The Unspoken
By Thomas McCarthy
By Thomas McCarthy
Dark Slate Theatre Company Team
Creative Director/Writer - Thomas McCarthy
Deputy Creative Director - Amber Moore
Logistic Directors - Esther Bishop & Becca Thompson
Technical Director - Jamie Waters
Cast
The Waiter - Dylan Day
Mabel - Ellie-Mae Rooke
Carmen - Ezri Mannion
Billy - Joshua Steele
Clyde- Zac Ribbins
Marco - Ed Wells
Saoirse - Chloé George
Evelyn - Ellie Carrier
Harold Morris - Sam Bellamy
Ensemble - Sophie Pounder
Jonathan Skinner
James Pennington
Tommy Haines
Skye Kaune
Becky O'Donnell
Prod
Set Designers - Finn O'Grady & Allice Pearson
Lighting Designer - Grace Redfern
Assistant Lighting Designer - Luke McDonald
Sound Designer - Ben Farnham
Composer - Samuel Loft
Stage Manager - Amy Vyskocil-Flint
Props Designer - Kira Thomasson
Costume Designer/Fight Coordinator - Kayla Vicente
Assistant Costume Designer - Chloe Lansdowne
Intimacy Coordinator - Elizabeth Winstanley
Movement Coordinator - Ellie Carrier
Dialect Coach - Adam Gadie
Photographer/Videographer - Zac Horn
Deep in the heart of late-1920s prohibition America, tensions are brewing. Come on down to the Solitary West speakeasy - the bartender here sure has a story to tell. One of loss, ambition, and betrayal. A recounting of his darkest hours, of his rise, and his fall. When his wife launches a plot to overthrow his boss, witness as he is caught in the midst of a vicious power struggle, one that grips both his life, and those of the city’s criminal underworld. Forgiveness may be impossible, and guilt is an untameable beast. But rest assured, his tale will be told. And his end... is inevitable.
The Unspoken was produced by the Dark Slate Theatre Company and put on at York's Theatre@41 Venue. Its run lasted from June 11th-13th, 2024.
As stage manager, I was the key contact backstage and responsible for keeping track of cast members (especially with costume changes), the numerous props on stage, and organizing scene transitions. In addition to this, I was a line of communication between actors and the Dark Slate company. This was especially the case in advocating for actors in times of stress/tensions, specifically going into our dress run.
This production proved a fun challenge, as it differed to the process I had grown custom to within Drama Society and exposed me to more professional practices that I later applied to other projects. This included development into the way I laid out prop tracking documents, staging notes and set transition documents. With shorter time to prepare in the venue, it was necessary to have a concrete plan of attack before. All scene transitions were done by the actors, and stage management were never on stage due to the immersive premise of the show, therefore additional planning on presetting before the house was open, and communication with actors during the interval reset was key in aiding the show's smooth-runnings. That being said, I was still able to do things backstage in preparation for transitions, such as presetting tables that got brought onstage and standing-by entrances/exits to quickly grab/give props as needed to actors. After each show, me and the props manager worked together to reset the stage ahead of the new show (this primarily was in regards to reorganizing and refilling the various bottles of alcohol that lined the bar on set).