9/10/2001

Musical actors will primarily strive to get their 'Voice' spick and span and will say this is of paramount importance. They are often, more or less, happy enough to let the Characterisation and "other associated stuff" progress at a less significant pace. (Is that fair? I don't mean to anger folk by saying this...)

So, if a genie grants them a budgetry One Wish for the performance night - most will opt to get the Voice extra-spick and super-span. Only if a further Two Wishes were granted would Characterisation (in a superficial sense - stock gestures, bright mannerisms and an effective, appropriate walk/ stance) and then some "Sense of the Inner Truth In The Characterisation" (that elusive, wanky thing so desperately necessary to make a performance lift off the page/stage), be even considered as desirable.

I personally would wish that if, as I stated in the last essay, an actor in both musical and non-musical theatre risks losing just a little of that "get it right the first time" feeling - which one so often succumbs to at that first rehearsal (and sometimes beyond) - then the development of Voice can occur more meaningfully and simultaneously with "the other stuff".

As a matter of fact, it is all "Voice" by definition at the end of the day - it's just that one is loud and outside, the other is silent and inside. And both dramatically affect sound and movement. If the voice that makes all that outer noise is responding in isolation, or at least distanced, from the voice that reverberates inside, the final expressive act will always be limited and unconvincing. Any honest actor knows what I'm talking about here.

And development, both externally and internally, needs to occur concurrently. If you work one set of muscles in the gym without balancing its opposing set (sorry I'm not biologically deft or literate) despite the fact you may become big and noticeable somewhere nice and visible for audiences and groupies to see, the sad truth is that you could possibly look disproportionate, slouched and/or receive pains in those neglected, nether regions somewhere on the other forgotten side of the body.

It's all very philosophical I know, but if the balance is not struck, even if you sing/act up a sandstorm, something intangible will be missing to the audience members. And unfortunately, in foyers, all you will get is "Oh gee you've got a great voice" or "Oh gee you looked good onstage" or the regrettable "Oh gee you was awesome". Let's face it, most foyerites are not going to tell you to your face that you were inadequate. Most will not say, "Oh gee there was something intangible missing in the performance - something unbalanced - but bugger me with a pitchfork, I'm not entirely sure of what it is because I haven't read any books on acting or kept up with performance theory."

Most musical directors react against assertions that their shows are merely recitals. So most musical directors must ensure that a Fine Voice embodies more than just technical dazzle.

Recently, for "Jesus Christ Superstar", director Matthew Frawley got us lead-character-types to actually speak the lyrics without it sounding like rhymed verse (and for that you had to listen to the inner voice); to work on our walks so that they were big but not ridiculous (and for that you had to listen to the inner rhythms) ; to question our characters' motivations and and beliefs in order to understand the script better (and for that you had to listen to the librettist); to think about how it might feel to be in such an intense situation (and for that you had to listen to yourself); to respond and convey all this appropriately, genuinely and convincingly (and for that you had to listen to the director - and the score); and then to return to the lyric sheet and get the phrasing, breathing, exercising and hitting of notes all correct (and for that you had to listen to the vocal coach) - all in order to achieve a Fine Voice. With everything above happening, developing and training... simultaneously.

You cannot hear how truly moving you sound when you're only listening for technical, vocal perfection. You cannot practise all of the the aspects of characterisation if you're only practising scales. Remember, you cannot develop the whole body if you grow some muscle-groups at the expense of others. So alternatively, you may well be an intense and brilliant actor, but if you're in a musical production and you haven't practised the scales and other associated technical exercises, you'll be left feeling weak and inadequate. Is that fair?

I'm off to the gym.

I often sing when I work out.