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Hello everyone!
The run tonight was great! The energy was like never before. At last in the Tavern scene it really looks like a Tavern (Oh my god I just realized it's a little bit like the tavern scene in Pirates of the Carribean: Dead Man's Chest!!! Except, obviously, that you don't all get into a brawl, and you're gypsy's, not pirates...). But there are still lots of things dance/movement-wise that could be done SO much better and which would make it perfect. And here they are...
1st Scene
-Remember the movements you're doing here. I've gone over them SOO many times, and they're not in the least complicated. They're the tiniest of movements so if you don't do them with gumption they get lost.
Here they are in case you're unsure
--Move from starting positions to stage R archway
--Salute Colin B as he walks in
--go back to loitering around archway
--While ColinB sings 'ever coming ever going strolling here strolling there'-you watch Lucy and Yasmin walk to the middle of the stage (you can point at them and attempt to attract their attention if you like)
--As you sing the same line watch them move to the R
--'Look at the people in this square'-look to the left (to the people in the square)
--'Look at the people in this square'-sing to each other, conversationally
--'Look at the crowd...'-look to the audience
--move across to your positions for when Micaela comes on
ONLY SMOKE
-It was great. Just the right amount of sensuousness. Any more would be too much. Contrary to Emma Fraser's claims I am not asking you to masturbate on stage.
HABANERA
-The Carmen/dancers/Frasquita/Mercedes dance was almost perfect! The leg slide at the start looked way cool. Now that you've all achieved doing it at the same time you can strive to make it a really good deep leg slide. (I'm talking about the very first thing you do btw, on the word 'love'. Not when you slide away from Amy at the end.
-My notes now say 'Laura Bauld is great'. I don't know why that was specifically, but I feel it aught to be noted.
-Dancer section-Got a bit messed up. I think partly because of lack of space. We shall go over it more!
-Remember everyone, that we decided you were bringing your hands down from your hips after the hip sways on the word 'there'
GIPSY AIR (Did I totally imagine a world where gypsy had 2 y's in it? According to my score I did)
-Amy and Kirsty-You're starting your clapping one clap later than would be my ideal. I believe your first clap should be a beat and a half after you hit the table.
-I'm pretty sure that in the past we've just moved the front two tables out of the way for the dance, leaving the back three where they are. They all got cleared away during GA tonight. Which was very tidy and civic minded of you all, but unecessary I think. I hope there'll be enough room on the stage for the dance AND the tables. Plus it means everyone doesn't end up in a crowd at the back. Your moving into the dance can be more fluid if you can all slowly get up and wander into the middle from the tables.
-The background acting while you were watching the dancers dancing, before you join in could be better. Try not to just be a line of people. You looked a little bit like you were all just waiting to move in to dance, which is ironic given my next note...
-Loads of people were late getting into position for the main dancing section!! Ba! Some of you missed the start of the dancing. Everyone wasn't dancing until, like, the third step. You know what that makes you?...Step.Three.People. And I think you know what I want you to be. Frasquita and Mercedes sing 'tralalalalalalalaaaaa'. Their final 'laa' is when you should move into position (if not before). That 'laa' is where, when we first rehearsed this I would say 123,223,323,423,stand. That is what you should be saying in your head as you move into position. There should be a hubbub of you all moving in to dance on the 123,223,323,423. Then everything should become still, with everyone facing their partner, for the next 6 beats. And then you're into the 123-flamenco hands etc. bit.
-Remember the new bit before the first circles. Face your partner. Hold their R hand. Take three steps outwards (aka towards the wings), then 3 steps back.
-123floor56!!!!!!!!!!!!!!!!!!!!!!!!! You have 6 beats before this to circle your partner. Try to get the circling over with before the 56 of that 6 so that you are ready and facing the front in time for 123floor56. I think the people not hitting the floor on 4 may be getting all tangled up in their partners.
TOREADOR
-Awesome. This may have become my favourite 'number'. Background acting was wonderful in every way. -I've never been so excited about a hat and the way Merty and McMeeks felt about it before in my life. Even the way the group who comes and stands around Escamillo moves into him is wonderful. And the little marches while you're listening to him are tremendously gay and I like it!
-David-When you twirl McMeeks around you do it at exactly the same time as the dancers do it. You did it perfectly on Sunday, but less so tonight.
-Remember you do the stamps in order to move into the V, so you're not in the V before you start them. When you move into the middle on 'Toreador on guard now, Toreador, Toreador' spread out onto the stage. Then you move in towards each other, into the V shape, when you start stamping on 'mind well...'
-The movements in the V are sloppy. If you are having trouble with the side steps come and ask me about them. But basically we just need to spend some time tightening it up.
Right. I'm done. Practice things! It was very good tonight, but we are perfectionists so let us make it perfect.
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One by one the penguins steal my sanity.
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