MUSICAL THEATRE GRADE 3 SYLLABUS

Transcription

1 MUSICAL THEATRE GRADE 3 SYLLABUS

2 Contents Contents... 1 Introduction and Overview & Additional Information... 3 Stage Directions... 4 Strand A: Technique and Performance Exercise 1 - Warm up... 5 Exercise 2 Footwork... 8 Training Exercise 1 (T1) Contraction and Flat Back Exercise 3 Port de Bras & Stretch Exercise 4 Isolations Exercise 5 Floorwork Exercise 6 Travelling Step Training Exercise 2 (T2) Preparation for Kicks Exercise 7 Kick Exercise Exercise 8 Turning Exercise Training Exercise 3 (T3) Preparation for Jumps Exercise 9 Jumping Exercise Exercise 10 Rhythm Set Dance A Set Dance B Bow Strand B: Creative Strand A: The Costume Designer B: Improvisation C: Composition - Creating a Bow Strand C: Wider Learning Strand Credits - Primary Musical Theatre Syllabus Resources

3 Introduction and Overview This Grade 3 Musical Theatre syllabus should be approached as a complete course of study comprising three strands: Technique and Performance, a Creative Strand and a Wider Learning Strand. Technique and Performance consists of set exercises and dances which are examined, and Training Exercises which support learning but are not part of the examination content. The inclusion of Creative and Wider learning strands marks a change in the ethos of bbodance syllabi at Graded Examination level. By engaging with these strands from the outset, it is hoped that students will be encouraged to develop an individual and creative response to the technical syllabus material. The Technique and Performance strand comprises 10 set exercises and two Set Dances (A and B). Only one Set Dance is required for examination purposes, although teachers may decide to teach both as this will enhance and develop the student s creativity and performance skills. Set Work is supported by 3 Training Exercises which should be taught before the actual syllabus setting. For example, the Contraction and Flat Back Training Exercise for which supports the Exercise No. 3 Port de Bras Exercise and Exercise No. 5 Floorwork). Please note that Training Exercises are for teaching and learning purposes only and are not included in the examination for Grade 3 Musical Theatre. The Creative Strand includes improvisation tasks and the creation of a Bow for the end of the examination. Students are also asked design a costume using the included template for their Wizard of Oz character which should be taken into the examination. This work provides additional interest and motivation for the actual Exercises and Set Dances. The Wider Learning Strand is about gaining knowledge and understanding of Musical Theatre and studying some of the best-known shows from the repertoire (appropriate to the level and age range). Dance students should know about their art form and be familiar with the repertoire, just like students of music, art or drama. In addition, the study of repertoire is one of the best ways of encouraging performance style and quality. Students can be inspired by watching (and listening to) great performances by leading professionals. Examples used in this syllabus include Dick Van Dyke in the film Mary Poppins and the wonderful range of characters in Aladdin, Matilda and The Wizard of Oz. Additional Information The syllabus includes Teaching Tips and Notes on Style presented at the bottom of the transcription of the exercises. These notes give useful pointers on the technical detail required, how the material might be taught, and the style, characterization, and performance quality that needs to be developed. Please note that the written transcript of the syllabus should be used in conjunction with the syllabus film and available CPD courses which provides visual details on steps, movements, gestures and style. In summary, the teaching resources provided reveal a strong focus on performance in this syllabus: every step, exercise, dance and task has been considered with characterization, personality, musicality, and style in mind. 3

4 Stage Directions USR Up Stage Right USC Up Stage Centre USL Up Stage Left SR Stage Right SC Centre Stage SL Stage Left DSR Down Stage Right DSC Down Stage Centre DSL Down Stage Left FRONT 4

5 Strand A: Technique and Performance Exercise 1 - Warm up 3/4 Chim Chim Cher-ee Mary Poppins Start parallel 1 st position CS facing DS. Counts Movement Arms Additional Direction Intro 16 cts Hold position for 7 counts Dégagé the Right leg to 2 nd on count 8 and hold Upon the Dégagé of the leg the arms lift in front of the hips are held in fists in front of the body as if holding a Chimney brush 1 & a 2 & 1 Galop towards SR Arms are held in fists in front of the body as if holding a Chimney brush they make a full circular rotation in the direction of travel towards SR finishing in an upwards position with the Right arm high and left arm across the chest at shoulder height a 3 & a 4 Repeat towards SL Repeat to the opposite direction 5 & a 6 & a 2 quick Demi Plié moving through 2 nd with a twist in the upper body and shoulder line towards the Right then Left Arms are held in the upwards position and swing with the twisting body towards the Right then Left 7 & a 8 A slight forward lean in the upper body running diagonally towards DSR (Right, Left, Right, Left) finishing in parallel 1st The arms are swinging forwards in a natural movement with the upper body to push up above the head still holding the imaginary brush The use of breath here should give the movement the correct feeling and the head can follow the direction of the arms 1 & a 2 & a 2 Demi Plié with feet remaining in parallel 1 st The arms remain in the held position and swing down to the side of the body and back up making a figure of 8 action swinging US first The head follows the arm swings 3 & a 4 Slide the Right leg diagonally backwards towards USR through a Demi Plié in 2 nd. Finishing with the weight on the Right leg and both legs extended The arms swing backwards with the direction of the moving leg with the Right arm high and the Left arm across the body at shoulder height Head looking DSC 5

6 5 & a 6 Grand Plié in 2 nd position and keep moving to finish stepping the Left leg crossed in front of the Right with the weight upon the Right leg and left foot is on Demi Pointé The left hand comes straight to the hip and the Right arm completes a full circle in front of the body finishing at shoulder height with a bend at the elbow still holding the imaginary brush & a 7 & a 8 Hold position and on count 8 step into a lunge on the Left leg towards DSL On the first phrase of this (& a 7 & a) with the Left hand brushing away the dirt before gesturing the Left hand out on count 8 with the palm facing upwards and a bend at the elbow. Right hand held in same position. 1 & a 2 The weight pushes onto the extended Right leg and the Left leg circles in to go back out and step into the previous lunge The Left hand comes back to the hip into a fist, the Right hand held in same position. & a 3 & a 4 Hold the lunge on the Left leg Blow a kiss and let it go on count 4 There should be a gesture with the face and head as you blow the kiss 5 & a Weight pushes onto the Left leg and push and lift the Right leg to a low Arabesque, step the Right leg behind the Left and step the Left leg to 2 nd This is a quick series of steps and they should not be too big but enough to travel slightly towards SL 6 & a 7 & a Plié 2 nd position and a natural bounce and bend of the knees takes place as the arms and shoulders move The hands brush forwards down the thighs they continue to take a circular motion as the arms are lifted to shoulder height with a bend at the elbows and the shoulders roll and shrug forwards 8 & a 9 The legs extend and hips push forwards as the arms reach the top finishing in a Demi Plié The arms and shoulders circle backwards and there is a lift in the chest when the arms achieve an upwards position. Finishing held in front of the body at waist height holding the brush There should be a feeling of falling forwards as if you were on the rooftops 1 16 Repeat the 1 st 16 counts of the exercise on the opposite side 6

7 1 & a 2 & The weight pushes onto the extended Left leg and the Right leg circles in to go back out and step into the previous lunge The Right hand comes back to the hip into a fist, the Left hand held in same position. a 3 & a 4 Weight pushes onto the Right leg and push and lift the Left leg to a low Arabesque, Pas de Bourée over finishing with the Left foot crossed in front of the Right leg on Demi Pointé finishing CD Both arms finish folded in front of the body with a small lean towards SL Teaching Tips This exercise is a gentle warm-up which should not be forced. You may want to teach the setting in smaller sections so that students can gain confidence and control incrementally especially as some of the movements and counts are quick and intricate. The leg swing can be taught at the Barre so as students have additional support if needed initially. There is an additional bar of music after the first blowing a kiss which should be counted to assist in the phrasing and feeling of the piece. Notes on Style The movement should be quick, and full of character. It would benefit students to see excerpts from Mary Poppins to gain a greater understanding of the characterisation required For the smaller details teacher should refer to the syllabus video and CPD sessions. It may also be appropriate for the students to be shown the syllabus video for them to visualise the exercise and characterisation. 7

8 Exercise 2 Footwork 4/4 I Wan na Be Like You The Jungle Book Start in a closed parallel 1 st position feet together facing front arms relaxed and loose by the side with head forwards down stage. Counts Movement Arms Additional Direction Intro 8 cts 1 Push the Right foot onto Demi- Pointe Arms are relaxed by the side of the torso for the 1 st 8 counts of the exercise 2 Release the foot from the floor ensuring the foot fully stretches. 3 Replace foot to the floor with a bounce at the knees & 4 Extend the knees and release the foot fully off the floor in a pointed position finishing with both feet closing into a parallel 1 st position 5-8 Repeat with the Left leg & 1 & 2 Pick up the Right foot stepping to a wide 2 nd position and returning to parallel 1st Arms lift so hands are under the armpits with a bend at the elbow to drop back down when the leg places down to 2 nd. This arm movement repeats on the returning of the feet to 1 st position There is a slight natural twist in the torso towards SR with the head looking in the same direction the body then centres upon the return to 1 st parallel. & 3 & 4 Pick up the Left foot stepping to a wide 2 nd position and returning to parallel 1st Arms lift so hands are under the armpits with a bend at the elbow to drop back down when the leg places down to 2 nd. This arm movement repeats on the returning of the feet to 1 st position There is a slight natural twist in the torso towards SL with the head looking in the same direction the body then centres upon the return to 1 st parallel. 8

9 5 Twist and turn the feet inwards moving on the heel allowing the knees to knock in Arms lift so hands are under the armpits with a bend at the elbow 6 Twist and turn the feet outwards moving on the ball of the foot achieving a 2 nd position Arms drop back down with a relaxed heavy feeling to the side of the body 7 & 8 Repeat counts 5 & 6 finishing with a jump into parallel 1 st on count 8 Arms repeat 1 2 Tendu the Right foot Devant and return to 1 st parallel Arms loose by the side of the body Head is in neutral position looking downstage 3-4 Tendu the Right foot to Seconde (in parallel) and return to 1 st parallel 5 Tendu the Right foot to Seconde (in parallel) with a Fondu on the Left leg Arm movement in natural opposition with the Right arm forwards bent at the elbow The torso hinges forward from the hips at 45-degree angle 6 Extend the Left leg lifting the Right leg off the floor with a flexed foot lifting the thigh to hip height creating a 90-degree angle at the knee. The arms switch with the left arm coming up with a 90-degree bend at the elbow The torso recovers and twists towards the leg facing SR 7-8 Return to the same position as count 5 and close into parallel 1 st on count 8 Arm movement in natural opposition with the Right arm forwards bent at the elbow and relax by the side when the feet return to parallel 1 st on count 8 The torso hinges forward from the hips at 45-degree angle and the torso recovers when the feet return to parallel 1 st on count Repeat the previous 8 counts on the Left side As above As above 1 32 Repeat whole exercise 9

10 Teaching Tips This exercise can be broken down into smaller sections to be taught This exercise always closes to a closed parallel 1st position where stated Arm lines should be clean and strongly presented although a relaxed feeling should be present throughout in keeping with the style of the music and characterisation. Throughout this exercise, emphasis is on the articulation of the foot and the development of strength in the metatarsals. Good posture is also required with an engaged core especially when the weight is on one leg/ The Tendu sequence could be taught at the Barre until students are confident and secure to perform this in the centre. The quicker turning in and out of the feet can be taught at a slower pace to begin with until confidence and strength is gained when moving between these positions. Notes on Style There should be a relaxed feeling throughout although maintaining the set counts and positions For more detail on head, arm gestures and style, see syllabus film. It would benefit students to understand the characters from The Jungle Book, especially the characters within this scene the monkeys, King Louie, Mowgli and Baloo, through viewing film clips on DVD or online. 10

11 Training Exercise 1 Contraction and Flat Back 4/4 Go the Distance Hercules Please note that this exercise is not examined Start sat on the floor facing SL legs extended straight out in front of the body with feet flexed, sat tall with correct posture. Counts Movement Arms Additional Direction Intro 4 cts Hold starting position Hands are placed loosely on the legs 1 2 Abdominal contraction 3 4 Recover to neutral posture 5 8 Repeat 1 8 Contract and roll down to the floor through the spine rolling onto the Right side to face down to the floor pushing up on to all fours. Arms stretched out in front of the body palms facing downwards upon the contraction once lying on the floor with the arms by the sides The sequence should be smooth and controlled finishing with the weight evenly distributed on the hands and knees at the end of the phrase with a neutral spine. 1 2 Abdominal contraction to round the spine Look toward the navel on the contraction. 3 4 Relax spine into a flat back position 5 8 Repeat 1 4 Tuck toes under and push on to the heels and into a downwards dog stretch Arms should be fully extended and pushed into the floor The aim is for a flat back with the chest pushed towards the floor. 5 8 Lower the knees to the floor, roll and return to the starting position. Allow the elbows to bend and the arms support the weight and the body upon the return Repeat exercise rolling upstage during the second phrase. Roll into the end position sat on the floor with both legs in attitude 11

12 with the Right leg in front and Left behind 1 4 Hold position on the floor Left arms circle backwards and the Right arm lifts from the floor both to shoulder height with a bend at the elbow creating 90- degree angles with the hands in fists A slight lean back in the torso from the hips with the eye line towards the Right fist with an incline within the head creating a strong position as if they were flexing their biceps. Teaching Tips Within the starting position students should be encouraged to sit tall adopting correct posture This exercise can be broken down and taught in smaller sections and linked together once the student is confident with each section. Emphasis should be placed on the concept of the contraction within the abdominals and the action and requirements of this with the use of breath throughout. Students should use their core strength to demonstrate control and ensure they roll down to the floor through the spine. Students could use mirrors to check and self-correct their flat back position. Notes on Style This exercise should be relaxed but with a demonstration of control. This is to develop strength within the core which will assist within the Port de Bras and Floorwork exercises. The final pose should be strong and commanding as per the image from the film Hercules For more detail on arm lines and movement please refer to the syllabus film. 12

13 Exercise 3 Port de Bras & Stretch 4/4 Let it Go Frozen Start facing front, parallel 2 nd position - arms by sides Counts Movement Arms Additional Direction Intro 1-8 cts Hold 1 Step the Right foot to the side travelling towards SR & Step the Left foot behind the Right travelling towards SR 2 Step the Right foot to 2 nd Arms begin to slowly lift to 2 nd position with the palms facing downwards & Arms continue to slowly lift to 2 nd position finishing with the palms facing downwards Correct posture stood tall 3, 4 Torso twist towards SR with a controlled contraction with both knees bending and the Left leg inverting to create an inverted jazz 4 th position Arms wrap around the body The head and eyeline looks downwards 5, 6 Recover to a 2 nd position Arms raise up with palms up to just above shoulder height with the hands towards DSR & DSL The chest should be open with a slight higher release within the upper back 7, 8 Close the Left leg into a closed parallel 1 st with a small contraction within the abdominals. Maintain the weight on the Left leg The arms slowly lower to the side of the body The head lowers upon the contraction. 1 Step the Left foot to the side travelling towards SL Arms begin to unwrap and open through to a low 2 nd position & Step the Right foot behind the Right travelling towards SL Arms continue the movement and open through to 2 nd to achieve a high V position 13

14 2 Step the Left foot to 2 nd Arms continue to slowly lift to the high V position finishing with the palms facing inwards & Torso twist towards SL 3, 4 Continue torso twist towards SL with both knees bending. The hands clench into fists with a bend at the elbows There is a slight lean backwards towards SL with the head and eyeline looking diagonally upwards 5 There is a lift in the body and the legs out of the backwards lean, both legs extend 6, 7 Torso twist towards SL with a controlled contraction with both knees bending and the Right leg inverting to create an inverted jazz 4 th position Arms wrap around the body with the Right arm in front. The head and eyeline looks downwards 8 & 1 Walking in a circle around yourself heading towards CS Leading with the Right foot, Left, Right finishing the final step to 2 nd position in parallel on count 1 Maintain the arms in the wrapped position on the final step to 2 nd with the Right leg both arms fully extend forwards at shoulder height with palms facing down Eyeline in down towards the floor with a slight lean forward within the body, upon the final count the body returns strongly to an upright position with correct posture adopted. 2 Hold 2 nd position Both arms open to 2 nd position with the palms facing down 3, Lunge onto the Right leg into a side stretch with the contraction in the Right side Both arms lift to a parallel 5 th position 4, 5 Hold lunge The Left arm circles inwards returning to parallel 5 th The head should stay in alignment with the torso and the shoulders should remain pulled down. 6 Recover to centre Arms stay in parallel 5th 7 Lunge onto the Left leg into a side stretch with the contraction in the Left side As above The head should stay in alignment with the torso and the shoulders should remain pulled down. 14

15 8, 1 Hold Lunge The Right arm circles inwards returning to parallel 5 th 2 Recover to centre Arms lower to 2 nd position with palms forward 3, 4 Demi Plié with a contraction within the torso parallel to the floor Arms fold in to jazz 1st Head stays in alignment and eye line moves diagonally downwards 5, 6 Legs straighten as the torso lowers into a flat back parallel to the floor Arms open to 2 nd position with palms facing downwards Head should be held in align with the flat back &7, 8, 9, 10 Contraction as the body recovers to an upright position Arms make a full circle inwards (7, 8) opening through 5 th position and higher release (9,10) finishing at 2 nd position There is a higher release on the opening through 5 th, chest should be lifted and eye line and focus diagonally out and upwards & 1, 2 Step forwards Right then Left into 2 nd position Arms reach diagonally forwards and upwards making a small backwards rotation from the shoulders There should be a breath here which enhances the movement quality and this should be dramatic. & 3 Slight Plié and breath with a contraction The above arm movement repeats although not as big The breath should enhance the movement although not as bigger breath as the previous movement. 4 Plié and abdominal contraction Arms swing inwards crossing in front of the chest with the Right arm in front. There should be a bounce in the contraction and release, the use of an outwards breath will support this action. 5 Recover from Plié and contraction Arms rebound to 2 nd position palms facing down 6 Transfer the weight onto the Right Leg Push away with the Right arm towards SR, the palm is flexed This movement is as if you are casting a spell 7, 8 Repeat to the Left Repeat with the Left arm & 1, 2 Step and lunge onto the R leg towards DSR Fully extend the Right arm at shoulder height pointing to DSR Look towards DSR 15

16 & 3, 4 Repeat to the Left & 5-8 Running in a circle around yourself leading with the Right foot, L, R, L, R, L. finishing the circle stood in 2 nd position CS. Left arm fully extended at shoulder height, palm facing upwards 1 Stood in 2 nd Throw the Right arm directly upwards towards the ceiling This is a strong commanding movement 2 Invert the Right leg to make and inverted jazz 4th Throw the Right arm straight downwards towards the floor with the palm facing forwards The head follows the arm line and looks towards the hand 3, 4 Recover to an upright position still maintaining the inverted 4 th position With the palm facing upwards the arm raises up to shoulder height with the arm fully extended The head lifts to a neutral position 5 Step the Left foot to cross behind the Right leg with the Right foot on Demi Pointe Throw the Left arm straight upwards towards the ceiling with the palm facing forwards SL 6 Slight Demi Plié with a twist in the torso towards SR Pull the left arm down with the hand in a fist The head looks DS 7, 8 Step with a slight lunge onto the Left leg Present the Left arm towards DSL with the palm facing upwards Headline looks DSL & 1, 2, 3 Walk around yourself in a circle R, L, R Arms are held in a high V with the palms facing inwards 4 6 Tuck the Left foot and leg down behind the Right leg to roll on the floor to a position where you are sat back upon your heels Use the Left then Right arm to support the lowering to the floor and the roll. Finish with a slight incline in the torso towards SR. 7, 8 Sat in seated position on heels The arms come in to cross the body and cover across the body in a parallel position. the Left arm is across the forehead and the Right arm across the chest Head looks forward DS. 16

17 Teaching Tips The torso twists may need to be taught separately as this spiralling action may be new to some students The exercise can be broken down into several smaller sections to assist in the teaching of the repertoire. The Training exercise for Contraction and Flat back should be used to support the teaching of this exercise Using the breath should assist in gaining the correct feeling within the movement The higher release should be taught independently to the exercise so as the correct posture and alignment of the head and neck understood to avoid injury The final roll to the floor should be broken down and the hands and arms should be used to support the weight of the body. Notes on Style This exercise should be strong and commanding as the character of Elsa from the original movie Full use of breath should enhance the style and feeling of the piece, the breath should be weighty with a dramatic, magical and enchanted feeling within the movements. 17

18 Exercise 4 Isolations. 4/4 It s The Hard Knock Life Annie Start CS facing DS- feet in parallel 2 nd arms by side Counts Movement Arms Additional Direction Intro 1 4 Hold position Intro 5 Demi Plié Punch the Right hand into the palm of the Left hand in front of the body Incline the torso forwards Intro 6 Hold Intro 7, 8 Head isolation looking Right and returning to centre 1, 2, 3, 4 Fully extend the legs and return to the Demi Plié Circle both arms backwards with the hands in fists and hit the upper thighs (Right, Left) 5, 6 Hold 7. 8 Head isolation looking Left and returning to centre 1, 2, 3, 4, 5 Fully stretch the legs Push both arms to parallel 5 th with the hands clenched in fists, open to 2 nd position bring into 1 st with thumbs pointing towards the chest 6, 7, 8 Twist into an inverted jazz 4 th facing SL with the Left foot inverted Slowly throw arms to 2 nd position and then bring them across the body as if hugging yourself with the Right arm on the top and incline forwards 1, 2, 3, 4 Extend legs and twist to the opposite side facing SR Holding the arms in the position lift the torso and contract on the opposite side Drop the head down on count 5 18

19 5 Hold the position Arms are thrown downwards, fully straight with palms and forearms facing upwards The torso is facing SR and the chest is open 6 Hold 7, 8 Hold feet and legs The hands come in to cover the mouth (Right, Left) Head and torso remains towards SR 1, 2 Hold Throw the arms back out and downwards as they did in the previous count Throw the torso and head slightly backwards as if an element of surprise 3, 4, 5 From the hips the body ripples upwards with a contraction on the ending position and transfer the weight onto Right leg and kick the Left leg forwards towards SR crossing the body Throw the arms across the body with the Right arm across the body on the contraction The kick and contraction should take place on the lyric kicked 6, 7, 8 Walk around on the spot to face DS Arms move naturally upon the walks 1 Stepping into a wide 2 nd position Punch the Right hand into the palm of the Left hand in front of the body The arm action is a repeat of the movement within the introduction 2, 3, 4 Hold 5, 6 Demi Plié With the hands in fists hit the upper thighs Incline the torso forwards hinging from the hips 7, 8 Step the Right foot behind the Left and step the Left foot back out to 2 nd travelling towards SL One arm at a time (Right, Left) opens to a low 2 nd position with a bend at the elbow and the palms and forearms facing upwards 1, 2, 3, 4 Demi Plié, stretch legs, Demi Plié Arms remain but the shoulders shrug down, up, down The shoulder shrugs should be a natural movement with the Plié 5 8 Step the Left foot behind the Right and step the Right foot out to 2 nd travelling towards SR Arms hold and move into 1 st in fists upon the final count 19

20 1 5 Demi Plié, fully stretch the legs, Demi Plié Drop the arms straight downwards with the fists clenched, lift them back to 1 st, drop them back downwards Incline the torso forwards hinging from the hips, coming to an upright position on the & count. There should be a heavy, laboured feeling within this up, down action 6, 7, 8 Fully stretch the legs Arms open outwards and wrap across the body in a hugging like motion with the Right arm on top 1, 2 Head isolation down and centre Hold 3, 4 Hold Throw the arms to a low 2 nd with the palms and forearms facing forwards 5 8 Knees invert both knees Both hands move into the stomach, bent at the elbows with the elbows pointing towards the sides The head looks downwards. This movement should convey a feeling or hunger as the lyric is empty bellies 1, 2 Head lift to centre (7), arms open to low 2 nd (&) as in count 3. The knees remain inverted 3, 4, 5, 6 Both legs extend and stretch in 2 nd The arms lift higher to 2 nd position 7, 8 Hold legs, head isolation Left, centre Hold 2nd 1 Quick movement to a low jazz 4th Throw and punch the Right arm downwards and hit the floor Head remain looking DS 20

21 Teaching Tips This exercise would ideally be broken down into smaller sections to teach. Students should listen to the music as this exercise and music is heavily accented which context to the movements. Notes on Style This exercise should be full of character; with a strong connection to the song and lyrics whilst being strong and commanding. Students should be shown clips of Annie and discussion surrounding the themes and characters should help inform characterisation choices. For the specific details of the movement teachers should refer to the syllabus film and CPD course. 21

22 Exercise 5 Floorwork 4/4 Circle of Life The Lion King Start sat on the floor facing DSC, legs in 2 nd position, hands placed behind the hips to support the correct posture. Counts Movement Arms Additional Direction Intro 8 cts. Hold position 1, 2 Hold 2 nd position on the floor Both arms circle outwards, open through 5 th position and return to the starting position on the next count as the legs begin to move The eyeline follows the arms and returns to looking DSC 3, 4 The Right leg bends at the knee and contracts, the foot flexes at the same time and there is a slight lean backwards towards SL The left arm supports the lean backwards The head and eye line looks upwards towards SR 5 Return to 2 nd position and point the Right foot The arms return to the starting position The head, shoulders and eye line centres again looking DSC 6 Hold 7 The Left leg bends at the knee and contracts, the foot flexes at the same time and there is a slight lean backwards towards SL The Right arm supports the lean backwards The head and eye line looks upwards towards SL 8 Return to 2 nd position and point the Left foot The arms return to the starting position The head, shoulders and eye line centres again looking DSC 1, 2 Hold 2 nd position on the floor Both arms circle outwards, open through 5 th position and return to the starting position on the next count as the legs begin to move The eyeline follows the arms and returns to looking DSC 3, 4 Sweeping across the floor whilst twisting the torso to face USL with both legs moving into an attitude position Swinging the Right arm to 5 th position, left arm bends at the elbow and is placed upon the floor to support the transference of weight in the body The head stays aligned with the torso and turns to look at the floor over the opposite shoulder 22

23 5, 6 Return to the central position 7, 8 Repeat the sequence towards SR 1 4 Continue rolling onto stomach towards SR and around to a seated position with both legs extended diagonally forwards facing DSR with feet fully stretched The arms support the roll whilst being placed by the side of the body with palms on the floor next to the shoulders Eyeline towards DSR 5 & 6 Torso is inclined forwards over stretched legs, when the arms are thrown up the torso sits upright with correct posture maintained Palms placed down upon the floor with arms bent at the elbow, circling inwards and thrown forwards and upwards towards the ceiling with palms facing up on count 6 This should be as if you are brushing sand or dust on the ground 7, 8 The torso contracts forward over the legs Both arms are thrown backwards behind the body with a bend at the elbow 1, 2 The torso returns to an upright position Bath arms are thrown upward again as the they did on count 6 The eyeline follows the arms and hands 3, 4 There is an abdominal contraction with a flex in both feet at the same time Arms stretch forwards at shoulder height with the wrists flexing with palms forwards upon the contraction Eyeline and head towards DSR 5, 6 Recover to an upright position from the contraction Arms rotate upwards with the palms facing the ceiling 7, 8 Roll down through the spine to a lying position on the floor Arms naturally lower to beside the body placed upon the floor 1 4 Enveloppé with the Right leg Arms relaxed by the side 5 - & 8 Enveloppé with the Left leg Arms relaxed by the side on counts & 8 both arms circle backwards over the head (R, L) 23

24 1-4 Rolling onto your front towards SL pushing up into an upwards stretch maintaining the hips on the floor Arms remain stretched over the head as you push into an upwards stretch the arms support the upper body and extend fully whilst being placed under the shoulders This movement continues into the next 4 counts and should be a continuous phrase of 8 counts 5, 6, 7 Push back into a seated position upon your heels Arms remain stretched forwards naturally moving as the body moves upwards 8, 1, 2 Come to an upright seated position on the heels facing USL Both arms circle backwards and down to the floor There should be a feeling of release and breath upon the circle of the arms 3, 4 Place the hands in front of the body upon the floor 5, 6 Push into the Downwards Dog position facing USL The hands remain placed upon the floor in front of the body The aim is to create an upside down V with the heels pressed into the floor and legs fully extended with the chest and back in a straight line. 7, 8 Hold position 1, 2 Lower the knees down to be on all fours Hands and arms do not move they remain placed upon the floor 3, 4 Roll towards DSL on the behind to an attitude position sat on the floor. The Left leg in front and the Right leg behind facing DSL 5, 6 Hold seated position Both arms circle backwards so as the right arm is behind the body and left is in the front. Both palms are flexed facing outwards and there is a slight bend in the elbow The eyeline is looking towards the lifted Left arm 7 The torso moves forwards and finishes contracted over the Left leg Both arms circle forwards and finish with the palms on the floor in line with the shoulders with a bend at the elbow This should be a dramatic, strong finish, the head is lowered on the final count 24

25 8 Hold Teaching Tips Training Exercise 1 will help develop the strength needed for this exercise. This exercise should be taught and broken down into sections to assist in the learning and development of movement sequences Students should maintain correct posture throughout with full core engagement, especially when sat in 2 nd on the floor, they can use their hands and arms to support the body weight. Notes on Style There should be a feeling of connection with the earth and ground with an emotional connection to the lyrics, movement and style of the exercise 25

26 Exercise 6 Travelling Step 4/4 You Should be Dancin Saturday Night Fever Start standing USC facing forwards in 2 nd position, arms relaxed by sides. Counts Movement Arms Additional Direction Intro 4 cts Hold starting position Intro 1 8 Legs remain in 2 nd with a pulse in the Right leg which causes the heel to release Right arm extends straight upwards with a pointed hand and moved forwards to shoulder height Intro 1 8 The movement and bounce moves into the hips and the hips isolates from side to side, pulsing and releasing the left heel Left arm points horizontally from SR towards SL at shoulder height 1, 2, 3 Starting with the Right foot a slow Pas de Bourée under, travelling towards SL Arms relaxed by the side 4 Extend Left leg to point parallel 2nd, maintain Fondu on the supporting leg Arms remain by sides 5 Lift Left leg to parallel Retiré, stretching supporting leg Point forward at shoulder height with the Right arm with the left arm pulled back at waist height 6 Return Left leg to point parallel 2nd and Fondu on the supporting leg Point forward at shoulder height with Left arm the Right arm pulls back by the waist keeping elbow bent 7 Repeat lift of Left leg to parallel Retiré, stretching supporting leg Point forward at shoulder height with Right arm, Left arm pulls back at the waist, keeping elbow bent 8 Return L leg to point parallel 2nd and Fondu on supporting leg Point to high diagonal Left with Left arm, R arm drops by side, keeping elbow bent 26

27 1-8 Repeat counts 1 8 on the opposite side 1 & 2 Quick Pas de Bourée under (Right, Left, Right) Slight opposition in shoulders, with Left shoulder forward on count 2 3 & 4 Quick Pas de Bourée under (Left, Right, Left) Slight opposition in shoulders, with Right shoulder forward on count 4 5 & 6, 7 & 8 Repeat above 4 counts 1 Step diagonally forward on Right onto a slightly bent supporting leg Right arm pointing to high diagonal Eyeline to high Right diagonal 2 Step diagonally forward on Left into a slight plié in a naturally turned out 2nd R arm remains and L arm points to high diagonal L Eyeline to high L diagonal 3 Step backwards on Right leg Right arm points to floor by side 4 Step Left leg back to a narrow, naturally turned out 2nd Left arm points to floor by side 5 Step to the Right on the Right leg Both arms point diagonally upwards to create a V shape 6 Plié on supporting leg and cross Left leg behind Right, placing ball of Left foot on floor Both arms point and cross in front of the body with the Right arm on top of the Left 7 Step to the Left on the Left leg Both arms pointe up in parallel 8 Close into parallel 1 st Arms return to sides 1-64 Repeat whole exercise, starting on the other side 27

28 Teaching Tips This exercise is quite fast in tempo, so it is probably a good idea to try just the walks to start with. Encourage students to play with the style of the walks e.g. small steps, big steps, low level, varied level, with shoulder twist etc. The exercise should be broken down into smaller sections and built up to the correct speed Notes on Style This exercise should be performed with funk, groove and energy. The style of the walks can be altered on the second time through the exercise in the exam to show a diversity of funky styles. It would be beneficial to show students video clips of this style and social dance within the 70 s to provide them with a better understanding of the stylistic qualities and feeling of movement. 28

29 Training Exercise 2 (T2) Preparation for Kicks 4/4 Friend Like Me Aladdin Please note that this exercise is not examined Start in the USL Corner facing DS Counts Movement Arms Additional Direction Intro 1-4 cts Hold position Arms relaxed by the side Intro 5 8 Arms raise up left hand is placed in front of the Left hip with fingers splayed and the Right arm bent at the elbow and tucked into the Right side with hand and fingers splayed with palm forwards. 1 Heading towards DSR travelling diagonally forwards, stepping Left in front of the Right leg on the Leg Arms remain in the held position Looking over the shoulder towards the direction of travel 2 Flick kick the Right leg to 2 nd at 45-degrees 3 Stepping on the Right foot to 2 nd 4 Flick kick the Left foot in front of the Right leg diagonally forwards at 45-degrees 5 & Stepping in front of the Right leg on the Left Leg, Flick kick the Right leg to 2 nd at 45- degrees 6 & Stepping on the Right foot to 2 nd Flick kick the Left foot in front of the Right leg diagonally forwards at 45-degrees 29

30 7 & Stepping in front of the Right leg on the Left Leg, Flick kick the Right leg to 2 nd at 45- degrees 8 & Step the Right leg steps behind the Left Step the Left leg to 2 nd 1 8 Step the Right leg crossing in front of the Left heading towards DSL travelling diagonally forwards and repeat the sequence towards the left Arms switch to the opposite side and remain held 1 16 Repeat the exercise on both sides. Teaching Tips This exercise is an introduction to the side wards travelling section within the kick exercise, emphasis should be on looking in the direction of travel with an Épaulement. There should be a contrast between the slower and quicker steps to prepare students for the next exercise. Flick kicks should be strong with the action coming from the knee with a fully stretched foot. 30

31 Exercise 7 Kick Exercise 4/4 Friend Like Me Aladdin Start standing USC with the weight placed upon the Right leg with the Left foot Dégagé to Secondé in parallel. Counts Movement Arms Additional Direction Intro 8 cts Hold starting position 1 Step the Left leg in front of the Right The arms lift to be in line with the shoulders, bent at the elbow creating a 90-degree angle with the forearm pointing downwards. The wrists are flexed 2 Kick the Right leg to 2 nd turned out in Attitude at 90- degrees The above position reverses so as the forearms are in an upwards position 3 Lower the Right leg and step it behind Hold the arms in the same position & 4 Ball change Left, Right & 5 Ball change, Left, Right On count 5 the arms switch again to the forearms facing downwards 6 Kick the Left leg to 2 nd turned out in Attitude at 90- degrees The above position reverses so as the forearms are in an upwards position 7 Lower the Left leg and step it behind Hold the arms in the same position & 8 Ball change Right, Left & 1 Ball change Right, Left On count 1 the arms switch again to the forearms facing downwards 2 Kick the Right leg Devant in Attitude at 90-degrees The above position reverses so as the forearms are in an upwards position 31

32 3 & 4 Step ball change Right, Left, Right Hold the arms in the same position 5 8 Step the Left leg to 2 nd Parallel Interlink the hands and fingers and circle them around the head twice from left opening out presenting towards SL with the Right arm high and Left arm towards SL, the elbows are slightly bent with the hands and fingers splayed and presenting There is a slight natural circular action in the upper torso as the hands circle above the head 1 12 Repeat the above starting with the opposite leg, although this time the legs are fully extended during the kicks with a flexed foot The arms open and close in fists from Jazz 1 st to 2 nd position on the kicks. During the ball changes and travelling they remain in 2 nd. On the ball changes forwards the arms counts 3 & 4 the arms come into fists in front of the body in a boxing guard position with the Left arm slightly higher 5 8 Step the Right leg to 2 nd Parallel Holding a Lamp in the left hand with the palm out flat in front of the body, rub the lamp 3 times quickly and present out with fingers fanned the Right arm to SR and the Left arm over the head towards SL There is a slight twist in the torso towards SR 1 Heading towards DSR travelling diagonally forwards, stepping in front of the Right leg on the Left Leg Arms raise up left hand is placed in front of the Left hip with fingers splayed and the Right arm bent at the elbow and tucked into the Right side with hand and fingers splayed with palm forwards. & Flick kick the Right leg to 2nd at 45-degrees 2 Stepping on the Right foot to 2nd & Flick kick the Left foot in front of the Right leg diagonally forwards at 45-degrees 32

33 3 Stepping in front of the Right leg on the Leg & Flick kick the Right leg to 2nd at 45-degrees 4 & Step the Right leg steps behind the Left Arms switch to the opposite side Step the Left leg to 2 nd 5 7 & Repeat to the Left 8 & 1 Pas be Bourée over towards SR (Left, Right, Left) On count 1-arms fold into jazz 1 st with the hands in fists 2 Développé the Right leg to 2 nd Arms open to 2 nd position 3 Fold the leg down in front of the Left leg & 4 Kick the Left leg to 2 nd and immediately fold it inwards and down crossing in front of the Right leg Arms and hands come in front of the body miming taking and order with a pen and pad Slight incline forwards with the torso. This should represent the lyrics Let me take your order, Jot it down 5 7 Pivot and turn around on the Demi-Pointé 8 Step back into 4 th position with the weight on the Right foot, with the left foot on Demi-Pointé The arms open outwards and presenting Slight lean back in the upper body towards USR, eye line is lifted and looking towards DSL 1 16 Repeat the last 24 counts on the opposite side. Ending position, Left hand (girls)/fist (boys) is on the hip with a bend at the elbow. Right arm is lifted at shoulder height and bent at the elbow pointing towards the ceiling with two fingers 33

34 Teaching Tips The exercise should be taught after the Training Exercise (T2) as this supports the footwork needed within this exercise This should be broken down and taught in smaller sections, once the initial setting has been taught then it s just the style of kick that changes. Students can use the Barre to support the kicks on one leg and the focus should be upon the technique and the extension not the height of the kick. Notes on Style There should be an element of showmanship with panache within the exercise The syllabus video should be used alongside CPD courses for the finer style and details of the exercise 34

35 Exercise 8 Turning Exercise 4/4 Copacabana (At The Copa) Copacabana Start CS, facing front, feet together in parallel 1st arms by sides. Counts Movement Arms Additional Direction Intro 1-4 Hold starting position Intro 5-8 Hip bounce Roll the arms forward and present the Right arm forwards on count 8 with palm facing upwards 1 Step to the Right with the Right Leg Arms open to 2 nd with palms forwards There as a light bounce and Latin feel throughout the exercise 2 Close the Left leg into parallel 1 st Close into Jazz 1 st palms inwards towards chest 3 Step to the Right with the Right Leg Open to 2 nd & 4 Ball change Left, Right with the Left foot crossing behind the Right leg Cross the Left arm in front of the chest, and the Right arm behind the torso 5 8 Repeat to the other side 1, 2, 3 Step turn step to SR leading with the Right leg Repeat arms as above & 4 Ball change Left, Right with the Left foot crossing behind the Right leg 5 8 Repeat to the other side 1 & 2 & 3 & 4 Pivot turn around on the spot leading with the Right leg (R, L, R, L, R) Creating a diagonal line with the arms with the wrists flexed the Right arm down towards the floor and the Left arm high 35

36 5 8 Repeat on the other leg (L, R, L, R, L) Switch arm lines to the opposite side dropping to the sides on count 8 1 & 2 Step ball change forwards leading with the Right leg Arms lift to 2 nd position with palms facing down 3, 4 Slowly step through with the Left leg in to jazz 4th Arms to 3 rd opposition with the right arm travelling downwards and forwards 5, 6 Relevé to Retiré with the Right leg Arms to jazz 1 st 7, 8 Lower to parallel 1 st Arms placed by the sides 1 4 Dégagé the Right foot to 2 nd parallel, Rond de Jambe the Right leg En Dehors and Plié into jazz 4th Repeat arms lines to 2 nd through to 3 rd opposition as previously 5 8 Picking the Right foot up a controlled slow single Pirouette En Dehors finishing in 1 st parallel in a Plié Jazz 1 st 1 8 Repeat on the Left leg 1 48 Repeat entire exercise on the opposite side 1 & 2 To the side Left ball change Arms rolling forwards in front of the chest The hips are moving in a Latin style 3 & 4 Repeat to the Right Arms rolling forwards in front of the chest The hips are moving in a Latin style 5 7 Step turn step diagonally forwards towards DSL Arms 2 nd to 1 st on the turn 8 Free ending position to be set by the student or teacher 36

37 Teaching Tips The steps and transitions are simple so as the focus can be upon the turns especially the Pirouette, attention should be upon the correct posture, alignment. The exercises from Primary- Grade 2 will support the progression to a Pirouette at this grade. Spotting technique should be embedded within the teaching of this exercise The sequence can be taught without a turn to begin with and once students are prepared the turning steps can be introduced. Should a student be of the ability then the single Pirouette could become a double turn. Notes on Style There should be a natural Latin bounce within the exercise to suit the style of the song and movement sequences. The exercise should be lively and fun whilst control is maintained. The final unset position should be left to the student to set, it would benefit them to be shown video clips of Latin American dance, or from the various productions of Copacabana to inform their choices. 37

38 Training Exercise 3 (T3) Preparation for Jumps 4/4 Trashin the Camp Tarzan Please note that this exercise is not examined Start CS Facing DSC, feet in parallel 1 st arms relaxed by the side Counts Movement Arms Additional Direction Intro 8 Cts Hold starting position 1 Step forwards on the Left foot The arms swing in opposition in a running like movement bent at the elbow and lifted away from the body 2 With a rise on the Left leg swing the Right leg Devant to a parallel Attitude position at hip height 3 Swing and place the Right leg back and down 4 Step the Left leg backwards to achieve a jazz 4 th position with the Left leg behind 5 Pivot on the balls of the feet to face US maintaining the jazz 4 th position with the feet 6 Pivot back to face the front 7 A light bounce in the knees in jazz 4 th 8 Step the Left leg into parallel 1st Drop both arms to the side 1 8 Repeat on the opposite side stepping forwards on the Right foot 1 8 Repeat stepping forwards on the Left leg instead of a rise on the 38

39 supporting leg there is a hop on the underneath leg 1, 2 Jump both feet to a wide 2 nd in a Demi Plié Both arms lift to shoulder height with the forearms parallel to the floor and pointing forwards being bent at the elbow There is a natural lean forward in the torso 3 Jump back to parallel 1 st Arms drop to the sides 4 Jump back to a wide 2 nd position Arms lift again to the same position as the previous counts 1 & Jump and cross the Right foot in front of the left and pivot around on the spot. Arms remain in this position during the turn and drop to the side on count 8 Spotting technique should be used during the turn 1 32 Repeat whole exercises starting on the opposite side. Teaching Tips This exercise will support the change of direction in the following Jumping exercise, it can be taught on a flat foot to begin with before the rise and hop is added. Students should be encouraged to use their head and spotting technique in the changes of direction and pivot turn as this focus will assist in completion of these steps. Notes on Style This should be an energetic, fun and upbeat. There should be a natural swing with the arms in opposition which should help with the changes of direction. 39

40 Exercise 9 Jumping Exercise 4/4 Naughty Matilda Start CS Facing DSC, feet in parallel 1 st arms relaxed by the side Counts Movement Arms Additional Direction Intro 8 cts Facing front. Feet in parallel 1 st position 1, 2 Jump to 2 nd Arms lift to shoulder height bent at the elbow with forearms pointing forwards with palms down 3 Jump to 1 st Hold 4 Jump to 2 nd Hold 5, 6 Jump to jazz 4 th with the Right leg in front The arms cross the body with the Left arm in front of the body at chest height, the Right arm behind, bent at the elbow 7 Walk forwards Left foot Right arm swing in natural opposition across the body bent at the elbow 8 Walk forwards Right foot on to Demi-Pointé Left arms swing in natural opposition across the body bent at the elbow 1, 2 Brush the Left leg Devant in a parallel Attitude at 90-degrees and hop on the Right leg Right arm swing in natural opposition across the body bent at the elbow 3 Left leg placed back down and backwards to the floor Left arms swing in natural opposition across the body bent at the elbow 4 Step the Right foot backwards behind the Left Right arm swing in natural opposition across the body bent at the elbow 40

41 5 Step the Left foot to join the Right in parallel 1 st in a Plié Both hands are placed upon the thighs with a bend at the elbows knee bounces Hold 1-12 Repeat the 1 st 12 counts of the exercise on the opposite leg finishing by bringing the feet together in parallel 1st 5 & 6 & 7 Release the heels so as the foot is on a high Demi-Pointé and place the heel back down Right, Left, Right, Left The same shoulder isolates up as the heel releases 8 Hold Plié and prepare & 1, 2 Jump to a wide 2 nd position landing on count 1 and holding count 2 Hands are placed upon the thighs and invert the Right shoulder 3 Jump back to parallel 1 st Right hand makes a fist with the index finger covering the mouth This should represent a Shhh action 4 Hold small jumps around on the spot En Dehors going over the Right shoulder Drop arms to the sides 8 Hold and prepare 1 8 Repeat previous 8 counts on the opposite side 1, 2 Lift the Right leg to Attitude Devant with the supporting leg extended Left arm lifts to a fist position in front of the neck bent at the elbow, Right arm swings backwards 3, 4 Place the Right leg back down to the floor into a jazz 4 th Swing and change the arms to the opposite side 41

42 position with the Right leg behind 5, 6 Extend both legs fully Swing the arms through and change this time placing the Left arm directly under the chin This happens on the lyric Take it on the chin and bear it and there is a very slight lift with the head and eye line 7, 8 Lift the Left leg to Attitude Devant with the supporting leg extended Right arm lifts to a fist position in front of the neck bent at the elbow, Left arm swings backwards 1, 2 Place the Left leg back down to the floor into a jazz 4 th position leg behind Swing and change the arms to the opposite side (Left in front) 3, 4 Pivot on the balls of the feet retaining the jazz 4 th positions to face upstage Swing and change the arms to the opposite side (Right in front) 5, 6 Pivot on the balls of the feet retaining the jazz 4 th positions to face back downstage Swing and change the arms to the opposite side (Left) 7, 8 Step the Left leg into parallel 1st Drop the arms by the sides with the hands in fists 9 Hold feel start head isolation to look towards SR 10 Hold feet and head returns to neutral looking DS 1 & 2 Step behind, side, in front (Right, Left, Right) with the last step becoming the preparation for the next jump Natural movement in the arms This next jump travelling phrase is syncopated 3, 4 Hop on the Right leg with it fully extending underneath bringing the Left leg to Retiré Right arm swings through in a fist and reaches up in the air 5 Land in an inverted jazz 4 th towards DSL with the Left leg Right arm drops down and punches towards the floor Head looks DS 42

43 in front with the torso slightly inclining forwards 6 Hold 7, 8 Head looks sharply SL and back to the centre whilst holding the position the jump has landed in Hold 1 & 2 Step behind, side, in front (Left, Right, Left) with the last step becoming the preparation for the next jump 3, 4 Hop on the Left leg with it fully extending underneath bringing the Left leg to Retiré Left arm swings to shoulder height Devant whilst the Right arm swings to shoulder height Derrière The back arm is pulling the chest open slightly towards SR 5 Land in an inverted jazz 4 th towards DSR with the Right leg in front with the torso slightly inclining forwards Left arm crossing in front of the body in a sprinting like action, the Right arm is pulled back in the same action and punches down towards the floor on landing 6, 7 Head looks sharply SR and back to the centre whilst holding the position the jump has landed in 8 A slight hesitation and breath before moving into the next sequence 1 4 Cross the Right foot in front of the Left and pivot around on the spot and close into parallel 1st Arms swing and relax by the sides small knee bounces in parallel 1 st with a slight forwards incline in the torso Hands placed upon the thighs with a natural bend at the elbows 1, 2 Drop onto the Right foot lifting the Left leg in front bringing the knee high. The torso is Arms are straight by the sides with the hands held in fists 43

44 forwards and over the thigh of the lifted leg 3, 4 Repeat on the other leg Hold 5 8 Repeat counts 1 4 but quicker, doubling the counting 1-8 Repeat previous 8 counts 1, 2, 3 & 4 Jump both feet into parallel 1 st with a Plié and 3 knee bounces Hands placed upon the thighs with a natural bend at the elbows 5 & 6 Jump feet to a wide 2 nd position naturally turned out to a Demi Plié Hands are placed upon the lower hips with elbows bent out to the sides 7 Fully extend legs Hold 8 Nod the head once Hold 1 & 2 Hold A strong action of pushing on gloves on the right hand using the left hand. Arm is lifted at shoulder height with 90-degree angles at the elbow Head looks towards Right arm & 3 & 4 Hold Repeat on the opposite arm Head looks towards left arm & Hold Hands fold into hips with clenched fists finishing strongly on the syncopated end of the rhythm Head looks upwards towards SR with a slight incline in the torso towards SL. This is a strong defiant ending 44

45 Teaching Tips This exercise should be broken down into smaller sections and linked together once confident with each section The individual jumps should be taught separately independent from the exercise so as students understand placement and requirement. The Training Exercise (T3) should be used to support the change of direction and pivots Turning technique and spotting should be used during the jumps on the spot to aid in control and focus The leg lifts can be taught at the Barre initially if students require support when being on one leg The end section where the jump travels towards Stage Right and Left is syncopated and students should be taught the rhythm before the steps and this can then be broken down once they are confident of the rhythm. Notes on Style This should be an energetic, fun and upbeat but strong and full of the character Students would benefit from being shown clips and excerpts for the stage production, many of which are available online, this will assist in an understanding of the characterisation required and the intention behind the character An understanding of the story would benefit students in their comprehension of how and why the characters may behave the way they do For reference the syllabus video should be used for the smaller details and this can also be shown to students during the learning process. 45

46 Exercise 10 Rhythm NB: This exercise will be set by the Examiner during the examination and is performed without music. Start with feet together in parallel 1 st, facing front with arms by sides Counts Movement Arms Additional Direction 1 8 Hold position in parallel 1st Clapping rhythm 1 8 Repeat 1 8 Stepping rhythm Arms by sides 1 8 Repeat Teaching Tips This exercise comprises a simple 8-count combination of whole and half notes (crochets and quavers) on even and accented rhythms, incorporating missed beats. The rhythm is to be clapped twice and then performed twice using walks and step ball changes (on an even and/or accented rhythm as required). The danced rhythm may travel around the space in any direction and floor pattern. Teachers should incorporate this exercise into their classes, using a variety of rhythms so that students feel confident. Two examples of different combinations of claps and steps, in even and accented rhythms, can be found on the syllabus film. Please note that these are for guidance only and are not examination settings. Notes on Style Arms should remain relaxed by the sides throughout so that students can concentrate on accuracy of rhythm. 46

47 Set Dance A 4/4 So You Wanna Be a Boxer Bugsy Malone Start USC in 2 nd position with the arms relaxed by the sides Counts Movement Arms Additional Direction Intro 8 cts. Hold starting position Section A 1, 2 Twist into jazz 4 th facing SL Pushing the Right arm downwards with a clenched fist miming putting on a boxing glove with the Left hand 3 Hold The elbow flexes upward & 4 Head isolation DS, SL 5 8 Twist to SR and repeat sequence on the opposite side 1 Twist to face DS in a Demi Plié Bring both arms up into a boxing guard in front of the chest and neck with the Right arm slightly in front of the left 2, 3, 4 Hold & 5 Extend legs and return to Plié softly, this should be a soft bounce up/down Punch forwards Right Left 6, 7, 8 Hold & 1 Extend legs and return to Plié softly, this should be a soft bounce up/down Punch forwards Right Left 2, 3, 4 Slide the Left foot into the Right into parallel 1 st Arms lift to 2 nd position with the shoulder inverted so the top of There is a slight incline forwards in the torso 47

48 the forearm and hands are facing forwards 5 Step forwards on the Right leg in to jazz 4 th Bring the arms into the guard position as before 6, 7 Hold 4 th although there should be a natural breath and lift in the legs upon the circling of the arms Circle the arms out and upwards to an exaggerated bend at the elbows inverted 5 th position with both hands in fists facing forwards 8 Hold 1, 2, 3, 4 Pivoting around on the spot with the Left leg fixed on the spot, pushing the weight onto the Right leg on each turn 4 times (DS, SL, US, SR) Left arm remains in guard the Right arm punches forwards on each rotation 5, 6 Swinging the legs from facing SR in jazz 4 th to facing SL with fully extended legs The arms swing downwards and through the guard facing SL The torso should naturally swing with the rotation. 7 Demi Plié Hold & 8 Hold position the head looks DS and returns to SL 1 The torso rocks DS The arms should naturally move away from the direction of the torso You are trying to avoid a punch this expression should be clear within the facial expressions 2 Repeat US 3 Repeat with a slight backwards lean towards SR The arms should slightly push forwards remaining bent at the elbow 4 Return to the central position where this phrase began 5 & Head isolation DS to SL 6 Hold 48

49 7, 8 & 1 Travelling towards SR a throwing away action pushing the weight onto the Right leg and falling out of it stepping onto the Left then stepping to 2 nd with the Right The arms throw across the body and downwards towards SL Please refer to the syllabus film and CPD training for further details regarding this movement and its intention 2, 3 Acting through the song and characterisation DS towards the audience & 4 & Twisting the body into jazz 4 th facing DSR Clap, clap, clap The claps brush past each other, the Right hand goes upwards and Left hand goes downwards then repeats twice changing both times finishing with the Right hand is on top ready to point towards DSR. 5 Hold Point DSR with the Left arm crossing the body The point should have an intention as if you are pointing to someone in the audience DSR 6 8 Centre up the body to face DS and gesture outwards towards the audience The gesture should relate to the lyric being sung and the meaning behind them & 1 8 X 2 slow ball changes (Left, Right) sliding the Left leg Into the Right travelling towards DSR with a backwards incline in the torso The left arm is in the guard position and the Right arm punches forwards in the direction of travel on each ball change and slides back into a guard on the closing Eyeline is over the fists and the guard towards the person you are performing to DSR. This sequence should be slightly sprung on the initial ball change 1 8 Repeat on the opposite towards DSL 1 4 Walking backwards to CS starting with the Right leg (R, L, R, L) Rolling the arms forwards in front of the chest 5 & Jump to 2 nd in a Demi Plié The arms punch forwards towards DS Right, Left 6 Hold Hold guard 49

50 7 Push off the Right leg so as the weight is on the Left leg, turn out the Right leg to an Attitude position at hip height Arms lift to a 2 nd position with an upwards bend at the elbow and the hands flap as if you are trying to take flight 8 Suspend this upwards position The use of breath should enhance this movement 1 Step the Right foot down in front of the Left Hands move to the head and are placed upon the side of the head This sequence should represent a feeling of confusion/dizziness 2 Step onto the Left leg stepping to the side There should be a slight lean and transference of weigh into the Left side 3 Step onto the Right foot travelling towards SR 4 Step the Left foot in front of the right travelling towards SR 5 & 6, 7 On count 5 Step the Right leg to the side ending CS and twist into a jazz 4 th facing DSL Throw the arms downwards on the & with palms and forwards facing up, Starting on count 6 the body should begin to lean/fall backwards 8 & Fall backwards out of the previous lean stepping the feet slightly backwards, Left, Right into 2 nd position facing DS Arms drop and move freely There should be a sense of falling out of the previous movement as if you had been punched within the boxing ring 1, 2, 3, 4 Rub the face/cheek/chin This should represent the action and narrative that has previously occurred 5 Step on the Right foot heading towards DSR Pointing with the Right arm towards DSR There is a sharp look to DSR with the head to make eye contact with the audience member 6 Step on the Left foot heading towards DSR Hold The intention is still towards DSR for these series of walks back to CS 50

51 7 Step on the Right foot crossing in front of the Left heading towards CS 8 Step the Left leg to 2 nd Section B 1, 2 3 & 4 Drop on to the Right leg with the Left leg picking up Devant Repeat on the opposite leg. This repeats 3 more times at a quicker tempo The arms mime the skipping action This movement should mimic the action of skipping on the spot 5, 6 The above movement continues two more times (L, R) at the slower tempo 7 Jump both feet to 2 nd Bring arms to the guard hold & 8 Hold feet and legs Two quick punches forwards Right, Left with a twist in the torso towards SR as the Left arm crosses the body 1, 2, 3 Tucking the left behind and place it upon the floor to perform a roll on the behind towards SL. This should come to a kneeling position up on the knees The hands and arms should be used to support the weight and the recovery N.B this action and movement has been in Exercise 3- Port De Bras, it is at a quicker pace within this dance. & 4 Hold kneeling position and fall out of the position on the 2 nd punch Punch forwards Right, Left 5 8 Continue the roll towards SL Roll and standing up on the Left leg The hands and arms should be used to support the weight and the recovery Section C 1 Heading towards DSR Step forwards on the Right foot The left arm is held in the guard the Right arm is punching forwards towards DSR on each step within the next phrase 51

52 2 Close the Left leg into the Right Heading towards DSR Step The left arm is held in the guard the Right arm is punching forwards towards DSR on each step within the next phrase 3 & 4 Step ball change Right, Left, Right Punch Right, Left, Right 5, 6, 7 Step turn step, (Left, Right, Left) heading towards USL Arms held in front of the chest & 8 Quick jump into parallel 1 st and back out to jazz 4 th facing DSR The Left arm lifts and over into a sprinting position with the left arm forwards The torso finishes inclined over the front leg 1 Rond de Jambe the Right leg with the weight on the Left leg The arms swing in natural opposition forwards and back in a sprinting motion The torso is inclined forwards 2 Repeat with the Left leg 3, 4 Repeat counts 1 and 2 5 & 6 Pas de Bourée (L, R, L) into jazz 4 th with the Left leg Devant Point towards DSR on count 6 upon the preparation for the next turn Eyeline, focus and intention is towards DSR 7, 8 Single Pirouette En Dehors finishing in jazz 4 th with the Right leg Devant Bring the arms back to the boxing guard on count 8 1 & 2 3 Small runs backwards heading towards USL starting with the Left leg (L, R, L) Hold 3 Step the Right foot into parallel 1 st Hold & 4 Jump in parallel 1 st with the legs piking slightly forwards The arms lift and slightly extend forwards 5 8 Repeat 52

53 1 7 Point towards and walk towards DSR acting through song finishing DSR The characterisation and lyrics can be picked up again on this last phrase. & Left the Left leg to Retiré Fold the Right arm into the side with the fist facing upwards, the Left arm is slightly higher 8 Step the Left leg to 2 nd Punch the Right arm directly upwards and switch so as the Left arm is pulled with the elbow back beside the waits. The eyeline and chin is lifted strong and confidently facing DS LYRICS Section A So you wanna be a boxer In the golden ring Can you punch like a south-bound freight train Tell me just one thing Can you move in a whirl like a humming bird's wing If you need to (ooh that s fast!) Can you bob, can you weave can you fake and deceive when you need to? Well, you might as well quit If you haven't got it So you wanna be a boxer Can you pass the test? I can tell you've got it in you I've trained the best When you work and you sweat And you bet that you train to a buzz-saw (Zing!) Then you near lose your mind When you find that your boy has a glass jaw So you might as well quit If you haven't got it. 53

54 Teaching Tips The dance needs to be broken down into three sections (A-C) and the basic steps and musical timing taught first. The singing in Section A should only be added after the dance has been learned and students can perform the choreography with confidence. The singing needs to be clear audible and with good diction. There is a lot of mime within the dance which will need practising separately; students should be given an opportunity for individual interpretation within the choreographic structure. All steps have been covered within Level 1 Musical Theatre Syllabus and can be taught independently from the dance setting. Notes on Style With all dances, students may benefit from seeing it performed on the syllabus film first and/or seeing the relevant extract from the film of Bugsy Malone. This will give them an understanding of the context for the dance and the characters. This dance can be used for both male and female students as the choreography is gender neutral It would benefit students to have the full lyrics to understand the words being sung and the narrative to them 54

55 Set Dance B 4/4 Merry Old Land of Oz The Wizard of Oz Start Off Stage Left US and enter on the introduction in character, (this entrance is to be set jointly between the teacher and student). Counts Movement Arms Additional Direction Intro 12 cts. Free entrance to finish diagonally DSR with feet in parallel 1st Right arm is lifted and bent at elbow with a relaxed wrist, the Left arm is held behind the lower back Head and chin is lifted Section A 1 & 2 Bounce upon the heels and hinge forwards from the hips The arm and hand naturally moves forward The is s slight abdominal contraction and the head and eye line follows the hand 3 & 4 Step the Left leg backwards towards USR and continue the bouncing motion and lean backwards Both hands move to the abdominal area bent at the elbow a slight shoulder bounce There is a motion of laughing following the narrative of the lyrics 5 & 6 Swivel around on the balls of the feet to face DSL Hold 7 & Ball change backwards (Left, Right) Hands and arms release so as the Right hand ends up placed upon the chest and the Left hand presents and gestures upward and outwards as if singing The eyeline follows the gesturing arm 8 Hold & Drop onto the Left leg Swing the Left arm across the body 1, 2 Step on to the Right, step and cross the Left foot in front of the Right leg heading towards DSR The arm swing continues as the previous count 3 & 4 Lift the Right leg to a low 2 nd at 45-degrees and swing in so as it crosses in front of the Left leg, Arms lift to a low 2 nd bent at the elbow with the palms facing upwards and sharply move into 55

56 bent at the knee (&) with an extra lift on the count 4 both being placed upon the abdominals with bent elbows 5 Stepping across with the Right foot & 6 & 7 Ball change heading towards SL, (L, R, L, R) The arms open through 1 st to 2 nd presenting forwards 8 Swing the Left leg to 2 nd and folds inwards 1 & 2 Placing the Left foot down on count 1 Upon the toes twist the heels L, R, L Arms move into holding the waist band 3 & 4 Repeat towards SR (R, L, R) The arms lift to shoulder height bent at the elbow flicking the wrist out, in and out with the index finger pointed 5 & 6 Rock back so as the weight is in the Right leg which is also bent and the Left foot rocks back so it is placed upon the heel Roll the wrists inwards and downwards to cross the body with the Left arm across the abdomen and the Right arm behind the back This is to reflect a theatrical bow 7 Hold & 8 Ball change Left, Right to cross the Right leg in front of the left facing DSL on Demi Pointé Flick and roll the wrist outwards and up (as the previous position within counts 3 & 4) 1, 2 Pivot and turn around on the balls of the feet to finish facing DS with the Left foot in front Twist the wrists so as the palms are facing upwards, the arms are in 2 nd position with a bend at the elbow 3 & 4 Rise up in to a tight 5 th on Demi Pointé and lift the body upwards The shoulders isolate and lift upwards R, L, R & 5 & 6 & 7 & 8 Starting with the Right foot small runs backwards towards USR The arms push and open outwards from 5 th to finish by the sides A feeling of yawning should be present following the previous lyric. 56

57 Section B 1, 2 Heading towards DSL Chassé forwards on the Right leg crossing in front of the Left with the body facing DSL (1) Step the Left leg to 2 nd (2) The arms cross the body, the Right arm is across the abdomen and the Left arm is behind the back both hands are in fists 3, 4 Ball change Right Left crossing the Right leg behind the left The arms reverse and switch to the opposite side The torso and body should be facing DSR & 5 Spring ball change Right, Left to face DSR ending with the Left leg Devant in jazz 4 th The Right arm swings across the chest and the Left arm bent behind the back, both hands in fists 6 Hold 7, 8 Rise on a fully extended Left leg and swing the Right leg across towards DSL with a flexed foot and returns to Jazz 4 th with the Right leg behind The arm lines swing in opposition 1 Twisting on the balls of the feet heels Left Left hand holding an imaginary plate, use the Right hand to pick up a piece of cake The syllabus film should be used for specific details within this phrase 2 Twist on the heels so as the toes are facing SL Mime eating the food using the Right hand, Left hand remains held in front of the chest 3 Twisting on the balls of the feet heels Left Mime taking a napkin from the collar with the Right hand 4 & Twist on the heels so as the toes are facing SL Mime wiping the corners of the mouth with a napkin with the Left arm remaining in hold in the plate position 5 Repeat and hold Right Gesture the Right arm upwards with the elbow bent at shoulder height flicking the napkin outwards 57

58 6 Hold feet 7, 8 Twist the feet so as the heels are towards SR Twisting the wrists, present the arms open and outwards with the Right arm high in the air and Left arm to 2 nd with the palm facing upwards 1, 2 Hinge forwards from the waist sitting back into the Right hip and leg on a Fondu with the Left foot flexed with the extended leg Wrapping the Left arm across the body with the Right arm bent behind the back bowing The head and eye line lowers towards the floor 3 & 4 Step onto the Left leg (3) with 2 hops (& 4) on a bent Left leg with the Right leg in a low Attitude Hold 5 & 6 Pas be Bourée on the spot (R, L, R) finishing with the Right leg in front facing DSR & 7 Release the heels and pop the knees and heels and return to the floor Hold & 8 Hold the feet Hold and both shoulders shrug up and down 1, 2 Step hop on the Right leg with the Left foot at Retiré The left hand is placed upon the hips and the Right hands flicks from the wrist and points upwards The head and eye line looks DS 3 & 4 Run L, R, L towards DSR finishing with the Left foot forwards upon the heel The Right arm is presenting forwards and slightly downwards with the left hand on the hip in a fist The torso is hinged forward from the hips 5, 6 Rock back and forwards Hold 7 & 8 Standing on the Left leg swinging the Right foot to a low 2 nd bending and the crossing Left shin with a flexed foot on count 8 The arms swing across the body with the Right arm bent across the front of the body and accent upwards 58

59 Section C 9 Stepping on the Right foot The arms open and present to 2 nd & 10 & 11 & 12 Ball change around on the spot (L, R, L, R, L, R) The arms open and present to 2 nd 1 & 2 Running backwards towards USL (L, R, L) Right arm wraps across the body at the chest with the Left arm relaxed by the side The arm action should represent the narrative and lyrics Ha Ha Ha Ho Ho Ho The characterisation is laughing. 3 & 4 Running towards DSR (R, L, R) The Right arm remains, the Left hand and arm moves to the abdomen The intention is as if you are running out of breath for laughing 5 & 6 Running backwards towards USL (L, R, L) Both arms throw backwards and upwards The characterisation returns laughing. 7 & 8 Running towards DSR (R, L, R) Both arms throw forwards with relaxed wrists The head slightly tilts forwards as if laughing uncontrollably & 1, 2 Step into parallel 1 st Arms and hand mime straightening a tie/jacket/shirt/bowtie 3 Hold feet Brush the Left shoulder with the Right Hand & 4 Repeat with the opposite hand holding the Right arm in place so as both arms finish on top of one another in front of the chest 5, 6, 7 Turn in, Turn Out, Turn in on a small Demi Plié The arms slowly open outwards across the body until arms reach 2 nd position remaining bent at the elbow with palms facing upwards & 8 Jump and turn the legs out to land in 2 nd position in a Plié Arms remain in the previous finishing position 1 Both legs fully extend Both arms fully extend to just above 2 nd 59

60 2 Hold 3, 4 The weight transfers and pushes into the Left leg and hip, there is a Fondu on the Left leg and the Right leg extends and the foot flexes The Right arm circles inwards as it passes the Left arm they both move together to finish presenting towards SR 5, 6, 7 Pas de Bourée over (R, L, R) heading towards DSL springing into the next step Both arms present and open to 2 nd with the palms facing upwards & 8 Ball change L, R so as body is facing DSL Arms close in to 1 st and open to present the final picture the Left Arm is in a high V position and the Right arm presents to 2 nd The head looks DS upon the final picture. Teaching Tips There is a lot of mime within the dance which will need practising separately; students should be given an opportunity for individual interpretation within the choreographic structure. All steps have been covered within Level 1 Musical Theatre Syllabus and can be taught independently from the dance setting. The dance should be broken down into 3 clear section which are taught separately and then connected once students are confident with each section Notes on Style With all dances, students may benefit from seeing it performed on the syllabus film first and/or seeing the relevant extract from the film of The Wizard of Oz. This will give them an understanding of the context for the dance and the characters. Students can watch the syllabus films to gain a greater understanding of the characterisation and smaller gestures required within this Set Dance. It would benefit students to have the full lyrics to understand the words being sung and the narrative to them Teachers should refer to the syllabus film and CPD sessions for the finer details and gestures within the dance. This dance should display a sense of fun, enjoyment full of their interpreted character from Oz. 60

61 Bow Counts Movement Arms Additional Direction Intro 4 cts 1-4 Starting position as chosen by the candidate 1-16 A bow to the Examiner with 8 counts each side and a final pose 1-16 Repeat for additional candidates as required The student-choreographed bow should be a culmination of the work undertaken in the Creative Strand of this syllabus. Each candidate should present a bow to the examiner comprising 16 counts each side. Using the music for either Set Dance A or Set Dance B, the movement material should reflect the themes and dynamics investigated in the Creative Strand of the syllabus and those of the music chosen. Candidates are required to use the same music as their Set Dance 61

62 Strand B: Creative Strand The following information relates to the Creative Strand of the Primary syllabus. The content is not directly assessed in the examination, but it will help candidates to develop the characterization and elements of presentation necessary to achieve the highest grades. The Creative Strand is divided into two sections A: Making Waves (the creation of a prop) and B: Composition. We have included some tasks, which will get you started on delivering this content, but teachers are encouraged to tailor and develop these tasks, and are free to add additional tasks as they see fit. We would strongly recommend undertaking the Improvisation/Movement Generation tasks before learning the set dances, as this will encourage the candidates to develop their own characterization and personality which they can bring to the choreography, rather than copying the nuances from the written syllabus and filmed recording. A: The Costume Designer Students will enjoy designing their own costume using the included template based upon the chosen character for their set dance. This can be introduced as a homework project, involving teacher and parental support or it can take place within a portion of the lesson. It will be expected that students take this into the examination and present to the Examiner. Student can draw, colour or use and stick materials of their choice upon the template to enhance and support their design. This task aims provide students with a wider understanding of the various roles within Musical Theatre and their importance upon the performance and for them to consider these and to encourage additional creative skills within the arts. B: Improvisation There are several choices for improvisation work in this syllabus and teachers are free to choose which music to use for improvisation tasks with students. The following are some examples: Using the music for Set Dance A & B, set an improvisation task based on the sport Boxing or Gangsters for Dance A or the Characters from Oz for Dance B Using the music for Set Exercise 5, explore themes, feeling and movements associated/prevalent within African dance Using the music for Set Exercise 6, explore the style and feeling of movement from the 70 S and Saturday Night Fever Examples of improvisation tasks will be available on the film syllabus for Grade 3. C: Composition - Creating a Bow Teachers should work with students in creating a Bow of 16 counts, using the music for their chosen Set Dance. The Bow will be performed one candidate at a time (following on from each other with no break in the music). The movement material should differ from the content of the Set Dance, depicting other scenes and characters from the chosen piece. Part of lesson time should be used to explore characters from the chosen Set Dance so that students feel involved in the creation of the Bow, albeit guided by their teacher. 62

63 Strand C: Wider Learning Strand As part of this syllabus we re also keen for students to gain a wider understanding of the Musical Theatre genre. There is a worksheet below for each of the musicals that the Set Dances are based on. You may want to show film clips, encourage discussion, take a trip to the theatre, read the book, learn a song, and create a dance or any other relevant task. When you re thinking about any of these additional tasks you might want to use any of the following as the focus for your activity: dance styles, costume, set design, music, lighting, characters, narrative or history. The relevant worksheet should be completed by the children, outside of their class time (as homework), during the weeks that you are working on the Creative Strand tasks. We d also like you to use the information and resources below to encourage students to gain a broader view of the Musical Theatre genre. At Primary and Level 1 (Grades 1, 2 & 3) we are focusing on children s and family musicals. In addition to the worksheet you might also want to look at any of the following musicals. Annie Matilda Aladdin Joseph and the Amazing Technicolour Dreamcoat Mary Poppins Tarzan Barnham The Lion King Oliver The Sound of Music Cats The Wiz The Little Mermaid The Wizard of Oz Frozen Bugsy Malone 63

64 Credits Grade 3 Musical Theatre Syllabus Syllabus devised by: Music arranged by: Education Advisor: Project Co-ordinator: Emma Woods and Garry Clarke, assisted by Clare Palethorpe Richard Norris and Bill Readdy Dr Carol Martin (Director of Learning bbodance) Julie Bowers (Head of Communications and Membership bbodance) bbodance February 2018 (v 20/02/2018) bbodance is the new name for The British Ballet Organization Ltd., a Charity registered in England (No ) and a Company Limited by Guarantee (No ) 64

65 Name the 3 lead actors and the characters they played in the original film. 1: 2: 3: About the show Where was it set? What era/year is it set in? Who wrote the story? Who wrote the music? Learn these lyrics So you wanna be a boxer In the golden ring Can you punch like a south-bound freight train Tell me just one thing Can you move in a whirl like a humming bird's wing If you need to (ooh that s fast!) Can you bob, can you weave can you fake and deceive when you need to? Well, you might as well quit If you haven't got it So you wanna be a boxer Can you pass the test? I can tell you've got it in you I've trained the best When you work and you sweat And you bet that you train to a buzz-saw (Zing!) Then you near lose your mind When you find that your boy has a glass jaw Who directed the original film? Name 3 other pieces of Musical Theatre set in the 1920 s 1: 2: 3: The Director of the original film also directed two other high profile Musical Theatre film adaptations can you name them? 1: 2: So you might as well quit If you haven't got it. 65

66 Learn these lyrics Ha ha ha Ho ho ho And a couple of tra la las That's how we laugh the day away In the merry old land of Oz Buzz, buzz, buzz Chirp, chirp, chirp And a couple of La di das That's how the crickets crick all day In the merry old land of Oz We get up at twelve and start to work at one Take an hour for lunch and then at two we're done Jolly good fun Ha ha ha Ho ho ho And a couple of tra la las That's how we laugh the day away In the merry old land of Oz, That s how we laugh the day away Ha ha ha Ho ho ho Ha ha ha ha ha That's how we laugh the day away With a ho ho ho ha ha ha In the merry old land of Oz About the show Where was it set? What era/year is it set in? Who wrote the story? Who wrote the music? Who directed the original film? What Actress played the lead role of Dorothy Gale? Can you name 2 other Musical Theatre films the Actress starred in? 1: 2: What did the following characters want from the Wizard? Cowardly Lion Brain Tin Man Courage Scarecrow Heart 66