From the beginning, I have found WAKE UP Theatre’s adaptation of Fallout by Roy Williams to be incredibly challenging for myself as an actor. Personally, I have never taken part in a production which is so fast paced and has required me to multi role so efficiently. WAKE UP Theatre’s adaptation of Fallout requires scene changes and quick character transformations. Creating and developing characters which require an accent which no actor in the company possess demands physical and mental attribution. In his seminal work, John Hester notes that ‘one of the most important truths about acting is that an actor is only ever as good.. as the other actors on stage’ (2004, p.33) therefore, our company will be undertaking vocal training to ensure Fallout is not an unsuccessful production because of weak accent portrayal and poor vocal ability.
The first role which I play is that of Doreen Lawrence. The audience first see this figure delivering a verbatim extract from the Stephen Laurence inquiry; presenting a heartbroken, confused mother who has lost her son to a street crime. Performing verbatim is challenging for an actor as you aren’t able to perform. These words which I will deliver are real. Real words, real worlds. In order for me to portray Doreen, I will need to incorporate the use of emotion memory to create a realistic, sad presence. In The Scene Study Book, Bruce Miller notes that ‘Drama is primarily about action, not emotion’ (1995, p. 1). When performing verbatim, you are able to present a realistic perception through verbally embodying the text, where by you encourage the audience to accept a given situation as it’s presented. Action does not need to be present.
The second role which I play could not be more diverse. When I first enter the stage as Emile, a sadistic gangster who committed the fatal crime, I am required to banish all feministic qualities and become a vicious male with a London accent. After repeatedly watching Channel 4’s adaptation of Fallout, I am beginning to understand my characters personality and position within the London gang who all took part in the killing of Kwame. Having just read through the final script, I am concerned as to how I will play such a powerful and poignant male character when I carry such feministic qualities. On the surface it is difficult to find any other emotion apart from anger which Emile does possess. He seems like a young man who is stuck in a rut which consists of taunt, trouble and a guilty conscience. Emile seems to be a grown teenager who does not succeed in his quest, ‘you still can’t respect me, can you?’ (WAKEUP Theatre 2013, p. 36). Emile does not receive the respect he is searching for and on first readings I think this is why the play happens. Emile does not find this respect and in his attempt to find it, Kwame is stabbed to death.
It is easy to slap an emotion on to my lines, but in order to have a fully formed intention and character I have to almost breath every word and take in every intention. By banishing all feministic qualities and forming male mannerisms I will begin to develop an understanding and meaning of the lines and Emile as a whole.
Work Cited
Hester, John (2004) Stage Acting Techniques: A Practical Guide, The Crowood Press Ltd.
Wake up Theatre (2013) 130,000 an adaptation of Fallout by Roy Williams, Lincoln: Lincoln School of Performing Arts.