I strongly believe in the power of theatre to build empathy, provoke thought, and inspire change. As a confident independent thinker, I thrive in collaborative environments and value the creative growth that comes from working as part of a team. I hold myself to a high professional standard and approach all work with care, focus, and integrity.

Alongside my formal training, I have been a long-standing member of Worcester Operatic and Dramatic Youth Society (WODYS), and now Worcester Operatic and Dramatic Society (WODS). Through these companies, I have performed in a wide range of productions including playing Pinnochio in Shrek the Musical, pantomimes, and my first leading role as Sarah in Our House (2022). In January 2024, I played the lead role in KAYS Theatre’s Rapunzel. Most recently, I performed as Hansel in Hansel and Gretel at Worcester Theatres — my first professional lead role and an invaluable learning experience.

My work as a director and facilitator is rooted in creating inclusive, supportive, and engaging rehearsal spaces. I recently directed Annie the Musical with WODACS, working with children of varying ages and abilities. My directing approach focused on structure, repetition, and play-based learning to build confidence, creativity, and ensemble trust.

I further work part-time at the Swan Theatre in Worcester, assisting KS3 & 4, and leading KS1 & 2 the Swan Youth Company. In this role, I teach children from Key Stage 1 to Key Stage 4 a range of acting skills, including improvisation, devising, and script work. We aim to put on a show each term with further doing strong drama theatrical context. I have also supported relaxed Saturday sessions for children with special educational needs, strengthening my understanding of access, adaptability, and inclusive practice.

In 2024, I wrote, directed, and performed in an original play based on my great-grandfather’s life. The production was revived in August 2025 at The Coach House Theatre in Malvern. This marked my second professional production and my first as a director. I led the project through every stage of development, including casting, directing, producing, marketing, and logistical management. The process strengthened my leadership skills and deepened my interest in theatre rooted in real stories and lived experience.

While working with children on A War Story, I was responsible for ensuring full compliance with The Children’s (Performances & Activities) (England) Regulations. This included securing Children’s Entertainment licences, liaising with Worcestershire County Council, and maintaining safeguarding standards such as permitted breaks, approved chaperone supervision, and careful consideration of potentially triggering material. This experience reinforced my commitment to ethical, responsible, and child-centred practice.

My next focus will be the development on my new play, centred on a neurodiverse protagonist, told through her eyes. I can start final script drafting, casting, & rehearsal readings. I also plan to apply for a small-scale funding such as the Arts Council project grants (under 10K), to reduce financial risk ... This may come easier under a business name, so making an official website and company name could be a strong step moving forward.  The play highlights and educates how ADHD is often overlooked in women and children.

If I continue building relationships at The Swan, The Coach House etc - it will ensure I have future programming opportunities.

I am deeply motivated by theatre that connects with real people, real histories, and meaningful change. Whether performing, directing, or writing -  I aim to create work that is thoughtful, accessible, and rooted in compassion.

I was very proud of the outcome.

A graded work.

The play is inspired by my great-grandfather’s life, but it explores much more than that — themes of life, death, love, war, and the circle of life. Audience feedback and reviews noted that it reminded them of stories their own grandparents had told them, and many found it deeply moving.

20/03/2026

During the second workshop, I led another full read-through of the play, which felt significantly more natural and fluid than previous sessions.

The dialogue began to settle into itself, and the actors appeared more comfortable within their roles, allowing the emotional tone to come through more naturally. As a group, we discussed potential developments, particularly towards the ending, where we felt Ivy would benefit from a clearer character arc. Specifically, we explored the idea that she needs to demonstrate some sense of resolution or understanding of her life, even if subtle, alongside offering more of an apology to Paul to strengthen their relationship dynamic. These ideas are still in progress, but the workshop process reassured me that through continued exploration and collaboration, these elements will develop organically.

Following this, I began to expand my ideas for the promotional poster, deciding to explore a range of visual approaches rather than settling on one concept too early. One key idea involved using a real bus stop location at night to reflect the themes of waiting, uncertainty, and isolation within the play. As a cast, we reconvened later that evening to photograph silhouettes at a bus stop, with one cast member’s husband supporting the editing process, including blurring and enhancing the images to create a more atmospheric effect. The resulting imagery felt particularly powerful; the presence of three silhouetted figures created an eerie and ambiguous tone, prompting questions such as who they are, why they are there, and what they are waiting for. This ambiguity directly reflects the play’s themes. I was particularly drawn to incorporating a tagline such as “What if it never makes sense?”, as it reinforces the central idea of uncertainty while inviting the audience to engage more deeply with the work. Overall, this process allowed me to combine practical experimentation with conceptual intention, resulting in a promotional direction that feels both visually striking and thematically aligned with the play

As part of my development process, I met with Stephen Wilson, a London-based actor, producer, writer and freelance creative, alongside his assistant Bethany, an emerging producer. Although Stephen primarily specialises in comedy, his experience across multiple areas of writing provided valuable insight into my work.

While I initially felt nervous and found myself quieter than usual, the feedback was extremely constructive and has significantly shaped my next steps, almost to the point it was quite overwhelming.

One of the key positives highlighted was that the play has a clear structure, particularly in its symbolic approach rather than following a traditional “scene one, scene two” format. This reinforced my intention to move away from conventional structure.

Additionally, the side characters were well received, with Stephen noting that they are engaging and add interest and comedy to the piece. However, it was strongly suggested that there is currently too much focus on these characters and not enough on Ivy, who should remain the clear central focus of the narrative.

A major area for development identified was the need to raise the stakes.

At present, the play lacks a strong sense of urgency or consequence. Stephen encouraged me to consider what has just happened in Ivy’s life that has led her to therapy now, rather than earlier. Why now?

This shift towards a more immediate and specific catalyst will strengthen the narrative and provide clearer motivation.

He also suggested moving away from making Ivy an artist, as this could unintentionally reinforce stereotypes surrounding creative individuals and mental health. They also has a massive sense that the play was too auto-biographical and to move away from that as much as possible.

Instead, her struggles should feel more universal, for example through her inability to maintain relationships or direction in life.

The development of relationships was another key focus. The dynamic between Ivy and Paul was seen as particularly strong and worth expanding, especially if Paul becomes her only consistent friend.

The idea that he comes to her for support, but she is unable to help due to her own internal struggles, creates a compelling emotional conflict. In contrast, the character of Ryan requires clearer direction — either reducing the sexual nature of the relationship or committing more fully to him as a potentially antagonistic figure who represents expectations Ivy cannot meet.

Stephen also suggested introducing Ivy’s parents more clearly to strengthen her backstory. Exploring their relationship — including their background, whether they are working class, and whether there is conflict between them — could help inform Ivy’s current emotional state.

This links to the idea of creating a more defined character arc, potentially rooted in past experiences such as family breakdown.

In terms of structure, the suggestion of framing the play as one extended therapy session was particularly interesting, as it could provide cohesion while allowing for creative, non-linear moments. They also encouraged me to further explore the more abstract elements I had already begun, such as random or symbolic character appearances (for example, Paul appearing unexpectedly as a manifestation of Ivy’s thoughts). This reinforces the play’s unique style while maintaining emotional clarity.

There was also discussion around the use of motifs, particularly the bus stop, which was seen as effective but potentially overused. Reducing its presence slightly may make it feel more intentional. The story needs to have more focus on Ivy. They have a clear understanding of who the other characters are but not Ivy - and as an audience member, we need to connect to her more.

Stephen referenced Life is Sweet by Mike Leigh as a useful influence, particularly in its exploration of complex relationships and character-driven storytelling.

Importantly, they advised that the play does not require a conventional “happy ending.” Instead, a more open and unresolved conclusion may be more truthful and reflective of real life.

For example, Ivy choosing to leave and “find herself,” potentially through travelling, could provide a sense of movement without offering complete resolution. Ideas such as her feeling safe near beaches, possibly linked to childhood memories, could offer a subtle but meaningful emotional thread.

Reflection

Overall, the key takeaway from this session is that the play needs to be simplified and centred more clearly around Ivy, with stronger emotional stakes and clearer motivations.

Moving forward, I will focus on:

- Strengthening Ivy’s character arc and personal motivation

- Raising the stakes by introducing a clear catalyst for her actions

-Developing relationships, particularly with Paul and her parents

-Refining characters such as Ryan to ensure clarity of purpose

-Ensuring all stylistic choices (e.g. motifs, symbolism) feel intentional

This experience has been particularly valuable in preparing me for Masters-level study, as it demonstrates my ability to engage with professional feedback, reflect critically, and adapt my work accordingly.

It has encouraged me to think more deeply about intention, structure, and character, ultimately strengthening both my creative and analytical practice.

To conclude -

Although receiving this level of feedback initially created a sense of pressure and, at times, stress, it was ultimately a highly valuable and professional experience.

Being challenged on key aspects of my work made me more aware of areas that require development, rather than allowing me to remain within ideas that feel comfortable but may lack depth...

This process has reinforced the importance of refinement and clarity within creative practice. I recognise that it is far more beneficial to step away and produce multiple drafts, taking time to rework structure, character and intention, than to settle for a final piece where something feels unresolved or missing. Engaging with constructive criticism in this way will ultimately strengthen both the quality of the play and my development as a writer, particularly as I move towards Masters-level study where critical reflection and redrafting are essential parts of the process.

The photographs were originally captured using a Pentax K50 DSLR, shot in black and white with a high-contrast setting to immediately establish a stark and atmospheric tone.

The editing process began using English software, where the first step involved removing the light source in the background to eliminate distractions and heighten the sense of isolation with the figures.

The three figures were then isolated and transformed into solid black silhouettes, which were saved as a separate layer. This allowed greater flexibility when refining the image. The original photograph was cropped, and the contrast was increased significantly so that the bus shelter appeared almost entirely black, while still retaining subtle highlights from surrounding light sources such as street lamps and passing cars. This balance helped to maintain realism while enhancing the visual intensity.

The second stage involved experimenting with a range of filters applied to the background, including Gaussian blur and bleach or colour overlays. These variations allowed us to explore different visual moods, from softened and dreamlike to more harsh and stylised effects. Finally, the silhouette layer was reapplied over the edited background, reinforcing the anonymity and ambiguity of the figures.

The sequence of images produced during this process demonstrates the development of the final design and reflects the collaborative discussions that took place. As a cast, we collectively felt that the more eerie and ambiguous versions were the most effective, as they create a strong sense of mystery and encourage the audience to question who the figures are and why they are there. This aligns closely with the themes of uncertainty and emotional complexity within the play.

However, as a director, I am also aware of the importance of exploring a range of creative options before finalising a design. Therefore, I intend to continue experimenting with alternative styles to ensure that the final poster not only captures attention but also best represents the tone and message of the production.

What initially began as something quite personal and exposive has evolved into a dramatic-comedy that feels more accessible, engaging, and relatable to an audience. This shift has allowed the piece to move away from being overly centred on my own experiences, and instead become something more symbolic and universal.

One of the most important changes has been the journey of the central character, Ivy. Originally, she felt quite inward and heavy, but by making her more witty, sarcastic, and self-aware, I have transformed her into someone an audience can connect with more easily. Her humour doesn’t take away from her struggles — instead, it makes them feel more real and recognisable. This balance between vulnerability and humour is what helps position the play within the dramatic-comedy genre.

The concept of “stepping into other people’s minds” has also become more refined and symbolic. Rather than simply being a narrative device, it now reflects a broader idea: that everyone is dealing with something beneath the surface. This reinforces the central message of the play — that Ivy is not alone in feeling lost, even if it initially seems that way. As a result, the play feels less like a personal story and more like a shared human experience.

Additionally, the supporting characters — Ryan, Lottie, and Paul — have become much more developed. Each of them now has a clearer identity, backstory, and purpose within the narrative. Ryan’s confidence and slightly “ladish” energy contrasts with underlying insecurity, Lottie presents a more controlled, outwardly put-together persona, and Paul offers a quieter, more grounded presence. Together, they create a dynamic that feels believable and layered, rather than one-dimensional.

The overall process has been a creative journey. I reached a point where I realised I needed to stop trying to force something overly personal, and instead focus on creating something that felt right, exciting, and engaging. By doing this, the play has naturally become more relatable, as it allows space for the audience to see themselves within the characters and situations.

In conclusion, the play has transformed from a more niche, personal piece into a balanced, character-driven dramatic-comedy with symbolic depth and wider appeal. This evolution has strengthened not only the narrative, but also my confidence as a writer, as I have learned to trust the process and prioritise connection with an audience.

This is thanks to my meeting with Wilson and and my cast who guided me in the right direction, a direction which felt healthy. This shows the importance of feedback and taking on others ideas and perspectives to help your professinal practice evolve.

Ivy explains to her therapist that she’s been thinking about going travelling, something a few of her friends have recently invited her to do, but she’s never quite had the confidence to say yes. She admits that she’s always admired how spontaneous Paul is, how he seems to just go for things without overthinking, whereas she feels stuck in her own head, constantly questioning herself. She reflects on how she’s spent so long trying to “figure herself out” that she’s actually stopped herself from living, and that maybe leaving — even just for a while — could help her understand who she is without all the noise. Although she’s clearly unsure and slightly overwhelmed by the idea, there’s a sense that this could be a turning point for her, as she begins to consider that finding herself might not come from thinking more, but from finally doing something different.

As a practitioner, I recognise the importance of creating a safe and inclusive environment where all participants feel supported, particularly those with additional needs or lower confidence levels. Following a discussion with a family member experienced in working with SEN children, I became more aware of the value of providing a designated “safe space” within the session, alongside quieter, low-pressure activities. This allows children to regulate their emotions, observe before participating, and engage at their own pace. By offering alternative forms of participation, I am ensuring that the environment remains accessible and non-threatening, which in turn builds trust and encourages more meaningful engagement over time. This approach supports my development as a facilitator who prioritises wellbeing alongside creative outcomes.

For a while, I realised something wasn’t landing, I opened the room up, and let the play evolve, into something I believe is more beautiful and meaningful.

New motif for the play - title is now 'Making Sense'

The play is no longer primarily about ADHD or diagnosis.

For me, this is what the issue centred around. It was too personal and too close to home. Not only that, but it target a very specific target audience.

Upon discussion after our first read through, my cast openly admitted to not being interested in a play about 'ADHD'. My neurodiverse actor and friend Henry, also admitted it can be 'a sensitive subject' - and stated 'why dont you broaden it to a wider audience.' Walters 2026

Instead, the central theme becomes:

Self-awareness and self-acceptance in a complicated world.

The play explores how everyone is struggling with something as

each character is trying to make sense of their own life, their identity, and their place in the world.

Rather than focusing on labels or diagnoses, the play highlights:

• emotional overwhelm

• identity

• relationships

• pressure to appear “normal”

• the hidden struggles people carry

The message is more, we are all different. Nobody has life fully figured out.

The most important thing is learning to understand ourselves and others.

The play still centres around Ivy, but the other characters now have stronger emotional arcs and personal struggles which the play lacked before.

This allows the story to connect with a wider audience, rather than focusing on one specific condition.

The play becomes an ensemble exploration of people navigating life. Ivy thinks her life is falling apart (with references to her character potentially being neurodiverse) whilst everyone around her seems to have it together, but the reality is we are all waiting for a life that might never make sense.

My professinal practice still creates real and meaningful work, but the play had become brouder..

She is a creative young woman who feels different but cannot fully explain why. Rather than her being explictily neurodiverse, it is implied she has neurodiverse trairs. She thinks her life is falling part and everyone around her has it together – in realtity everyone is just ‘waiting for life to make sense.’’ 

Her journey is about: 

• understanding herself 

• accepting how her mind works 

• learning she is not “broken” 

Her struggle is NOT just ADHD or diagnosis, it is feeling out of place in a world that expects people to function in a certain way. 

She represents overwhelm, creativity, and self-discovery. 

Lottie – Therapist 

She is still Ivy’s therapist, but now I have given her character more depth by showing she has own personal struggles. 

She is going through a divorce, meaning she is also trying to make sense of her life. 

This adds complexity: 

• she is guiding Ivy 

• while quietly navigating her own emotional turmoil. 

She represents guidance, reflection, and hidden vulnerability. 

Paul – Best Friend 

Paul is Ivy’s emotional anchor. 

However, he also carries responsibility in his life: 

• he lives with and cares for his grandfather 

• he is balancing caregiving and his own ambitions , musical theatre.

He appears confident and flamboyant but has pressure beneath the surface. 

He represents loyalty, humour, and quiet sacrifice. 

Ryan – Love Interest 

Ryan initially appears confident and charismatic. 

However, he struggles with: 

• difficult family dynamics 

• insecurity 

• emotional immaturity 

His relationship with Ivy shows how two struggling people can misread each other.  I want to imply to the audience they are both implicitly neurodiverse , and how this clashes with their relationship . Ryan is emotianally intense and this makes Ivy pull back.

He represents masculinity, vulnerability, and emotional confusion. 

HUGE SHIFT

Instead of the play being about Ivy’s condition, it has now become about

multiple lives intersecting and blending with one another, revealing hidden struggles. 

We see: 

• Ivy overwhelm

• Paul struggling with responsibility 

• Ryan dealing with family issues 

• Lottie managing a collapsing marriage 

• Them coming together

The audience will see that everyone is trying to survive in their own way, and everyone is waiting for answers that may never make sense.

• The concept

Instead of it being a play about ADHD awareness, it has become a broader subject. A play about lives and how everyone is going through something, people are often better at hiding it. This makes the place less personal to me and connects to a wider target audience. The play doesnt need to be about a diagnosis, but we are all different.

• Bus stop mofif

The character surrounding Ivy find themself waiting for the same bus, which happens 3 times. A metaphor for how we are all waiting for something which may never arrive. This creates meaning, suspense , and mystery.

• Ivy monologue

  The cast decided an opening monologue coming from Ivy direct to the audience, draws them in. It hooks them, sets the tone and establishes the theme. It introduces the central idea how everyone is trying to make sense of something.

• Ivy's therapy adjustment

  Instead of over sharing in her first session, she becomes reserved and it is up to the professinal to get answers out of her. There's a gradual build throughout the play which feels more realistic.

• The title

  'Making sense' is very self explanatory . We are all trying to make sense of our lives in a complicated world that may never make sense.

The play has become more less about a diagnosis, or issue-based theatre - and has become more of relatable, human, character and emotional driven. Each character serves more of a purpose.

I'm happy that it reaches a wider audience while avoiding a clinical or overly educational tone, gives every character emotional depth, preserves themes of neurodiversity without centring labels, and allows for humour and relatability—making the play ultimately about what it means to be human in a complicated world.

The play works best when ADHD is part of Ivy but not her whole story, with its true heart captured in the line, “It’s not about a label that proves something, it’s about understanding that we’re all different,” showing that you’ve realised what your play has been trying to say all along.

My professional practice is demonstrated not only through the development of my play Making Sense, but also through my practical experience leading sessions with young people. My practice has developed into one where I can now confidently plan, lead, and adapt creative work within a professional and educational setting, reflecting contemporary approaches to participatory and inclusive theatre.

I now independently plan and deliver weekly drama sessions for KS2 students, while also supporting KS3, KS4, and early years groups. I have also led workshops such as “Play in a Day” holiday sessions, where I have had to plan and adapt quickly under pressure. These experiences have strengthened my ability to write and adapt scripts for mixed-ability groups, & support students in developing their performance skills. This reflects an understanding of applied theatre practices, where the process is as significant as the final performance, and participants are encouraged to take creative ownership.

A key part of my role involves managing behaviour while maintaining a safe and inclusive environment. I regularly adapt sessions in real time based on students’ needs, energy levels, and engagement, particularly when working with children with Special Educational Needs (SEN). This includes differentiating tasks, simplifying instructions, and creating supportive spaces where all students feel able to participate. For example, during a devising day over the Easter school, I recognised that many students had additional needs. I adapted my session plan to focus on clear, simple instructions, repetition, and accessible activities, which significantly improved engagement and focus. This demonstrates an awareness of inclusive practice and the importance of accessibility within contemporary theatre and education.

Through this work, I have developed a range of professional skills, including adaptability, leadership, communication, and time management. I have also strengthened my facilitation skills, learning to guide students’ ideas rather than direct them, allowing for greater creative ownership. This aligns with collaborative and ensemble-based approaches to theatre-making, where the practitioner acts as a facilitator rather than an authoritative director. Additionally, I have developed strong organisational skills through managing resources, coordinating rehearsal spaces, completing administrative tasks, and liaising with staff and volunteers. Reflective practice has become a key part of my approach, as I regularly gather feedback and use it to inform and improve future sessions, demonstrating an ongoing cycle of evaluation and development.

Although I have not yet staged the final performance of Making Sense, the development process clearly demonstrates a professional and considered approach to my work. Through writing and refining the script, I have shown an ability to take feedback, adapt ideas, and allow the project to evolve. This reflects an understanding of iterative creative processes, where work is shaped over time through experimentation, reflection, and collaboration.

Rather than rushing into performance, I have taken time to ensure the piece is structured, engaging, and meaningful, with a clear awareness of audience reception. This is further evidenced through organising read throughs, sharing the script for feedback, and beginning to explore marketing ideas such as poster designs. These decisions demonstrate an understanding of the wider context of theatre-making, including audience engagement and the importance of visual communication in promoting work.

Feedback has been particularly valuable in shaping the play; for example, I recognised that earlier versions of the script were too personal, which created a sense of disconnect for an audience. In response, I broadened the concept to create a more symbolic and ensemble-driven piece, allowing for multiple perspectives and increasing its relatability. This shift reflects an awareness of contemporary theatre practices that prioritise shared human experience and audience interpretation over purely autobiographical storytelling.

Overall, my practice reflects a clear progression towards a professional and self-aware approach to theatre-making. While the play has not yet been physically performed, the ongoing planning, development, and collaboration demonstrate that the process is active, reflective, and evolving. Combined with my growth into a leadership role within the Swan Youth Theatre, this evidences my readiness for professional practice, showing that I can manage projects, work collaboratively, and create inclusive, engaging work that is informed by both practical experience and critical awareness.

Originally, my protagonist was presented as a neurodiverse artist, which led me to explore messy, expressive artwork within the design. I approached a close friend to create this design.

I then moved towards using the bus stop as a central motif. Now, as the play has evolved to include more comedic elements, I want to explore having all of the characters featured in the poster. This will allow the audience to immediately connect with the characters and get a sense of who they are.

I used AI as seen in this image to give me an example of what I hope to achieve.

On Friday 10th April 2026, I led a “play in a day” Easter holiday workshop for approximately 15 children across a mixed age range. Overall, the day was a great success and provided valuable insight into leading under pressure within a practical setting.

Prior to the children’s arrival, I ensured the space was fully prepared, including setting up the studio, organising props, and reviewing the register to identify any additional needs or important information about the group.

Upon arrival, it became clear that we had a number of younger children, which required me to quickly adapt my approach to ensure accessibility and engagement. To introduce the “Heroes and Villains” theme, I used volunteers to model a short interview example, which was going to be the structure of the show - which immediately captured the children’s attention. This not only engaged them creatively but also reinforced expectations around listening, focus, and participation. I then clearly established the concept of the performance: a simple “Bibbidi Bobbidi Chat Show,” where heroes and villains would be interviewed. This structure proved effective, as it was easy to understand and allowed flexibility for a range of abilities.

Throughout the day, I maintained a simple and clear structure, adapting where necessary based on the children’s responses and ideas. While I led the overall concept and direction, I also delegated effectively, with my assistant supporting smaller group work in a separate space. I was particularly mindful of maintaining engagement, especially for children with SEN needs, by incorporating short breaks, quieter activities such as colouring, and moments of rest. This balance between repetition and rest was key in sustaining focus and ensuring all children could participate comfortably.

Behaviour management and authority were also important aspects of the day. At one point, I became aware of a comment from a child suggesting a lack of authority, which I addressed calmly by reinforcing expectations of respect and kindness. This highlighted the importance of maintaining clear boundaries while remaining approachable. As the day progressed and energy levels dropped, I adapted the structure to include games and breaks, recognising the need to respond to the group’s physical and emotional state.

Before the final performance, some of the younger children experienced stage fright. I supported them individually by removing them briefly from the space, offering reassurance and small incentives to build confidence. This allowed them to re-enter the performance feeling more secure, and they successfully took part in the show.

Leading this workshop required me to manage multiple responsibilities simultaneously, including planning, facilitation, behaviour management, safeguarding awareness, and creative direction. This experience significantly contributed to the development of my professional practice, particularly in my ability to adapt in real time, respond to individual needs, and maintain a positive and inclusive environment. It reinforced the importance of simplicity, clarity, and flexibility when working with mixed ability groups, and strengthened my confidence as a practitioner leading independent sessions.

STRUCTURE OF SHOW -

1. Opening theme + intro

2. Interview 1 (hero)

3. Interview 2 (villain)

4. Ad Breaks (30–60 secs)

5. Final interview

6. Something goes wrong / conflict

7. Resolution

Walters, H (2026) Read through/ cast member. 8th March.

OpenAI (2026) AI-generated image based on user prompt describing four characters at a bus stop for theatre poster. Created using ChatGPT, 16 April.

Open Theatre (no date) Open Theatre. Available at: https://opentheatre.co.uk/

(Accessed: 1 May 2026).

This session was really helpful, as my colleague introduced a suggested template for the technicians. This is something I hadn’t considered when working on A War Story, but the template was clear and precise for the technicians, and I will definitely use it going forward.

As a team , Corrie went through the script as I typed up any notes required - so it was clear and affective.

The process of applying allowed me to reflect on how far I have come, from my training to my recent professional work, and helped me articulate my identity as an actor, writer, and emerging director. It reinforced that I am ready to start taking my career more seriously and actively seek opportunities rather than waiting for them. Regardless of the outcome, applying felt like a positive shift in mindset — one where I am backing myself and showing commitment to developing my practice at a professional level.

The performances, especially by Jamie Lee Curtis, demonstrate how physicality, vocal choices, and detail can communicate identity despite a change in appearance. Her portrayal of her daughter/ a teenager of that time period, was brilliant.

This is directly relevant to my play, as the success of the scene relies on the audience immediately understanding which character is “inside” each body without confusion...

To support this in rehearsal, I would draw on ensemble and movement-based practices inspired by Frantic Assembly. Their approach to chorus work, particularly the use of shared movement language, repetition, and lifts/contact work — would allow the actors to develop a strong physical connection and understanding of each other’s bodies.

Through workshops focusing on mirroring, gesture, and rhythm, performers can learn to embody one another in a way that feels cohesive and believable. This not only ensures clarity for the audience, but also enhances the emotional impact of the scene, as the body swap becomes a tool for empathy, allowing characters to experience and understand each other’s internal worlds

On the 30th, I attended a producing and networking event at Arch 27, centred around the upcoming Festival of Play taking place on 23rd May 2026. The festival is designed as an inclusive event for friends, families, and individuals from all backgrounds, encouraging creativity, connection, and fun. As emerging practitioners, we were invited to share ideas and explore opportunities to get involved, making it a valuable space for both networking and creative contribution...

A particularly impactful part of the day was a workshop led by Richard Hayhow, who specialises in non-verbal facilitation through Open Theatre. As someone currently working with children with Special Educational Needs, this was especially relevant to my practice. He said a range of highly impactful and concerning statements such as 'there are very little Teachers in the UK who have had SEN training' along with other inspiring stories.

Richard explained that around 80% of human communication is non-verbal, expressed through physicality rather than speech — something that is often overlooked. This is particularly relevant when working with individuals with Special Educational Needs, who may communicate in alternative ways. He shared an inspiring example of working with a young boy who showed enjoyment of an activity by gently touching Richard’s forehead. While a teacher initially perceived this as disruptive behaviour, Richard recognised it as a meaningful form of connection and communication. This reinforced the importance of understanding behaviour from the perspective of the individual, rather than applying assumptions.

This resonated with me personally. As someone with a cousin with Down’s Syndrome and other neurodiverse family members, including myself, I recognise the importance of balancing professional training with genuine care and empathy. This workshop highlighted that effective practice is not only about technique, but also about intention and understanding.

The session has been highly influential for both my work at the Swan Youth Theatre and my future practice. It has also directly informed my approach to my play Making Sense, which requires strong physical and non-verbal communication, particularly within the body-swap scenes. I aim to incorporate these exercises into rehearsal processes to help the cast build connection, trust, and a shared physical language.

Many of the exercises were inspired by clowning techniques, emphasising exaggerated physicality, clear emotional expression, and playfulness as a form of communication. One exercise involved responding physically to music by simply copying the facilitator. Although simple, it highlighted how differently individuals interpret the same stimulus, reinforcing the idea that physical response can tell a story. This demonstrated the power of music as a tool within rehearsal spaces to unlock creativity and emotional expression.

Another exercise involved using different parts of the body to “write” our names, encouraging us to think about how movement communicates identity and intention. We then worked in pairs, connecting specific body parts (for example, elbow to forehead) and moving together through the space. While initially playful, this exercise revealed how movement can convey different emotional narratives — some interactions felt tense or chaotic, while others appeared calm and connected. It emphasised that even without words, we are constantly communicating meaning.

Observing others during this task further reinforced this idea. Each pair appeared to be telling a different story through movement alone, highlighting the power of non-verbal communication and interpretation.

We also explored mirroring exercises, taking turns leading and following, often supported by music. At times, the transitions became unclear or “messy,” but this was encouraged as part of the process. It reinforced the idea that not having complete control or certainty can still result in effective communication and connection. This is something I would like to bring into my own rehearsal processes, encouraging actors to trust instinct and remain present.

One of the most effective exercises involved working across a line of participants, mirroring a partner while resisting the influence of others in the space. This required focus, commitment, and connection. It was particularly interesting to observe how some participants remained fully connected to their partner, while others became influenced by the wider group. This highlighted different approaches to focus, awareness, and spatial relationships.

Richard’s workshop left me with a range of practical ideas, as well as key reflections:

- Non-verbal communication can often be more powerful than verbal communication

- Behaviour should be understood as communication, particularly when working with SEN individuals

- It is important to allow freedom within a space, as long as it remains safe and respectful

- Effective practice requires both training and genuine care

- These techniques are transferable beyond teaching, particularly within rehearsal and performance processes

This experience has significantly contributed to my development as a practitioner. It has strengthened my understanding of inclusive practice, non-verbal communication, and the importance of creating spaces where individuals can express themselves in ways that feel natural to them. This will continue to shape both my teaching and creative work moving forward.

It emphasised the importance of physical communication over verbal instruction, highlighting how movement, gesture, and presence can tell a story and create understanding. It reinforced the idea that communication is not one-size-fits-all, and that children with SEN may express themselves in diverse and equally valid ways. Through practical activities such as mirroring and responding to music, I developed a deeper awareness of how to engage participants without relying solely on spoken language.

This experience will directly inform my facilitation style moving forward. I aim to incorporate more non-verbal exercises into my sessions, allowing children to explore expression in a way that feels natural and accessible to them. It also strengthened my confidence in adapting my practice to suit a wider range of needs, reinforcing my commitment to inclusive and responsive teaching.

Additionally, Hannah spoke about the festival as an immersive experience where people can come together to be creative and connect with others. This aligns closely with my own values as a practitioner — creating work that is accessible, engaging, and rooted in shared human experience.

Overall, the day was highly beneficial in developing both my practical skills and my understanding of inclusive practice. It also opened up potential opportunities for involvement within the festival itself, further supporting my professional development and networking within the creative industry.

MY MARKETING VIDEO IDEA:

Hello and welcome!

We’re so excited to invite you to this year’s Festival of Play which is brought to you by scala which is taking place on Saturday 23rd May, from 10am–5pm in Worcestershire located at the arches and the hive — which just a short walk from Foregate Street Station and our beautiful cathedral.

Best of all… it’s completely free, and everyone is welcome — so bring your friends, bring your family, and come join the fun!

There’s something for all ages, including:

Street games

A spectacular circus showcase

An interactive video game zone

Walkabout performances from local favourites like Vamos Theatre

And keep your eyes peeled… you might even spot some special guests popping in to say hello — including Rumi from K-Pop Demon Hunters and a certain friendly neighbourhood Spider-Man swinging by!

It’s set to be a joyful day full of laughter, creativity, and unforgettable moments — and we would love to see you there.

For more information, head over to our socials and help us spread the word!

''It builds confidence, develops skills and independence, and equips young people to communicate and create with others, reshaping how society sees and values their creativity.''