Introduction

This assignment is based on my practical experience during the rehearsal and performance project of the musical Wonderful Town. In this portfolio, I will focus on the development and performance of the three male characters I played in this production: Wreck, Lonigan, and Frank. The musical was composed by Leonard Bernstein in the 1950s and presents life in Greenwich Village, New York, in the 1930s. It shows different social groups and a range of social identities. In this context, the male characters not only support the story but also represent different levels of social status.

In this performance project, as a female actor, I performed male roles and switched between multiple characters in the same production. To achieve this, I needed to carefully control my physicality, voice, and overall performance state. Wreck is an unemployed character with an exaggerated and unstable personality, Lonigan is a police officer, and Frank is an ordinary man who shows anxiety and a strong desire for recognition. These three characters create a clear contrast. Therefore, my main task in this project was to explore how different types of masculinity can be constructed and performed.

In this portfolio, I will critically reflect on my rehearsal process and analyse how I gradually developed a clearer understanding of how to perform these three characters. I will also explore how multi-role performance and cross-gender acting influenced my creative decisions. In addition, as an international student, I will reflect on the challenges of understanding and performing these male characters in a cross-cultural context. Finally, this portfolio argues that character identity is not fixed, but is continuously constructed and reshaped through personal interpretation and physical practice during rehearsal and performance.

Initial Exploration of the Three Characters

During the initial rehearsal phase, I developed a basic but quite surface-level understanding of the three characters: Wreck, Lonigan and Frank.

For Wreck, I first saw him as a socially marginal figure. He is unemployed and lives in an unstable situation, which gave him a drifting and careless personality. In my early performance, I tried to show this through exaggerated physical actions. For example, I used a long and uneven walking pattern to suggest instability, and I added many loose and relaxed gestures. However, during rehearsal, I began to realize that this approach was not fully effective. The character started to look too stereotypical and slightly unnatural. Looking back, I found that my performance was based more on external imitation, rather than a deeper understanding of his inner motivation and real living condition. As a result, the character felt quite flat.

For Lonigan, I initially understood him as a strong and authoritative police officer. In my performance, I focused on standing upright, creating tension in the body, and using a louder voice to show his power. Although this helped to separate him from the other characters, it was too simple in practice. The character lacked detail and did not clearly show his purpose or control within the space. Because of this, the performance felt limited and not fully developed.

For Frank, I first treated him as an awkward and comic character. I tried to emphasise his behaviour by making him look eager to please others, especially Eileen. In rehearsal, I used exaggerated facial expressions and many hand gestures to create humour. However, this also made the character feel unrealistic. I realized that I had ignored his inner anxiety and his need for recognition, which are important parts of the role. Without these elements, the emotional truth of the character was weakened.

Through both script analysis and rehearsal practice, I gradually understood that relying only on external features is not enough to build a character. Although these three roles are clearly different on the surface, without internal logic and clear motivation, it is difficult to create a believable and layered performance on stage.

Physical Exploration and Adjustment

As rehearsals continued, I began to shift my focus from external imitation to using physical movement to show the differences between Wreck, Lonigan and Frank. During this stage, I started to realise that the key differences between these characters were shown through their centre of gravity, movement rhythm and use of space. Through rehearsal, I gradually developed clearer physical approaches for each role.

For Wreck, I lowered his centre of gravity to create a sense of heaviness in the body. I placed more weight in the pelvis and kept my knees slightly bent. This made his movement look loose and unstable when standing and walking. I also reduced exaggerated gestures and instead used more natural and relaxed movements, such as small body sways, uneven pauses and reactions to the surrounding environment. These choices became clearer in moments such as Helen’s entrance and our shared exit, where I showed a more casual and passive attitude. Through these changes, Wreck moved away from a stereotypical “vagrant” image and became a character who adapts to his environment. His physical state reflected a sense of passivity and instability rather than an exaggerated performance.

In contrast, Lonigan’s physicality focused more on control and clarity. During rehearsals, I moved my weight slightly forward, kept my spine straight and added tension to my body. At times, I also clenched my fists to show readiness. I used direct and purposeful movement to show his sense of action. I also increased eye contact with other performers. For example, during chase moments, I chose to fix my gaze on another character to show focus and intention. In terms of rhythm, Lonigan’s movement was more direct and decisive. His pace became faster and more controlled, especially in moments of action. This helped to show him as a character who has control over the space and can influence others.

Frank required a very different physical approach. His body was more lifted, with a higher centre of gravity and tighter breathing. To show tension, I slightly raised my shoulders and used smaller and more hesitant steps. For example, when entering the stage, I used a careful and slightly awkward walk, combined with delayed speech, to show nervousness. I also added small hand movements, such as adjusting my posture or shifting my weight between feet, to show discomfort in social situations. Through these details, Frank became more than just a comic character. He started to show emotional motivation, especially his need for recognition and his lack of confidence.

Through this process of physical exploration, I was able to clearly separate the three characters through their bodies. I also began to understand that character identity can be built through physical choices such as centre of gravity, rhythm and spatial behaviour. This process not only helped me understand the characters more deeply, but also prepared me for switching between roles more effectively during performance.

Performance Rhythm and Musical Treatment

During rehearsals, I began to realise that the differences between characters were not only shown through physical movement, but also through rhythm. This became especially clear in the Swing sequences, where rhythm played an important role in shaping character. Because of this, I started to develop different rhythmic patterns for Wreck, Lonigan and Frank.

For Wreck, I used a slightly delayed rhythm. His movements often came just after the musical beat. For example, when turning, I avoided quick and sharp movement, and instead kept the action softer and slower. This made his body feel looser and less controlled. It also showed that he reacts to the environment rather than taking action. This off-beat rhythm helped to create a more relaxed and casual feeling, which suited his identity as a socially marginal character.

In contrast, Lonigan’s rhythm was more clear and stable. I tried to keep my movements closely connected to the musical beat, and sometimes I emphasised strong beats with more forceful steps or clear starting points. This on-beat quality made the character feel more controlled and confident on stage. For example, in the ensemble number “Wrong Note Rag,” I used larger and stronger movements. When lifting my legs, I focused on making the movement look stable and powerful. This helped to show Lonigan as a character with authority.

Frank’s rhythm was different from both. I tried to make it feel unstable. In rehearsal, I added more pauses and hesitation, especially before speaking or moving. Sometimes I delayed the action slightly and then spoke quickly, which made his rhythm feel broken and uneven. This reflected his nervous personality and lack of confidence.

Through this process, I began to understand that rhythm is not only a technical requirement in musical theatre, but also a useful tool for building character. By using different rhythms, I was able to make the three characters more clearly different on stage, not only in how they looked, but also in how they moved and behaved.

Space and Status

During rehearsals, I began to realise that the differences between characters were not only shown through physicality and rhythm, but also through how they used space on stage. The way a character moves and stands in space can show their social status. Because of this, I started to use position, movement pathways and distance from others to separate Wreck, Lonigan and Frank.

For Wreck, I usually placed him at the edges of the stage and avoided moving into the centre. During rehearsals, I often stayed slightly away from the main action and sometimes used the set or other performers for support, such as leaning or standing to the side. This made the character feel more marginal and reinforced his role as an observer rather than someone who leads action.

In contrast, Lonigan’s use of space was more direct and active. I moved more confidently into the centre of the stage using clear and direct pathways. When interacting with other characters, I chose shorter and more direct routes to approach them. I also reduced unnecessary pauses, which helped to show his decisiveness. This made him appear more in control of the space and of the situation.

Frank’s use of space was less stable. He often tried to move towards the centre, but his actions showed hesitation. For example, when approaching another character, I added small pauses or slight changes in direction. This made his movement feel uncertain. It reflected his unclear social position and his desire to be accepted, while also showing his lack of confidence.

Through this process, I began to understand that space is not only part of the stage design, but also an important way to show relationships and status between characters. These different spatial choices helped to create a clearer structure between the three roles and made the performance easier for the audience to understand.

Switching Between Characters

As rehearsals continued and the three characters became more clearly different in their physicality and rhythm, I faced a new challenge: how to switch quickly between them within a short time. Because these roles appeared in the same production, I sometimes needed to change character very quickly. At the beginning, I often experienced confusion between roles. For example, Wreck’s loose and relaxed state sometimes carried into Lonigan, or Lonigan’s strong and controlled energy affected my performance of Frank. This made the boundaries between characters unclear and reduced the overall clarity of the performance.

To solve this problem, I gradually developed my own “character triggers” during rehearsal. I used physical changes to help me enter each role more quickly. For example, when playing Wreck, I relaxed my shoulders and lowered my centre of gravity. When switching to Lonigan, I straightened my body and stepped forward to create a sense of control. When performing Frank, I tightened my chest and used smaller steps to show tension and nervousness. These clear physical signals helped me reset my body and quickly move into each character.

I also used breathing to support these changes. Wreck’s breathing was slow and relaxed, Lonigan’s was stronger and more controlled, and Frank’s was shorter and faster. Changing my breathing helped me not only adjust physically, but also understand the emotional state of each character more clearly.

Through this process, I became more confident in switching between roles and gained better control over my performance. I realized that changing character is not only about external movement, but also about a full-body adjustment that includes both physical and internal changes.

Challenges Encountered

Throughout the rehearsal and performance process, I began to realise that building a character is not only about understanding the text and movement, but also involves deeper issues such as gender, culture and language. As a female actor playing multiple male roles, and also as an international student working on this production, I faced several challenges during the process.

Firstly, in terms of gender, I needed to think about how masculinity could be presented on stage. At the beginning of rehearsals, my understanding of male characters was quite surface-level. I tried to show masculinity by lowering my voice, using more force in my body, and copying everyday male behaviours. However, this approach soon showed its limitations. It focused too much on external imitation and did not reflect the inner state of the characters. As rehearsals continued, I began to understand that masculinity can also be expressed through rhythm, space and behaviour. For example, Wreck’s masculinity is shown through his passive response to the environment, Lonigan shows dominance through clear action and control of space, and Frank presents a more unstable and anxious type of masculinity. This helped me realize that gender in performance is not fixed, but is created through behaviour and performance choices.

At the same time, as an international student, I also faced cultural challenges in understanding these characters. Wonderful Town presents life in 1930s Greenwich Village, which includes specific cultural behaviours and social contexts. In early rehearsals, I found it difficult to fully understand some of the language and communication styles between characters. For example, when working with dialogue that had a strong period or cultural style, I sometimes focused too much on the literal meaning and did not fully understand the tone or intention behind it. This made my performance feel less natural. To improve this, I started to observe other performers more carefully and practised the rhythm and delivery of the lines repeatedly. Over time, I developed a better understanding of the language style.

In addition, language itself was also a challenge in performance. As a non-native English speaker, I needed to think about pronunciation, rhythm and emotion at the same time. This was especially difficult in Frank’s role, where hesitation and nervousness are important. If I focused too much on speaking correctly, the performance could become stiff. Therefore, I began to focus more on expressing meaning through rhythm and emotion, rather than only accuracy. This helped the character feel more natural and alive.

I would also like to mention my experience in the “Conga” scene, where I played a sailor who speaks Mandarin. I saw this as a meaningful moment of cultural exchange. As an international student, being able to bring elements of Asian culture onto the stage was something I felt proud of. It also made me think about how different cultural identities can be represented in performance.

Reflections on Collaboration as an Ensemble Member

In this performance project, I not only worked on developing multiple characters, but also took part as an ensemble performer in several musical numbers, including “Swing,” “Conga,” and “Wrong Note Rag.” I also contributed to creating an eight-count sequence in “Wrong Note Rag.” This experience helped me understand my role on stage not only as an individual performer, but also as part of a group and within a choreographic structure.

As an ensemble performer, I began to notice how different formations can affect the overall stage image. For example, triangular formations can create a sense of direction and hierarchy, helping to guide the audience’s focus. In contrast, long horizontal lines can show unity and make the group look more organized and visually strong.

During rehearsals, I often thought about an important question: in ensemble performance, should I show my individuality, or should I focus more on blending into the group? Through practice, I came to understand that ensemble work is not about completely hiding individuality, but about finding a balance between personal presence and group unity.

In addition, ensemble performance requires performers to always stay active on stage. During rehearsals, I learned to keep engaged by observing other performers, adjusting my position, and staying connected to the group rhythm. Instead of becoming still when I was not in the centre, I tried to remain part of the action. This helped me understand that every performer plays an important role in maintaining the overall flow of the performance.

Future Directions

During the final performance, I was able to show clearer differences between the three characters, while also maintaining a relatively stable performance in ensemble sections. In group dance sequences such as “Swing,” I was able to include Wreck’s character state within the group, which gave the role a small but clear presence in the ensemble.

However, there were still some problems in my performance. For example, during fast character changes, I was sometimes not quick enough in adjusting my physical state, which made the boundaries between characters less clear. In addition, when delivering English lines, I had to think about both pronunciation and rhythm, which sometimes affected the natural flow of emotion.

By reflecting on these issues, I realized that building a character does not only depend on individual skills, but also on interaction with others and understanding the overall rhythm of the performance. In the future, I need to improve the speed of switching between characters, develop a better balance between language and emotion, and pay more attention to working with other performers in the group.

Through this project, I have gained a deeper understanding of multi-role performance, cross-gender acting and ensemble work. In future training and creative practice, I will continue to use the physical and rhythmic methods I developed in this process to help me move between characters more quickly. As an international student, I will also continue to improve my understanding of different cultural contexts and develop my ability to perform across cultures through observation and practice. Overall, this experience has helped me improve my performance skills and broaden my understanding of character and stage work, which will support my future development.