On Strong Characters/Characterisation

What sometimes bugs me is how this term is used. Strong characters – are they ones who are dominant, in charge of the situation? The ones who have the most presence or even more superficially, the most lines?

I disagree (did you see that coming?). In my opinion, strong characters or what I prefer to say strong characterisation, is a character that has strong AND weak moments in the situations they find themselves in. The oscillation between the two merely highlight the peaks and troughs of the situation. It can help us to understand the character more and therefore the presence of him/her/it/them/et al resonates more strongly. That for me is a strong character. Regardless of who they are and what they are. 

No situation (in my opinion) should be totally in favour of one side (unless maybe you’re going in for that strong didactic flavour), and most often ones orchestrated that way leave the “strong characters” vulnerable from themselves, from being in that position. 

(P.S  you know when a repeated phrase loses meaning after exhausting it in writing and speech? Strong character – what does that mean? Haha!)

Writing news!


So, on the 1st November I performed Object Meet Subject as part of a collaboration with Lucy Harrison, a Composition PhD student, with the voice acting expertise of Helen Durnell. It’s been years since I’ve done anything off-book and performing to a recording was like doing a sprint without doing a warm up. Really enjoyed it and I think it went well! I’ve written about it here and as an added bonus, you can see the video clip of me performing it!

Object, Meet Subject

In other news, Newshound has been in rehearsal, which I’m really excited about – it’s the first play I’ve done which has quite a lot of movement so it’s been really interesting interpretation in practice! It will be staged on the 10th November at the Brockley Jack Studio Theatre!

I’m also giving a talk on SF Theatre for RHUL on the 8th November, making a case for why it should be staged, why it should be presented and why it should be recognised. I’m also going to be talking about how it’s informed my creative work and rehearsal process. 

The day after, 11th November, I will be reading as part of the Purpureus Writers with Liza Klaussman (writer of Tigers in Red Weather). The reading is most likely going to be The Russian Doll Case, and if you’ve read it you will know what a challenge it will be to perform!

In other news, here’s my review of Override, a play by Stacey Gregg at Amazing Stories!