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In a Monday session, our group began deciding on names for our theatre company as well as a logo, slogan, poster and manifesto.

We decided that our theatre company name is 'REPLAYED THEATRE' as we take pieces of texts and scripts and reinvent our version and spreading the messages and themes to our audience. Our logo will a 'R' with a replay button on it's side within a square.

Above you can see our poster made to expose and promote our performance to the UAL community.

Mission, Vision and Values:

Uniting diverse voices from around the world through the transformative medium of storytelling, we illuminate the universal truths that bind us all, inviting audiences to contemplate the intricacies of kindship, the passage of time, and the profound potential within each moment to shape the course of our futures. With empathy as our compass and creativity as our guide, we embark on a shared quest to delve into the depths of human experience, sparking conversations that resonate across borders and generations. Our theatre group aims to create a mirror for our audiences as our stories unfold on stage, we invite audiences to contemplate their own relationships, the passage of time in their lives, and the potential for change within themselves. In this shared exploration of the human condition, we hope to inspire introspection, empathy, and a deeper appreciation for the complexity of our shared humanity.

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The Young Vic Theatre has been one of London’s leading theatres for more than fifty years. It was founded in 1970 as a space for world-premiere productions as well as unexpected takes on classic plays that speak to our present.

Recent ground-breaking revivals include Simon Stone's Yerma starring Billie Piper, and Marianne Elliott and Miranda Cromwell’s Death of A Salesman starring Wendell Pierce and Sharon D. Clarke. New critically acclaimed works first presented by the Young Vic include the multi-award-winning world premieres of Matthew Lopez's The Inheritance and James Graham's Best of Enemies.

Under the leadership of Artistic Director Kwame Kwei-Armah and Executive Director Lucy Davies, the Young Vic stands out in the city's cultural landscape for balancing daring commercial drive, artistic flair and success with genuine grassroots social impact.

For 25 years, we’ve put our local communities in Lambeth and Southwark at the heart of our theatre through our creative engagement program, Taking Part. Taking Part is the embodiment of the Young Vic spirit: that the arts are indispensable to a full life and that everyone should have the opportunity to participate. We work with young people, adults and schools, and engage with over 15,000 people a year, providing free tickets to all our shows and free creative and artistic opportunities to our participants.

The Young Vic Creators Program is the only scheme of its kind for multi- and anti-disciplinary artists. We offer artists and producers unique pathways to develop their craft through opportunities that range from skills-based workshops to trainee and assistant director roles and a two-year residency through the Genesis Fellow/Associate Director position. The Genesis Network provides an online community to over 2,000 artists and producers.

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The Young Vic is driven by seven core values which underpin all that we do, both on stage and off, to make the Young Vic what it is today - bringing together artists, communities and audiences on a global scale and using the power of stories to change our world.

We believe theatre is at its best when everyone participates.

We are driven by relentless curiosity and debate.

We believe in pioneering and in leading into the unknown.

We are led by the creativity of our people and the limitless possibility of imagination.

We collaborate: working together to achieve shared goals.

We lead with kindness - with heart, with care, and with the wellbeing of our people.

We are committed to openness rooted in trust.

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Originally, I auditioned for the role of Carol. A fun, enthusiastic, full of life at sixteen and the baby of the Conway family. However, after roles were chosen by Almiro, I was doubled cast as the role of 'Kay'. Kay's character is headstrong with her own insecurities. She is goal orientated, yet lacks the confidence on pursuing her dreams as a writer/ journalist.

Getting into the mind of Kay as a character makes you realise many things about yourself, well me personally. Researching the play and gaining a more understanding of how the Conway family functions and lives during this period of time allowed me to see the reasons why Kay may be the way she is for a reason, especially compared to her other siblings such as Hazel and Robin.

Kay's passion for writing is shown clear throughout the play, for example, when Hazel is teasing Kay about an old piece Kay wrote and Kay shows herself feeling amounts of self doubt in her writing, but still that element of hope in herself that she wants and will be successful in something she loves.

Kay and Alan's connection is clear to become stronger throughout the play or shown to the reason why it is so strong as we demonstrate this through the younger and older versions of Kay. We represented Alan as an important figure throughout this timeline of the Conway's downfall. Alan is able to see the family throughout different years despite them being twenty years apart and is able to go back and forth between them to see the change that occurs due to this family's selfishness, cockiness and dysfunctionality. At the beginning of the play as we have set it, we get an insight to Kay being able to see into the future or pass through time. She ends up seeing a glance of what will happen to the Conway family in1937 if they continue on behaving like the way they are in 1919.

Within this family, Mrs Conway is not afraid to show and express her love for her favourite children (Robin and Hazel) to the rest of the family as she puts them on a pedestal and compares them to the other children within the Conway family.

For context, Mr Conway had passed away years before the first act is set, leaving only Mrs Conway to bring up the children and in her own way. There are some references to the father of the Conway children and giving a slight visual on how he may of been like. We soon realise as a reader and/or audience member the split between the siblings on which parent they are more alike to or possibly preferred. The obvious choices for Mrs C's are Hazel, Robin and Carol. We see this clearly as Mrs C is not afraid to vocalise this particularly for Hazel and Robin, but as Carol is the youngest we see a connection between Mother and Daughter. For example at the end of Act 3, Mrs C mentions Carol not leaving her by herself in Newlingham.

On the other hand we see that Alan, Kay and Madge all seem to have taken more like their father. This is shown when Madge is upset that her share of her father's money has been spent by Mrs C on Robin and Mrs C claims that Alan was Mr Conway's favourite. However, throughout the play you can see that all the children have somewhat details showing that they are similar to Mrs C then they all might think.

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From choosing between the three groups (spectacle and sound/ character and diction/ plot and thought) I, personally decided to join the plot and thought group. This allowed me to research and read the script to analyse and annotate particular scenes and moments within the script that I thought were important, useful and entertaining to perform.

When reforming the script, my group and I, following on from Almiro's idea of having the flash forward of Act 2 to be a 'back bone' for the entirety of the play and have Acts 1 and 3 to be flashbacks woven throughout the performance. This allowed us to find and communicate with one another on which scenes were more important relevant to highlight the messages and themes our whole performance group wanted to portray to our audiences when watching.

There were many add ins and many cuts that we had to make to make sure the performance flows, has relevance and still is entertaining for the audience all in 45-50 minutes.

Communication was key for our group to allow us all to have our own ideas and visions of the play included as well as collaborative decisions to include to complete the play.

As rehearsals have continued there were cuts and changes made to the script that we had to edit and remember to inform everyone within the company so we are all on the same wave length in rehearsals ideas on how we would like our piece to look like and result in.

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Once the script had been complete and all had been given their roles, we started on the very first scene created.

We would often go over scenes a few times and slowly start to add another scene as we progressed. This method allowed us to clean and improve the scene we were already working on as well as moving forward by starting another scene. We found that this method of rehearsal allowed us to work quickly and become ahead of the timeline before the upcoming assessment.

As group, we were all able to agree on staying at every ISP time and extra ISP rehearsals as we were told at the beginning of this unit that ISPs are going to be our most important sessions we have. These allowed us as a group ourselves to communicate and express the visions we have for the result of our hard work.

Working with the CTP students within this unit allowed us acting and performance students to get a different angel on some ideas that we may not have thought of or considered. the extra rehearsals also gave us the ability to get to know the CTP students and take the time to understand how they work and their visions for the end performance.

All three groups within our company expressed their visions for what they wanted within the performance relating to their group and we all were able to give our personal opinions on what we should have that would be best for all of us and the final performance. For example, something we all had a discussion about the layout of seating. Some of us wanted to give an impression of having a 'fish eye' effect where it gives the audience the feeling like they are looking in on the Conway family and their lives, however, others wanted an 'in the round' seating as it seems like a never ending cycle in the Conway Life and in time. As well as, this seating would cause other audience members to have to acknowledge each other within the space and cause them to think.

Over all, I personally am proud of what my group and I have produced as it always has a piece of at least one of us within it the whole time. The time and effort we all have put into the performance is clearly shown in the performance we gave on Tuesday.

We hope you enjoyed xx

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This Unit has taught me a so much along the way within the process building up to the finale of our amazing performance.

Being under pressure with individual responsibilities for this project as well other responsibilities and struggling with mental health has been a journey for myself personally.

It takes a lot to get back on your feet and continue and grow and learn after feeling knocked down or being knocked down and feel like all you can do is give up. If there is one thing being at University has taught me is keep going!

Despite being told this by close friends and family (especially my mum) it was never easy to just do it.

Now, I am able to say that I did get back up and keep going on my own with the support around me.

My progress, not only as an actor but as myself, throughout this unit has shown and brought back realisations and skills I previously had that now have come back so I can work on them more and improve on them to become a stronger version of myself.