Practice, practice, practice.
Upholding the professional standard that is required of a Masters student at RADA is never an easy feat. It has without a doubt been one of the most challenging experiences I’ve had in both my theatrical and personal life (actually, they’ve kind of merged to become one and the same) but are therefore also the most tangibly rewarding. Though I am currently nearing the end of rehearsals for our end of the year show, Clay To Flesh, it’s almost easy to forget what has passed during the third term of the curriculum. After many literal blood, sweat and teardrops, we’ve come out of a pretty intense set of modules.
For example, our company has worked thoroughly on a production of Shakespeare’s A Midsummer Night’s Dream, employing the physical techniques of Vsevolod Meyerhold, in which I played Helena. In other classes, using passages from the Bible, we experimented with the practices of Jerzy Grotowski, whose notion of ‘poor theatre’ revolutionized theatre as we’ve come to know it today. It’s certainly opened many doors for me. We’ve written a variety of scripts, including a short devised play loosely based on the well-known fairytale The Three Pigs, which we related to current affairs on immigration and refugees, I’ve co-written a short play called Surrogacy, and another one called Therapist. Outside of that, I’ve been busy with assessed choral singing and Stanislavski-based improvisation modules, where I delved into the character of a young imprisoned boy convicted of murder. It’s been.. an educational few months.