Drama Tuesday - An afternoon matinee

Liz and I went to the St Mary’s Anglican Girls School production of Anastasia The Musical. There are Old Girl connections with the school for Liz at different levels: Liz was a scholarship girl at the school when it moved to the Karrinyup site; the director of the production is the daughter of Liz’s best friend from St Mary’s and has just moved to teach there and this is her first production. 

Effective production with pace and energy, advancing the narrative with good drive and efficient scene changes with two small revolves on stage. Strong singing performances Anastasia The Musical is not a well known production and I haven’t seen it produced before. The music by Flaherty and Ahrens, bubbles along pleasantly. 

This is only the second time I’ve been at the Lady Wardle Performing Arts Centre; the other time was for a BlackSwan production of Cosi. 

Two interesting lines of thought: the venue and the choice of production. 

School venues

There are now a significant number of schools in the Perth region with these large scale venues. This trend reflects commitment to performing arts and it is interesting to see the design approach.

This theatre seating 518 in three blocks that fan wide from the stage. The stage is wide and projects into the audience though is not a full thrust stage. As I sat in the audience, seating quite heavily raked above the action, I kept thinking about the challenges for directors There’s quite a distance to the wings from centre stage and the action is projected forward. There was a tendency for  actors to move downstage centre in every scene. The nicely presented stage images relied on a sense of symmetry. The Juliet balconies on either side provide opportunities. But the width of the stage presented a need for brisk exits and entrances to maintain the pace. 

The sound balance with the orchestra being amplified also presents challenges.

Production Choices for Schools

My other line of thought was about the choice of Anastasia. Not because it was new – we are always looking for fresh and interesting productions to challenge and excite our students. I was thinking about the issues of choosing plays for single gender schools, like St Mary’s. This production brought in four males students from other schools (one from Liz’s school). 

But during the first act, I noticed that the action resolved largely around four roles – one female, the role of Anastasia; the other three were male. There was a fleeting scene with the Dowager who figured strongly in Act 2. There were many other on stage chorus roles, plenty of colour and spectacle, yet the dramatic action was narrowly focused. The second act added developed the role of the Dowager and added another extended major female role. As a script, Anastasia is actually a star vehicle. This production relied very much on the strong male leads with relatively limited roles for female students. 

But this script is indicative of the dilemma faced by many teachers selecting productions. The balance of roles for students often doesn’t reflect the reality of enrolments.

Some single gender schools, resolve the issues by partnering with other single gender schools. Even in co-educational students, particularly where there are more female students than males, there are still issues about the balance of roles available. 

What is the best repertoire for single gender schools?

What is the best music theatre repertoire for single gender schools?

Or for schools in general?

This is particularly an issue in choosing plays that provide strong roles for female students. We all know how difficult it can be if you want to stage Shakespeare’s plays.

You could take the line (as one feisty drama teacher did) and simply cast from within the actors available in the school and have some students play cross gender roles. [Certainly, in my schooling in an all boys school in another century we did that and my first on stage role was as one of the “Sisters, Cousins and Aunts” in The Pirates of Penzance.] Earlier this year we saw the John Curtin College of the Arts production of Jesus Christ Superstar with female leads playing the role of Jesus. There is the argument for “blind casting” made. But the climate for arts education is supercharged and there are new challenges for all.

Quick snap of the theatre at the end of the production as the audience were filing out after applause.

Music Monday - What makes some music difficult to play or sing?

I am currently doing vocal coaching on a high school production of “Mary Poppins”. The cast are specialist music theatre students in a college of the arts and the orchestra are specialist music students at the same school. It is my first time working on this show and from the outset I was surprised at how difficult and complex the musical score is. The Sherman brothers have written many moments in the vocal ensemble in up to 6 -part harmony. Dissonance is used as an effect. There are sudden vocal modulations  - with no  helpful modulating chords from the orchestra. The score is musically dense – both vocally and orchestrally. Much of our preparation time has been spent working out which notes in a chord we could leave out without losing the harmonic effect and intention at that moment.

It is proving to be a challenging gig for all involved, so I was mildly frustrated recently when, after a particularly long session in the rehearsal room, a friend remarked, “Mary Poppins? That’s not difficult music!”

That casual remark set me thinking. Of course, we all know the tunes from the show – think “Feed The Birds”, “Supercalifragilisticexpialidocious”, “Chim Chim Cheree”, “Go Fly A Kite”. Those are all catchy tunes and we can hum them easily. In this case, it is the arrangements which make the music difficult.

Many years ago, I attended the state finals of the ABC’s Concerto and Vocal competition, held in the Basil Kirke Studio in the long defunct ABC studios on Adelaide Terrace in Perth. David Helfgott (of movie “Shine” fame) was one of the piano finalists. At that time, he was going through mental health challenges, but was nonetheless a virtuosic player, in a class all his own. He played  Rachmaninoff’s “Rhapsody On A Theme Of Paganini” with such power and speed that I wondered if he would cause the Steinway grand to move across the floor, such was his passion. Yet, when he reached the 18th variation (the famous, legato, melancholic one) his playing and interpretation was curiously detached. This variation is the easiest, technically, to play, but it demands that the pianist make the piano really sing. On that day it was just too difficult for him and his headspace. A different kind of musical difficulty.

And, by way of another example, in the world of singing, especially as it applies to young singers, some technically easy songs can have texts which are too sophisticated, or which deal with themes beyond the singer’s life experience and maturity. And then some other songs, with appropriate themes, can be annoyingly hard in terms of range or vocal intensity required.

There are many definitions of musical difficulty.

Getting back to Mary Poppins. The show is fun and appropriate for young singer actors, provided that they commit to many, many hours of intense dance and vocal calls. But easy? Definitely not!