Performance day/Evaluation

We had our final dress run and things went considerably smoother than our first time in the theatre but there were still points for improvement, these were:

• Exits: When we exit, we dropped our physicalities and became ourselves, it let down all the hard work we put in. We have to wait until we are offstage to become ourselves again. It's also the same for when we come onstage, we come onstage and then become our characters when we should already be our characters by the time we come onstage.
• Opening scene: Once again, I was too quiet with the commands and we missed the first cue to fall over and the stage was imbalanced; too many people were on one side. There was a tech error where the lights weren't going out and we stopped screaming because our scene was meant to have finished. It turns out they missed the cue which was someone's line, this was a clear example of how much louder and clearer we needed to be but in some instances, people were being too loud and the cue wasn't heard
• Project: This was a note for everyone. Projection was an issue and we needed to be so much louder or the audience wouldn't be able to hear us and would get bored.

We were all needless to say, jittery before the performance, but that soon dissolved when we got on stage.
I feel that the performance went very well. We got loads of laughs, moments of applause and a standing ovation at the end. There was an immense sense of pride amongst the cast, the crew behind the scenes, Jack and our audience. We knew everything about our play and it showed through our acting and the reaction we got from our audience. I personally feel like I did very well; I rooted my breath when I spoke, I went to everyone and shouted commands and I remembered the cues. As a spirit, I didn't go unnoticed. I interacted with the audience who were shocked by my blue makeup, I didn't hold back on my physicality and I used my face to show expressions. I made my physicalities for Master of the ship and Bubbles very different and the feedback I got back from member of the audience were very positive regarding my stage presence.
Things I feel I will improve on when I go to Brighton is that this time I will use my whistle that I neglected and I should be shouting more commands and doing more in general in the beginning scene. I felt that in that scene I could have done so much more with myself.

Life at Sea

One of my roles in the play is the master of the ship. My given circumstances are that I live aboard this ship with my crew and I am in charge of everything that goes down. All the lives of those aboard my ship are in my hands and everyone has a great deal of respect for me but as the Royals are aboard my ship, I have to swallow my pride and respect them. To gain a better understanding of my character's background and given circumstances, I will research what it would have been like to live at sea.

When a man went to sea, he was leaving behind the life he knew and was about to venture into a whole new lifestyle nobody could prepare for. A sailor could be at sea for a few weeks, months, years, it was uncertain. Their pay was extremely poor, the food was stale, they drank alcohol as it's the only thing that gets better over long periods of time, their living quarters were cramped and the punishment was considered a form of torture.

Let's start with punishments and healthcare. A seaman's life wasn't easy and he had to be tough, so discipline was harsh to stop mutiny's from happening and to keep everyone in place. Methods of punishment were:

1. Keelhauling. This was when an offender would be tied onto a rope and dragged under the haul of the ship. Sometimes the person would drown or the barnicles on the side of the ship would cut into the skin and cause serious infections to the wound.
2. Mast-heading. This punishment was where an offender would be sent to the top of the mast until the captain or officer told them to come back down again. This was a minor punishment for the younger seamen and they could have been up there for days with no food in stormy weather, but not long enough to die.
3. Flogging. This was the worst punishment you could endure. This was where a seaman was whipped using the cat-o'nine-tails; a whip especially designed to inflict pain on the person. This whip had nine lengths of cord with each cord containing up to three knots and when someone was whipped with it, the knots would immediately cut their skin inflicting excruciating pain on the victim frequently causing them to pass out. They could be whipped up from 5 to 100 times depending on the punishment and this often took place in front of the whole crew
4. Hanging. If a seaman was found guilty of leading a mutiny or murder, he would be hanged from the yard arm.

Say if a sailor had an incurable, festering injury on their leg, that leg would be amputated. The method in doing this was to get that sailor as drunk as possible (or hitting them around the head so they passed out) because anesthetics didn't exist and proceeding to saw that leg off. no matter how drunk this person was, they would always feel the unbearable pain and scream and struggle but they were held down. The amputated limb would be disposed of by being thrown overboard or burnt and the sailor would be left in his bed to recover. His wound would be sewn and dipped in salt to disinfect and dry the blood, this was also very painful. Survival chances were slim because of the amount of blood lost.

The food aboard ships were mainly salt beef or pork, cheese, fish, ale and sea biscuits. The quality of the food deteriorated because of storage problems, lack of ventilation, and poor drainage. It was also eaten by rats and other vermin on board which caused foods to become infected quicker. Biscuits were often filled with maggots and weevils, a type of beetle. Many ships' suppliers were dishonest and sent stores that were already rotten before they were taken on board.Some foods were cooked by crew members who were unfit to work or on the rare occasion of having a woman aboard, she would cook as well as fulfill other duties (both sexual and normal ship duties).

As well as the cook, special jobs were carried out by the parson, surgeon, master gunner, boatswain (in charge of the sails), carpenter and quartermaster. Other members of the crew would carry out all the duties, including keeping watch, handling sails, and cleaning decks. An interesting fact is that the names for jobs of men responsible for working a ship (boatswain, coxswain – even seamen) are of Anglo-Saxon origin whilst those of officers (Captain, Lieutenant, Admiral) are of Norman-French origin. This is an indication of a class distinction between roles on board.

My character would have most probably been French (which is a coincidence because I just so happen to be French) and I wouldn't have had to endure punishments as most sailors would, in fact I would inflict them.

This is a photogrid of me in my pirate costume. I'm wearing baggy jeans, a long leather jacket which was the only one to be different from the others aboard the ship. the mask is covering my spirit makeup but also adds to the punky aesthetics of the punk theme.

Outside Run

We did a run of our play outside to get a feel for what it would be like when we perform in Brighton and Jack was hoping that this would help us with our poor vocal volume.

When we were doing the run we had somewhat of an audience; people passing by were intrigued by what we were doing and stopped and watched for a short while before walking away. We also got a few disapproving looks from people who didn't know what we were doing which makes you feel slightly self conscious, but I think this is a taste of what to expect from our audience at the Brighton Fringe. When I watched a few of the scenes it became apparent to me how low our volume can be. We have been rehearsing in a normal classroom so volume has never been too much of an issue for us but when we move to the theatre, we will have to be so much louder and fill the space but we will have to be careful no to shout or it ruins everything.
I also learnt what it was like to rehearse with no set or props (apart from swords) which is what we will be dealing with in Brighton. I think we have to make sure we don't get too reliant on our set and props but through performing at Brighton I think we will have more of an understanding of what it was like to be an actor in Shakespearean days.

Spirit development

My spirit isn't named, I'm just a sideman in the spirit clan along with jack but we are still important. We come in to complete the dances and add to the atmosphere. I have no dialogue whatsoever as a spirit so if I want to make an impact of any kind, I need to use my physicality to speak. I decided that naming my spirit would help me build some kind of relationship and visualise her more. So her name is Bubbles. I didn't choose the name because she's bubbly, but because the colour of the glitter on the costume is a blue/green which reminds me of water. I would drown underwater and all the air in my body would escape in bubble form. So Bubbles was her name.

At first, I didn't know how to move as a spirit. I didn't know whether to be spooky, jolly, floaty or glide, I had no clue. After a workshop with someone who was an experienced Shakespearean actor and I found out that Shakespeare would have wanted for the spirits to never be still, so even when we are standing, we must still be moving. Spirits are never still. Spirits are also meant to be sexy, seductive and arousing beings and I looked at mainly catwalks for inspiration. I noticed that when models are on a catwalk their heads are lowered (to eliminate double chins for pictures and to make the eyes pop) they walk in a strait line, one foot in front of the other and their posture is straight. I've taken these qualities from them and will use them for my spirit. I need to take my time in walking and with each footstep, my foot will be slightly pointed so that my footsteps aren't heavy. It looks graceful too. Walking slowly makes me look more like a spirit and I can also take my time. My knees need to be slightly buckled and I should explore levels when I move because it's not a human thing, nor am I meant to be a human. Eye contact with the audience is a must; it adds to seduction, breaks an interaction barrier and I can acknowledge them, it will make things interesting for them. A modern audience won't be expecting that. I may also make physical contact with them but not too much. To my spirit self, they are strange beings and I have never seen anything like them before
, so I can look at them as much as I please but as a spirit I should be wary about touching them. What would happen if I touch them? Would I burn? Would they expel a sticky residue from their skin causing me to be stuck whilst they eat me? Will the break? Bubbles doesn't know. That's why touching is a very quick action.

The video above shows some of the best models from a Victoria's Secret catwalk. I've used this kind of thing for inspiration minus the fast pace, smiles and heavy walking. I won't be as raunchy either.

 This is my spirit costume. As you can see, it's quite see through and was made of the material tights are made of so I had to be careful not to let it rip. I also had problems with the top coming down and showing my bra but I resolved this by taking a pin and pinning the bra and costume together. This worked because it didn't fall down.

The rest of us spirits :)

Cues

Boatswain's line: "down with the topmast!" All look up at topmast
Lights out: offstage

Scene 2 act 1
When caliban exits, spirits enter exploring the audience and stage. When ariel starts singing to towards Ferdinand. Song finishes form a semicircle around him. When ariel starts singing we sing with her (loudly) and circle around Ferdinand. Prospero enters and we leave soon after.

Scene 1 act 2
When everyone starts falling asleep, bring on savannah for the outfit change. Watch in spirity fashion from behind as dee changes the outfits. Take crystal offstage.

Scene 3 act 2
Music cue to come on
Prospero: praise in departing (vanish to the edge)
My cue to change the cloaks is a visual one. When Raphael gives jack the stick, go over to take the cloak but he should turn to me or lift his arms. I will tell when he wants me to change them.
Thunder sound we vanish.

Scene 1 act 3
Iris: you nymphs called naiads (enter and start circling around the bush)
Exit when Miranda says " we wish your peace"
Next part
Prospero: Fury, fury! There, tyrant, there! Hark! Hark! We enter as dogs and chase trinculo and caliban and stephano off. Exit at entrance D. Go straight to entrance A.
Prospero: "you elves of hills, brooks...." He will point at me and I come onstage. Bow to him.
"Set roaring war..." Start circling around him
"have I made shake" start shaking
"by the spurs plucked..." Stumble
"graves at my command have waked their sleepers" look at the audience like they're the walking dead
"but this rough magic" stop and look at prospero
"There stand for you are spell stopped" go fetch Tyler (Alonso) from entrance A
After ariel's line, exit and get changed.
" look sir, here is more of us!" Come on with jack (boatswain) and stand to the centre. After jack's line turn to the others and have a conversation. When caliban, stephano and trinculo enter,everyone should look at them disapprovingly.
Prospero: sir I invite your highness and your train to my poor cell (exit to entrance D)
Lights out at the end of prospero's final monologue. Line up whilst it's still dark and bow when lights come back on.

Fin.

The tech run

The tech run was exciting, confusing, slightly unnerving and a learning curve. We started by walking around backstage, seeing which exit was which and how to get to them. Then we got changed into our costumes and got to our backstage starting positions. We started the movement sequence and repeated our movements for about 20 seconds until everyone who wasn't in the opening scene left the stage. Now here's what confused me slightly: when we rehearsed this scene we went straight into dialogue when everyone was offstage, but the music continued for slightly longer and I was started to think if this was where I was meant to start it off but I knew that until the music stopped, we were still doing our movements. I sensed slight awkwardness amongst the rest of us onstage because I think we we all thinking the same thing and I looked at jack and telepathically asked him if I could start but then I remembered I was wearing a mask and it wasn't going to work. Anyway, the music finished and the scene started (I just hope that they cut that down for Thursday). Our scene went ok, I shouted orders but apparently not enough and I moved around telling people what to do and helping them out, but the mask is something I need to get used to. I can see through it fine but I can't see where my feet are going so that is something I need to be wary of. The falling was pants; it was quite fake and the second time around I was kicked in the mouth whilst falling (I bled but I was ok, thanks for asking) and some of us forgot which way to fall. I think we would all fall better if we had more self-assurance that nobody will get hurt. If someone does get seriously injured, we will have to get on with it and they can pretend that's part of the whole thing, but I think injuries is a concern to all of us. When the end came we didn't all scream and shout like we were meant to, this was upsetting to jack, but at least we got off at the assigned exits.
I went straight to the changing rooms to change into my spirit costume and  after our physical part around the tree, I quickly discovered that a few movements make the front come down and show my bra. This isn't something I would cry over because my underwear is nude, but I've become worried that if it happens in the performance it will be noticed and god knows what events would follow.Most of us spirits had this problem and covered it up with our hair so for the performance I will most definitely need my hair straightened and can't cut it drastically short between now and then. As the run carried on, it became apparent to me that I really need to refresh myself of my cues because I knew roughly when I was meant to be on and off but I didn't have a script on me and I needed to make quick trips to the changing room (I had a cold and I can't carry tissues around with me). Entrance A is the entrance I use quite a lot and the door is right by the stalls. I got to my entrance quite early and I have to stay there until I'm next meant to be on. I can't stand outside the dot and listen in because the open door will let light and noise in and that will distract members of the audience. My concern about entrance a is that when I'm there I might attract attention from the audience whilst I'm waiting to go on stage because the area isn't hidden. If the audience look to their left they can see me and I'm not the only one who uses the entrance either. I was told after the run that it will be pitch black in that area and I wouldn't be noticed, so noise coming from entrance a must be abysmal.
At the part where us spirits and ariel sing to an enchanted Ferdinand, none of us were singing loud enough and it was more of a tuney murmur than song. We all knew we were being too quiet but we were waiting for one of us to start singing louder, but none of us were so the silence continued. When we go over this again we must be louder and if it means one of us being louder than the rest for encouragement, then it must happen. Singing to an audience might throw us a bit because this is something we aren't used to at all, I think if we went over the song just us spirits it could help for assurance and confidence.
At the part where the prosperos change, I'm meant to go on and change their capes but I wasn't actually where I was meant to be because I thought I was meant to have gone offstage. Jack and I were actually meant to stay on stage and come back on when ariel monologues to the men and scares them and be devils and scare them even more. I was trying to remember which entrance I came in from but I remember now, so it's ok.
When I change to the master of the ship again, there is little I do on stage but I need to make sure I don't block myself out and stay to the side. Though I'm not talking, I need to be present during the boatswain's announcement and be more central to the stage or I just look like I'm not meant to be there.

Notes from our director were different to each individual. I got the most notes with the beginning and my speaking and I was told I don't shout enough commands. Jack was deeply disappointed in me as I was myself but I know now that I need to come up with more commands. Volume was also another issue for all of us in that scene and we need to start panicking when the ship splits but we didn't because I think we were all unsure of when we were meant to start doing that. I think that if we go over the beginning scene once or twice more we will know it better. We haven't gone over it that much in rehearsals because we're always so concentrated on the other scenes, so next week in the rehearsals when we run over it again we can polish it and we will all be more comfortable in the scene.
A note for everyone was energy and volume. The energy was quite low thus causing the volume to be lower than what it could be but the theatre isn't built to make the sound bounce back into the space. Instead, the sound is absorbed and lost so what we think is loud is actually quiet. Projecting is something we can all work on. The run could have been so much better and was quite disappointing, but rehearsals will be beneficial.

Rest of the rehearsals

The last few rehearsals mainly revolved around the other scenes that were from the middle onwards so we've been practising the scenes that I'm a spirit in more than the opening scene where I'm the master of the ship (we've been through that maybe 2 or 3 times).  I know where to come in and out but we run through one scene over and over then into the next, we haven't really made the transitions fluid or ran through the whole thing non stop yet and that is a slight concern I have for our upcoming tech run. My physicality for my spirit is pretty much sorted and I know what I'm doing in terms of cues and group work, us spirits have it nailed down.

Now that the rehearsal period is basically over, I feel that I am ready with my spirit work but the storm part needs some more work. It's a good scene and it works well, it's just that I'm meant to be shouting commands and encouragement a to my crew but I also don't want to shout over people's lines or take the attention off other people or be so loud that I get on everyone's nerves. To avoid these issues, I will shout commands but I won't be doing it all the time, just every so often. As the master of the ship I'm meant to keep the stormy atmosphere up and I'm the leader which means being loud but there's only so many commands I can say before I'm repeating myself and the audience would be like "you said that literally 20 seconds ago, shut up already".

Finally, working on our stage will be a lot different fromworking in a classroom because the theatre is meant to be a lot bigger and we haven't looked at our props yet or how they're going to be arranged but I think we will grow accustomed to the space. I look forward to getting a feel for how everything will work on the night of the performance, how to get to where and how my costumes feel. Especially the spirit costume.

Research: wild dogs

As spirits, we chase trinculo, caliban and stephano offstage in the form of wild dogs. This is quite hard to physicalise because the human body is evidently very different to the body of a dog, but you can come close to it.

There are many different dog breeds that have been around for ages and others haven't and through history they've served different purpose from guarding to bed warming. Originally, all dogs started as wolves and became the dogs we know now or wild dogs and the main ones are dingoes (found in Australia), Indian wild dogs (found in India), African wild dogs (found in sub Saharan Africa), Coyotes and Jackals. It was approximately 50,000 years when Asian grey wolves were domesticated by humans and further down the line when humans understood unnatural selection, we took the nicer wolves and things we liked about them and bred them until we got the dog. One of the goals the humans were going for is to make dogs not behave like wolves and that goal was achieved as wolves are placed in the Canis Lupus  family whereas dogs are in the Canis Familiaris family. Although they are from different families, dogs and wolves are still close enough  to have fertile litters.
There are behavioural differences between wolves and dogs. Dogs bark and howl and wolves howl but make a short muffled sound which is considered a bark, but they rarely make this sound. Dogs love humans, crave their attention and will treats them like their own pups or pack members whereas if a human approached a wolf, the wolf would get scared and run away from them, they avoid humans at all cost. Dogs will mate with many other dogs whilst wolves have partners for life. Male dogs are fertile all year around whereas male wolves are only fertile in mating season, females dogs have their fertility periods twice a year and wolves once a year. Dogs have lost almost all of their hunting instincts but wolves haven't as it is essential for survival.

Wolves are extremely powerful and agile hunters and they have longer legs, larger feet and wider craniums than dogs. a wolf has an edge of running and moving fast with the help of their particular skeletal structure. During trotting wolf’s back legs move backward and forward in the same line like its front legs, on the other hand dog places its back legs between its front legs during walking or running hence making the slow motion of dog as compared to faster wolf.

In terms of hunting, they will hunt all the animals below them on the food chain but won't hunt or attack humans as they don't have interest in them and they're not part of their natural food chain. However, if a human comes into the wolf territory and doesn't back off when given the warning signs, the wolves will attack as they will protect their territory and pack from the unknown. So when we attack Trinculo, Caliban and Stephano off the stage, it's it's because they're in our territory and Prospero ordered us to attack them. I've come to the conclusion that due to our obedience to Prospero, he is our pack leader.

A video of wolves' hunting tactics

Second rehearsal

We carried on blocking this rehearsal and my role as master of the ship is pretty much done after the first scene so I take on my second role as a spirit there onwards.

We went over the scene where ariel and the spirits hypnotise Ferdinand and bring him to Miranda.

Us spirits (including ariel) come in after caliban leaves so that it is only us and Ferdinand on stage. Before he comes on, we explore the space and almost introduce ourselves to the audience and we travel around in an airy manner before bringing in Ferdinand. When we travel around the space, we have to have a light, graceful way of doing it because spirits aren't embodied, they're things that disappear in the air, or a figment of one's imagination and I think that in due course, us spirits will agree on a certain way of travelling.
When we bring Ferdinand in, each of us are holding different parts of him such as an arm, a hand, his head, etc. but he is walking around visually aware of his surroundings. During his little speech, us spirits form a horse shoe kind of circle around him and we watch him. When he finishes talking, we slowly stand up one by one. I'm the last one to stand up and when I do, we start dancing in circles around him and we sing our song. Our main purposes here is to be a source of comfort, hypnotise him but yet we are telling him what has happened and that everyone he knows might possibly be dead.

First rehearsal

For our first rehearsal, we immediately started on the blocking of our play in chronological order but we had a read through of the play first to get a feel for it, know what our lines meant and how to pronounce words we were unsure of.

I'm the master of the ship and I'm in the first scene of the play. I also have the first line of the play. In the first scene of the play it is the ship crew on the ship in the sea storm about to crash and we blocked the scene and the opening.
For the opening the whole cast is on stage doing four repetitive movements on the spot according to what their character would be doing at that current moment in time, for example: I as the captain am steering the boat, reaching down to get my bottle of whisky, pointing and shouting (mouthing) orders at other people and shielding my face from the waves. Others on the ship are attending to the ship, praying, vomiting, crying, that kind of thing. Those on the island are watching what is going on and prospero is there  with his stick conjuring up his spells. If there are two actors for one character, they come up with movements together and mirror each other so that the audience understand that there are two of them. After a minute, the people who aren't in the scene go offstage and the scene begins.

We are just blocking the whole play because we don't have much time left and will go over it properly when we finish blocking. For my scene I feel the blocking was effective because instead of being bland on stage, walking from A to B and saying our lines then sitting at the side for ages we went all out with a lot of energy and we went over it a few times to be sure of what we are doing.
In the scene, there will be loud sea storm noises playing so everyone will have to really shout to be heard, it will seem quite realistic in that manner but we can't make the ground shake so we have to fall from side to side regularly. I will have a whistle so after I've said my line, I go around ordering people, blowing my whistle, attempting to keep spirits up by shouting "Bestir"or " Come on", things like that. I have to be full of energy and very loud for this bit, but I have to be mindful as to when other people are saying their lines because if I shout endlessly whilst others are saying their lines, I'm being unnecessarily difficult.

Romeo and Juliet and The Globe

We went to see romeo and juliet at the globe theatre and it was interesting to see the theatre and how things would have been performed at the time. First, here are a few pictures (I apologise for the last one):

And here is my globe diagram:

The performance had it's positives and negatives.
Because of the space and the large audience, the actors had to speak very loudly, project and enunciate a lot. I understand that due to the globe cleverly having no roof, it is hard because noises from outside come in (such as helicopters and people) and make things harder, but they were starting to shout and it was like a pantomime. Shouting takes the realism away. I think microphones on the actors or stage would make things a lot easier and they wouldn't have to shout so much therefore making everything slightly more believable. However, this would take away from the Shakespearean effect because back 400 years ago, all they had was their voices.
They tried to slide a comical side to the play but I feel it outweighed the serious tone of the play and they didn't remind the audience that this is a tragic love story about two youngsters who are foolishly in love.

I also think that the acting was of a poor quality. The actors knew their lines but didn't know what they meant and they didn't seem to understand their characters' motives and true emotions. This made the audience see the characters as two-dimensional and I lost interest quite quickly because they were just putting words to their actions, they weren't being their characters and if you aren't in character then it's just tedious to watch.

The set was pretty simplistic, it consisted of a bus stop in the standing area and a car that had been burnt, vandalised and flipped onto its back. I'm guessing that they were there to modernise everything and relate it to our time as they did with the characters' outfits: Romeo and his boys were in scruffy school uniforms, juliet was dressed like your average urban girl, nurse was an estate mum (blue velvet tracksuit with uggs), etc. The show crew were trying their best to modernise everything and it worked to a degree. I don't understand why the car was there, it didn't seem to signify anything but it was merely something that was walked over and climbed on. The bus stop was stood on about three times but otherwise it was just there nobody really used it for the purpose your average bus stop serves

Introduction

For this project, we are doing the tempest by William Shakespeare.

The tempest starts with a ship in the middle of a violent sea storm and a very distressed ship crew. They're all bracing themselves for the ship crash; some of the crew are bravely carrying on with keeping the ship sailing whilst others have completely given up hope and are saying their prayers. Aboard are alonso the king of Naples with his family and staff and the cabin crew (obviously). The ship wrecks and watching from a distance are prospero and his daughter, Miranda. It turns out that prospero made the  whole storm happen and this confuses Miranda and so he is left with no other choice but to explain why he's doing this. He reveals to her that twelve years ago, he was the king of naples and his jealous brother, Antonio seized the throne from him and it was taken over by alonso. Prospero was banished to the island with Miranda who was a baby at the time and with the help of gonzalo, he snuck his magic books and food with him. Upon his arrival at the island, he made caliban (who was the only inhabitant at the time) his servant, and freed a spirit called ariel who was trapped inside a tree and when prospero freed him, he made ariel swear to serve him forever. Ariel was trapped in the tree by a witch called sycorax who was caliban's mother who was dead by the time all this happened.

Anyway, the ship is wrecked on the island and everybody is alive and well but they're all a bit separated. Alonso can't find his son, Ferdinand and assumes he's dead but he was actually just washed up on another part of the island. Ferdinand meets Miranda and the instantly fall in love, but Ferdinand is the only man (apart from her father and caliban) she's ever seen. Ferdinand meets prospero who makes him help out and ariel sucks up to Ferdinand in hope that he frees him but Ferdinand says he will on the condition that ariel keeps the rest of the people from the ship safe.
Ariel does as he is told and leads the group to where Ferdinand and prospero and Miranda are. On their way there, Antonio and Sebastian plan to kill alonso so that sebastian can have the throne. Trinculo (the jester) and stephano (the butler) wander around the island and caliban forms a group with them to overthrow prospero so that caliban can become the ruler of the island and ariel tells prospero about their plan. The triad get drunk and set off for prospero's place but they get chased away by the spirits of the island who are in the form of dogs.
Ariel brings them all to prospero's place and he reveals himself to everyone. He forgives his brother and makes plans to return back home, gives his blessing to Miranda and Ferdinand to get married (after 24 hours. Honestly, you'd think this is a Disney princess story), ariel is set free, the triad are forgiven  the ship turns put to be in pristine condition despite being battered and wrecked in a sea storm and they all have a party and live happily ever after.

The end.


So we are doing this play in a punk and hippie style. The people from the mainland (the wrecked ones) are going to have punkish costumes; heavy make up, big hair, leather and studs, you name it. The island people and spirits are going to be more hippie and connected to nature with flowers in their hair and not many clothes on. The island is a magical place and their costumes are going to reflect that.

In terms of performances, we are doing one in the new theatre at school and another outside at the Brighton fringe.