INTRODUCTION
Within their career, Rodgers and Hammerstein made the comparison that preparing for a career in musical theatre is equal to ‘preparing for battle’ (Marshall, 2016). To ensure success one must undergo ‘endless planning and strategic thinking’ (Marshall, 2016). In order to best prepare myself to enter the industry, I have attended a term of specialist skills classes. Throughout this portfolio I aim to analyse my progression across the term, focusing specifically on planning, preparation and building foundations ready for future endeavours as a graduate.
LEARNING PROCESS
Throughout my journey as a training professional, I have maintained the understanding that I predominantly learn best using visual and auditory methods. Therefore, I approached the specialist skills classes with the intention of solely relying on familiar methods of learning.
As individuals, the way in which we effectively process information can be segregated. In 1992, Flemming produced the VARK learning style which highlights four main areas of learning (Narayanan, 2012). The listed categories consist of Visual, Auditory, Reading and Kinaesthetic.
As I participated in specialist skills classes, I observed that across the separate subjects I processed information differently. Within screen acting, a prominent area of learning is that of learning lines. To do so, I began by using a reading technique when initially receiving text. I then instinctively shifted to an auditory method of processing, by recording lines and reciting them back. Although this was effective in promptly ensuring I knew the text, it created a barrier of exploration. As the text had been learnt through repetitive exposure to the audio, I was familiar with the specific tone and cadence on the initial recording. Therefore when this inevitably changed on set, I began to lose confidence in my ability to promptly recall the lines.
In order to make my learning more efficient, I altered my approach. A recent study found that ‘multiple modes’ of preferred learning styles can be used and choices are often ‘context specific’, altering as situations change (Narayanan, 2012). Therefore I began learning lines by reading the text aloud, incorporating both reading and visual techniques. As a safety net, I then implemented an element of auditory processing. However rather than recording my own lines, I recorded the lines prior to practice the element of call and response. Overall the use of multiple modes created a stronger, sustainable process of line learning. Throughout my training thus far it has been reiterated that reacting is an integral element to acting. My newfound way of learning lines enabled me to incorporate an element of spontaneity into the dialogue, which is essential when making instinctive character choices. I endeavour to continue exploring different processes of line learning, as I progress into graduation.
I approached the term of ballet, commercial and contemporary with a visual learning style; predominately focusing on replicating the shape of the movement. I believe replicating the shape is a basis of dance pickup that falls amongst other essential qualities such as; understanding the internal tempo, groove and resistance required within the piece. Through exploration across the term, I began to understand that this information processes faster when I use a kinaesthetic process.
Consequently, my learning approach altered within tap classes. I discovered across the term, that I work well when I can recognise familiar shapes within a piece. In video one, I was completing a traveling sequence and struggling to achieve a sense of lift and distance within the step. I received feedback, in which my teacher verbally explained and physically demonstrated the changes I needed to implement. I used both visual and kinaesthetic processes in order to replicate the feedback. It became apparent that the step I was completing, was simply a gallop. Identifying familiar details within the choreography was incredibly beneficial, in developing my understanding of new tap combinations.
In September I would often struggle to complete fast paced sections of tap choreography. When breaking down the rhythms within a tap piece, I initially used counts to separate each movement. When working on the Into The Heights piece, I was introduced to the technique of scatting as opposed to counting. This technique resonated with me and scatting whilst tapping assisted in making intricate rhythms more embodied. I voice recorded the scatting to gain familiarity as demonstrated in video two. In video three, the effects of scatting are evident, as I am successfully completing the choreography without relying on musical counts. This is a technique I aim to carry forward into the future. Across the next term, I am keen to discover if the technique of scatting is as effective in other genres of dance.
ACTING FOR SCREEN
Prior to September, the entirety of my previous acting experience had solely been for stage; I had limited experience performing for screen. I viewed the screen acting lessons as an opportunity to expand my knowledge within an unfamiliar field of the performance industry. In doing so, I believe I developed the transferable skill of adaptability.
Across the term I undertook the responsibility of various production roles such as Director of Photography, 2nd Camera Assistant, Head of Arts Department, Continuity and Lighting. Much like a theatrical production relies on the backstage team, I had an insight into the individual importance of each role behind the camera. With each role came separate responsibilities to undertake. At times due to absence, I had the responsibility of multiple roles at one time. Henceforth I expanded my sense of versatility; simultaneously working on multiple roles at once. In doing so I believe I was successful in achieving a sense of adaptability. As a dance captain within swing project, I have honed in on skills such as the ability to multitask and organise a group, which I was able to effectively transfer into the screen acting lessons. Obtaining the ability to swiftly transfer skills within multiple professional environments will be beneficial to my employability as a graduate; not only within a musical theatre setting but also across various industries such as teaching and hospitality.
Within screen acting I learnt that due to nature of re-recoding takes, specificity is paramount. Across the term I built upon my attention to detail, both on and off screen. I believe I thrived best within the role of 2nd AC, as I had the responsibility of maintaining the continuity of camera shots; ensuring the camera angle remained consistent across multiple takes. To achieve this I used LX tape to mark the floor, and communicated the initial positions so all individuals on set were aware of the setup. Due to my strong communication skills and close attention to detail, I was able to observe each take and communicate with the Director and DOP if any disparity within consecutive takes occurred. I believe the fundamental skillsets of consistency, communication and attention to detail that are affiliated with the role of 2nd AC, are incredibly similar to those required to make a successful dance captain. Therefore I believe if I continue to develop such transferable skills, it will hold me in me in good stead for the future. My fundamental foundation skills have the opportunity to open doors, to multiple avenues within the industry.
Overall the central point of personal fundamental learning when performing for camera, was discovering how to make my choices small enough for screen.
Within the initial duologue, I believe I presented the scene in a performative manner. As my character was upset, I made heightened acting choices such as a raised tone of voice and large facial expressions. This is evident within video four. I found the element of watching our screen performances back within the class incredibly beneficial. This initially felt like unfamiliar territory, as it is rare to immediately view a performance you have completed on stage. However observing the acting choices we made minutes prior, allowed me to gage an understanding of how it felt as the audience watching the piece. I quickly understood that my choices were too large and often looked comical on screen, it was essential to dial back the heightened energy.
I was required to perform a monologue within the class and I enjoyed having the creative freedom to present it in the context of my choosing. I found that altering the context had a significant impact on the overall performance of the piece. I chose to present Emma’s Monologue from One Day, as she is a grounded character who is navigating turbulent emotions. This gave me an opportunity to develop my understanding of playing heightened emotion on screen. The character also has a northern accent, this presented an opportunity to step outside of my comfort zone and tackle a new skillset. Towards the start of the term I had the tendency to slip into a standard British accent when performing for camera, rather than remaining true to the character. When filming the monologue, I endeavoured to maintain a northern accent and display the characters frustration to an appropriate degree for screen.
I had the opportunity to film my monologue twice on two separate occasions, which allowed me time to reflect upon my choices and make changes to develop the piece.
Within the first take I chose to stand infront of the camera and contextually set the scene in the streets of London. I acknowledged that I felt apprehensive filming my monologue for the first time, which subsequently I believe impacted the speed at which the text was delivered. Within video five, it is evident that throughout the majority of the take I sped through the text; without consideration for my characters thought process. I believe this gives the impression that the thoughts were rehearsed and not sporadic. The intention of the characters honesty was evident, but was presented in a heightened manner, with a raised cadence of speech and intense volume shifts. I also noted that I began the scene instantly, therefore there was a severe lack of consideration for the buildup of momentum before the monologue began.
I acknowledged that my own apprehension had a negative impact on the portrayal of the character, therefore I approached the second take in a grounded manner.
I took the second shoot as an opportunity to change the context of the piece. The couple were now sat opposite one another on a train, exhausted and in the company of fellow passengers. This gave the piece stakes, which I believe was a fundamental factor that was missing from the initial take. Completing the take seated allowed me to feel more grounded, which in part helped to reduce the speed of dialogue. Within video six I believe the dialogue is more genuine, as I allowed space for my character to think. I believe giving the piece space was effective in conveying the narrative in a non verbal manner. Allowing time to show the conflict and thought process of the character, assisted in giving prevalence to the dialogue that was verbally communicated. The space also allowed the performance to be an appropriate degree for screen; I had the ability to display frustration in a subtle manner. Having a clear setting helped to make the scenario feel more genuine, as I had the opportunity to behave naturalistically. Within video six I explored the idea of getting distracted by the happenings outside the window, and realising other passengers were listening to the conversation. Much like stage, maintaining clear given circumstances assists in bringing a more authentic character to screen.
Across both takes, I believe I effectively demonstrated a northern accent. Having the capability to swap accents, is a skill that will provide opportunities amongst a wider casting bracket.
In the future I endeavour to approach screen acting with a heightened sense of self belief; although the concept is new, it does not require apprehension. I have learnt that fear hinders progress. Instead, clear focus and contextual planning assists in developing a strong character foundation for screen.
ALIGNMENT AND STABILITY
Within the recent year of dance training, I have become aware that my balance and posture are a personal area of weakness. I received feedback from previous assessments that stated that my ‘weight was back’, which subsequently threw me ‘off balance’ (Spence & Scarth , 2025). In addition to this my ‘postural issues’ were highlighted and it was noted that dancing in heels ‘magnifies’ the problem (Spence & Scarth , 2025). The honest feedback led me to begin the term of specialist skills classes with a clear goal; building strength and maintaining awareness of my spine. Within different disciplines of dance the impact of my spine presents in marginally different forms.
Within the term of ballet classes, I was introduced to the concept of centre barre. Without the aid of the ballet barre I was required to complete barre exercises, whilst maintaining a central weight placement and turnout. Due to the correlation between my spine and pelvis, I find it different to sustain a neutral pelvis alignment. This subsequently has a negative effect on my overall weight placement and ability to access maximum turnout. Throughout the term I have developed my skillset of self correction, particularly when elements such as weight placement or turnout are compromised. The element of self correction is evident within video seven. When initially completing the exercise, I perform each pirouette preparation with a parallel fourth position as opposed to an accurate turned out, open fourth. I recognised this felt incorrect and approached the left side of the exercise with a pristine focus to heighten the sense of turnout in my preparation, engaging my external rotators. In doing so, I was closer to achieving technical accuracy within the exercise. I believe it is essential to build an element of independence when it comes to corrections in dance. This does not translate to always performing choreography technically accurate every time, but having the foundational understanding to acknowledge areas of improvement. This assists in building a sense of longevity in regard to personal development; progression should not end as soon as I have completed degree training. In the future I aim to continue to develop the skill of self correction. This will be particularly useful when attending open dance classes and training independently.
I also approached the term with the goal to notice my personal strengths. Within contemporary classes I was pleasantly surprised to find that the extended flexibility within my spine allowed me to thrive. As appose to restricting my capability as experienced in technical exercises within ballet classes, the movement in my spine allowed me achieve intricate travelling positions when completing across the floor exercises. This is evident within video eight, in which I am demonstrating a ‘travelling banana roll’. This particular exercise works on engaging the full extremity of spine flexibility, whilst making maximum use of the appropriate travelling space. Completing the exercises with success highlighted the importance of maintaining a positive outlook; my weakness in one area of dance, can be my greatest strength in another. I endeavour to retain the positive outlook in the future, when training across multiple styles of dance.
After making use of observational and self corrective skills, I noticed a trend of instability and misalignment within dance classes. Therefore I consulted a physiotherapist for further advice. After an examination of my spine he confirmed that I have mild scoliosis, which is subsequently causing the frequent misalignment of my pelvis and spine. A study completed in 2022 found that amongst a group of female dancers, the ‘prevalence rates of lumbar, knee, and ankle injuries in scoliotic dancers were significantly higher than those of non-scoliotic dancers’ (Wong et al., 2022). From this I am keen to navigate a solution to not only prevent injury, but also increase my overall postural strength. To achieve this I have begun weight training and pilates, which in due course I hope to build core and glute strength.
Throughout a turbulent term in regards to my spine, I believe I have shown vast amounts of resilience. I have actively not allowed myself to become overwhelmed with the inability complete certain exercises. Instead I have maintained the mindset that exercises that I struggle with now, are simply a goal for my future self to achieve. I have worked to the best of my capability within the specialised skills classes, in order to build progression. I believe obtaining a resilient mindset will be incredibly important as a new graduate entering a ‘competitive’ industry (Harris, 2023).
PICKUP
An area in which I have seen sufficient progress this term, has been my pickup skills in dance classes. Within the early stages of the term, we had an open conversation about dance pickup within a specialist skills tap class. We discussed the importance of maintaining focus and honing into specific details the choreographer reveals about the piece, in the introduction prior to the teaching. I put this into practice across the term, by treating skills classes like an audition. A tactic I found to be incredibly helpful is placing mental markers for myself, when learning long phrases of choreography.
In the context of video nine, we had a cover tap teacher who ran the class like an audition; swiftly teaching material from The Book of Mormon. Within the video I stumble on the hop scuff step, but as there is a mental marker on the train section, I am able to continue with the remainder of the dance. I have found that placing mental bookmarks is not only beneficial when recalling choreography, it also assists in heightening a sense of character. Obtaining an understanding of character shifts within a piece, helps to communicate narrative to the audience. The discovery of my mental markers in dance, has worked in a very similar way as actioning a text does within acting; highlighting and analysing areas to be aware of. I put this skill into practice when attending a professional level class at Pineapple.
Incorporating the dance technique and skills I have learnt across the term, I immersed myself in learning the piece. The choreography was taught faster than a conventional class in training, however I utilised the tactic of mental markers to support me. Within video ten I had placed a marker on the lyric ’cops’ as a midpoint within the choreography. This not only assisted in piecing the choreography together, but it gave me the confidence that I could continue with the remainder of the dance. Visually the shift in performance is evident once I reach the marker. As a target, I aim to implement a strong sense of performance from the offset, when learning new choreography.
As I navigate auditioning as a graduate, I will continue to implement my newfound technique of mental markers. Acting as a safety net, the makers give indication to the following phrases in new choreography and overall assist in building a sense of self assurance.
CONCLUSION
Overall across the term of specialist skills classes, I have discovered the upmost importance of self-belief. Having the ability to confidently take on tasks regardless of previous experience, is a personal foundational baseline which I aim to exceed moving forwards. In reflection, I have discovered that in order to feel confident, as an individual I must plan and prepare. The incidences within the portfolio in which preparation has been completed have shown to be positive, in which developmental progress has taken place. Although it was apparent that gauging the appropriate level when acting for screen was an initial challenge, as a result I believe it has increased my sense of versatility as a performer. Obtaining an awareness of the requirements for both stage and screen broadens my understanding across multiple pathways in the industry; positively preparing me for future endeavours as a musical theatre graduate.
BIBLIOGRAPHY
Harris, D.D. (2023) Beginning Musical Theatre Dance . Human Kinetics.
Marshall, H.D. (2016) Strategies for success in Musical Theatre: A Guide for Music Directors in school, College, and Community Theatre. Oxford University Press.
Narayanan, M. (2012) ‘Assessment of learning using Fleming & Mills’ Vark Learning Styles’, 2012 ASEE Annual Conference & Exposition Proceedings [Preprint]. doi:10.18260/1-2–20986.
Spence, H. and Scarth , L. (2025) Dance 2: Intermediate Techniques In Dance Assignment MTH5C002R~001 . Leeds Conservatoire.
Wong, A.Y.L. et al. (2022) ‘Is scoliosis associated with dance injury in young recreational dancers? A large-scale cross-sectional epidemiological study’, Journal of Dance Medicine & Science, 26(1), pp. 41–49. doi:10.12678/1089-313x.031522f.
