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.
Sunday, January 15, 2012
Friday, January 13, 2012
Tonight, tonight...
"She's got it. I think she's got it".
I like to trust in the power of sleep. Work really hard on a problem, then sleep on it. When I woke up this morning I felt that my show had fallen into place. I went out on my walk, purposely leaving my i-pod at home, so I would be forced to practise. I rehearse by talking to myself out loud. Goodness knows what the neighbours think. I sing out loud too, like a mad-woman.
It's going to be fine.
I'm off to the hairdresser at noon and that will give me a bit of quiet reflection time while I sit under the foils. No magazines for me today.
I've been reflecting on the collective value of small decisions. Small decisions add up. The decision to perform at open mic every month, The decision to enrol in Cabaret Summer School again this year, to immerse myself in it to the exclusion of most other things, decisions to speak at events even if I was not going to be paid. Pushing myself to learn as many songs as possible. And having a double singing lesson each week last year has definitely improved my voice.
Whereas at last year's showcase, I'd had to learn two of my songs from scratch (extreme sport!), I've sung all three of this year's songs before. That gives me a bit of confidence - I've done the groundwork.
There's really not much point obsessing now. My performance will be whatever comes out of my mouth tonight. Two things have helped me to cease the panic. One is the regular "Table Topics" session at my Toastmasters club, where you are required to get up and give an impromptu speech on a topic which is given to you on the spot. The other is the monthly open mic night Cabaret Live! where you don't know when you will be called up to sing. There's no point stressing for the whole night, so you might as well breathe a bit and relax.
Hopefully all this will come together tonight!
You can still book online for the show - please enter the booking ref Dunstone:
http://www.cabaretconfessional.com/summerschool/
I like to trust in the power of sleep. Work really hard on a problem, then sleep on it. When I woke up this morning I felt that my show had fallen into place. I went out on my walk, purposely leaving my i-pod at home, so I would be forced to practise. I rehearse by talking to myself out loud. Goodness knows what the neighbours think. I sing out loud too, like a mad-woman.
It's going to be fine.
I'm off to the hairdresser at noon and that will give me a bit of quiet reflection time while I sit under the foils. No magazines for me today.
I've been reflecting on the collective value of small decisions. Small decisions add up. The decision to perform at open mic every month, The decision to enrol in Cabaret Summer School again this year, to immerse myself in it to the exclusion of most other things, decisions to speak at events even if I was not going to be paid. Pushing myself to learn as many songs as possible. And having a double singing lesson each week last year has definitely improved my voice.
Whereas at last year's showcase, I'd had to learn two of my songs from scratch (extreme sport!), I've sung all three of this year's songs before. That gives me a bit of confidence - I've done the groundwork.
There's really not much point obsessing now. My performance will be whatever comes out of my mouth tonight. Two things have helped me to cease the panic. One is the regular "Table Topics" session at my Toastmasters club, where you are required to get up and give an impromptu speech on a topic which is given to you on the spot. The other is the monthly open mic night Cabaret Live! where you don't know when you will be called up to sing. There's no point stressing for the whole night, so you might as well breathe a bit and relax.
Hopefully all this will come together tonight!
You can still book online for the show - please enter the booking ref Dunstone:
http://www.cabaretconfessional.com/summerschool/
Day 5
Cabaret is an extreme sport.
Today reality is sinking in. We're on stage tomorrow in front of an audience. This morning we all rehearsed our segments, and they are raw. I only dreamed up the final piece of my show last night. I'm now clear about the point of my story, but I still need to find the words to convey it succinctly and entertainingly. My run-through is mainly ad-libbed and the whole set needs a lot of tightening up. I'm videoing each of my performances during the week, so I've captured what I said - hopefully there will be some phrases there that I'll be able to use in my show. There's a famous quote "I don't know what I mean, til I see what I say" - and it certainly helps to record what comes out of your mouth when you're in flow, rather than simply trying to write it down.
Everyone has a show. Some great stories, and emotion pouring out in places. Some of that is quite raw, too, and there is discussion about "When will you know that you'll be OK with the material on stage?" It's not the months or years that count; it's the extent to which you have processed the event emotionally. In the speaking business it is said "Don't do therapy on stage" - you don't want the audience feeling sorry for you. Someone said this week "No self-pity on stage - it is courage that breaks hearts". There's lots of that amongst this group.
We then spent some time working on our patter, and by 2 pm we were all at The Promethean, ready to rehearse on stage.
It feels quite different to stand on the stage - it's not a classroom, and although it's only a small theatre, the space feels huge. After today I'm feeling quite wrung out. I "drew a blank" in my set whilst on-stage. Of course, it's best to do that in rehearsal, so you know which bits you need to practice, it's dented my confidence slightly. Whereas I've been blogging all week as though I'm in control as a second-time participant in this program, I'm well aware that we are not that well-prepared yet. These segments didn't exist on Monday, or even yesterday. They are all newly created, and will need quite a bit of refinement and polish. Some of them will get expanded from ten minutes to a full-length show of up to an hour. That's a lot of work, but there has to be a first time to perform your piece, and it's only by performing that you get a feel for what works and what doesn't work so well.
So - it's time to memorize some patter. I like to do this while walking - so tomorrow I'll be up early and pacing around the neighbourhood talking to myself. I hope I can get a decent sleep tonight.
Today reality is sinking in. We're on stage tomorrow in front of an audience. This morning we all rehearsed our segments, and they are raw. I only dreamed up the final piece of my show last night. I'm now clear about the point of my story, but I still need to find the words to convey it succinctly and entertainingly. My run-through is mainly ad-libbed and the whole set needs a lot of tightening up. I'm videoing each of my performances during the week, so I've captured what I said - hopefully there will be some phrases there that I'll be able to use in my show. There's a famous quote "I don't know what I mean, til I see what I say" - and it certainly helps to record what comes out of your mouth when you're in flow, rather than simply trying to write it down.
Everyone has a show. Some great stories, and emotion pouring out in places. Some of that is quite raw, too, and there is discussion about "When will you know that you'll be OK with the material on stage?" It's not the months or years that count; it's the extent to which you have processed the event emotionally. In the speaking business it is said "Don't do therapy on stage" - you don't want the audience feeling sorry for you. Someone said this week "No self-pity on stage - it is courage that breaks hearts". There's lots of that amongst this group.
We then spent some time working on our patter, and by 2 pm we were all at The Promethean, ready to rehearse on stage.
It feels quite different to stand on the stage - it's not a classroom, and although it's only a small theatre, the space feels huge. After today I'm feeling quite wrung out. I "drew a blank" in my set whilst on-stage. Of course, it's best to do that in rehearsal, so you know which bits you need to practice, it's dented my confidence slightly. Whereas I've been blogging all week as though I'm in control as a second-time participant in this program, I'm well aware that we are not that well-prepared yet. These segments didn't exist on Monday, or even yesterday. They are all newly created, and will need quite a bit of refinement and polish. Some of them will get expanded from ten minutes to a full-length show of up to an hour. That's a lot of work, but there has to be a first time to perform your piece, and it's only by performing that you get a feel for what works and what doesn't work so well.
So - it's time to memorize some patter. I like to do this while walking - so tomorrow I'll be up early and pacing around the neighbourhood talking to myself. I hope I can get a decent sleep tonight.
Thursday, January 12, 2012
Day 4
It's showbiz. You have to get out and promote your show.
Today three of us took part in a photo shoot for The Advertiser Newspaper. We all put on our glitziest outfits and headed for The Promethean theatre, where we were interviewed by Arts reporter Patrick Macdonald. Then photographer Naomi put us through our paces. We were draped on couches, pouted, kicked up our heels, sprawled on steps and almost stopped the traffic outside the theatre at 11 am.
While this was happening, it occurred to me that we made a strange group - a burlesque dancer, a professional comedienne and an escaped lawyer. Never mind the fact that I'm 20+ years older than the other two. What a fun morning we had, and we remained in costume to return to Summer School, to show the others how we presented for the shoot. Next time, I'd wear more makeup and glitzier shoes. A ukelele makes a good prop....
Meanwhile, the others were into a comedy workshop with the wonderful Jo Coventry. We were asked to tell of a funny or weird experience, then we identified the funny bits, and examined how it could be made funnier. Lots of laughs.
Jo remained with us after lunch, to help us in rehearsing our 10-minute shows.
Yessss! I have a show. The concept has come together gradually. I've continually made notes during this week. Every time I think of a fragment of an idea, I write it down - these thoughts can vanish as quickly as they appear.
We heard a great variety of stories - everyone has had life experiences that can make a good story, and can be humorous. You have to pay attention to where people laugh - often in unexpected places. What you think is ordinary can be fascinating to someone who doesn't inhabit your world.
I was determined to present my show in as complete a form as possible. Saturday is not far away. And input from the group can be gold. As a speaker, I know that every time you get up and speak, you'll be better next time. Stage time, stage time. Seeing how a line goes across, and feeling what it's like to say the words, help to crystallize your thinking. One by one, problems are solved and the concept comes together as a whole.
These segments have been percolating all week. Everyone's come up with an intriguing piece - a window on their life. Over the years, when I've been asked to speak or write, I've learned that I can trust myself to "come up with something" - you just have to give it time and attention.
Tomorrow we go into the theatre to rehearse, ready for the big event on Saturday.
Today three of us took part in a photo shoot for The Advertiser Newspaper. We all put on our glitziest outfits and headed for The Promethean theatre, where we were interviewed by Arts reporter Patrick Macdonald. Then photographer Naomi put us through our paces. We were draped on couches, pouted, kicked up our heels, sprawled on steps and almost stopped the traffic outside the theatre at 11 am.
While this was happening, it occurred to me that we made a strange group - a burlesque dancer, a professional comedienne and an escaped lawyer. Never mind the fact that I'm 20+ years older than the other two. What a fun morning we had, and we remained in costume to return to Summer School, to show the others how we presented for the shoot. Next time, I'd wear more makeup and glitzier shoes. A ukelele makes a good prop....
Meanwhile, the others were into a comedy workshop with the wonderful Jo Coventry. We were asked to tell of a funny or weird experience, then we identified the funny bits, and examined how it could be made funnier. Lots of laughs.
Jo remained with us after lunch, to help us in rehearsing our 10-minute shows.
Yessss! I have a show. The concept has come together gradually. I've continually made notes during this week. Every time I think of a fragment of an idea, I write it down - these thoughts can vanish as quickly as they appear.
We heard a great variety of stories - everyone has had life experiences that can make a good story, and can be humorous. You have to pay attention to where people laugh - often in unexpected places. What you think is ordinary can be fascinating to someone who doesn't inhabit your world.
I was determined to present my show in as complete a form as possible. Saturday is not far away. And input from the group can be gold. As a speaker, I know that every time you get up and speak, you'll be better next time. Stage time, stage time. Seeing how a line goes across, and feeling what it's like to say the words, help to crystallize your thinking. One by one, problems are solved and the concept comes together as a whole.
These segments have been percolating all week. Everyone's come up with an intriguing piece - a window on their life. Over the years, when I've been asked to speak or write, I've learned that I can trust myself to "come up with something" - you just have to give it time and attention.
Tomorrow we go into the theatre to rehearse, ready for the big event on Saturday.
Wednesday, January 11, 2012
Day 3
I'm trusting the process.
I have to - my show is no further advanced than it was yesterday.
Today I took up all the opportunities that were offered - to participate in three masterclasses, and none of the songs I sang today will feature in my show on Saturday. The three workshops were - European songs, Sondheim songs and Ballads.
A lot of us challenged our self-concept today. I heard comments like "I'm not a jazz singer"; "Should I even dare to sing this?" I'm glad to know that I'm not the only one to have the occasional self-doubt. I've never thought of myself as a "musical theatre person". I only know one Sondheim song - "Send in the Clowns", so that's the one I sang.
I'm loving the culture of achievement and daring. People took risks. No one was told that the song they had chosen was too ambitious. And you start to realize that no one performed a song perfectly the first time they sang it. And what is perfect, anyway? You are meant to perform your own version of the song - there's no point in trying to re-create something that already exists. It's not about meeting a standard, but but utilizing your unique qualities to the full.
Although these workshops took me away from the path of preparing for my show, they enabled me to spend more time singing. As a professional speaker, I know that getting plenty of stage time is crucial. It's just not the same to practice in your bedroom or with a teacher, as it is to get in front of a real audience. During the past two years, I've sung at open mic nights, and I generally get three minutes of stage time per month - maybe six, if I get to sing two songs. Even that small amount of performance time has helped enormously. You have to get used to being on your own in the spotlight and engaging the audience. The feeling is completely different from singing with a band, where there is a whole line-up of musicians and instruments - plenty going on and plenty for the audience to look at. You're really just one of several instruments in the group, and you can all draw energy from each other. In cabaret it's just you. Last year I performed more often -in extra shows during the Festival Fringe, and with my own twenty-minute show as part of a Kabarett event in the Cabaret Fringe. The extra stage time made me feel more comfortable on stage, and I started to feel I could do more - I could even have my own full-length show. I would not have believed this a year ago.
It's like anything - the more you do it, the easier it gets, and the better you get at it.
I heard so many songs yesterday, and a lot of creative ideas for how to perform them. I'm glad I took part in these workshops instead of holding back because I didn't know the songs well enough. It occurred to me what a privilege it is to be asked "What would you like to sing?" Whatever music you produce, the pianist can play it.
Cabaret Summer School is a hot-bed of talent.
Now, about the show for Saturday.....
I have to - my show is no further advanced than it was yesterday.
Today I took up all the opportunities that were offered - to participate in three masterclasses, and none of the songs I sang today will feature in my show on Saturday. The three workshops were - European songs, Sondheim songs and Ballads.
A lot of us challenged our self-concept today. I heard comments like "I'm not a jazz singer"; "Should I even dare to sing this?" I'm glad to know that I'm not the only one to have the occasional self-doubt. I've never thought of myself as a "musical theatre person". I only know one Sondheim song - "Send in the Clowns", so that's the one I sang.
I'm loving the culture of achievement and daring. People took risks. No one was told that the song they had chosen was too ambitious. And you start to realize that no one performed a song perfectly the first time they sang it. And what is perfect, anyway? You are meant to perform your own version of the song - there's no point in trying to re-create something that already exists. It's not about meeting a standard, but but utilizing your unique qualities to the full.
Although these workshops took me away from the path of preparing for my show, they enabled me to spend more time singing. As a professional speaker, I know that getting plenty of stage time is crucial. It's just not the same to practice in your bedroom or with a teacher, as it is to get in front of a real audience. During the past two years, I've sung at open mic nights, and I generally get three minutes of stage time per month - maybe six, if I get to sing two songs. Even that small amount of performance time has helped enormously. You have to get used to being on your own in the spotlight and engaging the audience. The feeling is completely different from singing with a band, where there is a whole line-up of musicians and instruments - plenty going on and plenty for the audience to look at. You're really just one of several instruments in the group, and you can all draw energy from each other. In cabaret it's just you. Last year I performed more often -in extra shows during the Festival Fringe, and with my own twenty-minute show as part of a Kabarett event in the Cabaret Fringe. The extra stage time made me feel more comfortable on stage, and I started to feel I could do more - I could even have my own full-length show. I would not have believed this a year ago.
It's like anything - the more you do it, the easier it gets, and the better you get at it.
I heard so many songs yesterday, and a lot of creative ideas for how to perform them. I'm glad I took part in these workshops instead of holding back because I didn't know the songs well enough. It occurred to me what a privilege it is to be asked "What would you like to sing?" Whatever music you produce, the pianist can play it.
Cabaret Summer School is a hot-bed of talent.
Now, about the show for Saturday.....
Tuesday, January 10, 2012
Day 2
At the end of Day 2, I'm two days ahead of where I was last year. I have actually developed the basis of a show. I've decided on my three songs. I've worked out the dramatic middle section and drafted some patter. Now I still need to work out the beginning and the end, then polish it up, but it's averted the panic, freeing me up to enjoy the opportunities on offer during the week.
This morning we were treated to a jazz workshop with Libby O'Donovan. I was one of four people to be "workshopped" by Libby. I'd never taken part in a jazz workshop before, but knew I could not miss out on this. Each person chose a different style of music, had different challenges to address, so across the four performances there was a range of advice. I captured my workshop on video so I can come back and watch it again. This is important as my focus was on rhythm - you need to hear it repeatedly and drum it into your head!
There was also a small group workshop with Libby in which we took a well-known song and converted it to a "swing" style. Everyone had the opportunity to sing during this session. I also had a session of vocal coaching with Libby during the afternoon. She gave me some extremely helpful and creative suggestions for song interpretation. I've now had all three songs workshopped, so maybe I can try out some other songs over the next couple of days.
We also spent some time developing our show titles, and our "patter" to link the songs. It's great to hear what other people are thinking, and to toss around ideas. When your mind is stimulated, ideas come together.
Sidonie Henbest presented a thought-provoking workshop on how to market yourself and your show. I think we will all start seeing ourselves differently as a result of Sidonie's insights.
I'm really enjoying the company of the other performers and it's great to watch them perform. The atmosphere is full of energy and enthusiasm. Tomorrow we'll reach the half-way mark. The sense of anticipation is building!
This morning we were treated to a jazz workshop with Libby O'Donovan. I was one of four people to be "workshopped" by Libby. I'd never taken part in a jazz workshop before, but knew I could not miss out on this. Each person chose a different style of music, had different challenges to address, so across the four performances there was a range of advice. I captured my workshop on video so I can come back and watch it again. This is important as my focus was on rhythm - you need to hear it repeatedly and drum it into your head!
There was also a small group workshop with Libby in which we took a well-known song and converted it to a "swing" style. Everyone had the opportunity to sing during this session. I also had a session of vocal coaching with Libby during the afternoon. She gave me some extremely helpful and creative suggestions for song interpretation. I've now had all three songs workshopped, so maybe I can try out some other songs over the next couple of days.
We also spent some time developing our show titles, and our "patter" to link the songs. It's great to hear what other people are thinking, and to toss around ideas. When your mind is stimulated, ideas come together.
Sidonie Henbest presented a thought-provoking workshop on how to market yourself and your show. I think we will all start seeing ourselves differently as a result of Sidonie's insights.
I'm really enjoying the company of the other performers and it's great to watch them perform. The atmosphere is full of energy and enthusiasm. Tomorrow we'll reach the half-way mark. The sense of anticipation is building!
Monday, January 9, 2012
Day 1
The 16 participants met up last night at La Boheme for an informal briefing. Today was our first day of work.
During this week we'll each be creating an original 10-minute solo cabaret and will perform these segments on Saturday at The Promethean Theatre.
This morning everyone introduced themselves in detail, explained why they have come to Cabaret Summer School, and shared their goals for the week. There is a great variety of performers. Some are experienced cabaret performers. Some have had a lot of theatre experience but are new to cabaret. Some have recently graduated from performing arts courses. Some (like me) have discovered performing later in life - or have finally given themselves the permission to do it. It was fascinating to hear about all the different paths people have taken through life. Regardless of background, everyone now has the opportunity to create something unique. Each person identified their own strengths and specified the aspects in which they would like particular help.
This is my second time through Cabaret Summer School. I know how quickly the week passes, and am determined to squeeze as much value from it as possible. Whereas last year I was a bit reticent about declaring my objectives, today I did not hold back. There's no point keeping your goals a secret from people who can help you to achieve them.
We then moved into the first Masterclass. Each person sang a song of their choice and was workshopped in front of the group. My song was "This Happy Madness" by Jobim. I have been really obsessed by this song and have listened to the recording (sung by Jobim himself) hundreds of times. This meant I knew the song very well, but was imitating Jobim's phrasing. I was encouraged to identify what the song meant for me and to hold this idea in my mind whilst singing the words of the song. During each performance, the other participants were writing notes by way of feedback for the performer (to be handed to them at the end of the day). We were asked to focus on what we liked about the performance and to provide helpful suggestions, not criticism. Matthew Carey and Catherine Campbell gave their feedback publicly. We had the opportunity to sing again and put the feedback into action.
Some people performed their own original compositions and accompanied themselves on piano or ukelele. Very impressive!
I was surprised how nervous I felt during this exercise. You think you'll be fine, then when you get up and start singing, the adrenaline kicks in. I needed two hands on the microphone to keep it from exercising its own free will. I was offered some acting techniques to help me connect with the lyrics and with the audience. This moved me outside my comfort zone but I've learned that when experts are there to help you there's no point protesting and wasting time - just do what they are asking you to do and get on with it.
The big message from the day was "You are enough". Don't imitate other people or be the way you think others expect you to be. Authenticity on the platform is very "watchable".
During this week we'll each be creating an original 10-minute solo cabaret and will perform these segments on Saturday at The Promethean Theatre.
This morning everyone introduced themselves in detail, explained why they have come to Cabaret Summer School, and shared their goals for the week. There is a great variety of performers. Some are experienced cabaret performers. Some have had a lot of theatre experience but are new to cabaret. Some have recently graduated from performing arts courses. Some (like me) have discovered performing later in life - or have finally given themselves the permission to do it. It was fascinating to hear about all the different paths people have taken through life. Regardless of background, everyone now has the opportunity to create something unique. Each person identified their own strengths and specified the aspects in which they would like particular help.
This is my second time through Cabaret Summer School. I know how quickly the week passes, and am determined to squeeze as much value from it as possible. Whereas last year I was a bit reticent about declaring my objectives, today I did not hold back. There's no point keeping your goals a secret from people who can help you to achieve them.
We then moved into the first Masterclass. Each person sang a song of their choice and was workshopped in front of the group. My song was "This Happy Madness" by Jobim. I have been really obsessed by this song and have listened to the recording (sung by Jobim himself) hundreds of times. This meant I knew the song very well, but was imitating Jobim's phrasing. I was encouraged to identify what the song meant for me and to hold this idea in my mind whilst singing the words of the song. During each performance, the other participants were writing notes by way of feedback for the performer (to be handed to them at the end of the day). We were asked to focus on what we liked about the performance and to provide helpful suggestions, not criticism. Matthew Carey and Catherine Campbell gave their feedback publicly. We had the opportunity to sing again and put the feedback into action.
Some people performed their own original compositions and accompanied themselves on piano or ukelele. Very impressive!
I was surprised how nervous I felt during this exercise. You think you'll be fine, then when you get up and start singing, the adrenaline kicks in. I needed two hands on the microphone to keep it from exercising its own free will. I was offered some acting techniques to help me connect with the lyrics and with the audience. This moved me outside my comfort zone but I've learned that when experts are there to help you there's no point protesting and wasting time - just do what they are asking you to do and get on with it.
The big message from the day was "You are enough". Don't imitate other people or be the way you think others expect you to be. Authenticity on the platform is very "watchable".
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