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Directing the Chorus It Takes More Than Lead Actors to Create a Successful Musical

Directing the Chorus It Takes More Than Lead Actors to Create a Successful Musical

The 2008 Thespian Festival production of , presented by Las Vegas (Nevada) Academy. Directing the chorus It takes more than lead actors to create a successful musical

BY JOE DEER Chorus work is a kind of apprentice- ship for larger roles and responsibili- ties within your productions in years to come. For some students, this may be the only way to participate onstage be- cause chorus work teaches the experience to students who can’t carry a principal role. Large-scale produc- tions build cohesiveness and team spir- it within your program. Finally, large cast shows tend to draw of friends and family members. As beneficial as large cast musicals are, they can also be a fearsome job for the director. Dealing with the of bodies, and connecting them inte- grally to the action of the story can be daunting. You’ve probably stood in a big and found yourself think- ing (if not actually saying), “Don’t just stand there. Do something!” Rather than building the excitement of the dramatic moment, the thirty students in your production can actually have the effect of draining energy and diluting focus. You can avoid this kind of prob- lem and create a rich experience for your students by following a few sim- ple steps that build ensemble, create textured life, train your students as active responders, and largely elimi- nate your staging dilemmas. The director of a musical must de- cide how to incorporate, engage, and take full advantage of the chorus. Al- though you share responsibility for re- hearsal with a musical director and choreographer, understanding how to exploit the dramatic force of the chorus gives the director of a musical the po- R. BRUHN tential to create dynamic theatre. Start by figuring out what they can do for the production.

PERFORMING in a large-scale musical can be one of Chorus functions The chorus of a musical specifical- the most enduring and powerful learning experi- ly populates your theatrical world. The many levels of society you want (or need) to represent can be played ences for any theatre student. For most, this means by the same actors in as many roles as your imagination will allow. Many mu- being in the chorus. This is fun for your everyone, sicals require the same players to por- tray opposing levels of a society. In , the chorus members portray and producing a big musical pays dividends to both the poorest cockney flower sell- ers and the most aristocratic members your theatre program in a variety of ways as well. of British society within minutes of

TEACHING THEATRE 5 freedom or to feel the full power of the Holy Spirit as delivered by night- PHOTOFEST club singer/evangelist Sweeney. As the different groups are infected with Reno’s enthusiasm in their own way, the is overwhelmed by the sheer vocal and kinetic energy of those moments. This chorus has given Reno and her Angels a sounding board, an obstacle to work against, and, finally, a support system to carry her message forward. The power of the chorus to rein- force dramatic moments is not limited to sharing joy. In one of the most mov- ing scenes in and ’s , the Georgia community of Marietta buries the mur- dered child, Mary Phagan, as her would-be boyfriend, Frankie Epps, is transformed from a grieving child to a revenge-seeking racist. The vocal and physical presence of the chorus con- ducting the funeral reinforces the effect Mary’s loss has on Frankie’s world and helps justify his anger. Here again the director has a chance to create particu- lar stories and vignettes within the overall action of the funeral: friends laying flowers on her casket, her moth- er collapsing from grief, a minister of- fering solace and words of comfort, and so forth. All of this serves as a non-verbal backdrop to Frankie’s trans- formation. The chorus pressures principal The 1972 production of . characters to take action, reflect on their action, or to consider new op- each other. In many shows the chorus have met dozens of people and have a tions. The chorus not only portrays is defined with a broad group identity: clear and specific sense of the world of different levels of society; they also cowboys, farmers, teenaged girls, sail- this musical. No one has spoken any pressure important characters to move ors, etc. Although some writers have dialogue and the focus of the musical in new directions or provide obstacles begun to define these characters by is still on the character, Clara, as she to those characters’ desires. In Steven assigning to them names, relationships, sings to her . But the surrounding Schwartz’s Pippin, the chorus encour- and detailed given circumstances, it’s action, carefully drawn vignettes, and ages Pippin to explore a range of ulti- usually the director’s job to particular- supporting stories unfold in ways that mately dissatisfying roads with his life ize the people onstage. create the world of this musical. until they finally apply their consider- The chorus tells the audience The chorus reinforces important able pressure on him to step into a about the world of the . Director dramatic and emotional moments. magic box that will burn him to death used the chorus in his The chorus can tell the audience what in one final blaze of glory. They so ef- 1993 BBC production of Porgy and to feel. Consider , where fectively marshal their show biz skills Bess to paint a vivid and intricately de- the chorus is made up of sailors, pas- that Pippin nearly commits suicide. Al- tailed portrait of rural southern black sengers, and Reno Sweeney’s chorus though their captain, the Leading Play- culture and the many jobs and relation- girls. The two largest choric moments, er, is a convincing advocate, he alone ships in the close-knit community of “Blow, Gabriel, Blow” and “Anything could not be nearly as successful with- Catfish Row. By the time the opening Goes,” employ the chorus to help the out the chorus as a lever to move Pip- lullaby “Summertime” is finished we principal characters celebrate their pin toward their goal. Pippin ultimately

6 TEACHING THEATRE rejects their choice, but only with great husband’s inauguration, but is the difficulty. And it is in reaction to the center of attention. The same could be Define the chorus as chorus’s powerful influence that he de- said for Harold Hill as he galvanizes an individuals within groups cides with equal urgency to go his entire Iowa town in “Trouble” from As we said earlier, the chorus is often own way and choose a humble life as The Man. At first resistant to his only generally defined in most musi- a family man. Without the chorus’ warning, the chorus members end up cals. The farmers and cowhands in pressure, he might never have been as his cheerleaders. There are few sig- Oklahoma! are an amorphous group of forced to make a choice. The chorus nificant moments that can’t be clarified men in boots until you give each of becomes the catalytic force for Pippin. through the use of the chorus as a them an identity. If you fail to decide The chorus can be storytellers. compositional tool. Much more than who these people are—specifically—it This self-consciously theatrical concep- simply creating pretty pictures, you’re will become the designer’s job tion of the chorus is certainly part of composing the stage to give focus to establish who lives in the world of Sweeney Todd, where they begin by where it is needed. your musical. Identifying each of these directly inviting the audience to “at- The chorus’ movements and pat- people, their relationships with each tend the tale of Sweeney Todd.” They terns can also visually express a other and the principal characters, their continue to move the story along and change in the attitudes of the society in occupations, social status, and the rules remind the audience that a story is be- your show. In the original production of their behavior will force you to begin ing told, forcing an awareness of the of , director Hal Prince showed imagining the world of the musical in theatricality of the event. While some the shifting allegiance of the German details. Out of this preparatory fantasy shows are written with this function in people as friends and neighbors at the comes vividly textured staging and op- mind, it can also be imposed on other wedding party for a mixed-religion portunities for the primary story to be musicals that use the chorus more tra- couple gradually moved from stage illuminated. ditionally. right, where the wedding couple Given circumstances. As with any The chorus can be . stood, to stage left, where the hand- character in a play or musical, we start Redefining the chorus in a more overt- some Nazi Ernst Ludwig sang a Nazi with the information the writers have ly theatrical role can have far-reaching anthem. The movement of the group given us. In the case of a musical this implications for your production, al- from one side to the other told the sto- includes not only the script and stage lowing them to move scenery in char- ry of Germany’s growing sympathy for directions, but also the lyrics and the acter or as “Poor Theatre” styled me- the Nazis. music the chorus sings and to. chanicals. As long as it makes sense to The chorus can create spectacle. What they sound like and to can you and your audience this can add an Whether through the fulsome use of give you a sense of the temperament excitement to your production and bodies in dance (as in the many chorus of their society, the group dynamics, may solve logistical problems, as well. dance sequences in ), in com- how they relate to the principal char- A recent production of used bination with props and (as in acters, and much more. Although you the chorus in exactly this fashion. They ), or in more pedestrian will want to specify each character, “float” Huck and Jim’s raft across the movement on a bare stage (as in the you must be sure that any choices you stage by pulling the heavy ropes at- one finale of Les Misérables), the chorus make agree with the information the tached to each corner of the platform. has the power to dazzle and stir the au- text gives you. Given the robust music The audience was thrilled to see the dience toward your intended goals. Mu- the gangsters in sing, it mechanics of the raft movement and sical theatre typically seeks powerful and would be confusing to make several of then to suspend their disbelief as they visual emotional impact. The chorus can them shy or evasive, even if it was in- watched the scene. help to get you there. Grand emotional teresting or even dramatically justifi- The chorus can create strong vi- and musical moments demand equally able. The music disagrees, so the sual impact and focus. The chorus is grand visual expression. choice has to be dismissed. But within often the largest single group onstage. These are the functions that the cho- that robust dynamic there is still an It is essential that you use them effec- rus can accomplish simultaneously. It enormous amount of latitude to make tively to tell the audience where to can deliver exposition, particularize the these men specific and individual They look. One of the most famous images world of the musical, offer spectacle even have names: The Greek, Scranton from a landmark musical is in Evita and emotional impact, and move the Slim, Brandy Bottle Bates, etc. Those where Eva is seen standing on the bal- scenery, all at the same time. As you names alone give you a starting place. cony of the Casa Rosada with an entire look at each chorus moment in your And those gangsters that cabinet of politicians in profile toward show, decide what they can do for your didn’t name can be drawn from your her and a mass of peasants on the production and then, as you stage the research into Damon Runyon or simply ground facing upstage to her. That scenes, be sure that you’re achieving from your imagination. A thumbnail physical composition tells us where to those goals. You can also tell the com- description and name for each charac- look and amplifies her importance to pany all of the ways they’re helping to ter will provide you with the fuel you Juan Peron’s political success. It’s her tell the story. and the chorus actor need to begin

TEACHING THEATRE 7 creating a character and a journey clothing and silhouette reinforced this Building a through the story. Create a brief biog- group identity. In this case, any actress Directors want the chorus to be fully raphy for each chorus member that in- who stood out as an individual would integrated in the production and the cludes: have weakened the effect. chorus certainly wants to be engaged • A name. Another lesson to be learned from as individuals. Part of your job is to • A few important relationships Zaks’s conception of the Hot Box make a cohesive company out of what within the group (include relationships Girls is that chorus characters often could be a number of parallel yet dis- with the principal characters)—best have tightly defined behaviors. Direc- connected groups. In most companies friend, girlfriend, parent/child, etc. tors can give the actors in these roles you have two or three distinct constitu- • An occupation—build a range of specific rules of vocal and physical encies: the principal actors and the work groups (boss, employee, favorite behavior as a way of unifying the chorus, which is sometimes divided customer) group and of defining them in rela- into singers and dancers. Early rehears- • One or two important given cir- tionship to the principal characters. A als for musicals typically require these cumstances that align with the script— rule of thumb is that the more non-real- different groups to spend a lot of time “You went bankrupt last year.” “You’re istic the style of playing, the more clear- apart before you can assemble the pro- to start your own farm.” ly defined these rules of behavior need duction. This is unavoidable, but what “You’re a show-off.” to be. These rules of behavior are huge- you want to prevent is the potentially • A superobjective—“You want ev- ly valuable in a show like My Fair Lady, fragmenting side effect of the group eryone to admire you.” “You want to be for example, as you teach the cockneys never becoming a company or a true the perfect son.” “You want to start a their physical and vocal rules, and then ensemble. Before you send the chorus family.” teach the same actors the rules for aris- off with the musical director or chore- The actor in a chorus role can take tocratic behavior. Now they have a ographer, you need to be sure that ev- these clues and run with them. This framework within which they can work. eryone has a parallel grasp of the information will become useful for you show you want to present, the style of as well when you begin creating be- Give the chorus a job playing, the important ideas, and any- havior and onstage life for your pro- Notice how each of the earlier exam- thing else that everyone must agree duction. Your own imagination and ples of chorus function described them on. How to do this? sense of your world will guide you to as doing things or playing actions. It would be easy for you to stand use people in consistent and interesting Cheerleading, resisting, prodding, lur- before your company and tell them ways. The actor, designers, and audi- ing, narrating, etc. If you can use this about your for the show. But ence all benefit from this preparation kind of language to think of your cho- participating in some activity that and imaginative work on your part. rus, you will automatically carry that brings a company together and allows Chorus members often need to into rehearsal and the group will intu- them to find their own passion is much switch identity from one role to the itively begin playing the actions, doing more absorbing and will succeed in next very quickly. The shorthand com- the jobs, and engaging in stage life. infecting a company with your passion munication you provide here will help Instead of asking the chorus to sim- more effectively. Try these activities. the actor achieve the transformation ply “do something,” give them some- Make teams. The groundbreaking more easily. thing to do. Whenever you give your director/choreographer Jerome Rob- Create rules of behavior. An im- ensemble direction, phrase it as an ac- bins was noted for the ways he created portant caveat in this discussion of tion. “Challenge Reno Sweeney,” “Bol- a company. In the original production chorus identity is that you might actu- ster Harold Hill,” “Cheer your candi- of , Robbins separated ally want to minimize the individual date,” “Tempt Pippin.” Nothing will the actors playing the two rival gangs identity of the chorus to create the ef- generate staging as quickly as giving from each other throughout . fect of a single shared personality. In different groups their own specific jobs The actors playing the Puerto Rican this case, the chorus (or some subset to do in a scene. The actors will in- Sharks received far less favorable treat- of it) is actually one character with stantly engage as the characters you’ve ment, to the point that real anger de- multiple bodies. Broadway director defined. Very often, different groups veloped over his abusive behavior. Jerry Zaks, in his witty production of within the chorus will be allied with Robbins believed that this fed the rela- Guys and Dolls, defined the Hot Box one or another principal character. By tionships onstage. Other productions Girls in just this way. They rarely ap- simply inviting these groups to take have insisted that the two gangs use peared unless clustered in a group. sides and support their champion or separate entrances to rehearsal, dress Their completely indiscernible dia- put down his opponent, you’ll begin in coded rehearsal wear, create signa- logue was more like the chatter of generating behavior. Suddenly you’ll ture handshakes, and literally compete chicks in the farmyard surrounding have more ad-libs than you can handle in rehearsal. In a bisected world like their mother hen, Adelaide, than hu- and you’ll need to tame the stage that of West Side Story, this kind of man speech. Careful sculpting of their movement. But what a great problem technique may be effective. But unlike behavior and the similarity of their to face. Robbins, you need to care for the emo-

8 TEACHING THEATRE tional wellbeing of your students. Re- world that your company may know activities will make the experience sist truly abusive behavior. nothing about. Inviting an expert in meaningful. That attitude will translate Make families and occupations. that world into your rehearsals with to the stage in ways that you can’t pre- Another Robbins method, born when some activities for the group can get dict. he directed , was to everyone invested, especially if the di- While the perception from the audi- divide the company up into families rector, choreographer, and musical di- ence may be that the story is only and give each actor an occupation and rector also become students for the about the principal characters, it is in relationships to other members of her workshop. Bring a local rabbi in to your very best interests to maintain a family and the rest of the town of An- teach the Sabbath ritual, or invite a po- strong sense of company unity and to atevka. The actors then went out to lice detective to “book” your gang continue treating everyone as equals research these occupations and wrote members. Be creative and have fun throughout the process. As director, a short biography of the character. Rob- learning with your students. you will naturally spend more time bins used these bios to help him create Create a warm-up ritual. Intellec- with central characters and away from business and behavior for the actors, tual and imaginative investigation can the chorus. But making a daily check- though the audience was never given be galvanizing. But other directors find in with your entire company and sus- any of that information. Even when that non-literal activity can have an taining the group activities will not they weren’t specifically asked to, the equally unifying effect. Some compa- only keep people happy, it will draw actors instinctively responded to each nies begin each rehearsal with a prayer the company together and result in other according to their biographies. or invocation to spiritual beliefs for fo- cohesive stage life. This is a hallmark Share the research. British direc- cus. Many artistic leaders choose to of excellent direction in the musical tor Trevor Nunn used his Nicholas draw a company together using physi- theatre. Nickleby company to research the cal activity. Whether through a dance By doing this imaginative home- world of Dickens’s London as a way of warm-up, yoga, or movement training work you’ll create a theatrical world forming an ensemble. Because every- like Viewpoints, these activities can that you and your student actors will one in that company was required to have the effect of unifying a group. look forward to visiting every night. play many roles, often with little time You can invite your group to help cre- for external transformation, creating a ate a warm-up ritual employing vocal Joe Deer is the co-author of Acting in true ensemble was essential. Nunn as- and physical exercises that support the Musical Theatre: A Comprehensive signed various teams within the com- work of the story. Your Jets can have Course (with Rocco Dal Vera). Their pany to research specific elements of their own, while the Sharks have theirs. articles on the same subject appear nineteenth century London culture. Each group will reinforce the dialect monthly in Dramatics magazine. Deer Each group was invited to present their work they’ve been practicing by doing is head of the musical theatre program findings in any way they liked. Nunn their vocals in the appropriate dialect. at Wright State University in Dayton, eventually incorporated many of the Or your actors can have a vocal/physi- Ohio, and a frequent presenter of work- insights and ideas into the production, cal ritual they do as cockneys first, then shops around the world. He was the and everyone participated in under- later as Ascot aristocrats. founding president of the Musical The- standing this world better. Tackle a big number. Sometimes, atre Educators Alliance, and is an Visit the world of the musical. simply tackling a piece of music or award-winning professional director Deeply investigating and truly under- staging that involves and challenges and choreographer. standing the foreign world of a musical the entire company can have a unify- or play can have profound and subtle ing effect. There is nothing like hard effects on a company. While rehearsing work to draw people together. the American University premiere of While the rehearsal process will in- Parade, the student actors used a long evitably force you to separate your holiday weekend to travel to Marietta, company, finding ways to return to the Georgia, where the actual events took group helps maintain cohesion. Start- place. Over those few days the compa- ing rehearsal with some essential busi- ny gathered information, visited historic ness like a vocal warm-up or staging sites, and even talked with people who review, a physical warm-up, or some were relatives of the characters in the full-company exercises (dialect, stage story. The result was a kind of invest- combat, etc.) can achieve this end. The ment and connection to the story that more related these activities are to the reverberated throughout the production world of your show and the unique in the nuances of behavior and specific- ideas and challenges of your produc- ity of character. tion, the better. Including the special Invite an expert. Musicals often abilities and challenges of your pro- involve understanding a part of the duction and tailoring these unifying

TEACHING THEATRE 9 Originally published in the quarterly journal Teaching Theatre. More info: Schooltheatre.org

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