Embedded Files
Story Boarding / Script Writing
From November 11 to December 30, my co-writer/music specialist Cassidy Wilson and I met multiple times about plot ideas and the flow of the story we were aiming to achieve, but we both agreed we wanted it to be musical. We thought through multiple ideas; a musical about the myths of teachers (like how they sleep at school) or even a story about kids breaking into a school. That's when my twin brother, who happened to be present at a meeting, suggested we make our musical about a bunch of blondes who accidentally rob a bank. This idea sparked a wave of inspiration that eventually led to us officially naming our one act, Illegally Blonde, as a parody title to the hit Broadway show Legally Blonde. After establishing a general outline of each scene and the songs we wanted, Cassidy and I got to work writing and revising our 10-scene script up until January 29th. Despite having an outline, our final script ended up quite a bit different from our outline due to just funny things we thought of when we were writing it, and having to change some parts due to it being impossible on our small stage. In the end, Cassidy and I had collectively written a 26 page long one act, equivalating an around 40 minute show.
From November 11 to December 30, my co-writer/music specialist Cassidy Wilson and I met multiple times about plot ideas and the flow of the story we were aiming to achieve, but we both agreed we wanted it to be musical. We thought through multiple ideas; a musical about the myths of teachers (like how they sleep at school) or even a story about kids breaking into a school. That's when my twin brother, who happened to be present at a meeting, suggested we make our musical about a bunch of blondes who accidentally rob a bank. This idea sparked a wave of inspiration that eventually led to us officially naming our one act, Illegally Blonde, as a parody title to the hit Broadway show Legally Blonde. After establishing a general outline of each scene and the songs we wanted, Cassidy and I got to work writing and revising our 10-scene script up until January 29th. Despite having an outline, our final script ended up quite a bit different from our outline due to just funny things we thought of when we were writing it, and having to change some parts due to it being impossible on our small stage. In the end, Cassidy and I had collectively written a 26 page long one act, equivalating an around 40 minute show.
Rehearsals / Music
A rehearsal schedule was sent out on the 29th and rehearsals started immediately after we finalized our script on January 30th. I had sent out the portions of the script that were finalized to my cast ahead of time so that they could start memorization before rehearsals began. Starting on the 30th, I held rehearsals every weekday after school, either at the school or at my house. Mondays-Thursdays were acting and rehearsal days with me, while Fridays were generally reserved to go over music with Music Specialist, Cassidy Wilson. Rehearsals generally ran from 2:30pm-5:00pm, with exceptions on February 17th and 18th that ran later for dress/tech rehearsals. The first two weeks were for getting blocking and choreography all smooth for each of the scenes and songs. Once all lines and movements were memorized, I went ahead and started to correct and mold their acting into what I envisioned for each scene in the the las. Additionally, sheet music was used in order for our singers to learn and hit key harmonies in songs like "Say my name" and "Busted".
A rehearsal schedule was sent out on the 29th and rehearsals started immediately after we finalized our script on January 30th. I had sent out the portions of the script that were finalized to my cast ahead of time so that they could start memorization before rehearsals began. Starting on the 30th, I held rehearsals every weekday after school, either at the school or at my house. Mondays-Thursdays were acting and rehearsal days with me, while Fridays were generally reserved to go over music with Music Specialist, Cassidy Wilson. Rehearsals generally ran from 2:30pm-5:00pm, with exceptions on February 17th and 18th that ran later for dress/tech rehearsals. The first two weeks were for getting blocking and choreography all smooth for each of the scenes and songs. Once all lines and movements were memorized, I went ahead and started to correct and mold their acting into what I envisioned for each scene in the the las. Additionally, sheet music was used in order for our singers to learn and hit key harmonies in songs like "Say my name" and "Busted".
Set Design / Blocking
Set design and the blocking that went with it was a challenge to solve for sure. There were often back to back scenes with huge set changes that would've put a huge pause on the show if we didn't work around them. This problem was made the most clear in the Starducks to the Brunette's house scene change (scenes 9-10). So a solution we came up with to enable the rest of our cast to take all the tables off and bring the couch on was to have the Lindsays step in front of the curtain right when the song "Busted" started, and close the curtain to enable for the scene change during the song. I repeated this a couple other times as well, like from the Beach to the Park(scenes 6-7) during "Love is an Open Door", and from the Restaurant to Starducks (scenes 1-2) with "Say my Name". I also tried to alternate scenes from behind the curtain, to in front of the curtain to allow for a more continuous show. This is shown with in front of the curtain scenes with the Cop (scene 5), Outside Chase Bank (scene 3), or during Lindsay's shopping scene (scene 8).
Set design and the blocking that went with it was a challenge to solve for sure. There were often back to back scenes with huge set changes that would've put a huge pause on the show if we didn't work around them. This problem was made the most clear in the Starducks to the Brunette's house scene change (scenes 9-10). So a solution we came up with to enable the rest of our cast to take all the tables off and bring the couch on was to have the Lindsays step in front of the curtain right when the song "Busted" started, and close the curtain to enable for the scene change during the song. I repeated this a couple other times as well, like from the Beach to the Park(scenes 6-7) during "Love is an Open Door", and from the Restaurant to Starducks (scenes 1-2) with "Say my Name". I also tried to alternate scenes from behind the curtain, to in front of the curtain to allow for a more continuous show. This is shown with in front of the curtain scenes with the Cop (scene 5), Outside Chase Bank (scene 3), or during Lindsay's shopping scene (scene 8).
Costume Design
Each of the costumes had to scream the particular over-the-top stereotypes represented in the show for each personified character. The Cop not only had the stereotypical hat, mustache and sunglasses a typical beat cop would be expected to have, it is further made fun of as the cop not only classically tears off his aviators, but tears off his mustache too. Chab and Chad both give off similar surfer California boy, especially when it comes to their names. So for their costumes I fitted them with swim trunks, backwards hats and socks and sandals. Gertrude needed to scream old lady for obvious reasons which is why she was fitted with a wool sweater, long skirt, cat-eye glasses, a walker, rotary phone, and massive purse. This over-the-top outfit made for an even funnier transition when Gertrude trades her glasses for L's youthful blonde wig creating a sense of irony between the two parts of her costume. Finally, for the Lindsays, we had to represent their transition from glamorous blondes to self-assurance by having them rely less on their beauty and more on their confidence. I did this by starting with stylish outfits in the beginning at the restaurant, to transitioning to all black outfits to really highlight their blonde hair and the loss of it at the bank. Following this, Zee, the only one with naturally blonde hair, is a complete reck in the next scene with smeared mascara, messy hair and glitter all over her face. Of course L's and Lindsay's blonde wigs are a huge part of their costumes aid in furthering the plot and their character development.
Each of the costumes had to scream the particular over-the-top stereotypes represented in the show for each personified character. The Cop not only had the stereotypical hat, mustache and sunglasses a typical beat cop would be expected to have, it is further made fun of as the cop not only classically tears off his aviators, but tears off his mustache too. Chab and Chad both give off similar surfer California boy, especially when it comes to their names. So for their costumes I fitted them with swim trunks, backwards hats and socks and sandals. Gertrude needed to scream old lady for obvious reasons which is why she was fitted with a wool sweater, long skirt, cat-eye glasses, a walker, rotary phone, and massive purse. This over-the-top outfit made for an even funnier transition when Gertrude trades her glasses for L's youthful blonde wig creating a sense of irony between the two parts of her costume. Finally, for the Lindsays, we had to represent their transition from glamorous blondes to self-assurance by having them rely less on their beauty and more on their confidence. I did this by starting with stylish outfits in the beginning at the restaurant, to transitioning to all black outfits to really highlight their blonde hair and the loss of it at the bank. Following this, Zee, the only one with naturally blonde hair, is a complete reck in the next scene with smeared mascara, messy hair and glitter all over her face. Of course L's and Lindsay's blonde wigs are a huge part of their costumes aid in furthering the plot and their character development.
Light / Sound Design
Designing the light and sound for Illegally Blonde was so much fun, especially since they both were integral to the plot of the story. Since we wanted to keep the cast small, we had some of the smaller roles control stage and apron lights since they were off stage for most of the time and were familiar with all the light cues needed throughout the show. Gabrielle Lightbourne, controlled spotlight, which was detrimental to scenes taking place at night like the cop and the bank heist scenes. Ally Watson, worked the completed sound program put together by Cassidy and I. Finding the actual sounds for the show was fun but also challenging. For example, for the glitter bomb sound effect, we couldn't go with any explosion that felt too big or had any shattering glass as that would seem to violent for the desired effect of the glitter bomb. But it also wasn't some super soft explosion as it had to blow Lindsay's wig straight off her head. Finding this important balance allowed the show to feel more believable and real then just something half-baked. The use of blackouts on the stage aided in separating scenes from one another and helped develop a passage of time from one scene to the next. Not only that, but the blackouts marked ends of songs and gave the actors time to transition while the audience could applaud.
Designing the light and sound for Illegally Blonde was so much fun, especially since they both were integral to the plot of the story. Since we wanted to keep the cast small, we had some of the smaller roles control stage and apron lights since they were off stage for most of the time and were familiar with all the light cues needed throughout the show. Gabrielle Lightbourne, controlled spotlight, which was detrimental to scenes taking place at night like the cop and the bank heist scenes. Ally Watson, worked the completed sound program put together by Cassidy and I. Finding the actual sounds for the show was fun but also challenging. For example, for the glitter bomb sound effect, we couldn't go with any explosion that felt too big or had any shattering glass as that would seem to violent for the desired effect of the glitter bomb. But it also wasn't some super soft explosion as it had to blow Lindsay's wig straight off her head. Finding this important balance allowed the show to feel more believable and real then just something half-baked. The use of blackouts on the stage aided in separating scenes from one another and helped develop a passage of time from one scene to the next. Not only that, but the blackouts marked ends of songs and gave the actors time to transition while the audience could applaud.
Page updated
Report abuse