Introduction
The following portfolio documents and critically reflects upon the development of the final performance project, a production of ‘Wonderful Town’ by Leonard Bernstein. The musical, set in 1930s New York, draws heavily on jazz influences both musically and choreographically, which offers a lot of stylistic interpretation for performance. As a scripted musical theatre work, the project required not only performance but also collaborative input in directing, choreographing and producing.
Within this project, I undertook the dual role of performer and co-director. This made me create a balance between personal artistic interpretation and the requirement of facilitating ensemble work. The process became an opportunity to develop not only my performance but also my leadership capacity in a collaborative setting.
The initial intention of the project was to create a cohesive, stylistically informed interpretation of ‘Wonderful Town’, with particular emphasis on its jazz influences and character-driven narrative. I used established performance methods, including the Meisner technique, as well as research into existing interpretations, in particular Donna Murphy’s portrayal of Ruth. Alongside this, the choreographic choices were informed by the stylistic legacy of Bob Fosse, integrating jazz-based movement to reinforce the musical’s historical and aesthetic context.
However, as the process unfolded, several challenges came up, particularly in relation to communication within the company and the delayed casting process, which significantly impacted rehearsals. These constraints needed ongoing creative problem-solving and adaptation, ultimately shaping both the process and the final performance outcome.
This portfolio will critically analyse the evolution of the project from its initial conception through to performance, with particular focus on collaborative practice, individual development and the strategies made to navigate practical and creative blocks. In doing so, it will evaluate how effectively the project met its original aims and consider how the learning may inform future performance-making processes.
Initial Concept & Artistic Intentions
The initial development of the production emerged from a collective decision within the company on 20th January, making this the starting point for both artistic and organisational planning. Early stages of the process were focused on establishing a creative team and allocating roles, reflecting an ensemble-based approach to theatre-making in which responsibility was distributed across multiple collaborators.
From a performance perspective, my portrayal of Ruth was shaped by a combination of textual analysis and practitioner research. In particular, I drew on Donna Murphy’s interpretation of the role as a reference point, allowing me to examine how comedic timing, vocal delivery, and character physicality could be effectively integrated. However, rather than replicating this performance, I wanted to adapt elements through the lens of the Meisner technique, prioritising spontaneous and authentic emotional responses within the given circumstances of the script.
Despite these clearly defined artistic intentions, the realisation of the project was significantly shaped and at times disrupted by organisational challenges evident within the timeline. Furthermore, the decision to perform only Act 2, made on 2nd February, altered the initial scope of the project and required a re-evaluation of narrative coherence and character arcs.
Ultimately, while the initial artistic vision for ‘Wonderful Town’ was rooted in stylistic clarity and performer-led interpretation, the early stages of the process revealed the complexities of translating intention into practice within a collaborative framework. These challenges would go on to significantly influence both the creative process and the final performance outcome.
Creative Process & Development
The creative development of ‘Wonderful Town’ was characterised by a non-linear and fragmented rehearsal process, a characteristic often present in devised and collaborative performance-making (Oddey, 1994), largely shaped by delays, communication challenges and growing leadership structures within the company. While the initial intention was to follow a structured rehearsal schedule progressing from vocal work to choreography and then staging, the reality of the process required continuous adapting and quick decision-making.
As mentioned, the delayed casting, which was not finalised until 5th February, resulted in a loss of approximately three weeks of rehearsal time. Consequently, the early rehearsal period prioritised learning vocals, including “Wrong Note Rag” and “My Darling Eileen,” as well as establishing choreography. While this ensured a level of technical competence in musical numbers, it inadvertently delayed the integration of scenes, creating a disconnect between performance elements.
The majority of the early rehearsals were dedicated to “Wrong Note Rag,” despite the fact that the number is performed by two main characters, with only parts having ensemble singing. The decision to spend approximately three weeks rehearsing this number did not benefit the full company. In retrospect, this time could have been more effectively utilised in staging scenes or beginning choreography earlier, particularly given the short rehearsal period. This imbalance became more apparent in contrast to “Swing,” a large-scale ensemble number which was not fully addressed until two to three weeks before performance. It was only during the choreographic process that we realised the ensemble involvement, highlighting a lack of early structural awareness in the rehearsal planning. This approach resulted in increased pressure later in the process, as company members were required to learn complex material within a significantly reduced timeframe.
Although my initial understanding was that teaching staff would lead the directing process, this responsibility instead shifted onto Lucy and me. This required an unanticipated transition from performer to co-director, which required the development of leadership and organisational skills alongside performance work. In response to these challenges, both Kaz (choreographer) and I adopted a more structured approach to rehearsals, beginning sessions with clear outlines of objectives and planned activities. This shift marked a turning point in the process, as it introduced a degree of consistency and focus that had previously been lacking. By articulating rehearsal goals and maintaining a clearer sense of direction, we were able to maximise the limited time available and ensure that key material was covered.
However, this leadership also highlighted areas for critical reflection. While the structured rehearsals improved efficiency, they started late in the process. Earlier intervention would have helped the divide experienced in the development phase, particularly in relation to scene work. This is most evident in the staging of the scene following “Conga”, which proved to be one of the most challenging parts for me. The original stage directions did not work within the spatial and practical constraints of The Venue, so it needed to be looked at. As this scene came as an early moment in the performance, its lack of clarity had a big impact on the overall flow of the piece.
The difficulty in this scene shows the importance of flexibility in directing, particularly when working with pre-existing texts. Rather than sticking to scripted stage directions, effective staging requires a careful response to the specific conditions of the performance space and the capabilities of the performers. In this instance, the delayed focus on scene work limited the time available to fully resolve these challenges, resulting in a less polished outcome compared to the musical numbers.
In addition to my roles as performer and director, I contributed to the visual and interactive elements of the production through the creation of a prop-based poster for the musical number “Swing.” This was designed to be distributed by the performer playing Sophie at the beginning of the number, enhancing audience engagement and reinforcing the narrative context of the scene.
Ultimately, the development of ‘Wonderful Town’ was shaped as by both its challenges and its successes. The experience highlighted the necessity of early structural organisation, clear communication and the integration of performance elements from the start. At the same time, it reinforced the importance of adaptability and resilience, both of which are essential skills in the creation of new work within constrained conditions.
Collaboration & Company Practice
The collaborative dynamics within the development of ‘Wonderful Town’ were complex and at times, challenging, reflecting the complexities of ensemble-based theatre-making, where shared authorship requires clear communication and mutual accountability (Heddon and Milling, 2006). While the project was initially structured around shared responsibility, in practice the distribution of labour and engagement varied significantly across the company, influencing both the creative process and the overall efficiency of rehearsals.
A key issue that emerged throughout the process was a lack of consistent and effective communication, particularly between the directing team and the musical directors. As the project progressed, it became evident that differing levels of investment in the production impacted the cohesion of the group. The musical directors, while responsible for vocal development, did not always prioritise the project to the same extent as those in directing and choreographic roles. This occasionally manifested in communication that could be perceived as unprofessional, creating tension and contributing to a negative working environment. From a critical perspective, this highlights the importance of clearly defined roles, shared expectations and mutual accountability within collaborative practice.
Despite these challenges, a core group of collaborators, including myself, Kaz, Lucy and Annelise, came together as contributors to the development of the piece. Ideally, collaborative theatre making should enable all participants to contribute meaningfully; however, in this instance, the uneven distribution of creative input was necessary to ensure the project happened within a limited timeframe.
Balancing my dual role as both a peer and a director presented its own set of challenges, though it ultimately proved to be a constructive aspect of the process. Maintaining authority while working alongside fellow performers required a careful change of tone and approach, particularly in ensuring that direction was delivered clearly without undermining the collaborative nature of the group. In practice, this balance was largely successful. When leading scene work, I found that the company responded positively to clear instructions, while also actively engaging when invited to offer feedback or contribute ideas.
Importantly, while tensions and communication issues were present, they did not define the collaborative experience. The company as a whole demonstrated a strong level of commitment and resilience, particularly in the final stages of the process where time pressures were most acute. The ability of the group to come together and deliver a complete performance under these conditions reflects a shared dedication to the project and a collective willingness to adapt and support one another when required.
While clearer communication and more consistent engagement across all roles would have strengthened the process, the experience ultimately provided valuable insight into the dynamics of creative teamwork. It reinforced the importance of leadership, accountability and adaptability, all of which are essential components to company practice within both educational and professional contexts.
Critical Reflection on My Practice
This project provided a significant opportunity to critically evaluate my own practice, particularly in relation to leadership and directing. While I entered the project with confidence in my abilities as a performer, specifically in acting and singing, I had considerably less experience in leading peers and shaping a production as a director. This process became a key part of professional growth, challenging my assumptions about my own capabilities and expanding my skill set beyond performance alone.
One of the biggest areas of development was my ability to take on a leadership role within a collaborative environment. Initially, I wasn’t confident in directing peers, particularly due to the blurred boundaries between performer and director. There were moments during the process where I questioned my capacity to fulfil this role effectively and at times felt unable to continue due to a lack of confidence in my own decision-making. However, as the rehearsal process progressed, I began to adopt a more proactive approach, stepping into leadership alongside other key collaborators and taking responsibility for structuring rehearsals and guiding scene work.
This shift reflects a development in my understanding of leadership as an active and adaptive practice, rather than a fixed trait. By taking ownership of rehearsal planning and clearly communicating objectives, I was able to contribute to a more focused and productive working environment. Feedback from peers reinforced this development, with several members of the company acknowledging and appreciating the level of commitment and effort I brought to the project.
This process has highlighted several areas for future improvement. Most significantly, the importance of clear and early planning has become evident. If approaching a similar project in the future, I would establish a structured rehearsal schedule from the beginning, with clearly defined goals for each session. This would include integrating scene work much earlier in the process, rather than prioritising musical elements on their own. Additionally, I would take a role in overseeing the audition and casting process to ensure both efficiency and fairness. The extended audition period experienced in this project not only delayed progress but also raised concerns around fairness, particularly where some individuals were allocated roles without auditioning.
Importantly, this experience has had a direct impact on my future practice. As I prepare to direct ‘Sonnet Girls’ at the Leeds Theatre Festival, I am able to apply the lessons learned from this project in a practical context. The challenges encountered during ‘Wonderful Town’ have reinforced the importance of confidence, preparation, and clear leadership, all of which will inform my approach moving forward. In this sense, the project has not only contributed to my immediate development but has also provided a foundation for future creative work.
Overall, this process has marked a significant shift in my self-perception as a practitioner. While I began the project identifying primarily as a performer, I now recognise my capacity to operate as both a performer and a director. This expanded understanding of my practice represents a key outcome of the project and will continue to shape my development within the field of musical theatre.
Future Applications
The learning generated through the development of ‘Wonderful Town’ has clear and direct applications to my future practice, both as a performer and as an emerging creative practitioner with an interest in arts education. The challenges encountered throughout the process, particularly in relation to leadership, time management, and collaboration, have provided a practical framework through which I can approach future projects with greater confidence and clarity.
I will be applying these insights to my involvement in multiple productions at the Leeds Theatre Festival, including my role as director of ‘Sonnet Girls’. This opportunity represents a significant progression in my practice, allowing me to refine my directorial approach within a more structured and professional context. In contrast to the reactive processes experienced during ‘Wonderful Town’, I intend to implement a clearly defined rehearsal structure from the outset, ensuring that all elements of performance, vocals, choreography and scene work are developed cohesively. Additionally, I will prioritise transparent communication and equitable casting processes, addressing key limitations identified in this project.
Alongside my work in performance and directing, I have also begun to develop my practice through my role as a singing teacher (in training). This marks an important step towards my longer-term ambition of making the arts more accessible to young people, particularly those from underprivileged backgrounds. The experience of working within a collaborative company has reinforced the value of inclusive and supportive environments, this principle will adhere to both my teaching and directing practice moving forward.
Looking ahead, I aspire to establish a sustainable career as a performer, with the intention that this platform will enable me to have a broader impact within arts education. Success within the industry would not only allow me to continue developing my own creative work but also provide opportunities to support and inspire young people who may not otherwise have access to the arts. In this sense, the skills developed through ‘Wonderful Town’, including leadership, adaptability and creative problem-solving, extend beyond the immediate context of performance, contributing to a wider professional goal that integrates both artistic and social objectives.
Conclusion
In conclusion, the development and performance of ‘Wonderful Town’ has provided a valuable and multifaceted learning experience, showing both creative and organisational challenges. As a result, the final performance emerged not only as a product of these intentions but also of the company’s ability to respond to and navigate these challenges.
Through this process, I have developed a clearer understanding of collaborative practice, recognising both its potential and its complexities. The experience highlighted the importance of clear communication, structured planning and shared responsibility, while also demonstrating the need for flexibility and resilience within creative work. My dual role as performer and director was particularly significant in this, enabling me to expand my practice and develop new skills in leadership and decision-making.
The project has also facilitated a deeper awareness of my own practices. While I demonstrated strengths in commitment, organisation and creative input, the process also revealed areas for improvement, particularly in relation to early intervention, planning and confidence in leadership. Engaging with these challenges has been central to my development, allowing me to approach future work with greater self-awareness and a more informed perspective.
Ultimately, ‘Wonderful Town’ has functioned as both a creative project and a site of professional growth. The insights gained throughout the process will inform my ongoing development as a performer, director and educator, shaping not only how I approach future productions but also how I position myself within the wider context of the arts industry.
References
Gottfried, M. (2003) All His Jazz: The Life and Death of Bob Fosse. Cambridge, MA: Da Capo Press.
Heddon, D. and Milling, J. (2006) Devising Performance: A Critical History. Basingstoke: Palgrave Macmillan.
Meisner, S. and Longwell, D. (1987) Sanford Meisner on Acting. New York: Vintage Books.
Oddey, A. (1994) Devising Theatre: A Practical and Theoretical Handbook. London: Routledge.
Mordden, E. (1999) Beautiful Mornin’: The Broadway Musical in the 1940s. Oxford: Oxford University Press.
