Scuttlers play portfolio

scutlers play portfolio

By Francesca Ramirez

Project proposal form:

INDEX

Monologues

About the writer

Historical, Social & Political research

Play research

Themes of the play

Independant research

Key characters

Logs

Character research

Evaluation

Character analysis + relationships

Bibliography

Character intentions, motivations and traits

About writer

rona munro

Rona Munro was born on 7 September 1959 in Scotland. Who is an acclaimed writer whose diverse body of work spans theatre, radio, television, and film. She is renowned for her contributions to contemporary drama and storytelling, with a career that reflects a profound engagement with both popular and critically acclaimed productions. Munro grew up in Stonehaven and pursued her higher education at the University of Edinburgh. During her university years, she actively participated in the Television Society, where she began crafting plays - an early indicator of her talent and passion for writing. Once graduating in 1980, she contributed to the Women Live festivals at Edinburgh's Netherbow Theatre a series dedicated to showcasing women's contributions to the arts. Rona Munro's professional writing career took off in 1981. Her early work included contributions to ‘The Play on One’ (1988) and the Edinburgh Fringe Festival. Which were platforms that helped her gain recognition. Her entry into television was marked by her participation in the BBC's writer's training course, a crucial step that led to her writing the sci-fi series "Doctor Who." Munro's filmography includes significant collaborations with directors. She wrote the screenplay for Ken Loach's "Ladybird” a film that received critical acclaim for its portrayal of social issues. Another significant work was "Aimée & Jaguar" (1999), co-authored with German director Max Färberböck, which explored a poignant narrative set during World War II. Additionally, she contributed to the screenplay of "Oranges and Sunshine" (2010), directed by Jim Loach, further solidifying her reputation in the film industry. In 2016, Munro returned to "Doctor Who" as the first writer from the series to contribute to the revived series, demonstrating her lasting impact and versatility in adapting to contemporary television formats. Munro's personal connections include being the second cousin of the Scottish author Angus MacVicar, hinting at a familial link to literary tradition. This background may have influenced her narrative sensibilities and her commitment to exploring complex human stories through various mediums. Rona Munro's work is distinguished by its breadth and depth, covering a range of genres and formats. Her ability to navigate and contribute significantly to theatre, radio, television, and film underscores her versatility as a writer. Munro's career is a testament to her talent in storytelling, making her a significant figure in contemporary Scottish literature and beyond. Her continued contributions to the arts highlight her enduring relevance and influence in the field.

Play research

scuttlers

Scuttlers, set in 1945 and written by Rona Munro, is a stage production that explores the violent street gang rivalries in 19th-century Manchester England. The play specifically focuses on the 'scuttlers,' real life gangs from that era. And focuses on the unstable lives and torn loyalties of the 'Bengal Street Tigers' as they clash with the 'Prussia Street' gang and tackle with internal issues. The story revolves around multiple characters entangled in gang conflicts. The play opens with a brutal attack where the Bengal Street Tigers attack a suspected child molester. This immediately creates a violent tone. Margaret, the intended victim is drawn into the gang’s world. As they provide her what she thinks is safety - a feeling she cannot get anywhere else in this moment of the play. The female characters play significant roles such as Theresa, the “mother tiger,” who provides support for other young women including the enthusiastic Polly and innocent Margaret both vulnerable in their own way. The male characters bring swagger and tension to the story. Sean leads the Tigers, Jimmy acts his right hand man and Thomas a young dreamer with ambitions to lead the Tigers. However, the brief running time of two hours leaves some character motivations underdeveloped. But we still get to witness the struggles of various characters within the gang as they navigate their harsh realities.

Themes of Play

1. Youth and Identity: In "Scuttlers," young mill workers are figuring out who they are and what they want from life, influenced by their experiences, surroundings, and societal expectations. 2.Violence and Gang Culture: The play explores gang life among the scuttlers, who form gangs for protection and respect, leading to violence and revenge, often with tragic results. 3. Social Injustice: "Scuttlers" highlights the tough lives of the working class, who work long hours in dangerous conditions and struggle to make ends meet, trapped in a cycle of poverty. 4. Family and Community: Family and community support are crucial for these characters, but they face pressure to meet expectations, leading to conflict and betrayal. 5. Masculinity: The characters feel the need to prove their toughness and strength, often through violence, while dealing with their own struggles and insecurities. 6. Desire for Change: Despite their hardships, the characters dream of a better life, hoping to escape poverty and violence, which motivates them to keep going. Through these themes, "Scuttlers" vividly depicts life in late 19th-century Manchester, showing the struggles and hopes of ordinary people in a harsh world.

Key characters

- Margaret: A young girl rescued by the Tigers who becomes part of their world.- Theresa: Known as the “mother tiger,” she provides care and support to other gang members, displaying wisdom and resilience beyond her years. - Sean: The leader of the Bengal Street Tigers, whose authority is challenged within the gang. - Jimmy: Sean's deputy, caught in the power struggles of the gang. - Polly:A young girl who aspires to be part of the gang and acts as its mascot. - Thomas: A dreamer with aspirations of leading the Tigers, though his motivations remain somewhat elusive.

Character timeline

T H E R E S A

1. Mother dies 2. Sick sisters 3.Joe abandons her and her sisters 4. Sisters die + Mary Ellen gets snatched from her 5. All alone 6.Works at the mills 7. Joins the tigers 8. Takes in Polly and Margaret 9.Sees her brother after 6 years for thinking he was dead - leaves her in shock 10. Opens up to Thomas 11.Thomas kills Theresa’s brother, Theresa Regrets wanting her brother dead once he has been murdered,

Character research

t h e r e s a

Theresa is a key character in Rona Munro's "Scuttlers," showing the lives of women in 19th-century Manchester's gang culture. Her character highlights the gender dynamics and challenges women faced in this male-dominated world. Theresa shows incredible strength and resilience, navigating harsh and violent conditions while caring for herself and two younger girls, Polly and Margaret, whom she calls her "pets." This nurturing role helps her cope with past guilt from being unable to care for her sick younger sisters. Highly resourceful, Theresa skilfully manages gang life and knows how to deal with Sean, the gang leader, without threatening his ego. Her intelligence and adaptability help her influence the men around her for the gang's benefit. She also offers emotional and practical support to other gang members, emphasising the crucial roles women played in such communities. Theresa's background reflects the struggles of women in the overcrowded slums of industrial Manchester. Coming from a working-class family, she highlights the pressures and expectations on women at the time, emphasising her fight for independence and identity. Her interactions with male gang members reveal the power dynamics and gender roles within the gang, mixing camaraderie, dependence and conflict, while her connections with other women illustrate the solidarity and support systems among women in the gang, showing shared experiences and resilience. Throughout the play, Theresa undergoes significant development, experiencing vulnerability, empowerment and transformation, reflecting themes of identity and belonging. Her story is vital for exploring the complex nature of gang life, especially from a woman's perspective, adding depth to the narrative on violence, loyalty and survival. Symbolically, Theresa represents the broader struggles of women in a patriarchal society, especially from marginalised communities, highlighting the gendered aspects of urban poverty and violence. Her resilience and resourcefulness symbolise the enduring spirit of those navigating and resisting oppressive environments. Theresa's character in "Scuttlers" provides a detailed look at women's roles and experiences in gang culture, enriching the play's exploration of social and gender dynamics in 19th-century Manchester.

Character research

m a r g a r e t

In the play, Margaret is a key character who gets caught up in the violent world of Victorian-era Manchester street gangs. Initially, she is an innocent figure, separate from the brutal gang conflicts. Her character arc shows how people can be drawn into gang culture against their will. As an intended victim, Margaret's experience reflects the harsh reality of many who were caught in gang rivalries. Her interactions with the gang highlight the social and economic pressures that push young people into crime and violence. Margaret's journey shows the impact of gang violence on innocent bystanders and how even those trying to avoid conflict can become involved. Her story offers a powerful look at the loss of innocence and the destructive influence of gang affiliation.

Character analysis + relationships

t h e r e s a

Theresa's backstory is filled with hardship and resilience. She experienced immense loss at a young age when her mother and sisters died, leaving her to navigate the world largely on her own. The abandonment by her brother added to her feelings of isolation and betrayal, further cementing her need to rely solely on herself. Growing up without a stable family, Theresa learned to be independent and resourceful. She developed a strong exterior to protect herself from further emotional pain and disappointment. This self-reliance shaped her into a strong, intelligent, and caring woman who doesn't easily trust others but fiercely protects those she cares about. In the gang, Theresa assumes a motherly role for Margaret and Polly, both of whom look up to her and rely on her for guidance and protection. Despite not being the official leader, she has significant influence over the gang, including over Sean, the leader. Her ability to advise and steer Sean showcases her leadership skills and her deep understanding of people and situations. Theresa's difficult past has also influenced her relationships. She never fully opens up to anyone except Thomas, indicating that her connection with Sean is more about mutual benefit than genuine love. Her relationship with Thomas is different; she feels respected and comfortable with him, and his interest in her personal history makes her feel valued and understood. Her interest in Thomas shows a rare glimpse of vulnerability and desire for a deeper connection.

Character analysis

m a r g a r e t

Margaret is very naive and has no family because her mother didn’t believe her about her mom’s boyfriend’s abuse. Theresa took her in, becoming the closest thing Margaret has to family. Margaret is very young and innocent, as shown when Theresa says, "You’re so brainless you thought your mom’s boyfriend climbed into your bed because he was feeling a draft in hers." This shows how she always tries to see the best in people, even if they are bad. Margaret’s pure heart makes her out of place in a gang. Others, like Susan, see this, and Margaret likely knows it too, but she has nowhere else to go and fears being alone. Despite being in the gang, she stays in the background, avoiding involvement but still caring for others. For example, after George and Joe get stabbed by Thomas, Margaret helps them which may have been the reason George's life was saved. Margaret is kind and attentive. When everyone was focused on Sean and Jimmy arguing, she noticed Theresa was in shock and helped her away from the bridge, ensuring she was okay. Margaret always tries to make sure everyone is safe, even if she doesn’t directly get involved in the gang’s activities.

Character analysis

s e a n

Sean leads the Tigers gang and is also Theresa’s ‘boyfriend’. He has the final say in gang decisions. Sean grew up very poor and had to work from a young age, with no chance for an education. We don't know anything about his family, but it seems he’s alone and his gang is all he has, which is one reason he fights to keep his position. Other reasons include his ego and desire for power. Sean admires Theresa for her cleverness. He doesn’t love her, but his admiration makes him mistake it for love. Having a pretty, intelligent woman like Theresa by his side boosts his image. Theresa appears to listen to him, but in reality, she knows how to handle Sean and makes him think he's in control.

Character analysis

j i m m y

Jimmy sees Sean’s leniency with the gang as a weakness and an opportunity for him to seize control. He is irritated by Theresa’s influence over Sean. His sexism fuels his resentment, as he believes women should not have authority and should only follow orders. This attitude is ironic, given that their gang includes both men and women, a rarity for that time. Jimmy is power-hungry and impulsive. His frustration with taking orders from a woman, coupled with his desire for dominance, makes him eager to challenge Sean’s leadership. He believes he can lead the gang better and is often quick to make rash decisions in his bid for power. Jimmy’s actions are driven by a mix of personal ambition and deep-seated prejudices. His impulsive nature and dissatisfaction with the current leadership make him a volatile and dangerous figure within the gang. As he plots to undermine Sean and Theresa, he becomes a significant threat to the gang’s stability.

Character analysis

p o l l y

Polly known as the ‘Tiger cub’ of the gang, is a fierce and mischievous little girl who eagerly follows Sean’s orders. She looks up to Sean and has a crush on him, evident in how happy she gets when he validates her. However, Sean sees her as just a child. Polly becomes jealous when Margaret joins the group, feeling threatened that she might lose her special bond with Theresa, whom she sees as a mother figure. Polly is excited when Sean tells her to slap Jimmy and finds it funny, not realising how serious it is. Jimmy feels humiliated, especially since he was slapped by a child, and he takes revenge to prove a point to Sean. Tragically, Jimmy and two of his followers intimidate Polly, mocking her for not being "ladylike" and then attacking her. This traumatic event devastates Polly. The gang, including Sean, turns their back on her, causing her to lose her mind. She sees blood everywhere, symbolising her psychological break and showing how she never belonged in the gang. The incident changes her life completely, highlighting the brutal consequences of gang life, especially for a child.

My character: Theresa

Traits

Motivations

Intentions

Theresa possesses a variety of traits that shape her personality and actions within the gang. Here are some of her key traits: 1. Intelligence: Theresa is intelligent and strategic, often using her wit and cunning to navigate the complexities of gang life and influence others, including Sean. 2. Caring: Despite her tough exterior, Theresa has a caring and nurturing side, particularly evident in her role as a motherly figure to Margaret and Polly, whom she protects and guides. 3. Independence: Theresa is fiercely independent, relying on herself to survive and not expecting much from others to avoid disappointment. Her self-reliance is a defining trait that influences her decisions and behavior. 4. Protective: Theresa is fiercely protective of those she cares about, especially Margaret and Polly. She goes to great lengths to ensure their safety and well-being, even if it means risking her own. 5. Strategic: Theresa is adept at thinking strategically, particularly in her interactions with Sean and other gang members. She carefully weighs her actions and words to maintain influence and control within the gang. 6. Resilience: Theresa is resilient, having endured significant loss and hardship in her past. Despite facing adversity, she remains strong and determined, refusing to let her circumstances define her. 7. Caution: Theresa is cautious in her relationships and interactions, often guarding her emotions and not easily trusting others. Her cautious nature stems from a fear of disappointment and further emotional pain. 8. Compassion: Beneath her tough exterior, Theresa possesses a deep sense of compassion, particularly evident in her interactions with Margaret and Polly. She genuinely cares for their well-being and strives to protect them from harm. 9. Adaptability: Theresa is adaptable, able to navigate various situations and environments within the gang. She is quick to adjust her strategies and approach as circumstances change, ensuring her survival and maintaining her influence. 10. Complexity: Overall, Theresa is a complex character with layers of depth and nuance. Her combination of intelligence, caring nature, independence, resilience, caution, compassion, adaptability, and strategic thinking makes her a compelling and multifaceted individual within the gang.

Theresa's intentions are multifaceted, shaped by her difficult past and her current role within the gang. Here are her key intentions: 1. Protect and Care for Margaret and Polly: Having experienced loss and abandonment herself, Theresa aims to provide a stable and nurturing environment for the younger girls in the gang. She acts as a mother figure to them, ensuring their safety and well-being. 2. Influence Gang Decisions: Although Sean is the official leader, Theresa uses her intelligence and influence to guide the gang’s decisions. She advises Sean on strategies and actions that will keep the gang safe and prosperous, effectively leading from behind the scenes. 3. Maintain Stability and Control: Theresa seeks to maintain stability within the gang. Her influence over Sean helps prevent rash decisions and potential conflicts, ensuring that the gang operates smoothly and cohesively. 4. Avoid Disappointment: Due to her past experiences, Theresa is cautious about placing trust in others. She manages her expectations and relies on herself to avoid being let down. This self-reliance is a protective mechanism to guard against further emotional pain. 5. Leverage Relationships for Mutual Benefit: Theresa’s relationship with Sean is partly strategic. She uses her connection with him to exert influence and gain advantages for herself and the gang. However, she still cares for him as a person. 6. Find Genuine Connection: With Thomas, Theresa seeks a genuine connection. Unlike with Sean, she feels respected and valued by Thomas, which allows her to open up and show vulnerability. Her interest in him is driven by a desire for a deeper, more meaningful relationship.

Theresa's motivations are deeply rooted in her past experiences and current circumstances. Here are her primary motivations: 1. Overcoming Past Trauma: Theresa's difficult past, including the loss of her mother and sisters and the abandonment by her brother, drives her to ensure that she never feels that vulnerable and helpless again. This motivates her to be self-reliant and strong. 2. Protecting the Vulnerable: Having experienced abandonment and loss, Theresa is motivated to protect Margaret and Polly, the younger girls in the gang. She doesn't want them to suffer as she did, so she provides them with care and guidance. 3. Maintaining Influence and Control: Theresa is motivated by a desire to have a say in the gang's decisions. Her influence over Sean allows her to steer the gang in directions that she believes are safer and more beneficial, thereby maintaining some level of control over her environment. 4. Avoiding Disappointment: Her past experiences have made her cautious about trusting others. She is motivated by a desire to avoid disappointment and further emotional pain, which leads her to be self-reliant and careful in her relationships. 5. Caring for Others: Despite her tough exterior, Theresa is naturally caring and nurturing. Her motivation to look after Margaret and Polly stems from this innate compassion, as well as her own need for a familial connection. 6. Seeking Respect and Understanding: Theresa is motivated by a need to be respected and understood, particularly in her relationship with Thomas. She values the genuine connection and respect he offers, which contrasts with the more strategic nature of her relationship with Sean. 7. Ensuring Stability: Theresa's influence within the gang is partly motivated by her desire to ensure its stability. By guiding Sean and advising him on decisions, she helps maintain order and prevent chaos, which benefits everyone involved. 8. Personal Survival: On a more fundamental level, Theresa is motivated by a need for survival. Her self-reliance and strategic thinking help her navigate the dangerous environment of gang life, ensuring her own safety and well-being.

Monologue: death of mother

t h e r e s a

As I sat by my mother's bedside, watching the life slowly slip away from her, I felt a sense of helplessness wash over me. I was just a child, barely ten years old, and yet here I was, trying to care for my mother as she battled against a sickness we couldn't afford to treat. She had always been so loving, so caring towards me, and now she was fading away before my eyes. I held onto her hand tightly, desperately clinging to the warmth that was slipping away with each passing moment. Her words, barely a whisper, echoed in my ears—“Take care of your sisters, Theresa.” Those words pierced through me, tearing at my heart. How could I possibly take care of them when I could barely take care of myself? And then, in an instant, she was gone. I watched as her eyes closed, never to open again, and the grip on my hand faded away. I cried until I thought I would never stop, until my tears ran dry and my chest ached with the weight of my grief. But as the days turned into weeks, and the weeks into months, I realized that I couldn't afford to wallow in my sorrow. Other little kids, like my sisters, depended on me now. I had to be strong for them, to take on the role of a motherly figure despite being just a child myself. It was a heavy burden to bear, one that threatened to crush me beneath its weight. And with the abandonment of my teenage brother, Joe, it felt like the weight doubled. How could he leave us like that, when we needed him the most? But I had no choice. I had to push through the grief, to put on a brave face for my sisters, even when I felt like falling apart inside. I learned to cook, to clean, to mend their wounds and dry their tears. I became their protector, their caregiver, their rock. But deep down, I was still just a child, trying to navigate a world that felt too big and too cruel for someone so small. And every night, as I lay in bed, the weight of my responsibilities pressing down on me, I couldn't help but wonder—would I ever be enough?

Monologue: Joe on the bridge

theresa is left in shock

I stand frozen on the bridge, my heart pounding in my chest as I stare at the figure in front of me. Joe. I can hardly believe my eyes. Six years. Six long, torturous years without a word, without a sign. And now, here he is, looking like he just stepped out for a moment and returned, expecting everything to be the same. Memories flood my mind—our mother’s funeral, the cold, empty house, and my sisters’ frail bodies shivering in their beds. I was just a child, left to fend for them all. And where was Joe? The older brother who promised to take care of us, who was supposed to protect us? How could you, Joe? How could you leave me like that? He steps closer, and I can see an emotion in his eyes that I can’t quite place. Regret? Guilt? Does it even matter now? Here now? He thinks he can just come back and everything will be fine? Does he have any idea what we went through? What I went through? He looks down, unable to meet my gaze. You were older than me! You were supposed to be the one who knew what to do. You left me, Joe. You left us all. Do you know how many nights I stayed up, praying you’d walk through that door? How many days I spent scouring the streets, hoping to find a sign that you were alive? Better for us? You don’t get to make that call. You don’t get to abandon your family and then waltz back in like nothing happened. Do you know what it’s like to hold your little sister’s hand as she breathes her last breath? To bury your own mother? You left me to carry all of that alone. Sorry? Sorry doesn’t bring them back. Sorry doesn’t erase the years of suffering. You were my brother, Joe. My hero. And you shattered that. You broke us. He reaches out as if to touch me, but I step back. You don’t get to come back and pretend you were just a boy. You made a choice, Joe. And we paid the price for it. I take a deep breath, trying to steady myself. I survived. I made sure we survived. But I will never forgive you for what you did. For what you didn’t do. I turn away, the weight of my thoughts hanging in the air. As I walk off the bridge, leaving Joe standing alone, I feel a strange sense of closure. He is back, but things will never be the same. I have learned to live without him, and I will continue to do so. Joe is a part of my past, a painful scar that will never fully heal. But I am stronger now. I have to be.

Monologue: Joe's death

t h e r e s a

I watch in horror as the scene unfolds before me. Joe, my brother, stands just a few feet away, his eyes wide with shock. Thomas, fueled by the fury I helped ignite in the gang, charges forward, knife in hand. It’s all happening too fast. I open my mouth to scream, to stop him, but the words get caught in my throat. The knife plunges into Joe’s chest once, twice. He collapses to the ground with a gasp, his eyes filled with pain and betrayal. The sound of his body hitting the floor is a sickening thump that seems to reverberate through my entire being. No. This isn’t what I wanted. Not like this. I feel my face go pale, a cold sweat breaking out across my skin. I had been so consumed by my anger, so blinded by the betrayal I felt, that I let it cloud my judgment. I thought I wanted him to suffer, to pay for leaving us, but seeing him now, bleeding and broken on the floor, I realize how wrong I was. Guilt washes over me like a tidal wave. How could I have let this happen? Joe was my brother. He left, yes, but he was still my brother. I wanted him to understand my pain, not to die for it. I wanted him to explain, to apologize, to make things right. And now that chance is slipping away with every ragged breath he takes. I feel rooted to the spot, unable to move, unable to do anything but watch as the life drains from his eyes. My anger, my misplaced rage, led to this. I wanted to hurt him like he hurt me, but I never wanted this. The regret is almost suffocating. I should have seen through my anger, seen the brother who stood before me, not the ghost of the boy who left. Tears blur my vision as I finally find my voice. “Joe…” I whisper, but it’s too late. He’s already gone. The brother I spent years hating, the brother I secretly missed, is gone. And I am left with the crushing weight of knowing that I played a part in his death. What have I done?

research

Historical, Social & Political context

Scuttlers history

research

Scuttlers were groups of young men in Manchester during the late 19th century who engaged in violent behavior. They emerged in poor neighborhoods where families struggled with poverty, schools lacked discipline, and life was monotonous. These gangs, similar to London hooligans of the same era rebelled against the challenges they faced. The socio-economic conditions of Manchester's slums provided fertile ground for their formation. Lack of parental control, inadequate schooling, and the grim reality of impoverished areas all contributed to the rise of gang culture. The scuttlers had a distinct appearance, wearing special clothes and sporting unique hairstyles. They fought with other gangs over territory, often using weapons such as knives and belts. Conflict between rival groups was common, with battles involving hundreds of individuals. However, by the turn of the century, scuttling gangs began to decline. This was due to urban redevelopment efforts, the establishment of youth clubs and initiatives aimed at redirecting young men towards more positive activities. For example, the transformation of St. Mark's Football Club into Manchester City FC symbolised a shift towards community engagement and the redirection of youthful energy. This reflected a broader societal trend towards addressing the root causes of urban violence and deprivation.

Scuttlers history

name meaning

Scuttlers name meaning: The term "Scuttlers" was originally coined by young people involved in gang conflicts in Manchester during the late 19th century. It later became a label recognised by magistrates and the local press. While the exact origin of the term is not definitively documented, it is believed to have emerged from the slang of the working-class youth culture of that time. The term "scuttle" itself means to run hurriedly or to scurry away, often associated with quick movement or escape. In the context of the Manchester gangs, it likely referred to the rapid and sometimes violent clashes between rival groups, as well as the propensity of gang members to flee or scatter when confronted by authorities or rival gangs.

Reasons people join gangs

Joining gangs in late 19th-century places like Manchester was appealing for several reasons: 1. Feeling Like You Belong: Gangs gave people who felt left out a sense of being part of something and having an identity. Being in a gang meant having friends and support when life was tough. 2. Tough Times: Life was hard in poor areas, with not enough jobs or money. So, some young people saw joining a gang as their best chance for getting ahead. 3. Peer Pressure: Friends could pressure you into joining a gang to fit in or be cool. Wanting to be part of a certain group could push you to do things you wouldn't normally do. 4. Thrills: Some people liked the excitement of being in a gang. Fighting with other gangs or protecting your area was like an adrenaline rush. 5. Safety: In dangerous areas, being in a gang felt like having a shield against harm. Gangs would stick up for each other and defend their territory from rivals. 6. Looking Up to Others: Gang members were respected in their communities. People wanted that respect, so they joined gangs to feel important. 7. Following Trends: Gangs were a big part of the culture in some areas. Music, clothes, and movies made gang life seem cool and normal.

Woman working

IN THE 19TH CENTURY

In the late 1800s, women in Victorian England faced a tough choice: they needed to work to help their families. They did jobs like working in factories, helping in homes, or working for family businesses. They also had to take care of the house and kids. But even though they worked hard, women's jobs often weren't counted in official records because they were irregular or done at home. And they almost always got paid less than men, which made life even harder. Even when trade unions started in the 1850s, they didn't include women, so the unfair pay continued. Women did all kinds of jobs, from making clothes to working in mines, showing how adaptable and strong they were. Lots worked as servants in people's homes, as the 1911 census shows. Others worked in industries where they got paid very little for long hours, like making shirts or nails. When things got really tough, women took action. In 1888, women at the Bryant and May match factory in London went on strike, asking for better pay and conditions. Thanks to their protest, led by Annie Besant, things started to change, and they even formed a union to support women workers. Even though they faced a lot of challenges, working-class women kept the country running, making sure their families had what they needed. And through their hard work and fighting for their rights, they helped make things fairer for everyone.

The Victorian Era

The Victorian era, from 1837 to 1901, was a time of big changes in England. There was a lot of progress, like new technology and growing cities, but also problems like bad working conditions and child labor. People started working to fix these issues, making laws to protect workers, especially kids, from being mistreated in factories and mines. They also worked on improving public health, ending slavery, and making sure all kids had to go to school. During this time, the middle class grew, with self-made business owners building fancy houses and hiring servants. Democracy expanded too, giving more people the right to vote. Britain became a powerful empire, showing off its strength at the Great Exhibition of 1851. Despite ideals of perfect families, many struggled, especially poorer families where women had to work to help support their families. People also started enjoying more leisure activities, like holidays by the sea, going to religious events, and visiting parks, museums, and theaters. The Victorian era laid the groundwork for modern Britain, dealing with big changes like new technology, laws to help workers, and making England a powerful empire.

Annie Besant

WHAT DID SHE DO ...

Annie Besant was a key figure in fighting for fairness in the late 1800s and early 1900s, known for promoting social justice and women's empowerment. She gained fame for helping workers during a strike at a London match factory in 1888 by exposing their poor conditions in her newspaper, which led to improved conditions and the formation of a workers' group. Besant also fought for women's voting rights, birth control, and India's independence from British rule, demonstrating how one person can make a significant impact on creating a fairer world.

Annie Besant quote

“The hour for commencing work is 6.30 in summer and 8 in winter; work concludes at 6 p.m. Half-an-hour is allowed for breakfast and an hour for dinner. This long day of work is performed by young girls, who have to stand the whole of the time. A typical case is that of a girl of 16, a piece-worker; she earns 4s. a week. Out of the earnings, 2s. is paid for the rent of one room; the child lives on only bread-and-butter and tea, alike for breakfast and dinner, but related with dancing eyes that once a month she went to a meal where "you get coffee, and bread and butter, and jam, and marmalade, and lots of it. The splendid salary of 4s. is subject to deductions in the shape of fines; if the feet are dirty, or the ground under the bench is left untidy, a fine of 3d. is inflicted; for putting "burnts" - matches that have caught fire during the work.”

Working in mills

E X P I R I E N C E S

During the late 1800s, people who worked in mills had a tough time adjusting from farming life to factory life. They had to get used to working faster and for someone else's benefit. Many families worked in mills, with kids joining to help make more money. Kids grew up helping out at home and eventually started working full-time in the mill, sometimes missing school. New workers, even kids, usually had to learn their jobs without getting paid first. Jobs were often split up by gender and race, with women doing spinning and men doing harder work. Mill workers had to deal with long hours, loud noise, dust, and heat, which could be bad for their health. Workers had to work six days a week for twelve hours each day, and how much they got paid depended on things like their gender and job. Even though wages went up over time, people in Southern mills generally earned less than those in the North. Overall, working in mills was tough because of unfair treatment and difficult conditions caused by industrialisations.

Working in mills

CHILDREN'S EXPIRIENCES

In the 1800s, kids worked really hard in cotton mills, even though it was dangerous and they had to work long hours. Some kids who didn't have parents were taken in by mill owners and treated badly, forced to work all the time. Working in cotton mills was risky because of the dangerous machines, hot temperatures, dust, and loud noise. It made kids sick with things like eye infections and trouble breathing. Kids as young as seven worked for up to fourteen hours a day, doing jobs like picking up stuff from under moving machines. This was really dangerous, and some kids got hurt or even died. In Tameside, lots of cotton mills popped up during the 1800s, thanks to the industrial revolution. They used cotton from the United States and employed many people, including whole families. But the cotton industry had tough times too, like during the Cotton Famine from 1861 to 1864 when the American Civil War messed up the cotton supply. Many mills closed, leaving workers without jobs. Even though things got better after that, the industry struggled again after World War I because other countries could make cloth cheaper. By the 1960s, the cotton industry in the region had shrunk, and its heyday was over.

Function of mills

How mills worked In the late 1800s, textile mills were like big factories that turned raw cotton into fabric. Here's how they did it 1. Opening Room: Workers started by taking apart bales of raw cotton and getting rid of any dirt or short fibers. 2. Picker Room: Fluffed-up cotton went through a vacuum system to get cleaned and organized. 3. Carding Machines: Machines with sharp teeth tore the cotton apart, getting rid of any leftover bits of dirt or twigs, and turned it into a long rope. 4. Drawing Frame: Workers combined several ropes into one and made it thinner. 5. Roving and Spinning: The yarn was twisted slightly and then spun tightly together. When bobbins filled up, workers replaced them with empty ones. 6. Spooling: Threads from different bobbins were put together. If threads broke, workers tied them back together. Sometimes, threads were twisted together to make thicker yarn. 7. Winding: Yarn was wound into balls for sale or onto cones or tubes for later use. 8. Weave Room: Cloth-making started here, with warp yarn getting ready for weaving. Workers laced each thread through small holes in the loom. 9. Weaving: Weavers put the warp on the loom and passed the weft yarn through it. A part called the reed pressed the yarn together to make the fabric. 10. Finishing: The process kept going until they had the right amount of fabric. Simple machines made basic fabric, while fancier ones made patterns. This shows how much work and skill it took to change raw cotton into fabric in the late 1800s.

Gender differences

In Scuttlers, female characters play significant roles within the male-dominated gang culture of 19th-century Manchester. While they may not always be at the forefront of the action, their presence and experiences shed light on the complexities of gender dynamics in this environment. 1. Navigating Gender Roles: Female characters in Scuttlers navigate their roles within a society where traditional gender norms dictate behavior. They must navigate between societal expectations of femininity and the realities of life in a gang-affiliated community. 2. Supporting Roles: While male gang members often take center stage in violent confrontations and territorial disputes, female characters provide crucial support roles within the gang structure. They may offer emotional support, act as mediators during conflicts, or provide logistical assistance behind the scenes. 3. Resilience and Survival: Female characters in "Scuttlers" demonstrate resilience and resourcefulness in the face of adversity. Despite the challenges they face in a male-dominated environment, they find ways to assert themselves and carve out their place within the community. 4.Challenges and Vulnerabilities: Female characters also face unique challenges and vulnerabilities within the gang culture. They may be subject to exploitation, violence, or coercion by male gang members, highlighting the power imbalances inherent in such environments. 5. Agency and Empowerment: Despite these challenges, female characters in "Scuttlers" exhibit agency and empowerment in their own ways. They may form alliances with other women within the community, challenge traditional gender roles, or seek opportunities for personal growth and self-determination.

logs

Week one

THURSDAY AFTERNOON

On Thursday, we were excited to get our hands on the scripts for our upcoming play, Scuttlers. We all gathered to read through it together, pausing after each scene to share our thoughts and interpretations. It was a lively discussion, and we found ourselves exploring the characters' depths and dissecting the various plotlines that unfolded. As we went deeper into the script, we couldn't help but notice the recurring themes of power struggles, leadership dynamics, childhood trauma, and the quest for independence. These themes added layers of complexity to the story, making it even more intriguing. Personally, I was hooked by the character of Theresa and how the playwright portrayed the impact of each character's past on their present actions and decisions. It was like uncovering layers of their personalities with every scene we read. The next day, we shifted focus to movement. We wanted to create the bustling atmosphere of a busy street, which was no small feat considering our small class size. But with some creative thinking and coordination, we managed to pull it off, simulating the hustle and bustle of urban life convincingly. Before wrapping up, we made sure to film our progress so we could refer back to it later and make any necessary tweaks or improvements. And as we looked ahead to the play's finale, we found ourselves engrossed in a thought-provoking discussion about redemption and respect within the gang's hierarchy, sparked by Thomas's actions.

Week two

THURSDAY LESSON

We began this lesson with a 20-minute stretch session, a routine we follow at the start of each lesson. This stretching helps us relax our bodies, focus on our breathing, and prepare ourselves physically for the demanding movements ahead. Personally, this is my favorite part of the lesson because I enjoy stretching; it calms me and allows me to center my mind before diving into the more intense parts of the rehearsal. The gentle stretches and deep breathing exercises help release any tension in my muscles, making it easier to move fluidly and reducing the risk of injury. Once we finished our stretching session, we moved on to summarising the play for our dance teacher. This involved giving a brief overview of the plot, themes, and key characters, ensuring everyone was on the same page about the story we are bringing to life. This exercise was helpful because it reminded us of the play's story and the feelings behind it, which are important for our performance. Following this summary, we began brainstorming ideas for the first movement piece in our performance. This collaborative effort was exciting and challenging, as we had to think creatively about how to translate the play's themes and emotions into physical movement. We discussed various concepts, such as the dynamic between characters, the underlying tensions and how to visually represent these through dance. Our goal was to create a piece that not only fits seamlessly into the play but also enhances the audience's understanding of the story and characters. This process required us to think deeply about our characters' motivations and relationships, as well as how to express these elements through our bodies. We experimented with different movements and formations, trying to capture the essence of the scenes we were working on. The discussion with our dance teacher was highly beneficial, providing us with new perspectives and ideas on how to approach the choreography. Overall, this lesson was both productive and enjoyable. The stretching session set a positive tone for the day, and the brainstorming session allowed us to delve deeper into the creative aspects of our performance. I'm looking forward to seeing how our ideas develop and come to life on stage.

Week two

A U D I T I O N S

On audition day, we each tried out for the character we wanted to play in Scuttlers. After our auditions, we filled out a sheet to suggest who should be cast, considering who worked well together. Since many characters, like Theresa and Thomas, shared several scenes, their actors needed good chemistry for the audience to understand their relationship. During my audition for Theresa, I decided to perform a monologue instead of a dialogue scene with Thomas. I liked the monologue more because it allowed me to embody Theresa's character better and delve deeper into her emotions and backstory. I focused on portraying her complex feelings and struggles, trying to bring her depth to life. I think I captured her vulnerability well, especially in the scenes that highlighted her growth. However, I know I could have done better in a few areas. I stumbled over a few lines and missed an opportunity to fully convey Theresa's anger in one part. I also realised I could have interacted more dynamically with the actor playing Thomas to better showcase their chemistry. Despite these hiccups, I believe my audition went well overall. I felt connected to Theresa and hope that came through to those watching. I look forward to seeing how the final casting decisions come together and am excited to continue working on this character.

Week three

W O R K S H O P S

On Tuesday, we had a workshop with someone from the Central School of Speech and Drama to work on our character development. The teacher gave us different exercises to help us understand our characters better. One technique she showed us was the four elements: fire, water, earth, and air. For each element, we had to walk or act like our character. I chose Theresa to represent the element of Earth because she's seen as a leader and grounded. Theresa embodies strength and stability. Theresa moves with purpose, like the solid ground beneath our feet. Her posture is tall and confident, reflecting her leadership qualities. This exercise helped me think about how Theresa evolves throughout the play. Another technique we learned was to choose a body part that our character would lead with. I chose the head for Theresa because she tends to overthink things, especially about her past and her relationship with her mother. Theresa's past plays a big role in shaping who she is, and she carries the weight of her experiences with her. In Thursday's class, instructors from 'Loads Of Talent' helped us further develop our characters. We did an exercise where we answered questions as if we were our characters. This exercise made me think about Theresa on a deeper level, prompting me to create a backstory for her and understand her motivations better. This process helped me bring Theresa to life in a more authentic way.

Week four

FIRST PLAY RUN THROUGH

From my point of view, the full run-through of Scuttlers went fairly well. We managed to capture the essence of the play and bring the characters to life. The energy was high, and it felt like we were beginning to sync as a cast. There were moments when the chemistry between the characters shone, especially in the more intense scenes. Reflecting on my performance, I think my weakest scenes were the ones involving Theresa's interactions with Thomas. Since I didn’t know my lines yet, it made it harder to act fully and not just read off the script, especially in the bed scene with Thomas. I found it difficult to create that flirty chemistry between us at first, particularly because the person playing Thomas isn’t someone I’m very close to outside of class. However, this was also a good challenge as it will help me in the future when I have to work with strangers. Targets for Next Rehearsal: 1. Improve Chemistry with Thomas: I need to work on building a stronger on-stage connection with the actor playing Thomas. This involves practicing our scenes together more frequently and exploring different dynamics to make our interactions more natural and compelling. 2. Learn Lines: Memorising my lines is crucial so I can focus more on acting rather than reading. This will help me fully embody Theresa and react more authentically in scenes. 3. Smooth Transitions: I want to focus on the emotional transitions for Theresa, ensuring that her shifts in mood are seamless and convincing. This will involve drilling specific scenes and perhaps getting feedback from the director. 4. Enhance Emotional Range: To fully embody Theresa, I aim to deepen my understanding of her backstory and motivations. This means revisiting the script and discussing the character with the director to ensure my portrayal is as rich and layered as possible. By focusing on these areas, I hope to strengthen my performance and contribute more effectively to the overall production.

Week five

During our Tuesday lesson, we delved into the scene where Thomas encounters the Bengal Tigers for the first time. Our teacher introduced the idea of using chairs to simulate the audience seating arrangement, helping us visualise the stage layout. Since the performance will be staged in a thrust setting, with the audience seated on both sides and at the front, it presented a new challenge for me accustomed to performing primarily to the front. Ensuring visibility from all angles became paramount, prompting our teacher to provide guidance on adapting our performances to different sides of the stage. To illustrate effective staging on a thrust stage, we observed a theatre production called 'Little Big Things'. The actors adeptly navigated the space, frequently adjusting their positions to engage audience members from various angles, thus fostering a sense of immersion. Witnessing this approach firsthand served as a valuable learning experience, as it highlighted the importance of maintaining audience connection regardless of their position relative to the stage. Implementing this insight, I became more conscious of the audience's perspective and imagined their presence throughout the rehearsal. Utilising the chairs as proxies for the audience further reinforced this awareness. While there were occasional lapses in remembering to adjust my body positioning, by the end of the lesson, I had made significant progress in enhancing my spatial awareness— a key objective for this project.

Week six

SECOND PLAY RUN THROUGH

Our Thursday lesson marked our second full run-through of the play. We kicked off with an introduction to the characters, offering the audience a glimpse into the tensions that would unfold. Theresa, Margaret and Polly took the stage, with Theresa leading the way, demonstrating her protective instincts toward them. This protective nature stems from Theresa's role as the caretaker for her four sisters, manifesting in her relationship with Margaret and Polly. Then Thomas entered, altering the atmosphere with his presence, before the characters transitioned seamlessly into the first movement piece of the play. In reflecting on the scenes, I've identified areas for growth, particularly in Theresa's dynamic with Thomas. It's essential to clarify Theresa's intentions beyond simply memorising lines. Understanding the motives behind Theresa's actions will enhance her interactions with Thomas and the overall progression of their relationship on stage. To achieve this, I plan to delve deeper into Theresa's psyche by crafting inner monologues specifically for scenes involving Thomas. This approach will illuminate Theresa's inner conflicts and emotions, guiding her character development and responses in their interactions. For example, the bed scene was particularly challenging for me because it required navigating a range of mixed emotions. In this scene, Theresa talks about her mother's death, her sisters getting sick, and her brother abandoning her, all while trying to console Thomas as he opens up and worrying about Prussia Street. The complexity of Theresa's emotional journey in this scene was difficult to capture, especially since I didn't fully know my lines. As a result, I often put off practicing the bed scene, a decision I now regret. Looking back, I wish I had approached it differently from the start. It wasn't until the final week before the play that I finally memorised the lines for the bed scene, which allowed me to concentrate on my acting skills.

rehearsal videos

VIDEOS

evaluation

Performance Evaluation

The rehearsal and planning process for "Scuttlers" had several successful moments. The bridge scenes, which initially struggled to maintain tension improved significantly. We focused on keeping our energy high and responses snappy, which helped maintain the intense atmosphere. Another personal success for me was mastering my transitions during the show. Initially, I had trouble with my cues, but after two full run-throughs in the theater, I gained confidence. I also used a cheat sheet to quickly remind myself of my cues, ensuring I was always on time. One of the most challenging aspects was perfecting the complex choreography and stage movements. Ensuring seamless transitions between scenes required extensive practice. For example, my heel kept getting stuck under my long skirt costume, making it difficult to move into certain positions quickly. Another challenge was sliding from under the bridge platform while staying in character; it was hard not to break character while fixing my uncomfortable skirt and maintaining coordination. Maintaining high energy throughout the performance was also demanding. We overcame these challenges by incorporating physical conditioning into our rehearsals and spending extra time on timing. In the future, I would start physical training earlier and focus more on building stamina. Throughout this process, I improved my teamwork, switching from very different emotions whilst acting, and problem-solving skills. I learned to adapt quickly to changes and communicate more effectively with my peers, which was crucial for a smooth rehearsal process. During the performance, a technical glitch with the sound system posed a challenge. As Bella (the mill worker) walked on stage, the sound of the mills stopping had not yet played. In the moment of silence, I realized I'd have to improvise. I quickly said, “What’s that?” referring to the mills, and the sound played right after, making it seem like a slight timing error. Despite this small mistake, it didn't disrupt the great performance. This experience helped me realize my capability to improvise, as I had previously thought I'd freeze if something went wrong. Even though I was internally confused about the sound tech issue, I stayed in character and didn't let my thoughts show on my face, maintaining the performance's integrity. From my perspective, the show was a success. The audience's engagement and positive feedback reflected our hard work. The actors delivered their lines with conviction, and the visual and auditory elements of the production came together seamlessly. Next time, I would invest more time in character development workshop exercises. This would enhance the authenticity and emotional impact for my character therefore contributing to the performance. This experience has provided invaluable lessons for future productions. I now better understand the complexities of theater production and the importance of thorough planning and communication. Moving forward, I will apply these lessons to create even more polished and engaging performance. In conclusion, our experience navigating unexpected challenges during the performance underscored the importance of preparation and adaptability. Moving forward, prioritizing thorough preparation and refining our skills through continued training will enable us to elevate the authenticity and emotional resonance of our future performances. With a commitment to growth and innovation, we aim to captivate audiences even more profoundly in the performances to come.

bibliography

https://en.m.wikipedia.org/wiki/Rona_Munro https://m.imdb.com/name/nm0613163/ https://www.nickhernbooks.co.uk/plays-to-perform/rona-munro https://www.dramaonlinelibrary.com/person?docid=person_munroRona https://en.m.wikipedia.org/wiki/Scuttlers_(play) https://exeuntmagazine.com/reviews/scuttlers/ https://confidentials.com/manchester/review-scuttlers-royal-exchange https://en.m.wikipedia.org/wiki/Scuttlers#:~:text=Scuttlers%20were%20members%20of%20neighbourhood,whose%20behaviour%20was%20labelled%20hooliganism. https://reviews.history.ac.uk/review/769#:~:text=The%20gangs%20were%20not%20participating,wars%20in%20the%2021st%20century. https://www.history.org.uk/primary/resource/3871/victorian-britain-a-brief-history#:~:text=The%20Industrial%20Revolution&text=There%20were%20huge%20social%20costs,and%20exposure%20to%20all%20weathers. https://www.ncpedia.org/anchor/work-textile-mill#:~:text=Most%20millhands%20went%20to%20work,to%20help%20make%20ends%20meet. https://www.tameside.gov.uk/TamesideMBC/media/ArtsAndEvents/Living-in-The-Past-Victorian-Children-at-Work-overview-with-illustrations.pdf https://www.striking-women.org/module/women-and-work/19th-and-early-20th-century https://maromytownend.wordpress.com/an-essay-on-youth-gangs-masculinity-and-violence-in-late-victorian-manchester-and-salford/ https://www.lawteacher.net/free-law-essays/criminology/female-street-gangs.php https://www.historic-uk.com/HistoryUK/HistoryofBritain/Victorian-Workhouse/

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