Face front and the clutch

““Face front. Face the front. Cheat it out. We need to see your face. We got your back for most of that you have to face the audience. You don't need to look at him. I know it sounds weird but you don’t need to look at him when you speak to him.” Then theres “ I didn't hear any of that . Don't forget that there’s an audience if we don't hear that word the joke won’t make sense.. Say it into the microphone. Yes good but say it clearly into the microphone. Yes but face the front.  If this was on TV that would be perfect. Perfect.! But we are in a theatre so it’s got to be a lot bigger. Think of it as sharing the conversation with the person at the back of the room. GO! Face front, speak clearly, share it with the room, Into the microphone. Keep up the pace. It’s got to be quick or you’ll loose them.” 

I drive my car I every day. I get to a place and don't remember the journey. But remember learning to drive?. Speed limit. Lights. Parking. Indicate, no one in your blind spot. Starting on a hill. clutch. Oh my, the clutch!  I fired my first driving instructor for lack of patience. My foot shook on the accelerator for a year after I got my license. It takes time. They are doing their best. You have to be patient.

upstaging

My daughter said to me yesterday, there are so many activities out there, isn’t it strange that we choose do an activity like singing or dance or drama…. I guess it is but we are always going to do something. In another sense, why not. If you were a kid again what activity would you choose?

It secretly amazes me when we form a circle at the start of an Extraordinary Kids session and I look around the hall and see 35 kids who choose to come week after week. They must be getting something out of it. I’m always taken over by a tremendous sense of gratitude. I think “ this couldn’t happen without you and you and you….”  Its also a little bit like a snow ball the more kids the better the atmosphere. There seems to be a sort of critical mass to make the classes really great. I see that as around 12 - 16 kids. Thats why we cap the classes at 16. When we first started  if the classes were too small we would  sometimes combine them. 

In the drama skits i make sure the kids get an equal go.  But lately I have been putting kids in the background of scenes as extras. so they get to shine in a scene and be an extra in another. I have started, where ever i can to put every kid in the group into the scene. its a really fun challenge. we may have a busy office skit. easy have 12 busy workers that all at some stage say “hi boss”

If there’s a pirate scene put the whole group on the boat.  A monks retreat - have a bunch of meditators. Its amazing how bodies can create scenery. a human set! But its also so uplifting to see how willing kids are to be part of the set and how much they will volunteer great ideas. There are also such valuable stage craft lessons to be learned here. 

I said to this kid who as an office worker in the background chose to get herself electrocuted to stop up staging. I said “Sally your up staging “ she came further downstage and kept convulsing in the most distracting manner possible. “ Sally you’re upstaging still. she came even further forward until she was standing infont to the kid delivering the punchline still convulsing. at that point it struck me and i was doubled over laughing. and when i finally gathered myself i had to explain that upstaging means to draw unwanted attention to your self in a scene and it doesn't mean that you are standing too far upstage. 

I had assumed she knew what upstaging meant . Why should she automatically know that ? and isn't it reasonable that in an office you would get electrocuted? She was having fun. And as i asked in my last blog entry are ever really conscious  of what we learn….

Little kids fundamentals

By the time we are  adults we have  learned  by osmosis a sense of stage craft.  Most adults just have a sense that you need to include your audience. We just know that if you are delivering a small two handed dialogue to the audience that you turn out. You cheat it out so the audience catches what you are saying, they get your facial expressions etc. Its so funny working with kids especially the really little ones, they have absolutely no sense of what it means including and audience. I often find myself saying to kids “ that would have been perfect if we were making a film or an episode of a tv show bit this is different. My mantra seems to be “On stage you don’t always have to look at the person you are talking to.” The other thing little kids find really hard is delivering simple dialogue audibly. I forget that all of this stuff is so new to them. its just so new. Really hard to do. It takes an incredible amount of precision to make sure a sentence is clear to a room of people and to make sure you are facing in the right direction and to be able to have enthusiasm and energy and character on top of all that. its a really big ask! Its brings me back to the best way to teach is by letting them do. When i was at Uni I had a singing teacher who said the key is little and often. Once a term a 20 minute concert. I really think thats the best way to do it. Each kid will probably get ( I’m just talking about the little ones ) a couple of lines of dialogue. but that’s enough. Any more would be too much.