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REFERENCE LIST

Acting Against Cancer, 2017. "Candy Store" - Heathers The Musical. [video] Available at: <https://www.youtube.com/watch?v=eTqFGq98Vic&feature=emb_title> [Accessed 10 April 2020].

Alburger, J., 2019. The Art Of Voice Acting. 1st ed. Florida: CRC Press.

Black, S., 2013. Costume, Colour And Semiotics Of Heathers. [online] Clothes on Film. Available at: <https://clothesonfilm.com/costume-colour-and-semiotics-of-heathers/> [Accessed 2 February 2020].

Bourn, J., 2011. Meaning Of The Color Black |. [online] Bourn Creative. Available at: <https://www.bourncreative.com/meaning-of-the-color-black/> [Accessed 2 February 2020].

Bourn, J., 2011. Meaning Of The Color Blue |. [online] Bourn Creative. Available at: <https://www.bourncreative.com/meaning-of-the-color-blue/> [Accessed 2 February 2020].

Bourn, J., 2011. Color Meaning: Meaning Of The Colour Green. [online] Bourn Creative. Available at: <https://www.bourncreative.com/meaning-of-the-color-green/> [Accessed 2 February 2020].

Bourn, J., 2011. Meaning Of The Color Yellow |. [online] Bourn Creative. Available at: <https://www.bourncreative.com/meaning-of-the-color-yellow/> [Accessed 2 February 2020].

Brady, T., 2018. ‘Heathers’: 30 Years On – How The Dark Teen Comedy Predicted Everything. [online] The Irish Times. Available at: <https://www.irishtimes.com/culture/film/heathers-30-years-on-how-the-dark-teen-comedy-predicted-everything-1.3583180> [Accessed 3 February 2020].

Brown, D., 2009. How To (Believably) Playing Drunk For A Role. [online] BACKSTAGE. Available at: <https://www.backstage.com/magazine/article/playing-drunk-64708/> [Accessed 11 April 2020].

Dove, J., 2014. How To Make An Impact With Slow Motion Video. [online] The Next Web. Available at: <https://thenextweb.com/creativity/2014/03/14/411-slo-mo-video/> [Accessed 10 April 2020].

Dunbar, Z. and Данбара, З., 2014. Christina Gutekunst and John Gillett: Voice into Acting: Integrating Voice and the Stanislavski Approach. Stanislavski Studies, [online] 2(2), pp.200-203. Available at: <https://www-tandfonline-com.ezproxy.staffs.ac.uk/doi/abs/10.1080/20567790.2014.11419730> [Accessed 8 April 2020].

Farthing, A., 2012. Mapping Technical Theatre Arts Training. York: The Higher Education Academy, p.4.

Harris, T., 2019. 25 Benefits Of Time Management That Can Change Your Life - The Exceptional Skills. [online] The Exceptional Skills. Available at: <https://www.theexceptionalskills.com/benefits-time-management/> [Accessed 2 February 2020].

Heuring, D., 1988. Heathers- Not Just Another Pretty Show. American Cinematographer; Hollywood, [online] (11), pp.28-30, 32-33. Available at: <https://search-proquest-com.ezproxy.staffs.ac.uk/docview/196316538/fulltextPDF/2CCEDF7D976C418EPQ/1?accountid=17254> [Accessed 21 April 2020].

Kerr, J. (2019). Opening the Johari Window. [online] Management Issues. Available at: https://www.management-issues.com/opinion/7050/opening-the-johari-window/ [Accessed 2 Feb. 2020].

McGiven, E., n.d. Blocking And Movement. [online] Depository of Creative Works. Available at: <https://www.erikseanmcgiven.com/writings/acting/blocking-and-movement/> [Accessed 14 April 2020].

Newventure.org.uk. 2019. The Rehearsal Process. [online] Available at: <https://www.newventure.org.uk/auditions/40-production-manual/280-the-rehearsal-process> [Accessed 9 March 2020].

Rao, S., 2018. ‘Thoroughbreds’ And ‘Heathers’ Are Both Teen Murderer Movies. But The Messages Are Different.: Everyone Keeps Making The Comparison, But “Thoroughbreds” Is Much More Nihilistic. [online] Washington: WP Company. Available at: <https://search-proquest-com.ezproxy.staffs.ac.uk/docview/2012596039/abstract/CC27F695C53B48E1PQ/1?accountid=17254> [Accessed 21 April 2020].

Rivera, R., 2014. Pros & Cons Of Breaking The Fourth Wall. [online] WriteOnSisters. Available at: <http://writeonsisters.com/writing-craft/pros-cons-breaking-fourth-wall/> [Accessed 21 April 2020].

Smith, B., 2016. Why Muscle Memory Is (Mostly) In Your Head | Cosmos. [online] COSMOS. Available at: <https://cosmosmagazine.com/biology/why-muscle-memory-is-mostly-in-your-head> [Accessed 2 February 2020].

Stasio, M., 2014. Off Broadway Review: ‘Heathers’ The Musical. [online] Variety. Available at: <https://variety.com/2014/legit/reviews/off-broadway-review-heathers-the-musical-1201150670/> [Accessed 6 February 2020].

Wokingham Theatre., 2020.  Health and Safety Policy. [online] Available at: http://www.wokingham-theatre.org.uk/WokinghamTheatreHealthandSafety.htm [Accessed 5 February 2020]

Wood, A., 2018. Did Critics Think Heathers Was A Killer Musical?. [online] Whats On Stage. Available at: <https://www.whatsonstage.com/london-theatre/news/review-roundup-heathers-musical-haymarket_47594.html> [Accessed 5 February 2020].

Zilberman, A., 2014. Still Very, 25 Years Later: The Bleak Genius Of Heathers. [online] The Atlantic. Available at: <https://www.theatlantic.com/entertainment/archive/2014/03/still-very-25-years-later-the-bleak-genius-of-em-heathers-em/359828/> [Accessed 7 February 2020].

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FIGURE LIST

Fig 1:  https://liberationist.org/the-johari-window/ [Electronically Accessed 29 January 2020].

Fig 2: https://www.pinterest.co.uk/pin/567664728017661192/ [Electronically Accessed 29 January 2020].

Fig 3:https://www.hollywoodreporter.com/live-feed/heathers-winona-ryder-bravo-sequel-jenny-bicks-411760 [Electronically Accessed 2 February 2020].

Fig 4: https://www.playbill.com/article/heathers-writers-laurence-okeefe-and-kevin-murphy-break-down-the-musicals-full-album-track-by-track Electronically Accessed 19 April 2020]. 

Fig 5: https://viviehn.wordpress.com/2016/07/09/chromatalk-heathers-or-why-color-matters/ [Electronically Accessed 2 February 2020].

Fig 6: https://gsauk.org/technical-theatre-arts [Electronically Accessed 18 February 2020].

Fig 7: https://lordwhatsmymotivation.wordpress.com/tag/veronica-sawyer/ [Electronically Accessed 8 April 2020].

Fig 8: http://heatherslyrics.altervista.org/blue-reprise-lyrics/?doing_wp_cron=1586876911.0638930797576904296875 [Electronically Accessed 11 April 2020].

Fig 9: https://www.pinterest.co.uk/pin/446630488024754914/ [Electronically Accessed 14 April 2020].

Fig 10: https://aminoapps.com/c/heathers/page/item/veronica-and-martha/lXvn_r2rTGI4b7q5vDjnYXrp4XdMapZq4L [Electronically Accessed 14 April 2020].

Fig 11: https://dramatics.org/getting-past-the-college-gatekeepers-pt-i/ [Electronically Accessed 15 April 2020].

Fig 12: https://www.pearsoncasting.com/six [Electronically Accessed 15 April 2020].

Fig 13: https://thelionking.co.uk/auditions/ [Electronically Accessed 15 April 2020].

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ANALYSING MY PROCESS TOWARDS MY FINAL MAJOR PERFORMANCE AT LMA

The role of Veronica Sawyer has been very challenging and to have the chance to portray her in my very last LMA show was rewarding. My final Veronica Sawyer is yet to be seen however the process so far has allowed me to reflect on all my skills and improve in ways that will prepare me for the industry.

UNDERSTANDING MY STRENGTHS AND WEAKNESSES

I found that finally accepting my limits as a performer has allowed me to improve in ways that wouldn’t have happened previously.

Taking videos in rehearsals and watching them back has made me realise that my version of being ‘big and theatrical’ isn’t working for an audience. I have accepted that my style of acting is very naturalistic which in turn doesn’t read to audiences of over 500 people. During the rehearsal process I have adapted the way my tone of voice changes along with my body and face in order to correctly convey the story to the audience. This is an element of myself that I now need to continue adapting and changing in order to improve and become the best performer I can be. 

One of my main strengths is singing however I was doubting myself in this show. As I have previously said: Veronica’s vocal track is very challenging especially for me as I struggle to belt in a high register. Understanding and accepting this was the only way I could work on the songs and improve. When consulting my singing teacher I knew where my weaknesses lay in the song and so we then worked on that privately. I grasped the notion that just being confident in my own character would help me reach the notes if put into context of the situation. Acknowledging the fact that telling a story was more important than if I cracked on a certain note allowed me to take risks in the rehearsal room to prepare for the live performance. 

Understanding and accepting my flaws and my strengths as a performer will allow me to flourish in the professional world as I will know my worth. From this experience I am able to accept my strengths and tackle my weaknesses in order to improve in the long run.

TARGET AUDIENCE 

The material in general of Heathers really appealed to me as it doesn’t sound like a traditional musical theatre score. There are rock and soft elements all mixed into one which makes for a exciting and raw music score. The dynamics of the music along with the lyrics allow new audiences to see a show that isn’t stereotypical musical theatre. This is probably why younger audiences are attracted to the show as the music is similar to those they may have listened to in their everyday lives.  The target audience for Heathers is usually young adults.  Young audiences want to see things that excite them and a musical using sex, suicide and murder as a continuous plot line is something not common for musical theatre as of yet.  

As we are doing this in a university, our target audience is our family and friends. Understanding this, we were able to censor some things if necessary. 

For example: the sex scene between Veronica and JD has been censored carefully as to not seem too inappropriate for young children to see. Many families and children come to see the shows at LMA and so we have had to be aware of limit and how far we can push it. Every other inappropriate reference is kept the same which makes for a true conception of the show while also considering the target audience.

One thing I’ve learnt over the years is to direct dialogue out the audience. Audiences want to feel involved but not uncomfortable and so being aware of the fourth wall and when to test it is important in this performance. 

In the scenes with Veronica and JD which are more intimate, I was aware to direct some dialogue to JD which made for a more private scene. This adds contrast to other scenes where all characters would be facing the audience. Looking directly at JD at certain moments allows the audience to see the character’s story while also feeling involved. As performers we have to understand when it is appropriate to involve the audience. Heathers provides plenty of opportunity to do both. “Breaking the fourth wall can overshadow the story too much, reducing tension” (Riviera, 2014). While it is nice to ensure the audience feel involved, it can sometimes be over bearing and unnatural which in turn reminds audiences that they are watching a show, removing them from the intensity of the storytelling. 

REHEARSAL PROCESS 

I found that as I already had listened to the music and enjoy it - it helped me towards my learning process. I was a lot more invested in this show than I have been in previous ones and I think that has all to do with the type of material Heathers possesses. The music is more modern, and the script doesn’t shy away from dark humour or strong language. The song ‘Dead Girl Walking’ on it’s own sets standards for how the rest of the show pans out. 

When it came to rehearsing, I found I already knew the context of the show and so learning songs and lines became easier. I was interested in learning my part of the show and I think everyone else felt the same. In rehearsals, following the score for the songs was a way of learning I wasn’t used to, however I now prefer that. The dynamics of the song and lyrics are easier to interpret when reading a score. When learning harmony lines especially, the score was very useful as we could follow the notes on the stave. I understood where Veronica joined the ensemble tracks and it was easier to differentiate between vocal lines.

As a cast we have improved immensely when working together. We were eager to rehearse over previous harmonies and choreography and we were often in earlier than our usual call time to ensure everything was correct before the director saw it. I think we all realised this was the final push and so we wanted to give it everything we could. It seemed like we all wanted to make the show better and I think in turn this helped boost the show to a level 6 performance. 

TARGETS FOR PROGRESSION

Over this rehearsal process I’ve learnt a lot about myself as a performer. Taking everything I have learnt and implementing improvements needed is essentially going to prepare me to my best for the industry. 

My biggest lesson through this journey is to accept criticism as a tool to improve instead of getting defensive and doubting my abilities. Being able to take criticism in a positive way through this process has made me more resilient which is a asset that I need to have going into the industry. 

I am aware of my strengths and how to utilise those to my advantage. I know that I can learn dialogue quickly which in turn helps me experiment more with scene work which is something I did for this show. I also feel more confident reading music from a score which is something professional shows require you do to. I have acknowledged my strengths but I have also accepted areas I need to improve and keep pushing. My dance technique is something that is going to help me get a foot in the door for dance auditions and so pushing myself in this area will help me in the long run. I will continue to take extra singing classes and dance classes and potentially attend any workshops happening near me to keep working on my skills. This industry allows you to constantly learn and improve and so I need to be passionate about improving myself in order to become the best performer I can. 

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IMPLEMENTING SKILLS READY FOR THE INDUSTRY

The performing arts industry is one of the most competitive industries you could ever enter. Being aware of the skills needed to successfully pursue this career has allowed me to push myself in ways I wouldn’t have thought to before. I understand and accept what I need to work on to be at a high level which the industry requires. 

Finding cast members for Broadway, cruise ships and the West End requires experienced casting directors to be able to seek out the potential performers through auditions. This enables casting directors to compare different abilities, looks and skill all in one place. With talent coming from all corners of the world, open call auditions are becoming more popular as the years progress.

BEING AWARE OF THE DIFFERENT TYPES OF AUDITIONS

An open call audition advertises to the public that auditions are taking place for said production. Open call auditions typically bring in performers who perhaps don’t have agents and rely solely on these open auditions to be able to get their foot in the door. 

Fig 11

Open call auditions usually hold the most amount of people in a room at one time, making the fight to be seen even more intense. There is usually a time limit to each audition to make time for other candidates meaning that performers have to be fully prepared and willing to wait in long lines for a 2 minute audition slot. 

On the other hand there are closed auditions. This means a performers agent has put them up for a job and they have direct contact with the casting team. Closed call auditions are more popular especially for musical theatre, you will still be required to attend a dance call which will consist of 100+ dancers being crammed in a single room at once. 

Being aware of the fact you are just a number in most auditions means that as a performer you have to promote yourselves in other ways. 

HOW CASTING DIRECTORS SEEK POTENTIAL PERFORMERS 

Many casting directors use websites such as Spotlight to seek out potential performers. Spotlight is a platform actors, musical theatre practitioners and creatives can use to advertise themselves. Most casting directors will refer to spotlight as an easy way to see showreel clips, voice reels and a performers CV. 

Most casting directors seek potential employers for a major performance through their agents, and so booking an agent will give you an advantage when finding closed auditions. To help the agent advertise you in the best way, many performers create:

Website

Showreel

Professional social media accounts eg Instagram, facebook, youtube etc

Creating these to a professional level with then be a platform for performers to advertise themselves and in turn bring casting directors to their page.

LOOKING AT WHAT OPEN CALL AUDITIONS REQUIRE 

Six The Musical open call auditions held by Pearson Casting advertised the audition requirements which can be seen in fig 12 (below). 

Fig 12

Fig 12 is a snapshot from the Pearson Casting website detailing what was required for their open call auditions. It states the audition would require block commercial heels. 

Commercial dance classes are becoming increasingly popular due to the evolution of dance styles incorporated into contemporary musical theatre shows. Being able to dance in heels while executing good technique is becoming a basic requirement in auditions. Understanding this as a recent graduate, I realise that I need to improve my commercial dance style and attend more classes. Being more immersed in the style enables individuality to come through when auditioning and in turn will add your own style to the character. 

Fig 13

Fig 13 shows the requirements for both dancers and singers for the musical The Lion King. A similarity between most auditions is they require contrasting songs to enable the panel to see the  potential in a performer both vocally and in acting. 

One of the main requirements for a singing audition is to bring the correct sheet music, in the correct key, with the required cuts and taped correctly. This helps the ease of the audition if the sheet music is taped as it eases nerves for the performer as well as making the pianists’ job easier when flicking from each side. 

USING THIS KNOWLEDGE TO MY ADVANTAGE 

Acknowledging my own strengths and weaknesses helps me understand the areas I need to improve. I know that my dance technique lacks and in order to progress through from the first round of a dance call, I need to work on basic technique. 

Reading up on audition requirements will give me insight into what sort of face to bring to an audition as that is one of the main things a casting director looks at. They want to see that you can perform confidently and accurately while maintaining good technique.

To be ready for the real world, I am going to persist with my private dance classes as well as my singing tuition as they are the ways in which I need to improve.  Referring back to the training I have had at uni will also help me to maintain professional work ethic in audition situations. 

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SCENE WORK

When blocking scenes for the show, we would have the same appraoach:

Get everyone onstage who is meant to be in the scene

Place ensemble where they need to be

The leads would read through the scene doing the blocking they felt worked

Our director Lucy would then adapt it and give us advice on what else to do. 

McGiven (n.d) says “Blocking is the positioning and movement of the characters to tell the story in visual terms. This placement can suggest the attitudes of the characters toward one another so the story situation is conveyed to the audience with or without dialogue. It makes the audience understand, at times contrary to the dialogue, the inner meaning existing within and between characters.” Being connected with the character and the story itself is an actor’s responsibility. Blocking doesn’t always solely rely on the director and so performers need to understand what blocking is and why it is needed. 

In scenes involving Veronica and JD, I knew that me and the actor playing JD can be stood very close to each other to show intimacy and how comfortable they are in each other’s presence. 

Once Veronica and JD had established their relationship it was a lot easier to understand the way they would interact in certain situations which in turn helps with our blocking and transitions. Their relationship was obviously toxic and so the warmth and lovingness that the audience sees at the beginning, turns into hate and resentment. This means that body language would change and so would the way they interact in scenes.

Fig 9

Understanding the dynamics of the relationship the characters all hold with each other enables us as performers to understand where to put ourselves in the circumstance of a scene.

As an example; in the scene after the opening number ‘Beautiful’ Martha and Veronica interact for the first time since Veronica became friends with the Heathers. On the line where Veronica apologises for cancelling her and Martha’s movie night, I knew I wanted to touch Martha’s arm to show genuine sincerity. This wouldn’t happen if I didn’t fully understand the relationship they share. 

Fig 10

Veronica and Martha’s relationship changes at various points during the show. As a performer we need to be aware of these changes and why they have changed in order to correctly portray the story and emotions. Understanding the context of a scene grants us, as performers, room to explore different ways of blocking the scene and where characters would be in vicinity to each other. 

RETAINING STAGE DIRECTION AND BLOCKING

I find is easiest to make notes in my script of every movement I make, my entrances and exits and emotions which my character feels in order to remember my stage directions for both scenes and songs.

I find this the most helpful in scenes that are very bitty, with many different interactions between various characters.  I can reflect back on my script and see where I moved to another side of a character or if I knelt down etc.

(Above) is a photo taken from my script and you can see the different annotations I have added in order to help me remember my stage directions. I have things like ‘walk to centre’, ‘walk SL (stage left) of Jamie’ which when I’m rehearsing I can refer back to to ensure I’m moving in the right place and on the right line. At the bottom I have the emotions Veronica may be feeling at that time which also help me to explore the way in which I deliver said lines.

(Above) are two photos taken from my script for the song ‘Dead Girl Walking’. Seeing as this song was the most complicated in regards to different movements, I noted every movement next to the corresponding line. I find this the best way in which to retain my direction and when I’m singing through the song I can refer back to my notes made on my script to ensure I’m making the right movements.

I have notes like through all the way through my script. Over the years I’ve found this is the best way that I learn and retain information and so I have stuck with this technique in every level of performing.

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BLUE

Blue can be compared to “Candy Store” in the sense that Veronica is isolated and helpless. 

Unaware to Veronica, whose gone to help her friend, Ram and Kurt have different ideas and essentially want to date rape her. 

Fig 8

Her two friends Heather McNamara and Heather Duke leave her out in the cold (quite literally) and don’t offer any help or support when the boys are grabbing and chasing her.

Veronica is clearly disgusted throughout this whole number and so her body language is recoiled and inward. She would feel very exposed in this situation and so she would try to get away any way she could.

At the start of the song Kurt is grabbing her and she manages to get away. The Heathers don’t let her into the car so she has to fend for herself. Veronica doesn’t sing in this song so I didn’t have to worry about harmonies which allowed me to focus on my facial expressions.

I wanted to show disgust and horror initially as Veronica realises what they’re talking about. Through the song however I feel like Veronica wouldn’t be as concerned as she realises just how drunk they both are. She would become more relaxed in her approach as she realises they’re not much of a threat to her when they’re touching each other more than they are her.

This song however is a catalyst for the rumours they spread about her which in turn causes JD to murder both of them. 

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DEAD GIRL WALKING

This song shows the audience a side of Veronica that they haven’t seen yet. Veronica has just left a party where she was both high and drunk which means she’s in a sense of dis-orientation which explains why she suddenly finds herself in JD’s yard.

The motives for Veronica’s actions are the results of Heather Chandler banishing her from the Heathers and embarrassing her for standing up for her friend Martha. Her vulnerability is evident at the start of the song which grows into desperation which is why she approaches JD demanding him to sleep with her. She feels very isolated and she knows that when she goes back to school she will be bullied more than ever before. This inevitable social suicide causes Veronica to lose all inhibition and do whatever she pleases with the time she has left.

Once she arrives at JD’s house it is very clear that she is drunk and this needs to show in her gestures and body language. The combination of comedic lyrics and a side of Veronica that has been hidden below the surface, allows for a number that is both funny and insightful into her character.

STAGING AND CHOREGRAPHY

My director wanted Veronica’s approach to appear very sporadic and unpredictable and so playing with her different emotions seemed to be the best way to portray this. Veronica’s emotions at this point are very heightened and she feels she has nothing else to do with the time she has left and so she turns to someone she feels she can trust.

Despite Veronica storming into JD’s room out of the blue and demanding him to sleep with her, he doesn’t take much persuasion. Although JD is easily convinced, the desperation needs to be evident in Veronica’s voice.

Understanding the context of the song and what has led Veronica to this moment supported my decisions in how drunk I wanted to play her. Knowing that she’s just thrown up at a party for drinking too much explains the new found confidence she has around JD.

I knew I didn’t want to over do the drunk element of Veronica in this song but I wanted to tap into it at some points to still make reference that she wouldn’t usually do something like this.  Brown (2010) states “people who are intoxicated are more inclined to be louder, more outgoing and very unaware of the spectacle they’re making of themselves. They tend to be inappropriate in their boundaries and especially over familiar with strangers.” This explains why Veronica is suddenly demanding sex from a boy she’s spoken to twice. Although Veronica and JD have never spoken properly, ‘Dead Girl Walking’ needs to show elements of awkwardness as well as chemistry that hasn’t yet been explored.

Even though Veronica is completely intoxicated she needs to be fully in control and demanding in what she wants. This context helps support the decision to make her movements over the top and evident to an audience that she is drunk.

I know as the person playing her, that Veronica is a virgin, therefore I didn’t want to make her sexy. The awkwardness already implemented in the song can be taken to the next level when they reach the instrumental. She can awkwardly be very unaware of what she’s doing which again adds to the comedic parts of the song.

Learning the choreography initially was challenging as each line had it’s own movement. I wanted Veronica to be unpredictable and allow the audience to see her as a sporadic, awkward girl which is exactly what JD is seeing. 

The video (above) is taken from the first day that I’d learnt the choregraphy. It is still very rough but I’m able to analyse which movements need to be a lot bigger.

The switch between her emotions and her body language needs to be more significant in order for the audience to truly understand what is happening. I want to improve the way she is sporadic and her mind is all over the place by making the movements sharper and bigger with more energy behind them.

As time has gone on, I have improved on the cleanliness of the movements and the difference in her facials. I find it is better to rehearse with JD as we have each other to bounce off from, and so any more rehearsals will be done together.

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BIG FUN

Big fun requires the full ensemble as it set at a house party.

Big fun is the number where we see all cast members together, and characters who wouldn’t usually integrate are together. Lots of underage drinking and drug taking happens which explains the things that happen during the song. 

As a cast, understanding the context of the song is important as we need to be aware of what sort of energy we needs to be giving to the audiences. The number needs to be high energy as it would at any given house party. Using energy in the vocals and attack in choreography gives for a great number.

Analysing Veronica and what’s happening to her during this song

Her first party

Her first time drinking

Her first time taking drugs

Her first time letting her hair down

Her first time being complimented by a boy

Being aware of how my character is experiencing things for the first time during this song allows me to fully access her feelings through her body and face. She has ever experienced anything like this before and she gets very drunk which brings out her goofy, nerdy side previously seen in the opening number. 

The choreography allows a lot of room for my own character interpretation. I used elements of Veronica’s character of her being an awkward outsider which then benefited the way I could create body alignments during moments of freeze and freestyle that embodies who she is.  I wanted Veronica’s movements and poses to be very geeky and so I used inverted feet, awkward arms and a goofy face to truly embody how she would be at a party. 

After analysing our rehearsal, we realised as a whole cast that there wasn’t enough energy with our movements. We needed to remind ourselves that our characters are at their first ever house party, drinking everything in sight and so our movements need to mirror this situation. Our actions then escalated which boosts the energy to a higher level. Despite the choreography being on the easier side, we needed to use our energy and crisp movements to make it look professional and worthy of convincing an audience. 

VERONICA’S VOCAL TRACK

Veronica sings with ensemble and then has one solo part in the middle when interacting with Heather McNamara. 

With this song especially I found that I would hone in on how I sounded and not properly focus on my character. This affected the way I performed my solo lines as I was worried about cracking when belting the notes. What I’ve found through this rehearsal process especially is that if I truly embody my character and commit to their persona, the vocal parts come naturally and it doesn’t matter what I sound like. 

Again the ‘C’ in the treble clef, proved tough for me to belt. Therefore I had to adapt the way I sang it in a way that suited Veronica’s situation. Veronica is both very drunk and very high at this moment and so her voice wouldn’t sound perfect so I simply stopped worrying. Being anxious about a note only hinders me by adding unwanted tension in my body which in turn restricts my vocals anyway. Accepting that I won’t always be able to access a note in the way I’d like, keeping true to my character and their situation helps me to perform the line in the right way. 

After Martha has been humiliated by Ram, the ensemble sing a line ‘Dang dang digetty dang a dang’ which I have taken a photo of and inserted below.

This phrase was difficult to initially memorise because of the intervals between each notes. Writing down the notes on my score and playing them on my keyboard app on my phone, I am able to listen to the intervals over and over to get them into my head which improves my muscle memory. I find that as well as understanding the intervals, graphic notation helps me to visually see when the note are lower, the same, or higher. With this phrase in particular, we finish on one note and start bar 02 on the same note. When making annotations of this on my script it is helpful for me to see the intervals when singing a long with the backing track. 

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FIGHT FOR ME

This is the number where the audience are first introduced to the dark and mysterious character of JD. 

JD has just interacted with Veronica which is the first time anyone has shown interest, other than Martha, in speaking to Veronica without underlying elements of bullying.

Ram and Kurt take an instant dislike to JD as they are clearly threatened by him. This causes confrontation and to everyone’s surprise, JD fights back.  Veronica is clearly taken aback by JD’s demeanour and confidence and this number shows how much Veronica falls for JD. 

The director chose to use moments of slow motion, freeze frame and real time during this song to highlight the different transitions of the song. The slowness and isolated movements used in the slow motion parts can be compared to the likes of Bob Fosse choreography. The precision needed to keep these movements small is very particular and if executed properly, looks very effective. Channeling the inner Fosse that me and my class have previously danced, made using slow motion a lot easier.

The real time is used at the start of the song where JD initially fights off Kurt and Ram and then it turns into slow motion and then into a freeze.

Dove (2014) explains that “slo-mo can make the output more cinematic and artistic, add emphasis, ramp up anticipation, and focus viewers on the essence of a narrative” The aim of the choreography was to emphasise the conflict between JD, Ram and Kurt. The sole focus of the audience wants to be on the fight and so the use of freeze frame and slow motion allows the audience to see the full extent of the movements as well as allowing the actors to full execute their movements. 

The audience are seeing life through Veronica’s eyes and so the slow motion and freeze helps slow down the action, and allows the audience to see what Veronica is visualising in her head.  She’s in her own little world which enables her to gush over JD therefore the audience need to feel what she is feeling.  

The lyrics of the song are all Veronica’s own thoughts and fantasises about having a boyfriend like JD who would protect her at all cost, which foreshadows the events that follow in the rest of the show. 

HARMONIES AND VOCAL TRACK

The vocal track for Veronica in this number is simple as she sings one line of ensemble and then she sings her solo. 

The first part of the score I struggled with was the second to last “Holy Shit” to the last “Holy Shit”which sits in bars 7-8 on the vocal score, which I have also circled. (photo inserted below) 

The notes go from a B to G which is an interval of a 6th. I found that I needed to add nasal twang onto the last “Holy Shit’ in order to get a thick fold sound. I find reading the score useful in order to see the intervals between notes and in some cases this means I don’t have to use graphic notation.

The other parts of the track I struggled with wasn’t so much the pitch of the notes themselves, but more of the vowel sound used for the word attached to the note. For example on page 7 of the “Fight For Me” score, Veronica says a phrase 

“If some night you’re free.” This was the first challenge for me due to the fact the highest note I needed to hit in this phrase, sits on a ‘i” vowel sound on the world ‘night’ The note itself is only a C however due to the vowel being an ‘i’ the sound travels to the back of my throat creating a strained sound instead of a full, thick sound when placing on my resonant spot. I found that if I placed the sound on my resonant spot, a ridge between my hard and soft palette, I could access the note easier and opening my ribcage to the side and breathing into my lungs helped support the note. Any following notes that are in this same place became a lot easier to sing after realising how to prepare for them and put them in the right place for my voice. 

My two voices

I have two places in my voice: my chest and head. This is what most singers possess however I find that my switch is a lot more significant due to my ‘head’ sounding quite classical. I can access more notes in this style of singing however the tone of my voice completely changes. 

Through the whole song I have sang in my chest, belting any high notes using the support of my breath. The last phrase Veronica says is ‘If you would fight for me.’ The final ‘me’ is held for 8 counts and sits on a D, one tone higher than my initial struggle with the note C at the start. Despite it being only a tone higher, I struggled belting this note using my full chest as the vowel sound sits on an ‘e’ therefore the sound sits further back in my mouth creating a strained sound.

I made the conscious decision to switch into my head voice for this phrase. Due to the fact that the difference between my head and chest is quite significant, you can clearly hear that I have implanted the sound in a different place. I established that if I tried to belt this last phrase, I would’t have enough support in my breath or range to fully belt this note for the full capacity of note length. The easiest way for me to hit each individual note in this phrase was to switch to my ‘head’ voice and use the different sound of my voice to create a safer sound.

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CANDY STORE

Above is a screenshot taken from our Candy Store rehearsal. 

(left) Heather Chandler

(second from left) Veronica -me-

(second from right) Heather Duke 

(right) Heather McNamara

“Candy Store” is the number in the show where the audiences really sees just how narcissistic and obnoxious the Heathers are. Veronica has just confronted Heather Chandler and this is Chandlers way of retaliating and re-asserting her power.

The moral dilemma Veronica faces is wether she chooses her best friend Martha and essentially lose her place in the Heathers or she chooses to stick with the Heathers and remain popular. Veronica has yearned for the popularity she now has, and so risking losing that is something she isn’t willing to do. The internal fight Veronica is battling with herself needs to be evident in her face and body to convey her emotions to the audience.

When blocking this number, Veronica remains stage left throughout the song. Due to this, I knew I needed to use my facial expressions to show Veronica’s confusion at the Heathers spectacle. 

The decision to keep Veronica stage left, could show that she is frozen in place due to fear of persecution. Veronica feels trapped as the Heathers surround her and all of her peers are joining in the onslaught. At this point Veronica feels very alone therefore isolating her to stage left convincingly shows that she is currently deserted by the Heathers. 

I really had to use to my face to convey what she is feeling due to my body being restricted to little or none movement. I wanted emotions to change on different lines and real reactions to happen. In order to do this I had to be very aware of who Veronica is and how she would react in this situation. 

WATCHING DIFFERENT VERSIONS OF CANDY STORE TO UNDERSTAND HOW TO REACT

I always find that watching different versions of the number and surveying how the Heathers and Veronica interact in this song gives me inspiration for my own interpretation of the character.  

The video shown (above) is taken from an amateur production of Heathers by Acting Against Cancer at the Henry Clay Theatre in 2017. Veronica in this production holds the same presence as mine, staying stage left for the entirety of the song and just standing and reacting to the Heathers. I found that watching a version where the Veronica is somewhat ‘stuck’ in one place adds more depth to how isolated she feels. This element of isolation and seclusion from her other peers makes more room for the Heathers to be the main point of focus for the audience. 

I wanted to play Veronica very confused adding elements of hurt. She is hurt that the Heathers would do this to her in front of her classmates as Veronica is delusional in thinking that being friends with the Heathers would protect her from being humiliated again. Veronica realises that challenging any of the Heathers comes with a price and if she did it again, she would again be left on her own. 

The only time Veronica moves during “Candy Store” is after Heather Chandler snatches a note out of her hands and marches over to her best friend Martha. Veronica goes to run after Chandler to stop her, however this is when her other classmates intervene and stop Veronica putting herself in a position for the Heathers to scorn her again. This is the only time Veronica doesn’t feel so alone, but her morals are telling her to protect her one and only friend she’s had her whole life. 

VERONICA’S CONFLICTING MORALS AND HOW THEY AFFECT THE WAY SHE ACTS 

Veronica has always been best friends with Martha for as long as she can remember, but being friends with Martha also comes at a price; unpopularity. Martha doesn’t fit the conventional term of ‘Beautiful’ set by society. Veronica is tired of being bullied by her peers and so opts to become friends with the most popular girls at school. 

Throughout “Candy Store” Veronica is essentially battling with her own emotions on wether to stay true to her morals or try to fit in. This conflict in her own mind needs to be evident to an audience and so as a performer I need to ensure I am conveying the right body language and facial expressions to successfully play a girl who doesn’t know which path to take. 

The overall direction when rehearsing this number was to understand when you should and shouldn’t pull for the audience’s attention. The focus needs to be on the Heathers and so any choreography needs to done with minimal attack. This applies mainly for the ensemble however the reason Veronica is so stationary also helps keep the focus on the Heathers. The only time to pull the audiences attention would be when Veronica tries to get the note off Heather Chandler and so this needs to be a big movement in order to contrast with the Heathers and the ensemble.

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THE OPENING NUMBER ‘BEAUTIFUL’

This video shows a small part of our opening number of Heathers called ‘Beautiful’. This number is the opening of the show and so it needs to tell a convincing story, and be very full of energy in ways to connect to the audience.

The character I am playing, Veronica Sawyer, is the narrator of this number. The audience see’s life through her eyes and therefore in my performance I need to be theatrical and very clear on the storyline in order to effectively illustrate the story to a large audience.

Using rehearsal footage allows me to critically analyse my performance and note my areas for improvement. Over the years my constant note from director’s has been to be ‘bigger’.  This can be through my:

Face

Gestures

Body Language

Movements

Voice

I have always tried to improve this note however when watching rehearsal footage back I realise there is always more that I can do with the character.

Watching the rehearsal video (above) back, I realised that my 100% that I think I am giving into the character does not translate to the audience. After critically analysing myself I realised that my body gestures and language need to be bigger as well as the colour in my voice when in certain situations.

ANALYSING THE VIDEO

BODY LANGUAGE

In this number, Veronica is basically reading from her diary. This diary then becomes my prop for this opening and it is also a metaphorical safety blanket for the character of Veronica. I knew I could use the diary and change the way I was holding it to subtly show Veronica’s emotions.

For example: at the beginning when Veronica is on her own and vulnerable in the school, I wanted to use the diary as a metaphorical comfort blanket which is shown with holding my arms crossed and the diary underneath. The constant name calling that Veronica endures would make her recoil and protect herself in any way she can and so the body language the audience sees of Veronica’s arms being crossed shows she is closed off from the world and trying to protect herself.

As a character Veronica is shy and under confident and so when she meets her friend Martha, who she feels the most comfortable around, she would open up and be more relaxed. 1 minute and 8 seconds into the video is when Martha is introduced. Despite Martha being Veronica’s best friend, my warmth and relaxation that Veronica feels around Martha isn’t shown clearly by my body language. My arms are still crossed and from a distance Veronica’s body language and gestures haven’t changed. In future rehearsals I then fixed this and changed the way I was stood and holding the diary to show a clear contrast between Veronica’s mood when she is with Martha versus on her own.

Ram and Kurt enter the scene 1 minute and 28 seconds into the video and they interrupt Veronica and Martha’s conversation. Ram and Kurt have been one of the main perpetrators of Veronica’s bullying and so when they approach Veronica should recoil slightly and there should be an obvious change in her emotion. Veronica see’s them as dumb high school boys and is fed up of their antics and so when they start picking on Martha that’s when she is confident enough to stand up for her friend. 

CHANGING MY TONE OF VOICE

I realised after watching this video back that I lack colour in my voice. I sound very mono-tone when speaking about different situations. 

According to Alburger (2019) he says the best storytellers create the best imagery through a combination of interpretation, intonation, attitude and the incorporation of a variety of acting skills.

For example; when Martha is talking to Veronica about renting a movie, I need to make Veronica sound more excited by heightening the pitch of my voice and adding laugher. At the moment the impression I am getting of Veronica, in this rehearsal video, is that she is fed up of Martha which isn’t what she’s feeling. By changing small things like the pitch of my voice and the pace in which I deliver the lines would help show the audience Veronica is happy and not ashamed to have Martha as a friend.

I started to go through the script and make notes of which words to emphasise and where to change emotion in a way that would make the audience see Veronica’s emotions a lot clearer.

Dunbar (2014) explains that there are six essential elements to the voice - alignment, breath, centred onset of range, pitch, resonance and articulation. Using this knowledge to my best I then implemented the different elements to my own performance especially in the opening number. Raising my pitch when confronting Kurt and Ram creates a different dynamic and articulating my speech when introducing each character makes it clearer to the audience on who they are which will then allow me to expand my performance. 

Adding a laugh when saying ‘Martha Dunstock’ shows Veronica is relaxed.

Fig 7

When confonting Ram and Kurt, her tone of voice needs to change again. When telling them to stop picking on Martha I could add more sense of urgency and a stronger fold in my vocal cords to show a stronger aspect of Veronica’s character. If Veronica was on her own in this situation she would shy away from standing up for herself however when it comes to her friends, she isn’t afraid to say what she is thinking. Retaining a simple skill of changing my breath and using strong glottal onset when saying key names of Ram and Kurt shows a clear distinction between who Veronica does and doesn’t like when comparing to how she introduced Martha. 

Analysing the different shifts in the song and what Veronica feels at which point will enable me to add the skills necessary in showing the audience that these changes have happened. Adding colour to my voice will liven the whole song up, and making theatrical and obvious changes to my body language will ensure that the audience understand Veronica and therefore relate to her as an audience member. 

BEING MADE BEAUTIFUL BY THE HEATHERS

I wanted there to be a drastic change in my body language after Veronica had been made ‘beautiful’ by the Heathers. After running down the aisle made by the ensemble, Veronica needs to be open, alive and not afraid anymore. The contrast between Veronica before the Heathers and then after needs to be drastic in order to show how Veronica is going to change. Being aware of the effect on body language in portrayal of a character helped me improve Veronica’s character on stage.

When I’m performing I think I am doing all these things and I never understand why my directors say I need to be ‘bigger.’ These videos allow to me self analyse and realise what the audience are seeing in my performance which in turn will help me to develop my character choices in a way that is readable to an audience.

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PRODUCTION ROLES WITHIN A MAJOR PERFORMANCE

To many actors surprise; they’re not the only ones required to put on a show. Many different people with different skill levels are required to light, sound, set and make a show. During our major performance (our last one before entering the profession) it’s more important now than ever that we realise who is going to be in the theatre, and what they do in order to help us be the best performers we can be on stage. 

Fig 6

The amount of work that goes into a full scale musical theatre show is astronomical. There are many different departments that are needed to get the show to the stage. 

We’re lucky in LMA that we have different departments surrounding us every day. For example we used film and TV students to film and edit our show footage after a performance.

PROFESSIONAL THEATRE WORK

When it comes to working in the industry we as performers need to know who to speak to if we have a problem in a certain department. 

I will list the following job roles required to help produce a major production. 

Producer - 

Director

Assistant Director

Choreographer

Dance Captain

Music Director

Stage Manager

Assistant Stage Manager 

Technical Director

Set Designer

Costume Designer

Lighting Designer

Sound Designer

Props/ Furnishings Co-ordinator

Theatre Director

Stage Crew

House Manager / Ushers

Publicity Co-ordinator

Progamme Co-ordinator

As a performer it is very important to understand that all these different departments and people are required in order to help run a performance. We need to know who to get in contact with if we have an issue with certain things. 

A producer would book theatres, negotiate and issue contracts and manage how the budget is spent. With a major production a producer is vital in order to be then be able to create a rehearsal schedule for the cast and crew. They are the first cogs that get the wheel turning for a production of size and so are essential to a team.

A director is responsible for setting their artistic direction for a show which includes selecting the cast, leading rehearsal in regards to blocking and actor’s choices on characters while also monitoring the show’s pacing. 

An assistant director will take notes, facilitate the rehearsal process and be the second hand man to the director, helping them with any duties they need taking care of.

Choreographer will work in close contact with the director to help them bring the directors vision to life through dance. They will design and direct the stylized movement in a musical production. 

A Dance Captain is a member of the company responsible for overseeing and maintaining the artistic standards of all choreography and musical staging within a production. MCG Futures (n.d)

Musical director takes responsibility for all the musical elements of a production, leading both the actors and musicians through rehearsals and in performance, conducting the orchestra and cast. MCG Futures 

They are just few of the roles within a major performance and what they are responsible for. The list goes on not one role being more important than another. Every person in the cast and crew are vital to keep the wheels turning for a major production. “Production management skills are core to the growth of the creative and cultural economy” (Farthing, 2012). Production roles are essential to help bring a musical to life. The combination of lighting, sound and PFX help aid a performance to seem more real despite it being on a stage.

When we get into a venue as a cast we need to be aware that these people will be working and we need to respect their job title. Despite at LMA, different jobs will mingle into one because we don’t have a full team it is essential to know what all these jobs do within a theatre for when we go into the industry. 

HEALTH AND SAFETY IN THE THEATRE 

It is very important for all cast and crew to be aware of what each person is responsible for in order to maintain health and safety standards. Health and safety when running and rehearsing for a show is important for everyone to help avoid injury. 

As well as keeping cast and crew safe, the health and safety procedures need to be addressed and accounted for the audience members. The Wokingham Theatre (2020) state that they have appointed a health and safety officer who is “required to have an administrative background, analytical mind and the ability and tenacity to work on a tight timetable in the preparation, elaboration and fulfilment of the agreed health and safety programme.” Each cast and crew member need to be considered when creating a health and safety programme in order to protect anyone that will be in that theatre for rehearsal time. 

Each production role has significant impact on the way a rehearsal is carried out and no role is more important than another. Knowing about each person in a theatre and what their role entails is important to know as a performer to be able to approach the right person if you encounter a problem. 

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LEARNING THE OPENING ‘BEAUTIFUL’

To prepare for learning the score, I listened to the off-Broadway cast and learnt the majority of lyrics and tune off those tracks. The way I learn the quickest is by listening to the available tracks of the show and finding my track in the score. I used this technique in every song in Heathers. Following the score helped me distinguish when my character, Veronica, is singing a solo track and when she then moves onto the ensemble track.

I knew coming into rehearsals that Veronica Sawyer was going to be the most challenging character to play due to her dark humour and huge character arc throughout the show. The vocal score for Veronica is challenging, as it includes lots of belting in places I’m not comfortable and so I knew I’d need extra help when it came to certain notes. The challenges I faced with Veronica’s vocals I took to my singing teacher, externally, in order to be fully prepared when I got into rehearsal. It is not the director’s job to help me with my own vocal issues hence why I cleared those up before I got into rehearsal.

However, at parts Veronica is required to sing with the ensemble. One of my weaknesses as a singer is picking up harmonies straight away. I seem to stray with the sopranos because they are so easy to hear in an ensemble, as they usually sing the tune which can be heard the most clearly on a recording.

After we had been given a harmony line as a harmony group, we then left the room and practised the one harmony line helping to improve our muscle memory. Being separated from other groups meant we could focus more intensely on our transitions from harmony lines and the intervals between notes.

I have to constantly repeat the harmony line and use graphic notation in my score to follow the intervals of the harmony and ensure I’m sticking to the right notes and not being too sharp or flat.

Using this technique of repeating the lyrics/ harmony/ dialogue is called muscle memory. Smith (2016) explains that muscle memory is where actions / skills are imprinted into the muscle tissue which makes it easy to do over and over again even after a long time.

When learning the opening number ‘Beautiful’ the character of Veronica is a loner and so unmistakeably so, sings on her own. This makes it easier for me as a singer to distinguish her solo track in amongst the ensemble. Just before the climax of the song she then joins the ensemble in the admiration for the heathers which requires me as a performer to join the ensemble track. This then means I need to learn and retain any harmony lines for my vocal group, hence why I make voice notes on my phone and use graphic notation as when I combine this two techniques, it adds to my muscle memory.

Below is a video of my voice note recordings of learning page 4 in the score: bar 21, 26 and 30.

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REHEARSAL SCHEDULE

Once we had been casted it was onto rehearsals and our director Lucy, created a rehearsal schedule that we could follow to see if we were on the right track as a cast.

The schedule shows us which numbers and scenes we will be setting and who is needed to complete those tasks wether it be the leads or the ensemble. 

The rehearsal period spans over 14 weeks (including show week) and therefore each cast member needs to know what number and scenes are coming up for that week in order to stay prepared for each rehearsal.

Myself especially benefits from a plan like this because the character of Veronica Sawyer has many scenes and songs therefore I need to be aware of the demands that week. 

The rehearsal schedule can also be used as a point of reflection to see if as a cast we are on the right time to completing the numbers listed. If not, we can then group together and problem solve the situation so that the continuity of the show doesn’t suffer and numbers don’t have to be cut.

BEING PROFESSIONAL

The schedule seems like a much more professional way to inform a cast of what is needed of them in the next 14 weeks. Lines and lyrics can be learnt in order for the director to have complete creative freedom which the actors which can’t be achieved when script and scores are in the way. Pre-planing also helps the actors to have more space to experiment with emotions and blocking which they otherwise wouldn’t have if they weren’t aware of the story in that scene.

Time management benefits many people in the workplace due to the fact you feel relieved of added stress when things aren’t completed on time. A schedule like the one above creates a sense of ease for cast members to be reassured that if we stay professional, a major performance like Heathers can be completed within 14 weeks. 

Harris (2019) states that “Effective time management can also reduce the number of problems that you face, which in turns reduces overwhelm and stress and helps you get more done.” In regards to the rehearsal schedule, we would face less problems in the rehearsal room as everyone would know that the certain number/scene needed to be completed that day. It would keep everyone on track, and as a cast being productive means more tasks are completed. 

This plan is a great way for everyone to time manage properly in order for a huge production like Heathers to be completed and ready to show within 14 weeks.

In the professional world; all directors of major performances would create a schedule which would be relevant for all cast, crew and creatives. The New Venture Theatre (2019) explains in a blog post that within the rehearsal schedule key dates should be identified such as when all actors should be off book, running of acts and stagger-throughs. Rehearsal schedules will be created by both directors and production managers in order to take into consideration what the cast and crew are needed for.

For example; when the ensemble are learning choreography and vocals, you will need the musical director and choreographer and not necessarily the crew. However when it comes to stagger-throughs, the crew will be needed for prop handling. The end of the initial rehearsal process is when the crew would be needed the most and so the rehearsal schedules will have to adhere to each and every person working on the production. 

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THE HISTORY OF HEATHERS

Zilberman (2014) states that the cult classic Heathers, the 1988 black comedy about two high school students who fall in love and unintentionally make suicide popular, has grown so much in the past 25 years there was a Broadway musical created in it’s honour.  

POLITCAL THEORIES BEHIND HEATHERS 

“Heathers uses the red and blue colours to signify the American civil war.”

“Heathers foreshadows the fall of the Soviet Union that’s why Veronica wears blue in every scene.”

“Heathers IS Moby Dick that’s why Heather Duke reads Moby Dick in the opening sequence.”

All of the above theories were stated by journalist Brady (2018). All of these statements were later disregarded by Heathers screenwriter Daniel Waters with him saying “I’m a big Civil War not and Cold War nut but I never actually thought: hey, I’ve always wanted to do a movie about the Cold War, why not do it about three girls in high school?” (Brady, 2018)

There could be hidden meaning behind the story of Heathers but none have been stated as fact by the creators or writers.

Comparing the movie to the off Broadway (musical) version

Before the auditions began,  I watched both the movie of Heather’s and the 2014 off- Broadway version to get a grasp of the difference in character portrayals and the contrast of the storyline. The musical version of Heathers shows Veronica as a goofier, nerdier version but still keeps the hint of confidence and acknowledgement of self worth that the movie version Veronica has about herself. 

Fig 3. Winona Ryder and co-star Christian Slater (left) who played Veronica Sawyer and Jason Dean in the 1988 movie of Heathers. 

The biggest difference I noticed between the movie version and musical version of Heathers is the evolution of the significance of their different colours. In the movie, Veronica wears a variety of colours such as grey, black, blue and white. Keeping true to the 80′s fashion both Veronica and the Heathers are in padded blazers which adds to the school fashion of that era. The Heathers in the movie wear their iconic colours of red, green and yellow however they aren’t emphasised as much as they are in the musical.

Fig 4. A snapshot from the musical number ‘Candy Store’ that is performed in the musical of Heathers the 2014 off-Broadway version.

As you can see, the different colours of the Heather’s compared to Veronica is represented very clearly by bright, royal colours that can’t be missed. The significance of the character’s colours are important to show positions of power. For example; Heather Chandler’s iconic colour is red which usually represents anger, war and blood. However, Black (2013) states that “the colour red here is a symbol of power, and wearing the red scrunchy shows everyone around her that Heather Chandler is the leader, like a queen wearing a crown.” Yellow represents happiness and optimism where green can represent greed and jealousy (Bourn, 2011.)

Using the psychology of colours and associating each colour with different  characters helps performers build their persona of the character.  

The colour blue that Veronica wears represents trust, loyalty, sensitivity and intelligence. (Bourn, 2011). Knowing why the costume designers and director’s have chosen to use these colours so boldly, can help actors portray the  characters in the correct way as intended by the creator of the show.

Fig 5.

Comparing fig 5 (Above) to fig 4, we can see the evolution of the colours in order to be perceived by audiences. In the movie the colours worn by each character aren’t as distinct as they are in the musical version, so the musical creators have wanted the colours to be the main attraction to the show. 

When introduced to the character JD audiences see a long black trench coat which has become JD’s signature outfit. Black is a mysterious colour that is typically associated with the unknown or the negative. (Bourn, 2011.) Being aware of different colours and their meaning, can provide context for actors to understand their characters by just looking at the costume. 

The combination of lighting and the different coloured costumes makes characters easier to distinguish and visually makes a show pleasing to the eye. This will be why the creators of the musical, wanted to emphasise and play on the different colours that each character wears. 

Using research to help build character.

Looking at both versions of Heathers allowed me to gain a better understanding of who Veronica Sawyer is and why she does what she does in the show. Context is a huge element that I look at  before approaching any characters songs or lines as it provides better understanding of their journey in comparison to the full show. I find that context provides more thoughtful acting that is more genuine which results in a legitimate show for audiences. 

For the audition we were provided 5 sides of script for the character of Veronica and so I made sure that I noted where the scenes fit within the show. 

Was it before or after someone died? 

Was it when she was a virgin or after? 

They may sound like silly questions however this level of research and context is useful when understanding where the character is both emotionally and physically.

REVIEWS ON HEATHERS

When reading reviews surrounding Heathers, it can be said that the show is controversial. The difference in generations could be the reason for a distinct contrast in opinion regarding Heathers. The younger generation are more accustomed to the subjects Heathers include such as suicide and violence. 

"The songs all sound the same (and are all VERY LOUD) and the mundanity of the lyrics begins to grate. 

a thrilling score by Murphy and O'Keefe, full of bopping pop songs and moody ballads." 

Wonky sound, stilted action and atrocious lyrics. 

All of the above just a few cuttings from the online article written by Alex Wood, (2018). 

It is very clear that there are differences in opinion regarding the music in the show. Heathers doesn’t use the traditional musical theatre sound, therefore more mature audiences could take a dislike to this new sound. 

One review about the Off-Broadway version of Heathers says “after 25 years of horrific school violence, J.D.’s terrorist persona and homicidal activities are actually more chilling today than they were when the movie came out.’ (Stasio, 2014). A lot of the subjects tackled in Heathers are much more prominent in todays society therefore they’re not so censored to younger audiences. 

Using these reviews could help influence our production of Heathers. For example: we are aware that families and young children may be coming to see the show. For scenes involving sex and violence, censoring these could be beneficial in the longevity. Only Level 6 students could successfully produce a show such as Heathers due to the dark plot and the language the script possess. 

Most reviews on Heathers comment about the performers themselves or the music, which are things we cannot change. The music and story is what makes Heathers the cult-classic that it is and so it would be enological to change these things. We approached many of the suicidal senes with a sense comedy in order for audiences to not feel too uncomfortable. 

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AUDITIONING

How prior knowledge helped me to succeed in the auditions.

In regards to the auditions, I felt I had an advantage in the way of approaching the show material given to us in the audition pack. I already knew the shows soundtrack, and I was aware of the different characters and the roles they played in the show. “Heathers is not an ordinary nostalgic teen comedy flick. Murder lurks around every corner in the film, but the emphasis is on black humour, not violence.” (Huering, 1988). What I found useful in understanding the story was initially watching the movie of Heathers from 1988 and then proceeding to watch a bootleg of the off-Broadway musical and comparing characters. I wanted to get to terms with the raw story that audiences are presented with in the original movie. Rao (2018) explains that the act of Veronica and JD staging Heather Chandler’s death as a suicide, they unintentionally make the act popular which highlights the dangers of group-thinking and disregard suffering. 

In the off-Broadway show the dark humour needed to be translated into live theatre effectively, in order to keep the true heart of Heathers alive. Understanding which part of the show allows room for dark humour helped me in my audition process as I was able to read this hidden message in the dialogue.

THE AUDITION PROCESS

The audition process for Heathers was different to any other audition that I’ve been in before.  We were treated like professionals in a way which principal characters were auditioned first and other supporting roles were seen after. Each individual audition was held for an equal amount of time which took pressure of following auditionees.

Whenever I go for an audition I always prepare the best I can by learning all sides and lyrics for any songs required. I had focused mainly on the character of Veronica Sawyer as I was interested in her progression through the story. I didn’t want the pressure of learning different character’s audition pieces to stray me from putting all my efforts into the role I was the most interested in. 

The only two characters I auditioned for were Veronica Sawyer and Heather Chandler. I know that my type cast is usually characters similar to Heather Chandler hence why I auditioned for her in attempts to broaden my chances of being cast. 

THE CHALLENGE OF VERONICA SAWYER

I knew that Veronica’s solo vocal track was one that I would need help with. I understand as a performer, that my belting in a high register isn’t my strongest skill. Due to this, prior to the audition I sang ‘Dead Girl Walking’ to my singing teacher and she then helped with technique. Using my ‘join’ (the area between my soft and hard pallet) creates a thicker fold for myself in order to reach a high belt without straining. Problem solving issues like this prior to the audition then helped me to perform without worrying about my sound. 

As Veronica is the lead, it made sense to audition for her first. All those auditioning for Veronica had been given sides for her scenes and the song ‘Dead Girl Walking’. When asked into the room; we had to perform the song first, and if anyone knows Heathers, they’ll know it is quite a promiscuous show at certain points. With this song being near the beginning of Veronica’s journey through the show, I knew I needed to show a side to her not yet seen and a side she has never seen herself. For this song you really have to let all inhibitions go and just forget the outside world and truly believe you’re that character. It was a challenge for me as I am usually very self conscious when performing without much rehearsal so this was quite a big achievement for me. 

Fig 2. VERONICA SAWYER

Once I performed the song, we followed with the 7-11 scene where Veronica has her first real conversation with JD. I performed this scene and received the same feedback that I always get when performing which is to more theatrical. When I think I’m being big, I need to 100x more than what I am already doing. I was told I had the context of the scene and acting choices correct however an audience of 300+ may not be able to read me from the back.

Following this feedback when I was recalled to do the scene alongside other people, I ensured that I was being bigger in all aspects of my body. 

Workshopping

The next stage of the audition was very informal and relaxed. All Veronica’s and JD’s were called in together to read through the same 7-11 scene so that Lucy, the director, could see the chemistry between the different people.

This type of auditioning is very helpful as you can take inspiration from other people’s performances and adapt some things they do that you’d like to incorporate. However this style can also be unnerving as the director can be seen to enjoying someone else’s performance more than your own which can dampen confidence.

Each Veronica auditioned alongside each JD to see who looked like they had potential chemistry that could read on stage to an audience. The main part of a performance is the story-telling which needs to be believable. Experimenting with different performers to see who possess the most chemistry will in turn make the performance believable which leads to a level 6 show. 

The Final Two

It eventually came down to the final choices for Veronica which was myself and Ellyse. I know Ellyse personally and I know she is extremely driven, passionate and very talented. This in a way could make it harder for me and I could be discouraged to try my best because of a negative mindset however knowing Ellyse’s level of talent, this made me fight even harder for the role. I knew I needed to push the boundaries and test myself as a performer and doing anything I was asked to without hesitation.

This audition process was very positive in the way it was approached by the director and students. No one was made to feel unwanted or talentless as each performer brought something different to each character, it was hard to tell what the director was wanting. 

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Johari’s Window

Fig 1 - an example of the Johari window

This technique of finding self awareness using the Johari window can be used when recognising strengths and weaknesses as a performer. 

Invented by psychologists Joseph Luft and Harry Ingham, the Johari window suggests that each person has four elements in their make-up. (Kerr, 2019.)

Arena:  All a person’s characteristics known by said person and his or her peers.

Blind Spots:  Characteristics that others know about that person, but is unknown by the person themselves.

Mask: All of the characteristics that the person knows about himself, but, is hiding from the group.

Unconscious:  All characteristics unknown by the person and by their peers. Hidden skills can emerge and breakthrough thinking can happen.

How the Johari window can be a helpful tool when approaching auditions.

Using this technique of finding my own strengths and weakness’ and understanding how I see myself compared to others was very helpful in regards to which parts to audition for in Heathers. 

I knew that I wouldn’t be suited or cast as Heather McNamara as she is too petite (usually) and her character isn’t my type cast. Understanding which roles didn’t suit me allowed me to focus more intently on the parts I was auditioning for. Using previous knowledge of casting for this show, I knew that the characters most suited to me were Heather Chandler and Veronica Sawyer.

After watching Heathers I knew that Veronica Sawyer would be a very challenging character to play due to her complex character journey throughout the show. This is what attracted me to the role and made me want to audition for this part, as I have never been cast in a role similar to this before. I wanted to challenge myself vocally and push myself in acting as a role such as this requires the performer to access complex and genuine emotions.

I believe that acting is one of my strengths, however the feedback I always receive regarding my acting is to be more theatrical. Accepting this allowed me to truly push myself in the audition, giving myself the best chance possible at landing the role. 

Using the different elements of the Johari window and using them to assess my abilities allowed me to sensibly narrow down which characters I am suited for in order to properly prepare for the audition.