Physical Theatre: Mime & Berkoff

Physical Theatre: Mime & Berkoff

Context Research



Timeline of Physical Theatre

·         Prehistoric - Ritual performances

-          Years before civilisation ancient peoples held rituals which incorporated dance and music

-          Often told a story through re-enactment.

·         700 BC - Greek theatre

-          First documented theatre in history

-          Told by one or two main actors and a large ‘chorus’

-          Told either tragedies or comedies

-          Used masks

·         240 BC - Roman theatre

-          Appeared when the Romans took over from the Greeks

-          Also had comedies and tragedies, although only the comedies have survived to today

-          First type of theatre to use stock characters – only in their comedies.

·         15^th century - Commedia Del Arte

-          The first widespread use of physical theatre.

-          Originated in Italy but travelled all over Europe performing outdoors

-          Used physicality to convey storylines because of language barriers

-          Often mimicked real public figures, therefore were banned from speaking – this only made them develop their narrative physicality further

-          Also used stock characters, but different characters to the ones used in Roman theatre

·         19^th century – Mime

-          Typical silent mime and concrete mime began to emerge for the first time

·         1930s – Hollywood Mime

-          Charlie Chaplin and Buster Keaton brought mime onto the screen for the first time and both received huge success.

-          Chaplin is probably the worlds best known mime to date.

·         1960s – Pina Bausch

-          German dancer

-          She became the artistic director of the Wuppertal Opera ballet company

-          Famous for experimenting with strange and new ideas in her dances, including having dancers perform with their eyes shut, or on a stage covered in soil

-          Inspired DV8

·         1970s – Steven Berkoff

-          Created a new grotesque style of contemporary physical theatre

-          Used over exaggerated  vocals and strange movements

-          Worked as an actor (in theatre and film), playwright and director

·         1980s – DV8

-          One of the first physical theatre companies to reach widespread success

-          Famous for their use of physicality to tackle relevant or political topics

-          Ran until a few years ago

·         1990s – 2000s – Frantic Assembly

Steven Berkoff

Steven Berkoff is an English actor, writer and director who made huge strides in the field of physical theatre and contemporary theatre. He emerged mosty in the 1970s, and he is still working today.



He was born in 1937 in the East End of London to a working-class Jewish family. He studied theatre at the Webber Douglas Academy of Dramatic Art and later the school of famous physical theatre practitioner Jacques Lecoq.



His earliest plays are adaptations of books by author Franz Kafka, such as The Trial and Metamorphosis, but he wrote several original works later in the 1970s and 1980s including East and Dog.  



His plays are recognised as being very contemporary and expressive, with use of ensemble work (although he has also written a one man play), physical theatre, sound effects with voice and expressive movements. Most of his works are very stylised. He uses explicit language and physicality to express the ‘grotesque’ in people.



He also appeared in several Hollywood films such as Rambo, Octopussy and The Girl With The Dragon Tattoo, however, he stated that he only appears in films to ‘subsidise my theatre work’ and that he thinks many films he’s been in aren’t very artistic.



He is a very controversial figure in theatre, not only because of his extremely contemporary works, but because of his tendency to speak his mind and often insult other practitioners. For instant, he thinks Hollywood films are ‘lacking in artistic merit’ and that today’s young actors are ‘ghastly, boring and know nothing’.





Exercise



One of the first physical theatre exercises we did today was split into pairs and come up with five different ways to wave. Breanna and I came up with several waves that were happy and comedic and a couple that were a bit more sinister and clockwork-looking. I really thought this exercise was interesting and it showed the range of ways you can physicalize and dramatize simple everyday movements.



We also watched several videos of Jude Parry teaching mime techniques, and tried out a few ourselves. A lot of the techniques were harder than they looked, especially miming walking on the spot.



To try out the style, keeping in mind the videos we watched about mime and the Berkoff ensemble, we split into groups and tried to create an atmosphere of a scene using physical theatre by repeating four sets of four mimed actions.



My group chose a party as a setting, and the actions I chose were taking a shot, stepping away when Will was sick, panicking about the mess, and then calling someone. However, as all of our actions depended on each others (Will’s action being sick influenced everyone else’s) it was really hard to stay on time and make everything look smooth. It really made me appreciate how hard professional physical theatre performers work.





Gormenghast Work



Also today we looked at excerpts from a play called Gormenghast, and we worked as a group to devise an opening for the play in the style of Berkoff.



We decided to physically form the ‘castle’ Gormenghast by moving into a position of four corners and using our bodies to create an atmosphere of the crumbling old castle. We did this by standing in jagged, eerie looking positions and shifting like we were breaking when we spoke the lines. We also tried speaking in Berkoff’s vocal style, which is very loud, articulate and over the top.



We also split into smaller groups and worked on other scenes from the play, and I worked with Emily P, Kieran and Ciara on the scene where the Groans baby is presented to the earldom. I was playing the Countess of Gormenghast who is very entitled and not interested in her baby.



I found it really fun to experiment with as the wacky text really suited Berkoff’s style, especially with trying different Berkovian ways to use my voice.

Pomona Week Eight

Pomona Week Eight

Development



This week we’ve been doing more fluid runs of both acts one and two, which have really helped me understanding and practising the transitions between scenes as a lot of the choreography on the blocks confused me before.



I also did my first run in costume this week, which I found very helpful. Wearing the character’s clothes always makes me feel more connected to them and to the play, and seeing everyone else in their costumes made me feel more immersed in the world of the play.





Character Work



I feel like I have finally made a break through with my characterisation this week, and settled on my version of Fay.



The interpretation I settled on was actually really similar to how I first read and saw her, despite all the different ways I’ve tried her since then. My Fay is very closed off and defensive, but her main defence is acting bored and annoyed, like she’s seen everything before and isn’t impressed. This comes across most in her first scene with Ollie.



I’m the last person in the group to have this break through, but I’m actually quite glad my decision came later. Not settling too soon gave me time to explore different aspects of the character through different mannerisms and voices. Doing all the different personalities helped me really dig deeper into the character – they were all valid ideas and things Fay could still have inside herself, just as different hidden sides to her.





Ensemble Work



As I’m still a bit unsure about some of the blocking for when I’m ensemble/Cthulhu in the alternate casts performances, I made a chronological list of everything I have to do, which I will put somewhere backstage to refer to if I need to. I think this will be really helpful for both me and Emily (who is the ensemble member/Cthulhu in my cast).

1.      Enter from upstage left corner on a diagonal, wearing mask, and lead Fay from her box to the phone box. Exit.

2.      Enter again at the end of the phone box scene and take the phone from Fay on her line ‘What do you want?’ and hang up for her. Close curtains.

3.      Lead Fay to the block Gale was previously sitting on and exit.

4.      Enter downstage on a diagonal and slowly approach Gale, so the other Cthulhu and I are either side of her. Take a step in after a few moments. Turn and stare at her when she steps forward, then exit and open curtains.

5.      Open curtains. Turn the TV on backstage, press play on the white noise DVD and carry the TV to the upstage left block towards the end of Moe and Charlie’s fight scene.

6.      Draw curtains curtains in front of Moe and Charlie.

7.      Carry the TV off again at the end of the Fay and Ollie’s scene and open curtains.

8.      Enter without mask on Charlie’s line ‘people push past you’ and begin doing the four corners exercise. Perform the shopping centre scene as an ensemble member. Exit at the end of shopping centre scene and close curtains.

9.      Enter on Keaton’s line ‘Do you know what happens to the girls you give them?’ and stand either side of Gale. When Keaton says ‘they tie them down’ grab Gale’s arm and slowly lower her to the floor. Hold her down until the end of the scene, then follow Keaton out of the door single file.

10.  Walk on when Charlie says ‘A person in a leather jacket’ wearing a leather jacket and smoke. Exit.

Goals



My goal now is to just practise a bit more with props, as I will be holding a laptop for several of my scenes and I need to work out how and when I pick it up and make sure I can always keep track of it. Also, I definitely need to rehearse quickly putting on the gag and the bag on my head in time before the next scene.

Pomona Research (2)

Pomona Research

Pomona



As Pomona is an actual island in Manchester, I decided to try and find out what it looks like and why it is actually there.



Pomona was once a dock in the river between Manchester and Salford, but has fallen out of use and become an abandoned wasteland. The island is almost completely isolated, with only one foot bridge to get there, but it only takes a few minutes to get there from Manchester city centre.



During the industrial revolution the island was briefly called Cornbrook Strawberry Gardens, housing gardens and the Royal Pomona Palace. It was then renamed Pomona after the Roman goddess. The island was surrounded by factories at this point and in 1887 the chemicals in one factory exploded and it damaged the palace. Because people wanted more land they decided to close the gardens instead of rebuilding. After that it was used as a dock for the Manchester ship canal, but then was abandoned and eventually forgotten by most people.



The island is a kilometre long and despite still being considered ‘contaminated’ from the factory explosion hundreds of years ago is home to wildlife such as grass, scrubby bushes, bees and flowers in the summer.

Names

Most writers use names with specific meanings, histories or connotations for emphasis in their writing. There are several interesting/unusual names in Pomona:



Pomona – The name of the real-life island. Pomona was the Roman god of harvests and fruitfulness, often represented by a basket of fruit. At first I thought this contradictory to the barren and empty island. However, the line ‘prepare the fruits of your body for sacrifice’ likens the organs/babies to fruit, which makes sense, as Pomona is the place where these ‘fruits’ are ‘harvested’.

Ollie – Ollie is usually used as a shortened form of ‘Oliver’, which means ‘olive tree’ or ‘army’. The name became popular because of Charles Dickens’ novel Oliver Twist, in which the main character Oliver is a orphan who ends up as a pickpocket – this relates a bit to Ollie as she also works under the law (‘I don’t think I can go to the police’). However, I think another reason Alistair McDowall has used the name Ollie for this character is because it’s usually considered a masculine name and Ollie’s character is rough and not very feminine.

Fay – Irish. Means ‘fairy’ or ‘raven’. Ravens mean intelligence and curiosity. People called Fay are supposedly trustworthy and loyal, which I think is interesting because both Moe and Ollie end up trusting and confiding in Fay.

Charlie – Means ‘free man’. At first I thought that was actually quite sad in the context of the play because Charlie’s character isn’t really free – he’s controlled by Gale and by extension, Keaton. However, then I realised that as the writer of the RPG, Charlie could be the only one in the play actually using his own free will.

Moe – Means ‘delivered’ or ‘helmet’ and is associated with being dark. I think this makes sense for the character because a helmet is a defensive, protective layer which is something Moe has developed for himself to shut out other people.

Gale – Gale means ‘stormy/windy’ which I think makes sense as the character Gale has a very stormy temperament and is also a powerful force like the weather.

Zeppo – The name Zeppo means practical judgement, which Zeppo has over the whole world (‘you choose what you educate yourself about’) and people with the name Zeppo are considered to be business-minded which is exactly what Zeppo is.

Keaton – Keaton means ‘place of hawks’ which works really well as a hawk is a powerful bird of prey that preys on others and is very calculating, just like Keaton.



RPG Games

·         RPG games are any kind of role-playing game where the players take on the identity of a fictional character in the world of the game.

·         There are two main different types of RPG – video RPG played on a gaming device such as an Xbox or PlayStation. These mostly have set storylines and the players go through the story as the main character, their ‘avatar.’ Popular games include Skyrim and Call of Duty.

·         The other type of RPG is less popular/well known and this is the board game RPG – the leading game of this category is Dungeons and Dragons, in which a game master writes a storyline and players make decisions – the outcomes of which are decided by a many-sided knife.

·         There are several standard ‘roles’ in RPGs, the most powerful being the game master, the person who directs the story and creates the storylines for the other characters rather than playing themselves.

·          They are called the ‘dungeon master’ in Dungeons and Dragons, which I think is really interesting because Charlie takes on this role and he literally guards the ‘dungeon’ of Pomona.

• RPG games can be attractive to people who want to take on a new identity and forget their own lives for a while, which is why Charlie would enjoy them so much - wanting to forget his own life where he has no friends and the turmoil of his past friend killing people at school.

Some examples of Dungeons and Dragons dice that Charlie might use.

Pomona Week Seven

Pomona Week Seven

Creative Ideas

We also worked on blocking the final ensemble as a group. In the scene, Ollie is further through the tunnels and Charlie appears giving instructions for her to follow like in his RPG, before the rest of the cast begins rolling dice and speaking ensemble lines.

However, I thought this would look too busy and take attention away from Ollie. Instead I thought we could create a sort of layer or pattern of standing or sitting in a formation and rolling the dice/Rubik’s Cubes to each other. We decided to sit with Gale and Moe opposite each other, leaning against the blocks, Zeppo and Keaton opposite against blocks, and Fay and Charlie opposite each other down the centre of the ‘game board’ because they roll in those pairs.

One problem we did have was that when it says Ollie goes down the tunnels and does actions like fiddling with a locked door and hiding from people it looked a bit messy for her to just mime it walking around.

As a solution I suggested Ollie could stand on the block behind Charlie like Keaton did at one point while they were playing, and almost mime the things he says, but in a more dark and serious way. For instance, when he says there’s room for her to stand up she stands from crouching, and when she ‘hides in the shadows’ and tries the lock, she can do all of it from the block (therefore having attention from the audience) as if she’s really in the tunnel.

Even though this won’t work for all of the scene, I think it looks visually interesting even if we just use it for a small section where she goes through the hatch.

We brainstormed ideas for the final part of the scene where there’s another series of ensemble lines in the nursery under Pomona. As the last stage direction is ‘they roll again and again and again and again’ I thought we could create a layered pattern of who we roll to and roll with a more frantic, chaotic energy.

I also think as the last ensemble line is ‘dead’ we should all say it together and drop our Rubik’s cubes. Charlie could also glitch on this line because he is actually dead at this point.

Costume

This week I also decided on my costume as Fay.

It will consist of the original skirt I thought of for her, which is black and tight but comes just above my knees so it’s not too provocative or suggestive like Alistair McDowall says in the script. I will also wear a red hoodie, which looks a bit scruffy and worn. It’s the only coloured item in this outfit which I think works because it’s one of the colours on the Rubik’s Cube.

For shoes, I have chosen a pair of flat black ankle boots which are really old and not in the best condition, but still ordinary and something Fay could run in if she had to.

I think this outfit works for Fay because it’s all a bit haphazard and worn – clothing would be fairly low down on Fay’s priority list. It’s also very nondescript and dull so it wouldn’t stand out in a crowd, perfect for Fay who wants to attract as little attention to herself as possible.

I tried my hair two different ways for Fay. The first was in a messy half-ponytail, however, I was worried this still might block my face a little bit, so I tried it in a messy bun and I think this really worked because it looked very haphazard and just seemed to suit the character and the outfit. I think my natural hair works for Fay because it’s naturally quite messy.

Goals

My main goal for next week is to learn and become confident with my ensemble role as Cthulhu, as there are a lot of little things I have to do such as taking the phone off of Fay in the other cast, carrying in the TV, and threatening Gale, and I’m still a bit uncertain about the blocking of some of these moments.

Pomona Character Profile

Pomona Character Profile

(this blog post is a work in progress)


Fay

Name meaning:

The name ‘Fay’ is an originally Irish name that can mean ‘raven’ or ‘fairy’. It can also be a short form of ‘faith’.

I think it’s interesting that it means raven, so I did some research about raven symbolism and what ravens tend to mean and I found out that the psychologist Jung uses ravens to represent the darker side of human consciousness. I think this reflects the overall message of Pomona – that this dark dystopian side of the human world is real and happening.

I also found out that in Old English Fay is a nickname for someone who is trustworthy and loyal which I think is interesting because both Ollie and Moe end up trusting her enough to confide in her.

Physical

Age: 24

Sex: Female

Tension Points: I think that Fay would hold a lot of tension in her arms and shoulders, because she lives in a state of paranoia and she’s almost expecting attack some of the time and have tension in these points shows a dense of defensiveness.

I also think Fay could hold some tension in her stomach because that also makes the whole body look quite tense and wary.

Idiosyncrasies: I have developed several idiosyncrasies for Fay. One is tapping one foot when she’s anxious/afraid, for instance, when she is in the phone box. This can also be used to show boredom and annoyance in the scene where she shows Ollie around.

Another I came up with when I was wearing her costume for the first time which is tugging the cuffs hoodie over her hands and pulling at them, which I think can show her being preoccupied/thinking about something else.

A third idiosyncrasy is how she’s constantly glancing around and looking over her shoulder because she’s used to working in a place where there are cameras constantly rolling and she’s always being watched.

Social

Status: Fay generally has a very low status in the world of the play – she is so desperate she has to sell her body to provide for her daughter, she has to constantly stay hidden from her husband, she has to obey Gale’s rules at the brothel. Gale is her superior and has status over her – but Keaton has status over Gale, so she also has status over Fay and the other girls.

This is shown by Fay warning Ollie to tell Gale before she does anything, 'You have to ask Gale.' And also Gale's commanding attitude towards Fay, 'You're not to come in here.'

However, the scene between Gale and Fay is a constant power play where Fay gets to challenge her status. Because she has Gale’s laptop and the information about the blood types, she has power over Gale. Then Gale starts challenging her and vocally puts Fay back in her lower place – until Fay pulls the gun on her and gains the upper hand again.

Still, Fay is quickly back in a low status position when she is caught and nearly killed by Moe and Charlie.

Class: Fay is very low class, below even standard working class as she has to work in the sex industry to make enough money to support her daughter. The fact she’s in hiding from her husband also makes her even lower class because she can’t let herself be known.

Relationships:

Ollie –

Fay and Ollie’s relationship is actually very interesting and nuanced. I think at first Fay doesn’t want to be friends with Ollie because she’s afraid she’ll go missing like the other girls and Fay wants to protect herself from caring about her in case she does.

However, I think Fay does care about her to some extent, because she immediately helps her after she’s been beaten up, checking her wounds, brushing her hair and trying to convince her to call her family for help. Ollie’s disappearance is also what drives Fay to confront Gale.

Fay is also wary of Ollie, especially after she says ‘I would have peeled his face off. Cut it off while he slept’ and then talks about all the hate inside her and burning the city down. She knows Ollie is a bit unhinged and a potential threat.

Gale –

Fay’s relationship with Gale starts off with Gale as the boss who Fay obeys (‘You have to ask Gale.’ ‘Gale doesn’t like that.’) and is afraid of, but when Fay finds the list of blood types on her laptop (as well as become even more afraid of her) she becomes wary and determined to find out what’s happening in the brothel and why people are disappearing (because she could be next) and becomes brave enough to take her on. Gale is one of her main obstacles.

Moe –

Fay’s relationship with her client Moe is also very interesting, because although she absolutely reviles him for abusing people the way she was abused and she sees her husband in him, I think she also relates to him a lot when he gives his speech about wanting everything to stop and then be able to know everything was done in peace.

Daughter –

Although we never see Fay’s daughter or her relationship with her in the play, I think Fay is a deeply caring and protective mother. She says her husband used to hurt her daughter too, and I think that matters more to Fay than herself – in my personal version of Fay’s backstory, she found the courage to run away from her husband because he started abusing their daughter and she didn’t want that. She also becomes a prostitute so she can earn money to provide for her daughter and hires a babysitter (Stacey) to look after her.

Husband –

Like their daughter, we also never see Fay’s husband in Pomona, but he definitely casts a long shadow. He abused Fay and their daughter to the point that Fay chose to run away and work as a prostitute rather than stay with him. Because he’s in the police force, he’s the root of most of her conflict about what to do with the laptop. Fay is still terrified of him even though she’s left him.

Private & Public Face –

Fay’s private and public face is very different. Fay is afraid/anxious in most of her scenes in the play, but she’s constantly putting on a front for other people.

For instance, when she’s on the phone to Stacey, even though she’s terrified, she tries to sound calm and collected like everything is fine and normal in order to protect her daughter.

Again when she’s with Ollie after she gets beaten up, Fay puts aside her own problems to help Ollie. However, her facade starts slipping a little bit in this scene when Ollie asks about her husband and Fay is visibly affected, then immediately changes the subject. This front can be seen again in the scene with Moe at the beginning when she’s putting on her work face in a way and acting collected for the customer.

Psychological

Desires: I think most of what Fay does in Pomona is motivated by the desire to protect herself and her daughter and stay hidden from her husband. Even though her relationship with Ollie and potentially the other girls helps her face Gale, I think her main reason is fear for what might happen to her and then what would happen to her daughter without her.

Objectives: Fay’s objectives change throughout the play, but some objectives last throughout the whole play. A constant objective for her is to keep herself and her daughter hidden away from her husband – something that creates a lot of conflict later on.

When we first meet Fay her objective is to earn enough money at the brothel to support herself and her daughter whilst staying hidden from her husband. However, when she finds out about the blood types her objective becomes to find out what is happening to the girls who disappear to the point where she actively confronts Gale about it.

Conflict Point: Fay’s main conflict point throughout the play is that her husband is in the police. It stops her from being able to go to the police about the laptops and the disappearances, which means she really doesn’t know what she can do about it. She tries to be brave enough – she goes as far as dialling 999 in the phone box before becoming afraid and hanging up.

Morals

Values: Fay could be seen as having loose morals because she’s a prostitute but I think Fay is actually morally strong, especially compared to some of the other characters in the play such as Keaton, Gale and Moe. She’s only a prostitute to support her daughter and keep her out of an abusive environment. Most of what she does in the play is motivated by self-preservation and the desire to protect her daughter.

Honesty: Fay is sometimes dishonest, but only for her own self-preservation. She puts on a bit of a front for Stacey and for her clients but she is also honest when she feels she can be, for instance, letting her guard slip with Ollie about her husband. I actually think she’s at her most honest when she talks with Moe.

Voice

What personal vocal characteristics help or hinder you in Pomona?

My voice is naturally quite clear and articulate, which is helpful, but sometimes I can come across sounding a bit posh when Fay should be more rough-spoken. I need to work on becoming more rough spoken but without losing any articulation or not sounding clear. My voice is naturally quite low too, which I think works for Fay as it can quite easily sound a bit exhausted or beaten down.

What problems does this text present?

The way we have staged the play is really helpful vocally, because there will be audience to the right, left and in front of the stage. It's a very intimate, close space, which means I won't need to over project. However, as we have staged some of the scenes around this set up (constantly moving so all audiences can see), sometimes my back is to one of the audiences which means I will have to project more to make sure everyone can hear.

Another problem I've been having is making sure my diction and articulation stays strong during the scenes where Fay becomes more panicky and anxious, especially during the phone box scene. I tend to rush that scene and that can cause my voice to become unclear. I need to work on this by slowing down and focusing more on my articulation.

How are you developing your character vocally?

I've been trying out several different vocal characteristics for Fay over the rehearsals, and I haven't decided on one that works well enough for me to use in the show yet. Because I don't think I've found Fay's characterisation yet, I am constantly experimenting and trying new voices.

At first I tried making Fay more soft and friendly, using a slightly higher register and a softer tone. While this helped me connect to that side of the character, it still felt like something was missing vocally.

To explore Fay further I began experimenting with different accents. The first accent I tried (and keep coming back to) was Irish. I tried it with the softer characterisation and it helped me connect to that even more, as the Irish accent is quite soothing anyway - it worked especially well in the scene where Ollie has been beaten up and Fay looks after her.

Another accent I tried was Spanish, and while this added something completely different and unexpected to the character, I'm not sure it was quite right for the actual performance.

Recently I've been trying out a more exhausted and irritable Fay, and to reflect this vocally I'm using a more flat, bored tone during the scene where she has to show Ollie around. For instance, on the line 'This is your room' I say it quite huffy and bored, like she's done it all before.

I also tried this characterisation with the Irish accent when I was rehearsing independently, and I think it worked quite well because the Irish accent is usually quite cheerful and light and having it used in a defeatist, unhappy was almost emphasised the characterisation.

Another way I’m developing Fay vocally is by working through the script and finding places to use a different tone. For example, in the phone box scene when Fay says ‘why is she still up? She should be in bed. Put her to bed.’ I change the tone of my voice to show that Fay’s trying to sound normal and unaffected and control herself a bit more. Another instance is when Fay tells Ollie ‘you just have to ask Gale’, which I say in a more assured and meek way to show that she is afraid of Gale.

What are your vocal targets for Pomona?

1. My main target for Pomona is to decide on a set voice for Fay, as so far I've been trying out lots of different voices. 
2. Another target is to work on making more voice sound more rough without becoming unclear or losing articulation. 

Things Other Characters Say About Fay

·         ‘She’s standing outside a shoe shop and she’s holding, she’s clutching, a laptop. She has no bags, she hasn’t brought anything that you can see and her face is contorted, twisted up in an expression of horror, real horror.’ – ensemble

·         ‘You ran away, didn’t you? They told me. The others. About your husband.’ – Ollie

·         ‘Just because you haven’t the strength to leave yourself. Just because you’ve nailed yourself to that bed.’ – Gale

·         ‘You crawl out of one hole and dig yourself another. As if you want it. As if you crave it. And now you’re going to get involved in this.’ – Gale

·         ‘She won’t go to the police, not if she can help it.’ – Gale

·         ‘She did something. She did something to have this happen to her.’ – Moe

Things Fay Says About Herself

·         ‘My main tip is just to make sure they shower first.’

·         ‘I always insist, and if they don’t want to I’ll maybe like, I’ll take my top off and usually that – usually they take one after that.’

·         ‘So I’m just like, two doors down.’

·         ‘I don’t do that.’ (make films)

·         ‘I don’t do that. I don’t know about that.’ (drugs)

·         ‘No. I used to think so. I don’t like most of them. But not hate.’

·         ‘Afraid I insist on showers.

·         ‘I don’t feel sorry for you. I have no sympathy.’

·         ‘My husband hurt me and my daughter.’  

I think it says a lot how little Fay says about herself compared to the other characters, as it shows how much she is protecting herself and how devoted she is to staying in hiding.