Task 3: Script progression

21st April

Me, Emma and Jack spent the entire day on Friday 21st starting and finishing the first act of the script. We went through every act to see how we needed to connect them to each other, it was a difficult process because there wasn’t a story line and we had to try and create one. However because people change characters through out the show it would be hard, but we all work really well together which made the process more bearable.

saints and sinners script version 1saints and sinners script version 1

27th April

The script started getting complicated after the first draft. This is because more people wanted to get involved and wanted to change parts of the scripts and story lines. For example Beth didn’t understand why Emma and Scott were married and so we had to think of a different way for them to have a relationship and still fit with the plot. The result of more people being involved and taking over meant I was no longer involved with the writing for Act 2. In all honestly I was okay with this because I had more time to focus on Bring On The Men as that needed work as did the songs I was singing.

1st May

Saints and Sinners Script FULL VERSION – Beth 

This is edited by Beth and is the script that myself , Jack and Emma wrote with Beth’s input.

15th May

Now Bonnie and Clyde is on which means we don’t have Jack, Beth, Sian or most of the year 2 actors and musical theatre guys. Lynn has been looking through the script and after doing so there are a few things she wants to change, she went through it with Emma but they only managed to do some of Act 1. Lynn also asked me if I could help with it, I went through what they had done already and just put in my bits that I had also written. We then went through and finished Act 1 for good, then later started on Act 2.


18th May

Full script draft 2

Lynn went through the script and has created a clear version of it for us to use. It is unfortunately missing the Queen Katherine speech at the end, but other than it is completed. It is very close to the show, but a lot of us are familiar with our lines and I’m so happy I can finally stop writing anymore, because it is officially finished.

22nd May

Lynn asked us a dramaturgy question today. She wanted us to look between a set of pages in the script and think about why there might be something wrong with that section. It was a section in Act 2. I thought about it and the section seemed to have lots of dialogue and no singing or dancing. I was right about this being the problem and so were many other people, she then asked us all what we would do to solve the problem. This was my solution: “I would move Take Me To Church before Come To The Party, maybe even before Man Of The Moment just to break up that dialogue, considering Come To The Party is a song, but comes after the massive chunk of talking and so maybe the dance routine would work amongst the heavy dialogue”. The overall outcome however was that we all decided to keep things as they were. This was because for one reason it was too close to the show to change details like this and because of how different Man Of The Moment was compared to an average scene full of dialogue it still gave some differentiation to the show.

23rd May

Today we had to make a decision because of some very sad and serious events. The suicide bombings that happened last night in Manchester has led us to think about cutting a scene from our show which is called Talking To Terrorists. Yes it’s not about Islamic extremists, and it is also not about a recent event, well not recent to us, the younger generation, but it is still about terrorists none the less. The discussion led to some very valid points which helped us all confirm our decision. We spoke about how it’s a very fragile subject as it has just happened and how in this monologue the IRA are justifying themselves for what they did where as this suicide bomber is so disgusting that he doesn’t have the right to justify his actions. Also because it is so recent we wouldn’t want the audience to think we have actually put it in the show because of the events on Monday night which of course isn’t true, but they don’t know what kind of process we have been going through to get this show ready. We all came to a 100% agreement that we need to cut Talking To Terrorists from the show, this then did leave us with a gap and a problem as it meant Lou and James had one less thing to do. However the tutors came up with a suggestion that could work and it meant they could hold clipboards which they could put the words on as it is difficult to learn an entirely new scene a day before a show, even proffesionals don’t really do that.


One thought on “Task 3: Script progression”

  1. Sophia – your evidence for this seems quite limited and lacking in detail. There are also sections where I am looking for information you have tasked yourself with including, but then you haven’t. It is very helpful that you have broken the process down into separate parts and so here you are only dealing with the script but you haven’t included all the versions of the script, why changes were made to it (even if you weren’t responsible for them), how this impacted on you, your roles and on the production as a coherent whole. I am looking for more insight from you in order to find evidence which meets the higher standards.

    This particular page (along with the others for Tasks 3a, 3b 3c) has the potential to contribute towards your evidence for the following criteria:
    1.2 Use analysis and evaluation to clarify and develop ideas for a performing and production arts project proposal.
    2.2: Use analytical and evaluative skills to develop creative solutions to realise a performing and production arts project.
    3.1: Solve practical and technical problems within a performing and production arts project.
    3.2: Solve theoretical problems within a performing and production arts project.
    4.1: Demonstrate the ability to plan, organise and produce a performing and production arts project within an agreed timeframe.
    5.1: Demonstrate the exploration, adaptation and application of practical methods and skills in the realisation of a performing and production arts project.
    6.1: Maintain evaluative and reflective records of the development and production of a performing and production arts project.
    6.2: Use evaluative and reflective skills to make decisions for a performing and production arts project.
    7.1: Explore strategies to present a performing and production arts project.

    At the moment it is too limited to be able to offer much to these.


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