CONTEXT – Summer Shows- Bad gils

I Leah Smith confirm that the work on this page is all my own work and does not include any work completed by anyone other than myself. I declare that this is my own work. I understand that assignment malpractice such as plagiarism (copying), colluding or other forms of cheating will incur a heavy penalty in line with College and other policies. I have properly acknowledged the books, texts or other material quoted or used in this assignment. I am aware of the college appeals policy in the Student Handbook.

Date insert date of completion of work here

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You need to be able to show TWO things:

1. that you understand the context of the production you are working on
2. that you are able to set your intentions for your own personal journey of learning through this production

Your Context work acts as an introduction to your production for someone looking at your work. It gives them an insight into the process of your production and how you fit into it.

To do this you will need to answer the following questions as a minimum and, ideally, come up with more of your own questions to answer so that you can really demonstrate your understanding and critical awareness of the circumstances surrounding this performance project.

Many of the answers to these questions you will need to research as you won’t already know this information. Your research will need to be captured / recorded on your Research page. Don’t include your research on this page, just include your facts and conclusions.

 

Production 3: ‘Bad Girls: The Musical’ Prompt questions 

• What is the name of the production you are working on? Who wrote the book for this musical? Who wrote the music and the lyrics? When and where was this musical version first performed?

I am currently working on ‘Bad Girls: The Musical’ The show is based on the popular ITV prison drama series that first aired in 1999.With a book written by Maureen Chadwick and the lyrics by Kath Gotts. The show started in Leeds in June 2006 at the West Yorkshire Playhouse. It was then first performed on the West End at the Garrick Theatre on 16th August 2007 (officially opening on 12th September 2007). It closed just two months later, with the last performance on 17th November 2007.- MTI Eurpe. (2020)

• Who is directing  your production? Who is the Musical Director? AND Who will you be collaborating with on this production?

This production will be director and choreographed by Han Schofield. Our musical director is Claire Bostock and our assistant choreographer is Jessica Smith. As well as Edmunds for providing food for our VIPs before the show and the Theatre Royal for advertising and distributing our tickets. Tony Kelly on the Monday of tech week will be taking professional photos of the show and (possibly) Rosie Johnson, an ex-Con EAST student will be doing out headshots for the program. As well as this Ollie Brown and Lauren Apps will be doing the program. However, there are many people I will be collaborating with during this show period one being the tech crow This involves the following people,

 

• Tim Westermann- Technical Director/ lighting designer
• Acer Smith being our deputy stage manager
• Hannah Pointer- Production assistant
• Oliver Brown- Sound
• Hannah Pointer- Production assistant
• Max Bryan- under study/ Production assistant

And finally I will be collaborating with my fellow cast members including the following people;

• Emily Tang- (Nickie Wade)
• Eloise Richardson-(Shell Dockley)
• Maisie flucher-(Denny Blodd)
• Lara Gray-(Yvonne Atkins)
• Megan Bishop-(Julie saunders)
• Fi Harrap-(Julie Johnston)
• Maddie Beckett-(Crystal Gordon)
• Eve Johnson-(Rachel Hicks)
• Kayla Sorrell-(Noree Biggs)
• Jake Stearne-(The number one)
• Lauren slade-(Helen Stewart)
• Sam cockman-(Jim Fenner)
• Millie Honour-(Sylvia Hollamby)
• George Peachey-(Justin Mattison)
• Lauren Apps-(Ensemble)
• Leah Barker-(Ensemble)
• Holly Blythe-(Ensemble)
• Sophie Doe-(Ensemble)
• Abby Fleckney-(Ensemble)
• Molly Lewis-(Ensemble)
• Emily Morris-(Ensemble)
• Rhapsody Rolfe-(Ensemble)
• Amanda-lee Seaman-(Ensemble)
• Jess smith-(Ensemble)
• Leah smith-(Ensemble)
• Eva Stearn-(Ensemble)
• Keisha Whymark- (Ensemble)

 

• What genre of entertainment is your production and why do you think this?

The genre of my production is musical theatre- I think this because Musical Theatre is a form of theatrical performance that combines songs, spoken dialogue, acting and dance and all these elements are influenced in Bad Girls.- Study.com.(2019)

 

• What style/s (of the above genre) will your production be and why do you think this? (e.g. Golden era musical, e.g. Classical theatre; e.g. Traditional circus e.g. Flamenco dance e.g. Light opera e.g. Theatre in Education e.g. Immersive theatre )

Bad girls the Musical is contemporary musical theatre this is determined by categorised for witch musical lays in witch caulome. For example, Golden era is up to about 1950, then there’s the category 60’s to 80’s and contemporary is the 1990’s and onwards. Bad girls falls into contemporary as the was written in 2006.-

 

• How will  your production be staged? (Proscenium / end on, thrust, in the round, promenade, traverse, site specific, immersive?) What will you as a performer need to be aware of when performing in this kind of staging?

We will be performing our production in a Black Box Theatre however, it is being staged end on, or in the style of proscenium as it’s technical name. A proscenium stage is where the audience faces one side of the stage directly, and may sit at a lower height or in tiered seating.As a performer, I will have to be I spatially aware In what all styles of theatre; I have to be aware of the audience and where they’re seated so I can’t have my back to them, but also very specially aware of my fellow cast members.  – Theatres Trust (n.d)

 

• What is your production about and who are the key characters?

Synopsis 

Bad Girls- The musical is based on the core main characters who appear in the first three series of the ITV show Bad Girls, set in the fictional HMP Larkhall Prison. The show follows Helen Stewart the new Wing Governor as she battles with Officer Jim Fenner and his colleague Sylvia Hollamby, trying to give the inmates more rights and respect. It also follows the rocky love story that develops between her and inmate Nikki Wade. Throughout Act 2 and the end of Act 1, the women in the prison are fighting to get Fenner fired, as he has manipulated and sexually abused new-comer to the prison Rachel Hicks, implicating her death. The show contains many mature themes including homosexuality, rape, prostitution and suicide, educating the audience about these themes and flipping prejudice and convention on it’s head. -StageAgent. (n.d)

Characters 

PRISONERS:

YVONNE ATKINS– Played by Lara Gray

Sentenced to 4 years in prison for hiring a hitman to kill her husband’s business rival. Tough as nails; working class gild made rich through gangland boss charlies criminal gains. She’s intimidating ruthless and glamorous. When she arrives at Larkhall she makes a huge impression on the other women and wastes no time in taking over the Top Dog position from Shell Dockley. She’s also warm and generous and a force for good against G-Wing’s bullies. -StageAgent. (n.d)

 

Songs include-

That’s the way it is & All banged up  & A list

 

NIKKI WADE– Played by Emily Tang

Sentenced to life in prison for killing a policeman with a broken bottle who tried to rape her girlfriend. Nikki used to run a nightclub with her girlfriend. She’s intelligent and street-wise with a strong sense of natural justice because of the injustice she herself has suffered. She’s no one’s fool and she easily sees through the likes of corrupt officer Jim Fenner.-StageAgent. (n.d)

 

Songs include-

One moment &Every night

 

SHELL DOCKLEY– Played by Eloise Richardson

Sentenced to life in prison for kidnapping, torturing and eventually killing the girl who ‘stole’ her boyfriend. She is top dog and runs the prison till Yvonne come back in. She is extremality Intimidating and manipulative. She Gets privileges by giving Jim Fenner ‘favours’. She is also always getting Denny to do her dirty work and gives her some of the items that she’s stolen as a reward. -StageAgent. (n.d)

 

Songs include-

Guardian Angle & Baddest and the best

 

DENNY BLOOD– Played by Maisie Fulcher

Sentenced to 7 years in prison for burning down her children’s home Despite her tough exterior, Denny’s upbringing has left her desperate for love and attention, making her very easy to manipulate – and that’s something Shell Dockley is expert at doing.  Denny is Shell’s “fixer” and not being the sharpest knife in the drawer she’s always willing to do Shell’s bidding without question.-StageAgent. (n.d)

 

Songs include-

Guardian Angle

 

JULIE JOHNSTON & JULIE SAUNDERS– Played by Felicity Harrap & Megan Bishop

Sentenced to 2 years in prison for stealing from their clients whilst working as hotel prostitutes. A sisterly double-act, usually referred to as ‘The Julies’. They are completely loyal to one another and act as each other’s life line in prison. They both have children, and intend on getting them back one day. -StageAgent. (n.d)

 

Songs include-

Life of grime

 

CRYSTAL GORDON– Played by Maddie Beckett

Sentenced to 12 months in prison for persistent shoplifting. She is a strong Cristian and believes in her bible that will gied her through her time in prison.Crystal often takes a critical view of her fellow inmates and believes that the prison regime is too soft; especially where drugs are concerned.  She can be self-righteous and totally blind to her own self, but at heart she’s a kind and caring person who does believe in standing up for what’s right.-StageAgent. (n.d)

 

Songs include-

Freedom Road

 

RACHEL HICKS– Played by Eve Johnson

Sentenced to 30 months in prison for possession of 2 ecstasy tablets with the intent to supply. She is a first time offender and becomes a huge victim of Shell Dockley and Denny. Her baby Maddie has been taken into care, leaving her heart broken as all she wants is her little girl back. Jim Fenner also takes a special liking to her as she is naïve all this leads up to her suicide at the end of act one. -StageAgent. (n.d)

 

 

NOREEN BIGGS– Played by Michaela Sorrel

Sentenced to 3 months in prison for stealing ties from a department store. She’s a treasurer who can’t help herself when it comes to getting free goods. She’s okay with prison life playing the system to her advantage. -StageAgent. (n.d)

 

 PRISON STAFF:

THE NUMBER ONE– Played by Jake Stearne

Has the position of Governing Governor. Enjoyed the quiet life in his office and doesn’t like coming down to the prison cells. He doesn’t even acknowledge the problems arising within the prison. He has a grudge against Helen however, has accepted that Helen is the new Wing Governor, however it would only take a small complication for him to recommend her to be removed from her position. -StageAgent. (n.d)

 

 

HELEN STEWART– Played by Lauren Slade

As a graduate ‘fast-tracker’, Helen is held in contempt by old hands such as Fenner and Hollamby who both firmly believe that there is no substitute for experience. She’s idealistic and genuinely concerned about the welfare of the inmates in her care, but good intentions aren’t always enough to win the battle. She soon realises the old guard doesn’t play fair and if she’s going to beat them she’ll need friends in low places.-StageAgent. (n.d)

 

Songs include-

Every night

 

JIM FENNER– Played by Sam Cockman

Has the position of Principle Officer. He likes to run the prison his own way rather than by the book. He has zero morals and is incredibly selfish; Manipulating the women in the prison and offers them ‘favours’ so that they get special benefits and upper hands. Shell Dockley is one of these inmates that stoops down to his leave. -StageAgent. (n.d)

 

Songs include-

Jailcraft

 

SYLVIA HOLLAMBY– Played by Millie Honour

Has the position of Senior Officer. She doesn’t have any empathy for the inmates and believes that life would be easier if they were locked up 24/7. Is quite lazy within her job and would rather not work – Jim is probably the person who keeps her there. Admires Jim Fenner and believes that the role of Wing Governor should’ve gone to him. She is oblivious  to what Jim is doing with the inmates or quite frankly she doesn’t cear.-StageAgent. (n.d)

Songs include-

Jailcraft

JUSTIN MATTISON– Played by George Peachy

Justin is a new junior officer, a fresh young puppywho really want to do good, and thinks that Helen is Perfect, and actually develops feelings for her.. Bursting with integrity and rather shy, Justin is easily teased by the older women prisoners in particular. -StageAgent. (n.d)

• When is your production set and how is this important to the way your production is being developed?

Our production of bad girls the musical is not placed in a certain year, However, We have decided to set it in the modern day. This can fluctuate from about 2015-2020.The fact that our show is set in modern times undoubtedly alters the perceptions and expectations of the audience.This may also affect a few aspects of the show for example, Han our director wants to make a good balance of the original show and the actual prison its based on as such. This could then lead to us thinking about costume. Our costumes would be fairly basic having plain grey tricky bottoms with a range of white tops, much like they would in a real prison. It also means that as performers we can relate to the characters backgrounds much easier for example, if the play was set in 1965 we would have to do a lot more research into the period so we understand our characters thoughts and intentions. This is not the case for a modern show. Although we will still have to do a lot of research it will be things we may have already  heard about or possibly been apart of in some way as they are in our time.

 

• What are you, as a Company, aiming to achieve with this production? What is its purpose? Why do you think this?

As a company we are all trying to achieve many things. We want positive impact on the audience every night. I believe that our main aim for the audience is to educate, entertain and shock them.

Shock- Due to the strong topics expressed throughout the show and ending especially, we would like the audience to be shocked, some may have perhaps seen the show before some may haven’ either way we want to give that emotion. We want them to be taking in new aspects throughout the performance but mainly leave shocked when the large moments happen.strong topics expressed throughout the show

Entertainment- as this is a show and people are paying to see this however deep, sad realistic a show may be people are still going because they want to be entertained. This means we have to withhold a good show and leave them satisfied.

Education- The musical features many aspects of real-life issues in prison. We see the story of venerable women in prison being sexually exploited. It also discusses several mature themes including homosexuality, rape and suicide. Throughout this process we will be learning how to accurately and respectfully present these themes, as well as understanding the full extend of them in order to be mature and include these appropriately.These are political issues that are far from irrelevant in today’s life.

Although these are our goal’s for the audience and what we are aiming to achieve from the show we are also aiming to educate our self’s for the purpose of a course, We’re learning how to apply technique from our classes and then applying it to our performance.

 

• What are the implications, for a performer, of putting on this kind of show? (Here we want you to show that you understand that different types of shows require different kinds of discipline as a performer. E.g. performing as one character who remains on stage throughout the performance would make very different demands on a performer than one who was in a variety show and was in one act in the second half. E.g. performing in a musical would have different demands and pre-show preparation requirements to performing in a dance show with multiple costume changes in quick succession.)

I believe the implications for a performer in this show is that it’s very full on, especially considering we will be on stage a lot, meaning we will all have to work on our stamina and focus as we can’t afford to fidget and lose concentration. I also think we need to realise the impact we are making on the audience and keep mindful of the adult themes of the show and therefore have a mature attitude towards the show. We will be ageistly shouting inappropriate language. This is also something the actors need to bear in mind that some people may be more uncomfortable with this as they may not use this language in everyday life.

As this is a musical in my opinion there is a lot of requirements for this show. We will be required to learn songs (including harmonies in big groups), dance/movement and possibly lines as well. There will be multiple demands for us as performers that we will have to bear in mind whilst rehearsing and refining the show. Before we learn our harmonies and songs in general and before every rehearsal we will all have to participate in vocal warm ups to prevent us from damaging our voices. During show week we normally all make sure we drink plenty of water so that we can keep our vocal health up. Furthermore, if we do any large dances or long stans of movement we will have to do a sufficient warm up, again so that we don’t injure ourselves. It’s also a good idea to be consistently physically fit during this process, having the stamina and energy for the show.

In terms of the show itself, there are lots of things to take into consideration. For example, lots of people are required to have an Essex accent including myself. This might be something that people struggle with, as they may not have used this accent before. For most people Accents take lots of time to perfect, so for some it might not come so easily. However, some of us including myself are quite used to using accents as we may have use them before in a show, so there is people to help everyone.

 

• What is the time scale over which the show is being produced? How will you manage this time so that you are fully ready to perform to the public? How many performances will you be doing? Will you be doing any matinees or relaxed performances?

 

Our show will be developed over a full 12 weeks (this dose include a 2 week brake for Easter).I will be performing 5 shows in total from 20th to 23rd May 2020, with a Saturday matinee. We will not be doing any relaxed performances due to the content and themes within the show being too explicit. I am going to be managing my time wisely so I get the most out of my time create the most out of my work. I will be usinga table I have created (in my planning page) and I would like to be strict with myself and stick to the deadlines however, this is something I struggle with so maybe a table would allow me to be more organized. I also like to keep on top of my work and learn all chores, lyrics, dances etc. weeks before the show so that I can work on polishing my own performance early on. Over the Easter holidays I have allocated myself time to spend perfecting everything so that it is ready for when I come back.

 

• Where is your show being performed and therefore, what production elements will the show be able to include? 

The show will be held at the Conservator EAST theatre witch also means we will have full access to lots of beneficial production elements such as sound and example of this is mics. We are very lucky to have radio mics so everyone can be heard over the band. Lighting is another one as we can customize different effects to give the desired look of a scene. One other production element that is one of the most important is a desired built set to watch will have a proscenium stage and seating of 120 audience members. We will also have enough room for a back stage making the show much easier on mic changes and costume changes. The performance is set out in two acts with a 20min interval in between acting as a small brake for the audience and for the cast (for re-set of props and costumes). The first act is longer then the second act and both acts end and begin with high energy numbers. We are also lucky enough to have a verse array of costumes witch many people may find helpful. This also then links to props Con EAST is lucky enough to have been able to collect many props over the years witch we are always finding a good use for.

 

• What kinds of people are likely to attend your show? How is your show being advertised? What else will you need to do to make sure that your show will sell out?

There are several different types of people that will be attending our show. The first thing to address is that the recommended age for our production is 14, meaning that we may not have young families coming to watch due to this recommendation and the themes that come with the show.The main people of the audience will come from family and friends of the company cast who want to support us; including previous and current Con EAST students. Most people that come to watch will probably be adults due to the content and themes that run through the show as well. Avid patrons of the Theatre Royal will also come to watch if they see it advertised in the brochure or on the Theatre royal Webb page. This then leads on to our VIPs hat come to watch our shows for various reasons. We have had college governors and there wife’s, or people that want to support the college financially or may be sponsors for us. The most common use of promotion will be word of mouth as it is simple and affective.

Furthermore, we are going to promote our show on social media. I believe this is one of the biggest things we can do to really up ticket sales. Several social media ideas include a Facebook page wear we can share our promo photos and ticket links ect.ect. We can also set us a Twitter and Instagram page posting regular updates and videos to allow people to become followers and support our journey.Our show will also be advertised along with the other two shows of the season in the WSC Season brochure. These will be placed around college and in the local Theatre Royal.  The Theatre Royal also dose advertising on there website witch extends our potential audience to a verse range of people in the area.

 

• What will be your involvement in this production and why do you think you have been given this role? (Please explore your answers to this question thoroughly.)In this production, I am a part of the ensemble (prison inmate), I believe that I have been given the opportunity for this role because my cast type fitted in with the show. Continuing from this, I think my acting audition went fairly well as I gave lot of facile expression. Furthermore, in a prison there are many different shapes sizes coulers and more meaning that maybe they liked the way I look and thought I was well suited for this part.I am involved in many numbers throughout the show so I will be working as a team with the other ensemble members. However there wear other roles I feel I could of fitted in terms of casting. For example, Denny or even Rachel to show more  of the acting side. I do feel like I have worked hard over the course of this year and that I would have been more them capable to play these roles or even understudy. However, I am professional about casting and I am happy for my fellow cast members. In every one of my shows I have always excepted and not complained about casting as I no it was casted the way it is for a reason.

 

• What are you bringing to this production? (Review your progress and achievements up until this point [including the last show you did], taking into consideration your personality and approach to work, not just your skills. Please explore your answers to this question thoroughly.)

In my time at college I feel I have a lot in terms of my ability and how far I’ve come. I think I have work hard in all areas of technique and ability. Although I may have not been pushed as hard as others at times, I feel I have always pushed myself. I feel people in the past have lost faith in me and I believe even. Though I may have lost confidence in my self I always find ways of pushing myself; I have never been rood or disrespectful to any one in Con EAST. I have also gained the most skills at Con EAST then anywhere I have in my life this has been a brake though for me I feel. I have done 6 large productions and 4/5 smaller show cases at my time hear at Con EAST; not to mention the flash mobs, open events, Christmas shows, technique classes and singing lessons which have all help me develop my skills. One of the larger productions include my last show,, “querks” witch was a dance show. I feel like I worked incredibly hard on my dancing as there was a lot of work on fitness and stamina. I also feel I have proven that I am good to work with in a compony as I get alone with everyone and take everything on the chin. I am good at working in a group but also know that if I need to work independently that I am more than capable of that. I think all this work has payed off and really shows what I can bring to Bad Girls

• What do you hope to get out of working on this production? [Opportunities? Skills? Experience? Challenges?] (Please explore your answers to this question thoroughly.)

Its clear that I will be gain experience to put in my portfolio and to work with perhaps new people, and of course in this industry you are always gaining skills. For example picking up harmonies, as I am in the ensemble I will be singing in a large group that will most likely have harmonies. However, although I’m not a “character” or a “main” to put it but I would really like to be challenged. I feel this is something that has dropped this year for me and I would like to gain back. Although like I said I try to challenge myself I would like someone to help give me a push or a lead in “the right direction” as such.

 

• What work will you personally need to do to make sure you will be best prepared and able to give your all when working on this production? [Do you need to be more organised? Do you need to independently work with more experienced members of the Company or Specialists to develop skills/ learn lines/ learn accents? Do you need to improve your physical fitness? etc.] (Please explore your answers to this question thoroughly.)

 

 

• What relevant experience do you and the other cast members have? How will this affect the process of developing this production? (You do not need to go into huge detail about this – we are more concerned that you show that you understand that all levels, years and performing pathways make up your Company and are therefore bringing different levels of experience to the process and that this WILL affect the process. You need to explain this and also suggest positive ways of making the process as efficient and effective as possible.)

Here is a link to a survey completed by the whole company showing all the relevant experience they have had which will help them in the show. As you can see, the cast overall has a lot of performance experience. Having lots of experience means that you are confident being on stage and have the ability to work quickly on characters and willingly take notes well. I think this was a well casted show as everyone is fitting to their role nicely.

Jess smith has been selected for the role of Assistant choreographer for our show. It is clear that she has experience with choreography as she choreographed parts of  college productions before. As she has expiriance with working with large groups this also suggests she will be confident in cleaning the dances and helping people get it right.

The majority of the leads have also had experience with shows inside and outside of college. This suggests that the show will be of a good quality and I trust that they will all work hard to develop the show and help each other. Some have also highlighted that they are confident in accents which is very important for this show.

The ensemble collectively have quite a lot of dance experience which is very helpful for the show. A lot of them have also have experience in learning harmony’s before so this won’t come as a shock to them. Therefore I think everyone will be competent in producing the show and we will have it at a really good standard.

https://www.surveymonkey.com/results/SM-R3N7QSZT7/?fbclid=IwAR00K5Y-UISHT_O1JtBledlvG2IxhnPrpoYYklqR9k9Hp8End0fuTC3G17g

 

REFERENCES:

MTI Eurpe. (2016). Bad Girls The Musical. [online] Available at: https://www.mtishows.co.uk/bad-girls-the-musical [Accessed 22 Mar. 2020]

 

Theatres Trust. (n.d). What are the types of theatres stages and auditoria? [online] Available at: http://www.theatrestrust.org.uk/discover-theatres/theatre-faqs/170-what-are-the-types-of-theatre-stages-and-auditoria

 

StageAgent. (n.d.). Bad Girls: the musical (Musical) Plot/synopsis. [online] Available at: https://stageagent.com/shows/musical/11396/bad-girls-the-musica

 

StageAgent. (n.d.). Bad Girls: the musical (Musical) characters. [online] Available at:  https://stageagent.com/shows/musical/11396/bad-girls-the-musical

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Context UAL definition: The level of intellectual analysis, critical evaluation and understanding of the self and the broader context within which the extended or collaborative project is situated

Fail Limited understanding of subject context, lacking clarity in aims and purpose.

Pass Understanding of subject context used appropriately to make judgments, describe aims and clarify purpose.

Merit Good understanding and knowledge of subject context used to make sound  judgments, articulate ambitions and clarify purpose.

Distinction Comprehensive understanding and knowledge of subject context used to  communicate complex concepts, articulate ambitions and clarify purpose

The above statements are guides to how evidence for this final unit (8) will be assessed.