1. Show Structure & Story Diamond
- Format: Aim for a 1-hour long play condensed into 30 minutes. (because the rest is singing)
- Character has a want, they express it in the 2nd scene, and then consequences of that want that play out.
- Story Structure: Once upon a time… and every day …Until one day ( (establish why this day is different) … and because of that… and because of that… until finally.. and since that day. Remember to keep it super simple. the most obvious and ordinary. no dragons or deus ex machina.
- It’s essential to know where the half way point is, and everyone in the cast needs to know where that is. At the half way you do not introduce any new plot or characters. You just deal with the “until finally” and “since that day”
- Character Scaling: Introduce 2 characters in scene one, then 2 more in scene two, peaking at around 6 characters. Halfway through the performance, stop adding new characters and begin wrapping up the plot lines.
- Tone: Balance dynamic range (“laugh / cry / laugh”).
2. Plotting & Character Dynamics
- Plot Integration: Plot A and Plot B should involve related people. Use Sitcom rules (Protagonist + 1 main partner, plus 2 supporting characters who can help).
- Subplots (C-Plot): Use non-sentient objects or animals for comic relief (e.g., Timon/Pumbaa). If you play inanimate characters it’s “Toy Story rules” where objects go quiet when human characters enter.
- Scene 1 & Motives: Establish characters who like each other in a normal setting. Scene 1 must have a very clear goal.
- Character Wants & Obstacles: Map character desires: Dream (why) is granted which leads to Consequences. The character’s core “why” is their real motivation
- Be mindful that selfish wants can turn a character into a villain (e.g., changing “I want a child” not selfish to “I want my sister’s money” = selfish).
- Unrequited love serves as a safety net.
- Introduce major obstacles before the halfway point.
- Satisfy initial “I want” statements by Scene 2.
- Resolution: Use callbacks to Scene 1 to reunite the protagonist and love interest at the end. Directorial edits can occur via off-stage phone calls (e.g., “Your mum misses you”).
3. Musical Numbers & Song Structure
- Opening Numbers: Keep opening numbers light, jittery, and campy. Focus on setting the location through sensory descriptions (smells, looks, sounds, tastes) rather than starting with “I” statements or complex musical arrangements.
- Opening song format:
- 4 people sing 4 individual lines for the verse; the 5th line is the chorus, and the person who does that leads from the middle at the back of the stage. cast wait for their nod to repeat it. On repeat, if the Chorus Leader forgets the chorus, they should silence the group and improvise a new chorus for everyone to repeat. No need for more than two verses.
- One-word or 1–2 line choruses work best. Add a “yeah” at the end of the chorus so we know it’s done (if it works for the Beatles I love you yeah yeah yeah; all you need is love ra da da da da, it will work for us)
- Closing Numbers: Make closing numbers grand while keeping characters in distinct, clear roles.
- Counterpoint Songs: Build a 5-person counterpoint song right before the interval (e.g., 4 characters singing distinct motives + 1 character singing an unrelated line like “and I’m just walking my dog”).
- Rap Cyphers: Perform cyphers where each player contributes 2–4 lines. Build rhythm first by vocalizing gibberish beats before inserting lyrics.
4. Lyricism & Rhyming Rules
- Don’t rhyme to show off; only rhyme when it serves the narrative. Avoid complex rhyming schemes at the very start of the show. Don’t get stuck doing a show about dying just because it rhymed with sighing and now you’re stuck with it.
- Rhyme Structures: Use basic structures like A-B-A-B (e.g., floor / flat / door / mat) or setup-and-punch / setup-and-sting phrasing.
5. Staging, Physicality & Performance Signals
- Eye Contact & Connection: Sing directly to your stage partner(s) and look into their eyes rather than singing out to the audience.
- If someone does something physical, mirror it – Never leave a performer isolated (“no one is alone”).
- Stage Formation: Avoid lining performers up flat across the front of the stage like a standard choir line, as it restricts movement and sightlines.
- Passing the Song: Indicate passing a line to another performer by singing directly to them. To take over a solo, step in front of the active singer so they take center stage or step behind.
- Energy Management: Start songs with high energy and a clear intake of breath. Avoid slowing the tempo down unnaturally (“dribbling”), as it drains energy from the scene.
- Ending Signals & Cues:
- Duck: Signal to prepare for the end of a song.
- Arms Wide
- Tie a Bow: Final visual cue to close out a number (by doing several steps it gives notice for the group.
- Thumbs Up: Signal to initiate a glissando.
- “Yeah” or Button: Vocalize a clear button word (like “Yeah!”) to signal the definitive end of a chorus and eliminate stage uncertainty.
- Abrupt Endings / Mic Drop: If ending abruptly, exit the stage immediately.
- “Tickle Balls” sign signals you want everyone to hold the Note.
