Assessment 1 – Self-Study – Key Learnings and Practical work Video – M18PA

“My first goal is to research into theatre companies that champion equality and who make work to promote diversity and break the mould of under-representation in the arts””

I have begun my exploration of this goal through self-study and research into the work of the following theatre companies: Smooth Faced Gentlemen, Tonic Theatre and Tamasha.

From this research I have become even more aware of the absolute immediacy and urgency that there is to address the balance of gender-equality within the industry at present. There are some incredible companies, that exist, whom are leading the way in tackling this problem, but there is still a great deal of work to be done! I’ve learnt that irrespective of gender that we all have a stake in abolishing the gender-gap. I’ve been particularly inspired by the industriousness of the Artistic Directors of Smooth Faced Gentlemen. It can be so easy to be apathetic, but I admire that they have taken things into their own hands and decided to create ambitious work that firmly puts women’s stories centre stage.

I’ve learnt that small actions can make big changes. Lucy Kerbel and Tonic Theatre have taught me that trying to take on the issue of gender equality single-handedly spells inevitable failure. Collectively we are stronger, more creative and more formidable.  I’ve realised that there are others that share my distain at this lack of parity in the industry. I’d like to work with these individuals and I endeavour to have a definite focus within all of the work that I produce towards bridging the gap. I can’t wait for the advanced collaborations and am conscious of how I can be part of small actions that will eventually have a bigger impact.

As practitioner I always want to be in a position where a significant proportion of my work is in actor training. At present I am enjoying the rewards of working with FE and HE students. As such, I can see how more pioneering programs such as Platform can be more widely implemented utilised within actor training. As an educational practitioner I personally will commit to utilising this excellent resource of new-writing and commit to producing work created by writers commissioned through this innovative program. I will also be purchasing myself a copy of 100 Great Plays for Women by Lucy Kerbel

I’ve also found Tamasha’s work incredibly and equally as pioneering as Tonic Theatre’s. From researching into this company, I have seen first hand the obvious benefits to representing ALL cultures on stage. Tamasha has played a key role in this and really revolutionised theatre for any group under-represented on stage through their Developing Artists program. The company’s history has left me well over awed and their impact on creating positive change in society well documented. Since its flagship show East is East was first performed the company has constantly responded to the industries’ inequalities and placed itself at the forefront of change. The companies verbatim work in education also looks really inspiring and I really want to find out more about this next.

.” second goal will be to commit to a daily strength and stamina training program. I will be undertaking TABATA style interval training workouts that are geared towards strengthening. I’ll record my progress to measure my development over the self-study period and beyond”

I commited to 1 round of TABATA training once per day.

A Tabata workout consists of 8 fully committed rounds of strengthening exercises. It works simply by identifying 4 focused exercises that engage a specific aspect of physical fitness i.e. core-strength, dynamics or conditioning. These are then simply repeated. Each round should consist of a 20-second committed burst to the selected exercise followed by a 10-seconds of recovery time. So 8 rounds in total.

Sometimes I have completed this program independently  and at points incorporated the workout into a warm-up in rehearsals as part of an undergraduate project I am currently directing (See Darknet post). I’ve focused on developing overall aerobic fitness, by undertaking exercises that hone in on the key areas my body that I felt needed conditioning and strengthening the most. TABATA style interval training has definitely improved my overall core-strength and I also feel that as a result of committing to the program my ability to shift and lift, which I noticed through my demonstration and facilitation of lifts learnt as part exercises I having been sharing during Darknet rehearsals. I’ve also improved my arm and leg strength and measure this from the amount of reps I was able to complete within the later cycles of the training program.

Completing TABATA became easier and I’m now in a position where I feel I could undertake twice the amount of rounds to further enhance my overall strength.

I also looked a little into the science of TABATA and learned that the theory of TABATA was developed by scientist Dr Izumi Tabata. His research concentrated on the National Japanese speed skating team in the early 1990s when he – along with the team’s coach Irisawa Koichi – observed that short bursts of intensively hard exercise seemed to at least on a parallel with moderate exercise, if not greater.

Tabata explored this with a clear and concise experiment. He asked one group of moderately trained students to undertake an hour of steady cardiovascular exercise on a stationary bike five times a week. Another group were instructed to complete a 10-minute warmup on the same stationary bike, followed by four minutes of Tabata intervals, four times a week – plus an extra 30-minute session of steady exercise with two minutes of intervals.

The group that undertook the program designed by Dr Izumi Tabata’s formula found that they made significant gains to their overall anaerobic capacity and to their VO2 max, which is a key indiction to cardiovascular health and aerobic power. The other group following a moderate plan did find that their VO2 max, but nowhere near to the extent that the group with Tabata’s plan did. Another interesting finding was that the moderate groups efforts caused no impact to individual aerobic capacity.

To support me through this program, I created a playlist of tracks I found on Spotify (Below) Having the timings embedded within the track enabled me to measure each round. I’ve also been really inspired by Joe Wicks’ (The Body Coach) online content. He posts daily suggestions to exercises that can be undertaken. I’ve found this really useful in my facilitation as I’ve been able to offer alternatives and ensure that I am undertaking more challenging adaptations of exercises to ensure that I push myself when undertaking Tabata style training.

“My final area of focus will be to see how I can apply ‘Building Blocks’ and the ‘Crooked Path’ approach to my own practice as an educational practitioner. Part of my role as a lecturer in a Higher Educational college involves me directing undergraduate work. I am just about to commence rehearsals for a production of Rose Lowenstein’s play ‘Darknet’ In it I imagine there to be some particularly physical sequences and I’d like to see if I can apply some of the learnings I have made from the Introductory Module within the rehearsal process.”

I’ve thoroughly enjoyed designing project specific exercises such as creating movement from code, exploring interfaces and ctrl-alt-shift. All of these exercises have been developed employing the method of creating through ‘Building Blocks‘ making movement material step-by-step. The presumptions of this material has been challenged, interrogated and explored. The results have been very fruitful, rewarding and the outcome has meant that as a company we now have a cabal of movement vocabulary to draw upon in rehearsals and in performance.

I have attempted to tread the ‘Crooked Path’ by not always being implicit in outlining what the movement being created will used for. It wasn’t until after we had created movement using coding and programming language that it was revealed that this would utilised for the Hackdolz characters in the piece. I have also slowly introduced tracks with increasing BPM to provide a scaffold for performers to climb to enable them to reach the peak of the sequences potential. Movement created with the idea of futuristic interfaces and a lifting workshop has served us well for creating a rich movement vocabulary and furthermore for the last exercise that we explored ctrl-alt-shift. I will continue to employ this approach within my work as practitioner and look forward to navigating further down the so-called ‘Crooked Path’

Below is a video that outlines the practical work explored as part of my self-study assessment 1.


Hackdolz Version 3.0 – Building Blocks Crooked Path – Self Study – M18PA

This week I’m really happy with the progress that the Hackdolz sequence has made. Watching Marshall Davis Jones’ performance poem ‘Touchscreen‘ really solidified the ‘Glitching’ reference and also from watching back the videos of the previous 2-weeks helped the performers realise actually how little the pace had increased. We also revisited a Pussy Riot track here and drew from that the intensity and aggression required, so that the fast pace and change in gear could be made. Below you can see a progression of the piece (which is still a work in progress) to see how the work has developed.

Moving forward, I’d like play with the performers focus. We will be presenting the piece in the round and therefore the formation that the work is in currently set in will have to be adapted. I also hope that we will be able to progress further down the ‘Crooked Path’ when we introduce the frame into rehearsals. I hope that we can transfer some of the movement onto the frame and that more surprises and doors will open as a result.

I’m conscious of providing a scaffolding for performers to climb and will wait for performers to fully develop and become accustom to the current level of pace, before introducing the faster track ‘overclock’ – By Algorithm which has a higher BPM than the track ‘Riot’ by Dance with the Dead as featured in the last 2 videos. I also realised having focused on this task as part of my self-study that I forgot to place less emphasis on ‘unison’. I feel the performers have worked well to achieve unison in the movements. But I distinctly remember Scott discussing this during the introductory. I recall him saying that an audience is more likely to pick fault at unison, when that becomes the key focus and objective for a piece of movement. Instead he implored us to worry less about this and encourage performers to enjoy the moments that do come together. I will try to carry this forward as rehearsals progress and for when we begin creating as part of the Advanced module.


To round of this week and to generate further movement material I wanted to run an exercise I have aptly named ctrl-alt-shift I’d wanted to run another exercise that utilised the ‘Building Blocks’ approach. I wanted the exercise to hold relevance with the piece and to some of the other work we had been exploring. I wanted to push further the exercise completed the previous week on imagined futuristic interfaces here and to build on the lifting explored in the same session. The basic idea was to build a string of 12 moves using the idea of controlling, alternating movement and shifting weight. See a short clip below of performers building up their strings of material and exploring the exercise.

Having explored the exercise and built up a string. Each pair, considered their character relationships and played with appropriate attitudes and dynamics. Some excellent material was built up. I feel like we have added more material to play with and incorporate within the show. I feel that a lot of the strings created can be challenged further still. One thing I realise I haven’t incorporated or played with is the use of props within a sequence. I recall asking Chloe and Charlotte to add a book to their created Chair-Duet on the introductory and it having a profound impact. I also feel I could play with scale more in forthcoming rehearsals. See examples of the created work below.

I was particularly impresses with the above sequence. The dynamic of the two characters was captured really well and the performers really considered how the exercise could be played with as their individual characters. In the play. Allen (Joe in the red tracksuit bottoms) one of the central protagonists, is a spokesperson for the giant tech data company ‘Octopus inc’. He is dominated in many scenes by one of the companies directors (Ryan black tracksuit bottoms) This idea of control was particularly well implemented and explored in the sequence.

Kyla (Kayleigh – white top) and Jamie (Luke – red t-shirt) are also very central to the narrative within the play. Kyla wants to befriend computer hacker Jamie to access the darknet so that she can obtain methadone for her drug addict mother. Their friendship is unlikely, endearing and very sweet. Although the sequence would benefit form more flow and less pre-empting of the shifts, the movement has a lovely quality. I feel focus could be interrogated to move this piece forward.

Building Blocks – Blog Provocation 5 – M18PA

Even before M18PA I had previously engaged with Frantic’s practical work in the form of a beginners workshop and also from studying many of the outreach and educational resources that the company posts online. What drew me to the work then and probably one of the fundamental reasons as to why I wanted to join and study on this Collaborative Theatre MA – was the accessibility of the work. I have an uncontrollable urge to move, but often feel constrained in the medium of dance. I either feel overloaded with counts and choreography or conscious that my technique is not at the requisite level. However with the exercises that I had experienced in the past such as: Round-By-Through, Chair Duets and Hymm Hands I’d always felt liberated and able to engage with the creation and process of developing meaningful physical work.

What has been most inspiring for me has been, being afforded the opportunity to revisit the above mentioned exercises and many more. Being able to examine the mechanics of these exercises and developing an understanding and appreciation of whats behind processes themselves.

Work created using exercises such as: Round-By-Through, Chair Duets and Hymm Hands is shaped, developed and created using the ‘Building Blocks’ process. Building Blocks is a term coined by Frantic as a method used for building up work, layer-by-layer, brick-by-brick. Significantly, the process empowers creators, by enabling them to break the overall ambition for a sequence into smaller tasks, which could be informed by words, numbers, patterns, body-parts or a specific theme. Each could offer a way of generating a string of material that can then be built on, challenged, developed and embellished as appropriate. Subtle switches to a string of material such as altering pace, focus, location, scale and or music can have an altogether profound impact on the material created.

If an open approach is adopted during the creation of material, surprises will happen, new ideas will follow and break-throughs will be made. This of course requires, trust, patience and a willingness to walk the crooked path and to be vigilant to the walkways that open up as a result of travelling into the unknown.

The other important thing I realised with this process was that it was the individual creators ‘Break-throughs’ and ‘unlocking-moments’ that were the very mortar that builds these ‘Building Blocks’ into something more construct and substantial.

Building blocks allow us to make something “…beyond my imagination, beyond theirs.” (Scott Graham)

Developing an understanding of this process has prompted me to try to develop, apply and explore ‘Building Blocks’ in my educational and directing practice. Read about my progress below.

Darknet – A Journey on the ‘Crooked Path’ M18PA Self-Study

The First Steps ‘Crooked Path’ Part 1 – Darknet – M18PA – Self-Study

The Next Steps ‘Crooked Path’ Part 2 – Darknet – M18PA – Self Study

Tamasha Theatre Company – Self Study – M18PA

Having researched into theatre companies that have made huge steps forward in championing gender-equality in theatre here and here I wanted to shift my focus towards studying companies that actively promote and celebrate cultural diversity on stage.

Like women, many performers from Black, Asian & Minority Ethnic (BAME) backgrounds are still regualrly overlooked and vastly under-represented on-stage in this country. This is an ongoing issue and another problem that needs challenging within the industry. Theatre Companies, Casting Directors and other industry stakeholders must act now, to be more progressive and inclusive, if they really value and want to reflect the cultural diversity that we are blessed with in this country.

It may be a blatantly mainstream example, but Chichester Festival Theatre’s current production of ‘Half a Six Pence‘ has come in for huge criticisms for its lack of diversity amongst its cast. Matthew Hemley, news editor of The Stage Newspaper, recently highlighted the production’s failings and the underlying problem of under-representation of BAME actors in West End productions.

“…in a cast of 26, there is not one non-white face. That, for a new production, is unforgivable.

I tried to raise it with others after the show and, while in agreement, they pointed to productions such as Motown, Memphis and Dreamgirls for proof of diversity.

The problem is, these are shows either about black performers or with black performers written into them. My problem is where race isn’t specified in the roles and an entire cast ends up being white. It smacks to me of casting directors putting performers into roles that match their own image. It’s an unconscious bias that needs to be addressed.”

Matthew Hemley – The Stage –

Further on into this article, Matthew Hemley goes onto echo my above sentiments. That the industry is in real danger of isolating and exiling a diverse audience unless everyone acts collectively to address this imbalance.

One company, who have been a beacon of light in leading the way for championing and celebrating this counties rich cultural and diverse heritage is Tamasha Theatre Company. Formed in 1989 by Director Kristine London-Smith and Actor/Playwright Sudhar Bhuchar the company was created with an objective to develop contemporary work of Asian influence for the British stage.

Since then, it has been responsible for several groundbreaking productions including: a flagship production of East is East in 1996, A Tainted Dawn, which premiered at The Edinburgh International Festival and featured an original score by Nitin Sawhney and the cult verbatim show The Trouble with Asian Men (See image below) The company actively strives to produce new work that celebrates the diversity of our globalised world and work that places emerging and established artists from culturally diverse backgrounds centre-stage.

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Tamasha is a mirror reflecting a nation of continuing change and creativity, of mixings and mergings. British culture needs reminding it has always been global. Tamasha’s stirring, audacious work makes sure the nation never forgets what it is.

Yasmin Alibhai-Brown, cultural commentator –

The company has been able to further champion diverse talent through its acclaimed –  Tamasha Developing Artists programme (TDA) The programme affords emerging artists the opportunity to undertake workshops, professional mentoring and to receive on-going professional support. TDA offers bursaries and a platform for artists into professional employment. One of the programs most celebrated alumni is Ishy Din – writer of the play Snookered Coincidently I remember watching this remarkable play at the Oldham Colosseum in 2012, but at the time had no idea who Tamasha were and what the company promoted. I just thought at the time that is was refreshing to see a play which celebrated the countries strong Pakistani community. The writer has been magnanimous in his praise for the company and attributes his early success to the work TDA does in giving emerging artists a voice.

I am a writer and without Tamasha I’d still be a taxi driver. My voice as a northern Asian would be muted and my attempts to open a window on a largely unexplored world would be firmly shut.”

Ishy Din, writer of Snookered.

This, in my opinion, further augments the importance of programs such as TDA. More really needs to be done to activate and engage BAME artists.

Another exciting facet of the company is its outreach work. The company nurtures new talent through its playwrighting courses taught in schools and through empowering educators to work with all students by giving language and cultural context in the classroom the same currency. The companies model aims to build confidence, promote dialogue and cultural understanding, and produce mature, multi-lingual devised performance.

I’ve been really inspired by the work that Tamasha has achieved and for the ideas that the company fights to promote. I value and am proud the cultural diversity that makes up this country and only wish more would be done to offer a wider and more equal representation on stage. Theatre has the capacity to challenge and incite change. But this can only be achieved if the industry looks at itself and makes more progressive and radical change within itself!!!

The Next Steps ‘Crooked Path’ Part 2 – Darknet – M18PA – Self Study

Just over a week ago, I worked with some young actors-in-training to develop a movement vocabulary, which was informed by computer code and programming language. The performers developed their own movements and phrases using a string of code and we developed this into a sequence, which features in the play (See here)

Having developed the material, I felt the next step in exploring the material would be to push the pace of the movement. Even with taking into account, the fact that it had only just been developed, it still felt a little slow. The characters these performers are portraying in the piece are a force to be reckoned with and needed to emit more energy and aggression. I felt the best way to explore this would be to amp up the BPM and to challenge the performers to up the speed.

The performers took on the direction well and committed to the task. Some further movements were generated also (See below)

Although the performers had upped the speed (a little) I still didn’t feel that we had achieved the intensity or ferocity that these characters need to transmit to the audience. Looking back at the video, I feel it may be because the performers are following the melody. All four performers have a very strong dance background and may have too focused on the technical aspects of the movement? I’m still not 100% sure, but still aim on pushing the pace and speed. I have another track, with an increased BPM that I will try to playing with, in the next rehearsal and I also hope to challenge the performers presumptions through pressing them for more input. I realised I may have been falling into the trap of trying to orchestrate things too independently.

One thing that we did start to explore was the idea of ‘Glitching’ I feel we could investigate this more and play with the quality of the movements. A really good example exists in a performance poet video by Marshall Davis Jones ‘Touchscreen’ although his movements are actually fairly slow. There is a certain ‘Glitching’ and digital quality to the way he moves. There is also a real vigour and intent, despite the slow pace and a real contempt for the system, which will be great for the Hackdolz to tap into. I will signpost the performers to this reference to see what we find.

Later on the week we started to explore a lifts and shifts as a group. I felt it would be a natural progression to some of the work we were exploring and would support some of the movement vocabularies that are being built up. It was great to revisit some of the lifts explored in the introductory module M18PA. I used the Frantic lift resource on Vimeo to recap myself and set about sharing these techniques with the group. The group took to the lifts really well and quickly identified the importance of finding the correct amount of pressure and equal effort required in many of the lifts Frantic.

Having looked at: Side Lifts, Wrap Lifts, Clamp Lifts and Crowd Lifts, the group spent time developing their own sequence employing the lifts that were explored (See Below) it was great to see the performers adapting, discovering and playing with the ideas and principles of lifting. This understanding will stand us in good stead for later on in the process and I’m excited to see how they will be able to inform and support other sequences such as the Hackdolz sequence that I have blogged about.

Finally we finished of the week looking at movement inspired by the idea of controlling an interface with your fingertips (Literally) One of the main themes in the play Darknet is advanced technology. The piece really questions where our technological advances will lead us. One of the really challenging things with this production is that we don’t actually have a great deal of technology at our disposal. So as a group we are really pushing ways to demonstrate this dystopian future within performance. After a discussion about the play, one of the performers cited ‘Minority Report’ as a good example of a futuristic world where tech was imagined as incredibly advanced. During the week, I revisited the video and realised he was absolutely right. I was also fascinated by the gestures and commands of the interface that the actor Tom Cruise uses in the clip below.

I wanted to explore how we could built on the vocabulary we had been developing for the play and tasked performers to develop 8 movements inspired and informed by this ‘Minority Report’ Reference. Again the performers responded really well to this and really surprised me with their variations. I was slightly worried that we may end up with movements that were too similar. See a clip below of the performers individually developing and exploring the task.

The exercise threw up lots of interesting questions. What did each move mean? What was the potential for them? Could the movement be a form of control over humans? The performers felt that it would be helpful to develop specific meanings for each gesture. So they could be clear on exactly how they were manipulating the imagined tech. I completely agree, I think to move this on now, a clarity on how what the movements mean and what can do, will help us in fully utilising them in rehearsals.

All Change Please and Tonic Theatre – Blog Provocation 2 – Self Study – M18PA

So, of fthe back of Nicola’s excellent resource recommendation: ‘All Change Please’ I decided to check out Lucy Kerbel, the work of Tonic Theatre and delve deeper into the world of gender-equality (or lack of it) in theatre.

Interestingly, before dedicating some self-study time to this, I was side-tracked by THE INTERNET (It’s a blessing and a curse) and I ended up procrastinating on Facebook. As I scrolled through, I saw an article titled ‘7 Monologue N0-Nos’ Always interested to learn what others have to say about auditions and monologues etc, I clicked on the link and read the article (See link below)

Never in my life have I read such utter drivel! Apart from the fact that virtually all of the advice was completely out of touch and inaccurate. I was horrified by the writer’s fifth tip:

Don’t get clever.
“It isn’t always smart to be ‘clever,’ ” Howard says. “A woman who comes in and says, ‘I’m going to go do “Hamlet” ’—well, when are you ever going to do ‘Hamlet’?

This made me so angry! This Howard chap should be ashamed of himself! And in addition to going to see ANY of the Smooth Faced Gentlemen shows that I discussed in my last post, he should also purchase a copy of ‘All change Please’ by Lucy Kerbel. Immediately!


I am only a few chapters into this book, but I am already inspired by work that Tonic Theatre and Lucy Kerbel has instigated. This book is not an instruction manual on how to generate change, instead it challenges the reader to consider their own individual role within it. It prompts individuals to rally together, to drive in the same direction and to work with each other collaboratively to achieve real visible and meaningful progress.

“…if we are going to achieve proper – and do it in the most joyful, imaginative, thorough and effective way possible – that will require a whole range of brains on this and a whole range of approaches to it”

“Working together on the shared goal of achieving greater gender equality is like collaborating to put the most brilliant production on stage”

Lucy Kerbel – All Change Please

It really is about collaborating! Sharing ideas and engaging with other minds to tackle the problem. In the book Kerbel talks about initiating small actions that can generate big changes. She cites the 2015 introduction of the 5p plastic bag tax as a fascinating example of how a huge cultural shift can take effect. Although, far removed from the issue of gender equality in many ways. The conscious shift that charge had on an everyday and  an unquestioned ritual, is exactly the kind of shift that needs to be put in the head of those involved in the collaborative process of theatre-making. What long-term impacts will there be if I continue to disengage with something that is unethical? What are the benefits of engaging with this change? How does this make me feel? etc

Some of the interesting small actions that Lucy Kerbel and Tonic Theatre have taken, have included: publishing a book that celebrates work by accomplished female artists that extends beyond the obvious ‘100 Great Plays for Women’ is an index of work that provides a cabal of exciting work to theatres and theatre-makers that have traditionally used the excuse of having a lack of available material as a reason for not depicting the lives and experiences of women on stage. The company has also championed new writing through a program called ‘Platform’ this exciting initiative commissions new work that places women centre stage. Once published the work is disseminated amongst schools, colleges and youth theatres. This small action and shift in practice, gives young women a platform to shine, grow and develop. It also tackles some of the more deep-rooted problems in society and educational that leads young women to believe that there aren’t opportunities for them to be placed at the centre of drama.

Rather than simply staging productions that champion equality, the company focuses more on working with big players in the industry such as: The National, Southwark Playhouse and The Tricycle (To name a few) to coach them towards implementing better practices and strategies with the issue. In the six years since the company has formed, these small actions have ALL contributed towards big changes in the industry and whilst, by their own omission, that there is still much work to be done, Tonic Theatre can claim to have made a colossal impact thus far.

As a stakeholder in change, I’m interested in reflecting upon the small changes I can make as a theatre-maker, as an educational practitioner and as a member of society. Again, I am looking forward to collaborating with my peers on the advanced module and reviewing how we can all work together in addressing some of the woeful inadequacies that societies everyday rituals have normalised. I’m also excited to investigate the possibilities of staging a Platform commissioned piece of work at the college I work at in the next academic year!

Connecting – Blog Provocation 4 – M18PA

Been wicked reading about everyones experiences from the introductory module and the self-study task. It’s also been nice to connect with others and that the blogs have developed into an exchange of ideas and thoughts. I’ll try and respond to more new posts over the next 2 weeks, but here are a few thoughts and comments that I have left for others and resources I’ve been able to recommend:


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