Mirrors

If you ever set foot into a dance studio you have probably noticed a décor of mirrors covering the walls. While dancing, one isn’t always conscious of what their limbs are doing. It comes as a surprise to see what felt like an extended arm above the head was in truth awkwardly bent. During the course of rehearsals Trueheart Productions was graciously given the privilege of using a local dance studio (PMPA) to rehearse our dances in front of large mirrors… no awkward arms in this show!

Special thanks to Portland Metro Performing Arts (PMPA).

The Art of Lyrics

by Tiffany Barclay

“Every song that has a long life says something fundamental and it says it in an attractive way musically and lyrically.” –Oscar Hammerstein II

Writing lyrics is an art form all itself. Though similar to poetry, many things are vastly different. I have enjoyed learning and studying lyric writing both through the process of writing two musical shows and also through books and studying the great lyricists of the past. Here are a few things I’ve learned thus far:

Rhyming

• Don’t feel as though you must rhyme frequently. Sometimes less frequent is better.

“There should not be too many rhymes. In fact, a rhyme should appear only where it is absolutely necessary.” –Oscar Hammerstein II

Ol’Man River (lyrics by Oscar Hammerstein II, from the musical “Show Boat”)

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Ol’ man river,
Dat ol’ man river
He mus’know sumpin’
But don’t say nuthin’,
He jes’keeps rollin’
He keeps on rollin’ along.

He don’ plant taters,
He don’t plant cotton,
An’ dem dat plants’em
is soon forgotten,
But ol’man river,
He jes keeps rollin’along.

Repetition

• Repeating a phrase or word throughout can be very effective and powerful.

So in Love (by Cole Porter, from the musical, “Kiss Me, Kate”)

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Strange, dear, but true, dear
When I’m close to you, dear,
The stars fill the sky,
So in love with you am I.
Even without you
My arms fold about you.
You know, darling, why,
So in love with you am I.

Phonetics

• Choose words that are easily sung.
• Use vowels with open sounds on vocal climaxes

“The lyric writer must find…a word that is clear when sung and not too difficult for the singer to sing on that note which he hits when he sings it.”
–Oscar Hammerstein II

Maria (lyrics by Stephen Sondheim, from the musical, “West Side Story”)

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Maria!
I’ve just met a girl named Maria,
And suddenly that name
Will never be the same
To me.
Maria!
I’ve just kissed a girl named Maria,
And suddenly I’ve found
How wonderful a sound
Can be!
Maria!
Say it loud and there’s music playing,
Say it soft and it’s almost like praying.
Maria,
I’ll never stop saying Maria!

Eight Steps of Choreographing a Musical

“Dance without music is like a soul with no emotion.” -Lorianne Barclay, Choreographer, Trueheart Productions

It all begins with a melody; a kaleidoscope of instrumental sounds strung together creating a mood which in turn inspires a dance. But it all begins with the song, without music there is no motivation for dance.

1. Immersion: Know the music well enough you hear it in your dreams
2. Purpose: Decide the emotion/goal of the dance
3. Brainstorm steps: What kind of movement will look best on this particular cast?
4. Experiment: Try out choreography in your living room (try not to stub your toe)
5. Document: Write out the choreography in detail and diagrams for later reference
6. Teach: The introduction of choreography to actor.
7. Polish: Refining each movement precisely and uniformly amongst a group
8. Perform: The ultimate goal… sharing it with the world!