Oh Godot!

Voice class again. We're taking it in turns to lie on the floor and have our heads rocked or arms pulled while breathing "hey, hey, hey" or reciting a favourite text. Then we're up on feet with our hands around each other's bellies, to feel the lower back muscles as we breathe in and out. My partner is Sean, who I variously think of as Joker and Alpha Male. He's one of these people whom I initially find irritating, but whom I get to like as I get to I know him and his hidden talents and vulnerabilities begin to show. So after the ritual male-bonding double-entendre about giving me head, we settle down to our task. And of course come to different conclusions when we have to report back to teacher Cynthia. There was I thinking I was going with his flow as my arms were yanked this way and that, while Sean says that I was stiff as a board.

I get the point that awareness and relaxation should improve the quality of our stage voices, but I still don't see how we are supposed to translate the benefits of exercise into improved performance. But we've moved on to the very short scenes that we are giving from Waiting for Godot. (Pause to acknowledge line drawing above, downloaded from mumbai.burrp.com, who may or may not hold the copyright.) It's another gratifying moment, when Matt and I stomp around the stage and exchange insults and the class erupts into the loudest applause of the evening, so my ego is suitably massaged. There are other good performances: Milt is fully in his role, with partner Francis almost as good and the two of them together have the makings of a fine comic act. I like Maria's take on her role. And it's helpful to watch Cynthia direct and to see eyes light up as the depth of the play becomes more apparent to them.

But why, oh why, in a voice class, does Cynthia not use the time to help the quietest voices project? Irina, Roberto and Lloyd whisper or mumble and get no advice how to expand their voices, which would immediately make their performances much stronger. (It's a problem I've noticed with all the women, that it is often difficult to make out what they are saying.) Surely projection should be one of the primary aims of a Voice class? Otherwise, they will continue struggle along without the boost to their confidence that such advice could give. And with that thought - and the lingering applause - in my mind, I head off to the pub to meet friend and theatre fan Carl, where I can praise myself and complain about the course to my heart's content.