Choreography/Blocking
Choreography and blocking is, of course, entirely dependent on production and the capabilities of the set. In London, as the other characters cleared the stage to follow Poppa looking for Rusty and Pearl, a scene change was suggested by Pearl, sat on a railway buffer, pushed onstage behind them. From this perch she started singing. As the passion in the song built, she stood and skated around. In other productions without mobile set pieces, Pearl kneels to start her song. At Rusty's entrance, Pearl turns away from him, she can't immediately face him from shame at how she's hurt him. But the spoken lines give her the confidence to turn to face him, and to skate with him, before finishing with their fisted hands touching, to show that they are 'coupled'. This gesture is also used by Pearl and Dinah in the coaches dialogue in the beginning of 'Freight', as the coaches are teaming up against the Trucks. Volta and Joule also use this gesture after the final race, though sometimes they high-five. Rusty and Pearl's edition involves a hug, and sometimes a kiss, resulting in a more romantic suggestion.
Read more about this topic: Only You (Pearl And Rusty)
Famous quotes containing the word blocking:
“Cassoulet, that best of bean feasts, is everyday fare for a peasant but ambrosia for a gastronome, though its ideal consumer is a 300-pound blocking back who has been splitting firewood nonstop for the last twelve hours on a subzero day in Manitoba.”
—Julia Child (b. 1912)