Session Summary:
Over the last few weeks, we’ve completed several full runs of the show. These rehearsals were essential for ironing out technical issues, building stamina, and most importantly, refining characterisation and performance across each number. Robyn’s main message throughout our classes, full runs and dress runs in the last week was that without using our proper technique and strength, we cannot use dynamics, performance and musicality in the correct way. The repeated runs allowed us to focus more on intention, consistency, and adapting under pressure and especially when adding costumes, props, and quick changes into the mix.
Personal Observation:
Spacing was one of the most challenging aspects throughout the dress run period. Much of our early rehearsal took place in studios that didn’t match the actual stage dimensions, which made it difficult to set reliable physical markers. That said, this is often the reality in the industry, so I took it as a valuable learning experience. It’s helped me improve my ability to visualise spacing and adapt quickly during transitions.
In terms of performance, we were given feedback about the lack of contrast between certain numbers. While I’ve invested a lot of time into the pieces I’ve written about in previous logs, I realised I hadn’t paid enough attention to the overall arc of the show or how my role shifts between ensemble and featured moments. As a result, I’ve been working harder to vary my energy and character between each piece.
Macy’s jazz number ~ took extra effort to clean and execute properly. It demanded very specific characterisation, which needed to be consistently clear and present. Emma gave us detailed feedback throughout this process and shared research materials to help us better understand the performance style. While I had initially focused on Eddie Redmayne’s performance as the Emcee (since the track is based on his version), I began revisiting Joel Grey’s work to pick up on the vaudevillian influences Redmayne adapted. By the end of the dress run period, Emma noted positive progress in my portrayal, which was encouraging.
Emma’s lyrical piece ~ felt more consistent for me. Although a few minor changes were made to improve the transitions, the choreography itself didn’t shift dramatically. Most of my work here was on internal timing, especially during entrances and exits, and refining spatial awareness. Once we moved to a larger studio that reflected stage dimensions, these elements improved significantly.
Robyn’s opening number presented a slightly different challenge. The movement requires sharpness and clarity, but the overall tone still has to feel natural and open. It was difficult at times to avoid showing my concentration, especially when trying to maintain projection while staying grounded and technically clean. Managing that balance became a major focus.
Costume changes initially added extra stress, particularly with multiple quick changes between numbers. I found the early runs overwhelming, but by the end of the process, I had a solid system and felt much more confident with timing and transitions. I didn’t experience any serious costume malfunctions, though some outfits affected my movement more than others.
In Money, for example, the oversized suit was heavy and obscured some of my physical lines. This meant I had to exaggerate certain movements to maintain the visual impact. The gloves also affected my grip, so I spent extra time rehearsing sections to adjust for that. For Emma’s lyrical number, the dress initially dragged and interfered with line clarity. After it was taken up slightly and modified with ribbons, it became much easier to move in. We also had side-stage dressers for fast changes, which helped streamline the process.
For Robyn’s number, the costume had tassels that highlighted arm movements. This wasn’t a problem technically, but it did mean I needed to be more conscious of how I moved to avoid creating unwanted emphasis. Being the first number of the show, it thankfully didn’t complicate any quick changes.
Research:
Vaudeville was a major form of variety entertainment in the United States from the 1880s to the 1930s, known for its mix of slapstick comedy, song-and-dance routines, and theatrical acts performed in quick succession. Performers were often caricatures, using physical exaggeration, heightened facial expressions, and stylised movement to connect with audiences.
Emma’s jazz piece takes clear influence from this era, particularly in its use of character-driven movement, gestural acting, and stylised humour. Drawing from performers like Joel Grey and Liza Minnelli was helpful for capturing that cheeky, vaudevillian charm. Watching interviews and stage footage of Grey showed how minimal but controlled movement can command attention. While my initial focus was on Eddie Redmayne’s more modern interpretation, I’ve since layered in more vaudeville-style elements like upright posture, fixed eyelines, and expressive hands to enrich the performance.
Strategies to Improve Vaudeville-Style Performance:
Practice micro-expressions in front of a mirror to enhance subtle comedy.
Train physical control and muscle isolation to emphasise gestural clarity.
Watch and observe early 20th-century silent film comedians (like Buster Keaton and Charlie Chaplin) for timing and rhythm.
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