11th April 2016.
Today we had a talk with Lynn and Helena about how to construct a productive meeting.
These are the notes I took down for this discussion.
- We have to be prepared to give something up. To have a successful piece we all have to talk about the different ideas that we have had, but we have to keep to in mind that not all of our ideas will make the final project.
- To avoid conflict we have to be able to control our emotions and not get angry, upset or over-react when our ideas get put to one side. Because even though they maybe be good ideas we have to make them work for our group and fit the theme that we want to focus on for the performance.
- You also have to think about what you want from the project and how you can get the most out of the project for your needs.
- We have to have an agenda for the meetings. So they have a structure to them otherwise it will become very easy to get side tracked and not have a productive meeting.
- It would be helpful for us to have someone taking the minuets so then we can refer back to the meetings and what we have previously talked about so then no ideas are forgotten and we can be 100% sure as to of what we have decided on.
- Communication plays a massive part in this final major project. everyone in the group you work in needs to know what is going on, what each person is doing. If we do not communicate with in our group then we can be certain that the performance will not be to the standard that we wish it to be, we will not reach our full potential which reflects very badly on us.
- It maybe a good idea to have a chair of the meeting. I.e, Lynn, Helena, Erica to chair the meeting so then we keep it clam and productive.
After this meeting we then did a classical dance class with Sarah. In the class we looked at some old folk celebratory dances that they would have performed in the town. We also looked at the more upper-class waltz. My favourite was the waltz because I enjoyed the fluidity of the movements and the simplicity of the steps. They were easy to remember which made it easier to enjoy the dance.
The waltz was originated in the alpine suburbs of Vienna, it was around the 17th century when the dance came to light. The ballroom dance is in 3/4 time with an accent on the first beat, which is then followed by a few simple steps which is then repeated. If you are the female being lead by the male you step back first, then left then you join your feet together. For the male the only difference is that you move forward and not back. The woman have left hand on their partners shoulder with the right hand out to the side holding their patterns hand. The male has a gentle placement on the woman’s waist and holds her hand out with his. With in the dance you may want to include, turns, leans and lifts.
The waltz was criticized on a moral view as it was the first dance where the man had hold of the woman, and also had rapid turning movements. Many religious leaders viewed this as a sinful dance and often described it as “Vulgar”. Dance masters saw the waltz as a threat as the dance was fairly simple and was easy to learn and master in a short amount of time. Where as for many court dances it was mandatory to practice and perfect them as they required more detailed movement with more complexity to them.
Music played a very important role in this dance, as it does in any. However, the waltz was given a tremendous boost around 1830 by two distinguished Austrian composers – Franz Lanner and Johann Strauss. The composers were by far the most popular during the nineteenth century. They had set the standard for the Viennese Waltz, (a very fast version of the waltz) and managed to take it to a new level which gave it a lift with new life.
12th April 2016.
Today we had our first gorp meeting. The group consists of Tom, Lou, Vicky, Jack, Harry and myself. We have already spoken about the genre of the performance. So far we have spoken about a serious musical. Lou spoke about the workhouses that used to be open in Bury and how we could use the history to tell a verbatim theater/documentary theater piece.
We also spoke briefly about doing something about the witch trials that occurred frequently in Bury S.t Edmunds. We aren’t to sure about how we would want to perform this if we did this idea however, it would most likely be in the same sort of style as the workhouse idea we have. This would be because we would want it to be a factual piece of drama.
Tom: Song/Music writer.
Jack: Song/Music writer.
Harry: Director and script writer.
In this photo there are some of the children that lived in the workhouses, their clothing seems to be rather simple, Although I feel like for the photograph they would have been dressed up in their finer clothes that they would only use for church.
In this image there is more truth. Even though it maybe a drawing and it isn’t an actual photograph you can see that the clothes for everyday routines were less refined, not very clean, they would have been ripped and wouldn’t have fir properly.
This is a photo from ‘The Crucible’ which I did with the Irving Stage Company, the costumes we used were very close to the time period and were of good quality. If we were to go with the witch trial idea then we maybe able to borrow them from the Theater Royal in Bury.
13th April 2016.
Today we discussed the workhouse idea in a more detailed way, i.e….What would the story line be? How would we perform it? We didn’t talk about a story line in the end but more about how we want to perform in and the style it would be in. We still want to keep the music aspect in the piece because, we feel that you can say a lot in song in a much more condensed way than you can in a script.
We also looked at different styles of drama that we could use, for example ‘Verbatim theatre’, ‘documentary theatre’, ‘Brechtian’ and ‘Stanislavski’.
Cantrell’s (2012) article about verbatim theatre states that this style of theatre is a stand of documentary theatre. This is because it is based on the spoken word which may be taken straight from interviews then you could incorporate a formulated scene. This suggests that it is more adaptable than documentary theatre as you can use your own scenes where as in documentary theatre you have to use all documented interviews and all events that took place. Even though in verbatim theatre you exclusively use spoken word, you are able to create events around it to make it more extravagant. There is an overlap with all factual theatre however, I think verbatim theatre at the moment would be the most effective. This is because we would take records and real people who were in either the work houses or the witch trials and then create a piece about what actually happened and when it happened. For example, we could take records form the workhouses around Bury then we could take what is said in the records as the focus for our script.
theatre, V. (2012) Verbatim theatre – drama online. Available at: http://www.dramaonlinelibrary.com/genres/verbatim-theatre-iid-2551 (Accessed: 13 April 2016).
According to Paget’s article in reference to documentary theatre is a twentieth century continuation of ‘historical drama’. From what I understand the cross over between verbatim theatre and documentary theatre is very fine knitted, there is only some slight differences. For example documentary theatre is more strict with keeping it 100% factual and using only spoken word, you can use the interviews in a different order and you can use different devises such as flashbacks, flash forward, cross cutting, etc. These are just different ways to present the events that took place. Where as in Verbatim you can me more malleable with the evidence that you would use to create a factual piece of drama. As documentary theatre is far more strict i think that it was be harder to use this specific style of drama for our piece.
theatre, D. (2016) Documentary theatre – drama online. Available at: http://www.dramaonlinelibrary.com/genres/documentary-theatre-iid-2482 (Accessed: 13 April 2016).
Brecht vs Stanislavski:
Reading Cash’s article on Brecht he stated that “he likened the realistic theatre to the effects of a drug, in that a realistic performance pacified its audience” however he used a lot of alienation because he did not want to audience to be emotionally involved with the characters, he wanted them to leave the theatre thinking about the message of the play. This meant that the characters were more two dimentional, this is because the characters only exist form the beginning of the play to the end. The actors wouldn’t create a story of what happened to the characters leading up to the story of the play or what would happen to them after the end of the play. This is because Brecht despised the idea of realism. Brecht’s plays had a lot to do with political stances, such as ‘Mother Courage’. In ‘Mother Courage’ some of the themes include:
- War as a Business
- vertue in wartime
To allow the audience to be engulfed in the themes of the play the actors had to detach themselves from their characters, some of the ways they would do that would be to change costume on stage, as they would usually play more than one character. They would stay on stage the entire time but when they were not in a scene they would remove their costume and have all black clothing on so they wouldn’t draw attention away from the scene. The characters also were hardly ever given proper names, they were usually given names such as, “The teacher”, “The boy”, “The girl”, “The worker”, etc..
I think that this method of drama would not be beneficial to our group as we have discussed that we want the piece to be more character lead, rather than theme lead. Therefore our piece will have more realism devises in it.
“The program for our undertaking was revolutionary. We protested against the old manner of acting and against theatricality, against artificial pathos and declamation, and against affectation on the stage, and inferior conventional productions and decoration, against the star system which had been a bad affect on the cast, against the whole arrangement of plays and against the poor repertoire of the theatres.” – Stanislavski
“How does an actor act? … How can the actor learn to inspire himself? What can he do to impel himself toward that necessary yet maddeningly elusive creative mood? These were the simple, awesome riddles Stanislavksi dedicated his life to exploring. Where and how to ‘seek those roads into the secret sources of inspiration must serve as the fundamental life problem of every true actor’ … If the ability to receive the creative mood in its full measure is given to the genius by nature”, Stanislavski wondered, “then perhaps ordinary people may reach a like state after a great deal of hard work with themselves – not in its full measure, but at least in part.” – A Method to Their Madness: The History of the Actors Studio
The stanislavski system is a very effective style of drama, this is because it uses emotion memory. This is a technique where you draw on to your own life experiences to recreate the emotion that you felt at the time, i.e, a time of sadness, joy, regret, hate, love… And so on and so fourth. You then apply this to our character and how the character is feeling in the scene. However you may come across a character that is experiencing something you never have then it makes it harder to connect with, therefore you have to think about the emotion that would be relevant to portray in that particular moment in time. This is when the “Magic if” technique comes into the equation, the “Magic if” is where you put yourself in your characters shoes and you think about their life, what has happened to them before the beginning of the script, what is happening during the script and what happens to them after the script is finished. For example you can create a character profile where you write the basics in to begin with, such as… Their name, hight, what they look like, where they are, hobbies, relationship status, their age, occupation, are they still in education? But then you can dive deeper and think about what happened to get them to where they are now in relevance to the script and how they are dealing with it. To help with this you can take from our own life and how you have dealt with difference circumstances.
Stanislavski focus’s on realism and naturalistic theatre, which is why he developed his own theory behind acting and his own system to make the performance more real for the audience. He wanted the audience to feel something for the characters and to be able to relate to the situation taking place on stage.
I think that this would be the most effective devise to use for our piece of drama because it is very natural and allows us as actors to emotionally engage with the performance which will make it flow better and have a high impact on the audience.
The rough story line that have discuessed would have Lou being a young boy because then we can show how the girls would not have been beaten as frequently as the boys. We have had the idea to make Vicky’s character mute and deaf so the only way she can communicate would be though dance. Harry has the role of director and writer. Other roles are still to be placed with in the group.
15th April, 2016:
Last night we had a rather large alteration with in our group, Harry, Tom and Vicky had discussed that they felt that the workhouse idea was not as strong as one that Harry had mentioned after the presentation. They had discussed it earlier between the three of them before bringing it to Jack,Lou and I. In our conversation it become quite heated but in the morning after we has all had slept on the idea, we had another meeting with the six of us and decided that Harry’s flying monk idea wasn’t strong enough either and certainly wouldn’t be effective to break the group up into two sets of three. We came to the conclusion to doing a piece about the disillusion of the monasteries. We hope to perform in the cathedral as we have strong singers like Tom and Jack within our group and it would be a shame to waste it. We are now also looking at doing a catholic chant, such as:
|Salve, Regina, mater misericordiae:
Vita, dulcedo, et spes nostra, salve.
Ad te clamamus, exsules, filii Hevae.
Ad te suspiramus, gementes et flentes
In hac lacrimarum valle.
Eia ergo, Advocata nostra,
Illos tuos misericordes oculos
Ad nos converte.
Et Jesum, benedictum fructum ventris tui,
nobis, post hoc exsilium ostende.
O clemens! O pia!
O dulcis Virgo Maria!
|Hail, holy Queen, mother of mercy,
Our life, our sweetness, and our hope.
To thee do we cry, poor banished children of Eve.
To thee do we send up our sighs,
Mourning and weeping in this vale of tears.
Turn then, O most gracious Advocate,
Thine eyes of mercy towards us.
And after this, our exile,
Show unto us the blessed fruit of thy womb, Jesus.O clement! O loving!
O sweet Virgin Mary!
This morning we went to Moyses Hall, the Cathedral and St Mary’s church to look at the potential performing space and so we can use the areas for inspiration for our piece. We spoke to Dan at Moyses hall and he said that he could e-mail Erica for us so we have more in depth knowledge of the disillusion of the monasteries, we also picked up some leaflets that we have found and took pictures while we were in each of the three locations.
Images from Moyses Hall:
This is a photograph Jack took of me in one of the robes that they had for the monks in their children’s fancy dress area.
Images from the Cathedral:
By going to the locations we were able to know what it feels like in the spaces, how it sounds and the size of the spaces we would want to use. For example, we loved the atmosphere and the acoustic of the cathedral much better than the ones at St. Mary’s Church because it felt more open and had better acoustics for us when do we the Gregorian chant.
19th April 2016:
Today our group of six condensed down into a group of five. This was because Harry had decided that he no longer wished to be apart of our group and wanted to do something on his own. However is was not as simple as this, Harry had behaved very unprofessionally with us and we were not going to tolerate it, he also informed us that he would be taking the monk idea with him, leaving us to revert back to the workhouse idea, we had no obligations to this. However this afternoon in a meeting with all six of us, he was confirmed that harry would be leaving the group, however Erica would still like us to do a piece around the monks.
After a brief meeting with the now five of us, Jack, Tom, Lou, Vicky and I. We have thought to do a “horrible Histories” style song before going into the first scene.
I like this song from the series on CBBC, I find it informative for a young age as well as giving them a source of entertainment.
We are looking at weaving together two genres to show our range of performance level, but also so then it is a performance that can be enjoyed by a wide variety of ages. We will be researching into the history of the Abby and the benidictine monks of the time.
20th April 2016:
Today me and jack presented the songs that we had found for the song at the beginning, jack proposed a song from the film ‘Monty Python: The Holy Grail’.
I found this song had a lot of potential in our piece, because we could go from the gregorian chant from the horrible histories song about the ‘funky monks’ and then go into a Monty Python cheerful section then back to the gregorian chant. After we had presented the songs we said that we were more lenient towards a comedic piece, however Lou and myself are more set on doing a serious piece. This is because Lou hasn’t done a lot of serious performance’s and had done mainly comedy, whereas for me it is more of a comfort to do serious piece because I haven’t had many encounters with doing comedy characters and I fear that I would not do it to as a high quality as everyone else and that it would be very wooded and forced. However I am accommodating to doing a comedy character.
21st April. 2016:
This morning Lou, Vicky and I were up in the library doing character research and looking at the type of characters we wanted to have in our performance, we were looking for characters that we could turn into comedic characters and characters that have more depth to them. We were looking into these characters because we are still on the idea of having two genres woven together to make a juxtaposition through out our performance.
- The Abbot: The Abbot has the control over everything that goes on within the religious house, this incorporates the spiritual and materialistic comforts and health for the monks that work and live along side him. He also takes order over all of the financial management of the monastery, he works as the advisor and supporter of the monks. The Abbot can only be elected to be the abbot after eight years of service and he is chosen but the other Monks. They chose who they find has all the correct aspects of their personality to be the next Abbot, someone whom they will trust to take on the amount of power that is given to them in the right way and not use it for their own benefit.
- The Prior: The Prior is the Abbots deputy and has the duty of running the monastery while The Abbot is engaged with important duties that he needs to take care of, or while The Abbot is away on a visit. The prior takes care of the everyday running of the monastery to makes sure it is like a well oiled machine, and informs The Abbot of the happenings through out the day.
These are the two characters that we have chosen for Tom and Lou, we have spoken about Tom being the Abbot because I feel that The Abbot is the type of character that is malleable and easy to play either as a comedic character or as a serious character. We have chosen Lou to play the prior because of her current hair style, the length of it is too short for the time period, back in the time of the Benadictine Monks if you were a female and you had sort hair it was seen as vanity and that you were no longer ‘pure’.
Nuns and sisters:
The difference between a nun and a sister can be confusing as they overlap quite often, however there are distinguishing differences. In brief a nun is a woman allied to a religious order and has taken vows of poverty, chastity and finally obedience. The nun make their vows publicly and are to be received by their superior before the church. Once they have been attached by their vows in the name of the church, the women are commenly known as ‘Sister’, although depending on their rank they may also be known as ‘Dame’, ‘Mother’, ‘Reverend Mother’, etc. When women have taken their simple vows and not their solemn vows and women is then a ‘Sister’ and not a ‘Nun’.
22nd April 2016:
After we had our employability lesson we had a meeting before lunch, we have now decided on our story-line outline for our final piece. We shall be opening with a song inspired by ‘Horrible Histories’/’Monty Python’ with the hops of choreography by that shall be done by Vicky and then she can teach whomever is going to be apart of the dance section.
25th April 2016:
This morning we had a more detailed conversation about what we wanted to put in the piece. We have constructed a rather serious story-line that has historical context in it but also themes that are still relevant to today. We have knowledge that prostitutes sometimes went to the monasteries to ‘cleanse’ themselves of their sins and misfortunes to reclaim a place in heaven and to undo the sins that they have committed. I have decided to take the role of the reformed nun as it is a challenging role to portray and it will stretch me further as an actress. However, this is not the story the audience would want her to have, there will not be a ‘Happily Ever After’ moment for this character. This is because the character Tom is playing is the Abbot that abuses his power and has detailed knowledge of her past and uses it against her so then he can get what he wants from her. The time in which this is to be set in during Christmas of 1433, when King Henry the VI came to visit (then didn’t leave till Easter). Jack will be playing the King because of his height. We have yet to place Lou and Vicky as characters as we have not yet formulated a full script as we have not yet thought out how the piece will finish.
Once we had thought more in depth about our audience, we have decided that the focus point will be on the harmonic celebrations of Christmas and the exciting arrival of the King. This is because of the amount of families and small children that will see the performance. The story of the nun being abused will be more subtext but still prevalent enough for the audience to be aware of what is going on.
27th April 2016:
Today myself and Lou started the monologue for my character, Rosa the nun. We looked for inspiration from other monologues but we soon decided that we didn’t want to make a copy of something that had already been done. Therefore we started from scratch without having influence from other piece’s and running the risk of having a monologue from a play already planted in our heads. Writing the monologue was challenging for me as I have never written anything from scratch in this context, I was thankful to have Lou writing it with me because she had, had experience before in script writing where of I have none. Jack also came in later on when we were about half way done and helped us find a good ending to the monologue.
It’s strange to think that when happiness fills the air, the only thing I can feel is the bitterness of the wind. I thought he was nice, charming even. Oh, how a first impression can be so deceiving. But the attention that he gives me can only mean that he cares for me. Maybe he even loves m… No. Don’t be stupid. That doesn’t exist, men have only ever proven that to me; they only want a girl who can’t refuse.
The man in question is a man of high power, he is respected by everyone that he comes across; even those that have never met him. He is loved by everyone… well almost everyone.
I feel that I have come here to repent my sins and cleanse myself of who I was, yet I am haunted by the shadows of my past. I have once again been taken for granted, by a man who we should look up to, trust and worship. A man who, without his robes and power, could easily be a rough necked street dweller, who I would sulk up to and (pauses to clear her throat as she wells up) Earn my keep.
28th April 2016:
Today we had discovered during some of our research that when King Henry the VI came to visit Bury, he was only at the age of twelve. We have now had a character development an Lou will now be playing the king because of her hight and Jack will be playing the character of the Prior. Vicky was going to play the Queen of the time, so we will now be finding a new character for Vicky to play that fits within the play.
29th Arpil 2016:
Today we did out work in progress presentation: I have written an evaluation on this and it can be found on task 3B.
4th May 2016:
The aim of the meeting today was to be certain that the monologue for Lou’s previous character, had been re-drafted to fit with Jack playing the prior.
5th May 2016:
Today we blocked my monologue which is also the first scene after the opening song. Within the monologue I speak of the Abbot but I never name him or the abuse in direct dialogue. It is always an undertone within the context of the monologue. We also were able to Priors monologue, this monologue announces that the king is currently travelling to Bury. This afternoon we had another work in progress presentation.
9th May 2016:
This morning we had a meeting with Erica, the purpose of this was to workout how we were to transition form my monologue to the end of the scene where the Abbot (Tom) takes me off stage where the abuse taken place. Me and Tom did this by improvising it rather then trying to plan it in our heads before we do it, this way it came more natural and we were able to work with it. We have recordings of this session which are available on our facebook commission page
12th May 2016:
Today we finished our final script for our piece:
Christmas 1433: The arrival of King Henry VI – A “joyful” encounter
Cast (in order of appearance):
Abbot William Curteys – Tom Barber
Prior – Jack Taylor-Balls
Rosa (Nun) – Emma Croft
King Henry VI – Lou Rowe
Kings Guardian – Vicky Wilson
Opening song (to the tune of “Fairytale of New York”): ABBOT & PRIOR
“It was Christmas eve babe, in 1433
The king was travelling, to St Edmundsbury
And so we start our piece, in preparation
For the kings arrival, and the Abbot is engaged…”
(look of mass panic from PRIOR as THE ABBOT hastily leaves the stage)
(The PRIOR is left centre stage, ROSA is down stage right)
ROSA: It’s strange to think that when happiness fills the air, the only thing I can feel is the bitterness of the wind.
(As ROSA is down stage right, the PRIOR announces the preparations for the KING’S arrival, centre stage)
(Broad Suffolk accent)
PRIOR: Stand aside, Ladies and Gentlemen; I have just received word from Windsor Castle that our young King of England, Henry the uh (counts to five on his fingers) Sixth, is currently travelling to St Edmundsbury; where he plans to celebrate Christmas in our company.
ROSA:I thought he was nice, charming even. Oh, how a first impression can be so deceiving. But the attention that he gives me can only mean that he cares for me.
PRIOR: The Abbot is otherwise engaged at this moment, but do not worry as “I have a cunning plan”.
ROSA: Maybe he even loves m… No. Don’t be stupid. That doesn’t exist, men have only ever proven that to me; they only want a girl who can’t refuse.
PRIOR:We must make haste and erect the royal colours and shield of the king in our great hall(points to great hall) Everyone must be doing something to prepare for the king’s arrival and make him feel at home. You must all be ready for the showing of the king as he announced to the Abbot in the great hall.
ROSA:The man in question is a man of high power, he is respected by everyone that he comes across; even those that have never met him.
PRIOR:The Abbot himself will then announce the king’s presence to the townspeople. Now everyone to your posts!
ROSA:He is loved by everyone… well almost everyone.
(PRIOR hears the king from off stage)
PRIOR:OH! There is no time, the king has arrived.
ROSA:I feel that I have come here to repent my sins and cleanse myself of who I was, yet I am haunted by the shadows of my past.
[The KING enters centre stage with his GUARDIAN]
PRIOR: Your majesty! Welcome to our humble town. We are all honoured by your choice to visit us at this time of celebration.
KING: I am meant to be meeting the Abbot. Where is he?
PRIOR: I am afraid my lord, that he is otherwise engaged at this moment in time, but all of our townsfolk have congregated in this place to be in your majesties presence. I am sure that he will be here shortly, but I shall take his place until he is available. He sends his apologies.
KING: He is supposed to be here greeting me. What is more important than greeting his king? Royalty is a gift given to my family by God, his God, of which he has dedicated his life to. I am the closest he will ever be to God in this life time. He should be here. NOW!
GUARDIAN: Your majesty, we will get this sorted. Prior, go. Find your Abbot and bring him here. Make haste, the king is waiting.
(focus back on ROSA down stage right)
ROSA:I have once again been taken for granted, by a man who we should look up to, trust and worship. A man who, without his robes and power, could easily be a rough necked street dweller, who I would sulk up to and (pauses to clear her throat as she wells up) Earn my keep.
KING: The Abbot of this town has been unable to greet me, but he sends these peasant folk(implies audience) as some sort of comfort? Who does he think I am, some minor unimportant lord? I do not blame you, townsfolk, as you are only following orders from the idiot that runs this Abbey. We are here for celebration however, and I will not allow a fools actions to ruin the festivities. Tomorrow is Christmas, the birth of Christ and I have come to grace you all with my presence.
PRIOR: Your majesty, I have our brother-monks looking for the Abbot, but I cannot find him. We believe he will be here shortly. Is there anything I can do to make it up to you?
KING: Do not worry, I’m sure he will return soon and then he shall apologise to me himself. Come my humble subjects, we shall do into the great hall and start the celebration. Prior, lead us.
(ROSA looks down to consult her bible)
ROSA:“Now it was about three months later that Judah was informed, Your daughter-in-law Tamar has played the harlot, and behold, she is also with child by harlotry. Then Judah said, “Bring her out and let her be burned!” (Genesis 38:24)
PRIOR: Rejoice, the Abbot has returned
[The audience turn to see the ABBOT steering a clear empty space (as if ROSA was there)]
(ROSA delivers her lines as if next to the ABBOT, but plays the scene from down stage right)
ABBOT: (nervously) My liege, Welcome to St Edmundsbury
KING: And who is this… (referring to ROSA)
GUARDIAN: Where have you been, we have been waiting a considerable length of time
ROSA: We were (hastily cut off by ABBOT)
ABBOT: I was assisting her with her learning of the commandments
ROSA: Yes all nine (ABBOT nudges her) sorry ten commandments
KING: (sensing what has truly transpired) Of course you were… And is the Abbot a good teacher
ROSA: Yes he’s very… firm
ABBOT: (nervously) Yes… er Prior… fetch the Kings gift
[PRIOR exits and returns with a book]
ABBOT: On behalf of the Abbey, we humbly present you with this text entitled “The lives of St Edmund & Fremund”
KING: I thank you for your kind generosity… I shall cherish it
KING: And now all that is left to say is MERRY ENGLAND
(as everyone cheers MERRY ENGLAND!!!, ROSA cries out from down stage right)
ROSA:Let her be burned!
26th May 2016:
Today we had a run though of the performance and did it as mamy time as we were able to makesure we had ironed out all of the creases in the piece. We also had our final work in progress rehearsal.
27th May 2016:
This morning was the final dress run in front of everyone before the tour takes place. The evidence can be found with the “Work in progress” page.