My UAL Audition

What UAL is looking for: We look for students who are ready to take on an extremely demanding profession, who are mature and self-confident, and who are willing to take criticism and turn it to their advantage while preserving a sense of humour (This shows that they want me to be confident in myself as well as willing to put this first before a social life. Their also looking for me not to take offence to any comments given to me about my performance as well being able to adapt to the criticism given). Above all, we look for people who can express themselves freely and with confidence (They want me to be confident and comfortable in who I am and what I can do).
We're looking for potential student actors who are committed, sensitive, imaginative, curious and resilient, with a passion for acting and a serious approach to the art of acting in the classical tradition (They want me to be able to adapt with creativity in what I’m asked to do as well as show commitment towards it). We're looking for people who are not afraid to take creative risks, who respond to stimuli and who are excited by the idea of being in an ensemble, working generously and openly with others (They would like me to be able to be accepting of what I am given and respect others judgement as well as acknowledging my own).

UAL School Audition: One speech should be in verse and from a play by Shakespeare or one of his contemporaries.

Name of play: Love Labour’s lost
Plot: A King and his lords form an austere academy, swearing to have no contact with women for three years. But when the Princess of neighbouring France arrives with her female attendants, their pledge is quickly placed under strain. Soon all are in smitten and confusion abounds, as each struggles to secretly declare his love in this comedy of deception, desire and mistaken identity.
Character: Berowne
Monologue:
And I, forsooth, in love!
I, that have been love's whip,
A very beadle to a humorous sigh,
A critic, nay, a night-watch constable,
A domineering pedant o'er the boy,
Than whom no mortal so magnificent.
This wimpled, whining, purblind, wayward boy,
This signor-junior, giant-dwarf, Dan Cupid,
Regent of love-rimes, lord of folded arms,
The anointed sovereign of sighs and groans,
Liege of all loiterers and malcontents,
Dread prince of plackets, king of codpieces,
Sole imperator and great general
Of trotting paritors -- O my little heart!
And I to be a corporal of his field,
And wear his colors like a tumbler's hoop!
What? I love, I sue, I seek a wife!
A woman that is like a German clock,
Still a-repairing, ever out of frame,
And never going aright, being a watch,
But being watched that it may still go right!
Nay, to be perjured, which is worst of all;
And, among three, to love the worst of all;
A whitely wanton with a velvet brow,
With two pitch balls stuck in her face for eyes.
Ay, and, by heaven, one that will do the deed,
Though Argus were her eunuch and her guard.
And I to sigh for her, to watch for her,
To pray for her! Go to, it is a plague
That Cupid will impose for my neglect
Of his almighty dreadful little might.
Well, I will love, write, sigh, pray, sue, groan:
Some men must love my lady, and some Joan

 

UAL School Audition: The other speech should be from any play written later than 1830.
Name of the play: When it rains gasoline
Plot: When it Rains Gasoline is a dark piece about the reality of being a high school student in the world today.  There are some kids who don't fit in; some kids who have been abused so badly that rage seems to be their only way out.  Paul is one of these kids.
Character: Paul
Monologue:
I get along with pretty much all the kids.  I know there are a lot of girls that really like me, they're just shy.  I'm kinda' shy too.  I know what they're going through.  I don't expect them to jump out and tell me how they feel, especially with Chris and...  Well, you know.  This one group of girls...  Really popular girls, invited me to a party.  I got all dressed up.  I was the only boy there.  We played a game where they giggled and dared each other to kiss me.  None did...  I'm sure they were just shy.  I...  I can really get people to laugh when I do things sometimes.  I'm...  I'm not really sure what those things are.  I mean, I get up from eating lunch and a whole group of kids at the next table starts to laugh.  I've thought about becoming a comedian...  Especially since I'm so good at making people laugh.  Chris and Angus and...  I don't like making those guys laugh.  Not really.  Sometimes they're...  I...  It's not fun to make them laugh, they...  (A painful pregnant pause.) Sometimes I wish that their little hearts would just freeze.  I have fantasies about that.  Sometimes in my dreams I see people like Chris choking on something.  He's motioning for me to help him.  He wants me to give him the Hiemlick maneuver or something, but I just stand there.  I watch him fall to his knees holding his throat...  His face turning blue.  For some reason blood starts to come out of his nose and ears.  His eyes pop out and blood starts to come from there too.  The whole time I know I can save him, but I don't do anything.  I watch him die.  He's lying there not moving, not doing anything.  Suddenly his skin splits open.  I expect to see muscles and bones, but...  Instead, maggots and spiders and worms start to crawl out of his ravaged body.  Then I know what he was...  Nothing.  He wasn't worth anything to anyone but insects and maggots.  Sometimes I think about ending it.  It would be so easy to make a statement, to show the world that people like me aren't going to take it anymore.  Put a gun to his head...  Pull the trigger...  See if I'm right about his insides.

My LAMDA Audition

What LAMDA is looking for: Each piece should last no longer than three minutes and there must be a clear contrast between the two (This would be because they want to see my acting range and the levels of versatile you can bring to their school). After presenting your work to the panel, you will be interviewed briefly as part of the audition process (The interview can help the audition panel to get to know me as a person which would be useful for them as they will be able to judge if I am able to be a successful student). You should be prepared to discuss your reasons for wanting to take this course (This will also help the panel to better understand me as well as what I hope to get from the course I wish to take) and bring a portfolio showing examples of your work (This will help show my past experience as an actor as well as help them gravitate my past acting skills as well as my development since I started acting). We do not ask applicants for specific academic qualifications or grades (This shows they don’t want to judge me on your grade but on how well I can perform, the commitment I show and how much of a passion I show). Unsuccessful applicants may re-apply at any point during the same audition/interview period. There is no limit to the number of times an individual can apply to LAMDA (This also shows they believe in second chances as well wanting to see if I can grow as an actor after being turned down as well as how I improve myself).

LAMDA School Audition: one monologue from an Elizabethan or Jacobean play
Name of play: Love Labour’s lost
Plot: A King and his lords form an austere academy, swearing to have no contact with women for three years. But when the Princess of neighbouring France arrives with her female attendants, their pledge is quickly placed under strain. Soon all are in smitten and confusion abounds, as each struggles to secretly declare his love in this comedy of deception, desire and mistaken identity.
Character: Berowne
Monologue:
And I, forsooth, in love!
I, that have been love's whip,
A very beadle to a humorous sigh,
A critic, nay, a night-watch constable,
A domineering pedant o'er the boy,
Than whom no mortal so magnificent.
This wimpled, whining, purblind, wayward boy,
This signor-junior, giant-dwarf, Dan Cupid,
Regent of love-rimes, lord of folded arms,
The anointed sovereign of sighs and groans,
Liege of all loiterers and malcontents,
Dread prince of plackets, king of codpieces,
Sole imperator and great general
Of trotting paritors -- O my little heart!
And I to be a corporal of his field,
And wear his colors like a tumbler's hoop!
What? I love, I sue, I seek a wife!
A woman that is like a German clock,
Still a-repairing, ever out of frame,
And never going aright, being a watch,
But being watched that it may still go right!
Nay, to be perjured, which is worst of all;
And, among three, to love the worst of all;
A whitely wanton with a velvet brow,
With two pitch balls stuck in her face for eyes.
Ay, and, by heaven, one that will do the deed,
Though Argus were her eunuch and her guard.
And I to sigh for her, to watch for her,
To pray for her! Go to, it is a plague
That Cupid will impose for my neglect
Of his almighty dreadful little might.
Well, I will love, write, sigh, pray, sue, groan:
Some men must love my lady, and some Joan
 
LAMDA School Audition: one monologue from a play written in either the 20th or 21st Century, but not a piece written by you or by an unknown or little-known author.
Name of play: Five finger exercise
Plot: The play focuses on the Harrington family, who are spending a holiday together in their cottage in Suffolk, England. There is a snobbish mother, Louise, who fancies herself a Parisian aristocrat; a working class father, Stanley, who has done quite well for himself and his family in the furniture business; a troubled and sensitive son, Clive, who is just entering college, drinks too much, and is trying to find himself; and a smart-mouthed, feisty, fourteen-year-old daughter, Pamela. The fifth character is a young German music tutor, Walter, employed by the Harrington’s to teach Pamela to play piano.
Character: Walter
Monologue:
Clive? What's the matter? Are you all right? Why are you sitting in the dark? I've been talking to your father. He thinks you hate him. Clive, listen to me. The Kings of Egypt were gods. Everything they did was right, everything they said was true, everyone they loved became important. And when they died, they grew faces of gold. You must try to forgive your parents for being average and wrong when you worshipped them once. Why are you so afraid? Is it - because you have no girlfriend? Oh, you are so silly. Silly. Do you think sex will change you? Put you into a different world, where everything will mean more to you? I thought so, too, once. I thought it would change me into a man so my father could never touch me again. I didn't know exactly what it would be like, but I thought it would burn me and bring me terrible pain. But afterwards, I'd be strong and very wise. There was a girl in Muhlbach. She worked in her mother's grocery shop. One night I had a few drinks and, just for a joke, I broke into her bedroom through the window. I stayed with her all night. And I entered heaven. I really did. Between her arms was the only place in the world that mattered. When daylight came, I felt I had changed for ever. A little later I got up. I looked round, but the room was exactly the same. This was incomprehensible. It should have been so huge now - filled with air. But it seemed very small and stuffy and outside it was raining. I suppose I had thought, 'Now it will never rain again,' because rain depresses me, and I was now a man and could not be depressed. I remember, I hated the soap for lying there in the dish just as it had done the night before. I watched her putting on her clothes. I thought: 'We're tied together now by an invisible thread.' And then she said: 'It's nine o'clock: I must be off' - and went downstairs to open the shop. Then I looked into the mirror: at least my eyes would be different. They were a little red, yes - but I was exactly the same - still a boy. Rain was still here. And all the problems of yesterday were still waiting. Sex by itself is nothing, believe me. Just like breathing - only important when it goes wrong. And Clive, this only happens if you're afraid of it. What are you thinking? (He pauses.) Please talk to me.

Choosing my 3 monologues

LAMDA                                       UAL

1 Classical                                     1 Classical

1 Contemporary                            1 Contemporary

 

MY STRENGHS

• Dark humor
• Panicky\doubtful Characters

MY WEAKNESSES

• Romantic characters
• Intense\serious characters

Monologue 1 (Elizabethan and Jacobean): I have to decide between my “Love Labour’s lost” monologue by Berowne and my “Richard III” monologue by Gloucester (Richard III).  I believe I will chose the monologue from “Love Labour’s lost” as this is a very silly and comedic monologue which is a play on my strengths in acting unlike the “Richard III” monologue which is very intense, being intense is considered to be one of my weaknesses so choosing the “Love Labours lost” monologue will help show off my acting range.

Monologue 2 (Contemporary): I need to decide my Contemporary monologue from the 5 monologues I have found which are Walter’s monologue from “Five Finger Exercise”, Dave’s from “It’s Ralph”, Richard’s from “DNA”, Paul’s monologue from “When it rains gasoline” or Phil from “Boy’s life”. I have decided that I will not choose Dave’s monologue from “it’s Ralph” as I do not suit the character personality or age as well as not having any familiarity of consequences going on with Ralph’s death.  I am also not considering performing Richard’s monologue from “DNA” as even though we are both in a similar age range to each other, our personalities do not match as Richard is a strong assertive type which doesn’t suit my personality. I am also not going to choose the monologue from “Boy’s life” by Phil as even though I suit the character type the monologue doesn’t play to my strengths as an actor because the monologue is considered to be a dark romantic piece as he’s trying to impress a girl just in the wrong way. I’m now left with 2 monologues to choose from for my main contemporary monologue, either Paul’s from “When it rains gasoline” or Walter’s for “Five Finger Exercise”.  I believe the monologue from “when it rains gasoline” is my strongest of the 2 as I suit the character as a teenage boy as well as the monologue plays to my strengths as it is a comedic monologue at the start but turn dark and twisted as it gets towards the end. My Contemporary monologue will be Paul’s from “When it rains gasoline.

Monologue 3 (Spare monologue): My spare monologue will be Walter’s from “Five Finger Exercise” as this monologue plays to my strengths as an actor of dark comedic scenes. Walter’s character doesn’t suit my age but we have contrasting personalities so I will be able to adapt myself to this monologues needs.

Audition monologues (Contemporary)

Name of play: Five finger exercise
Plot: The play focuses on the Harrington family, who are spending a holiday together in their cottage in Suffolk, England. There is a snobbish mother, Louise, who fancies herself a Parisian aristocrat; a working class father, Stanley, who has done quite well for himself and his family in the furniture business; a troubled and sensitive son, Clive, who is just entering college, drinks too much, and is trying to find himself; and a smart-mouthed, feisty, fourteen-year-old daughter, Pamela. The fifth character is a young German music tutor, Walter, employed by the Harrington’s to teach Pamela to play piano.
Character: Walter
Monologue:
Clive? What's the matter? Are you all right? Why are you sitting in the dark? I've been talking to your father. He thinks you hate him. Clive, listen to me. The Kings of Egypt were gods. Everything they did was right, everything they said was true, everyone they loved became important. And when they died, they grew faces of gold. You must try to forgive your parents for being average and wrong when you worshipped them once. Why are you so afraid? Is it - because you have no girlfriend? Oh, you are so silly. Silly. Do you think sex will change you? Put you into a different world, where everything will mean more to you? I thought so, too, once. I thought it would change me into a man so my father could never touch me again. I didn't know exactly what it would be like, but I thought it would burn me and bring me terrible pain. But afterwards, I'd be strong and very wise. There was a girl in Muhlbach. She worked in her mother's grocery shop. One night I had a few drinks and, just for a joke, I broke into her bedroom through the window. I stayed with her all night. And I entered heaven. I really did. Between her arms was the only place in the world that mattered. When daylight came, I felt I had changed for ever. A little later I got up. I looked round, but the room was exactly the same. This was incomprehensible. It should have been so huge now - filled with air. But it seemed very small and stuffy and outside it was raining. I suppose I had thought, 'Now it will never rain again,' because rain depresses me, and I was now a man and could not be depressed. I remember, I hated the soap for lying there in the dish just as it had done the night before. I watched her putting on her clothes. I thought: 'We're tied together now by an invisible thread.' And then she said: 'It's nine o'clock: I must be off' - and went downstairs to open the shop. Then I looked into the mirror: at least my eyes would be different. They were a little red, yes - but I was exactly the same - still a boy. Rain was still here. And all the problems of yesterday were still waiting. Sex by itself is nothing, believe me. Just like breathing - only important when it goes wrong. And Clive, this only happens if you're afraid of it. What are you thinking? (He pauses.) Please talk to me.

Name of play: It’s Ralph
Plot: Andrew and his wearily frustrated wife Clare are spending the weekend in their Gloucestershire cottage, which, like their marriage, is well in need of repair. Ralph, an old friend of Andrew's, visits and remembers their shared radical youth. Ralph brings Andrew face to face with his own spiritual bankruptcy and the latter finally unburdens himself to his visitor. Clare leaves, the house decays rapidly and Ralph helps Andrew to regain his integrity, but at a price as in the last few minutes of the show, Ralph is crushed by a falling celling.
Character: Dave
Monologue:
Poor old Ralph. I'd never seen anyone dead before. (Pause.) Actually, that's not true. There was someone. My Dad's auntie. She was funny in the head. She thought she could flap her arms up and down and fly like a bird. They had her put away. But then, when she got older, Dad thought she should come and live with us. We had a house in the country, in Essex. Dad thought she should end her days with the family and not in a loony bin. The house was very unusual. Tall and thin. And there was trees all round it. There was a gap in the trees, and through that gap you could see the Colchester to London railway line. My old aunt loved to watch the trains go by. They gave her a room on the top floor so she could see the trains clearly. They kept the window locked, just in case. One day she managed to prise the window open. She crawled onto the window-sill, flapped her arms up and down, and jumped. Poor old darling. Mum rushed out and found her. 'Don't look,' she said, but of course I did. Wasn't nasty or frightening. Just a funny bundle of clothes with legs and arms sticking out of it. Mum said it was a blessed release. She often said that about people dying. (Pause.) I suppose some people thought she killed herself because we kept her locked up and were cruel to her. Perhaps some people thought she was trying to escape and killed herself accidentally. Some people knew the truth, of course. And perhaps there was someone in a train going from Colchester to London. And perhaps he looked out of the window, and perhaps, through the gap in the trees, he saw an old lady in mid-air, flapping her arms up and down. Just for a split second, as the train rushed on, past our house. And he'd look through the window, that man, and he'd be amazed. He'd tell his friend, 'I saw an old lady flying', he'd say. So in a way, it actually happened. What she wanted. Perhaps she died happy. What do you think?

Name of play: DNA

Plot: DNA by Dennis Kelly follows the silent yet intimidating, 16 year old Phil, and his fearful following of misfits as they come to terms with the consequences of a practical joke that ends in tragedy. This piece deals directly and powerfully with hard hitting, relevant issues, such as violence, guilt, unrequited love, tyranny and solidarity within a group of adolescents who have placed themselves at the edge of society.
Character: Richard
Monologue:
Phil, Phil, watch this! Phil, watch me, watch me, Phil!
See? See what I’m doing? Can you see Phil?
When are you going to come back?
Come on, Phil. Come back to us. What do you want to sit up here for? In this field? Don’t you get bored? Don’t you get bored sitting here, everyday, doing nothing?

Everyone’s asking after you. You know that? Everyone’s saying ‘where’s Phil?’ ‘what’s Phil up to?’ ‘when’s Phil going to come down from that stupid field?’ ‘wasn’t it good when Phil was running the show?’ What do you think about? What do you think about everyone asking after you?

Aren’t you interested? Aren’t you interested in what’s going on?
John Tate’s found god. Yeah, yeah I know. He’s joined the Jesus Army, he runs round the shopping centre singing and trying to give people leaflets. Danny’s doing work experience at a dentist’s. He hates it. Can’t stand the cavities, he says when they open their mouths sometimes it feels like you’re going to fall in.
Brian’s on stronger and stronger medication. They caught him staring at a wall and drooling last week. It’s either drooling or giggling. Keeps talking about earth. I think they're going to section him. Cathy doesn't care. She's too busy running the things. You wouldn't believe how things have got, Phil. She's insane. She cut a first year's finger off, that's what they say anyway. Doesn't that bother you? Aren't you even bothered?
Lou's her best friend, now. Dangerous game. I feel sorry for Lou. And Jan and Mark have taken up shoplifting, they're really good at it, get you anything you want. Phil? Phil!
You can't stay here forever. When are you going to come down?

Nice up here.

As I was coming up here there was this big wind of fluff. You know, this big wind of fluff, like dandelions, but smaller, and tons of them, like fluffs of wool or cotton, it was really weird, I mean it just came out of nowhere, this big wind of fluff, and for a minute I thought I was in a cloud, Phil. Imagine that. Imagine being inside a cloud, but with space inside it as well, for a second, as I was coming up here I felt like I was an alien in a cloud. But really felt it. And in that second, Phil, I knew that there was life on other planets. I knew we weren't alone in the universe, I didn't just think it or feel it, I know it, it was as if the universe was suddenly shifting and giving me a glimpse, this vision that could see everything, just for a fraction of a heartbeat of a second. But I couldn't see who they were or what they were doing or how they were living.

How do you think they're living, Phil?
How do you think they're living?
There are more stars in the universe than grains of sand on Brighton beach.
Come back, Phil.
Phil?"

Name of the play: When it rains gasoline
Plot: When it Rains Gasoline is a dark piece about the reality of being a high school student in the world today.  There are some kids who don't fit in; some kids who have been abused so badly that rage seems to be their only way out.  Paul is one of these kids.
Character: Paul
Monologue:
I get along with pretty much all the kids.  I know there are a lot of girls that really like me, they're just shy.  I'm kinda' shy too.  I know what they're going through.  I don't expect them to jump out and tell me how they feel, especially with Chris and...  Well, you know.  This one group of girls...  Really popular girls, invited me to a party.  I got all dressed up.  I was the only boy there.  We played a game where they giggled and dared each other to kiss me.  None did...  I'm sure they were just shy.  I...  I can really get people to laugh when I do things sometimes.  I'm...  I'm not really sure what those things are.  I mean, I get up from eating lunch and a whole group of kids at the next table starts to laugh.  I've thought about becoming a comedian...  Especially since I'm so good at making people laugh.  Chris and Angus and...  I don't like making those guys laugh.  Not really.  Sometimes they're...  I...  It's not fun to make them laugh, they...  (A painful pregnant pause.) Sometimes I wish that their little hearts would just freeze.  I have fantasies about that.  Sometimes in my dreams I see people like Chris choking on something.  He's motioning for me to help him.  He wants me to give him the Hiemlick maneuver or something, but I just stand there.  I watch him fall to his knees holding his throat...  His face turning blue.  For some reason blood starts to come out of his nose and ears.  His eyes pop out and blood starts to come from there too.  The whole time I know I can save him, but I don't do anything.  I watch him die.  He's lying there not moving, not doing anything.  Suddenly his skin splits open.  I expect to see muscles and bones, but...  Instead, maggots and spiders and worms start to crawl out of his ravaged body.  Then I know what he was...  Nothing.  He wasn't worth anything to anyone but insects and maggots.  Sometimes I think about ending it.  It would be so easy to make a statement, to show the world that people like me aren't going to take it anymore.  Put a gun to his head...  Pull the trigger...  See if I'm right about his insides.

Name of Play: Boy’s life

Plot:
Character: Phil
Monologue:
I would have destroyed myself for this woman. Gladly. I would have eaten garbage. I would have sliced my wrists open. Under the right circumstances, I mean, if she said, "Hey, Phil, why don't you just cut your wrists open?" Well, come on, but if seriously... We clicked, we connected on so many things, right off the bat, we talked about God for three hours once. I don't know what good it did, but that intensity... and the first time we went to bed, I didn't even touch her. I didn't want to, understand what I'm saying? And you know, I played it very casually, because, all right, I've had some rough experiences, I'm the first to admit, but after a couple weeks I could feel we were right there, so I laid it down, everything I wanted to tell her, and... and she says to me, she says... "Nobody should ever need another person that badly." Do you believe that? "Nobody should ever...!" What is that? Is that something you saw on TV? I put my heart on the table; you give me Dr. Joyce Brothers? "Need, need," I'm saying I love you, is that so wrong? Is that not allowed anymore? (Pause.) And so what if I did need her? Is that so bad? All right, crucify me, I needed her! So what! I don't want to be by myself, I'm by myself I feel like I'm going out of my mind, I do. I sit there, I'm thinking forget it, I'm not gonna make it through the next ten seconds. I just can't stand it. But I do, somehow, I get through the ten seconds, but then I have to do it all over again, cause they just keep coming, all these... Seconds, floating by, while I'm waiting for something to happen, I don't know what, a car wreck, a nuclear war or something, that sounds awful but at least there'd be this instant when I'd know I was alive. Just once. Cause I look in the mirror, and I can't believe I'm really there. I can't believe that's me. It's like, my body, right, is the size of, what, the Statue of Liberty, and I'm inside it, I'm down in one of the legs, the gigantic hairy leg, I'm scraping around inside my own foot like some tiny fetus. And I don't know who I am or where I'm going. And I wish I'd never been born. (Pause.) Not only that, my hair is falling out, and that really sucks.
 
  

Audition monologues (Classical)

Name of play: Richard III
Plot:
Character: Gloucester
Monologue:
Now is the winter of our discontent
Made glorious summer by this sun of York;
And all the clouds that lour'd upon our house
In the deep bosom of the ocean buried.
Now are our brows bound with victorious wreaths;
Our bruised arms hung up for monuments;
Our stern alarums changed to merry meetings,
Our dreadful marches to delightful measures.
Grim-visaged war hath smooth'd his wrinkled front;
And now, instead of mounting barded steeds
To fright the souls of fearful adversaries,
He capers nimbly in a lady's chamber
To the lascivious pleasing of a lute.
But I, that am not shaped for sportive tricks,
Nor made to court an amorous looking-glass;
I, that am rudely stamp'd, and want love's majesty
To strut before a wanton ambling nymph;
I, that am curtail'd of this fair proportion,
Cheated of feature by dissembling nature,
Deformed, unfinish'd, sent before my time
Into this breathing world, scarce half made up,
And that so lamely and unfashionable
That dogs bark at me as I halt by them;
Why, I, in this weak piping time of peace,
Have no delight to pass away the time,
Unless to spy my shadow in the sun
And descant on mine own deformity:
And therefore, since I cannot prove a lover,
To entertain these fair well-spoken days,
I am determined to prove a villain
And hate the idle pleasures of these days.
Plots have I laid, inductions dangerous,
By drunken prophecies, libels and dreams,
To set my brother Clarence and the king
In deadly hate the one against the other:
And if King Edward be as true and just
As I am subtle, false and treacherous,
This day should Clarence closely be mew'd up,
About a prophecy, which says that 'G'
Of Edward's heirs the murderer shall be.
Dive, thoughts, down to my soul: here
Clarence comes.

Name of play: Love Labour’s lost

Plot: A King and his lords form an austere academy, swearing to have no contact with women for three years. But when the Princess of neighbouring France arrives with her female attendants, their pledge is quickly placed under strain. Soon all are in smitten and confusion abounds, as each struggles to secretly declare his love in this comedy of deception, desire and mistaken identity.
Character: Berowne
Monologue:
And I, forsooth, in love!
I, that have been love's whip,
A very beadle to a humorous sigh,
A critic, nay, a night-watch constable,
A domineering pedant o'er the boy,
Than whom no mortal so magnificent.
This wimpled, whining, purblind, wayward boy,
This signor-junior, giant-dwarf, Dan Cupid,
Regent of love-rimes, lord of folded arms,
The anointed sovereign of sighs and groans,
Liege of all loiterers and malcontents,
Dread prince of plackets, king of codpieces,
Sole imperator and great general
Of trotting paritors -- O my little heart!
And I to be a corporal of his field,
And wear his colors like a tumbler's hoop!
What? I love, I sue, I seek a wife!
A woman that is like a German clock,
Still a-repairing, ever out of frame,
And never going aright, being a watch,
But being watched that it may still go right!
Nay, to be perjured, which is worst of all;
And, among three, to love the worst of all;
A whitely wanton with a velvet brow,
With two pitch balls stuck in her face for eyes.
Ay, and, by heaven, one that will do the deed,
Though Argus were her eunuch and her guard.
And I to sigh for her, to watch for her,
To pray for her! Go to, it is a plague
That Cupid will impose for my neglect
Of his almighty dreadful little might.
Well, I will love, write, sigh, pray, sue, groan:
Some men must love my lady, and some Joan

Whole show practice part 2 (Day of Performance)

Today we were off our normal time table at school so we could practice this performance as we were performing this at the end of the day. We started by laying out all the items we have for the show and then talking about our plan for the day:

• 9:00-10:00= Polish all numbers and scene we are not confident with
• 10:00-10:40= Make the Tree costumes and other items needed
• 11:00-12:20= Run the whole show with costumes and props while timing it.

We were informed today that we would be unable to perform our Goldilocks piece as the hall in the infants school was to small to set up a silhouette performance so we would only need to practice "Little Red" and "Jack and the beanstalk". We started by practicing the following numbers and scenes first: Little Red opening, Red in the Woods, Grandma house with Wolf and Red, You've got a friend in me, I've got the magic bean, Welcome to the sky, Cutting the beanstalk and "We're a believer". Our objective was to make sure we not only see if we knew these piece but also could put the full of energy. The opening of Little Red went very well so we only ran it once and moved on to Red in the woods which is where Red is on her way to her grandmothers. She is skipping in out of us while we are the trees but as a last minute add we had "Pink Panther" theme tune played in the background as the trees did a step kick and jazz hands in time with the beat of the song. We then skipped to Grandmothers house and speed ran through it to make sure we all knew what we were doing before we moved on to "you've got a friend in me" which was also find so we moved on to "I've got the magic bean". We ended up running this number a few times so that some of us could show more energy and smile more we performed the number, in total we did this number 5 times before we moved on to out next part which was "welcome to the sky". This number like last one, we ran over a few times, as some of us struggled to show enough energy but we sorted it and then moved on to cutting the beanstalk which was the scene where Jack had just come down the beanstalk and the one we weren't sure of our lines on. We managed to run through this though with no problems as we started "we're a believer" which went well but we had to decide weather we'd use backing track or the actual number, we took a vote and decided backing track.

We then spent time making our tree costumes from bin bags and leaves we cut from different shades of green and yellow paper. We also made a shinning gold egg for the goose to us in Jack and the beanstalk.

Whole Show Practice Part 1

Today we started to work on our whole children's theatre piece in order starting with our opening with Freya, Toby, Tom and Meg where Toby and Freya are boring the children as teachers so Meg and Tom enter. we changed this so as they enter saying they have the book we all start saying "They have the book" while scattered across the audience. The rest stayed the same as we got to end of the opening and started Little Red. Little Red was a good run through as we didn't have to stop and go over any of the scenes more than once as I showed we had clearly practice this number but  when we reached the end of the Little Red run we we're told that some of us need to show more energy so that we would have a better chance of getting a reaction out of the children with our performance. We were then suppose to move on to the transition to for Goldilock but we skipped these two as we didn't have time to set up silhouette this lesson so we said we would do it next lesson and as we didn't do Goldilock we skipped the transition. We also skipped the Jack and the beanstalk transition as we wanted to focus on jack as it is the most recent piece we created so we were more likely to be not as familiar with it. We started Jack and the beanstalk which went could until we got to "You've got a friend in me" which we still needed to stage it, so we spent some time deciding what we would in which we changed the song:
Tom:

She's got a friend in me
 She's got a friend in me
When the road looks rough ahead
And you're miles and miles
From your nice warm bed
You just remember what your old pal said
Boy, She's got a friend in me
Yeah, She's got a friend in me

 

You've got a friend in me
You've got a friend in me
You've got troubles, and I've got 'em too
There isn't anything I wouldn't do for you
We stick together and can see it through
'Cause you've got a friend in me
You've got a friend in me

 

In this number we all walk around except me as I stand there listening to him as I'm his mother and the Co and Jack dance during the second chorus. We then move on through the rest of the show very well until the end after Jack and Goose had just jumped down the beanstalk. The scene that followed had some problems as none of us knew the lines we were saying as it was clear we hadn't gone over this last scene so we were instructed to go over it for next lesson.

Todays lesson went good as we managed to go over half of our production with little problems but it means we will need to go over certain scenes for next lesson like the ending of Jack and "You've got a friend in me" as we are performing our show next Tuesday (23rd June). We were informed today that we would only be performing to Themes view infants school only as we were unable to find a date we could of perform to St. Margret's infants. To improve our whole performance we will need to work on our whole energy out put for the performance as we should be exhausted by the end of the performance if we are putting the right amount of energy in as everything we do must be over the top. At the end of the lesson we had a sit down to talk about what we each needed to collect for the performance, these are the items I need to collect:

• Beak for start of Little Red (Can be made from some paper and cello tape)
• Tree costume for the scene in the woods with Little Red (We are making this at school next lesson)
• Dress for Mother in Jack and the beanstalk (Our teacher is supplying me with this item)
• Tray to sell goods in market scene (I can supply this from home)
• Broom for mother to clean with (I am borrowing this from Carl Tyler another member of the cast)