Introduction
This portfolio reflects my experience of the Introduction to Collaborative Practice module at Leeds Conservatoire, which I undertook as a student on the MA Musical Theatre Company course.
My reflections are drawn from a range of sources, including attendance at ICP and New Work Lab classes, assigned readings and homework, group student meetings/rehearsals outside of timetabled hours, independent research, and my individual artistic practice. Where possible, I have included media to enrich the reader’s experience.
This portfolio has developed my skills as a reflective practitioner, clarified my needs and desires as an artistic collaborator, and identified areas for further improvement.
Artist Statement & Line of Enquiry
She knew what she wanted and went after it by the shortest route.
-Margaret Mitchell, Gone with the Wind.
Before delving into reflections on collaboration, it is worthwhile to provide some context about my artistic background and the reasoning behind including this quote from Gone with the Wind. Like Scarlett O’Hara, I identify what I want to achieve and choose the most straightforward (not easiest) path towards its fulfilment. This is evident in my career so far; I began as an audition-dependent Musical Theatre performer but have evolved into a playwright, children’s storyteller, and creative producer. From 2022 to 2025, my full-time job provided stability but lacked flexibility for attending auditions and accepting other work opportunities. The most straightforward path was to create and perform my own work, which I could schedule around my employment. My debut one-woman show, Questions of Travel, was part of the 2024 Greater Manchester Fringe festival. The following year, I began writing for children and created a 60-minute storytelling performance based on Irish folklore, which appeared in several 2025 Fringe festivals as well as Irish heritage clubs, festivals, and libraries in England.
While these shows taught me a lot, my collaborative skills need development. Due to budget and scheduling reasons, these projects involved little collaboration; Questions of Travel received two days of dramaturgical support and direction from Porcelain Delaney, and Irish Storytelling for Children received the same but from Maisie Holland. Even this limited collaboration improved the projects immeasurably; for example, some critics praised my collaborators’ contributions:
Neysa weaved in interaction with the audience, with some cues and responses for us to join in with. There were objects related to the stories for the children to hold and explore, including a sliotar. (Carnegie, 2025)
The introduction of audience participation through integrated games was the result of Maisie Holland’s practice as a children’s workshop facilitator and highlights the benefits of interdisciplinary collaboration. In the next phase of my career, I plan to broaden the scope of my professional projects. More specifically, I want to explore genre, form, artistic disciplines, and cast size. To get there, I must identify my personal needs and wants as an artist and overcome my weaknesses as a collaborator.
A PROMOTIONAL VIDEO FOR IRISH STORYTELLING FOR CHILDREN
WHAT I NEED AS A COLLABORATORATIVE ARTIST
MOODBOARDS FROM THE TOMORROW CABARET
While I was initially sceptical that the principles and techniques of “successful” collaboration could slot into an academic framework, I have learned that this research is helpful and reassuring. I was frustrated by my early collaborative efforts because of the lack of clear structure, leadership, and assigned roles. By contextualising these efforts within academic frameworks, I realised my experiences were typical but optional; further research (and practical trial and error) solves these issues for future collaborations.
The Tomorrow Cabaret project is an example of one such experience. In New Work Lab, we were randomly allocated groups to create an artistic response to the given brief “tomorrow”, to be presented in the following session. Robinson (2015) would categorise us as strangers “tossed in the pool together” and we were reluctant to assign roles or take leadership, and tentatively (and unknowingly) adopted two models which Robinson has named “Yes and…” and “controlled chaos”. (pp. 97-104). These models had strengths and weaknesses, but I am reluctant to use them again. The “yes, and…” approach, where every idea is accepted, meant we generated many ideas quickly. However, every offer was accepted without debate, which compromised (in my opinion) the project’s coherence, specificity, and taste. Furthermore, the rapid-fire idea generation meant that there was little time for specifics or elaboration. “Yes and…” and the subsequent “controlled chaos” were useful because the resulting concept (a ninety-minute cabaret-style theatre show with a child-like MC introducing acts representing her potential futures) was interesting. Unfortunately, a potential pitfall of controlled chaos was realised; we did not take time to develop or refine the concept during our timetabled hours. This is not unusual, as Robinson explains:
The skills come in being able to capture the inspired moments free play and to mine them for use in the context of a show…this calls for a complete change in tone and seriousness in purpose as you make decisions using repetition rather than inspiration. (p.104)
Due to our inexperience, our first session ended without a developed artistic response or a clear plan for our next steps.
A second session was organised to remedy this, and I encountered a personal struggle with the lack of leadership in our group. We had no shared definition of “success” for the presentation. Some collaborators felt that sharing the concept was sufficient, while others focused on the project’s potential medium-term future and discussed pitching The Tomorrow Cabaret for the Festival of New Work. Others wanted to create a pitch deck, a short duologue, and snippets from two potential songs. Without a leader, it was difficult to reach a compromise, but eventually we presented a mood board, a concept, and a melody snippet. The collaboration was successful because we responded to the given brief, but I felt disheartened by this collaboration. However, by placing my experience within Robinson’s framework, I realised that I can choose other working methods and avoid this frustration in future. From this experience, I understand that I need clear leadership, assigned roles, and a more methodical structure in my collaborations.
A MELODY SNIPPET FROM THE TOMORROW CABARET
WHAT I ENJOY AS A COLLABORATIVE ARTIST
My second collaboration experience clarified my wants as a collaborator; I prefer collaborations where I can contribute to an idea as it is created and developed. The Ten-Minute Hero was the creation of one leader, and the material was written by the time I joined the project. The working sessions were methodically structured, partially because we had a defined goal: to direct, memorise, and rehearse the material for a sharing in New Work Lab. Each collaborator had an assigned role; my only responsibility was to learn and perform the material, while the leader was responsible for the vision. This structure connects to Candy’s (2019) “complementary collaboration”:
A pattern in which each participant’s role is different, and a division of effort based on distinctive expertise. The participant negotiates goals…in the interest of reaching a common outcome. (p.110)
The shared understanding of success and the leader’s methodical approach alleviated the difficulties discovered in The Tomorrow Cabaret. I noticed, however, that I was not fulfilled by this project, which, according to Candy, might not be unusual for some artists: “Although the team usually has a leader…the success of the whole collaboration may depend on satisfying the artistic integrity of all the main parties responsible for creative contributions.” (p.111). Candy is referring to larger organisations here, but the crossover seems pertinent. Upon reflection, I have realised there is a trend across my creative practice; if I am involved in a project from the start (such as either of my shows mentioned at the beginning), I enjoy the work much more. Having recognised this, I will prioritise collaborations in which I can develop artistically and shape the piece from the beginning.
MY BACKING TRACK FOR “THE GIRL IN THE PRETTY DRESS”
A RECORDING OF THE TEN-MINUTE HERO PITCH
WHAT I NEED TO DEVELOP FURTHER AS A COLLABORATIVE ARTIST
As a result of this module and reflective portfolio, I understand my needs and wants as a collaborator. This has led to Modern Love, a collaboration between me and another student. Modern Love is a musical based on The New York Times’s “Modern Love” podcast series; the idea is to draw inspiration from two of these podcasts and weave the plots into one encompassing story (like Falsettos). My collaborator developed the concept and asked if I would consider writing the book and advising on songwriting. Like The Ten-Minute Hero, our roles are assigned by distinctive expertise in a complementary collaboration, but I am excited by Modern Love. This observation can be contextualised by Butterworth’s (2018) Didactic-Democratic Framework model. This model “proposes five distinct choreographic processes, detailing in each one some differences and distinctions between choreographers’ and participants’ roles.” (p.98). Butterworth’s research is based on choreography, but the crossover is pertinent once again. By analysing this framework, I can characterise The Ten-Minute Hero collaboration as Process 2 because I was “the instrument of the creator’s vision” (p. 100). The collaboration in Modern Love shifts between Process 4 (creator/facilitator) and Process 5 (co-owner/ co-owner), depending on the project’s needs at any given moment. As I prefer to sit at this end of the spectrum model, I will prioritise projects in which I have leadership and can contribute to the project from the beginning, shaping its development more comprehensively. To do this, I will have to continue developing my leadership and collaboration skills.
Modern Love also highlighted people management as an area for development. This became clear after a feedback session. My collaborator and another student performed a scene inspired by the podcast “Thanksgiving with my Wife and Girlfriend” (2024) in which a man decides to date again following his wife’s dementia diagnosis. Some responders had an emotional reaction, and the feedback centred around their personal discomfort with cheating and disliking the scene’s characters because of empathy for the sick wife. Having created two shows, I recognised this feedback as emotional rather than critical. I forgot, however, that this was my collaborator’s first show and she was not experienced in receiving criticism; she was upset by this feedback and considered scrapping the project, which I didn’t realise until later. In short, she decided to continue with the project, but this experience highlights the value of Lerman’s Critical Response Process, which is: “a method for giving and getting feedback on creative work in progress, designed to leave the maker eager and motivated to get back to work.” (No date). This process has four steps and a facilitator, prioritising neutral feedback and allowing the artist to guide the criticism. I will continue to incorporate Lerman’s process into my practice because it lessens the emotional impact of criticism without limiting information. I have will also develop people management skills because of this event; it is important to recognise when my collaborators are having an emotional response to some element of the work (creation, criticism, production etc.) and support them through this.
REFLECTIONS & ANALYSIS
During my time as a student on the ICP module, I learned that I need structure and clearly assigned roles in order to thrive in collaborative settings. I learned that I prefer working sessions that are planned, specific, and realistic. I preferred to sit back from leadership at the beginning of the module, but I am slowly embracing leadership now. I realised my people management skills need development. In some cases, I failed to notice interpersonal issues developing and/or delayed resolving problems, which were detrimental to the projects. I also learned the practical value of Lerman’s Critical Response process and will incorporate it into my future work. The reflective portfolio itself was also a useful tool for consolidating learning and clarifying my next steps. From now on, I will support my artistic development by regularly recording, analysing, and reflecting on my individual and collaborative creative practices.
CONCLUSION
Through writing this portfolio, I have reflected meaningfully on the past five weeks as a student on the ICP module. During this time, I encountered many new ways of collaborating and developing as an artist. I have broadened my scope as an artist, and although this brings new challenges, I have faith that I will be able to overcome these challenges through research, practical trial and error, analysis, and reflection. I have created a list of actionable next steps that map out the shortest route to successful collaboration for me.
MOVING FORWARD FROM HERE
My next steps are as follows:
- Record and reflect on my experiences in workshops, creating sessions, and the rehearsal room.
- Prioritise collaborative efforts that have a methodical structure, clear leadership, and assigned roles.
- Read further into the Lerman Critical Response process and consider becoming a facilitator.
- Develop better leadership skills so I can prioritise projects that are process 4 or 5 on the Didactic-Democratic framework model.
- Develop better people management skills so I can support my collaborators and resolve interpersonal or morale issues as they arise.
BIBLIOGRAPHY
Butterworth, J. (2009) ‘Too many cooks? A framework for dance making and devising’, in Contemporary choreography: a critical reader. Routledge.
Candy, L. (2019) The Creative Reflective Practitioner: Research Through Making and Practice. Routledge.
Carnegie, M. (2025) Children’s Events Reviews: IRISH STORYTELLING FOR CHILDREN- Neysa Killeen on the Buxton Fringe Festival website. Available online: https://www.buxtonfringe.org.uk/reviews2025chi.html [Accessed 11 November 2025].
Lerman, L. (no date) Critical Response Process | A Method for Giving and Getting Feedback’. Available online: https://lizlerman.com/critical-response-process/ [Accessed: 17 November 2025].
Mitchell, M. (1999) Gone with the Wind. Warner Books.
New York Times Podcast (2024) ‘Thanksgiving With My Wife and Girlfriend.’ Available online: https://www.youtube.com/watch?v=VMBCbYGNKHs [Accessed: 17 November 2025].
Robinson, D. (2015) A Practical Guide to Ensemble Devising. Macmillan Education UK.
