By 4.45 the lineup extends from the foyer of the Promethean Theatre outside and down the street. The doors open, people swarm around the bar to buy drinks, and everyone starts to settle into the cabaret-style seating.
Someone amongst the Summer School group is heard to say "I don't want to do it now". But it's too late - we're on.
I'm using deep breathing to settle myself before the show. I've decided that I'm sufficiently prepared - during the day I've written out my entire piece long-hand; apparently that helps to drill the words into your brain. Well, whatever comes out of my mouth in those ten minutes will be my performance tonight.
The theatre is packed. The lights dim; Matthew Carey takes his seat at the piano and introduces the show. He is suave and witty. The audience quickly warms to him, now primed to enjoy themselves.
Carolyn Curtis leads off, with "The Chocolate Swan" - a heart-rending tale of the aspiring ballerina's quest for a career in dance and her thwarted dreams; despite taking extreme measures to stay thin, her body shape is deemed to be wrong for ballet. When the audience applauds, the roof almost lifts off.
I'm on after Carolyn. My show is "Adventures with a Brazilian", based on the music of Brazilian composer A.C. Jobim. My story describes how bossa nova music transports me to a fantasy world. When the audience laughs early in the piece, it feels good, and I begin to relax. The sound system and lighting are working well. I have friends in the audience. Matthew, accompanying me on piano, seems to read my mind, adapting to whatever I am doing on stage. I'm loving my songs and the words are coming out easily. My patter needs to move a bit faster, but that will come as I get to know the piece better.
I come off stage, and now I'm free to enjoy this show, and also the one at 8 pm.
As I watch each performance, I marvel at the talent on stage, and at the fact that everyone has written their own script, within the space of a week. Some people even perform their own original songs. Each story is drawn from the performer's own life. Stories include a woman's experience of being raised by her grandmother, the tribulations of a drug company salesman, and the musings of a full-time father. I notice the way each show has been influenced by advice given, themes discussed, songs sung, stories unearthed and even chance remarks heard during the week.
The second show comes to an end, but the fun is not over yet - we'll be performing our pieces again in suburban theatres over the next few weeks. We mingle with the audience and congratulate each other. We're feeling happy and relieved. Everyone has improved their skills and achieved their goal of creating and performing an original ten-minute cabaret segment.
The following day, I contemplate what's next. I'd like to expand my segment into a full-length show. I start to consider how I'd do that, and begin to note down ideas for new material, as well as phrases I could use to promote the show. I wonder who I can get to help me. I start to feel the vocal improvements from the week starting to settle within me. I've got lots of new things to practise, but this week's tuition has definitely made me sing better.
I resolve to stop regarding myself as a newbie or some sort of "wild-card" entry. I've seen the improvements that can be achieved through coaching and practice. Sure, I don't have a performing background, but I'm not going to let that stop me achieving what I want to achieve in the future.
It's been a privilege to take part in this week-long program. Thanks go to the Director, Matthew Carey, resident mentor Catherine Campbell, and visiting mentors Frank Ford, Michael Morley, Libby O'Donovan, Sidonie Henbest, Paul Boylan and Jo Coventry.
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