Editor’s Note – Scale is 1-100
I was told by my director last night that singers use both sides of their brains when they sing; an entirely different lobe is activated by movement. I wonder if it’s too late to make a warranty claim? In any case, I need a jump-start.
I perform because I relish humility; it’s the only explanation. Once I played Seymour in Little Shop of Horrors, and my choreography was mostly “look awkward.” The director marveled to the running crew on opening night: “This part is perfect for him.”
Putting It Together is five performers, singing and dancing Sondheim for 90 minutes. The lyrics are tough:
In the depths of her interior
Are fears that she’s inferior
And something even eerier
But no one dares to query her superior exterior
The melodies jump all over the scale in strange time signatures, the harmonies are bizarre. (Carol Burnett says once you get them in your head, they never leave.)
But good grief, we have to dance. There was a particular movement last night, expertly demonstrated by our 20-something choreographer. It involved swiveling, feet together and moving hips and other parts at the same time. Both sides of my brain were singing, another part was trying to remember the next move, while the LOUDEST part screamed, “YOU FOOL, YOU’RE 45 YEARS OLD, YOU’RE GOING TO TEAR A LIGAMENT IN YOUR KNEE!”
Two weeks until the show. 340 hours of humility to go.
Bit by bit, putting it together
Piece by piece, only way to make a work of art
Every moment makes a contribution
Every little detail plays a part
Having just the vision’s no solution
Everything depends on execution
Putting it together, that’s what counts
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