I'm Not Only In One Dance... But Two!

Rehearsal

08/09/2025

I was very relaxed when I rocked up to rehearsal today... at least I was until it was announced that I would be in another dance. There was no time to ponder though, as I was immediately subjected to the choreographers to learn this new dance The dance in question is to the song 'Pay Day' set in a local bar, where the workers of the Ford Dagenham factory are celebrating being paid. This dance is performed by the ensemble at the end of Act 1. It is a fun, upbeat dance.

After acquirng a partner, I was taught the dance. It was fairly simple... for most people. But for me, it was a bit of a challenge.

I Have To Do A Dance... Uh Oh...

Rehearsal

15/09/2025

Mr Tooley doesn't appear until the very end of the first act, so in the beginning of Act 1, I will be in the ensemble, which means I have to dance...

Mr Tooley doesn’t appear until the very end of Act 1, so, at the start of the show, I’ll be part of the ensemble - which, this year, means one thing: I have to dance.

I've been lucky enough to have avoided too much dancing in previous shows, but, alas, all good things must come to an end. This year, my streak of avoiding choreography has officially been broken, and I find myself facing my biggest challenge yet: actual dancing...

What Happened in the Rehearsal

Today was our first rehearsal, in which we focused on learning the choreography for “Always a Problem”, sung by the ever-charismatic Harold Wilson, the Prime Minister. The song itself is a sharp, witty parody of political showmanship, which pokes fun at the endless parade of problems faced by those in power and their often ridiculous attempts to seem in control. It’s fast-paced, funny, and full of energy.

In this number, I’m one of Harold Wilson’s aides - one of the background political figures tasked with nodding enthusiastically, looking terribly important, and, most importantly, keeping in time. The choreography reflects the satire of the song: light, playful, and deliberately exaggerated to the point of absurdity.

We spent the rehearsal blocking out the formations and learning the main section of the choreography. Our choreographer emphasised sharp transitions between levels and positions - it’s all about order and control, which suits the song’s theme perfectly. There’s even a little moment where the aides mirror Harold’s gestures in a way that feels almost puppet-like which was an image I thought was a clever touch.

Expanding on the Process Initially, I was uncertain about dancing. My brain doesn’t naturally process dance moves very easily and as such, my internal monologue during the first run-through was a slow something like: “Left foot? No, other left foot!” But once I got into the rhythm, I found myself actually enjoying it.

To help myself remember the choreography, I used one of the memory techniques I mentioned in my dance SMART target: naming each move. For example, a sweeping arm became “the Wilson wave,” a bob became “the Great British Bob.” I also linked certain movements to specific lyrics in the song, so each lyric acted as a little mental cue. It sounds silly, but it really helped me retain the sequence more effectively.

Character Connection

Even though this was an ensemble number, I still had a character to portray. While my main character, Tooley, doesn’t appear in this scene, I see this as a chance to establish the world he inhabits - one full of pomp, power, and performative politics. As one of the aides, I tried to move with a kind of false professionalism: a stiff upright posture, rehearsed smiles, and gestures that felt more like performance than authenticity. It worked well for the role of an aide, and was also kind of a subtle way to mirror the artificiality and arrogance that Tooley later embodies so loudly.

What Went Well / What Didn’t

I was genuinely pleased and pleasantly surprised with how quickly I picked up the choreography. Despite my initial self-skepticism, I felt that I did manage to memorise the sequence in the short time we had, which is definitely progress for me. I could also feel an improvement in my confidence - by the end, I didn’t second-guess myself as much as I might have last year.

That said, my timing still needs tightening. Occasionally, I found myself half a beat behind the others, especially during formation changes. There were also a few moments when my focus slipped - it’s one thing to get the steps right, but keeping them performative (smiling, projecting energy, staying in character) is a skill in itself.

How I Will Improve

Going forward, I will watch the video recording of the choreography we took during today's rehearsal so that I can review and practise at home. I’ll also continue using my naming-and-lyrics technique as it did seem to genuinely help me recall movements in order. I’d also like to start focusing more on intention behind each movement: what my character is thinking or feeling in each beat, rather than just executing steps mechanically.

Link to Musical Theatre Practice

This rehearsal made me realise a great truth of musical theatre: dance isn’t just about movement, it’s storytelling. Even in ensemble moments, choreography is used to communicate mood, theme, and character. In “Always a Problem,” the choreography satirises the rigid, performative nature of politics - and as an ensemble member, it’s my job to embody that through exaggerated precision and comic seriousness.

Link to My Targets

Singing: Although this rehearsal focused on the choreography, I will have to sing, along with the rest of the ensemble, whilst dancing. I will need to practice staying engaged vocally while dancing, which will help me strengthen my breath control and maintain pitch - great practice for my upcoming solo song.

Dance: I’m pleased with my early progress in remembering choreography, especially using the naming technique. My next goal is to add precision and confidence so that my movements look intentional, not cautious!

Acting:

Who Is Mr Tooley?

12/09/2025

I will be playing Mr Tooley in my school's musical production of Made In Dagenham, so as I like to do with all of my characters, here is my character analysis of Tooley...

Mr Tooley’s Relationships

Mr. Tooley arrives in "Made in Dagenham" as the authoritative American Ford executive, representing the global corporate machine. Unlike characters with deep interpersonal relationships, Tooley’s connections are primarily professional and transactional. His presence underscores the power imbalance between the working-class women of Dagenham and the multinational corporation they are challenging.

His most significant “relationship” is with Mr. Hopkins, the British Ford manager who often appears flustered and desperate to appease him. Tooley treats Hopkins with thinly veiled disdain, dismissing him as weak and ineffective in handling the workers. This creates a dynamic where Tooley asserts dominance, reinforcing his role as the embodiment of corporate authority.

Tooley’s interactions with the women, particularly Rita, are less personal and more symbolic. He doesn’t see them as individuals, but as obstacles to production and profit. Where Hopkins might occasionally show empathy or at least hesitation, Tooley is cold, calculating, and unyielding. His refusal to acknowledge the legitimacy of the women’s cause highlights his detachment from the human consequences of his decisions.

In many ways, Tooley’s “relationships” (or lack thereof) emphasise his function in the story: he is not there to connect with others on an emotional level, but to personify the faceless, profit-driven ideology of Ford. This sharp contrast with the camaraderie and warmth among the Dagenham workers helps heighten the emotional stakes of the musical.


Mr Tooley’s Behaviour

Mr. Tooley is arrogant, bombastic, chauvanistic, jingoistic and unapologetically capitalist. He revels in his role as a representative of corporate power, and his behaviour borders on caricature at times, which makes him both intimidating and comical. His speeches are peppered with self-aggrandising statements, references to American exceptionalism, and an unwavering belief in the sanctity of profit margins above all else.

He treats Britain, and by extension, the workers of Dagenham, as an inconvenience in Ford’s wider global operations. His constant threats to move production elsewhere demonstrate how little regard he has for the livelihoods of ordinary people. This attitude makes him the perfect antagonist: his values are diametrically opposed to those of the workers, who fight for fairness and dignity.

Tooley’s behaviour can also be read as deliberately theatrical. He thrives on grand gestures, booming delivery, and exaggerated self-confidence. This makes him larger than life and ensures his presence dominates the stage whenever he appears. He doesn’t need subtlety because his character is all about excess: excessive pride, excessive greed, and excessive arrogance.

While Tooley is often funny (his outbursts and over-the-top persona invite laughter) he remains dangerous. The humour masks the very real threat he represents: the crushing power of a multinational corporation determined to silence dissent. His behaviour underlines the stakes of the conflict, reminding the audience that this is not just about a local dispute but about challenging a system designed to devalue workers.


How I Want to Play Mr Tooley

In playing Tooley, I want to lean into his flamboyance and arrogance. His character works best when he is larger than life - loud, brash, and supremely confident. His physicality will reflect his dominance: broad, expansive gestures, a booming voice, and a condescending posture that suggests he always expects to be the most important person in the room.

I’ll make sure his entrances feel like an event. Tooley doesn’t just walk into a space - he arrives. I want to capture that sense of showmanship that haughty executives often exude, to make him appear as though he’s performing his power as much as exercising it. When speaking, I’ll deliver his lines with a mix of mockery and condescension, particularly towards Hopkins, ensuring the audience sees how little respect he has for his subordinates.

At the same time, I’ll emphasise Tooley’s role as a symbol rather than a nuanced character. Unlike Rita, whose journey is full of growth and vulnerability, Tooley is static - he doesn’t change or learn, but rather he leaves the story as the exact same person as he enterred as. His consistency makes him an effective foil to the workers’ courage. I’ll keep him relentlessly self-assured, so his refusal to bend underlines just how radical and brave the women’s stand truly is.

Finally, I want to balance his menace with humour. Tooley's ironic jingoism makes him inherently funny, especially for a British audience. Tooley’s outrageous behaviour can also be very funny, and I’ll use that to engage the audience, but I’ll also make sure that the laughter doesn’t undercut the seriousness of the struggle. The humour should make him entertaining to watch, but his arrogance and threats should always remind the audience of the danger he represents.


By playing Tooley as the brash, arrogant face of Ford’s corporate greed, I can highlight the central conflict of Made in Dagenham. He is not just an antagonist, but a representation of the vast system the workers are up against. His lack of empathy, flamboyant behaviour, and unshakeable confidence make him both comedic and threatening, ensuring his presence amplifies the stakes of the workers’ fight for equality.

Learning From My Mistakes...

08/09/2025

Last year, I had the priviledge of playing Warner Huntington III in my school's production of Legally Blonde...

I have the deepest voice known to man, which is great for things like scaring away bad guys and attracting females, but not so great for the character of Warner, who is a tenor. Last year, his song 'Serious' was a real challenge because of my vocal range limitations. I pushed hard for a trasposition, but it was denied. I refused to sing it in falsetto as was suggested to me, as it would have sounded ridiculous, not matching the character's voice, unless the character should sound like Mickey Mouse. I ended up recomposing parts of the melody to fit my voice, however only parts of the song was I able to do this for. Elsewhere, the song was so out of my range, that I transposed those parts down an octave. But, for the majority of the song, I had to sing at the very top of my chest range, which was quite out of my comfort zone. It sounded shit, when I first started, but after every practise, I improved. In fact, by the time the show came round, I was really pleased with how it sounded. I was also super surprised at how much progress I had made with singing up high.

This year, I'm in a similar situation. I'm playing Mr Tooley, who sings 'This is America'. For me, I will have to sing this in the top of my range, however, this song does fit compeltely within my range - just confined to the top of it! Reflecting on how much I was able to imporve with conssitent practise last year, I am going to practise this song every day from now until the show, as well as doing vocal exercises for singing high every day.