FINAL EVALUATION

Target 1/4: Improvisation  AND Target 3/4: Character Depth

As these two variables have been formulated hand-in-hand during my individual process, it seems only appropriate that they are discussed simultaneously. Continuing my development of these particular tasks was interesting for me; there were areas in which I expanded on my previous endeavours, and others where I found myself developing new trains of thought!

As mentioned in the Mid-Term Reflection, there have been certain activities in lessons that have caused me to make expansions and developments towards my character in a very small window of time. Activities such as small pair discussions broadening into class conversation - which are always only held for a small increment of time - are highly useful in terms of improvisatory thinking, as they subconsciously encourage the performer to delve into their character more deeply, and retrieve details they may have otherwise not considered due to more relaxed timing conditions. This exercise and the subtle pressure to produce sufficient results emulates a performance setting in a strangely effective way, and indeed produces greater details that can be later expounded on in a plenary, similarly to how an actor reflects on their performance in hindsight and prepares for their next one.

Additionally to before, my Questions for my Character blog post has been updated. Although as a viewer you are unable to see the editing process, I can assure you that these have accumulated over a long period of time. Some answers came more simply and naturally, seeming to me to be more direct questions. However, the majority of the stimuli were more enhanced in their level of impact; I was encouraged to think deeply and more critically in the face of a character who is rather ambiguously constructed in the script. Not only this, but the edits I have made over time may include changes to my answers towards certain questions. As I have been portraying this character and familiarising myself with her for a prolonged period of time, it is only natural that my relationship with her - and as such my portrayal's viewpoint towards the world around her as I spend more time working on the show - will fluctuate in positive and negative ways. 

What began as a character with no provided backstory and sparse motivation soon developed into a fledgling of concepts and ideas. As time progressed, I considered her existence more critically within the context of the show, as well as more efficiently diving into her relationships with other characters, most critically: whether shown on stage or not. By the end of my tenure playing Vivienne, I believe that I have confidently and acutely presented her in a way that an audience can connect with and analyse on their own terms. Admittedly, a lot of the finite details are more for personal benefit, but they do inevitably mean that my performance has a direction and purpose that I am able to tactfully represent, regardless of said details impacting the performance. Evidently, I think that this showcases me as a performer having that effective sense of analysis and articulation; being able to represent a character's beliefs and ideas without being consigned to the more amateur approach of explicitly sharing details - a classical, highly communicative depiction of 'show, not tell.'

Now, I will address the elephant in the room (but is it relevant to assume?) My previous reflections encouraged a pathway of rigorous planning in terms of my artistic choices, whether vocal or physical. This is the way that I have always previously approached my portrayal of a character, and as such believed it to be the most impactful way I could represent this one; at the beginning of this journey - and indeed a decent amount of time through it - I saw no difference. In hindsight, I couldn't have been more wrong. 

Realistically, I knew that such mechanical planning would have a degree of contest when partnered with such a dynamic and fluid practise as performance is. In my past experiences, I have used a considerable level of planning that has resulted in a desired, effective outcome, reflected in my peer feedback and my adjudications. Thus, you are potentially able to see why I believed this method to be justified and tactful in the past.

However, this project in particular has proved to provide me with some revelations of both my character - as mentioned in prior paragraphs - and my acting approach in general. I have been treating my characters in the past as if they too have rehearsed these reactions and schooled themselves to behave in a exact way - I can see that now. In some respects it has made sense for previous instances; for example, my portrayal of Vi in Footloose was one in which she rigorously restrained herself, relying on these idiosyncratic plans as her way of coping and taking control of her situation. Nonetheless, this is an individual instance that cannot be recycled for every character I play, and more often than not these roles are much more fluid and raw in their delivery, Vivienne especially. In my view, although she does not exactly wear her base intentions on her sleeve, she is more than content to let her initial disdain for her peers shine through, in ways that I would have previously executed in an overly robotic way. 

It has been an integral part of my journey as an actor to consider these responses as independent and spontaneous events, as I have begun to interpret my characters in an even more three-dimensional way to before, and made my reactions seem more authentic by imagining more intensely that they are being carried out for the first time. A well-trained actor will do this as second nature - fully immersing themselves into the situation and treating it as if it is the first time they have gone through it if the circumstances require - but for me personally it is a step that I have primarily considered in the formation and development of these targets! Although I may have held some form of belief and trust in my ability to do this in the past, I have come to the realisation over the course of this module that my construction tendencies clashed directly with the discussed, and as such could not be heightened to their greater potential. Therefore, I shall in future recognise the vitality of somewhat orchestrating one's intentions beforehand, but not fully allowing this to dictate their outward manifestations of central ideas unless there is a particular action that has been instated by external blocking.

Target 2/4: Natural Dance

Similarly to the aforementioned, I am aware in hindsight that I have been treating this development plan far more objectively than necessary, or indeed than is helpful for my personal gain. I have historically considered this element of performing to be much more straightforward than I do now: choreography and intense dance numbers that are complicated and all-encompassing. However, this is simply not the case; dance also considers any form of movement in terms of the expressive criteria!

As a result, I have been able to consider more tactically and usefully my own improvement of this skill, being a mover as opposed to a more professionally trained dancer. Although there have been one-off lessons where we have covered more conventional choreography, I will be discussing in greater detail this ulterior concept, as it is what was required of me in terms of the character and my eventual output as a performer in the company (the other sessions were more for technical and exercise benefit.)

The primary number that showcased my movement capabilities in Legally Blonde was There, Right There (Gay or European), which I helped to choreograph alongside the rest of my class. In fact, it is worth mentioning before we begin that I hadn't even considered this a 'dance' assessment before having a conversation with my teacher regarding such matters! I believe this to be the beginning of a testament to my heightened confidence and technicality within this field; I would have feared sequences similar to even this simple one at the start of the module, and never would have believed myself able to execute it well. 

Although the steps themselves were basic, there were a few more intermediate moves I needed to unpick to execute correctly, as they were not ones I had breached before in practise. Primarily this was the body roll when I left my seat, but the slight upper body isolation in a semicircle for 'so many shades of grey' was also something I felt necessary to break down and hone. Overall, I am pleased with the results of the performance(s), due to my critical rehearsal of the steps meaning I was more assured with what I was doing and could establish character within the sequence much more engagingly. Indeed, that factor has been a concern of mine from the beginning; historically I would always doubt my memory or skill within certain sections, and as such focus on them too heavily and not have enough space in my working mind to also add characteristics of the role (physicality, response etc.) As I have progressed in this module, I would argue that this issue has become less of a detriment to me, and that I will be able to prevent such an ailment successfully and impactfully in the future. 

Target 4/4: Confidence and Esteem 

Here is where the true evidence of my advancements as a performer shine through. Unfortunately for the less interested reader, this does require a bit of backstory for the full effects to be realised and established. 

I am, and have been since I was young, a raging perfectionist. Any performance I have done I have not been happy with later down the line, constantly plagued by the intuition (and I would say 'knowledge'), that I could have and should have done better. After this show I am certain I will experience the same thing. However, there has been a major difference with this process than any other, that has truly showcased my enhanced outlook and conduct as a performer. In many ways and cases, my critique of my abilities has been greatly lessened on the detrimental side to my mental health; I have seen errors, yes, and felt the same emotions, but I have shown an increased maturity in my approach and response, meaning that the mistake is rectified before I give myself any opportunity to dwell on it.

Indeed, I was previously guilty of always displaying my wrongdoings in my facial expression and for the emotions to show through in my voice. This was particularly prevalent whenever I had a burst of adrenaline from nerves I may have been experiencing. My main subject of concern in this project was the various solo sections I would be performing in Legally Blonde (remix). Although I have done plenty of solo singing in the past, and thoroughly explored this area of my range (for the first section, anyway), it still did not prevent me from fearing a mistake, especially considering the faster tempo of the music. The register flip between the lines 'but I see a star' and 'you're my new muse' (leading into the next passage which incorporated even higher notes) was always a stressor for me, and so I needed to establish appropriate mechanisms to combat this when performing to effectively prevent the aforementioned quaking in my vocals. This same technique could then be implemented more intensely at the end of the song, where I stretch higher into my mixed range than I ever had before for a performance. In hindsight, I am of the opinion that my mature regulation of my fears allowed for a much smoother execution that would have been possible considering my mental framework at the beginning of the module; this amongst many other displays of my determination and calm psychoanalysis allowed for what I would argue to be a significantly improved and highly effective performance as a final result, as well as a much more intricately woven set of skills for my future use!

Final Comments and Observations - Teachers/Coaches and Adjudicator

Dance Teacher: ''Amy is a true pro when it comes to professionalism, Amy has been dedicated to making sure she produces her best performance on stage. Dance is an area that Amy is least confident with, yet she has thrown herself in and been resilient to learning difficult technique developing her skill set, confidence and movement memory. Amy was in multiple musical numbers which required her to move/dance as an ensemble. Amy blended in perfectly but also equally stood out as her character. Amy has worked hard to become a triple threat which has been well evidenced through her final performances. One highlight where we see all three areas together was in the musical number ‘Gay or European’ where we saw excellent acting in her character of Vivienne along with clean ensemble movement and confident singing.''

Vocal Coach: ''Amy sang her role to a professional standard consistently throughout rehearsal and during performances. The role of Vivienne in Legally Blonde has a wide and varied range, from the high B at the end of “Legally Blonde Remix” to the mix/belt range in “There Right There”, this role could present many vocal difficulties to even a seasoned professional, however Amy was able to perform her role with ease, style and impeccable vocal quality. Amy consistently demonstrated a comprehensive understanding of breath support, postural alignment and vocal technique. She always sang with excellent vocal support, good posture with minimal tension in neck and shoulders. She was able to show a full pallette of vocal colour and quality by displaying a wide variety of dynamics and strength in her vocal registers. An excellent, well-rounded performance displaying professional quality singing and a true triple threat qualities!''   

Acting Teacher and Director: ''Throughout the process of creating the role of Vivienne Kensington Amy demonstrated exceptional choices in terms of building a highly successful character. Vocally there was a great contrast between the cold, dismissive tone and elongated pace of the early scenes, clearly depicting Vivienne’s distaste for Elle and perceived higher status. This softened towards the end, showing her want for female solidarity and support for Elle. Physicality was exceptional with well chosen and developed mannerisms, playing with her hand, crossed arms and an imposing stance. Amy’s command of the crowd and confidence to hold the attention of those on and off stage was incredible. It was a delight to see Amy really succeed in creating a well-rounded character. Her vocal and movement performance was also exceptional, a real triple threat!''

 

''Amy was also always willing to jump in on cameo roles on her off-nights and fill in for sick students as the show progressed, for example the Shop Assistant in Scene 1. Throughout rehearsals Amy would cover for missing students and then pass on these notes.''

 

''Additionally, Amy took on the role of Assistant Director and was exceptional in this role, again showing her incredible professionalism and commitment to the process. Amy led on the blocking for the Party Scene (Act 1 Scene 8) and organised independent rehearsal, took notes, gave feedback and was an incredibly important part of the creation process.''

Adjudicator, on Vivienne: ''This was a confident portrayal of Vivienne in which you showed us an incredibly strong young woman, knowing exactly where she wanted to be and how she was going to get there.  You were certainly not a likeable character at the outset – controlling with Warner and brutal with Elle. However, as the story progressed you began to show us different characteristics – an honesty and willingness to admit to being wrong and, more importantly, a desire to put things right.  As Elle’s journey came to an end, so yours changed and we finally saw the strong, likeable young woman that you had become. You have a beautiful singing voice and I very much enjoyed your performance.''   

Adjudicator, on Direction: ''This was an impressively directed Show.  The whole company knew what they should be doing and did it with confidence, clearly an indication of how strong the direction was.  It was clear that everything and everyone had been extremely well-rehearsed – from singing and dance routines to set changes, lighting, costume changes etc. – providing us with a seamless performance.  The hard work that had clearly been put into rehearsing the Show enabled the cast to move smoothly from scene to scene. There were no moments when we waited for the next scene to happen and, looking around the auditorium, the audience was fully engaged throughout.  You ensured that the whole stage area was used to great effect, allowing the audience to see every cast member, whether ensemble or principal.''  

''You will note that, although having seen 2 shows, I am only commenting once.  It is a testament to the amount of work put in by everyone that I could see almost no differences between the two shows (I will of course comment on individual performances separately). From the audience point of view, everything that was supposed to happen did happen, hence two almost identical shows, other than different principal characters. I particularly liked the freeze frame at the end of the Show and Paulette’s epilogue.  For the cast and backstage crew to have delivered a professional, polished, high energy Show night after night you are all to be congratulated.''