ALESSIA WATSON

UNIT G386
NOTEBOOK
CANDIDATE 8303

Alessia Watson 8303

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CONTENTS
Final Choices......................................................................................4
Plan of Action....................................................................................5
My Skills............................................................................................6
Choosing my Monologues...................................................................7
Monologue 1: Phebe- As You Like It.....................................................8
Interpreting Monologues..................................................................................... 9
Monologue 1: Phebe As You Like It.................................................................10
Further Research.............................................................................................. 12
Brainstorm for setting the scene......................................................................14
Summary of Scene........................................................................................... 15
Accent and Pronunciation................................................................................. 15
Theatre Practitioners Technique.......................................................................16
Emotional Graphs............................................................................................. 17
As You Like It Monologue..................................................................................18
Costume Ideas.................................................................................................. 19
Costume........................................................................................................... 20
Final Costume Decision..................................................................................... 21
Prop ideas......................................................................................................... 22
Set design......................................................................................................... 23
Final Set design................................................................................................ 25
Lighting Ideas................................................................................................... 27
Sound Ideas...................................................................................................... 27
Development of Monologue.............................................................................. 28
Character Development................................................................................... 28
Monologue 2: The Girl in 14G............................................................29
Interpreting Monologues................................................................................... 30
Monologue 2: The Girl in 14.............................................................................. 32
Further Research.............................................................................................. 34
Brainstorm for setting the scene......................................................................36
Summary of Scene........................................................................................... 37
Accent and Pronunciation................................................................................. 37
Theatre Practitioners Technique.......................................................................38
Emotional Graphs............................................................................................. 39
The Girl in 14G Monologue...............................................................................40
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Costume Ideas.................................................................................................. 41
Costume........................................................................................................... 42
Final Costume Decision..................................................................................... 43
Prop ideas......................................................................................................... 44
Set design......................................................................................................... 45
Final Set Decision and Design...........................................................................47
Lighting Ideas................................................................................................... 49
Sound Ideas...................................................................................................... 49
Development of Monologue.............................................................................. 50
Character Development................................................................................... 50
Comparing Monologue 1 and Monologue 2.........................................51
Duologue: A Boy Like That/I Have a Love...........................................52
Interpreting Monologues................................................................................... 53
Duologue: A Boy Like That/I Have a Love.........................................................55
Further Research.............................................................................................. 57
Brainstorm for setting the scene......................................................................59
Summary of Scene........................................................................................... 60
Accents and Pronunciation...............................................................................60
Theatre Practitioners Technique.......................................................................61
Emotional Graphs............................................................................................. 62
A Boy Like That/I Have A Love Duologue..........................................................63
Costume Ideas.................................................................................................. 64
Costume........................................................................................................... 65
Final Costume Decision..................................................................................... 66
Prop ideas......................................................................................................... 67
Set design......................................................................................................... 68
Final Set design................................................................................................ 70
Lighting Ideas................................................................................................... 72
Sound Ideas...................................................................................................... 72
Development of Duologue................................................................................73
Character Development................................................................................... 73
Health and Safety.............................................................................74

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FINAL CHOICES

MONOLOGUE 1: PHEBE, ACT III SCENE

V, AS YOU LIKE IT
MONOLOGUE 2: THE GIRL IN 14G,
JEANIE TESORI
DUOLOGUE: A BOY LIKE THAT/I HAVE A
LOVE, WEST SIDE STORY, BERNSTEIN

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PLAN

OF

ACTION

1. To being with, we have to identify our skills for this unit of work as this unit is
all about expressing your strengths. After we have identified our skills we can
selected efficiently two contrasting monologues, we can all do this in our
lessons as we will no doubt have to narrow it down from a list so we can use
each others input.
2. Once weve found our monologues we can decide upon our duologue
partners based on what skills and what monologues we have already chosen.
We can then decide on a contrasting duologue compared to our monologues.
3. After selecting our three pieces we will then need to go and research them,
and read the plays if necessary to help develop a greater understanding of the
context of our pieces and help develop our characters.
4. As we should by now have an understanding of our character, we can then
start to develop our interpretation of the character but using workshops to
explore possibilities of how to portray them, and help exaggerate the
comparison between both pieces.
5. We will then need to design our set and where the performance will take place
with props etc, so we can use the space and become accustom to using it.
6. Having designed our sets, and making sure we understand our characters we
can then begin to annotate our scripts according to how they will be
performed. We can set out clear directions sufficiently to keep our
performance clean.
7. After we have set out monologues and our duologue we can film our
rehearsals so we can see how to improve our performance and criticise
ourselves within our capabilities.
8. We should by now be off script so that we are able to use movement and the
performance itself will become easier.
9. The final stage of our plan will be to watch one anothers performances and
give constructive criticism and feedback to make sure we perform to the best
we can also highlighting the good elements as well.

MY SKILLS
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I enjoy performing in the theatre and have done for many years; my first show was at
the young age of 3 and ever since I have become engaged by the theatre. I have
developed many accents over the years due to the shows I have partaken in. My
most confident accents are American and Upper class English. I have also improved
my Puerto Rican and Northern accent. I have comedy experience in Pantomimes as
a child at the Theatre Royal Bath and also as part of school curriculum. I played the
part of the ditzy horse, Mollie in Animal Farm, a musical version, which was my first
part containing mainly humour. I enjoy exploring new ways of using humour in my
performances. I have played several more serious parts compared to comedy parts
as I feel I connect with the audience on a more realistic level. Mrs Van Dann in The
Diary Of Anne Frank has been one of the parts where both comedy and using
serious emotions have been required as Mr and Mrs Van Dann were in essence
comedic relief in the show with their bickering so for our parents it was amusing. I
prefer playing serious roles as I like reaching the climax and growing through a
show, one of my favourite examples of this is in West Side Story during the last
scene when Maria is mourning Tonys death and she becomes hysterical. For me
personally I felt I could grow through the show as Maria from being an innocent girl
to a grieving lover at the end.
My love for musical theatre has been very apparent in the parts I have played
as it is a very important factor in what I wish to do in the future. I am currently a
Grade 8 Soprano singer with a range from a low E below middle C to a high G two
octaves above middle C. I am also developing my belt as a mezzo soprano after
playing the part of Fantine in Les Miserables. I have been dancing since the age of 3
in Ballet, Tap and Modern. I have reach Pre Intermediate in both Tap and Modern
and Grade 7 in Ballet. This helps in many aspects of theatre as I enjoy using the
physicality I have developed over the years in physical theatre in productions being
comfortable with being creative with movement.
Over the years I have had wonderful opportunities on the stage, being in two
pantomimes on the Theatre Royal stage between the ages of 8-10 I have grown to
take on some very daunting principle roles including; Belle in Beauty and The Beast,
Ellen in Miss Saigon, Cosette and Fantine in Les Miserables and Maria in West Side
Story. I have been in over 20 shows and each one I have learnt new skills and
developing ways throughout the rehearsal to performance process.

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CHOOSING

MY

MONOLOGUES

I wanted to make sure the two monologues I would eventually choose, showed a
diverse change in my characterization. I focused on the contrast between them both
so I decided to choose a comedy piece and a more traditional straight piece of
acting. I managed to select 6 possibilities:

In His Eyes Jekyll and Hyde: This is originally a duet from the show,
when both Lucy and Emma wonder what it would be like to love Jekyll/Hyde
unknowing to them that they love the same man. I like the way this sounded in
my voice as due to the training I have had with my falsetto, the higher notes
sounded more powerful as if I was belting them giving a very satisfying feeling
when singing this piece.
Its Terrible Being Nice Goodbye Charles: This monologue is a comedy
monologue about how much a woman has changed and become nice after
being so nasty before she met this man, so asks him not to propose because
she doesnt want to be nice. This is a very humorous monologue.
Act 3 Scene 5 As You Like It: This monologue is when Phebe digresses
her feelings for Ganymede for Silvius and she plans to make fun of him just as
he has of her. This is a Shakespearian monologue so very traditional and I
could use it for auditions in the future.
When I Look At You The Scarlet Pimpernel: This song is truly beautiful,
almost similar to In His Eyes and uses the emotion throughout. In the show
this is where Marguerite cannot understand how Percy is so drastically
different from the man whom she married, making this a very innocent song to
perform.
The Girl In 14G Jeanine Tesori: This song was written for Kristin
Chenoweths debut album and uses opera and scatting to create a hilarious
change in tone throughout the song. It would help to show off my vocal range.
Keeping Tom Nice Lucy Gannon: In this scene Charlie is arguing with
her parents about the way they treat her sick brother Tom, this like the others
changes tone a lot allowing to me to explore emotions.

After reading/singing through each monologue it was evident that for me personally
some were more my style than others. I considered which area I would feel more
comfortable in playing humour with, whether it was a song or a monologue. I found
that it was easier to portray humour in my song choice rather than my monologue
taking into consideration what the others in the showcase would be performing.
I decided to choose The Girl In 14G as this was the best choice to help showcase
my vocal range and also to include comedy. I also chose Act 3 Scene 5 from As You
Like It, as I enjoy performing Shakespeare and I felt it would show something
different in the showcase compared to the other performers who were performing
very different monologues.

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MONOLOGUE 1: PHEBE- AS
YOU LIKE IT

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INTERPRETING MONOLOGUES

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MONOLOGUE 1: PHEBE AS YOU LIKE IT

Social and Historical Context
As You Like It was most likely written around 15981600, during the last years of
Elizabeths reign. In general, Shakespeares As You Like It develops many of the
traditional features and concerns of the pastoral genre. This comedy examines the
cruelties and corruption of court life and gleefully pokes holes in one of humankinds
greatest artifices: the conventions of romantic love. The plays indulges in rather
simple rivalries: court versus country, realism versus romance, reason versus
mindlessness, nature versus fortune, young versus old, and those who are born into
nobility versus those who acquire their social standing. However, rather than settle
these scores by coming down on one side or the other, As You Like It offers up a
world endless possibilities. In the world of this play, no one thing need cancel out
another. In this way, the play manages to offer both social critique and social
affirmation. It is a play that at all times stresses the complexity of things, the
simultaneous pleasures and pains of being human.
Plot
As You Like It is a pastoral comedy by William Shakespeare, As You Like It follows
its heroine Rosalind as she flees persecution in her uncle's court, accompanied by
her cousin Celia and Touchstone the court jester, to find safety and, eventually, love,
in the Forest of Arden. The shepherdess Phebe, whom Silvius is in love with, has
fallen in love with Ganymede (Rosalind in disguise), though "Ganymede" continually
shows that "he" is not interested in Phebe.Finally, Silvius, Phebe, Ganymede, and
Orlando are brought together in an argument with each other over who will get
whom. Ganymede says he will solve the problem, having Orlando promise to marry
Rosalind, and Phebe promise to marry Silvius if she cannot marry Ganymede.As You
Like It is a tale of love manifested in its varied forms. In many of the love-stories, it is
love at first sight.
Phebes Character
Phebe is a country-maiden and a shepherdess. She has considerable physical
charm. She has been depicted as having silky black hair and large black eyes.
Phebe is proud and arrogant though she is of a considerable lower status in life than
that of Celia and Rosalind representing the city and court. She is proud of her good
looks and puts on an air of superiority. She belittles the humble advances of the lovesick Silvius. The contrast between the court life and country life is one of the leading
themes of the play, and the contrast between the princesses and Phoebe heightens
the country.
Phebe in this scene uses her power over Silvius to explore the ways in which she
can manipulate him, as he says that he must take her letter to Ganymede. I wrote
down a list of words that came to mind of Phebes character:

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Manipulative
Cheeky
Fragile
Desperate
Innocent
Girly
Struggling
In denial

This selection of words will help me to develop my character as these can be

characteristics I involve and include in my portrayal. Making sure I have these
noted down also means I can keep adding or taking away to make sure my
performance is as realistic and also so that it feels comfortable for me.

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FURTHER RESEARCH

https://www.youtube.com/watch?v=HFY0WUOmEZk
In this clip, Phoebe and Sivilus chase each other round the stage, creating humour
for the audience. She uses pauses to add to the comedic lines, making fun of
Ganymede. She slaps her face when she lusts for him to stop herself from thinking
about him. I will use the stage as this clip shows how important it is for her so seem
juvenile and arrogant.

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https://www.youtube.com/watch?v=u0fehH_LX_Q
This clip from the BBC uses her as a more plain woman and worker; she uses an
accent throughout to demonstrate her class. She knows exactly what she is saying
as she tries to make sure Silvius will stick up for her on her side of the argument. I
understand more her intention and will try and be more mischievous in my portrayal.

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BRAINSTORM

FOR SETTING THE SCENE

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SUMMARY

OF

SCENE

Prior to Act 3 Scene 5, Celia and Rosalind gush Orlando, while still in the forest.
Rosalind, however, is upset because Orlando promised to show up that morning to
pretend to woo "Ganymede" and still hasn't arrived. Celia suggests that maybe he's
no longer in love with Rosalind. Celia points out that love is fickle, and tells Rosalind
she heard that Orlando has been passing time in the forest with the exiled Duke
Senior, Rosalind's own father. Rosalind sighs that there's no reason to discuss her
father when there's Orlando to discuss instead. As Rosalind moons about being lovestruck, Corin enters and asks them if they'd like to see a funny scene if they follow
him: a faithful lover being scorned and destroyed. Rosalind is eager to see it, as at
the moment she's all about love and scheming about her own involvement in others'
affairs.
Silvius and Phoebe enter bickering and Rosalind, Celia, and Corin eavesdrop.
Silvius is pretty pathetic. He says Phoebe may not love him, but he asks her to at
least not be so bitter about the whole thing. Phoebe replies that Silvius claimed her
eyes could kill. He has lied, because she has tried to kill him with her eyes and he's
still around.

ACCENT

AND

PRONUNCIATION

I would perform the scene with an upper class English accent and this is how it
would have been performed when Shakespeares era. I made sure I watch several
Royal Shakespeare Company performances to see how vital it was to articulate my
words, especially as it is Shakespeare, making sure every word was well projected
with audibility, intelligibility and emotion. I will make sure my rhythm throughout stays
true to the iambic pentameter making sure I accentuate my second syllables.

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THEATRE PRACTITIONERS TECHNIQUE

Stanislavski used several techniques in performing, he felt that all characters would
only be acted well if you had experience what they had. He said that you should
therefore recall back to a time when you felt an emotion like your character, and
apply those feelings to how you act and portray your character.

Phebe is/was besotted with Ganymede.

Love

As a young girl relationships are new to me.

I sometimes feel overcome by opinions of others, not my own.

Naivety

Phebe craves the attention, in any way possible.

Phebe knows exactly how to get her way with Silvius.

Cheeky

With certain people I know how to twist their arm!

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EMOTIONAL GRAPHS
Our teacher introduced us to the practitioner Laben to show us emotional graphs.
We learned that Laben was a choreographer who looked at the different states of the
body and how different their levels of tension were used to describe emotion
physically and mentally. She gave us levels of tension to act out as we walked
starting low and building throughout, they were:
1)
2)
3)
4)
5)
6)
7)

Exhausted
Laidback
Neutral
Alert
Reactive/Suspense
Passionate (Tension exploded)
Petrified

As You Like It

Column
2
Humour Scale

This graph shows her increase and decrease in emotion towards Silvius and it also
helped me understand which lines were more essential to the audience to
understand Phebe.

She talks
of how she
doesnt
love him,
nor hates
him and
then
remember
s how rude
he has
been

AS YOU LIKE IT MONOLOGUE

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He has been
so rude about
her, and given
her a bad
name.
Therefore she
will send him a
letter to

Phebe tells
Silvius that
she
doesnt
love
Ganymede

She
speaks
about
every
aspect of
him,
judging his
complexio
n and

COSTUME IDEAS
In this picture it shows Phoebe centre stage in a dark and dirty shepherdess
costume, demonstrating her low class. This keeps with the period and character very
well.

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This is a very old picture of

you can see from the colour.
in plain clothes, as she

As You Like It as
Phoebe again is still
would be working.

This is my favourite costume as Phoebe is still a

shepherdess but she is wearing colourful clothes,
adding to her quirky character.

This is a

more elegant costume, as she has a little hat to wear as well as a

nice shade of pink of a fairly nice dress.

COSTUME
This is costume for a more sophisticated character compared to Phebe, she is not of
a class that would wear this and as she is working this would not be the right way to
style her.

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This is
more
she
work
in and
to her style as a young girl
do with her attire.

apparent with Phebe as

wears a dowdy dress to
uses a headband to add
of her class and making

This is my favourite costume due to the use of a corset,

which I think will show Phebe as a more attractive woman
rather than a young girl, or at least trying to be. The colour
as well shows she can still work in it but she is attempting
to be sultry as well.

FINAL COSTUME DECISION

In the end I decided to style a white shirt with a corset over the top and a clashing
skirt to go with it. Therefore Phebe will look like she is working but she still makes an
effort in case she sees Silvius or Ganymede. It will also represent her class as she
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will just have put on whatever she could rather than being able to buy a matching
outfit. It will also add to her quirkiness as a young girl dressing up very colourfully.

PROP

IDEAS

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This could be the letter Phebe has written for Ganymede,

throughout the scene I could hold it and read it as it is, after all,
the reason Phebe consoles in Silvius as she wants him to
deliver the letter.

As the scene is set in a wood, she could trip over or sit

on the logs as she becomes more and more overcome
by her thoughts of Ganymede.

As Phebe is a
a basket as she may have
take home or maybe as

shepherdess, she could have

been out colleting things to
she worked.

SET

DESIGN

Having set the scene and having developed a good understanding of my movement,
I knew how to now use the set to enhance my monologue. I listed a few ideas that
would help me demonstrate the setting of a forest:
-

Logs
Trees
Shrubbery
Twigs
Greenery
Green lighting
Brown lighting

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Large space

Having written down a list of ideas I designed a set I thought would help portray my
character as she was a shepherdess in a forest. I then assessed my pros and cons
of my design and evaluate how it could help and enhance my performance.

Pros

Cons
Demonstrate Phebes job.
Large space to show freedom
Easy to find
Not expensive
Easy to move

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I obviously couldnt have a live

tree into the performance
space and logs would be hard
to find so I decided to mainly
use lighting to create the
illusion of the forest.

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FINAL SET

DESIGN

After considering my movement options for my performance I decided that it would

be easier and more stylistic to just use lighting. I would use green and brown lights,
which I had seen used before in a previous production, to create the look of forest
and using the darkness for my scene.

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LIGHTING IDEAS
I will use green and brown lighting for the stage to keep it dark and give the effect of
a forest, as I have seen previously used. It will keep the scene dark, as it would have
been if it were set in a forest. This means I will need a spot, or an area of light, where
I can make sure my face is scene rather than perform it in darkness so I will have to
set lights before the performance.

SOUND IDEAS
Throughout the scene I could use the sound of birds to create the forest atmosphere
with the audience, and maybe also the sound of wind and breaking twigs to give the
scene more evidence that it is set in a forest.

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DEVELOPMENT

OF

MONOLOGUE

Throughout my monologue I made sure to keep to the rhythm of the iambic

pentameter, as well as making sure my enjambment of lines made sense. I made
sure I sectioned my monologue to decide where to use which idea, for example:
where Phebe was lusting over Ganymede compared to when she was explaining
how she loathed him. This can also mean I can use my pauses to create tension and
also to increase the humour as the next line may be unexpected to the audience. I
will also translate the meaning of the monologue in to newer English compared to
Shakespearian English. This will help me use the enjambment correctly and I will be
able to know what I am saying and how I can perform certain lines to make sense.

CHARACTER DEVELOPMENT
Voice: For the voice of Phebe, I made sure she was very proper and spoke with a
fairly high pitch as she was young and excitable. When she is talking to Silvius
directly, or lusting about Ganymede, I will lower the tone because she can then
sound more like a woman rather than a child.
Gestures: As a young girl I think Phebe would use her arms a lot to walk around and
try and get her story across to Silvius, I will also make sure I put my hands on my
hips a lot to make her seem like a stroppy teenager about the whole situation.
Relationships: Phebes relationship with Silvus is evident that she has him wrapped
around her little finger, so she uses that to make him only see her side of the story.
Much like the way she feels/felt for Ganymede she knows what she likes in a man
and basically is only interested in their appearance.
Facial Expressions: I will use my face to exaggerate her expressions to make the
scene engage the audience with more humour as well as making her seem energetic
about the whole situation to try and win over Silvius to her side due to the events.
Space: I will make sure I use the space to my advantage as the pair are in the
forest, so therefore she can move around as much as she wants so I will make sure I
travel the scene.
Movement: Phebe will move excitedly around the space, moving quickly from spot
to spot almost in a hurry. This will keep the energy of the scene high so the audience
stay enticed.

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MONOLOGUE 2: THE GIRL IN

14G

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INTERPRETING MONOLOGUES

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Using these annotations will help me set out the performance and remember specific
emotions or actions that will become my movement. I feel reading out a song first
before singing it helps you portray it for sufficiently, therefore I feel annotating the
main text of it will help me.

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MONOLOGUE 2: THE GIRL

IN

14

"The Girl From 14G" was written by Jeanine Tesori , She was commissioned by Sony
Classical to write "The Girl in 14G" for Kristin Chenoweth's debut CD, "Let Yourself
Go". Kristin Chenowerth is an American singer and actress, with credits in musical
theatre, film and television. In 1999, she won a Tony Award for her performance as
Sally Brown in You're a Good Man, Charlie Brown on Broadway, and in 2003, she
received wide notice for originating the role of Glinda in the musical Wicked. Let
Yourself Go is her debut solo album, released in 2001. The backing orchestra is
Robert Fisher and the Coffee Club Orchestra. It includes songs from many musicals
over the years, some very unknown.
Jeanie Tesori is an American musical arranger and composer. Jeanie made her
Broadway debut when she arranged the dance music for the 1995 revival of How to
Succeed in Business Without Really Trying. In 1997 she composed the score for the
Off-Broadway musical Violet, for which she won an Obie Award, the New York
Drama Critics Circle Award for Best Musical, and the Lucille Lortel Award for
Outstanding Musical. In 2000, Tesori joined forces with lyricist Dick Scanlan to write
eleven new songs for a stage adaptation of Thoroughly Modern Millie, she was
nominated for the Tony Award for Best Original Score. She also wrote the music for
Shrek The Musical. Kristen had originated in the role of Millie when rehearsals
began, but later dropped out as she was going pursue her own sitcom. The whole
story behind how The Girl in 14G came about is still a mystery, but it was perfectly
created to suit Kristins vocal range and talent.
The Character of Girl
When looking at how the piece is written, the Girl is portrayed as being very cheeky
and quirky. I thought maybe by listing words and characteristics I thought that
represented her; I could use them to create my own interpretation. Some of them
were;

Quirky
Cute
Girly
Innocent
Shy
Proper
Sensible
Dumb
Polite
Funny
Happy

This list of words would help me create the character by using all of them to
create my own personally Girl as this was my performance. I decided that I
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would make sure she laughed at herself a lot and didnt take anything too
seriously. These words would help me to keep growing my monologue as each
rehearsal I could include a new word or characteristic and in time I would create
my Girl.

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FURTHER RESEARCH

https://www.youtube.com/watch?v=jBJn4BHtqqY

The song itself was written for Kristin Chenoweths debut album so watching her
performance demonstrated how much she is able to play with it. She uses very
exaggerated differences between the characters using her physicality. At the
beginning of the song she is very cute and innocent so she uses her face a lot to
demonstrate her excitement. When the opera section of the song enters, as shown
in the screenshot above, she uses her arms and changes her stance to anchor the
high notes but also to show the change in character. Later on when the scatting
section comes in she bends her body down and uses her arms low to show contrast.
She doesnt use any props making it easier for her to hold the audiences attention. I
realized that I need to make it clear between the changes of character to make this
piece humorous.

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https://www.youtube.com/watch?v=Ui3Uc6xvfTQ

In this performance at a University Senior Vocal Recital, immediately I noticed the

use of chairs and props in Elenas performance. I think this added to the petite
nature of the character as she uses the chair to stabilize herself after the opera and
scatting wannabes break into song. She again uses her body to show the different,
much like Kristin, this adding to the humor as many audience members laugh
throughout. She takes a more aggressive tone to some of the phrases as she gets
angry at the other rooms but I personally feel I can take more from this clip as she
uses her facial expression and movement more, which is necessary for my
performance.

BRAINSTORM

FOR SETTING THE SCENE

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SUMMARY

OF

SCENE

The Girl in 14G is set in a new apartment on one of the first nights of her sleep
when she is beginning to relax into her new room when suddenly either side of her
apartment, her neighbours sing to their hearts content and wake her. She asks them
to stop, but eventually finds that it feels good to sing and all three join in to create a
trio.

ACCENT

AND

PRONUNCIATION

Kristins original performance Oklahoma accent, therefore I will perform my

monologue in an American accent which is a fairly strong accent of mine. I will make
sure I use twang at the appropriate moments when changing character. As the Girl
in 14G I use twang to make her sound more nasal compared to when I will make
sure I am using my diaphragm efficiently when performing the opera to sustain the
notes. The skating section should be ok as it is in a low area of my voice it will sound
different to the other two styles. To perfect my American accent I will watch American
TV programs and also watch as many performances of musical theatre songs to
understand how specific vowels and consonants are performed.

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THEATRE PRACTITIONERS TECHNIQUE

Using the exercise I did with my Phebe monologue, I will do the same with The Girl
In 14G. I want to be able to connect with the character as much as I can through my
experiences to create an accurate interpretation of the Girl.

I am young and only recently becoming introduced to societies.

Innocent

Girl is young and new to this experience of living in an apartment.

Angry

The Girl is very

prim and proper.

Proper

I take care of my
appearance and
attitude towards
others.

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When she is woken

up she feels angry
because of her
neighbors.

I get angry when

people talk while I
am trying to work.

EMOTIONAL GRAPHS
I looked at the emotional graphs again, the same way I had used it for my first
monologue. I applied it to The Girl In 14G monologue which helped me understand
how to make my monologue realistic. My second monologue will have different
elements in comparison to my first monologue which is more expressive. The levels
of tension were:
1)
2)
3)
4)
5)
6)
7)

Exhausted
Laidback
Neutral
Alert/Curious
Reactive/Suspense
Passionate (Tension exploded)
Petrified

The Girl in 14G

7

Column2

Humour Scale
3

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Much like my graph for my first monologue, this helped me understand how to grow
throughout the song as she becomes more and more intense and now I knew where
I should make sure this happened.

THE GIRL

IN

14G MONOLOGUE

Girl has
just moved
into a new,
beautiful
apartment
.

Alessia Watson 8303

She hears
the room
below
Opera
singer, but
tries not to
let it ruin
her

The girl
upstairs
then joins
in as she
scats away
so Girl is
surrounde
d by noise.

Page 41

She asks
the girls to
nicely stop
but then
realizes
how nice it
feels to
sing so
joins in as

COSTUME IDEAS

the

Kristin wore a black dress as this was her

concert so didnt change a lot, this adds to
sophistic style of the character

The use of a dressing gown in this

performance adds to the idea that she is at
home and about to go to bed.

This is a

Alessia Watson 8303

typically quirky Kristin costume, adding to the ditsy

traits of the character.

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This is another costume demonstrating the class of the character as she is in a

dress.

COSTUME
Depending on how I choose to perform my song, as the performer is
talking about how she wants to go to bed she could be in her pyjamas or a dressing
gown ready for bed or I could be wearing a dress as she may have just come in from
somewhere and adding to her status and how it would affect her feelings toward her
adjacent flat mates.
These pyjamas would add to
neat and tidy, as Cath
going to bed as she is woken
is no time period specifically

the style of person she is as they are quite

Kidston is, and also as she would soon be
up by them, this could work nicely as there
mentioned.

These again are pyjamas with a certain style to them. This also would stay with the
theme that she is going to bed, but these are of a darker colour maybe meaning it
would make her seem not as cheery and innocent compared to the mint green spotty
pair above.

This woolly dressing gown would make her seem very at home and relaxed, also
staying with the bedtime theme. This may be too dark a tone as well however due
to the darkness of my hair it may benefit the character if I wear something lighter.

This black dress is much like the one Kristin wore for her
performance, showing off her class and elegance as though she had
just got home from an engagement, maybe meaning that the noisy
distractions to her evening may ruin how good she feels as she is
dressed up.

This dress would keep the character still quite quirky and fun as if she was dressed
up, using the light colours of pink to make her still seem quite young.
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FINAL COSTUME DECISION

My final costume decision is to wear the pyjamas as I think this adds
to the innocence of the character, as she is very simple and plain in
her own home but very dramatic. It also sufficiently follows the theme of the song as
she is at home and so she can stay connected with the song.

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PROP

IDEAS

This lounge chair would add to the

sophistication of the character as she
relaxed on it during the song.
A book would help me play out what
was being sung as she wants to read a
book; I could also use the slamming
down of it as a sound effect.

A mug would add to the homeliness of the scene as

she can be content with her evening and her cup of
tea.

As she begins to settle

down, I could fluff up a
pillow to make it more
comfortable as she
relaxes.

SET

DESIGN

Having set the scene and having developed a good understanding of my movement,
I knew what was going on and knew that the monologue would need to be set in a
bedroom. I was positive that I wanted to set the scene in a bedroom so noted down a
few ideas:
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Chairs
Bed
Sofa
Light
Desk
Bedside table
Kitchen area for tea etc
Upper class
Neat and tidy
Pretty
Girly

Having written down a list of ideas I designed a set I thought would be suitable and
that combined my ideas, labelling my pros I have chosen and why. I then, like my
other monologue, decided to assess the pros and cons of my design and evaluate
how it could help and enhance my performance.

Pros

Cons
Could help portray the era in
which the monologue is set.
Lots of props would give me
lots to do throughout the
scene.
Upper class style would add to
the humour of the piece.
Clear where the scene is set
due to the selection of props.

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Some of the props were very

difficult to allocate such as: the
sofa, bed, kitchen area and the
desk however the audience
will still know where the scene
is set.

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FINAL SET DECISION

AND

DESIGN

In the end I decided to stick with a basic set, by only using a chair as this therefore
can mean that I can move around the space more and be more over exaggerating
with my movement. This means that I will use the chair as a stabiliser during the
piece when the song becomes more heated.

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LIGHTING IDEAS
For the scene I think a single spot in the centre would set the scene up nicely, as the
character likes all the attention to be on her. This would also mean, much like my
previous lighting plan for Phebe, that I will need to set it so I know where to stand to
be in light for the audience to see my face and keep my movement minimal.

SOUND IDEAS
The use of sound in this monologue I think is unnecessary due to the amount of
change throughout the song using the music and my voice anyway. Therefore I will
focus more on using the light and making sure the volume of the music is at the right
level so my voice can be heard and I do not have to push the performance.

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DEVELOPMENT

OF

MONOLOGUE

The development of this monologue was harder than my first monologue due to the
fact that The Girl in 14G uses different characters all interlocked with each other,
whereas Phebe is just one character. Therefore I made sure I created a personality
and back story for all the characters, for example: 15G was the apartment of a older
woman as she was performing opera and 13G was the apartment of a younger
woman than both of the other ladies as she was performing a very different style of
singing. This also meant I had to know how to support the singing of each part, how
much air pressure was appropriate and how to support the sound and anchor it.

CHARACTER DEVELOPMENT
Voice: I made sure each character was different but all as strong as each other, this
meant supporting all the styles with my diaphragm and also making sure 14G was a
lot more nasal than the rest of them.
Posture: When skating as 13G I will lower my posture to make her seem younger
and also more versatile, compared to how upright I will make 15G as she will hold
her posture perfectly and 14G will look more neutral.
Gestures: The use of my hands will be important as the rest of my body will stay
neutral in the center, so I will be overly expressive with my hands depending on the
character at that section.
Relationships: Even though I am playing all the parts, 14G can express how she
feels about the others as she can direct a certain line to either 13G or 15G to show
how angry she is with them; she also can connect with the audience to create a
relationship with them.
Facial Expressions: The whole monologue must be over exaggerated as it is a very
cheesy song; therefore I will make sure I use my face to make my feelings clear to
the audience as well as creating humour.
Movement: The use of movement will be important to each individual character, so
making sure they are different is essential. Therefore 13G will dance on the spot
when she is skating and 15G will stand up right with her arms in a structured position
compared to 14G staying natural.

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COMPARING MONOLOGUE 1

AND

MONOLOGUE 2

Both monologues are very different in the sense that they both try to explain their
emotions directly to the audience or another character. Phebe is very sure that
Ganymede has made her look like a fool and must win over Silvius trust, this was
easier to do as using my emotional recall technique I could remember a time that I
had wanted to prove myself to someone and make sure they were on my side. The
Girl in 14G however was harder to connect with as I have never lived in a flat alone
by myself, but I do know what it feels like to have someone need to quiet down or to
sing so forcefully it feels amazing. Together both monologues required a connection
from me to understand how it feels in those situations which required loads of
character development.
Phebe is besotted with a lover who does not feel the same, as Im sure many
cases have risen when I have been in the same situation and someone didnt feel
the same way back, but Phebe is very strong about it and demands her dignity and
reputation stay intact. Much like how shy the Girl feels when she considers telling
her flat mates to quieten down as she is new and doesnt want to be a spoil sport, we
have all experienced this at some point when we know someone should maybe
stop as she sings.
Both characters require a certain childish, cheeky manner as Phebe is young
and very assertive whereas Girl is new to this way of life shes grown up to.
Therefore I will need to make sure both characters are different, as Phebe is young
by age and Girl is young by characteristic and personality as Phebe wants to be a
lady to convince Ganymede or Silvius to love her. They both require perfect timing
for comedy moments as well, which is very hard to do as both pieces are so
different. This will take rehearsing well and thoroughly with the class to take on
feedback and understand what works well.

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DUOLOGUE: A BOY LIKE

THAT/I HAVE A LOVE

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INTERPRETING MONOLOGUES

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DUOLOGUE: A BOY LIKE THAT/I HAVE

LOVE

"A Boy Like That" is a song from the 1957 Broadway musical West Side Story,
with music by Leonard Bernstein and lyrics by Stephen Sondheim. In the musical,
the song is paired with "I Have a Love" and is sung by the characters Anita and
Maria. West Side Story is an American musical with a book by Arthur Laurents,
music by Leonard Bernstein, lyrics by Stephen Sondheim, and conception and
choreography by Jerome Robbins. It was inspired by William Shakespeare's play
Romeo and Juliet.
The story is set in the Upper West Side neighborhood in New York City in the
mid-1950s, an ethnic, blue-collar neighborhood. (In the early 1960s much of the
neighborhood would be cleared in an urban renewal project for the Lincoln Center,
changing the neighborhood's character.) The musical explores the rivalry between
the Jets and the Sharks, two teenage street gangs of different ethnic backgrounds.
The members of the Sharks from Puerto Rico are taunted by the Jets, a PolishAmerican working-class group. The young protagonist, Tony, one of the Jets, falls in
love with Maria, the sister of Bernardo, the leader of the Sharks.
A grieving Anita arrives at Maria's apartment. As Tony leaves, he tells Maria to meet
him at Doc's so they can run away to the country. In spite of her attempts to conceal
it, Anita sees that Tony has been with Maria, and launches an angry tirade against
him, ("A Boy Like That"). Maria counters by telling Anita how powerful love is, ("I
Have a Love"), though, and Anita realizes that Maria loves Tony as much as she had
loved Bernardo. She admits that Chino has a gun and is looking for Tony.
The Character of Maria
Maria is based on Juliet from William Shakespeares Romeo and Juliet, therefore
she is a very young innocent girl. She is from Puerto Rico and is under the watchful
eye of her older brother meaning she has never truly been free to explore her new
life in America. I thought, like my previous two monologues, I would try and describe
Maria with a list of words to include into my character development. They were:

Innocent
Young
Besotted
Girly
Afraid
New
Fresh
Loving
Cute
Naive
Growing

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These words would help both Jane (Anita) and I to understand our characters and to
then work on their relationship as a pair of best friends. We could offer opinions on
the strength of each of the words compared to the other character in the scene.
Maria and Anitas Relationship
Maria and Anita are best friends; however Anita takes on a more motherly figure to
Maria as they have just moved to America. This relationship is very realistic as all
friends are protective of younger more innocent others. Anita is in a relationship with
Marias brother, when Marias lover kills him by accident. They are both close friends
who may not see eye-to-eye when it comes to Marias choice, but they both know
how it feels to love someone.

FURTHER RESEARCH
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https://www.youtube.com/watch?v=1tviqJ15V2Y

This is a clip from the Broadway production of West Side Story so is a very
professional performance. Anita is very aggressive towards Maria as they try to
plead their opinions to one another. Maria seems to stand up for herself a lot in this
as Anita uses her body and arm movements to try and make Maria realize what her
actions are doing. From this I can make sure that Anita has the power for the
beginning part of the song as she is telling Maria off, however in the second section
Maria is pleading her side.

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https://www.youtube.com/watch?v=GrFkgyOOY30
In this clip from the movie, Maria stays a lot quieter compared to the Broadway
production. She sits on the bed and doesnt retaliate as much to what Anita is
accusing her off however Anita is more forceful and keeps more distance from her as
she sits on her bed, also creating levels to show her superiority at that precise
moment. From this clip I will use my movement and my levels to help portray their
relationship as Anita is a mother/big sister figure for her.

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BRAINSTORM

FOR SETTING THE SCENE

SUMMARY

SCENE

OF

In the scene prior to A Boy Like That/I Have a Love Tony has been to tell Maria that
he accidently killed her brother, in anger she accuses him of being a killer but slowly
she falls into his arms and lets him comfort her, he then ends up spending the night
with her and the scene ends with them climbing into a bed together holding each
other. In this scene Anita enters in anger due to the fact that Tony has just left Marias
bedroom after he admitted to killing Marias brother and Anitas boyfriend. The begin
to argue as Maria will not listen to Anita about how stupid she is for staying with a
boy who can kill someone who means so much to her, as Maria argues it was an
accident and she cant choose who she loves.

ACCENTS

AND

PRONUNCIATION

Throughout the song we shall use a Puerto Rican accent as that is their
nationality making sure we pronunciate our words throughout the song with a
different edge compared to our normal accent. This is done by rolling the letter r and
making sure our a sound is more ah sounding. We will watch several performances
of the show and song to see how they use their accents, we will also search any
other clips where the accents are prominent and we can copy.

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THEATRE PRACTITIONERS TECHNIQUE

As I have done with my previous two monologues, I will do the same with our
duologue of A Boy Like That/I Have A Love. This will mean I can connect with the
character as much as I can through my experiences to create an accurate
interpretation of Maria:

Maria is completely besotted with Tony, no matter what he has done to her family.

Defiant

As much as people tell you what is best, you can decide whats best for you.

Love

Maria isnt afraid

to argue her point
with Anita.

Argumentati
ve
When I have
something to
argue and I want
to get my point
across I can
become very
argumentative.

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Maria loves Tony

more than
anything and he
means everything
to her.

Relationships
demonstrate a
weaker element of
her feelings at my
age.

EMOTIONAL GRAPHS
I looked at the emotional graphs again, the same way I had used it for my two
monologues. I applied it to A Boy Like That/I Have A Love duologue, it had a lot
more tension in the scene as there were two of us, in comparison to my previous
pieces, as both characters were arguing against one another. The levels of tension
were:
1)
2)
3)
4)
5)
6)
7)

Exhausted
Laidback
Neutral
Alert/Curious
Reactive/Suspense
Passionate (Tension exploded)
Petrified

A Boy Like That/I Have A Love

8
7
6
5
Tension Scale

Column2

4
3
2
1
0

Just like my monologues before, this graph showed me how to create tension with
Anita and in comparison with both of our ideas where one character should grow
more; therefore we could work as a team to show how intense the pair felt about
each other and the consequences surrounding them.

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A BOY LIKE THAT/I HAVE A LOVE DUOLOGUE

Maria has
just been
left by
Tony after
spending
the night.

Anita
realizes
and has an
argument
with Maria
as Tony
killed her
brother
and says
she cant
love him.

Maria
pleads
with Anita
because
she knows
she
shouldnt
but she

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Anita
realizes
nothing
she says
with
change
Marias

Maria
sings of
her love
for Tony
and how
much they
both need

COSTUME IDEAS
This is from the scene we are singing A Boy Like That/I
Have A Love. Anita comes in dressed up as she has
been out however Maria has been at home, so a
nightdress would be appropriate.

In this picture, again she is in a nightdress without a

dressing gown but still showing she has been at home
before Anita finds her after Tony has left.

At the end when Tony dies in her arms, Maria wears a

red dress, this represents her love and the blood of
what has become of the rivalry between the Jets and
the Sharks. This could be too bold to wear in this
scene as Anita must seem more sophisticated as she
tells Maria off.

This is another dress but lighter, I feel Maria should stay in a

pale light colour as she must represent the purity of the danger
surrounding her and Tony.

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COSTUME
This is the traditional Maria dress; it shows her white purity
however using a hint of red with the belt shows she also loves.
This is what she wears at the dance. I personally think the point
in the show that the duologue we are performing would mean
Maria would wear something more striking.

This is a very sultry red dress, showing that Maria has

matured. I think this dress demonstrates how much she has
grown as this is a bold colour and a very quirky style. I think
this may be a bit too risky for Maria however.

This dressing gown follows the story as Maria has just been
left by Tony after he spends the night, meaning therefore Anita
is aware of what she has been up to against her wish. This
however would be difficult to get hold of and due to the fact we
have no context before the scene it may be more powerful if I
wore a bold coloured dress.

FINAL COSTUME DECISION

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After considering both styling Maria as her innocent self, compared to how she has
grown to the extent in this scene, I decided to wear a bright red skater dress as this
shows her as a young woman rather than a child as she has been treated like before
in the show. The skater skirt is of a length that she can be seen as sultry to Tony but
she also keeps her modesty but stands out with a bright colour.

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PROP

IDEAS

As
has
off

Anita storms in the room, she sees Maria dressed as though she
just spent an evening with Tony so could tear the dressing gown
to start their argument.

Candles will represent the

mourning they are both in at
Bernardos death as well as
bringing peace and innocence to
room despite the nature of the

the
argument.

The bed in the centre will add levels, as when Anita is arguing at
Maria she could be sat on the bed to represent that at that moment
of the song Anita is in the right until Maria argues
back. It also again shows how Maria spent her
evening.

SET

DESIGN

After setting the scene with Jane, we decided what set we would like to include in
our duologue. We thought about what would be in the room considering the
circumstances as they would have only recently moved in as they have just come
from South America. We listed some ideas we could include in our set design:

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Bed
Candles
Clothes
Dressing gown
Girly
Dark
Unmade bedding
Window
Lamp

Having written down a list of ideas we thought of how we would use the set with our
movement and how easy it would be to find the items. We wrote down pros and cons
for our list of ideas:

Pros

Cons
A bed would demonstrate why
Anita was as angry as she
would know Tony had been
there.
Candles would show that
Maria had been praying and
that she is mourning her
brothers death.
It would set the scene as the
environment they were living
in.

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A window would be difficult to

find and would cause hassle to
change the set.
The candles would need to be
health and safety checked and
could blow out at any moment.

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Page 70

FINAL SET

DESIGN

We eventually decided to stick with just the bed in the centre so we could play with
the levels of our characters using it throughout the duologue. It would set up the
scene nicely as well as giving each of us something to do as we walked towards and
away from each other. It would take centre stage and we could move around it and
sit on it.

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LIGHTING IDEAS
For this scene, much like my previous two pieces, lighting will be important. We
thought maybe the use of a dimmed light to cover the room would add to the tension
between the two characters. As the scene is also set at night it would set the scene
for the audience. The use of maybe a purple/dark colour would also at to the
sensuality of Anita. We would also, like the previous lighting plans, use a spot lights
to follow us and give us an area of idealistic light.

SOUND IDEAS
At the end of the scene, after we have built up the tension in the song, we will use a
siren to show the danger that is surrounding them because of what has happened. It
will add to the atmosphere of the scene as well as helping Jane and I seem agitated
due to the consequences of Bernardos killing.

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DEVELOPMENT

OF

DUOLOGUE

This duologue was very different in comparison to my other monologues, one of the
main differences being the accent required for the scene. Therefore Jane and I
researched the duologue in great detail watching several clips. It was very interesting
to see how each character was portrayed. We made sure we used volume to our
advantage to increase the anger and tension throughout the scene; we also decided
to experiment with speaking some of the lines to add emphasis. Together we were
able to identify which sections should be used to increase the tension and also which
sections should be used to express the character. We also swapped parts at one
stage to understand how the other character would feel and react to one another
which was very interesting to play with each others emotions in character. When
singing together, we needed to decide whos part needed to be more prominent and
which line was more important at that stage so we again used volume to decide
upon superiority.

CHARACTER DEVELOPMENT
Voice: The use of the Puerto Rican accent was essential, but also the appropriate
twang and sob that should be used to create Marias tone of angst towards Anita and
how desperate she is to make her understand.
Posture: Maria stays very upright as she refuses to be looked down upon by Anita
so she is not afraid to stand tall and go against Anita in their fight.
Levels: The use of the bed can create the levels of superiority during the song, as
when Maria is being told off she can be sat on the bed as Anita stands over her.
Gestures: Anita is very aggressive with her arm movements, as we watched in
several performances, as she tries to get her opinion across, whereas Maria uses
her movement towards Anita.
Relationships: The tension between both of the girls is created by neither of them
backing down to the others opinion, therefore you can tell they both truly care for
each other as they are so opinionated. These girls have both become very strong
and independent.
Facial Expressions: Facial Expression is very important in this scene as a lot of the
time only one of us shall be singing so it is important to react to what is being sung
as your character, therefore I will make sure that I react to every line Jane sings with
a movement or change of expression.
Space: The use of space will be important around the bed as they can focus of
walking around it trying to create dominance.
Movement: Neither of the girls will be afraid to walk towards one another so
therefore on lines when they are begging each other they can walk towards or away
from each other with purpose rather than aimlessly wandering.
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HEALTH

AND

SAFETY

Health and safety is essential and incredibly important in all performances, from
amateur to professional. There are several different possible hazards and risks in
theatre, from serious emergencies such as a fire or more simple hazards like tripping
over a cable on set. Therefore it is important that we create a plan for our safety to
ensure everyone on and off stage is safe. We need to ensure:
My Costumes: Whilst playing Maria and Phebe I will be in dresses, Phebe to the
floor, so I will need to practise working in them and also practise walking in the
heeled shoes I will be wearing to make sure I do not trip up.
My Props: I will be careful when using props to make sure they do not break. The
bed may be unstable so I will not put all my weight down onto the supports
underneath the mattress. I will also make sure the chair I use is not moved so I do
not miss it and if I stand on it I can remain stable and keep my balance.
Wires: As a group we will make sure that all wires are tapped to the floor and cannot
come up when we may be rushing onto stage; these wires are required for the piano
and all the lighting.
Lighting: This will be the responsibility of the Tech team to make sure it is efficiently
safe for themselves as well as the performers. This will be double checked to ensure
the safety of everyone making sure the sound and lighting is rigged safely.
Spatial Awareness: This is essential in our duologue, we will have to make sure that
we are all aware of how we can use our space safely with one another as we do not
want to bump into a prop or a piece of set and hurt ourselves. This will require a lot
of rehearsal time so we know where all our props and set are for the performance.
Fire Hazards: This is one of the larger issues due to the risk to audience and
performers/members of the cast. We will make sure all fire exits are made clear and
are easily accessible.
Physical And Vocal Warm Ups: This is essential for all performers before we start
our showcase as we do not want to injure ourselves when we give our all. Therefore
we will do a full physical warm up in our show space before we perform to stretch out
our muscles and warm our bodies up for any physicality that may be required in our
scene. With our vocal warm up, as we are all singing, we will make sure we stretch
our vocal chords to a comfortable length and help our breathing as we will of course
be nervous, this will also help us stayed focus and prevent any damage to our
voices.

Alessia Watson 8303

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