Major Project

Minor Project feedback:

Tuesday 9th January 2018


  • picking out elements of my work that are important and make them clearer when presenting
  • structure of my presentation – making sure everything is in an order which is easier to comprehend
  • changing elements of presentation – e.g. primary research being presented in a bound book? (emphasising important elements)


The text

  • Deeper analysis of the other characters in the play – the residents and their reasons for what they say and do, how they decorate their houses and present themselves
  • sub-text/reading between the lines – looking at the characters language and their motivation to say the things they do in relation to situations (different response in public rather than in private?)
  • DEEPER ANALYSIS – reasons why the characters make their decisions/why they present themselves that way


Investigate first-hand experiences and stories of prostitutes – a support charity/a prostitute? Contacting different people to get answers

Investigate the article on the mother than condemned the BBC Documentary about the events of London Road

Need to be more rigorous of my perception of class – more discriminating, digging up more truths

Multilayered presentation – how the residents present their homes & how I present my concept

The girls – unearth their identity after hours

Narrative for everything I do – reinvestigation – caption everything I do

Identity of the characters – do they have an identity or do they represent anyone in their position? Anyone = the stereotype of their characters?

Truth of the piece – needs much deeper investigation into the text

Consider niave work/drawings – figurative work & pictures
Research Clapham Junction – living in the window of  department store
Research Kein Holtz – constructs
Research Taschen – a thousand/hundred families (book)
Contact Ipswich Library – newspapers from 2006-2008, see what they say about the incidents

More tongue & cheek in my work

WHY? – ask more questions – culturally/economically

Who are these people I’m presenting? I have the freedom to present this in a far more documentary way? – More permanent sets, can be very detailed




Minor Project

Translating the script and picking lines for my response that translate the correct political message

Lines that indicate class differentiation:

Act one Section one

“regenenting this street”

“problem with the girls”

“still a few around.. can concern ourselves with them”

“clear the streets”

“bad press.. prostitute area”

“we wouldn’t have got that [the mayor judging flowers] without the murders would we?”

“our reputation round ‘ere” [because of the prostitution]

“ne’er-do-wells ta start creeping back”

(refers to them as tarts) – not taking the murders seriously, discriminatory behaviour

(Dodge Section two – dismisses victims and says community are also equally victims)
“but theres also other victims, you know the people that lived her and had ta put up with it” [the prostitution]

(comment about liking the events)

(Kirsty’s boyfriend page 13)
“when she’s got a person which is a legend anyway and an ex-boxer” [talking about Wright?]

“Don’t be a prostitute and don’t get into a strangers car which is which was the obvious thing really wasn’t it” – ignorance

“the main concern was once again – callin’ us a red-light area”

“If he couldn’t find a prostitute – then that would could be – a just an ordinary woman so that – made people a little bit scary”
“if he couldn’t find a prostitute – then that would could be – a just an ordinary – woman”
their concern only rises when it is ‘ordinary women’ and not prostitutes 

“police presence around the area from the sort of second girl going missing” – no police for the first girl, not considered important/unusual

new measures in place as a result of the murders – any help for the prostitutes?

“we hoped it was an immigrant, from nish-noff land” “I reckon its one Polish bastard”

“isso sorta run outta, s-s-steam a bit, with thing ta, photograph” – people treat it like a fictional drama, wants something else to happen?

“I think its getting borin’ now. In as much as theres nothing happenin’ is ther? Ya see what would really make a difference now is if some – another girl was found murdered.” – just care about the news, don’t see the girls as people

“I bin affected really because you can’t get in an’ out of the area. It’s a bit of a nuisance really..”

“little skaggy little whore”


Act two Section one

“I jus’ pray and hope that those girls weren’t killed in the flat”

“its a blot on the landscape”

“it just sort of sep-depressed me. It depressed me living next door – ya know an’ I just sort of thought ‘Ohh I wanna be in a nice area”

“No we don’t wanna hear about the silly plane crash. No one died in that! Ha ha ha.”

“They’re tryin’ to get them off the drugs. Cos thats the problem” – instead of the murderer

“they do all sorts of things for these girls, s-s-they all – even offer ’em free dentistry now”
consider helping the prostitutes to be a problem, believe they should come last

“The prostitutes seemed to come up this way. We had reported prostitutes – I confronted one. I said ‘get out of my road. I’ll call the police!’ She said ‘Call the police!’ and I did. Ha ha ha. Ha Ha. They’re so so sort of hard – hard-nosed aren’t they?”

“the only time that we got rid of them is becos they’re not ‘ere any more. – the prostitutes have gone, because they’ve been murdered


The Iceni Centre scene

“there was a lot of us out at one time”

“there must ha’ bin thirty gels out there”

“an’ it has been because of the murders that we’ve all stopped”

“I got regulars / that phone and we see, ya know. We won’t work the street but got a few regulars that keep us goin’.” – murders stopped the girls from working

“even since the murders took place like theres no point goin’ down there for one becos / all the cars get stopped and you just get arrested all the time.”

“I wanna get myself clean”

“getting myself clean out of – since the murders” – getting help to get clean and get a new job since the murders

“theres been help given us”

“An’ jus’ do like instead of hundreds pounds’ worth of drugs a day now all I do is like fifteen pounds’ worth of drugs a day now if that / but if I get the money..”

“from where I am now to what I was a year ago like there is such a change”

“Like I’ve never been this big either I was like a size fucking six”

“It took all that for anyone to start helpin’ us.” [the murders]

“Yeah thats what upsettin’. It took those – it took five girls. Thats what make me feel I wanna get clean for ’em because its took their lives for them to think about and go ‘Come on. Lets get these girls off the street.’ – it took five girls being murdered for action to be taken


“I think we’ve been scarred for ever. Women will never trust men again” – selfish thinking 

“They certainly weren’t angels. Ya’ow lotta them talkin’ bout them bein’ – lovely girls an’ everything an’ all our experiences, they’re well foul mouthed slags, really, / who’d stab you as quick as” – still label them after their deaths, oblivious to their struggle

“I can imagine for erm people that lived outside the area where the prostitutes hadn’t affected anyone, you would get a different opinion, you would get people feeling sorry for them and so forth. Erm but to actually – for people that lived round it an’ the prostitutes made our lives hell. Why should we feel sorry for them? You know theres plenty of other people in the world that need to be thought about other than, other than the girls. Ya know I feel sorry for the families but not them. Ya know it was just a pain in the arse. They were a complete pain in the neck. Ya know – they they’re better off ten foot under. Thats a horrible thing to say isn’t it? But. Whats happened’s happened but I’m not sad. Ya know. Id still shake his hand. I’d love to just shake his hand an’ say ‘Thank you very much for getting rid of them.’ I-I wou – I would if I – if you the – ya know – at the end of the day – if you had the courage to do it. Then uhm, I’d shake their hand if I had the courage but I wouldn’t – I wouldn’t do it. But – I can have that thought in my-my head to say ‘Yeah thank you very much.”
glad they are gone, nothing makes them feel sad about it, does not want help for surviving girls, prostitutes ‘made their lives worse’

“its a terrible shame, its – I mean, we’re – reaping na benefits of what ‘appened really. Which is a, theres always a silver lining! Ha.”

“worked non-stop to organise this event” – selfish for the neighbourhood, does not welcome everybody




Minor Project

Location research

I want to utilise my chosen location to emphasise the points I choose to make using my design. Reaching out to a different audience from the original production at the National will definitely have an effect on the outcome and message taken from the piece.

Mission Statements

Theatre Royal Stratford East

“break new ground and revitalise the musical form to create work that is relevant to and informed by today’s modern Britain and attract new diverse audiences.”


Tricycle Theatre Mission Statement

“The Tricycle views the world through a variety of lenses, bringing unheard voices into the mainstream. It presents high quality and innovative work, which provokes debate and emotionally engages. Located in Brent, the most diverse borough in London, the Tricycle is a local venue with an international vision.”



“Quarantine creates theatre, performance and other public events. Our work is about the here and now. In its form, content and process of creation, it examines the world around us. We’ve made 30 original pieces of work of varying scale: family parties, karaoke booths, cookery lessons, radio broadcasts, reading rooms and journeys in the dark for one person at a time – as well as performances on stage for audiences in seats. We’ve worked with philosophers, soldiers, chefs, children, florists, opera singers and countless others. The work is made out of lengthy and intimate research with its performers, often working with people who are rarely seen on stage. They’re not interpreters, but individuals, each with their own story.”

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“identifiable set of contradictory qualities that somehow coalesce – fragile, clumsy, intimate, knowingly-subjectively-beautiful, banal.  Our approach embraces ambiguity, serious intentions and doubt – and is driven by asking questions for which we have no answers.”


Primary research exercise

I am asking people, young and old, to sketch for me. This is to gain an idea of people’s perceptions, based on age, gender, and environment. I am asking them to sketch for me the first thought that is triggered when I say ‘Prostitute’ and again when I say ‘Escort’.

Language is a very important part of this exercise, and the preconditioned thoughts that are paired with words and phrases. Stigma can make certain words heavier than others, and so its interesting to observe what people’s first thoughts are, as well as the words and phrases that are paired with it.


Female, 21

[insert pictures]


When discussing the escort –

“I wish I could be this fancy”
“The prostitute has a handbag full of condoms and the escort has a clutch bag full of condoms because she’s classy”


Female, 21

[insert pictures]


Female, 20

[insert pictures]

when discussing the prostitute –

“pants on the floor, chilling on New Road” (around the local area, New Road is notorious for sex work)


Female, 21

[insert pictures]


when discussing the prostitute –

“I’ve put her in a top that says ‘Love’ on it, which is pretty ironic”


Male, 51

[insert pictures]

Male – “Suspenders, fur coat; anything provocative”

Me – “What about for the escort? Whats the first image that comes into your head when I say that word?”

Male – “Suspenders, fur coat; anything provocative. (laughing) The same image”


Female, 47

[insert pictures]

“fur coat on the street” (Referring to her idea of a prostitute)

Minor Project

Verbatim Theatre

“The verbatim style can also inevitably lend itself to comedy, with several of the characters of Blythe’s ‘Little Revolution’, for example, ironically offering semblances of satire, as clichés are fulfilled and stereotypes reinforced. Therein lies a potentially problematic aspect of the verbatim style; at times, there is something uncomfortable about watching the exclusively white, middle class audience of the National Theatre or Hampstead Theatre chuckle at poorly educated working class teenagers from the most deprived areas in London attempting to justify their involvement in the riots.

However, the verbatim script of Chris Goode’s ‘Monkey Bars’, which introduced Oxford to the genre at the BT studio in Michaelmas, generates comedy much more innocently. The play consists of a series of interviews with children who are often put in ‘grown up’ situations, yet are crucially played by adult actors, with the premise of the piece thereby creating comedy organically. However, as is often the case with verbatim theatre, the narrative of the play somewhat inevitably lacks direction.”

(London Road) “Although the effect is undeniably bizarre and, at times, seems even superfluous, it is this very incongruity which nevertheless captures our attention and sustains our interest in the thoughts of people whose opinions would not ordinarily be vocalised in theatres such as the National.”



The Guardian – V is for verbatim theatre

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Alecky Blythe: ‘To get interviews, there are certain risks’

“When I first went to Ipswich, I didn’t know what it was going to be. I got a lot of [interview material from local residents] before Steve Wright was arrested [and later convicted of killing the five women]. There was a heightened sense of fear. I always try to work like that, try to get things in the present tense, rather than after the events because people are emotionally in a different place so they speak differently”

“[There have been] a couple of moments. In Ipswich, there was a time when Steve Wright had been arrested but you thought they might have got the wrong guy. Somebody asked me if I wanted to go to his house for a cup of tea, and I thought, “No, I can’t, I don’t want to, I am quite happy to stand in the street and talk to you in the freezing cold.” You just have to be careful, but at the same time, to get interviews there are certain risks.”

“No, more often it is about the things you might cut out. The struggle I have in the editing is trying to do a balanced portrayal.”




  • The Girlfriend Experience would be a good text to research, relating the loose subject of Prostitution from London Road with the interview content from a Brothel.
  • The songs are moulded around the testimonies of interviewees
  • Events such as those of London Road effect people in a collateral fashion
  • During the musical, you do not meet the murderer or the victims
  • Research the effectiveness of a multi-role class (prevent overcrowding of the stage & distraction from the intent)