I can really be myself around almost everyone in my choir because we all hang out so much and get to know things about each other we probably don’t really need to know. We are all just there to do what we love and have a good time doing it, which I love. In conclusion, show choir may be a lot different from what people think and I hope that everyone can see why “Glee” is not a great representation of it. My experiences have showed me that people have the wrong idea about show choir just because no one has actually ever told them.
Many of the song were heartwarming, and many were exciting and fun, but my favorite part of the show was its humor. And there wouldn’t be much humor in the show without Ren’s best friend Willard Hewitt. I couldn’t have thought of a better Willard than junior Jimmy Tapocik. Tapocik stole the show with his jokes, his accent and his dancing.
First I want to say that each actor fulfilled the role to be played with their decent level of acting. But sadly my compliments are overshadowed by the workload being inflicted onto two main actors within the play. Sobal which I actually am praising this time, has been able to consistently act his characters to a decent level to where I cannot complain about him. Mallari on the other hand has had an amazing start at the beginning of the play, but
so we thought it would help. It made it so much better, I thought that ride was the worst feeling ride I rode all that day, even all the looks that dragged my attention made me think about that quote don 't judge a book by it’s
A Perfectly Tragic Pair Richard Rogers (1902-1979) and Lorenz Hart (1895-1942) were an American songwriting team. While working together, they wrote more than twenty-eight stage musicals and more than 500 songs between 1919 and 1943. Their first song on Broadway was “Any Old Place with You,” sung in A Lonely Romeo (Hurwitz 100). They had individual songs appear in a variety of shows, but their first complete score and break through success was The Garrick Gaieties. This was originally scheduled as a two-performance fundraiser for the Theatre Guild, but was so successful that it was extended and ran for 211 performances.
I have always been a particularly musical person. When I was younger, I wanted to become a singer when I grew up, but upon joining the choir in elementary I realized I did not have the talent for singing that I thought I had. Continually singing off key and never sounding as good as my peers did, I decided to confine myself to singing at home where only my family could hear me. Despite this revelation that I was, in fact, a terrible singer, I still wanted to participate in some type of musical performance and decided to join the band in middle school. After trying out various different instruments, I settled on the flute and quickly fell in love.
At its core, Much Ado About Nothing is an outstanding play, and one of my personal favorites. Seeing it on both the stage and screen helped me formulate this review, and helped me decide that the choices the production team made were indeed successful. Of the actors chosen, most understood their character, and of the design elements chosen, most added to the story rather than subtracted. In the spirit of the play, I would rate this work 13 out of 15 OSFs, short for Oregon Shakespeare Festival (which is where I first saw this play performed), because no tribute to Shakespeare would be complete without the mention of this
Just as in warmups this choir wows me again. Most choirs I’ve ever been apart of you have to start with continuously pounding out the notes and rhythms. This choir can pick up a sheet of music and sing through the whole song with impressive note accuracy. That excites me as I’m finally in a choir that’s not held back by slow learning singers and we can dig right into the music. I’m so excited for what my high school choir experience could bring me.
On March 7th, I had the privilege of attending a performance called “The Castle” written and performed by four wonderful and talented people – Rory Anderson, Ervin Hunt, Victor Rojas, and Vilma Oritz Donovan. As I traveled all the way to the Engleman Recital Hall at Baruch College, I was excited because I have never ever heard of a performance where ex- convicts come in to tell their stories. After more than an hour, I came to the conclusion that this performance was absolutely astonishing and exceeded my expectations. In “The Castle,” the four performers each beautifully told their story of how they ended up on dark path, leading up to their incarceration.