by Qianye Liu 25103216

Introduction

This portfolio documents and critically reflects on the development of my final performance project, serving as the summative assessment for the Performance Project module within the MA Musical Theatre programme. The project involved a full cohort reinterpretation of the musical Wonderful Town, condensed into an approximately 40-minute performance.

Within this process, selected students took on directorial roles, with Molly and Lucy leading the adaptation and restructuring of the original material into a series of curated performance extracts. This required significant creative decision-making in terms of narrative clarity, pacing, and thematic focus.

As a performer, I took on the role of Eileen, one of the central female characters in the musical. My contribution focused on embodying the character within a condensed narrative structure, requiring both vocal and physical interpretation within limited stage time.

This portfolio will explore the evolution of the project from its initial concept through to its final performance. It will also critically analyse my individual development, my role within a collaborative ensemble, and the ways in which creative challenges were addressed throughout the process.

Project Selection and Audition Process

Prior to the development of the performance material, the cohort engaged in a selection process to determine the musical that would form the basis of the project. Four potential productions were presented by the tutor, and the final choice was made through a collective voting process.

The decision to perform Wonderful Town was largely influenced by the ensemble’s interest in its stylistic elements, particularly the presence of Fosse-inspired choreography and jazz-influenced musical numbers. These features were seen as offering both creative challenge and opportunity for stylistic exploration.

Following this, an audition process was conducted in order to allocate roles. For the role of Eileen, the audition song was “A Little Bit in Love,” while the role of Ruth required performers to present “One Hundred Easy Ways to Lose a Man.” In approaching this stage, I made a conscious decision to audition for Eileen rather than Ruth.

This choice was informed by both practical and personal considerations. The musical style of Eileen’s material, particularly its jazz influence, aligned more closely with my musical interests, despite it being an unfamiliar genre in my training. In contrast, Ruth’s song presented a high level of lyrical density and a stylistic approach that I felt less connected to at that stage.

After engaging with the full musical, my interest in Eileen as a character deepened. I was particularly drawn to her personality and narrative function within the story, which further reinforced my decision to pursue this role.

However, the process of learning the audition material presented its own challenges. As I had limited prior experience with jazz-based vocal performance, I initially found it difficult to capture the stylistic qualities required, particularly the sense of swing and rhythmic flexibility. To address this, I engaged in active listening, studying original cast recordings and related repertoire in order to develop a more intuitive understanding of the genre.

Through this process, I began to develop a greater awareness of stylistic nuance, including the importance of ease, fluidity, and a sense of enjoyment within performance. This marked an important early stage in my learning, as it required me to step outside of my existing vocal comfort zone and engage with a new musical style.

Initial Concept and Proposal

The initial concept for this project emerged from the challenge of adapting a full-length musical into a significantly shorter performance format. Wonderful Town, originally a full-scale production, presents a rich narrative and multiple character arcs, which required careful consideration when selecting and restructuring material.

The decision to condense the musical into a 40-minute performance created both creative opportunities and limitations. On one hand, it allowed for a focused exploration of key moments within the narrative. On the other hand, it required the removal of significant portions of the original text, which impacted character development and storytelling.

The directors, Molly and Lucy, approached this process by selecting extracts that highlighted the central themes of the musical, including ambition, identity, and relationships. This restructuring influenced my approach as a performer, as I needed to quickly establish character depth within a shortened timeframe.

In my role as Eileen, my initial intention was to explore her personality through vocal expression and physicality. However, due to the condensed structure, I became increasingly aware of the need to communicate character traits efficiently and clearly. This required me to reconsider how I approached performance, focusing on precision and clarity rather than gradual development.

At this early stage, my understanding of the project was primarily practical, centred on learning material and responding to directorial instruction. However, as the process progressed, my engagement became more analytical, particularly in relation to character interpretation and ensemble collaboration.

Creative Process Documentation

Throughout the development of this project, the rehearsal process was structured around a combination of independent and tutor-led sessions. As a cohort, we typically engaged in two self-directed rehearsals per week, alongside one timetabled session supported by teaching staff. This structure required a high level of self-management and initiative, particularly in the absence of continuous external guidance.

The choreographic elements of the performance were led by Kaz, who was responsible for devising movement material across selected sections of the piece. This introduced an additional layer of peer-led collaboration, where performers were required to respond not only to directorial input but also to choreographic direction from within the group.

During the early stages of rehearsal, progress was relatively slow. One of the primary challenges was the overlap between this project and rehearsals for London to Broadway, which significantly impacted time management and creative focus. As a result, it was difficult to distribute energy effectively across both commitments. This led to a delayed development process, where noticeable progress only began to emerge in the final two weeks prior to performance.

This experience highlighted the impact of external pressures on creative development. Rather than engaging in a gradual and exploratory rehearsal process, much of the work became compressed into a limited timeframe. Consequently, there was less opportunity for experimentation and refinement, which affected the overall depth of performance material.

A further challenge within the process was the limited integration of live musical accompaniment. Due to the busy schedules of the Musical Directors (MDs), there were minimal opportunities to rehearse with accompaniment. For example, the song “Ohio,” performed within Molly’s directed section, was rehearsed with accompaniment only once prior to performance.

This lack of integration created difficulties in aligning vocal performance with musical timing and dynamics. In many cases, performers had to rely on internal timing or pre-recorded references, which reduced responsiveness and adaptability within performance. As a result, some musical elements lacked cohesion, particularly in ensemble sections where coordination is essential.

However, this challenge also required a level of independent responsibility. I had to develop a stronger internal sense of rhythm and musicality, as well as increased focus during performance to maintain consistency. This reflects an element of creative problem-solving within constrained conditions, aligning with the demands of working in a low-resource environment.

Collaboration and Ensemble Work

Collaboration within the ensemble was a central component of this project; however, it also presented several challenges that significantly impacted the rehearsal process.

One of the primary issues was the late consolidation of text. Much of the dialogue was only fully memorised in the final week of rehearsals, and in some cases, ensemble roles were assigned at a similarly late stage. As a result, during earlier rehearsals, performers were often reliant on scripts while simultaneously attempting to learn blocking and staging. This created a fragmented rehearsal environment, where it was difficult to fully engage with character or immerse in the performance. Instead of developing nuanced interactions, the focus was largely on recalling lines and spatial positioning.

Beyond the textual challenges, the physical and conceptual demands of cross-gender casting further complicated the ensemble dynamic.With only two male students in the class, several female performers, including myself, were required to undertake male roles—such as my portrayal of a police officer in Scene 1. This created a notable hurdle in maintaining ‘artistic belief’ (sense of truth) on stage. I found it difficult to reconcile the fundamental differences in thought patterns, vocal registers, and physical mannerisms between genders within such a condensed timeframe. Specifically, I struggled to monitor and suppress my habitual feminine gestures or facial expressions to align with the masculine archetypes required for the role. Due to the accelerated rehearsal schedule, there was insufficient time for deep physical characterisation or movement coaching to bridge this gap, which remained one of the most persistent challenges in my performance.

This highlights a key limitation within the collaborative process: the lack of early preparation reduced the potential for deeper creative exploration. From a professional perspective, this demonstrates the importance of securing foundational elements—such as text memorisation—at an earlier stage in order to allow for more detailed performance work.

A further challenge emerged in relation to language. As the working language of the rehearsal process was English, there were instances where I was unable to fully interpret or absorb directions from both tutors and peers. This occasionally led to misunderstandings, particularly in relation to staging and movement, resulting in incorrect execution of blocking. This reflects the complexity of working within an international ensemble, where communication extends beyond verbal instruction and requires adaptability and clarification strategies.

Additionally, limited rehearsal time meant that the ensemble rarely had the opportunity to run the performance in full. The absence of complete run-throughs created uncertainty around entrances, exits, and transitions between scenes. Consequently, minor errors occurred, particularly in relation to timing and spatial awareness.

Despite these challenges, the final performance demonstrated a strong sense of ensemble cohesion. Performers actively supported one another, particularly in coordinating with the Musical Directors, and there was a noticeable shift from technical execution to genuine engagement in performance. Rather than focusing solely on delivering lines, the ensemble became more present and responsive on stage.

Interestingly, the lack of over-rehearsal in certain sections also created space for spontaneity. For example, in the scene between Eileen and Ruth, which had not been fully rehearsed as a continuous sequence, the live interaction resulted in a natural and responsive dynamic. The pacing, timing, and emotional connection between performers aligned effectively in performance, suggesting that intuitive responsiveness can, in some cases, compensate for limited rehearsal structure.

This experience has deepened my understanding of collaboration as a complex and dynamic process. While structural challenges impacted rehearsal efficiency, they also encouraged adaptability, active listening, and trust within the ensemble. These are essential skills for professional practice, particularly within time-constrained performance environments.

Critical Reflection on Individual Practice

Reflecting on my individual performance within this project, the role of Eileen presented both interpretative and technical challenges that significantly contributed to my development as a performer. This process not only expanded my practical skill set but also deepened my critical awareness of how performance choices communicate meaning to an audience.

From an acting perspective, one of the key difficulties lay in balancing Eileen’s outward expressiveness with her more nuanced internal life. As a character, Eileen is often perceived as confident, attractive, and socially adept, benefiting from the attention she receives and using it strategically to create opportunities for herself. However, this external charm is contrasted by a strong moral awareness and emotional sensitivity, particularly in her relationship with her sister and her perceptiveness regarding the connection between Ruth and Baker. This contrast required careful calibration in performance, ensuring that neither aspect of her character dominated at the expense of the other.

This duality required a layered performance approach. I needed to ensure that her external confidence did not become superficial, while also maintaining clarity in her internal motivations. This highlighted the importance of detailed character analysis, as the effectiveness of the performance relied on communicating both her social awareness and her emotional intelligence within a limited timeframe. It also emphasised the need for subtle shifts in tone, gesture, and vocal delivery in order to reveal underlying intentions without overstatement.

Vocally, the role also presented challenges, particularly due to Eileen being written as a legit soprano. In the song “Ohio,” there are moments that require controlled upper register singing, which is not currently my strongest technical area. As a result, I had to spend additional time working on vocal placement and support in order to approach these sections with greater confidence. This experience emphasised the need for continued technical development, particularly in expanding my versatility across different vocal styles within musical theatre. It also highlighted the importance of stylistic adaptability when transitioning between different vocal genres.

In evaluating my performance, there are several areas that I recognise as requiring further development. Firstly, I became aware of a tendency to appear uncertain in my physical performance. At times, my movement lacked clarity and intention, resulting in unnecessary or unfocused gestures. This suggests a need to develop greater precision in physical acting, ensuring that all movement is purposeful and aligned with character intention. Developing a stronger sense of physical commitment will allow me to communicate character with greater confidence and consistency on stage.

Secondly, I identified a limitation in the depth of my character analysis. While I engaged with my own role and its immediate relationships, I did not consistently consider the broader context of the ensemble. A more comprehensive understanding of all characters—including minor roles and their motivations—would enable more meaningful interactions on stage. This would contribute to a more cohesive and believable performance overall. This reflects the importance of approaching performance as an interconnected system rather than a series of isolated roles.

Finally, I recognise the importance of responding more actively to musical elements within performance. Both singing and movement should be more closely informed by rhythm, dynamics, and emotional shifts within the music. As musical theatre is inherently driven by its score, a deeper connection to the music would enhance both the clarity and impact of performance. Engaging more fully with the musical structure would also support stronger integration between vocal and physical expression.

Despite these areas for improvement, this project has significantly developed my awareness of my own working practices. It has reinforced the importance of clarity, intention, and responsiveness, both in individual performance and within an ensemble context. Moving forward, I aim to apply these insights in future work, particularly in developing a more integrated approach to acting, singing, and movement. Ultimately, this experience has strengthened my ability to critically evaluate my practice and adapt effectively within a professional performance context.

Future Applications

This project has provided valuable insight into the realities of working within time-constrained rehearsal environments, which will be highly relevant to my future professional practice. During a session with Kim, we discussed the limitations of this process, particularly in relation to restricted rehearsal time and the challenges of preparing performance material under pressure.

This reflection highlighted that such conditions are not uncommon within the industry. For example, performers may be required to join a production with limited preparation time or take on roles such as a swing, where they must quickly adapt to multiple tracks without the opportunity for full run-through rehearsals.

As a result, this experience has encouraged me to develop more proactive and independent working strategies. In future projects, I intend to take greater responsibility for my own preparation by learning lines earlier, familiarising myself with staging in advance, and dedicating more time to vocal and physical rehearsal outside of scheduled sessions.

Furthermore, I aim to improve my ability to process and retain material efficiently within a short timeframe. This includes developing stronger memorisation techniques, as well as enhancing my responsiveness to direction and musical cues. By doing so, I will be better equipped to adapt to professional rehearsal conditions and maintain a high standard of performance, even when time and resources are limited.

Conclusion

In conclusion, this portfolio has critically documented the development of my final performance project, from its initial concept through to the final performance. It has explored the creative processes involved, the challenges encountered, and the ways in which both individual and collaborative practices contributed to the overall outcome.

Through this project, I have gained a deeper understanding of the complexities of working within an ensemble, particularly in relation to communication, time management, and adaptability. The limitations of rehearsal time and resources presented significant challenges; however, they also encouraged me to develop greater independence and resilience as a performer.

Critically reflecting on my own practice, I have identified key areas for improvement, including the need for clearer physical intention, more detailed character analysis, and a stronger connection to musical elements. At the same time, I recognise the progress I have made in responding to performance challenges and working effectively within a collaborative environment.

Overall, this experience has been instrumental in shaping my development as a musical theatre performer. It has not only enhanced my practical skills but also strengthened my ability to reflect critically on my work, which will be essential for my future professional practice.