- Was the characterisation between my three different characters sufficient enough to distinguish between the three of them?
Lynn watched both nights as she co-directed the piece along side Helena. In reply to the question above, Lynn explained she thought Douglas stood alone as he was such a different type of character. She also thought Hugo and Mr. Sloane were played completely different because I managed to work the vocal appearance for each of them. Mr. Sloane is very much a working class man whereas Hugo is the complete opposite. I felt I was able to switch between the two of them, and sustained this both nights. The audience only got to see small segments from the posh boys but we also played posh when interacting during the immersive part of the performance, so it gave the audience the chance to see more from the posh boys.
- What did I bring to the performance that made you believe my characters?
When asked this question Lynn said she liked how casual all of us played the posh boys. She thought we were very casual and comfortable it was like we had the right to be there, and the physicality was that of someone who wasn’t shy, arrogance. This helped the audience understand what type of people the posh boys were. Our attitude towards the other characters on stage was as if we were better then them. This is similar to what Justin commented on.
I then asked Lynn what made her believe Mr. Sloane, wasn’t a normal guy. I said, I didn’t want it to be the speech and writing of Joe Orton that made the audience understand he wasn’t normal. She went on to say how it wasn’t necessarily the writing but the complete lack of fear I had delivering the monologue. The most notable thing was the complete lack of fear of pausing, which can sometimes be terrifying to do on stage as the audience might think you have forgot a line, but I acted through it. I made each pause very menacing, she liked the fact that I wasn’t scared. Also referring back to a lesson spent with Lynn, earlier in the year, on the seven levels of tension, jumping from a high tension to a low tension. I managed to do a similar thing on stage by smiling to then accusing the audience, glowering at them and making them feel as if they had done something wrong to increase the tension in the room. I think by covering each and everyone in the audience with a stare it increased the tension and made people feel tense and awkward at times.
All of the above contributed to the belief Lynn had towards my characters.
- Was my overall volume and clarity clear enough?
Lynn thought we just about managed to hit the volume when presenting bits that were devised by peers. But the pieces that were written we managed to reach the volume better. I think this was down to believing in what we had. I don’t believe we had the confidence in the parts written by peers and as a result, which reflects in Lynn’s feedback we didn’t feel as confident when delivering those parts. This resulted in a lack of volume, on those particular parts. I feel this would have been resolved if we had more full runs of the show previous to tech and dress. I still think we left it to late to do a full run of the show. But the lack of confidence and realising we had a show might have still happened even if we had more rehearsals prior, it might have just been down to being in front of a paying crowd.
- Was the pace of the show enough to keep you engaged
Lynn thought the same as most of the other people I interviewed, the first night wasn’t as together as the second night, she said the following when asked again:
I felt that it was tentative. I think the cast was still waiting to see if it worked.
That’s not really the same as lacking energy – it was more that cues needed picking up and people needed to move with purpose.