Guildford School of Acting

by | Oct 11, 2016 | 4 comments

Members of the cast from two Black Box 2nd year Productions, 2016, The Women by Clare Boothe Luce and Semi Monde by Noel Coward share their processes in using LMA in rehearsal.


  1. Lydia McNulty

    Lydia McNulty, Reece Evans, and Frankie Baker from the Guildford School of Acting comment on their process with their Black Box productions of ‘Not a Game for Girls’ and ‘Crime and Punishment’. In the podcast below, they speak of how using Laban’s techniques, and other movement practises, helped them in their process and how their training has helped them overcome large obstacles.

  2. Lydia McNulty

    [bpfb_link url=’’ title=’Laban Podcast 2018.mp3 – Google Drive’ image=”]Laban Podcast 2018.mp3 – Google Drive[/bpfb_link]

  3. admin


    Programme Notes on The Women by Clare Boothe Luce
    Directed Michael Toumey at GSA, 2016

    The Director would like to dedicate this production to all of the amazingly talented and hardworking women who helped to make GSA the unique and fantastic drama school that it is.

    Thanks a Million, ladies.

    Coincidentally, the opening night this production is also the Birthday of the author Clare Boothe Luce, Born 10th March 1903. The play is also 80 years old this year. Hopefully she will be with us throughout the run. We as a company are proud to a part of these wonderful celebrations.

    I would like to wish all of the 3rd Year actors (A truly talented group of individuals) the very best of luck for the next stage of their creative journey. Thank-you to the crew for their patience and understanding.

    Lastly I would like to thank my beautifully talented cast (my girls) Love Ya all.
    Be Lucky and Stay Free.
    Michael Toumey.

    Image: Madeleine Hatt and Mille Austin

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    Directors Notes on ‘Semi-Monde’ by Noel Coward

    Directed by Darren Tunstall at GSA, 2016

    This play is the work of an angry young man. Noel Coward – an angry young man? My dear, what a frightful notion! And yet, with deft little flicks of his razor-like pen, Coward dissects the conspicuous consumption, the preening status displays, the cruel betrayals of love, the murderous jealousy – in short all the extravagant and barbaric behaviour that he saw for himself among the wealthy elite who gathered at the Ritz hotel in Paris with an acerbic ruthlessness that recalls Thorstein Veblen’s masterpiece The Theory of the Leisure Class. Veblen’s lethal book cast a long shadow over the twentieth century, influencing Henry James, Edith Wharton, F. Scott Fitzgerald, Evelyn Waugh and many other ironists as well as the young Noel Coward. It’s perhaps not surprising that Coward felt reluctant to have his play produced – its observations would not have made him many friends among the clique whose patronage he so coveted. It is only in recent times, in our own fantasmagoric world – of gluttony and waste, of the fetishization of profit for the minority who valorize business while decimating industry, of plastic oceans, digital vanities and bellicose peacocks like Donald Trump – that the play has finally found its acidly funny, melancholy voice. Two years after it was written, Wall Street crashed. As Jerome, our novelistic guide in the play, remarks: ‘I know the feeling.’

    It has been a complete pleasure to work on this play with the cast and production team. Noel Coward would have applauded their talent, dedication and enthusiasm, and so do I.

    Image: Will Eley – Photography by Megan Mawhinney

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