading role.’ Explain the Learning Outcomes to the class and show them where they can find the unit specification. Explain how the assignments will cover the learning outcomes. Assignment One will cover LO1 and Assignment Two will cover LOs 2, 3 and 4. The Learning Outcomes as stated in the specification on p. 1 are: 1. Understand a role or roles in a musical theatre work ff Interpretation ff Form and structure. 2. Be able to supply the appropriate performance skills ff Selection and practice ff Memorisation. 3. Be able to rehearse for a role in a musical ff Rehearsal technique ff Vocal requirements ff Movement requirements ff Acting requirements. 4. Be able to perform in a musical ff Physical and vocal expression ff Communication ff Integration. Each of the bullet points above will be discussed in the log books written on a regular basis by the learners. On p.2 of the specification, the above bullet points are broken down and more informative detail is given about each one. These should be referred to throughout the delivery of the unit. It would be a good idea to put these on the wall of the classroom while learners are working through the unit and to make them clear in the assignment briefs. Learners should address them in the log books while evaluating their own progress when working on their role. www.teaching-drama.co.uk Teaching Drama · Spring term 2 · 2015/16 1 Scheme of work|BTEC On p. 3 of the specification, there are theassessment and grading criteria for the three grades of Pass (P), Merit (M) and Distinction (D). These must be made clear to the learners and be written into the Assignment Briefs. The Assignment Briefs should indicate which assessment and grading criteria are being covered by each task. The assessment and grading criteria are as follows: P1 Discuss an interpretation and realization of a role or roles [IE] see below M1 Explain an interpretation and realization of a role or roles D1 Analyse an interpretation and realization of a role or roles P2 Use the appropriate skills and techniques with support and guidance [RL] M2 Use the appropriate skills and techniques with minimal support and guidance D2 Use the appropriate skills and techniques autonomously P3 Contribute to the rehearsal process maintaining a suitable level of rehearsal discipline [TW] M3 Make valuable contributions to the rehearsal process maintaining a high level of rehearsal discipline D3 Contribute significantly to the rehearsal process maintaining a consistently high level of rehearsal discipline P4 Use performing skills competently to create a performance that communicates an interpretation to an audience [SM] M4 Use performing skills effectively to create a performance that communicates a considered interpretation to an audience D4 Use performing skills confidently to create a performance that communicates a detailed and imaginative interpretation to an audience PLTS – Personal, Learning and Thinking Skills On p. 3, the PLTS are listed and explained. For this unit, the following can be covered: IE – independent enquirer (P1) RL – reflective learner (P2) TW – team workers (P3) SM – self-managers (P4) Visit the following website for the documentation needed for writing the assignment brief: http://qualifications.pearson.com/en/support/Services/myBTEC.html You must clearly indicate how each of the assessment and grading criteria can be achieved in the assignment. The Lead Verifier (LV) should have up to date accreditation through OSCA.The assignment brief must be verified before it is given to the learners. The LV can sign the paperwork. Remember to book the theatre space for the performances and rehearsals. This should be done as soon as possible. Do at least two performances so that learners can evaluate both and make improvements after the first one. Filming work and log books Throughout the process, remember to film the learners working from first read through, through rehearsals, dress rehearsal and final performances. They should evaluate milestone rehearsals, e.g. the first rehearsal off script, the first run through and the dress rehearsal. It is a good idea to design templates to use in the log books which cover the skills they are working on (acting, dance, vocal). These can be used to show how they have improved their skills over time and they should accompany the films. Store the films in a folder on the computer and make DVD copies as backup/use a hard drive to back up the work. Teachers should complete observation records at various points throughout the process as shown below. Here is an outline for the delivery of the unit:

Week 1 What is musical theatre? ff The teacher gives an introduction to the genre and asks learners to mind map features of musical theatre. www.teaching-drama.co.uk Teaching Drama · Spring term 2 · 2015/16 2 Scheme of work|BTEC ff If you have three teachers, one for each art form, then each teacher can give a potted history of musical theatre from the point of view of their area of expertise. For example, the dance teacher looks at the impact of important choreographers on the genre, e.g. Fred Astaire, Agnes de Mille, Bob Fosse and Jerome Robbins. ff A bibliography should be given to the learners so they can use books as well as websites to carry out research. ff Learners could find out about the early days of musical theatre and its roots in operetta, vaudeville and burlesque. ff Clips could be shown from musicals of the Golden Age of musicals (1927–1957), starting with Showboat and ending with West Side Story. ff Developments in musical theatre over the last 60 years could be demonstrated by looking at some of the key composers, lyricists, choreographers and directors plus some of the well-known performers. ff Theatre trips to see musicals currently showing is another excellent way for learners to experience a show first hand and appreciate the performance style required. This will be more powerful and helpful than watching clips on the internet. ff Learners should be given access to the specification, usually through the school/college portal. ff Deadlines must be set for assignments and communicated formally to the learners. ff Rehearsal schedule and performance dates must be shared with all involved in the show. There should be an initial meeting with all present and the schedule should be handed to everyone in hard copy form along with the script/book of the musical. ff Casting should take place using the audition process. ff Once cast, contracts should be explained to the learners and these should be signed, dated and placed in the learners’ folders. The contract should include dates and times of performances and rehearsals as well as a code of professional practice. This can be presented as a series of bullet points. ff Log books – notes on how the audition went.

Week 2 ff Allocate the roles to the learners. ff Read through of the script with the songs played by the music teacher or listened to on CD. ff Watch at least one DVD performance of the musical/s. ff Log books – initial thoughts on the musical and the role. ff Give out Assignments One and Two. Explain the assignments and answer any questions from the learners. Assignment One should cover P1, M1 and D1 as it is largely carried out by the learner and is research-based. Assignment Two covers the rest of the assessment and grading criteria. ff Once the teacher has written the assignment briefs, these can be checked by Edexcel.

Weeks 3, 4, 5 and 6 ff Working on the solo and duet songs, the main characters’ choreography, learning the lines, learning some of the choral work. ff Filling in log books after each lesson/rehearsal using the breakdown of the learning outcomes as stated in the specification on p. 2. ff Teachers complete Observation Record One – learner’s approach to learning the repertoire/reliability at rehearsals/professional attitude/working with the director and other staff and learners.

Weeks 7 and 8 ff Ensemble numbers: music teacher leads the singing in music lessons while the dance teacher teaches the choreography and the drama teacher can add acting skills, e.g. use of facial expression and gesture. Sometimes the dance teacher will cover appropriate acting skills used in dance numbers.

www.teaching-drama.co.uk Teaching Drama · Spring term 2 · 2015/16 3 Scheme of work|BTEC ff The dance teacher will need a CD of the music exactly as it is used in the performance in order to do the choreographer’s role successfully. ff If there is a student who can play the piano in rehearsal for the large ensemble numbers, this will help the music teacher who can then take more of a musical director’s role. ff Teachers complete Observation Record Two – learner’s approach to working with others in the ensemble; skills in acting, dancing and singing ff Log books – evaluation of skills progress.

Week 9 ff The first run-throughs in the theatre space and costume fittings take place. ff Director’s notes – learners respond to feedback and keep written record in log books ff Teachers complete Observation Record Three – learner’s performance skills in solos, duets, ensemble ff Weekend rehearsals.

Week 10 ff Trying out costumes, hair and make-up ff Working with set, props, lighting, sound, e.g. microphones ff Weekend rehearsals ff Log books – notes on adjustments made to performance and interpretation of role.

Week 11 ff Technical rehearsal/Dress rehearsal ff Director’s notes – learners respond to feedback in log books ff Teachers complete Observation Record Four – learner’s performance skills/ interpretation of role/stage business.

Week 12 ff Performances – Evaluation: 1) as a class through discussion; 2) individual response in log book ff Teachers complete Observation Record Five – learners’ final performances: performance skills/interpretative skills/working with others in the ensemble numbers.

Extra considerations

You will need to choose a show that is suitable for your learners and then seek the rights to perform the show and this can involve you paying for the rights. The best place to start is perhaps: www.samuelfrench-london.co.uk or www.dresscircle.co.uk Once you have chosen the musical/songs from shows and completed the auditions, you then have to consider who is going to take on not only the roles on stage, but also the other important roles which help to make the show happen. The roles in the production You will need to think about who can fulfil the following roles: ff Stage Director ff Musical Director ff Choreographer ff Stage Manager ff Set, lighting, sound, costume, make-up and hairstyles – you will need designers and a technical crew ff Conductor, orchestrator, orchestra, band, backing tracks ff Press, publicity and box office. www.teaching-drama.co.uk Teaching Drama · Spring term 2 · 2015/16 4 Scheme of work|BTEC Choosing a suitable show The choice of material for a musical theatre show is dependent on several factors: ff Number of learners in the class ff Opportunities for performance ff Learners’ skills ff Performance style of the production ff The Director’s concept. It is preferable to select one full-scale production such as The Sound of Music, or Oliver! but this is not always possible. Instead of one show, centres can choose to put on a production entitled for example Songs from the Shows, or similar. Learners can also develop a role taken from selected scenes of a musical. It does not stipulate in the specification that the production has to have a theme but it might help to have one. The teacher needs to ensure that the learning outcomes are covered and that it is possible for the learner to access the full range of grades. Carry out a skills audit of each learner in the first lesson. It is possible that learners have already done this for another unit but if this unit is delivered in the second year of the course, then the skills audit might need updating. In this unit learners should be trying to improve skills in the three areas of acting, dancing and singing. Learners may well have done Unit 30: Singing for actors and dancers which will put them in good stead for Unit 14. Some centres will have completed Unit 7 Performance to an Audience in the first year of the course and might have an idea of how their learners perform in a professional show. Consider carefully where this unit will come in your overall scheme of work so that you can effectively assess the learners’ skills before you start. In the unit specification, there is an outline learning plan on p. 5 with suggestions for assignment briefs. Each learner is assigned a role which they research and analyse. Read through the script and sing/listen to the CD of the show chosen. If you are doing songs from different shows, then look at different performances of these songs. It would be a good idea to show three songs from each show in order to show how the role develops. Learners should carry out research on the background to the musical and watch it on film. For example, if West Side Story has been chosen, then learners should first watch a DVD version of the 1961 film. (The DVD is readily available from online retailers.) Fact Files Learners should start by making a Fact File on the musical. Here is an example. Fact File on West Side Story – stage show 1957 and film 1961 ff Music composed by Leonard Bernstein ff Lyrics by ff Choreography by Jerome Robbins ff Book by Arthur Laurents ff Stage show directed by Jerome Robbins ff Produced by Robert E. Griffith and Harold Prince ff Film directed by Jerome Robbins and Robert Wise ff Main themes and issues: the rivalry between the Jets and the Sharks ff Brief summary of the plot: The Jets and Sharks meet on the streets of and fight over territory. Tony (a Jet) falls in love with Maria (sister of Bernardo, a Shark). Jets and Sharks fight and Bernardo and Tony die along with Riff, the leader of the Jets. The story was written as a modern day Romeo and Juliet. The cast can watch the film as part of their research into interpretation. There are many strong roles for males who sing and dance in this musical. The themes are as relevant today as they were in 1958. Key Productions: ff 1957 Broadway ff 1958 West End ff 1961 film ff 1980 Broadway revival ff 1997 UK tour and West End revival ff 2008 West End revival and UK tour ff 2009 Broadway revival and US tour ff 2013/2015 UK Tour. www.teaching-drama.co.uk Teaching Drama · Spring term 2 · 2015/16 5 Scheme of work|BTEC List of songs (this should point out the large-scale ensemble numbers, solos by the male leads and the female leads, duets, trios, etc.) ff Prologue ff Jet Song ff Something’s Coming ff Maria ff America ff Cool ff One Hand, One Heart ff Tonight ff I Feel Pretty ff Somewhere ff Procession and Nightmare ff Gee, Officer Krupke ff A Boy Like That/I Have a Love ff Finale. For each song, an analysis of its function is useful to help work on interpretation and role. In other words is it: ff Setting the scene in time and location ff Creating mood and atmosphere ff Giving exposition of character/relationships ff Advancing the plot ff Stating the theme or main idea ff Adding humour ff Creating a spectacle ff Purely entertaining the audience? A consideration of these functions can also help with characterisation and vocal direction. Is the singer delivering the vocals straight to the audience or to another character on stage? In the film, there are eight dance numbers which could be used. Many are ensemble numbers showing either both the Jets and Sharks together, e.g. the Prologue and the Dance at the Gym or as single gangs, e.g. America (the Sharks) or Cool (the Jets). This website is useful for finding the lyrics for each of the songs: http://www.westsidestory.com/site/level2/lyrics/lyrics.html This site has the lyrics to both the stage and movie versions of West Side Story. Sheet music for the musical including the full score is available at www.sheetmusicplus.com. Method for learning a song If you are lucky, you will have a pianist who can accompany the singers and help them learn the song by standing at the piano and rehearsing the song in sections. This is the most efficient method. The pianist/music teacher can work with the singer and give them confidence in knowing the words, singing the notes accurately and finding the character. The learner will carry out their own research into the role and should be advised to watch a selection of performances as interpretation can vary. For example, Sheridan Smith is currently playing Fanny Brice in Funny Girl and brings out the comedy in the character as well as delivering the songs successfully. She plays the role differently from Barbra Streisand who starred in both the stage version and the film. Her delivery of ‘Don’t Rain on My Parade’ is iconic and she covers a huge journey in the film encompassing train station, train, boat, etc., whereas in the stage version at the Menier Chocolate Factory, Sheridan Smith has the tiniest of stages on which to sing the song. Nevertheless, her performance had a great impact on the audience who could see value in both renditions. Which musical? If you cannot mount a large-scale production, then you can opt for a ‘Songs from the Musicals’ idea. You could take Bob Fosse as the link between the shows and use excerpts from three shows for which he did the choreography. The principal characters are strong and you can choose songs to show development. The scripts can be used to set the context. The three shows below would work well together if put in the context of strong, independent women trying to get what they want. There are other more recent shows which could work together such as Rent, Wicked, Legally Blonde and Matilda.

www.teaching-drama.co.uk Teaching Drama · Spring term 2 · 2015/16 6 Scheme of work|BTEC Cabaret (1966) Lyrics – Music – John Kander Book – Joe Masteroff, based on Christopher Isherwood’s Berlin Stories and John van Druten’s play I am a Camera Sally Bowles – An English girl Cliff Bradshaw – An American writer Herr Schulz – An elderly German greengrocer Fräulein Schneider – A landlady Fräulein Kost – A tenant Master of Ceremonies – A performer in a Berlin nightclub Ernst Ludwig – A sinister entrepreneur This show is set in Berlin in the 1930s and most of the songs take place in the Kit Kat Club. The historical period shows the Nazis gaining power and their policies are reflected in some of the songs. It is certainly worth watching the 1972 film directed by Bob Fosse. The choreography is excellent and if you were considering doing excerpts from various musicals, this one could be a good choice. For strong dancers, the Fosse style can be studied in this film and other works such asSweet Charity and Chicago.

Chicago (1975) Lyrics – Fred Ebb Music – John Kander Book – Fred Ebb and Bob Fosse Based on the play by Maurine Dallas Watkins The Principal characters are: Roxie Hart – A young woman Amos – Her husband Velma Kelly – A fellow prisoner Billy Flynn – A charismatic lawyer Mary Sunshine – A journalist Mama Morton – Wardress of the prison Set in 1920s Chicago, Roxie Hart has shot her lover Fred Casely and ended up in prison where she meets Velma Kelly. Billy Flynn, the lawyer, uses the media to get Roxie acquitted. Roxie and Velma become celebrities and team up as a double act. There are many excellent numbers in this show which is highly entertaining. Although it was first performed 40 years ago, some of the themes are still very relevant today, e.g. the increase in cases of domestic abuse. The choral numbers are excellent and there are many opportunities for the ensemble to work together.

Sweet Charity (1966) Lyrics –Dorothy Fields Music – Cy Coleman Book – Neil Simon, based on the filmNights of Cabiria (directed by Federico Fellini, Tullio Pinelli and Ennio Flaiano) Choreography by Bob Fosse Film version 1969 starred Shirley MacLaine, John McMartin, Riccardo Montalban, and Sammy Davis Jr. The principal characters are: Charity Hope Valentine – the girl who wanted to be loved Oscar Lindquist – a man whom Charity befriends Charlie – Charity’s boyfriend at the beginning of the show Nickie and Helene – Charity’s friends Herman – owner of the Fandango Ballroom Vittorio Vidal – an Italian film star Set in in the 1960s, we follow the ups and downs of Charity’s love life from seeing her pushed in the lake in Central Park by a boyfriend who robs her purse, to spending a night in a closet at a film star’s house to meeting Oscar at a cultural group and then going to the Rhythm of Life Church which is later raided by the police. Charity, like Sally Bowles, works in the Fandango Ballroom as a hostess. Having proposed marriage, Oscar has second thoughts and Charity is left alone again but now has more self-confidence as is shown in ‘I’m a Brass Band’, another strong ensemble number.

www.teaching-drama.co.uk Teaching Drama · Spring term 2 · 2015/16 7 Scheme of work|BTEC Keep the learners’ skills and the demands of the specification in mind when choosing a show(s).

www.teaching-drama.co.uk Teaching Drama · Spring term 2 · 2015/16 8 Scheme of work|BTEC RESOURCES Bibliography Collins Guide to Musicals HarperCollins 2001 Rexton S. Bunnett Michael Patrick Kennedy John Muir ISBN 0 00 712268-3

Hollywood Musicals Year by Year Third Edition Applause Theatre and Cinema Books 2010 Stanley Green Revised and updated by Barry Monush ISBN 0 88188 610 6

Staging Musical Theatre Betterway Books 1996 Elaine A. Novak and Deborah Novak ISBN 1 55870 407 8

Musicals in Focus Rhinegold 2009 Paul Terry ISBN 978-1906178871

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