Introduction

This portfolio reflects my experience in the Wonderful Town excerpt performance project during my Master’s study in Musical Theatre at Leeds Conservatoire. This project did not use the full musical. Instead, we selected and performed individual scenes and musical numbers. We had to learn each excerpt carefully. We also had to keep a smooth flow and connection between different sections. This task was more difficult than I expected. It required solid technical preparation. It also required us to control the performance tempo and maintain consistent coordination across all scenes.

Within this process, I was involved in several ways. I performed the roles of Fifth Cop, Appopolous, and Baker, although the Baker material was later cut from the final showing. I was also part of ensemble movement and dance work, including the Swing section, and this part of the process was especially important because it was documented on video as part of the project evidence.

At the beginning of the project, I thought my contribution was small. I did not play a leading role in this project. I did not design the overall performance concept, and I seldom put forward creative ideas during rehearsals. I mostly participated in rehearsals, followed the instructions from directors, and finished the tasks assigned to me. At the beginning, I thought this meant I did not make many artistic contributions. However, as the process went on, I started to doubt that idea. In musical theatre, especially in ensemble performances, we cannot always measure a performer’s contribution by their visibility. A performer may not take a leading role in the story, but they can still affect the speed, atmosphere, rhythm and overall energy of the whole show. At the same time, I will not overstate the value of small roles. It is true that group work is important, but I also realize that I was often too passive and cautious. This portfolio has two main goals. First, this project proves that supporting roles also have important artistic value. Second, it makes me acknowledge that my passive attitude in performance reveals obvious flaws, and I must improve these problems in future practice.

Understanding the Musical: Style, Context, and First Impressions

Before the start of rehearsals, I knew very little about Wonderful Town. I first thought it was a lively and lovely musical comedy. It tells the story of two sisters who come to New York with great dreams. After I read the script and listened to the musical recordings, I found that the show has a richer emotional tone than I first thought. The city presented in Wonderful Town is not simply glamorous. It is also noisy, crowded, chaotic, and full of types. Supporting characters are important because they construct the social world around Ruth and Eileen. In this sense, the city is not just a backdrop. It is something performed collectively by the cast. This became especially relevant when I started working on my own roles. At first, I approached them mainly in terms of function: learn the lines, understand the scene, perform the assigned movement.

Rehearsal Process and My Working Habits

One of the most important things this project showed me was not about a role—it was about my own habits as a performer. I attended rehearsals, learned my assigned material, tried to stay focused, and adjusted when changes were made. However, I have noticed that I usually follow the rules closely in rehearsals. I act the role strictly according to the instructions in the script. The script often does not provide detailed guidance. When I am uncertain about the character’s performance style or physical actions, I tend to focus on avoiding mistakes and sticking rigidly to the script. This is also a limitation for me. I do not make bold or imaginative creative choices, and instead pay more attention to completing the task itself. This situation is particularly evident in the group dance sections and the Swing video recordings.

This cautious attitude partly comes from internal factors. I often feel that my ideas are not good enough to put forward, especially when I play a smaller role. I usually think it is safer to follow others’ opinions. However, part of the reason also lies in the regular rehearsal process. Most rehearsals are directed by student directors, and roles and scenes with great significance and influence receive focused attention. This is not an uncommon situation, and I do not regard it as unfair. It is just that rehearsal time is mostly spent on key areas. This means I have to take initiative on my own if I want to develop a minor role in depth. Looking back, I have done some work in this regard, but it is still far from enough.

This is one of the main areas where I think postgraduate-level expectations matter. At MA level, it is not enough to be reliable and technically prepared.This is one of the main areas where I think postgraduate-level expectations matter. At MA level, it is not enough to be reliable and technically prepared.

Fifth Cop: Ensemble Function and Physical Performance Learning

Although the role of Fifth Cop seems insignificant on paper, it has taught me a lot about ensemble performance, physical expression and performance tone. As an ensemble supporting role, I only focused on memorizing lines and completing required movements at first. Later, I realized that ensemble performance requires consistent tone, rhythm and overall coordination. Therefore, I needed to think about how this role served the comic atmosphere and context of the scene, rather than dwelling on the individual characteristics of the character.
I also avoided stereotyped and exaggerated portrayals of Irish characters, keeping my performance natural and appropriate. Initially, creating my own physical language was quite difficult for me. I tended to stiffen up when feeling uncertain and did not know what to do on stage. So I practiced repeatedly in front of the mirror outside rehearsals to improve my proficiency and confidence. Overall, this role has made me understand that even minor roles require active engagement. Physical language and performance tone are closely connected, and they together determine how a supporting role is presented in the performance.

Appopolous: Incomplete Characterisation

The role of Fifth Cop helped me grasp ensemble performance skills. The role of Appopolous made me understand the complexity of acting. Appopolous is a comic role. It can bring rich funny effects on stage. But I will make the performance shallow and stereotyped if I handle it carelessly. At first, I used exaggerated body movements and voice to play this role. I soon found this way would make my performance unoriginal. So I changed my performance method. I cut down extra physical movements. I focused on the character’s inner needs. I created humor with real performance instead of blind imitation. But I had limited rehearsal time. I also hesitated to control the performance degree. I worried that light performance would be boring and excessive performance would be improper. So my performance still looked stiff and not lively enough. This experience told me that I need to balance technical accuracy and performance confidence. In short, this role taught me not to perform carelessly just for comic effects. I also realized that performance style, character presentation and audience acceptance are closely linked. I will use this understanding in my future performances.

Baker and the Experience of Being Cut

The role of Baker gave me a completely different experience. My main challenge was not how to perform the role, but to accept that my part was cut after I had made full preparations. At first, I felt very disappointed and thought my contribution to the performance had become even smaller. This experience made me realize that not all of an actor’s efforts will be shown on the final stage, and theatrical value is not only about appearing on stage. It also changed my view of tying self-worth to stage visibility. I also learned to manage my disappointment and keep devoting myself to rehearsals, because emotional control is an important part of stage performance. In retrospect, this unpleasant experience was a valuable professional lesson. It made me see the fragility of my confidence and understand that resilience means staying positive and focused when facing unexpected changes.

The Swing Section: Video Evidence and Clear Self-Perception

The swing section has become an important part of my self-reflection. It offers direct performance recordings from an outside perspective, which ordinary rehearsals cannot provide. Watching the video helped me a lot and also made me feel uneasy. It turned my unclear feelings during rehearsals into specific facts.

I looked much more nervous on the video than I expected. I finished most of the dance steps accurately, but precise movements are not the same as excellent performance. I clearly saw that I only focused on memorizing steps instead of devoting myself to the dance. My facial expressions were overly serious, and my overall energy was lower than expected. I thought I was focused during rehearsals, but the video showed that this focus made me look restrained. This was a typical example of reviewing and reflecting on my performance afterwards. The camera truthfully recorded my real state and revealed the gap between skilled movements and genuine performance. It helped me identify specific problems rather than feeling anxious blindly: physical tension, insufficient energy, and a lack of natural expressiveness.

Meanwhile, the video also showed positive aspects. I found that I performed better when I focused on group coordination instead of memorizing steps, and my performance became more vivid and coordinated. This proved that performance is a collective activity rather than an individual act. My performance improved because I shifted my focus, not because I suddenly gained better skills. The swing video also made feedback from my classmates more effective. We talked about specific details shown in the video instead of abstract ideas. I accepted feedback on my stiff body and unnatural performance easily because I observed these problems directly. This made me realize that video is not only a tool for evaluation but also a useful method to improve performance.

Most importantly, I learned the difference between completing dance movements and performing them with real expression. The former only requires completing the movements, while the latter needs full devotion, good rhythm and emotional communication. In this project, I mostly stayed in the former stage. Admitting this is not easy, but it helps me clearly define my future improvement direction.

Ensemble Work, Peripheral Labour, and the Question of Contribution

This project made me rethink the meaning of contribution in ensemble musical theatre. At first, I thought contribution meant being a central performer with more lines, longer stage time and higher visibility. By this standard, my role in Wonderful Town seemed limited. But after rehearsals and reflection, I realized this view was too narrow.

Ensemble performance relies on shared efforts. The stage scenes rely on many small details, such as precise timing, active cooperation and consistent support. Performers do not need to lead the story, but they can still shape the stage atmosphere. In Wonderful Town, the ensemble created the urban atmosphere together, instead of relying only on leading actors. This also shows that stage performance is a collaborative work. Actors create the stage value together, rather than simply setting off the main plot. My jobs in scene transitions, group performances and atmosphere building were not eye-catching, but they maintained the integrity of the whole show.

Meanwhile, I have to admit that understanding the value of ensemble work does not mean I performed perfectly. It is one thing to know small roles are important, and another to make full use of them. I sometimes hid behind the minor role instead of making active performance choices. So I need to accept two facts: ensemble work is important, and I still need to improve my performance in it.

In conclusion, minor roles are not inferior. They need special performance skills: staying focused without being the center, supporting the whole show with personal characteristics, and keeping responsive with limited performance space. I have started to understand these requirements, but I have not fully mastered them. This is the most valuable gain of the project.

Power, Hierarchy, and Initiative in the Rehearsal Room

This project also makes me reflect on the power structure in the rehearsal room. The rehearsal room has a clear level division. Directors, choreographers and musical directors are at the top, followed by performers. Performers are further divided into main actors and ensemble actors. This structure decides who can get more attention, who can share ideas and who dares to speak up actively.
My passive attitude during rehearsals is not only my personal problem. It is also affected by this level structure. Creative discussions usually focus on main roles. So actors who play small roles often think they only need to follow orders. Knowing this reason can explain my silence, but it cannot be my excuse.

I also think deeply about the initiative in performance. I usually regard initiative as direct actions, like putting forward ideas and changing performance ways. But I find that initiative in ensemble performances can be more hidden. It shows in accurate rhythm control, proper performance choices, good cooperation with partners and flexible adjustments when plans change.
This understanding helps me judge my performance more fairly. My contributions to the show are usually low-key and not noticeable. But I do not fully take my own creative responsibility. I realize that initiative is influenced by both level structure and personal confidence. In future projects, I will try to keep active and positive even in a leveled working environment.

What I Have Learned and Its Impact on My Future Performance Practice

This project helps me know my strengths and weaknesses more clearly. I am reliable, hard-working and flexible. I can also reflect on myself honestly after every performance. But this project also makes me face my clear shortcomings. I am too careful when I perform. I always pay too much attention to my own inner feelings. I also depend too much on guidance from others. I often take correct actions as excellent performance. I am not confident enough to share my own creative ideas.

I plan to make several real changes in future performance projects. First, I will use performance records more actively. I will not wait for required performance videos. I will record short rehearsal clips regularly after getting everyone’s agreement. Watching the video of the swing part makes me understand a truth. I can find my own shortcomings more easily when I watch my performance directly. Second, I will prepare body movements earlier and on my own. I will not feel anxious about remembering actions during rehearsals. Third, I will think of at least one specific creative idea for each role before rehearsals. The idea can be very small. It can be a small body movement, a way of performing or a clear performance goal. I will do this to form a habit of active thinking.

I also want to be stronger when I face role changes and less attention on stage. The experience of losing my Baker role makes me realize one thing. It is normal to care much about audience attention, but this thought is bad for my long-term performance career. I want to keep working in the drama industry. So I need to build a stronger sense of self-value. I will not connect my self-value with role size or stage attention. I hope I can still put my whole heart into performance creation when situations change.

This project changes my idea about personal growth. Better performance does not only mean getting bigger roles or more stage attention. It also means getting along better with teammates, knowing myself better, performing more naturally with my body, and making more valuable efforts for group performances. This idea of artistic growth is not eye-catching, but it is more real and useful for me.

Conclusion

My experience in Wonderful Town was shaped by small roles, group work, script changes, and the challenge of reviewing my performance with video. At first, I thought this meant I only had a minor part in the project. Now, after deeper reflection, I see it differently. The project was valuable not because I was in the spotlight, but because it showed me how I actually perform at the edges: how I react, where I hold back, what I notice, and what I still need to work on.

Through the role of Fifth Cop, I learned how ensemble acting works and the importance of a consistent group tone. Through Appopolous, I faced questions about character portrayal, comedy style, and my confidence in embodying a role. Through Baker, I dealt with the emotional and professional challenge of having my part cut. Through the Swing video, I clearly saw the gap between doing technical movements correctly and delivering expressive performance. Throughout the whole project, I understood that contribution in theatre is more than just being seen. I also learned that recognizing the value of small roles should not be an excuse for not being artistically active.

This project was truly helpful. It gave me a clearer picture of where I stand as a performer. I now know I need to build more initiative, become more confident physically, use video recording more actively, and learn to stay present and expressive even when I’m not a main character. At the same time, I finish this project with a greater appreciation for the work of ensemble performers and for the many small efforts that keep a play meaningful.

In the end, this collection shows that real learning in performance does not only happen in the center of attention. It can also happen in the margins, as long as we look at those margins carefully. That is what this project has allowed me to start doing.