BWW Blog: Naomi Melvin - Somebody's Eyes: Product-Centric Projects

Introducing our production of Footloose to you involved some mental math. As a refresher, the show was announced in January, auditions were held in April and rehearsals will soon start at the end of June. That's six months of project checkpoints, with the last stages of our Randolph training being a steady source of continuity. Perhaps distinct from other systems with an imminent end, our training is amping up as opposed to wrapping up. How so? I offer three ways: Integration Assignments, MTP SS and Panels.

These three elements of the curriculum are capstones for the graduating class (us!). Okay, so big capital letters and austere sounding titles...let me break this down for you.

Integration Assignments are final performances within the dance department. And through your correct deductive reasoning, yes they are designed to integrate dance with acting and vocals. Three distinct pieces are created using Ballet, Jazz and Tap as forms to explore theme, arc and character. The challenge of the project lies in performing all three disciplines well and using them strategically. For example, we've had to consider what kind of choreography supports our vocals. We've also looked at how a particular combination of steps enhances story or creates interesting opposition.

MTP SS...what on earth? I present to you Musical Theatre Presentation and Scene Study combined, where we explore a scene from a musical. Here, our grasp on scene work and musicianship helps pinpoint the necessary transition from spoken dialogue into song. Fully cultivated scenes require advanced text analysis, specificity and compelling storytelling. In this studio class, I recently realized that I had to stop "singing" - that I had the notes, but needed to pull more from the words and go back to the story - a simple notion yet ever so important! Others have improved on their ability to keep the stakes high when launching into song. The fabulous Thom Allison is at the helm of this class and has challenged us to deeply question our choices and leave no detail aside. As he says, "even casual is not casual in theatre".

So, there is a trend. Our culminating work involves the crossover of performative disciplines which is the perfect segue into Footloose. But first, Panels.

Panels is an audition-style day where we individually perform selected work to an audience of industry professionals. You can't even call it a simulation, because the panel is unfamiliar to us (in that we have likely never met) and feedback is given without knowledge of our growth thus far as artists. But it's very exciting because we get to show what we do best. Part of the preparation for Panels involves selecting appropriate material, specifically two songs and two monologues. And as I watch my peers rehearse material that's so well suited for them, I consider the unique approaches to finding pieces that hit those marks. Sure, it takes a certain level of self-awareness, an element of risk and time spent trying various pieces on for size; it also takes practice.

I reached out to the class and asked, "what is your current approach to choosing material?" Because this process has certainly evolved from our first day of Randolph. Here are some ideas that were shared with me:

"When I first started here I basically wanted to sing the "popular" songs. Now, when something catches my ear I think about what I was drawn to and why I connect with it. Also, every once in a while I sing a song that I don't really like because it makes me work twice as hard." - Erica

"I chose my primary song because it demonstrated my range in a variety of ways. I get the opportunity to play with different vocal colouring (mixed belt, chest, legit soprano). On top of that is an acting challenge as I get to cycle through a bunch of points of view on what is happening, resulting in different emotions. My monologue is fun because it's a Russian modern piece that is borderline absurdist - something I've never had the opportunity to use, but because it contrasts so well with the song, it's perfect in the context of panels." - Marley

"Anytime I pick material for anything I always make sure it tells a story I need to tell. This automatically makes me forget about the singing part of it and instead it allows me to get lost and live in the heart and spirit of the song." - Hannah

"The first thing I consider is if I like the material and if the piece likes me back." - Nicole

I'll add two points. First, I used to pick monologues that I thought were the "smart" choice. To me this meant interesting wordplay or how a character so evidently popped out. Now, I look for pieces that illustrate a clear fight because then I know I can play actively. The character then naturally follows suit and is so much more a version of myself. Second, I do a ton of research before I lock in a piece. I need the why that reaches far beyond the play. Then I go to work.

So, off we go to Panels with an arsenal of material that shows off such unique and talented artists. As you can tell by now, we are travelling full speed ahead!

Keep up with us as we soon start rehearsals for Randolph Academy's production of Footloose. There is much to come, including interviews with the creative team! Follow us on Twitter @RandolphAcademy #RAFootloose.

Randolph Academy's Footloose will run from July 28th to August 6th at the Randolph Theatre, Toronto, ON, Canada.

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