Jazz
by Samuel Loft
by Samuel Loft
Exec
Writer/Director - Samuel Loft
Producer - Harry Snell
Special Thanks
Thomas McCarthy
Edison Juniper
Jonathan Skinner
Prod
Set Designers - Rianna Majer & Will Sedgley
Lighting Designer - Malachi Atherton
Sound Designer/Composer - James Gabb
Costume Designers - Amilia Murphy & Ollie Glen
Stage & Props Manager - Holly MacNamara
Fight Coordinator - Amy Vyskocil-Flint
Intimacy Coordinator - Emma McCullagh
Photographer/Videographer - Ree Jordan
Press & Publicity - Ada Demirel
October, 1978. Oldham, Manchester. Following the success of their first eponymously named album UFO and the commercial flop of their second album Ghost Dance, the jazz-funk-fusion band UFO (short for Ultra Funky Oscillator) begin to make their third album with pressure to make it another success.
The band, comprised of Gideon Davis (the self-proclaimed band leader), Bill Goodman and his girlfriend April Parker, Dennis Baker and Rodney Vaughn, begin to make their album, though face constant difficulty from the eccentric and bombastic Gideon, who is this album’s leader. However, when their manager, Curtis Evans, a sleazy and money-minded businessman, proposes a gig without Gideon to Bill, Bill finds his loyalties torn. As he tries to navigate this secret and how to keep the band together, tensions heighten as Rodney also finds himself in financial troubles and the band struggle to find common ground on the album’s direction.
As secrets are kept and creative ideas differ, the stress of the album threatens to ruin the band, and their success, for good.
Jazz appeared on the spring line-up as the week 6 weekend show, with performances from March 21st-23rd, 2025.
The show called for more casual violence that was more threatening than physical. The sequences that I choreographed included, arm grabs, shoves and collar grabs. This was a student-written script, so I worked alongside the writer/director to ensure there was reason and build to the violence/threat being portrayed on stage. It was important for me to establish actor comfortability, and work through different stagings of actions to see what felt natural for actors. This, of course, was done so in an environment that encouraged collabration, but when it got to the technicalities of actioning the fight, the following of specific choreography for actor safety. In the end, we were able to choose those sequences that were most realistic/flowed most comfortably for the actors involved to include in the show. I was present throughout our production day to check-in with actors and run a fight call before the show began.
It was an absolute joy being a small part of this amazing show!