Holly Gallagher (w12017006)

Theatre and Performance Practice (PA0703)

Reflective Essay #5: Julie

Working as Assistant Director for Rebecca Frecknalls production of Zinnie Harris

Julie at Northern Stage was the final project within my portfolio that I completed before I
began working solidly on making Before (the line is lost) into a full length show. This piece
was a reimagined classic text, and so I found having just completed working on Lee Halls
adaptation of Mother Courage helpful for moving onto this project as a lot of focus within
rehearsals was predominantly on text. I completed this production as a form of work
experience as funding was not available to pay me for the role. It has been one of the most
rewarding and insightful productions I have worked on to date for a number of reasons, but
most prominently for the insight it offered me into a professional working environment.
My requirements for this project were to attend as many rehearsals as possible in amongst my
MA duties (for example, our showcasing event LEAP overlapped with this process) and to
assist Frecknall, which is, in her words, to quintessentially be a buddy and a support
system. This meant I carried out a variety of tasks from detailed note taking, to researching
areas of the play (what happens to light on Midsummers Night, for instance), running lines
with actors, and perhaps most importantly, observing a director as they work and keeping
notes on their skillset. I found observation to be the most important part of this project for me
as it allowed me to view a professional process from start to finish (or as much so as possible
as I was invited into the production a week before rehearsals began) for the first time ever,
and gave me the opportunity to see how Frecknall worked independently as a director for the
first time. Within this process, after discussing it with Frecknall, it was decided that I could
offer my own notes on the production too to Frecknall in private first, and then with the
actors afterwards if she felt they would indeed be beneficial. This latter role is one that a lot
of assistants do not get the opportunity to have, and so I really appreciated being given the

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Theatre and Performance Practice (PA0703)

opportunity to voice my opinion within the rehearsal room. I also believe it was my preceding
working relationship with Frecknall, and the trust inherent in that, which allowed me to have
this opportunity during Julie.
During our 3 weeks rehearsal at Raby Street (Northern Stages newly designated rehearsal
space) I was able to gain a thorough insight into how a professional rehearsal room operated
predominantly through observation as mentioned above. This was very beneficial not only for
me as a director, but also as a performer as I was fortunate enough to work with exceptionally
talented professional actors too: Pearl Chanda (RADA), Michael Grady-Hall (RADA), and
Rona Morison (Guildhall). Being given the opportunity to see how the actors interrogated
text to find logic within it was really insightful. I believe every performer should maintain
this level of rigor in interrogating text as this is what allows for an ease of play in the
rehearsal room and brings out the richness of a text. After all, if you simply let a play speak,
it may not make a sound which is why if you want the play to be heard, then you must
conjure its sound from it by asking questions of it to deepen your overall understanding
(Brook, 1968, p.43). An example of how this took place was during our first week of
rehearsals a lot of time was spent unpicking the importance of alcohol in Act 1 Scene 1
between John and Christine Morisson (Christine) took a lot of time running and re-running
that point within the scene in order to fully grasp the game of dares being played between the
two characters. We established that it ultimately existed as a means for John and Christine to
egg the other on to share gossip about Miss Julie and her deteriorated marriage whilst they
had a moment of privacy as house staff.
Julie is an adaptation of a classic tragedy meaning that there was always a risk that the
actors in this production would aim to use a special voice, a special manner, a noble look
and an elevated musical delivery as is often used by actors when performing classic texts.

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Theatre and Performance Practice (PA0703)

This grand manner of performing is considered by Peter Brook to be deadly and a reason
why so many performances of classic texts are becoming more and more hollow, more and
more meaningless and so it was refreshing to see that this was something the actors in this
production never once fell into (Brook, 1968, p.14). They spoke with their own tongue and
entered the fluctuating territory of manifestation and existence that [they share] with the
spectator making their delivery and performance style refreshing and naturalistic (Brook,
1968, p.20). I also believe that through understanding the text after much rigorous
interrogation and having the ability to play around with it during rehearsals meant that the
actors had no attention to spare for self-consciousness when performing, and instead knew
what the audience wanted to hear in regards to the crucial points within the narrative. They
let them hear these key points with ease, allowing images to find their own level as they
unconsciously delivered text to the appropriate volume and pitch required at that point in
the piece making their impressive performances seem effortless (Brook, 1968, p.28).
I also found that being in a room with small means, intense work, rigorous discipline,
absolute precision in regards to how every professional in the room was approaching the
piece was a great motivator for me I was present in a rehearsal room with an abundance of
passion for the play and a desire to get things right (Brook, 1968, p.67). This kind of work
ethic and desire to make great theatre was exactly what I wanted to feel I was implementing
within Before (the line is lost) rehearsals something which I consciously made the effort to
do from that point onwards (and of course will continue to do so with any professional
production I am a part of in the future too).
Whilst I found it highly useful to implement the kind of rigorous questioning observed within
Julie rehearsals on the text I had written for Before (the line is lost) to allow me to redraft a
richer and more informative show, I do believe that the acting techniques I observed were

Holly Gallagher (w12017006)

Theatre and Performance Practice (PA0703)

perhaps not something I could carry over into my own rehearsals. Of course maintaining the
same level of dedication to storytelling and giving an engaging performance were two things
I strove to do based on observing Julie rehearsals, but my performance style perhaps better
fits within the term non-acting as autobiographical performances appear to work against
the masking role in order to communicate with the audience in a direct manner so many
of the acting techniques that Grady-Hall, Chanda, and Morisson used, I couldnt necessarily
implement into my own performance as it relied upon me being present as a personified
version of myself on stage and not a character (Govan, Nicholson, & Normington, 2007,
p.59).
In addition to observing professional actors, I also found observing the productions lighting
and sound designers Joshua Pharo and Nick Williams to be vital too. In watching them each
work with Frecknall I was given a much clearer idea on how certain working relationships
function, especially within tech week. It was important for me to consider the effects that
light and sound have in shaping a world and creating a specific atmosphere for my own solo
work too.
As well as observing skilled practitioners, working in a professional environment came with
additional bonuses too. Having a designated rehearsal space at Raby Street for example was
very refreshing its amazing how much quicker you can get on with a working day when
you have a set space to rehearse in. Likewise having proper Stage Management for a
production is a life saver in regards to set-up time saved at the start of the day, as well as for
structuring the shape of the day. I found having a set weekly and daily schedule was crucial to
keeping organised and on-plan for the rehearsal process, and this was something I
implemented into the final weeks of rehearsal on Before (the line is lost) in order to maintain
a level of rigour and good time keeping with my practice.

Holly Gallagher (w12017006)

Theatre and Performance Practice (PA0703)

As well as allowing me to expand my directing and performing skillset, Julie was also a great
networking opportunity. I now know more working professionals in the design and technical
side of the industry as well as professional, trained actors. I was also fortunate enough to
meet Grady-Halls father, Christopher (Chris) who has worked for many years as a Creative
Producer and runs an MA in the subject at Mountview Academy of Theatre Arts. One night
after a performance of Julie I had a discussion with Chris wherein he suggested people I get
in touch with from both the Toronto Fringe and Edinburgh Fringe festivals (including
Christobell Anderson who works with the Edinburgh Fringes International Development
department) regarding Before (the line is lost) after I discussed my piece with he and
Michael. As it turns out Chris had worked at the Edinburgh Fringe for a number of years in
the past. In addition to uncovering potential future avenues for Before (the line is lost) I also
found this discussion stimulating as it allowed me to openly talk about my work to
professionals for the first time, and I found their intrigue and questions surrounding the piece
promising in regards to how future audiences may receive the piece.
Lastly, Julie reminded me of two of Frecknalls most essential focuses when delving into
work one which I always find useful to recall when directing, or when I am stuck with how
to devise around text which is to begin with images as inspiration. And the second, which I
believe is crucial to every single piece of work a director and theatre maker should make to
focus on finding the meaning of the text to unlock the human core of the piece, as this is why
we all make and see theatre in the first place: to see ourselves, to see humanity, reflected back
in it.

Word Count: 1,730

Holly Gallagher (w12017006)

Theatre and Performance Practice (PA0703)

Bibliography:
Brook, P. (1968) The Empty Space. London: Penguin Books. pp. 14-67.
Govan, R., Nicholson, H., and Normington, K. (2007) Making A Performance Devising
Histories and Contemporary Practices, London: Routledge. pp. 59.