One thing to think about moving forward is how costume or clothing affects the visibility of the performer, especially when working with torchlight or similar effects. Dark clothing can make performers disappear a little too much, which might limit the impact of the lighting choices. The spoken-word delivery also needs more strength and confidence; relying less on phones and aiming to memorise these sections would make the performance feel more polished and immersive.

For development, the spoken-word moments would benefit from clearer emphasis and a stronger sense of storytelling — not just reciting but really communicating meaning. The biggest opportunity lies in expanding the piece further: what would the next section look like? Where could the story go if it continued to grow? Thinking hypothetically about the next stage could help shape the direction and deepen the performance even more.

Throughout the process, the group faced some challenges with absence and lateness, but those who were present continued to move the piece forward, which showed good commitment. In the performance itself, the tempo stayed quite slow, and adding more variation here would have helped maintain the audience’s engagement. There was also some uncertainty about which stimulus had been used; making that link clearer would strengthen the purpose and direction of the piece. A motif involving arm movements between performers was an interesting idea but didn’t quite land as intended — it needed more exploration and refinement to highlight the unity or meaning behind it.

Looking ahead, the performance could have been enhanced by experimenting with mask work, especially to represent the “facelessness” of the figures surrounding the central character. Adjusting the pace of the piece would also be beneficial — shifting between quicker, more dynamic moments and slower, more reflective ones can help take the audience on a more varied journey. Finally, introducing an additional element such as music might open opportunities for short movement sequences and add an extra layer of atmosphere.

One area to consider is the ending, which came across as a little predictable. It felt like an opportunity to surprise the audience or offer a more inventive conclusion.

For development, finding a way to go “live” onstage — allowing the group to be seen through a camera lens and projected onto a screen — could really help bring the digital idea to life. This concept has a lot of potential; incorporating real-time or pre-recorded digital content, and even inviting the audience to comment or react, would add depth and make the performance feel more interactive and current. Leaning into this digital layer could transform the piece into something unique and engaging.

At the same time, the storyline itself felt a little underwhelming, especially as topics like school life and drug use are common in devised work. Thinking about more inventive or unusual ways to present these themes could make the piece stand out more. The distribution of roles also felt uneven, with some performers taking the lead while others held back, which affected the overall balance of the group. The performance relied quite heavily on dialogue, which meant the conventions weren’t always able to shine or elevate the storytelling as much as they could have.

Moving forward, it would really help to smooth out the transitions between scenes so the piece flows more consistently from one moment to the next. Finding a unique angle or concept that runs across the whole performance would also give it a stronger identity and make it more memorable. This could be a stylistic choice, a recurring image, a framing device — anything that adds a distinctive edge and ties everything together.

One thing to be mindful of is the balance between sound effects and live dialogue. At times, the SX levels were too high, making it difficult to hear what was being said onstage. Adjusting this balance will help ensure the audience stays fully connected to the performance. The plot tended to stay quite literal, and exploring non-linear structures could make the piece more interesting and unpredictable. It was also very dialogue-driven; dialogue is useful in devised work, but it shouldn’t overshadow the devising techniques themselves, which are what keep the performance engaging. The connection to the original stimulus wasn’t always clear, aside from the recurring rainfall soundtrack, so strengthening that link would help anchor the piece more meaningfully.

For development, it will be useful to keep devising conventions at the forefront and think about how one key technique could tie the whole performance together. Conventions like platform theatre or chair duets, for example, could add structure and cohesion. The group might also benefit from starting with a short pre-existing script and building devised material around it, helping to lift the performance away from purely literal storytelling. If scene changes are going to happen in full view, make sure they’re purposeful and feel like integrated moments rather than breaks. And finally, dialogue needs to be delivered with clear volume and confidence to ensure it lands as intended.

2.(0930-1000) Caitlin, Declan, Eva, Mandy

3.(1000-1030) Asher, Lenny, Max, Sophie

4.(10.45-11.15) Beth, Ella, Jack, Karina, Lewis, Liam, Lily, Monty, Summer, Skye

5.(11.15-11.45) Grace, James, Robin