“Life is like a Rollercoaster” – Reflecting on “The Ride of My Life”

Daniel John Fotheringham / / Other Solo Performances, Performance and Reflection

So, on the 21st May, after months of hard work, sheer determination, three ideas and also a lot of rollercoaster POV’s, I performed my final degree show, The Ride of My Life – a show that focused on my childhood and the challenges I faced. Since performing it and having time to reflect on the show, I have decided to create this blog post to discuss my reflection on the module and how I felt not only the process has gone but also to discuss my own thoughts on the performance. However, in order to do this, I have decided to do this post as a set of viva-voce/ post-show discussion related questions since we do not have one for the module. So, without further ado, here are my thoughts.

1. What made you want to focus on a personal story

There are multiple reasons behind this and to be frank, this was not an idea that I originally had envisioned. Indeed, as you will see on my previous blog posts, my original idea was based on YouTube and the culture of Youtubing. However, in the case of this show, the reason why I wanted to do it was because I wanted to discuss something that not many people knew. Indeed, the majority of the audience did not know my story prior to seeing it and I felt that whilst it would have been interesting to have done a topical show, I wanted to bring a story together that actually would make people feel something. Plus, there is something authentic about my own story. Whilst I am not saying it has only happened to me and that there are not other people diagnosed with Worster-Drought Syndrome nor ADHD, the story I have encountered is a unique one and I wanted to highlight the uniqueness of the show by showing it in my own crafty manner that I would want to do without forcing an audience to feel something.

2. When devising the show, what challenges did you face?

A lot. In many ways, excluding the process to the other shows, the big problem I faced was I did not want the piece to feel self indulgent or manipulative as my worry was that whilst I can influence an audience on what they should feel, I cannot force them to feel that. If I did that, they would lose interest with the show at all. As the piece was focused on a personal story, I wanted them to feel engrossed with it and not feel like they were distanced to the show so that was a challenge.

Another thing that was a challenge was how to stage the show. Indeed, whilst I was aware the show would occur in Studio 2, I felt the staging had to feel right and so there was a seamless transition between the element of the rollercoaster and the personal story. So, by thinking carefully on the staging and also what the LPAC could offer, I was able to provide the right staging that would be simple to understand but also extremely impressive. In many ways, the challenge was less setting out the space as if it was a show but instead, trying to set it out as if the audience did not think that they were in Studio 2 at first.

But, the major challenge was cutting the script. Indeed, whilst I do believe that the show did have some punch and was clear, there was so much more that I could use to develop it into a longer show. Therefore, cutting the show was hard as I wanted to ensure that the show had enough depth and heart to it as it did have if it was a twenty minute piece.

3. In your opinion, how important is authenticity in a performance?

Personally, I think it is essential for the performance to have authenticity. Partly because by having authenticity in a show, it allows the audience to connect more with a performer and bring forward a bond between the audience and performer. As well, it allows the audience to be able to realise that what they say is honest and whilst this may be fictitious, they can establish this bond even more. So, from bringing in authenticity, it allows the performer to be closer to an audience and establish a relationship that is vital to the show.

4. How did you utilise authenticity in the show? Did you feel it was well utilised?

To ensure that the show felt authentic, I made sure that there were numerous things I did to utilise this. One way this was utilised was to ensure that I was never labelled as a different person in the show. Therefore, whilst I did take on multiple personas, it was in the style of Tim Crouch where I would be “Daniel Fotheringham as…” a ride attendant or Mrs. Arsehole or The Incredible Hulk. By doing this, it allowed the audience to not only distinguish character but gain a personal connection with myself as a performer and also as my characters.

Another way that the authenticity was utilised was in the beats of the script. Indeed, as I wanted the show to feel pure and like how it would sound as if I was saying the story to someone in a pub. Just without the artsy stuff. Indeed, as you can see in this segment from the script, I utilised this by mixing comedy and drama together by being able to give the audience a taster not just of the story but also of myself in real life:

The Script:

When searching for schools, my parents found “Kingstone High” – a school focused on performing arts.   (The overture of Phantom of the Opera is heard. As this happens, the performer dresses up as the phantom and turns around ). Too dramatic?  Once I made my decision to go there, I told my friends.

He turns round to certain audience members tears pictures of himself making confetti.

To get into the school, I had to get level fours in English, Maths and Science . My average – level twos. What do you think Mrs Arsehole?

V/O: You will not get level fours. But, I admire your effort. Good luck.

When I told my mum, she would do everything to help me.

Pause. The Performer sits down.

I wait patiently by the letterbox.

In doing this as well, I felt that this use of authenticity was well realised as I showed not only a glimpse into my life but the audience also got to understand the struggles I still go through. By showcasing this in the script, it helped me in the authenticity of the show by being myself in the script.

5. How did the audience receive the show? Did you intentions for the show work?

In doing the show, I set out to do a set of things. Firstly, I wanted to break the boundaries between theatre and performance by making something that was entertaining but different. Second, I wanted to make the audience feel something.

The following statement from a friend of mine here details their thoughts on the show:

“Congratulations! You pulled it off amazingly! Seeing the Tutor’s faces light up as well as my peers in the room as we were taken on our ride/performance was quite something! You should be proud of the performance, for teaching us so much about you, and for allowing us to celebrate your achievements with you in such a fun way!”

(Anonymous, 2018).

In being able to do the show, I felt not only the audience felt enticed but that they were genuinely keen to see where my performance would go next. Indeed, one of the things of performing the show was that the story is not one I have discussed that much to others. Therefore, by keeping a lot of the secrets under wrap, it allowed me to journey the audience through a “rollercoaster” of a show where they were they were unable to predict how it would end.

As well, some of the comments was overwhelming in which they said that they felt the show was pure and in no means, emotionally manipulative, and felt innocent. Therefore, it felt overwhelming as I set out to do something that was around the lines of this. If anything, I was overwhelmed by the feedback actually given to me.

What would you improve on if you were to redo the show?

If it was to be improved, there would be not much done. Aside from the possibility of adapting it into a thirty minute show that would go into more depth. Aside from minor things that went wrong, there would not be much that would be improved not because I am being arrogant but because I am happy with how this had been done. I am really satisfied with the way the final product. This module has been a pleasure doing and I am really satisfied with the way the show I have done.

With this post, I end my university education. Thank you to everyone who has helped with my project and the three years. Hopefully this will be not the end of this show. But, for now, its thank you and I hope you enjoyed “The Ride of My Life”

“Lights, Camera’s, Action” – Sorting Technical Requirements

Daniel John Fotheringham / / Research Material

This week, I have been busy in sorting out my technical requirements for the show. In sorting this out, I wanted to ensure that I had the terminology right which is why I was determined in getting right the terminology.

When doing the tech, I found it to be quite exciting as I have a lot going on in the show. However, I found it to be really difficult as the show requires quick thinking and not that much time until the next cue occurs.

To give you an idea on tech linguistics, these are the following abbreviations to know prior to reading this.

Lights (LX)

Sound (SQ)

Projections (AV)

Please find the following cue sheets below explaining how the show will work.

Cue Sheet (Sound)

Cue Sheet (Lights)

Cue Sheet (Projections)

Condensing my script

Daniel John Fotheringham / / Performance and Reflection, Progression of Performance

In creating the show, I set out to create a script for the show. When I started work on it, I decided to give all the details on the event and the stuff was extremely long.

To give you an idea, here was the original script:

Original Script

As you can see, the script is detailed but is too long for ten minutes. So, the script had to be edited even more so it had the punch to the show. If anything, the script felt very long and as if I was trying to say anything and everything leaving a lot of potential for the audience to become very disinterested in the show. I also felt that the script felt forced and as if it was trying to fit in the gimmicks of the rollercoaster when they didn’t need to do that. So, after multiple drafts, I was able to cut it down to 13 minutes which is good. To give you an idea, here is the updated script.

FINAL SOLO SCRIPT

As you can see, whilst it still has detailed information, it still feel really condensed and punchy. Even though I would want it to be longer, I am satisfied with the way it has been progressed and I hope that the possibly of adapting the script further is a possibility.

Character and Performance – Creating Mrs. Arsehole

Daniel John Fotheringham / / Progression of Performance, Work devised in rehearsals

Hello there,

It’s been a while since I wrote something so in these next few posts, I will be highlighting some of the things I have been creating. For now, this blog post shall focus on my script-writing and the creation of my character, Mrs Arsehole.

Now it is important to note that whilst the script has been developed, the concept of my childhood as a rollercoaster has not changed at all so you can relax for now. However, in furthering my script, I decided to establish a character that would become an alter ego for me to play in the show. The reason I wanted to do this was as the show focuses on my time at school and the knock on effects of my conditions being ADHD and Worster-Drought Syndrome, I felt that there needed to be a character which the audience could hate and genuinely struggle to treat seriously. Plus, at my time at school, this headteacher was the only one which caused the problems. So, with that in mind, I decided to create Mrs Arsehole.

However, people may ask how this has been utilised in the script. To give you an idea, here is a little snippet of her speech.

The Script

However, my first downhill would occur when I had my first assembly at my primary school. I was pushed into this one room with everyone. Everything went silent. I could hear the noise of distant footsteps. Out of the blue, this thing who looked like Maggie Thatcher arrived. She yelled “Good morning everyone”.

(Audience: Good morning Ms. Arsehole!”)

The performer puts on the wig and becomes Mrs Arsehole

Me (As Mrs Arsehole): Now, today we have a new student called Daniel. So I want you to be really nice to him. Now, Daniel needs some friends so lets be nice to him. Now how do we behave in this school? Yes.

V/O: We laugh about how you are called “Ms Arsehole”

The V/O laughs and the school laughs and starts singing “MS ARSEHOLE IS A FARTER”

Mrs Arsehole (Exploding): QUIET! (Silence) Anyway, who’s ready for our hymn today?

The performer takes off the wig and blazer.

Me: What a b…Witch. I definitely mean witch.

When devising the character, one question that I raised early was how she was going to be utilised in the show. Whilst I did want to expose her as a comedic character, I do still want to expose her true colours in the solo performance and show how she was to students at my school. One way I want to do this is by showcasing the comedy as irony. In other words, I want the comedy to start off as if I am joking. However, there is a truth behind her methods of teaching. From this, I hope to bring true terror for the audience and for them to understand how she ended up being worse after a first glance.

As well, one other idea in creating the character is through the idea of costuming. Indeed, whilst a lot of the character comes from the mannerisms and scripting of the character, some of the creation comes from costuming. So, in costuming, I have decided to dress Mrs. Arsehole as Margaret Thatcher. Possibly one of the most hated people in Barnsley.

(mynameiswhatever, 2009).

Now there are numerous reasons to costume this character as Margaret Thatcher. Firstly, one of the reasons is due to the connection to my home town. Indeed, as I live in Barnsley, she is possibly the most hated person due to the closure of the mines during the 1984/85 strike and also causing so much unemployment. Still to this day, the town has not recovered. So, as I have not recovered from Mrs. Arsehole, I want to utilise her as a character. However, another reason I want to use her as a caricature for Mrs Arsehole is because, upon further research, I uncovered that from 1970-74, she was in the Cabinet as Secretary of Education. So, I felt that this would be a prime example to use her for my alter-ego.

I have also decided to further this idea by placing in another line in the show based on Margaret Thatcher’s death. This is the following line:

I had defeated the Wicked Witch of the West. For now. It’s just a shame she didn’t melt away.

Again, the reason I wanted to bring in this line was I wanted to showcase the ideas of Margaret Thatcher. In particular, I wanted to highlight her death. When she died, there were a lot of party’s particularly in Barnsley and the most popular song played when she died was “Ding, Dong, The Witch Is Dead” from The Wizard of Oz. Whilst I do not particularly agree with the behaviour, by including this line, I will be able to reinforce how the similarities between Mrs. Arsehole and Margaret Thatcher are not uncanny to each other.

Overall, I am happy with the performance is going. I hope that by using Mrs Arsehole, I will be able to create a lot of comedy with her. For my next steps, I need to work on performing the role and also on how the script will merge her role into the show. For now, here’s to more work for the next few weeks.

Finding Inspiration – Refining my Practitioners

Daniel John Fotheringham / / Progression of Performance, Research Material

In order to ensure that the show is of a high standard, it is important to note that there has to be influences from certain practitioners. Indeed, although this is an essential part of the marking criteria, I want to ensure that the references to those practitioners are not only clear but really well utilised in the show. So, in this post, I will explore the practitioners that I have taken inspiration from and looking to showcase in my upcoming show, The Ride of My Life.

Tim Crouch 

One of the first practitioners I am keen use is Tim Crouch. Now I have aware of this practitioner since the first year of my degree since performing an condensed version of his 2007 play, England. However, since doing the module, I have become obsessed with his style of performance in establishing the presence of the performer’s identity by performing other roles “as…” rather than “is…”. Indeed, I was inspired by the play, An Oak Tree, when he begins the show by introducing himself as himself playing a hypnotist in which this trust is then established and brings in a meta-theatrical presence as a performer and character. Indeed, the following video establishes how he does this establishment of the performer.

(juliageek, 2007).

The reason I have been interested in this is as my show encounters a personal story of my life, I want to be able to establish a relationship with the audience in which they are not only able to be immersed in the show but can trust me as a performer. Indeed, whilst I intend to take on certain roles, it would be under the idea of “Daniel Fotheringham as…” a ride attendant for example.

I am also keen on using him to create an immersive show that is visceral but exciting to observe and I was inspired by both ENGLAND and The Author in this case. Indeed, they both use interesting staging to help immerse the audience into a show and get a deeper meaning. For example, the play, ENGLAND occurs in an art exhibition in the Fruitmarket Gallery, Edinburgh as whilst it focuses on a persons journey for a heart transplant, it’s main theme focuses on a tour of an art exhibition. Likewise, Crouch’s The Author is set in traverse staging in which the setting is the Jerwood Theatre Upstairs in the Royal Court Theatre.

Image result for the author staging tim crouch
(Kenton, 2009).

In this case, I want to utilise this idea of immersion by creating the studio space into the seating of a rollercoaster carriage and having a projection board to suggest certain things. By this, I will be able to create something similar to the style of Tim Crouch by having something as an overarching concept in which something smaller occurs. In other words, the rollercoaster can therefore be used as a metaphor to talk about my childhood and can be utilised as an idea for achieving the impossible.

Chris Goode

Another practitioner that I have been massively inspired by is the work of Chris Goode and his use of storytelling. Indeed, Goode has the use of storytelling to showcase that we have forgotten to tell stories and that sometimes, less is more. This is vital for me as whilst the show has to be visual, I want to ensure that it has the heart and has the story needed with a solidified beginning, middle and end.

One show that inspires me is the play, Monkey Bars which is a verbatim theatre piece in which adults answer questions by children in the style of children. Now whilst the show my piece is not verbatim and instead a personal story, one thing that interests me is the possibility of using childlike language and seeing how the language can be used for comedic purposes. Indeed, the show focuses on my childhood at an adult age and I think by using this idea of childhood language and honest words could be used not only for poignancy but also comedy.

(ChrisGoode andCo, 2013).

Refreshment by Craig Gingrich-Philbrook

One final influence on this show is Philbrooks autobiographical play, Refreshment which focuses on a shooting at a Gay Pride parade. The reason I have been inspired by this play is the fact that this ten minute play does interesting things by focusing on the personal event and a bigger topic which is about what it means to live in the LGBT+ community.

https://blackboard.lincoln.ac.uk/bbcswebdav/pid-1901890-dt-content-rid-3222862_2/courses/DRA3043M-1718/DRA3043M-1516_ImportedContent_20160128062018/Autobiographical%20Performance%20Scripts.pdf

I particularly am inspired by this text as I want to ensure that whilst the piece is personal, it speaks on a broader level about achieving the impossible and has some meaning for a wider audience. Indeed, I feel that this piece should connect to people and I hope that it is more important to people to discuss the ideas of bettering yourself.

So these are my influences. For the next few weeks, I need to script it. Currently, I have ideas on how this can be furthered and I hope to further these ideas more so the piece can be truly unique and special.

Till then folks.