Performance and Reflection – soloperformancefotheringhamd

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

Daniel John Fotheringham / May 23, 2018 / 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”

Condensing my script

Daniel John Fotheringham / May 14, 2018May 24, 2018 / 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.

A New Post – A New Concept

Daniel John Fotheringham / April 26, 2018 / Performance and Reflection, Progression of Performance, Work devised in rehearsals

Since Easter, I have been massively busy on working on my solo performance. Indeed, there has been a reason why I have not been on this blog for a while.

When working on the show, I did a couple of work in progresses and felt that whilst my concept was interesting, it was a difficult topic as I ran the risk of either being insensitive and narcissistic or too self indulgent about the topic and this was a key problem that rose in my work-in-progress. Indeed, the show, whilst focused on a personal story of my friend was actually coming across as if the incident had happened to me. So, with that, I decided to rethink about the work that I had done as whilst I was concerned about the topic, I felt that I did not want to lose the staging I had created.

So, with that I decided to work on the idea of a rollercoaster but instead, this time I focused on trying to use it as a metaphor rather than a literal thing. When doing that, I felt I had to have a look online and came across this picture.

Image result for life is like a roller coaster quotes — (Pinterest, 2018).

Now when looking at this, I felt I had hit an epiphany as I always knew I wanted it to not only be autobiographical and authentic but also have a wider meaning. Therefore, as I continued working on it, I felt the need to look at the idea of the ups and downs of life. At first, I felt I wanted to talk about it in a generic manner but I then discussed about an incident when I was at school and was basically brought as an outcast when I was diagnosed with ADHD and Worster Draught Syndrome – a rare disorder in which the brain cells stop you from doing certain things. In this instance, it stopped me from speaking properly.

When I was discussing this with people, I felt that there was a sudden engagement as they felt very hooked on the idea and felt actually really interested in my experience. Therefore, I have decided to focus on this as I feel that there is something unique and that I would be able to combine this with a really good metaphor of the rollercoaster. Plus, it also means that I would be able to keep the staging as it was but just in a different manner. To give you an idea, here is a diagram of the old and new staging.

Old Staging

New Staging

As part of the show, I also intend to set the outside of Studio 2 out as a queue line and I hope this will immerse the audience into the world of the rollercoaster.

As well, I have named it The Ride of My Life” as I want to make it something that is quite broad but also gives nothing away which I hope will work. Here is a little segment from my script.

The Script

Pre-set

The audience is stood outside by a podium which says “Welcome to “The Ride of My Life”. Please wait for your ride attendant who will escort you to the ride. The Performer walks and we hear the music “The Call to Adventure”

Me: Good afternoon everyone and I would like to welcome you to “The Ride Of My Life”. In a couple of moments, I will be seating you into your carriage but firstly, it is important to note that whilst the piece does contain true events that did occur, all of the characters mentioned have been fictionalised for safety regulations and for your own entertainment. When boarding the carriage, please ensure that all loose articles such as bags, coats and even notebooks are placed into these lockers. Now, I ask for those who are priority pass members to come forward so I can seat you in your carriage (The performer gestures to the sheet below). Please can these people come forward.

Once the priority pass members are in the studio, the performer turns to the audience.

Me: Ladies and gentlemen, please can you now form an orderly queue so you can be seated in the carriage.

The audience forms a queue and enters the studio. Once the sixteen seats are filled, the performer speaks.

Me: Ladies and gentlemen, the carriage is now filled. Please can you now move to the seating area one either side of the studio sat down on the floor?

The audience moves into the studio having heard the instructions from the performer.

Scene 1

The lights fade up. A whiteboard is seen at the side of the stage. The Performer walks to it.

Me: Ronan Keating once said that life is a rollercoaster. It has its ups and its downs and whatever it brings, we must face it. Scary, huh? You see its weird. All this trepidation. I mean, some people may disagree with me but that’s how I personally see. I mean my story in many ways was a rollercoaster. It never felt right. If anything, it felt like some sort of soap-opera. Just not with the death, affairs, elongated story lines. It was real. It was a rollercoaster that was painstakingly hard to go through. It all started in 1999 when I was a toddler.

I was a late one you see. I enjoyed being cosy in my mums tummy. But with that came my first drop. When I was three, my mum started to realise that I had some problems. I was always a larger than life character. Hence why I got told off last week for being too loud in the library (Pause). Woops. Anyway, back when I was three, I was brought to the doctors to see whether I was ok. My mum at the time was working part time at a job she hated and had a larger than life son who sometimes needed to be controlled. When she brought me one day, she found I had been diagnosed with two conditions. ADHD and Worcester Draught Syndrome.

Now some people may not know about what this is and the truth is she didn’t either. I didn’t know. But the truth was I was just a kid. Essentially, its where the muscles in mouth seize which causes you to stop speaking. Which would mean if I had it now then (As I speak then, I try to speak the next line with the syndrome) this is what I would sound like. It’s impossible to say anything and at this rate, I ought to be a new ventriloquist act. (Pause)

Throughout this period, I would struggle to get words right and even words like “mummy”, it would come out as “Bo-ee”. My mum found this amusing. Not in a horrible manner. Just as something that she found a little funny that I would say. But, as time went on, she knew something was wrong and I needed help. I was getting attachment issues. Don’t worry. I wasn’t becoming a Norman Bates type of character. She knew that something must be done. And so my ascent began.

The sound of a lifthill chain is heard. The performer draws this hill.

When I was six, she brought me to a primary school and got me sorted there in the hope that it would be the right school for me. It seemed nice. It had everything you wanted. Displays that were appealing, a range of nice and welcoming teachers and a friendly atmosphere. It made me feel like I would enjoy my time at school there. It seemed like I had hit the jackpot. Of all of the primary schools, it felt like Disneyland – the happiest place on Earth.

My intention now is to further my script and make it even longer in the hope of being able to make it exciting but also different. In my next post, I’ll discuss the influences that I wish to have and who I want to reference as my practitioners.

From conceptual thinking to visualisation…

Daniel John Fotheringham / March 27, 2018 / Performance and Reflection, Progression of Performance, Work devised in rehearsals

In todays session outside of study time, I decided to make the first step in staging some of the work that had been discussed and thought. Partly, this down to the fact that when creating a performance, it is ok to conceive ideas. But, in order for the performance to become successful, the ideas must be more than things that stick on a piece of paper. As a lecturer once said, “The time for thinking is over” and it is therefore time to start getting things on its feet (Dubois, 2018).

In beginning the work, I decided to rehearse this piece in Studio 2 due to the fact that after discussion of the idea with people, they felt it would work better. When considering the seating of it, I decided to go for a simple seating arrangement being eight rows in a four by four arrangement. However, this was down to more than a simple arrangement as I wanted to give a sense of the experience of being on the rollercoaster, The Smiler. Since the seating arrangement is a four by four carriage, I wanted to recreate this to give an idea of the scope of the ride.

Image result for smiler test car — The Smiler Cars

However, in discussion with a peer, they suggested the possibility of maybe having another set of four rows in four by four. This was to indicate the empty “test carriage” that “had been sent around the 14-loop ride, but had failed” and the actual that had occurred (Reynolds, 2016).

SP 3 — A side angle of the chairs in the layout of The Smiler ride cars

As you can see in the pictures, I tried to stay faithful with this layout without making it feel too obvious as I wanted to explore how performing in the space may be seen as claustrophobic. Personally, I felt this was very uncomfortable as I felt very trapped with the performance space as it felt as if in the space, you felt very exposed as the audience were invading my personal space being the stage. Therefore, I decided to make sure that their space was invaded in which the audience would be asked to be seated in the back four rows. Thus, as you may notice in the picture to the left, there was very little space between the second carriage and the first on the front and back row of them as I wanted to recreate the feeling of the crash and as if they were sitting in a recreated version of the ride.

After getting the seating arrangement sorted, I decided to work on the final section which would discuss my experience of going on The Smiler at Alton Towers three years after the incident had occurred. Through this, I decided that the use of storytelling would be a key mode and paid attention similarly to the style of Tim Miller when considering the idea of pace by making it quick dialogue. The use of this would help the audience go on the journey and would therefore allow them to go on the journey as if my experience at the theme park was a rollercoaster.

When rehearsing it, I found it difficult as I wanted to ensure I got the details in concerning the day as well as the feeling of being on the ride. But, the main thing I was keen to explore when devising it was how to focus on the idea of the past and revisiting it and by the use of the physical obstruction, it allowed me to show this idea of how the past was not as far away as to some people. When devising it, Bleeding Edge Theatre (who were rehearsing next door in the other studio) kindly offered to come in and watch what I had created. As you will see in the footage, it is a little rough but I was glad that they had offered to become an audience in order to try out some of the ideas I had been testing.

(Daniel Fotheringham, 2018).

After performing it to the peers, the group had seemed impressed with what I had done and felt that whilst the performance would be limited to sixteen people, it was an effective staging. However, they commented that I could run the risk of coming across narcissistic about the event when it was my friend who had been involved in the incident and needed a bit more clarity. When discussing the other ideas I had in mind to combat this, they felt that this could work and I felt, like them, there had to be more of a “red thread” in combining The Smiler Incident and the experience I had going on the rollercoaster. Indeed, I feel there needs to be more of an idea in revisiting the past and how this may be not helpful and I also feel that there needs to be more of a voice from my friend (Leah Washington) who was involved in the incident and how her experience affected me.

However, when considering the use of the chairs, I was a bit concerned when performing that I would struggle to get seated even without audience members and I am considering, instead of four chairs representing the empty car, the use of tape marking the other one similar to what is used in a crime scene investigation. Partly, this was down to the fact that it was quite impractical. I also feel that the audience would want to sit anywhere and would therefore lose the impact of the piece. Indeed, when Bleeding Edge entered the room, I had to tell them where they must sit. However, whilst this was not a problem, I do think that the audience I perform to may not get the mantra and will therefore make the piece lose the impact.

Overall though, I think today was a success. I have an idea on where the performance is going and whilst there are some elements that need to be refined, I feel that this has helped me in thinking what could be improved the next time when I perform the piece. I feel now that in order for it to work, I am ready to have an audience to test out ideas to ensure that the performance is a success and I hope this will enlighten me on the experience that they have and how to improve their experience.

Works Cited:

Daniel Fotheringham (2018) Solo Performance Draft 1. Available from https://www.youtube.com/watch?v=3LaMrCNfIqE [accessed 27 March 2018].

Dubois, D. (2018) Pitching my solo performance idea and discussion of technical requirements [workshop]. Solo Performance DRA3043M-1718, University of Lincoln, 20 March.

Reynolds, L. (2016) Alton Towers Smiler crashed with ‘force of 90mph car accident’: Shocking details emerge. Express, 26 September. Available from https://www.express.co.uk/news/uk/714454/Alton-Towers-Smiler-ride-crashed-with-force-of-90mph-car-smash [accessed 27 March 2018].

Work-In-Progress 1 – Discussion of the idea

Daniel John Fotheringham / March 19, 2018 / Performance and Reflection, Progression of Performance

In creating theatre, it is always important to know that you have to go with your heart and in this case, this is something that I have chosen to do. In my previous workshop on this module, I was given the opportunity to pitch my solo performance and explain what I wanted to do prior to starting rehearsals on the piece. As mentioned previously, this was an idea that I was keen to explore because I felt it was of high importance and relevance considering that we are obsessed with the idea of social media and the culture of it has become massive. However, in pitching the idea, it dawned upon me that the idea would not work. Therefore, the idea has been scrapped.

Now this has been down to loads of reasons but one of the key reasons is because that whilst the idea was a strong one and held cultural relevance for a modern audience particularly, the idea felt too broad. Indeed, whilst explaining the idea, I felt concerned that what I was doing was focusing too much on the knowledge about the topic due to how niche the topic rather than exploring what I wished to do with the topic. Likewise, whilst it is ok to do a piece based on a topic, if there is too much knowledge and not enough substance to make your piece theatrical then you face the risk of the piece becoming not too dissimilar to a lecture and quite didactic. Therefore, I have decided to scrap the idea and try to think of an idea of what I wish to do.

At this moment, I don’t know too much on what I wish to focus on but I think that there should be something based on social media due to the fact that it has consumed our lives in the past decade or so. In particular, this idea of social media is interesting and something that I am considering to explore a stimulus for the time in the hope of being able to branch out about something new. However, as time goes on, who knows what the piece will become.