We began our rehearsal process with a week learning all of the singing repertoire for the show, during which an opportunity to become vocal captain for the show presented itself. I was keen to take on this role and so submitted myself for consideration. I’m pleased to reveal that I was chosen to be the vocal captain for the show and my work began immediately; unfortunately, one of the cast had tested positive for Covid the day before we began, therefore as vocal captain I was responsible to record all of their harmony and solo lines alongside my own, I would then send them all of the days recordings on the evening once we were finished with bar numbers of where each section started and ended on the sheet music so they could follow along and learn everything with more ease.
The following week we began blocking with Alistair; in order to ensure we understood our characters, we each had to prepare research to present to the group. As I had two characters (when I was not playing Barbara I was playing a factory worker), I opted to create profiles for both of them. Barbara Castle was a politician whom was truly before her time, and advanced our institution tremendously throughout her long career in Parliament, including introducing the breathalyser and the 70mph speed limit on motorways; she was also responsible for the success of the Equal Pay Act in 1970. Researching Barbara was extremely interesting and inspiring and it left me feeling extremely privileged to be playing such a wonderful person. My other research was where I allowed myself to be creative and have fun. As she was not named, she was a blank canvas for me to create, and so I created Valerie McGrath.
Rehearsing a number set in the factory as Valerie.
A production photo from the end of the number we’re rehearsing above.
On the right portraying Valerie during the number ‘Storm Clouds’.
Valerie was 23 years old, and had been in the factory since she was 16. In order to make her realistic and allow me to play her fully, I thoroughly researched Britain in the 1960s (as Made in Dagenham is set in 1968). Valerie was obsessed with Lulu, and her main goal in life was to marry John Lennon in a Mary Quant mini skirt, and so she had been saving her wages at the factory for years in order to achieve this; however, after reading Betty Friedan’s ‘The Feminine Mystique’, she decided she could aim a little higher in life and wanted to contribute to the growing civil rights movement. So, she decided to go to university when she had saved up enough to retrain as a civil rights lawyer, and then marry John Lennon in a Mary Quant mini skirt. This made equal pay a key issue for her as she wanted to get out of the factory as soon as possible.
Giving depth to the character Valerie meant that I was able to contribute equally to the production and be a true team player. As a performer, I have learned I love intricate character details, they allow me to extract the maximum out of the material which in turn means I contribute well in the team.
Here are some useful links with information on rehearsal processes and creating characters from scratch:
A guide to the rehearsal process: https://www.stagemilk.com/successful-rehearsal-process/https://www.stagemilk.com/successful-rehearsal-process/
Creating a character: https://spotlights.co.uk/10-ideas-characterisation/
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