A Monster Calls

Describe how one or more of the actors in a scene or section used their vocal and physical
acting skills to create convincing characters (32 marks)

On the 9th June, I watched a digital viewing of Sally Cooksons’ adaptation of A Monster Calls. A
book written by Patrick Ness, it follows the life of 13 year old Connor O’Malley as he tries to
cope with his mum’s cancer. The production incorporated both naturalism and stunning physical
theatre, with the actors portraying convincing characters, producing a captivating and emotive
performance capturing the essence of the novel, and moving the audience as they are told the
story.

The Monster, played expertly by Stuart Godwin, was a stand out performance and he beautifully
embodied the force his character possessed whilst contrasting it to convey understanding and
warmth. A powerful character, the Monster is vocally very commanding, a loud and booming
voice intended to be heard by all, opening Connor’s eyes to his reality and the road to accepting
it. When first meeting the Monster, we as the audience needed to be convinced of the power the
Monster has, the actor needing to make himself seem like a dominating presence on stage.
When telling Connor about the three stories awaiting him, Godwin has a resonant tone, and is
completely authoritative, introducing immediately the impact he will have through the lesson he
is teaching. He uses large gestures, commanding the space around him by walking as he
speaks and using his arms to emphasise his lines. For example, when telling the second and
third story of the Apothecary and Parson and the Invisible Man, the Monster is shown to be the
one destroying things for connor. His large gestures helped demonstrate to us as the audience
his omniscience and power in comparison. Throwing exaggerated punches after stating “He
called for a monster”, guiding Connor to do the same, and allow himself to be helped. Monster
is ultimately a voice however. Used to narrate stories as the action unfolds in front of him.
Godwin excellently does this whilst exerting strength and wisdom, talking slowly and
purposefully whilst a whiny Connor listens and cowers alongside the audience. The ‘body’ of the
Monster is composed of a lot of the ensemble cast, following Godwin and forming branches to
create a huge looming tree everywhere he goes, paired with his sombre tone and deep,
sonorous voice. Altogether, the combined sace each takes up serves as a terrifying entity,
something that clearly holds all the power on the stage (as it claims most of it for itself).

However, later in the play, Godwin puts forward a completely different side to the monster,
completely contrasting it’s overpowering, threatening demeanor. During the final scene, the
Monster is at Connor’s side in the minutes leading up to 12:07 and his mother’s death. The
character switched from being a commanding presence to one that is attentive, moving with
slow, prudent motion creating an air of sensitivity and emotion. He almost recoils himself,
lowering his shoulders from their previous high position, standing with his feet apart offering
newfound warmth and demonstrating a previously hidden candour. His tone of voice makes the
same, convincing shift. There isn’t the need to be heard by everyone anymore- the lesson
has been taught. His voice becomes soft and friendly, and the words spoken feel as if there is
more consideration behind them . He becomes more of an advisor, and less of a teacher
offering no commands and merely being there to support a boy who is about to be ( or at least
feels he will be) alone. He assures Conor if his presence “I will, it will be the final steps of my
walking” in a hushed tone, sensitive to the action on stage. I was moved by the sudden
exposure of the Monster’s true purpose of being there to help Connor begin such a traumatic
journey (losing his mother) and we as the audience are convinced of the Monster’s intent to help
Connor as we see his attitude towards him change and he becomes a nurturing, father-like
presence instead of a Monster that wants to be feared. Godwin’s shift helped convince me of
the tragic scene unfolding, as they watch Connor’s mother die, feeling further sympathy as an
apparent stoney-hearted monster is changed by the scene in front of him, becoming more
vulnerable and sympathetic himself, conveying to me the raw pain being felt by each character.

Another notable character and convincing performance was Connor O'Malley, sublimely
portrayed by Matthew Tennyson. He perfectly encapsulated the vulnerability and pain of a
young teenager having to watch his mum become terminally ill, and dying, performing emotively
and provoking empathy within the audience. Tennyson creates a convincing teengager, going
through the hardest thing he may ever have too. His character is shown to be in denial about
the situation, and this is highlighted by Tennyson’s acting alongside Marianne Oldham playing
his mother. In these scenes, he looks at the ground, making no eye contact showing he cannot
bear to face the realities of what his mother is talking about, his shoulders are also hunched
over, showing how small he feels due to his mother’s illness, as well as the pain it causes him.
As well as this, Connor’s awkwardness is further shown through Tennyson’s clenched fists,
becoming tighter the longer he stands and talks about the very thing he can’t, as his tension
builds, so does the audiences’ as they feel compassion for the poor boy who’s in such an adult
position. During an early scene, when his mother first says “There's that old yew tree”, you
could see Tennyson becoming increasingly distressed, furrowing his eyebrows through concern
and widening his eyes, in an apparent attempt to fight back tears. In the scene, Connor tries
immediately to change the subject as she begins to talk to him about his treatment as his
discomfort builds. Tennyson talks quickly showing his growing nerves when talking about
cancer.

Connor has a particularly intense scene as the monster tells him the second story. Tennyson
shows the characters built up aggression through the torment he has experienced with his
mother’s illness. The scene documents an outburst of anger, as Connor destroys his
Grandmother's living room with the Monster. His hands are yet again clenched, showing the
anger seeping through him in a growing bid to stop the upcoming aggression. His shoulders are
back and his chest puffed out, preparing himself for the attack. He also may do this as an
attempt to exert dominance he has lacked until now, taking control of the situation by destroying
furniture and things that can’t fight back giving him the power in the scene. Connor also shouts
during his rampage, finding the voice he almost lacked before hand, not allowing himself
to be held back by fear trying to take complete ownership of the hand life has dealt him.
This harrowing scene convinces the audience of the pain Connor has felt throughout the play
and has struggled to control. Another thing Tennyson does to convince us of his character, is
using his facial expressions to portray the vulnerability and pain manifesting in Connor. He
constantly looked down, as if trying to minimise his presence as well as having a constant
sadness to his lips, never really smiling. As a member of the audience, I felt annoyed and
uncomfortable myself that there was no way to help or comfort Connor, except share in the pain
he feels during the scene. Tennyson played Connor convincingly, and brought across the
mental strain a 13 year old would go through watching a parent die. He expertly played the
character, making me feel sympathy toward him and anger at the unfair life he was living,
watching his mother be consumed by her illness.

The play was thoroughly enjoyable and the acting exceptional. Each performance provoked
emotion and expressed the reality of a horrible situation in a wonderful way creating a thought
provoking piece that moved me as an audience member.