Accolade copy editor junior Serenity Li auditioned last semester to join the cast of the spring musical, “Joseph and the Amazing Technicolor Dreamcoat,” and director Annie Pagano — theater teacher Christian Penuelas’ substitute director — cast Li as one of Joseph’s brothers’ wives. With Pagano’s approval, the junior will document some of her experiences — before and during rehearsals — leading up to opening night, Friday, March 7. Be sure to stay tuned in the A&E section to read the rest of her entries. Those interested in watching the performance can purchase $15 tickets from the show’s ticket website.
When performing a musical, most members must learn how to sing and dance. Thus, they have two different rehearsals: days when they sing and days when they dance. For this production, I usually learned my songs on Thursdays and danced on Tuesdays, Wednesdays and Saturdays. Whichever activity I do that day, I must be prepared to get started right away.
Our musical, “Joseph and the Amazing Technicolor Dreamcoat,” is based on a Bible story about a character of the same name who goes through multiple successes and struggles in the span of a few years. The songs are a nonstop range of genres, including western, calypso and ballad.
Last week was about dance rehearsals, but you probably want to know about what days for singing look like. Here’s how one typically goes:
For our vocal rehearsals, I enter a side door that leads to the choir room right after the school day ends at 3:30 p.m. and grab a seat near the piano at the center of the room. All the cast members are divided into specific seats according to their vocal range. I, along with the other soprano 1’s, sit on the left side of the room. Next to us are the altos and tenors followed by baritones and basses all the way to the right.
Of course, I first turn in my phone to the “pocket prisons” to ensure we focus on our intonation. We also have vocal books, albeit a limited amount, to glean lyrics and music notes from. Most of us have to share or use the online version if we want to follow along with the director.
Our choir director, Aaron Duncan-Schwartz, always starts off leading us in vocal warm-ups. As he plays the piano up and down scales, we follow him, singing the same notes. Then, he announces what songs we will sing that day and, with them, picks out certain details he wants in the day’s run of the chosen songs.
He then takes a few minutes to talk to and guide each vocal range on how they will sing the musical number. After a section learns its parts, singers practice without the help of the piano. Finally, after all castmates know their notes, they stand up to sing it all at the same time, with the official audio underscoring their rendition.
Occasionally, we will try to practice dancing and singing simultaneously to develop our knowledge of each song. For example, at our Tuesday, Feb. 11, rehearsal, we learned to sing “Benjamin Calypso” — an upbeat, silly song involving the Brothers in the musical pleading to the main character for mercy. The serious situation, coupled with the hilarious tune, creates a sensory oxymoron that makes this musical so unique.
We had learned the choreography of this musical number a few rehearsals ago, so the dance moves were fresh in our minds. While we sang, some of us swayed our hands to the beat, attaching the movements to the track lyrics. Usually we get a break after we finish learning one song, which is when we rush to rescue and use our phones or talk to other people.
Sometimes, we get a sweet treat from one of the cast members, junior Connor Lee, to help us keep going until the end of rehearsal. Connor kindly takes the time to bring us home-baked cookies for us to eat during the break, which has become a highlight that some of us look forward to, too.
The first day he brought some, everyone thought one of the stage crew members, whose name is also Connor, brought it. So, as everyone lined up for a treat, they thanked him instead of the real donor, who sat on the other side of the room, probably confused.
“No, the other Connor,” someone shouted among the chorus of thanks.
After a good laugh over the confusion, we all shared our gratefulness to him immediately.
Back to rehearsals, we get to the last few minutes, where we listen to the choir director and stage manager as they go over helpful tips such as continuing to listen to the official musical soundtrack or the next rehearsal details. After so many of these rehearsals, I’ve noticed my vocal cords have strengthened, and I can sing for much longer. Unlike dance rehearsals, I do not end up with aching muscles and low stamina.
While dancing rehearsals are much more active and physically demanding, days for singing are enjoyable as well. I love hearing the vocal symphonies created by our cast and know the audience will enjoy such a beautiful experience as well.
