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Teachers...perhaps a musical theatre drama class? Part 2

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Part 2: The Musical Numbers

As most teachers of drama know, students who take these classes want hands-on involvement. They want to learn by doing. Whether or not the class curriculum includes a full-scale musical production or simply the study of the different elements that comprise musical theatre, there are sure to be song(s) and even a song & dance production number.

Teachers may be able to obtain a fair assessment of their students' musical abilities by listening carefully to each of them during vocal warm ups and any group numbers. If solo pieces are to be part of the class repertoire then any individual who has a good instrument would be a likely choice. However, if the teacher wishes, the students could be allowed to audition for a solo. This may be done in a couple of ways. Students could bring their own piece of music to class and perform it or the teacher could have each student sing the piece(s) that will be part of the class. After hearing everyone's solo potential a decision can be made. Whatever the outcome, a great class finds a way for everyone to be involved. If 2 solos will be a part of the repertoire in a class containing 15 students then the 13 kids not chosen should have something special to do in another facet of the final production. Perhaps they could be given a solo line to sing in a group number, a dance solo (if dance is their strong skill) or a main acting part.

STAGING THE SOLO SONG

Since the student is portraying a character of some type in the song there will be appropriate places for dramatic action, ie gestures and facial expressions to possibly even full-out dance choreography. The lyrics of the song are the most important means of communicating the character's intent and feelings to the audience so any movement should enhance the lyrics not detract from them. As the teacher, ask yourself these questions as you prepare to block the number: 1. What is the main dramatic focus of the song? 2. Do certain lyrics lend themselves to any particular movement or gestures? 3. Would a costume enhance the performer's ability to portray the character and/or dramatic content? (Props are often a useful way of getting more out of the character). 4. Is the singer capable of doing the movements that have been chosen while singing?

Always remember to keep it simple so that the "character" is not pre-occupied with the doing of actions. Any song used will likely be 'out of context' from the musical to which it belongs so a thorough study of the character will be helpful to the student's portrayal of the song.