By Elise Hyatt
Out damned spot!
As her marriage ceremony to detective Cas Wolfe ways, Candyce "Dyce" Dare, sole proprietor (and worker) of the furnishings refinishing company bold unearths desperately must locate anything to do to prevent sitting down and making plans the development along with her mom and her ally (particularly in view that she suspects their plans contain having her cat costume in a tuxedo). engaged on a desk she lately received at a backyard sale matches the invoice.
Until her sanding efforts discover a aggravating stain--one that appears love it could be blood. Dyce is aware that, with a fiance who's a policeman, mom and dad who personal a secret book shop, and a up to date historical past of inadvertent involvement in homicide circumstances, she will be able to be vulnerable to seeing issues that aren't there. yet then she discovers that the table's past proprietor has long past missing--and once again, she is drawn right into a solve-it-yourself secret undertaking. And while Dyce begins a undertaking, she simply has to determine it through...
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Extra resources for A Fatal Stain (A Daring Finds Mystery, Book 3)
If you do not know this show, you should. Next, you will need ballad and up-tempo representation from what we call jazz standards. This music may have been written specifically for the theatre or film (such as much of the work of Harold Arlen), or it may have been used in various musicals not originally intended for the song (such as much of the Gershwins’ work). It may even be from the popular catalog, not associated with the theatre at all. The bulk of this music will come from the 1920s, ’30s, and ’40s, but you can even find good jazz standards being written today and performed by the likes of Harry Connick Jr.
Then begin to learn the piece as a monologue, focusing only on the words and their meaning. At this point I am assuming that you know the story line of the musical from which your song comes and you have thought about the character and the song’s dramatic context. Look for red flags such as repeated lyrics, symbolism, metaphor, alliteration, and consonance to point out which words the lyricist felt were important in the conveyance of the song’s meaning. Why are those techniques used, and how can you use them to make your performance more powerful?
You cannot be a complete musical theatre performer if you do not have songs from this genre in your book. It may actually be the most valuable, versatile music you can find. I usually recommend to my students that they have a couple of ballads and a couple of up-tempos from this genre—at least one of which should be by Rodgers and Hammerstein. In the Golden Age you must begin to concern yourself with a character’s age, gender, and race when choosing songs. While it is usually acceptable in today’s society of color-blind and nontraditional casting for minority ethnicities to sing from nearly any role, it is not general practice for Caucasians to sing roles specifically written for Blacks or Asians, for example.