This week we felt it was necessary to focus on putting our own stamp on the play, just like Godber intended people to do. As a company we have all decided that the set is to be minimalistic, as the kids would not be able to have any amazing or extravagant sets, due to the poverty of their school. This week we have started to block the first couple of scenes, the scenes are quite rough as of now, which is expected with it being so early on in the rehearsal period. Our first read through was really just for us to get the feel of our characters, because as stated Brandilyn Collins ‘Getting Into Character’ “ determine each character’s specific objectives and motivations” this is essential because you need to know what your character is doing and why they are doing it. The play has such depth to it in regards to social class and the education of children, as well as it being written in the Thatcher era, which obviously Liverpool in particular has a personal connection to, I think with the characters being so relatable in the sense that we have all felt like they do at one point in our lives, none of us come from rich backgrounds or well off families therefor we all felt a personal connection to the play and a need to do it justice We then spoke about the concept of the play and where we wanted to go with it, after much discussion we were all happy and agreed in which direction we wanted to take the play.
This week we got given our parts by our director, I was delighted to receive the part of Hobby, as this was the part I had hoped for and I feel I am suited to the part and will be able to bring the character to life. This gave us a far clearer run at establishing meaning and subtext from the outset, whilst reading through the script I was amazed at how naturally we all took to the text and script. Our director had told us that the author has written into the play the concept of updating and localising the language. At that time I had no idea of the astounding impact his work has had on modern British theatre, placing him alongside figures such as Ayckbourn and possibly even Pinter as one of its foremost exponents.
The all new, updated version of Godber’s classic play, revised and expanded for the 1990’s.I had only experienced the work of John Godber through ‘Bouncers’ which I had performed several years ago as a BTEC student. `Bouncers is brilliant.’ - Daily Mail.Īlso available: BOUNCERS (1990’s Remix). `Consistently entertaining.’ - Evening Standard. An exhilarating night out for all concerned. There, we also meet an entire cross-section of disco-goers, including Hooray Henrys, pogoing punks and drunken slobs! The evening’s events are set against the tatty glitzy glamour, flashing lights and pulsating beat of the nightclub scene. We see them as giggly girls and lads on the make preparing for the big night out as we follow their progress to the disco floor. The four brutish bouncers of the title portray over twenty different characters as we are invited for a night out on the town. Bursting with imagination and wit and presented by just four actors, Bouncers is an outrageous and hilarious parody of the disco scene.
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