Introduction

This portfolio reflects on my work in the second term final performance project Wonderful Town. This project was the final performance project of the second semester before our graduation production. It formed an important part of our practical training as musical theatre performers, as it required us to combine acting, singing, movement, and ensemble awareness within a short rehearsal period. The performance presented selected sections from Act 2 of the musical, specifically from Scene 1 to Scene 4, and the total duration of the piece was approximately one hour. Because we were working with selected scenes rather than the full musical, the rehearsal process required careful attention to transitions, character clarity, and ensemble structure in order to maintain coherence for the audience.

Wonderful Town is a musical that combines humour, rhythm, and strong ensemble interaction. As a result, the production relied heavily on group performance and coordinated stage movement. Many scenes involved multiple characters sharing the stage space at the same time, which required performers to remain aware of both their individual character tasks and the wider stage composition. Throughout the project, we focused on building clear ensemble relationships, ensuring that physical movement, vocal performance, and stage positioning supported the overall storytelling.

In this production I performed two different roles. I played Helen in Scene 1 and Baker in Scene 3. These characters appear in different narrative moments and have very different emotional qualities. Helen appears in a lighter and more intimate scene that focuses on interpersonal relationships, while Baker’s scene contains more tension and frustration. Because of this contrast, I needed to create clear distinctions between the two characters in terms of physical energy, emotional intention, and vocal delivery. Switching between two roles in the same production also required strong awareness of timing and preparation, as I had to adjust my physical and emotional state quickly between scenes.

Another important challenge in this project was maintaining ensemble awareness while also focusing on individual character work. Musical theatre performance often requires performers to balance personal character development with collective stage composition. During rehearsals I needed to remain aware of entrances, exits, and spatial relationships with other performers, while also developing the internal logic of each character. This required both individual preparation and effective communication within the group.

This portfolio therefore reflects on my experience throughout the rehearsal process and final performance. It examines how I approached the development of Helen and Baker, how ensemble collaboration influenced the rehearsal process, and how specific rehearsal challenges affected the final performance. Through this reflection, I aim to analyse both the successes and limitations of my work and to consider how this experience has contributed to my development as a musical theatre performer.

Initial idea and rehearsal approach

At the start of the project, the aim was to create an ensemble-based musical theatre performance. Wonderful Town is a musical that tells the story of two young women who move to New York in order to pursue their dreams. The musical has a lively and comedic tone, and many scenes rely on fast rhythm, strong ensemble interaction, and clear character relationships. Because of this style, the success of the performance depended not only on individual acting choices but also on how effectively the ensemble worked together on stage.

In this project we only presented selected sections from Act 2, specifically from Scene 1 to Scene 4. As a result, the audience would not see the full narrative arc of the musical. This created an additional challenge for the performers. We needed to make sure that each scene was clear and understandable on its own, while still feeling connected to the other scenes. Transitions between scenes therefore became particularly important. We had to pay attention to stage movement, entrances, exits, and spatial organisation so that the flow of the performance remained clear.

During the early stage of the rehearsal process, we identified three main priorities for the production: ensemble awareness, rhythm and timing, and physical comedy. Ensemble awareness was important because many moments in the piece involved multiple performers sharing the stage. Each performer needed to understand their role not only as an individual character but also as part of a larger stage picture. Rhythm and timing were also central to the style of the musical. Musical theatre often relies on precise timing between dialogue, music, and physical movement. If one performer loses the rhythm, it can affect the entire scene.

Physical comedy was another key element that we explored in rehearsals. Many scenes in Wonderful Town rely on exaggerated reactions, playful movement, and clear physical storytelling. Because of this, we experimented with different ways of using body language and spatial relationships to support the humour of the scenes.

On a personal level, I set two main goals for this project. The first was to improve my ability to switch between different characters within the same performance. Since I was playing both Helen and Baker, I needed to create clear physical and emotional differences between the two roles. My second goal was to develop a stronger awareness of how my physical position on stage affected the overall group composition. I wanted to become more sensitive to the visual balance of the ensemble rather than focusing only on my own performance.

At the beginning of rehearsals, we did not immediately run the entire piece from start to finish. Instead, we worked on individual scenes and musical numbers separately. While this approach allowed us to focus on specific details, it also meant that my understanding of the full structure of the piece developed gradually over time. I started to see how the scenes connected only later in the rehearsal process when we began to combine different sections together.

Rehearsal process and development

In the early stage, rehearsals were divided into songs, movement, and spoken text. These elements were usually worked on separately. This was because we were also working on London to Broadway Concert and R&D Week, so rehearsal time was very limited.

After these projects finished, we only had two weeks left for Wonderful Town. In this period, we started to focus more on ensemble choreography and staging. However, we still did not run the full show from start to finish.

On the day before the performance, Scott led a full rehearsal. The plan was to run the whole piece. However, we stopped during an ensemble section that needed adjustment. Because of this, we never experienced the full structure in real time before the performance.This affected clarity in entrances, transitions, and spatial awareness for some performers. In my case, I made a structural mistake in Act 2 Scene 4. I was doing a background action under the table with other performers. I thought the scene had already ended, so I did not enter at the correct time. This created a brief empty space on stage.

I think this mistake happened because we never fully ran the whole show before performance. I only knew separate scenes, not how they connected together. This made it harder to understand timing in context.

One of the most structured ensemble sections was “Wrong Note Rag”. In this scene, two main characters sang at the front, and the ensemble joined in behind them. We worked in pairs to dance together. We learned eight eight-count phrases. Seven counts were fixed, and one count was created by each group. Each group also had a number. In performance, each group started from a different point in the sequence. My group was Group 4, so we started from the fourth phrase. This made the stage picture layered, because not everyone was doing the same thing at the same time.

This structure came from our Dance Repertoire class in the first term. In that class, we explored how the same movement can look different when placed in different positions on stage. It showed me that choreography is not only about steps, but also about space and timing.

This idea can be seen in Video 1 from our workshop, where we created group movement patterns in different positions.

In the Conga scene, we performed as ensemble members and interacted with the main characters. There was a turning movement that I was originally responsible for. In rehearsal, this was fixed to me. However, in the final performance, my position changed. I had to adapt and do the movement with another performer. This required quick awareness of space and timing. It did not stop the scene, but it showed that ensemble work needs flexibility.

In Act 2 Scene 3, I played Baker. I understood Baker as a character who brings conflict into the scene. He is emotional and often interrupts others.At first, I performed the scene standing. I thought this would make the character look stronger. However, the director asked me to start sitting and only stand up when the emotion becomes strong. I thought this was only blocking. But after trying it, I realised it changed the whole structure of the scene. Starting seated made the character feel more controlled. When I stood up, the emotional change became clearer.This also links to Laban Movement Analysis. Sitting to standing shows a change from controlled weight to strong action. This made the emotional shift clearer for the audience.

During rehearsal, I also realised that I focused too much on text at the beginning. I thought emotion would come from the lines. But it did not feel strong enough.The director’s feedback showed me that my physical choices were not clear. The difference between calm and anger was not strong enough. After this, I started to use more changes in weight and speed. I worked more on stillness and sudden movement. This helped improve the emotional contrast, but it took time and repetition in rehearsal.

In Scene 1, I played Helen. Helen is very different from Baker. She enters with her fiancé, and their movement is soft and connected.I used Laban qualities like light weight, free flow, and indirect space. I also used soft hand movements and relaxed body actions. This helped show a gentle and calm character.For Helen, I also focused on small details like hand movement and eye contact. I avoided sharp or strong gestures. Instead, I used soft transitions.I also reacted to my partner’s movement instead of leading it. This made the relationship feel shared. It also showed that Helen is open and not aggressive in her physicality.

Ensemble performance and audience response

Collaboration was an essential part of this project because much of the performance relied on ensemble interaction. Many scenes required the ensemble to react to the main characters while still maintaining their own movement patterns and stage positions. This meant that communication and shared understanding within the group were very important throughout the rehearsal process.

One scene that clearly demonstrated this collaborative work was the Conga scene. In this scene, I performed as part of the ensemble at the back of the stage while the main characters interacted in the front. At one moment in the scene, the leading characters asked if anyone in the space did not speak English. In response to this line, several Chinese students in the ensemble, including myself, began speaking Chinese while moving around the stage. We also danced around the main performers while continuing the rhythm of the scene. This created a playful moment where the language difference became part of the comedy. From the audience’s reaction, including laughter and a noticeable increase in energy in the theatre, it was clear that this moment successfully supported the overall atmosphere of the scene.

During rehearsal, this scene also required strong coordination within the ensemble. For example, there was a moment where the character Chick Clark approached the ensemble and interacted with us while singing. At that point, we had to maintain a casual attitude while still reacting physically to her presence. She would extend the microphone toward different ensemble members as if trying to start a conversation. One of us would then briefly hold her hand and spin her before continuing the movement pattern. In rehearsal this action was originally assigned to me, but during the performance my position in the formation changed. As a result, another performer completed the spin instead. This required flexibility and quick awareness within the ensemble so that the scene could continue smoothly.

Another example of collaboration can be connected to the choreography in “Wrong Note Rag”. In this section, the ensemble worked in pairs to create a small part of the choreography ourselves. Each pair was responsible for inventing one eight-count of movement. This creative approach reminded me of an exercise from our Dance Repertoire class taught by Damien in the first semester. In that class, we were often asked to create short movement phrases in small groups based on a given scenario. Each group would then perform the same material in different positions in the studio, which created a larger visual pattern across the space.

A similar principle was applied in this production. Although the ensemble learned the same choreography, different groups started the sequence at different points. My group started from the fourth movement phrase, which meant that the actions happening across the stage were not identical at the same time. This created a richer visual composition for the audience while still allowing the rehearsal process to remain efficient. Through this experience, I realised that collaboration in musical theatre is not only about performing together but also about sharing creative responsibility in building the stage picture.

Performance challenges and reflection

One of the main challenges I experienced during the performance was forgetting a line. This happened when I entered the stage as Baker. At that moment I suddenly felt nervous and my mind went blank for a short time. I knew the lines well during rehearsals, but the pressure of the live performance affected my concentration. As a result, I paused for a few seconds before speaking.

Although this was a mistake, I tried to remain in character and avoid showing panic. I stayed seated on the sofa and used a moment of physical stillness before continuing the dialogue. From the audience’s perspective, the pause could be interpreted as part of the character’s emotional state, since Baker is meant to appear frustrated and angry in the scene. Because of this, the moment did not interrupt the flow of the performance. However, from my own perspective as a performer, I was aware that the pause came from a loss of concentration rather than an intentional acting choice.

This experience made me reflect on the importance of mental preparation during live performance. Even when an actor has rehearsed the material many times, unexpected nervousness can still affect memory and timing. In future performances, I would like to develop stronger strategies for maintaining focus when entering the stage, such as taking a brief moment to reconnect with the character’s emotional objective before speaking.

Another challenge occurred in relation to ensemble coordination. During the performance there were several small mistakes made by different actors, such as entering slightly early or speaking lines at the wrong moment. However, what impressed me most was how quickly the ensemble responded to these situations. Instead of stopping or showing confusion, performers adapted to the changes and continued the scene.

For example, when someone spoke a line slightly earlier than expected, the partner in the scene adjusted their response so that the dialogue could continue naturally. In other moments, performers slightly changed their timing in order to match the new rhythm created by the mistake. These adjustments happened very quickly and were almost invisible to the audience.

Through observing these moments, I realised that live theatre always contains a degree of unpredictability. What matters most is not avoiding every mistake, but developing the ability to respond creatively and collaboratively when unexpected situations occur. This experience helped me understand that successful performance depends not only on individual preparation but also on the shared awareness and trust within the ensemble.

Conclusion

This project changed my understanding of performance work. At the beginning of the rehearsal process, I mainly focused on my own roles and individual tasks. My attention was mostly on remembering lines, learning choreography, and preparing my own character. However, through rehearsals and the final performance, I gradually realised that musical theatre performance depends strongly on ensemble awareness.

Working on this project helped me understand that every performer contributes to the overall stage composition. Timing, spacing, and reactions between actors all influence how the audience experiences a scene. Even when a performer is not the main focus, their physical presence and attention still affect the rhythm and clarity of the performance.

I also learned that rehearsal structure is very important. Because we did not complete many full run-throughs during the rehearsal process, some transitions and stage positions were not fully clear before the performance. This experience showed me how important it is to understand the entire structure of a piece rather than only focusing on individual scenes.

In future projects, I would like to take more responsibility for understanding the full performance structure and maintaining stronger awareness of ensemble timing and stage space. This experience helped me move from thinking only as an individual performer to working as part of a collaborative ensemble.