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(Written in First Person, by Laura) One of the wonderful things about doing a period theatre production, in this case, Survivors of the Titanic, which is linked to local history, is that in many cases you can explore exactly where the events being dramatised on stage, actually occurred. So, yesterday, I went to Plymouth. In general, film or stage dramatizations linked to the Titanic, finish with the arrival of the Carpathia, the ship which picked up the survivors, in New York. What many people do not know, is that the story did not end there. Huge investigations ensued into the tragedy, both in the USA, and in England, and many of the surviving crew-members, who were British, returned to the UK, quite quickly, Many to give evidence, others to return home to their families. They returned on board the SS Lapland, which arrived at Plymouth, in Devon, England, on April 29th 1912. There was an air of secrecy about the whole affair - the Lapland moored in Cawsand Bay, and the surviving crew ferried into Millbay from tenders. Lawyers and the local White Star Line representative, Frank Phillips, took security precautions to ensure that the press, and curious onlookers were kept away, while statements were taken from all crew members, in order to later decide who would appear at the Board of Trade inquiry Once depositions had been given, the following day, most of the crew were free to return to Southampton on board an especially chartered train. This is not the Titanics only connection with Plymouth. - The Titanic's designer, Thomas Andrews, was last seen, before the Titanic sank, stood in the First Class smoking room, looking at a painting of Plymouth harbour. - Several crew members and passengers also came from Plymouth and the surrounding area. - It is said that if the Titanic had not sunk, Plymouth would have become a common port-of-call for her. Putting on your walking boots and looking for the quay where the surviving crew arrived, and for the commorative plaque (which I have not yet been able to locate) is the same as any primary research. Take your camera and your notebook, ideally a map, and set out. But don't forget that you may unearth other gems as well. In this case, I was going off some pictures of the place, taken by a Plymouth historian, and having passed it in a car once, so I had a rough idea of where it was. I did stop first at the city Tourist Information Centre, and was very disappointed to learn that they had in fact never heard of the commemorative plaque to the surviving crew, and were not sure which pier at Millbay was the correct one. They said there had been some mention of something Titanic related in an old edition of a city guidebook, but it was not in their current issue. Undaunted, I walked across Plymouth Hoe, and headed for Millbay. I was pleasantly surprised how easy it was to find the correct pier. It was not the one that the ladies in the information centre thought that it was, but by dint of finding the now RNLI building, I was able to locate the pier. It looks very different from how it did from the photographs of the crews arrival in Plymouth, and prehaps late afternoon sun, wasnt best for taking photos. If anyone else wants to find it, it is the outermost pier on the Plymouth side of the Tamar, it is now mainly derelict, just used for the RNLI lifeboat, and the lifeboat station. Access, sadly, is through a private "no public right of way" housing development, so I decided not to walk down to the station, and took photos lent over the wall. The first photo (Courtsey Shelia Heath) shows curious crowds gathered at gates (now no longer there) watching what is happening as the surviving crew arrive. The building on the left is the octagonal building which is now the RNLI station offices.  My photos, taken Feb 20th 2015. (yes the time code on my camera is not correct)
I still had not found the plaque. Despite a lot of walking around, I could not find it, and in the end, I popped into a nearby pub, on the offchance that someone there might know something. I met a gentleman there said that he had, for several years, worked at the RNLI station there. I asked him about the plaque, and he had never come across it, but he did tell me that this was definitely the correct pier, and that in those days, there was also a railway station there - which explains a lot about why this location was chosen, with the proximity of a railway station to the pier! That bears a lot more research. He also told me about this video on youtube, made by a friend of his, of the area, which I also found very interesting. So, that is as much as I found on this trip. I will be going again to look for the plaque.
Why look at the actual places, for theatre shows? It is not as if we are looking for film locations. But it is still important. For one thing, you look at how that place can be represented on stage. What is (or was) in which direction from there? That can inform blocking for the actors, and for designing backdrops. Also, in a local history production like this, taking the costumed cast, playing those people, on location for their promo photo-shoot. If you are interested in finding out more about the Titanics connection to Plymouth, there is a fantastic facebook group called Titanic and the City of Plymouth and there is some wonderful research being done by a local historian, Nigel Voisey.
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Latest news from Les Miserables: The Web Film Series Update! We start shooting the trailer for Les Miserables: The Web-Film series, in March, then once the trailer is done, start into the series proper, with Episode 1. (thereafter the crowdfunding will come in!) We have set up a facebook group for people who would like to come in as extras and supporting actors as well: https://www.facebook.com/groups/1528090837452517 - its free to join, and will be our first stop shoutout for extras. (under 18 roles must be accompanied by a parent / guardian) Due to someone going working abroad for three months, we are shooting the trailer out-of-sequence and are starting with the Cafe Mousin... Here is a sneak preview of upstairs at the cafe location. (with my notebook on a table that will later be taken over by Enjolras, as Ric the director, and I, ran through the scenes for the trailer between us, looking at camera angles etc. )  CHARACTERISATION NOTES FOR ACTORS It is important for an actor to be aware of his or her character, and to portray that character as a personable entity on stage. To this end, it is vital that you get to know your character..
First of all, read your script. Note what your character says about himself or herself. Is your character - Bold or shy? Caring, or careless? Happy, sad or angry? Rich or poor? happy with their job / lifechoices? Married or single? If married, is he or she happy in that marriage? Why? Why not? What is his/her profession? happy with their job / lifechoices? Married or single? If married, is he or she happy in that marriage? Why? Why not? Is anything mentioned about his or her past? How would you imagine that would relate to how he or she is feeling now? Get as complete a picture of your character as you can – for example, a 17th century whore in a country town, would be played markedly differently from a 21st century call girl in Hollywood, or a Celtic chieftain from a modern day monarch, or a 16th century witch, would be a very different person to a modern day neo-pagan/witch. This is now where you must take into account the society in which your character lives. Take into account the history of the time in which he or she lives, and the society that he or she will have grown up in. How will that affect the character? And their body language? The modern Hollywood call girl would wear high heels, the 17th century whore would not. Therefore they would walk differently.. The Celtic chieftain would be a lot more rough and ready than a later monarch, and the 16th century witch would be mortally aware that if caught she would be burned at the stake, whereas in the 21st century, she would have no such fear. Even in the modern day, depending on the culture, your character will be affected. A hippie would be different from a business person, and a Japanese girl would behave differently from a British girl. Now, based on the character as depicted in the script, and what you have found out about them, create a little story about them, and rather than considering them to be someone apart from you, you now must imagine yourself to be that person. _________________ How do you feel in certain situations? (This is where the method acting comes in, to draw upon your own past experiences and feelings, to understand how your character might be feeling). What are the differences between what your character is feeling, and what you are feeling? Why? Take an hour each day or so, to walk around the house as your character. It’s hard at first and becomes easier, don’t worry. As soon as your costume is available, you are welcome to wear it during rehearsals – very often people find that dressing as their character helps them invaluably. Sometimes, when a character is far removed from how you are yourself, it can help to watch a movie or TV show with a similar setting, or similar character to yours. Watch that character. How does he or she act? This can give you some pointers to start with. If you are unfamiliar with the historical period, or culture, get a simple book from the library, even from the kiddies section (sometimes these are better as they are heavily illustrated!). It does not have to be anything complex, in order to give you a overview. |
This is our new format news page. To read all our news between 2010 and Jan 2015, please see our old format news page HERE The South Devon Players Theatre & Film Company, is the trading name of The South Devon Players Limited;
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