Unit 12

Unit 12 Portfolio by Jessica Gomez-Ejimbe. My FMP is for the play Pronoun by Evan Placey.

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Student Observation

I have chosen to observe Chloe Taylor for my Student Observation. Chloe’s role in Pronoun mirrors mine exactly; in Cast 1 I play Dani and Chloe SMT no. 5, and we switch for Cast 2.

Dani

When Chloe first enters the stage, she appears timid, her posture indicating discomfort and uncertainty. It is uncertain whether this is because she is attempting to add this to her characterisation, or because she is not secure in this scene (I think it is the latter due to her attitude shift in scene 9). Her projection starts off quiet but builds to a good standard. Due to the uncertainty, the flow of the scene is a little awkward too, lacking a conversational flow and moving with staccato instead. Having the script still in hand also creates a barrier, not allowing Chloe to connect properly to Beth (Dean) and becoming a detriment to their chemistry. This changes however in Scene 9. Chloe is more comfortable and present in the scene. Her projection is secure, and although she still uses the script, she manages to remain engaged in the scene (although the script does still cause her to sacrifice some of the connection between herself and Beth). Her characterisation is more clear, consistent, and intentional.

SMT

In Scene 5, Chloe is engaged and integrates well within the ensemble. Her voice projects well, but still blends with everyone else’s. Her movements are confident and allow her to amalgamate with the others. This repeats with greater strength in scene 11, where (though she has the script in her hands) Chloe seems to be off script, knowing the stage direction, and exemplifying the characterisation (the exaggerated smile especially). You can hear her voice clearly in this scene.

Future

For Chloe, it would be a major asset for her to warm up properly beforehand, so that she can jump straight into the scenes without feeling lethargic or hesitant. It might be that at this point, she doesn’t have a clear idea of the character’s intentions and emotional state in scene 2, so that would be something good for her to explore further.

Lessons I have gained from this rehearsal footage is an outside view of the scenes that I am in, as well as a better understanding of the pacing and intensity needed for the scenes.

I have learned that Dani’s character needs to be portrayed strongly, and that in Scenes 2 and 9 the connection to Dean is a primary component that makes the scenes work. Although Chloe may be going for a softer interpretation of Dani, it would be okay for me to keep the sharper and more brash aspects of her personality as I have been doing (I liked how they worked when Chloe pulled on them in scene 9). Also, I should practice these scenes with Cas and record them to watch back, so that we can craft the flow of the conversation more carefully to carry the correct emotion and intention.

For the SMT, Chloe showed me that the smaller parts are what build up to make the larger SMT what it is, and that the individual’s contribution needs to be sure so that the flow can be kept balanced throughout.

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Reflection - SMT vs. SMT

12.05.20

In my first rehearsal over video call, Adam and those cast as the SMT (including me) went over scenes 5 and 11, with an effort to adapt them to our current situation. 

Before lockdown, we were in the process of choroegraphing scenes 5 and 11, with a focus on choral movement, and how the script could influence new dynamics in the movement. We also worked with choral speech (it was a re-visitation for me; I was introduced to the technique in Level 2) and explored characterisation for the SMT. We decided to focus on the contradictory aspects of their speech in Scene 5 through simple movement in the space triggered by lines in the script, and their sarcastic undertones in Scene 11 by maintaining a bright and fake vocal tone and a sickening smile throughout. 

Much of the previous ideas must be scrapped, since movement is no longer an aspect that we can efficiently take advantage of. For this reason, Adam had us focus on our vocals as we read through.  An aspect that came into play was the delay we experienced (we were in a video call), which made it difficult to maintain the togetherness in our choral speech. This was both a blessing and a curse. On the one hand, it made the scenes sound dodgy and uncoordinated, like all of the work that we had put in previously had just vanished. On the other hand,  it added another dimension; the scenes seemed more like a voicemail or video call with a dodgy signal. This dodgy signal reflected the SMT’s own disconnect to what they are saying, and from each other.

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Personal Statement

Due to the pandemic, my time spent in physical rehearsal was cut short. Therefore, my goals for this project were not met and I did not dedicate as much time as I desired with Cas to rehearse scenes 2 and 9. During the time that I did have however, I was attentive and an active participant.

In the rehearsals for Dani's scenes, I did not feel as connected to the character as I had hoped. This was because it was early in the process, so I had not spent the time needed to get to know her deeply, and because I was not off-book yet, so I still had that barrier that kept me from being fully submerged in the scene's reality. However, I used this as an opportunity to experiment a little more with what felt right for the character, as well as taking Adam's (our tutor and director) notes and vision on board, using them as a point to develop from. Whilst the other cast were rehearsing, I made sure to get down their notes too. I used their rehearsal to give a better indication of what the audience would be seeing during my own performance. I watched Chloe especially, for ideas and inspiration, as well as to understand how I could separate my own performance and interpretation of Dani from hers.

For the SMT rehearsals, I think that I could have been bolder and take greater risks in the earlier stages. It was good that I tried to stay with the rest of the group and maintain the unit, but breaking from that unit slightly to experiment could spark new ideas and push the rest of the group to follow to more extremes. The workshopping of these scenes was complex, so I concentrated on maintaining focus and using most of my cognitive power to follow and understand how the exercises would influence the scenes and character.

 Overall, I think that my focus and engagement levels were good, and that I actively took in the information and direction that I was given so that I could digest it well. I worked well within the larger ensemble (SMT) and smaller groups (Dani). However, I could have prioritised line-learning sooner and therefore been more present whilst in-character.

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Lessons from Jane Eyre

There is much that can be learned from the National Theatre and Bristol Old Vic's collaboration that is Jane Eyre. Though the themes differ from Pronoun vastly, the way that the production is assembled transcends the subject matter. In particular, the way abstract staging, sound and physical theatre were intermingled. Here are a few lessons that I have taken from this production.

Stage and Set

Though this play was performed in an end-on style of theatre, there was a distinct lack of physical 'walls'; the action occurred entirely within the simple and intricate central structure, which itself was built for cyclical movements and fluid transitions. I thoroughly enjoyed the integration between physical theatre, the band's music and Melanie Marshall's voice, and how they built each other up mutually. The space's shape allowed the creation of unique and flowing pathways, which then fed into the easy transition from grounded to abstract.

I found that the ease in commanding the audience's attention was founded in the clean use of lighting (actors unlit onstage whilst the action is lit in strong contrast, or particular moments such as the ‘red room’ scene when Jane is lit with a tight square spotlight), good stage direction (the action was so well formulated that it felt natural to follow it) and the small intimate size of the stage (which made it easier to command the audience's attention).

The Band and Underscoring

The band were placed in the centre of the stage and never left it. This worked very well with the dynamic staging, and made the music feel more authentic and grounded. The underscoring aided the play's journey excellently, raising in crescendo during moments of intensity and tinkling lighthearted melodies in moments of tenderness. (A band is of course limited by budget, and our production may lack the resources to include this aspect). 

Physical Theatre Moments

Physical theatre was integrated seamlessly with the other aspects of this production, setting the convention from the moment the stage was lit. The movements were simple but layered in ways that made them dynamic and gave them clear purpose. 

The first moment that stood out to me was the school 'cleansing ritual' scene, where Jane was first admitted to the Orphan's Institution. Whilst the school's headteacher gave his speech, the students engaged in a sequence of movements that carried them through the start of their day. This scene is very montage-like, and I think would be a great source of inspiration for Scene 8, where Dean experiences a similar cleansing of his own past identity. 

The second would be the moment of slow movement after Jane and Rochester first kissed. I think that this moment was beautiful and captured the intimacy and love that these two characters shared. Creating a similar moment with Josh and Dean would be dazzling. 

The third moment was when Jane changed into her bridal wear, and the cast around her (they were essentially playing her thoughts) mirrored the motions of doing her hair and checking her clothing in an invisible mirror. This moment reflected in my mind the dynamic between Dean and James Dean, and how James Dean is a part of Dean's created reality and does not exist.

Multi-Roling and Costuming

Costume was used to give the audience a clear indication of who the cast were playing in that present moment, such as slipping on a white apron when playing a maid, a black bonnet for a teacher against the student's beige ones, or a pink jacket to signify a new character. This would be a great example to follow for Pronoun since costume features so heavily within this production too. Within the script, it is mentioned that Mum and Dad wear outfits that follow the parental tropes. Following this example, the actors would wear a neutral outfit underneath, but would layer an apron and necklace (for example) over the top. If the actors were also playing other characters, the use of simple but obvious tokens within their costumes would aid their performance and clear any confusion from the audience.

Jane Eyre and Dean

The character of Jane Eyre remained onstage throughout, so the use of transition was very important for the development of her journey. One way that this was tackled was through costume. Jane entered the stage in a simple base that did not leave her body; here she was only the voice of her newborn self. The first transition occurred (the smoothest stage transition I have ever seen), where the robe that was fashioned to look like a baby was shaken free and the illusion broken. It was taken to Jane, who dressed herself in the overdress; she was then a child. The next time, she is stripped at school and undergoes a sort of 'cleansing ritual' and dresses herself in the student's garments. These transitions are like what I have envisioned for Dean, who is also growing and changing throughout Pronoun. I mentioned on my moodboard how Dean would start in more white than blue, and slowly lose most of his white garments.

Not leaving the stage allowed the audience to attach themselves to Jane, using her as a point of reference. If this were done with Dean, it would allow for more creative ways to move the focus away from him. If Dean were to undertake costume changes as mentioned above, I think that having the rest of the cast aid him (as is done in Jane Eyre) would spawn a new thread of symbolism - for example, if James Dean dressed him, it would indicate how much Dean has influenced by him.

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Post-Easter Reflection

Since we have now passed the midway point of this project, I'd like to reflect, considering the parameters I had set out in my proposal.

Covid-19 and Working from Home

Firstly, since Unit 12 was launched, we have been launched into a global pandemic, with lockdown restrictions being placed in the UK. 

Due to this, the project has been stripped back; I have had to circumvent my original plan to make use of the college’s resources (library, books, internet, rehearsal space). I have been working almost exclusively digitally (the only current exception being my action planner), using alternative methods to realise previous concepts - such as with my moodboards, which I had planned to create and annotate by hand and scan into my portfolio for a sleeker appearance. Instead I used a combination of annotation software and a pen tablet on my PC to achieve a similar look. My choice of presenting my work on a tumblr blog was a product of this; though at the time I hadn't a full grasp on the true impact that the pandemic would have on the project. It turned out to be one of my most beneficial choices and allowed me to adapt well. 

Action Planner

I have found that I haven't been using my action planner successfully, either setting myself tasks that didn't feel ordered well or setting myself too many tasks. What I need to start doing is being more realistic and free with coursework tasks; if I don't work well within the action planner's format, then I most likely need to find another way to organise myself that works for me. 

What I have found works well is writing out clearly and in an uncomplicated way what tasks I have left to do, followed by the drafts. When I complete a draft, I cross it off. I have a set date that I aim to get all of it done, and work progressively and freely within those boundaries. 

Future Expectations + Proposal Amendments

Moving forward the format of the project will need to be adapted to suit the current circumstances. Rehearsals will have to go on over video call, and I’ll have to keep up with my tutor and course-mates digitally. My approach hasn’t changed much aside from what is previously stated, other than having to rely more on my own resources. 

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Scene 4 - Glastonbury Festival

I have chosen to explore how I would stage scene four. This is a scene that I think could be staged in so many different ways, and requires a level of complexity - it is not one that can be static. Scene 4 takes place at Glastonbury festival, a large music festival in the UK. In this scene we are introduced to Dean’s friendship group and this is also where we first see Dean and Josh interact. 

If I were to stage this scene, I would do so in the round. I would also have a level of flexible staging, so that a few tents (around 3, enough so that it’s purposeful but not enough to overcrowd/distract) could be set up around the audience at various points. This could be done along the walkways or in banks within the audience. I want to do this to make the audience feel integrated into the scene - like they are a part of Glastonbury. Along with this, I’d also have the audience lit to a degree - this is for further effect of putting the audience in the scene. All the other scenes take place where there are walls; a bedroom, an doctor’s office, a bathroom (the parents’ scenes take place in a more abstract plane, but it’s still very much within a private space). This is the only one that is in the open, and therefore I think that that is something that can be drawn upon. 

To create the ambience, I would have an undercurrent of pre-recorded voices played to give the impression of a large amount of people surrounding the scene, and have music being played faintly in the background, two different songs by different artists on the furthest opposite sides of the stage, in a way that is similar to a festival, where there would be multiple acts playing at once. 

What I would also like to explore is various ways that I could keep the stage dynamic. I think that having too many people moving around might be distracting, so it may be better to have a number of tents on the outskirts of the stage (probably about two or three, depending on the size of the stage) and have the ensemble moving in and around the tents, interacting around their assigned tent.

One of the bigger technical aspects of this scene is the rain. The storm that comes is used to cut the tension between Dean and Josh, as well as an amplifier for the moods of their interaction. With a little lighting and sound this moment could be really beautiful. I would choose to create the illusion of rain through light and sound opposed to real water, since that would be better for budget and easier to clean up. This could be accomplished with the use of pattering rain sound effects, lighting/projection onto the floor to give the appearance of rain falling, and the dimming of lights to create the illusion of heavy clouds overhead. I’ve found a video below from Playmill Theatre that gives a really good example of how this can be accomplished with their production of Singing in the Rain. 

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Dean’s moodboard is inspired heavily by James Dean. I thought that since James Dean is hugely influential to Dean, representing to Dean what it means to be a man, it would be reasonable that he’d style himself around the film star. I chose to stick to my initial colour scheme/theme discussed in my poster design and in Kyle and Amy’s costume moodboards, purposefully keeping Dean’s clothing white/blue.

During scene 8, he would be in whites entirely since that scene is about him transitioning. There will be a progression throughout the piece where whites would make up most of his outfit at the start, and he will slowly exchange them with blues until he is dressed mainly in the colour blue (white represents transition/gender non-conformity in the trans pride flag, whilst blue represents males and pink females).

Pink will signify Dean’s past life, with the skirt that Laura tries to push on him being pink and past ties to Izzy being pink also. This is only vaguely explored in the moodboard since it is more a part of staging and storytelling than it is his theme/costume throughout the show.

I also made the decision to have Dean wear a jacket similar to James Dean’s in his iconic role in ‘Rebel Without a Cause’, but have the item be more suited to Dean’s narrative by making it blue.

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The Senior Management Team represent the authoritarian group that govern schools. They have been written without line designation, giving the impression of a hive-mind collective. I think that this was done on purpose, both to allow flexibility in casting and to show that who says the lines is not important; it is all coming from the same unit. 

To reflect this, I’ve chosen to give them a monotonous and uniform look, opting for grey because it is plain and sits in the middle ground of the extreme values of white and black (although they claim to be tolerant, they are only doing so to play safe). 

‘We the SMT need to stress want to stress that we are a very tolerant school meaning we will show no tolerance for those who are not tolerant meaning we’re tolerant of everyone except those who aren’t tolerant.’ - Scene 5, pg 580

Here the SMT are talking as a unit, and falling over their words trying to appear tolerant and politically correct.

I decided against a uniform for two main reasons. Firstly, I wanted them to appear as a collective that spans further than within one school (almost like the illuminati of education). I did not want them to look like a single person, but to look like a collective of people with a single agenda.  Secondly, within the script they contradict themselves a lot. This shows that even though they appear like a hive-mind, they ultimately are not even united themselves. It shows the disconnect within the group that is echoed in their disconnect from the students and issues at hand. 

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Dani’s Analysis

Dani possesses a unique perspective in the play. Other than Josh, she is the only character whose relationship and viewpoint of Dean’s transition is solitary. She’s going through a lot, and doesn’t have anyone else to empathise with her. 

On the surface, Dani may appear mean and her actions unjust. However, upon closer inspection, it’s clear that she is going through a process herself, and stumbling her way through it. 

When we first meet Dani, the familial disparity that has grown between herself and Dean is clear. She enters the room wanting to find comfort from Izzy, but instead finds Dean. The fact that her natural instinct when their parents are arguing is to seek safety with her sibling shows how close she was with Dean. This is backed up by her immediate use of a past game as a tool to attempt to reconnect back to Izzy; because even though realistically Izzy was always Dean, for Dani it’s almost like a stranger has moved into her sister’s room. She’s awkward around Dean, and wants to connect to someone she loves deeply, but feels as though that person is gone. 

“Dani enters. She stands there for a moment watching before Dean notices her. Dani: They’re shouting as per usual. ‘Once upon a time’ This is clearly a game they used to play/story they used to tell as kids. Dean: ‘There were two kids who learned that they were in fact royalty’ Dani: ‘Who were in fact abducted by the people they thought were Mum and Dad’ Dean: ‘So they left their screaming parents and went to live in the castle’ Dean and Dani: ‘And lived happily ever after.’ Beat. Dani still lingers in the doorway. Dean: You can come in. Dani: Can I? Dean: You’ve always been- Dani: It’s different now. Dean: ...No. Dani: Yes. Dean: ...Yes.” pg. 565 (Scene 2).

This is explored in Shannon Camp’s dissertation on ‘The Impact on the Childhood Sibling Relationship When a Sibling Identifies as Gender Variant’, where the cisgender sibling’s emotional and psychological response is investigated and the lack of research on the subject addressed. What is happening, Camp explains, is that the cisgender sibling is grieving the loss of someone who is still living (Camp, 2018). This is a confusing and distressing time for Dani, who is grappling with feelings of loss and mourning, all the while being told to simply adapt and essentially get over it; when the person she’s lost isn’t dead, there could be the perception that the reaction is unfounded. What does not aid Dani is the attitudes her parents take. We learn from scenes 3, 4, 7, 8 and 17 that her parents are also having a hard time dealing with Dean’s transition, and are therefore using more energy for their own fighting and turmoil than they are to actually guide and nurture their children. 

“Shouting is heard. James Dean: What’s that? Dean: That is why no one should get married. That is why some people shouldn’t be allowed to have children. That is the alien life forms also known as Mum and Dad.” “Dani: They’re shouting as per usual” pg. 564 - 565 (scene 2)

“Dani: They’re fighting again” pg. 594 (scene 9)

[ ↑ Dean and Dani talk about their parents fighting with such casualness because it happens so often. This shows how they both are learning unhealthier coping mechanisms, that they are living in a more stressed state, and that the energy that Mum and Dad should be directing at them is instead being used to argue in circles ↑]

So with the addition of the lack of support from her parents, Dani is not only emotionally aching from the loss of her sister, but also having to deal with her progression through adolescence (which is a confusing enough time as it is) without the necessary assistance from her parents and with the breakdown of her family. The very structure of her innermost community, and therefore identity, is falling apart. And to top it all off, she has lost her closest confidant and best friend. 

"Dani: You used to tell me stuff. But now you...” pg. 596 (scene 9)

From this evidence, it‘s easy to see why Dani acts out in such destructive ways. What she’s lacking is secure infrastructure and normality. She doesn’t know how to feel about everything, she doesn’t have anyone to talk to about it in a constructive way, and she feels betrayed by one of the closest people in her life.

"Dani: We were happy then. Dean: I wasn’t. I wasn’t happy then. Dani: You were. Dean: No. Dani: I was there. There are pictures! Look! We’re smiling. Dean: Still Dani: Not still. I was there! Dean: It wasn’t the same for me. Dani: You can’t just change everything! You can’t just change history, Izzy. Dean: Don’t call me that. Dani: They’re my memories too. It’s my life too. You can’t just say it wasn’t what it was and that’s that - it’s not some fucking video game you can just start again, new character, like none of it ever happened.” pg. 597 (scene 9)

[↑You can see how Dani is clinging onto the past in an effort to keep her reality from falling apart. She feels betrayed, like the reality that she was presented by those closest to her was just a lie.↑]

Dani is a lost, grieving teenager who has had to deal with the very foundations of her being being ripped from underneath her. What she really wants is to connect with Dean as her past, present, and future are being deconstructed right in front of her eyes. But without the guidance and help to understand what is happening both externally and internally, every time that she does go looking, she is not looking for her brother Dean, who has always been there, but instead for the safety and nostalgia of the distant memory of her sister Izzy. 

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[images: highlighted + partly annotated pages from Shannon Camp’s dissertation for evidence.] 

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Music Analysis

Music is only mentioned a few times in the script; ‘Everyday’ by Buddy Holly (scenes 1 and 10), during Glastonbury festival (scene four), sound coming from the bar (scene 12), ‘Teenager in Love’ by Dion and the Belmonts and ‘some cheesy wedding music’ (scene 18). This doesn’t give us much indication of musical conventions, so the musical aspect of this play is open to interpretation. 

I think that for the scenes that are grounded more in reality, the music should also be so, possessing a more ambient quality. However, for the more abstract scenes, such as the parents’ scenes and scene 8, the use of music can be more striking or percussive. When we are in these scenes, we are in the mental headspace of the characters, so it would make sense that the noises that we hear reflect that.

I would also like to utilise mostly, if not entirely, works from LGBTQ+ artists, since that would be a logical path to take when considering the play’s themes around gender and sexuality. 

Transitions

If the production’s transitions are well oiled, there may not be gaps between neighbouring scenes, which will negate the need to fill empty gaps. Instead, there can be a more blended move from scene to scene, creating a more interesting layering of motifs and scenes. This would also take away some of the realism that the ambient sound would bring, soothing the abruptness of the scene changes. 

Underscoring

A concept that I like would be to have tracks within specific albums or playlists playing for each of the scenes (excluding scene 8, 14, the SMT scenes and when Mum/Dad is present). Having these albums playing would allow a linking between settings and themes. 

Scene 1 and 15 (Kyle and Josh) - Starts off the musical convention, as Josh turns on the music through a turntable/radio/speakers that are in Amy’s room. The tech team will be playing the music, but this will give the impression that the music is being played from the staged source. The scenes that are rooted in reality in indoor spaces will have this music playing throughout them.

Scene 2, 9, and 12 (Dean, James Dean, Dani, Laura) - The music would be played from a music device in Dean’s room, similar to Amy’s bedroom.  Scene 16 (Dean and James Dean) - Here is when Dean breaks the cycle. When he says goodbye to James Dean, he physically turns off the music that is being played throughout.   

Scene 3, 4.5, 7 and 17 (Mum and Dad) - These scenes, like scene 8 and the SMT scenes, don’t follow the same rules since it is based in the abstract. Instead of a metronome being played however, a heartbeat will play. This will speed up when energies rise, and soothe again once tension releases. The final scene will be silent after the switch occurs. The speed of the heartbeat could be controlled by the tech box, or be played live for a more percussive sound. 

Scene 4 (Glastonbury) - Pop music. As discussed in scene analysis. 

Scene 5 and 11 (SMT) - Metronome, and low, almost subliminal bass-like sounds to incite unease in the audience. The sound will be sterile compared to the rest of the play. The metronome will begin as soon as the previous scene ends, and the bass undertone will slowly creep its way in, and fade away again towards the end of the scene. 

Scene 6, 10, 13 (Josh and Dean) - These scenes will feature the same music playing softly in the background, however ambient sounds will be layered on top in public locations. 

Scene 8 (Transformation scene) - metronome and percussive. Maybe even acappella. Building up layers and rhythms to create something abstract as this scene resides in a space outside of realism. 

Scene 14 (Dean) - starts off carrying the SMT conventions, then abruptly stops on ‘Fuck tolerance.’ The silence that follows will be deafening. 

Scene 18 (The wedding scene). This scene would be entirely ambient, without the song motifs and underscoring, since that disappeared with James Dean. 

Some Album/Song Choices

Album choices:

Portraits by Greyson Chance

My Name Is Michael Holbrook by MIKA

About U by MUNA

forevher by Shura

Song choices:

Standing in the Way of Control by Gossip

Smalltown Boy by Bronski Beat

Comme Des Garçons (Like The Boys) by Rina Sawayama

True Trans Soul Rebel by Against Me!

shut up by Greyson Chance

Motifs

Some possible motifs to explore:

The melody for the vocals on ‘I cannot hold my tongue, you give me much to say, I’m sweating bullets, nervous that you’ll push away’ in shut up by Greyson Chance. For moments between Josh and Dean that are delicate, romantic, or when they are thinking about their past relationship.

The loud combination of drums & guitar at the beginning of Standing in the Way of Control by Gossip could be used to symbolise rebellion, anger, and frustration (which calls back to the song’s origins). This could be played at the end of the First Act (scene 10), with the song then playing in toilets of scene 12, signifying Dean heading down a path of destructiveness. 

Alternatively, the same thing could be done with Bronski Beat’s Smalltown Boy, but have a much less rebellious sound, instead speaking to Dean’s desire to abandon his old life and start anew. This song has a synth sound that could be deconstructed and several motifs could be made from it, with the beginning base and synth notes strung throughout the play. 

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Proposal

Rationale

During my time at Lincoln College I have explored many avenues that I previously had not. I have explored the works of Tennessee Williams, Jack Thorne, Duncan Sheik, Federico García Lorca, and many more writers. I have worked as a director, writer, choreographer, and actor, with comedic and dramatic material, in large and small groups, as well as independently. This period has been the biggest for personal and professional growth. Within my expansion I have also honed my own direction, focusing on my desired path of acting.

I concluded that this was the direction that I would choose after much contemplation. What it came down to is that my main area of interest was the exploration of character and stories through the medium of theatre. This, along with acting being my favoured and most skilled discipline, are what propelled me in this direction.

Following our Showcases in November, I was excited to hear that our FMP would be Pronoun. I am grateful that I had spent time exploring contemporary plays for young actors during Unit 10. The time that I have spent exposing myself to a diverse array of theatre, as well as my research on Epic theatre, alienation, and Brecht in Unit 11, aided me in being able to interpret and understand the script.

Concept

I will be playing Dean’s younger sister, Dani, as well contributing my voice and body as part of the many-bodied organism that is the SMT. My responsibilities will be to have my lines memorised so that I can be fully invested in rehearsal, as well as to carve out some of my own time to rehearse my scenes.

I plan to keep up with my coursework and research on a consistent basis throughout the week, tracking my progress against the parameters that I have set for myself on my action planner. Since our coursework is to be digitally presented, I plan to create a blog that will allow me to fluently edit my academic progress. Using this format will create a more unified experience, where I can experiment more with the formatting of my assignments. I will need to make use of the college facilities. The library will be a great asset to me, since I will be able to make use of the printers, the internet, and the books for research. I will also make use of the Knights Building for rehearsal space.

Evaluation

I am aiming for a Distinction level of work. I will work on creating a consistent standard within my coursework to allow for that.

My portfolio will be interposed with reflective updates, focusing on technical skills learned during rehearsal. Along with this, I will also include a Personal Statement and Student Observation as formal reflection on my performance in rehearsals. To aid these, I will also have Tutor and Peer Observations to add other perspectives on my progress.

Navigation

As well as the navigation to the left of the blog, here is a directory of my portfolio. Some of these links lead to a collection of posts, so you may need to click the Keep Reading link. 

Action Planner

Cast list

6-Week Production Timetable

Research

Costume moodboards

Character Analysis:

Amy & Kyle

Dani

Music Analysis

Scene Study

Poster design 

Reflections

Evaluation of Production Process

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I have made two posters for Pronoun. The two differ greatly, with the 50s-inspired one being my favourite. They both have different focuses, with the first one (below, right) focusing on Dean’s face and ‘Pronoun’ and the second one (above) more ambiguously focusing on ‘Pronoun’ and ‘Fuck Tolerance’.

(left to right: 1. the second, more minimal poster, and 2. the first, more abstract poster)

Facial Focus Poster

I don’t plan to have Dean’s face on this poster. I want to have the split down between the two actors who will be playing Dean. This is an abstract design, taking inspiration from this poster template. I enjoy the layering of semi-transparent lettering and the mixing of the colours. In the top left corner, I placed a relevant quote from the play that I felt gave a good general idea of the themes explored, but was vague enough to incite curiosity. The title is the second thing to draw the eye, which then is surrounded by date and location. The colour scheme also correlates to the trans pride flag colours.

Minimal 50s-Inspired Poster

The second poster that I created was inspired by 50s-style posters that I found online (which are surrounding). I decided that a 50s style poster would work well, since Laura’s chosen theme for Amy and Kyle’s wedding is 50s in the play, and James Dean (who serves a ‘fairy godparent’ role to Dean) is an icon from the 50s. Again, I chose to stick to the colours within the trans pride flag for the colour scheme, since Dean is transgender. I chose to use the line ‘fuck tolerance’ from Dean’s speech on tolerance, because the quote has good shock factor to grab the viewer’s attention, as well as carrying a large part of the play’s message across. The phrase is also directly contrasts the colour scheme, which features pale colours that have a much softer vibe. I also like to use minimal designs, because I think it gives the necessary information that is needed easily, without overwhelming the poster - leaving the viewer to be more curious.

[jg-eunittwelve]

Cast shape + use of multi-role. I explored having the same actors play Kyle, Amy, and Laura, as Mum, Dad, and Dani, after seeing a parallel in the friends that Dean has chosen and his own family. Kyle and Amy also represent the opposite to the parents – they are young love, innocent and youthful, whereas the parents are a more mature kind of love, that is aged and stubborn. In the end I had to leave this concept behind entirely for Cast 1 and with Laura/Dani for both casts (due to cast size and availability of roles).

Cas Potterton and Bethany Bradford as Dean. Cas is a skilled actor who would be able to portray Dean well and bring first-hand experience to the table, as a transgender male (which also makes him the ethically correct choice). Cas would be able to give the most accurate portrayal of Dean and has a wealth of knowledge and experience to draw from that no one else in the class possesses.

Initially Beth was not a choice of mine for Dean, based on her past performance work and my previous experience working with her. However, she won me over during the workshopping of the script, proving that she can perform with naturalism whilst still being able to handle uncomfortable material with conviction.

Robert Hart and Sarah Garraway as Josh. Rob is a highly skilled actor, and I think that he suits the role of Josh well. He is committed and would be able to take on this heavily featured and complex character. I think that Josh would suit Rob in particular, because he can pull off both comedic and dramatic aspects of a character, as well as is prepared to challenge himself by stepping outside of his comfort zone both practically and academically.

I placed Sarah in this role because I think that she is an adaptable who would be able to take on this role well. During the workshopping, I think that she read quite well for Josh, and having females read for Josh opened my eyes to the options available to me when casting this role. Like Rob, Sarah also operates extremely well outside of her comfort zone, frequently pushing beyond the limits of what is expected and diving straight in. I do have reservations however, since she has a strong streak for lateness and can be inflexible with her own ideas.  

Alex Creasey and Alice Jackson as Kyle/Mum and Amy/Dad. During the workshopping of the script, these two stood out unexpectedly for Kyle and Amy. They naturally suited the roles and seemingly effortlessly captured the essence and chemistry of the characters from the start.

Alex has improved a lot as of late. The last time that I worked with Alex was over a year ago and overall, it wasn’t a positive experience. I had doubts about his work ethic and skill until recently, where I can see that he has started to focus more and grow. There was evidence of an increase in his acting range during the last college project, where he played Dennis, an elder with depression, and I have seen him pushing himself out of his comfort zone in our timetabled singing classes. Based these factors and conversations that I have had with people who have been working with him recently, I think that Alex is primed for this role, which carries the duality of both complimenting and challenging him. The main area of improvement for him would be in vocal projection.

I have worked with Alice a lot previously, and I know that she has a strong work ethic and level of commitment and professionalism. However, I do think that she needs to step outside of her comfort zone more often and challenge herself with different roles. I think that the role of Dad would be a great opportunity for this. Alice typifies femininity well, so I think that giving her this role would challenge her and force her to think differently about her approach to character.

Lachlan Madin as James Dean and Mum. I have a lot of respect for Lachlan as an actor, I’ve seen him carry a lot of weight on his shoulders in previous projects, and I’ve successfully worked with him myself. I think that he is a committed individual who is prepared to push himself. He takes material in well and is very easy to work with. For these reasons I have no fear putting him in these two roles where most others have one primary role to focus on. 

From the start, I have had Lachlan in mind as James Dean. He is the most similar looking to James Dean, and has worked with an American accent a lot in the past. I think that he would relish the challenge of having a real person to base his performance on.

During the workshopping of the script, Lachlan caught me off-guard. I had him in mind for James Dean only, but I found my scope broadened. He struck me the most as Mum, reading with an odd juxtaposition between his deep masculine voice and his soft, nurturing tone. From just those reading sessions, he brought rich emotional integrity and vulnerability to the table. This matches character perfectly, creating the perfect vocal foundation for Mum.

Emily Higgins and Chloe Taylor as Dani. Emily is an underappreciated actress in the group. This is either the product or cause of her not straying too far outside of her comfort zone. Even though Emily is like Dani personality-wise, I think that the emotional makeup of the character would challenge Emily both academically and artistically. She is also a reliable member of the group.

Chloe is a great actress but lacks a lot of motivation and drive. I assigned her a character that I think she could relate well to because I am not sure that she has the willingness to extend further. Chloe is prone to a negative attitude and is not always easy to work with.

Double casting and the SMT. The SMT is a role that is mostly unrestricted in the script. The only thing that Placey writes is that they should be ‘played by two to four actors’. I gave each cast 11/12 members of the SMT. With the potential of physical theatre and choral vocal work a larger number will allow more room for creativity and flexibility, and expansion of the idea to go beyond just the one school. This also gives the majority of the cast another role to explore, challenging them with ensemble work as well as character work. 

Dafydd, Hayley, and Sian are the only people who are playing solely SMT. For Dafydd, he has been given this role to work on his teamwork skills. Dafydd is very solitary, purposefully detaching himself from the rest of us. To progress at all, he needs to become comfortable with engaging with others, so that he can learn from them. He does not have enough chemistry with anyone to be able to play an individual character (since all characters either connect to Dean or amongst themselves). The role of SMT will challenge his personal skillset since he will be depended on to turn up and play an active part.

Hayley has been cast as one of the SMT because she is the only non-young person on the course, and therefore does not fit in with Placey’s vision of this being a play for young people to perform. 

‘There should be a heightened awareness in the case of adult characters that these are young actors playing adults’ - A note on casting, Pronoun by Evan Placey

As one of the SMT, Hayley would be able to blend in, and this could go unnoticed. What I think would be a better choice, would be for Hayley to take a creative or production-based role. This would better take advantage of her reliability, experience, willingness to contribute ideas, and magnetic energy that could help ground and unify the rest of the cast

I put Sian in this role alone because I could not fit her in anywhere else. I didn’t cast her as a Doctor because there is a chance that that scene could be very physical, and Sian can be uncomfortable in activities that involve heavy movement. Not only this, but she can be very shy and timid and second-guess herself chronically. Having a part that is so intrinsic to the rest of the scene won’t allow for second-guessing and being within a group might help her to feel more comfortable.

[jg-eunittwelve]

6-Week Production Timetable

With only 6 weeks from auditions to opening, this production schedule will be intensive, full-time for both actors and creatives on this project. Auditionees will be given the audition scenes previously and they will be informed about the level of intensity that the schedule will have.

Week 1

[Priority is casting]

Mon/Tue Auditions will be held all day on Monday and on Tuesday until 5pm for main roles. The rest of Tuesday evening will be spent narrowing down the choices in time for the chemistry reads on Wednesday and Thursday.

Wed/Thu Wednesday and Thursday will be used for chemistry reads. This will be the second round of auditions where the audition panel will be able to see which combination of people would fit together best.

Fri/Sat Friday and Saturday should be spent assembling the cast and coming to final decisions. Scheduling should also be discussed at this point.

Sun Final casting decisions should be made by Sunday at the latest.

Week 2

[Priority is for cast to learn lines, for the cast readings to be held, and for blocking to begin]

Wed On Wednesday the first full cast reading should take place.

Fri Blocking will be started on Friday.

Sat Saturday will also be spent on blocking.

Week 3

[This week’s priority is to finish blocking and start editing and refining the play so that the following week’s rehearsals can be more about perfecting the performance. The actors should all be off-book.]

Mon Monday will be spent on blocking.

Tue Tuesday will be spent blocking the remainder of the scenes.

All scenes are now blocked.

Wed Wednesdays and Sundays will be days off during rehearsals, to allow the actors to rest, learn lines and absorb all the information from previous sessions. This will allow the actors to return refreshed and more able to take in new information. Seeing as no actors are in, I think that this would be an opportune moment for the production team to have a meeting about the production aspects of the play, now that it is fully blocked. In this meeting, we would go over the roles of the production staff, the dates for the show to take place, the venue, staging, light and sound ideas, costume, funding/budget, advertising and how the production side will run alongside the performance side.

Thu With the play now fully blocked, I want to take a closer look at the transitions between scenes before going more in-depth in the scenes and making further changes.

Fri Starting here, the new priority is rehearsal and getting the blocking into the cast’s bodies, as well as giving more focused attention to each section.

Sat I want to focus on the larger group scenes for rehearsal.

Week 4

[Now that the blocking is on its feet, this week will be all about rehearsing and refining.]

Mon The focus will be on the scenes with Dean, Josh, Mum and Dad.

Tue The focus will be on the SMT scenes as well as the Josh and Kyle scenes.

Wed Day off.

Thu The priority will be rehearsing ensemble scenes.

Fri The focus will be on the scenes with Dean, James Dean, Dani and Laura, as well as the scenes featuring the friendship group.

Sat I want to revisit Josh and Dean’s scenes, as well as Dean’s speech.

Sun Day off.

Week 5

[Another week in rehearsal, I want to be doing a lot more run-throughs opposed to separate rehearsals. Costumes should be confirmed and sorted, as well as technical decisions regarding sound and lighting.]

Mon I want to have the SMT in and rehearse Josh and Kyle’s scenes.

Tue First, scene 8 will be rehearsed, and then complete runs.

Wed Day off. Rest and recuperate.

Thu The costume parade will be held today, as well as runs of the show. The final costume selections will be made today.

Fri Runs and runs.

Sat & Sun Weekend off for the cast. An extra day off for extra rest before a more intensive week to come. On Saturday, there will be a paper tech scheduled. The designers, stage manager, and director will meet to discuss cues for sound and lighting, projection, set changes, and other necessary design aspects that will be needed during the upcoming tech and dress rehearsals.

Week 6

[This week will hold the technical rehearsal, the dress rehearsal, an open dress rehearsal, and then opening weekend.]

Mon To kick off the week, we will have the dry technical rehearsal with just the technical team. We’ll fully cue the show (lighting, sound, and other technical aspects that may be utilised), to enable a smoother rehearsal tomorrow.This also includes: setting up prop table, spiking, checking mics and testing any additional technical/mechanical tools used.

Tue After the dry and paper techs, it’s time for a wet tech (a technical rehearsal with actors). This will go on from 10am until needed. The latest that the actors will be held is 7pm, and 10pm for the crew.

Wed Day off.

Thu Now that the tech rehearsal is done, on Thursday we will have the full dress run.

Fri

Before the show, I think that it would be a good idea to hold an open dress. I think that this would be a great way to get external feedback, have a lower-pressure audience, and potentially get some extra advertisement through the open dress’ audience’s social media. The open dress will operate as an actual show, with space to correct and catch the mistakes sooner rather than later.

This is also going to be the opening night for the show.  

After the show, there will be a short session for notes, and then the team will go home for a well-deserved rest. Sat We will have a matinee and evening performance this Saturday.

Sun Sunday will be a day of rest for the team. The opening weekend is complete.