Good to Great: Finals Week - Revisited
Navigating finals week is difficult for any ensemble. A common issue is the extra variables that happen towards the conclusions of a season: Emotions are elevated, the students are sometimes traveling or staying in a hotel or different environment. There may be more people around rehearsals than usual (parents, fans, sponsors, etc.). The reality sets in that there are a limited amount of performances and rehearsals left with the same group of people.
Change Everything?
Those last pesky ticks and ensemble errors will not seem to go away. Maybe it’s time to throw in a design change to squeeze a few more tenths out of the judges? The running gag is “Finals week – change everything!” And while most receive that line with a groan and an eye roll, it still holds universally true on some level. Why is that? Most can agree that “changing everything” right as you reach the finish line is a bad idea.
Finals week is the reality check. It is when you now have a concrete reference for the end of the season, that so long ago seemed abstract. It highlights all your weaknesses and reminds you of all the projects yet unfinished, ideas and additions that never came to fruition. As an educator and performer, it is easy to get caught up in this feeling. Suddenly, errors seem to carry much more weight than they did before. Ensemble issues can quickly lead to frustration and even hostility on the field between performers, and staff members are not immune to the same sentiment – unfortunately, during the end of the season this is often at a level far beyond anything experienced thus far for the ensemble.
Succumbing to that emotion can be very detrimental to your success, both on and off the field. There’s a phrase that holds true: You do not rise to the occasion – you fall to the level of your training. That is not meant to disparage anyone, or to say that an ensemble cannot or will not “rise to the occasion” – but holding out for that one “magic” performance is simply a bad strategy. That would be like training for months on poker strategy and then in the tournament going all-in on the first hand without looking at your cards! When the pressure is on, the quality of the training will be the guide post to success. Reminding the performers to trust in their training will help them release the pressure they may put on themselves during this emotionally intense part of the season!
Clock in, Clock out
The repetition of rehearsals is there to build consistency throughout the season, specifically so that when it counts (i.e. performances, and especially Finals Week) the ensemble can check their emotions at the door and perform on top of the solid foundation of their training. There is still plenty to work on and fine-tune during the final portion of the season, but drastically changing your approach to rehearsal (and show design!) is almost guaranteed to fail. The way the staff approaches this point of the season will be reflected in the performers. One of the best approaches is the mindset of “another day at the office” – the performer “clocks in”, does their job on the field, and “clocks out”. This mindset emphasizes that the foundation and fundamentals do not change simply because the stakes of the performances might be higher.
Think about some of the greatest athletes of all time: Serena Williams, Michael Jordan, Tom Brady, Michael Phelps – these individuals have had to compete at the absolute highest levels imaginable. The unifying trait among them? Poise and composure. The ability to stay in the moment and commit to their training and responsibilities for their team or sport, even under extreme duress. Are the stakes this high for the end of your competitive marching season? Maybe not. But for some it may certainly feel that way! Embodying poise and composure are some of the best traits for your students to look up to. You may have a much higher level of experience and exposure to high pressure situations, either as a performer or even just as an adult. Your students will look to you to know how to act and respond to the end of the season pressure. Staying the course and not changing your approach (especially to things like rehearsal etiquette/protocol, error corrections, ensemble issues, and the competitive results) will pay dividends and allow your students to have the most consistent and rewarding end of the season possible.
Commit to committing to your responsibilities (for members and staff alike), leaving those end-of-the-season emotions out of the equation, and your students will do the same. In the words of Mike McKenna: “You worry about doing your job, and that’s it. You can ‘enjoy’ the performance on the DVD.”