Final Milestone SINGING assessment with Lena/Kim

For my singing assessment i have decided to do:

A duet with Abbie (Grease-Mooning) i chose to do this song because i know it very well and because Abbie and I have done it so much together we are comfortable with it and comfortable with eachother.

A solo (Les Miserables-On my own) i chose to do this song because i love the musical and i've watched it many times and it's one of my favourite songs from it and i feel i can characterize it well. However, i am not very confident with the high notes at the end on 'pretending' and 'that i have never known' but i have been working on it and thinking of other ways i can perform the song without going out of my comfortable vocal range.
-I felt that this went not performed to the best of my ability because my voice was shakey and i failed to hit some of the higher notes, however i feel my characterization kept up throughout, i created a very emotional feel to the song, because the song is about a girl who loves a boy but he does not know it, the song describes how when he is not with her he imagines them together in her mind but when he is with her he has no idea about her feelings towards him and she feels that without her his world would keep on turning and her absence would not affect him. She longs for him to notice her in the way she wants to be noticed, not just as a friend but as more than that, when she is in her dream world imagining them together everything becomes brighter and everything gets better but when she realises she is just dreaming everything returns to its normal state. I felt i showed this through my facial expressions, body language and movement. When she is talking about her dream world of them being together and everything being brighter i was smiling and looking around me appreciating the 'perfect world' etc but when it changed on the words 'and i know it's only in my mind' i change my facial expression to blank and as if i've been shaken out of a dream.
For this i had natural lights and staggered staging (like everyone else) because we did not have enough time to do the lighting and staging that we wanted because we were rushed and there was no time for us and it was left really late so it was very STRESSFUL, but if it were done differently and more professionally then i would of liked to have a spotlight on me and soft blue gels, i would of had a flat line of stage blocks and one higher block behind.

A solo (Les Miserables-A castle on a cloud) i chose to do this song, again, because i love the musical and i've watched it many times. I chose to do this song specifically because i really like the background behind it and the fact that it's like a dream to Cosette.
-I feel that this went quite well however i feel that it was too short, i characterized it well though i thought because the song is about a child who dreams of a better place than the place she is stuck in at the moment, the child in the song is being treated like a slave and not like a little girl, she talks very highly of this place and how kind everyone is there and how great it is. I felt i characterized it well because i started off sitting cross-legged (like a little child would) and looking up dreamily and singing softly as if whispering so that the people who have enslaved her do not hear of this place.
Again for this i had natural lights and staggered staging but if it was done differently i would of had a spotlight on me sitting on the floor and yellow/gold gels, i would not of had any stage blocks. I would of been dressed up in ragged clothing and messy hair with a prop being a broom.

WE WILL ROCK YOU - radio gaga rehearsal

PRODUCTION ROLES - KIM UPGRADE= HIGHLIGHTED YELLOW

 

 

 

Research for costume designing

 

A costume designer is a person who designs costumes to be used on stage or in film. They are very important in the production roles team. The costume designer works alongside the director, scenic, lighting designer, sound designer, and other creative personnel. The costume designer may also collaborate with hair stylist, wig master, or makeup artist.

Costume designers firstly read the script so they get to know the play inside and out, and get to know the person and the character they are designing for inside and out. They take all the measurements needed, and they aim to enhance the play through visual design of garments and accessories. They may enhance the body or distort the actors body to create the character. The designer must ensure that the actor can move freely as the role requires and that they are comfortable. The garments must be made to be worn multiple times so the designer must make them out of durable and washable fabric so the costume will not need to constantly be mended. The costume designer must speak not only with the director but also set and lighting designers so that they are sure that their designs work together perfectly, because for example if the costume designer makes the garment out of a certain fabric without letting the lighting designer know, a certain light may make the garment see-through or wash the colour out or make the audience unable to see certain details on the clothing.
The designer must be artistic and have knowledge on draping, drafting, textiles, fashion history and pattern development. For example if the show needed a 1960's outfit and the designer had no knowledge of fashion history the role wouldn't be right for that person.

Responsibilities
A costume designer creates the look of a character in film, television or in a stage production and in a play. Their main duties are...
1. Read and analyze the script.
2. Work closely with the director and other designers (set designer, lighting designer, make-up artist) on the production team to develop design concepts.
3. Do research to flesh out design concepts. (for example, geographical setting, time period, characters and their relationships and actions)
4. Produce drawings and color renderings of costumes.
5. Meet with the wardrobe manager and head cutter to discuss each design.
6. Purchase fabrics, new or used clothing and accessories.(Along with prop ideas)
7. Develop and implement a budget for costume-related expenses.
8. Develop patterns for costumes if it is necessary.
9. Attend fittings and rehearsals. (for theatre, dance or opera productions).

youtube videos about costume designing

https://www.youtube.com/watch?v=PXNSfoSD9Cw
https://www.youtube.com/watch?v=DjAkqgy8GeQ

Costume for 'Wicked'

Susan Hilferty - Costume Designer
Alyce Gilbert - Production wardrobe supervisor
Amanda Whidden - Costume Coordinator
Coco Schlieben - Draper, Barbara Matera
For wardrobe to do the show there are 12 dressers, Alyce Gilbert and an assisstant, 4-8 people doing day work they are there before, during and after every show doing a triage, whether or not it's a tear, a dropped bead or a loose connection,  the whole team are ready at any moment to jump in and fix something.
https://www.youtube.com/watch?v=-u5lcCkYznY
https://www.youtube.com/watch?v=UIpRPv0Cfkw
A thing is used called a 'Work bible' which records every aspect of the costumes.

Costume for the monkeys in 'Wicked'

https://www.youtube.com/watch?v=_dmFdQDG50Y

Costume for the Lion King

https://www.youtube.com/watch?v=5GwO_abcBcw

This shows the costume and make-up for 'Nala' in Broadway (Chantel Riley)
https://www.youtube.com/watch?v=Hpjz9N9x_wk

This shows the sort of masks and costume the actors and dancers must wear. The people in the ensemble wear a variety of different costumes for example if they are a lioness they have a mask above their head with a cape attached to it and both their wrists and a corset. Scars mask is mechanical and makes the actor into this huge lion that towers above the others, making him appear more scary.
https://www.youtube.com/watch?v=5GwO_abcBcw

https://www.youtube.com/watch?v=g5ItNAmIrK8
- (America) 'The Lion King' travels with 350 costumes and on stage every night there is around 250.
All the masks are made out of carbon fibre.
The Scar mask is controlled via a wire that goes down beside the actors arm and connects to the actors finger, he can then use his thumb to control the mask in different ways.
The Zazu puppet is controlled with two hands, one hand is holding the puppet and controlling the wings, and the other is on a control connected to Zazu's neck, there is a control that focuses on eye movement, closing and opening of the eyelids etc, another control that works the mouth and you move the hand with the control in it to move the neck.
It takes 6-8 weeks for the actors/actresses to get used to the puppets, they spend a lot of time using them in the mirror, perfecting the movements. They also spend a lot of time talking to the director asking how exactly they want it to look like. They spend a lot of time making sure everything works in sync with each other.


Research into Theatrical Make-Up

Theatrical makeup is used to enhance the character just like their costume would. The makeup designer/artist would read the play to get to know the character inside and out so that when designing the makeup for the actor/actress it will fit perfectly and enhance the personality, attributes, time period, age etc of the character. The makeup designer/ artist would have to work closely with a number of people from the production team, obviously the director but also for example the lighting designer and the costume designer. They have to interact with eachother and get to know eachothers designs so that what they produce works well with one another, for example if the lighting was a certain colour it may wash out the makeup or if the makeup designer wants the makeup to be enhanced they may need certain colours to do that.


Theatrical makeup is very over the top because it needs to be seen from all distances of the audience whether they are right at the back or right at the front. Every aspect of the face is enhanced and exaggerated, for example the eyebrows are made thicker and darker, a lot of blusher is applied and false eyelashes are mostly used. A lot of powder is used on the actors face to reduce shine caused by light and sweat. All makeup has to be grease resistant as the actors are getting very hot onstage due to the lights and the last thing that is wanted is makeup to slide off or go tacky.

Background: In Greek and Roman theatre make up was uneccessary for actors as masks were mainly used, so this allowed them to portray age, gender etc, however the downfall of using masks was that they were stuck with the same facial expression throughout the show unless they changed their masks, and the actors wearing them got very hot.

During the Renaissance actors used wool to create beards and flour for face paint.

Notable make-up artists

• Iman Mohamed Abdulmajid
• Kevyn Aucoin
• Way Bandy
• Bobbi Brown
• Ellis Faas
• Ve Neill

 The make-up artists main job is to ensure that the actor/actress have suitable hair and make-up before appearing in front of an audience or camera.

The role involves creating a character/image for the audience by using only make-up in relation to a brief.

If it's a smaller company there may only be one makeup artist who designs the make-up and also puts it onto the actors, however if it is a bigger scale company then there would be a team of Make-up artists.

A makeup artist's typical work activities would include:

communicating with the other designers in the company to clarify visual requirements;

reading scripts to find out the materials and the look required, budget needed and looking into areas where research is required;

producing and sketching design ideas for hairstyles and make-up;

ensuring continuity in hair and make-up and liaising with other members of the design team to ensure the overall look/effect is consistent and coherent;

demonstrating and implementing a practical understanding of lighting, the photographic process, colours and the impact of special effects/make-up processes on the skin;

ensuring that appropriate action is taken to minimise unpleasant side effects from the use of specialist make-up/hairdressing techniques;

maintaining awareness of health and safety issues and legislation;

casting facial and body moulds and sculpting latex foam - known as prosthetics;

fitting and maintaining wigs, hairpieces and prosthetics;

hairdressing;

maintaining an up-to-date knowledge of available make-up and beauty products;

sourcing, budgeting and ordering materials and equipment from specialist suppliers;

time management - knowing how long a subject will take to be made-up;

working quickly and accurately in time-pressured conditions;

taking detailed notes and photographs of work, maintaining an up-to-date portfolio of work.

Here are some links i looked up on youtube about theatrical makeup:

https://www.youtube.com/watch?v=Yt6c95FRhoU
From this video i have found that makeup is used to make younger actors/actresses look older than they are. To do this the makeup artist will ask them to scrunch up there face as much as possible to find the lines that appear around the eyes and then they will accent them to make them look much more obvious, the makeup artist will use a colour slightly darker than the actors skin and then use a colour slightly lighter then their skin to highlight around the wrinkle. The makeup artist will then ask the actor to smile as big as they can so the makeup artist can find the wrinkles around the nose and lips and make them more prominent.
https://www.youtube.com/watch?v=rP3tNMB9XCQ
From this video i have found that makeup on stage has to be much more bold and accentric so it can be seen under the lights and from the audience. Fake eyelashes are used, very bold colours are used and eyebrows are made darker than usual so they will show up under the stagelighting.
https://www.youtube.com/watch?v=kgbPAYdgSPo

Hair and Makeup in 'Wicked'

Wig making
https://www.youtube.com/watch?v=KmadW7qxThQ
From this video i have found that to make wigs specifically for one actor/actress the wig maker will make the hair as flat as possible and put holder round their head, and then they will put a plastic bag over and selotape it to the exact measurements of the persons head, then the wig maker will use a sharpie to draw the outlines of the persons hairline. He/She will then take specific measurements, around the crown of the hairline, from the front hairline over the head to the bottom hairline etc.

Makeup for 'Wicked'

Makeup designer: Joe Dulude II
https://www.youtube.com/watch?v=wHWW3-pUw34

Research for makeup in The Lion King

https://www.youtube.com/watch?v=ScFWa-RwC3Y

Directed by Julie Taymor
Sara Tyndall is now head of wigs and makeup for the Lion King.
http://www.creative-choices.co.uk/industry-insight/article/make-up-artist-for-theatre

This is a link from the Las Vegas 'The Lion King', it shows the stages before becoming 'Nala' (Dejah Gomez).
https://www.youtube.com/watch?v=wUn9vKzPQ1g

This is a link from youtube showing a reporter get changed into 'Rafiki' from 'The Lion King'.
The main primary colours for Rafiki are blue, red and yellow.
Takes 30 minutes for the face makeup to be completed.

https://www.youtube.com/watch?v=gA6cE9tGFlQ

Disney’s The Lion King, at the Lyceum Theatre London is produced by the Disney Theatrical Group.

The stage show is based on the original 1994 Disney movie and has won a string of prestigious awards, including a Tony Award for Best Musical and Visit London Awards Best Theatre Show.

The show features 25 species of animals, plants, birds, fish and insects. Puppets and puppet mechanisms worn by the actors are incorporated into the production. A range of stunning masks are also used, worn on top of the actor’s head to keep their face visible.
This is where Sara and her team come in. They are responsible for producing the visually striking make-up that complements the costumes, masks and puppets. Sara qualified with a BTEC HND in Theatre Studies, Specialist Make-up for Film, TV and Theatre at the London College of Fashion.
She has been in her present role since The Lion King first came to London in 1999. This followed her successful career in numerous West End productions as a make-up artist and wigs mistress.

The working hours of a make-up artist

Sara works a total of 40 hours a week over 6 day days to cover performances from Tuesday to Sunday. Occasional working weeks of more than 40 hours are balanced out over the year.
“I usually start work between 3.30 and 5.00 pm on the days with evening performances only and finish at around 10 pm. On a Wednesday, Saturday and Sunday we have our matinees, when I start at 12 noon. There are no performances on a Sunday evening, or a Monday, so I can plan social activities then. In addition I always finish at 8 pm during one other evening each week.”
Sarah is really happy with her working hours and wouldn’t have it any other way.
“I love the fact that I can travel to work when the tube trains are less crowded. And this job leaves me plenty of time off to enjoy my social life.”

Six tips for make-up artists

• Make-up artists need good artistic skills and an understanding of how colour can be used to create moods and feelings
• They also need to be able to interpret designs and to create ideas of their own
• Always take photos of the work you have done, and then look at these with a critical eye. The photos can become part of your portfolio
• Get involved with amateur dramatics – this is a great way to gain experience applying make-up, and will help you decide if the career is for you
• Attend part-time day or evening life-drawing and portraiture classes
• Once you are working move around different theatres to gain varied experience.

https://www.youtube.com/watch?v=gA6cE9tGFlQ

 

Research into the lighting designer

 

The lighting designer is in charge of setting the scene in relation to the set text, the lighting designer works with the director, choreographer, set designer, costume designer and sound designer

 

Stage lighting is very important because it has very many different uses and it enhances productions and without it the show would not look so alive and exciting. It is used to create emotion in the audience and is similar to sound as in that it affects the audiences senses and excites them.

 



Stage lighting is the craft of lighting as it applies to the production of theatre, dance, opera and other performance arts. Several different types of stage lighting instruments are used in this discipline. In addition to basic lighting, modern stage lighting can also include special effects, such as lasers and fog machines. People who work on stage lighting are commonly referred to as lighting technicians.

Stage lighting has multiple uses for theatre:

Plot (script) - Lighting is used to show a change in event in the action onstage.

Mood - Light can be used to show the mood of the character or the mood that is created in the scene for example a harsh red light creates a different mood to a soft pink light.

Selective Visibility - Light is used to show what is happening on stage.

Audience focus point - directing the audiences attention to an area on stage or directing them away from another.

Location and time of day - Light can be used to create a time of day for example blues and purples suggest night and reds, yellow and oranges suggest sunrise.

Stage elements/Projections - Lighting can be used to create set or enhance existing set.

Main Properties in Lighting

Intensity

Colour

Direction

and Focus

Lighting for 'The Lion King'

Donald Holder - Lighting Designer

http://www.youtube.com/watch?v=3xaM5bsaVKw

One of the jobs of the lighting designer for Lion King is to make a luminous world, a magical world.

 Lighting for 'Wicked'

Kenneth Posner - Lighting designer

Karen Spahn - Associate Lighting designer
Brendan Quigley - Head Electrician 

One of the jobs of a lighting designer is telling the audience exactly where to look.
The lighting designers work with a 'lighting plot'' which is a physical representation of where all the lights hang.They have approximately 650 light fixtures with focus note attached.

https://www.youtube.com/watch?v=QUKDU3r6MYY

How these production roles work together


The lighting designer must work very closely with a lot of the production team, most important obviously the director but the designer must also interact with the makeup designer, set designer, costume designer and the team working on the music and sound of the stage show/ film. For example it is very important that they work closely with the set designer because they may want certain areas of the set to be lit up/enhanced and without the interaction it would not get done. The lighting designer must also work with the costume designer to understand the colour lighting that is wanted that works with the garments they have produced and so on.


Gobos can also be used to project certain images onto the stage for example if the designer wanted a prison cell then it would enhance the action on stage. When watching 'WICKED' I remember that they used a window Gobo in one of the scenes and I felt that it was very effective and added to the overall mood and set of the scene.