MUSICAL THEATRE GRADE 3 SYLLABUS - bbodance...3 Introduction and Overview This Grade 3 Musical...

MUSICAL THEATRE

GRADE 3 SYLLABUS

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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 ...................................................................................................... 11

Exercise 3 – Port de Bras & Stretch .................................................................................................................................. 13

Exercise 4 – Isolations. ..................................................................................................................................................... 18

Exercise 5 – Floorwork. ..................................................................................................................................................... 22

Exercise 6 – Travelling Step .............................................................................................................................................. 26

Training Exercise 2 (T2) – Preparation for Kicks .............................................................................................................. 29

Exercise 7 – Kick Exercise ................................................................................................................................................ 31

Exercise 8 – Turning Exercise........................................................................................................................................... 35

Training Exercise 3 (T3) – Preparation for Jumps ............................................................................................................ 38

Exercise 9 – Jumping Exercise ......................................................................................................................................... 40

Exercise 10 – Rhythm ....................................................................................................................................................... 46

Set Dance A. ..................................................................................................................................................................... 47

Set Dance B ...................................................................................................................................................................... 55

Bow .................................................................................................................................................................................... 61

Strand B: Creative Strand

A: The Costume Designer ................................................................................................................................................. 62

B: Improvisation ................................................................................................................................................................. 62

C: Composition - Creating a Bow ...................................................................................................................................... 62

Strand C: Wider Learning Strand .......................................................................................................................................... 63

Credits - Primary Musical Theatre Syllabus .......................................................................................................................... 64

Resources ....................................................................................................................................................................... 65-68

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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.

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DSL Down Stage Left

DSR Down Stage Right

SL Stage Left

USR Up Stage Right

USL Up Stage Left

USC Up Stage Centre

DSC Down Stage Centre

SR Stage Right

SC Centre Stage

Stage Directions

FRONT

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Strand A: Technique and Performance Exercise 1 - Warm up 3/4 – ‘Chim Chim Cher-ee’ – Mary Poppins

Start parallel 1st position CS facing DS.

Counts Movement Arms Additional Direction

Intro 16 cts Hold position for 7 counts Dégagé the Right leg to 2nd 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 2nd 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 1st

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 2nd. 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

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5 & a 6 Grand Plié in 2nd 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 2nd

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 2nd 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 1st 16 counts of the exercise on the opposite side

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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.

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Exercise 2 – Footwork 4/4 – ‘I Wan’na Be Like You’ – The Jungle Book

Start in a closed parallel 1st position feet together facing front arms relaxed and loose by the side with head forwards down stage.


Intro 8 cts

1 Push the Right foot onto Demi-Pointe

Arms are relaxed by the side of the torso for the 1st 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 1st position

5 - 8 Repeat with the Left leg

& 1 & 2 Pick up the Right foot stepping to a wide 2nd 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 2nd. This arm movement repeats on the returning of the feet to 1st 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 1st parallel.

& 3 & 4 Pick up the Left foot stepping to a wide 2nd 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 2nd. This arm movement repeats on the returning of the feet to 1st 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 1st parallel.

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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 2nd 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 1st on count 8

Arms repeat

1 – 2 Tendu the Right foot Devant and return to 1st 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 1st 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 1st 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 1st on count 8

The torso hinges forward from the hips at 45-degree angle and the torso recovers when the feet return to parallel 1st on count 8

1 - 8 Repeat the previous 8 counts on the Left side

As above As above

1 – 32 Repeat whole exercise

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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.

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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.


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.

1- 24 Repeat exercise rolling upstage during the second phrase. Roll into the end position sat on the floor with both legs in attitude

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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.

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Exercise 3 – Port de Bras & Stretch 4/4 – ‘Let it Go’ – Frozen

Start facing front, parallel 2nd position - arms by sides


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 2nd Arms begin to slowly lift to 2nd position with the palms facing downwards

& Arms continue to slowly lift to 2nd 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 4th position

Arms wrap around the body The head and eyeline looks downwards

5, 6 Recover to a 2nd 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 1st 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 2nd position

& Step the Right foot behind the Right travelling towards SL

Arms continue the movement and open through to 2nd to achieve a high ‘V’ position

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2 Step the Left foot to 2nd 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 4th 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 2nd position in parallel on count 1

Maintain the arms in the wrapped position on the final step to 2nd 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 2nd position Both arms open to 2nd 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 5th position

4, 5 Hold lunge The Left arm circles inwards returning to parallel 5th

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.

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8, 1 Hold Lunge The Right arm circles inwards returning to parallel 5th

2 Recover to centre Arms lower to 2nd 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 2nd 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 5th position and higher release (9,10) finishing at 2nd position

There is a higher release on the opening through 5th, chest should be lifted and eye line and focus diagonally out and upwards

& 1, 2 Step forwards Right then Left into 2nd 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 2nd 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

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& 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 2nd position CS.

Left arm fully extended at shoulder height, palm facing upwards

1 Stood in 2nd 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 4th 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.

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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.

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Exercise 4 – Isolations. 4/4 – ‘It’s The Hard Knock Life’ – Annie

Start CS facing DS- feet in parallel 2nd arms by side


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 5th with the hands clenched in fists, open to 2nd position bring into 1st with thumbs pointing towards the chest

6, 7, 8 Twist into an inverted jazz 4th

facing SL with the Left foot inverted

Slowly throw arms to 2nd 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

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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 2nd 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 2nd travelling towards SL

One arm at a time (Right, Left) opens to a low 2nd 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 2nd travelling towards SR

Arms hold and move into 1st in fists upon the final count

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1 – 5 Demi Plié, fully stretch the legs, Demi Plié

Drop the arms straight downwards with the fists clenched, lift them back to 1st, 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 2nd 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 2nd (&) as in count 3.

The knees remain inverted

3, 4, 5, 6 Both legs extend and stretch in 2nd

The arms lift higher to 2nd 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

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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.

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Exercise 5 – Floorwork 4/4 – ‘Circle of Life’ – The Lion King

Start sat on the floor facing DSC, legs in 2nd position, hands placed behind the hips to support the correct posture.


Intro 8 cts. Hold position

1, 2 Hold 2nd position on the floor Both arms circle outwards, open through 5th 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 2nd 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 2nd 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 2nd position on the floor Both arms circle outwards, open through 5th 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 5th 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

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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)

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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

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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 2nd 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

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Exercise 6 – Travelling Step 4/4 – ‘You Should be Dancin’ – Saturday Night Fever

Start standing USC facing forwards in 2nd position, arms relaxed by sides.


Intro 4 cts Hold starting position

Intro 1 – 8 Legs remain in 2nd 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

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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 1st Arms return to sides

1 - 64 Repeat whole exercise, starting on the other side

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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.

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Training Exercise 2 (T2) – Preparation for Kicks 4/4 – ‘Friend Like Me’ – Aladdin


Start in the USL Corner facing DS


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 2nd at 45-degrees

3 Stepping on the Right foot to 2nd

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 2nd at 45-degrees

6 & Stepping on the Right foot to 2nd Flick kick the Left foot in front of the Right leg diagonally forwards at 45-degrees

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7 & Stepping in front of the Right leg on the Left Leg, Flick kick the Right leg to 2nd at 45-degrees

8 & Step the Right leg steps behind the Left

Step the Left leg to 2nd

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.

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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.


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 2nd 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 2nd turned out in Attitude at 90- degrees


7 Lower the Left leg and step it behind


& 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


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3 & 4 Step ball change Right, Left, Right


5 – 8 Step the Left leg to 2nd 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 1st to 2nd position on the kicks. During the ball changes and travelling they remain in 2nd. 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 2nd 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

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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

Step the Left leg to 2nd

Arms switch to the opposite side

5 – 7 & Repeat to the Left

8 & 1 Pas be Bourée over towards SR (Left, Right, Left)

On count 1-arms fold into jazz 1st with the hands in fists

2 Développé the Right leg to 2nd Arms open to 2nd position

3 Fold the leg down in front of the Left leg

& 4 Kick the Left leg to 2nd 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 4th 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

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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

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Exercise 8 – Turning Exercise 4/4 – ‘Copacabana (At The Copa)’ – Copacabana

Start CS, facing front, feet together in parallel 1st – arms by sides.


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 2nd with palms forwards

There as a light bounce and Latin feel throughout the exercise

2 Close the Left leg into parallel 1st Close into Jazz 1st palms inwards towards chest

3 Step to the Right with the Right Leg

Open to 2nd

& 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

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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 2nd position with palms facing down

3, 4 Slowly step through with the Left leg in to jazz 4th

Arms to 3rd opposition with the right arm travelling downwards and forwards

5, 6 Relevé to Retiré with the Right leg

Arms to jazz 1st

7, 8 Lower to parallel 1st Arms placed by the sides

1 – 4 Dégagé the Right foot to 2nd parallel, Rond de Jambe the Right leg En Dehors and Plié into jazz 4th

Repeat arms lines to 2nd through to 3rd opposition as previously

5 – 8 Picking the Right foot up a controlled slow single Pirouette En Dehors finishing in 1st parallel in a Plié

Jazz 1st

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 2nd to 1st on the turn

8 Free ending position to be set by the student or teacher

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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.

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Training Exercise 3 (T3) – Preparation for Jumps 4/4 – ‘Trashin’ the Camp’ – Tarzan


Start CS Facing DSC, feet in parallel 1st arms relaxed by the side


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 4th position with the Left leg behind

5 Pivot on the balls of the feet to face US maintaining the jazz 4th position with the feet

6 Pivot back to face the front

7 A light bounce in the knees in jazz 4th

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

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supporting leg there is a hop on the underneath leg

1, 2 Jump both feet to a wide 2nd 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 1st Arms drop to the sides

4 Jump back to a wide 2nd position Arms lift again to the same position as the previous counts 1 & 2

5 – 8 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.

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Exercise 9 – Jumping Exercise 4/4 – ‘Naughty’ – Matilda

Start CS Facing DSC, feet in parallel 1st arms relaxed by the side


Intro 8 cts Facing front. Feet in parallel 1st position

1, 2 Jump to 2nd Arms lift to shoulder height bent at the elbow with forearms pointing forwards with palms down

3 Jump to 1st Hold

4 Jump to 2nd Hold

5, 6 Jump to jazz 4th 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

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5 Step the Left foot to join the Right in parallel 1st in a Plié

Both hands are placed upon the thighs with a bend at the elbows

6 - 8 2 knee bounces Hold

1 - 12 Repeat the 1st 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 2nd 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 1st Right hand makes a fist with the index finger covering the mouth

This should represent a ‘Shhh’ action

4 Hold

5 – 7 3 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 4th

Swing and change the arms to the opposite side

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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 4th 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 4th 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 4th 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 4th towards DSL with the Left leg

Right arm drops down and punches towards the floor

Head looks DS

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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 4th 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

5 - 8 4 small knee bounces in parallel 1st 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

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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 1st 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 2nd 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

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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.

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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 1st, facing front with arms by sides


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.

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Set Dance A 4/4 – ‘So You Wanna Be a Boxer’ – Bugsy Malone

Start USC in 2nd position with the arms relaxed by the sides


Intro 8 cts. Hold starting position

Section A

1, 2 Twist into jazz 4th 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 1st

Arms lift to 2nd position with the shoulder inverted so the top of

There is a slight incline forwards in the torso

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the forearm and hands are facing forwards

5 Step forwards on the Right leg in to jazz 4th

Bring the arms into the ‘guard’ position as before

6, 7 Hold 4th 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 5th 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 4th 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

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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 2nd 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 4th 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 2nd in a Demi Plié The arms punch forwards towards DS Right, Left

6 Hold Hold ‘guard’

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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 2nd 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 4th 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 2nd 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

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7 Step on the Right foot crossing in front of the Left heading towards CS

8 Step the Left leg to 2nd

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 2nd 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 2nd 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

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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 1st and back out to jazz 4th 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 4th 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 4th 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 1st

Hold

& 4 Jump in parallel 1st with the legs piking slightly forwards

The arms lift and slightly extend forwards

5 – 8 Repeat

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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 2nd 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.

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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

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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).


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 2nd at 45-degrees and swing in so as it crosses in front of the Left leg,

Arms lift to a low 2nd bent at the elbow with the palms facing upwards and sharply move into

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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 1st to 2nd presenting forwards

8 Swing the Left leg to 2nd 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 2nd position with a bend at the elbow

3 & 4 Rise up in to a tight 5th 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 5th to finish by the sides

A feeling of ‘yawning’ should be present following the previous lyric.

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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 2nd (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 4th

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 4th 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

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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 2nd 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 2nd 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

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Section C

9 Stepping on the Right foot The arms open and present to 2nd

& 10 & 11 & 12

Ball change around on the spot (L, R, L, R, L, R)

The arms open and present to 2nd

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 1st 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 2nd position remaining bent at the elbow with palms facing upwards

& 8 Jump and turn the legs out to land in 2nd position in a Plié

Arms remain in the previous finishing position

1 Both legs fully extend Both arms fully extend to just above 2nd

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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 2nd with the palms facing upwards

& 8 Ball change L, R so as body is facing DSL

Arms close in to 1st and open to present the final picture the Left Arm is in a high ‘V’ position and the Right arm presents to 2nd

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.

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Bow


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

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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.

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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

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Credits – Grade 3 Musical Theatre Syllabus

Syllabus devised by: Emma Woods and Garry Clarke, assisted by Clare Palethorpe

Music arranged by: Richard Norris and Bill Readdy

Education Advisor: Dr Carol Martin (Director of Learning bbodance)

Project Co-ordinator: 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. 277177) and a Company Limited by Guarantee (No.140265)

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Name the 3 lead actors and the characters they played in the original film.

1: ______________________________

2: ______________________________

3: ______________________________

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: ______________________________

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? _________________________________________

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

So you might as well quit

If you haven't got it.

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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


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


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


With a ho ho ho ha ha ha


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

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A: The Costume Designer Template (Male)

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A: The Costume Designer Template (Female)

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