The Performances

We performed Sleeping Beauty 18 times to Primary School, and we then had 2 evening shows for the public. Over these shows, a lot went well but there were also many issues that we experienced.

Our first show, was the show to the SEN school. I had been anxious about this, simply because I didn’t know how the children were going to react, as well as the fact it was our opening show. We had to make alterations to the music and the lighting for this show, to keep it as relaxed as we could. However, the audience loved it! They were very interactive with us, clearly engaged in our production. They were a very loud audience, however this just made us more energetic and excited to perform. I think I did very well in my first show, despite being nervous about it. I was aware the whole time, and charismatic, which encouraged audience responses of laughter.

However, something that I struggled with in every show I was the Queen for, was getting out of costume after the death scene. Right after the Queen dies, I have to be on stage as a dog, so each show I had seconds to change. It wasn’t possible to fully change my costume in that time, so what I did was when I left stage, I would run through the green room and go back stage, taking off my shawl and necklace and putting the dog hat on. If I had time, I took my heels off and put jazz shoes on, however I never had time to take my skirt off. This did cause confusion for the children, as they had just seen me as the Queen, and I was still recognisable because of the skirt.

I really liked how I played my character in the end, particularly in the King and Queen scene. Me and Zac had a lot of fun performing this scene each day, as the audiences always loved it and would interact with us. This scene was never the same, because sections in it depending on how the audience responded, and my reactions to Zac were often affected by the audience. We also got to ad-lib a lot here, because lines were improvised. I have never had the opportunity to ad-lib in a performance, so I really enjoyed the spontaneous nature of it.

We had a few technical issues with the music throughout the run of our show. There was one time, just before the show was about to begin when Jess told me her music wasn’t working. I then had to run to find a technician who could solve this, and the issue was resolved. This didn’t affect the performance, but we were really worried that we wouldn’t find a way to fix it, and if we couldn’t then we would have had to use percussion for the whole show. An issue we encountered in one show, was that there was no music in the Everybody needs a Nanna song, due to a technical issue. This had happened previously, but only in rehearsals, so it was never an issue. However, in this one show the music never started right before the song, and we couldn’t communicate with anyone about it as we were on stage. Me, Zac and the Nannas who were all onstage at the time, had to improvise and expand on the scene before the song. We didn’t know if or when the music was going to start, but we problem solved the situation by continuing the scene, with Zac saying the princess didn’t need nannas and me disagreeing. Eventually, Jess counted us into the song, but there was still no music. We only had percussion to accompany us, and to make up for the loss of sound, we all sung a lot louder, to cover up the fact that something had gone wrong. I don’t think that the audience suspected anything had gone wrong, due to how we all stayed in character despite the panic, and we adjusted to the issue by not blocking each other’s improvisation. 

A problem we faced as a company in the two weeks of performing, was that quite a lot of our cast were ill throughout production. This meant that we had to re-arrange a lot of the ensemble sections that were necessary. I ended up bringing on some of the branches in the scene where the Prince is talking to the people in the hedge, as Kayla was ill. However, seconds before this I had to collect the umbrellas from the nannas, so it was a rush for me to make it in time to go on-stage. I also had no rehearsal for this, so I didn’t know the timing to go on or off stage, I had to follow Holly to keep the production running smoothly. 

A specific scene I am proud of, was the Queen’s death scene. In this, I would walk across the stage, stopping for Finley to remove my crown. I would then continue down the stage and exit through the bottom right vom. In the performances, my director told me that this scene looked beautiful, and was very moving. I am very proud of this, and I made the moment emotional by looking at Finley as he walked away from me, symboling my characters death.

Overall, our performances went really well. Even when we received quiet audience, we still continued performing consistently with energy, the same as we would when our audience was very interactive with us. I have throughly enjoyed this project, and I have learnt so many skills about how to perform children’s theatre.

Evaluation

 “Theatre for children as a genre demands a lot of its creators and performers. Using your experience from the making and performing Sleeping Beauty explore what you have learnt and what you now know about this genre that you didn’t at the start of the process.”

From Sleeping Beauty, I learnt a lot about performing. Children’s theatre is a very demanding genre of theatre, and it requires a lot of effort and dedication. Something I found surprising; was how tiring it was to perform two shows every day, especially to children. The genre requires so much energy from you, as from the moment you are on stage you must be charismatic and expressive, interacting with your audience. Something unique about this genre of theatre, is how visual it needs to be for the children to fully understand the narrative. In this project, I was a part of the shadow puppetry section, and my involvement in this was I helped create the puppets, as well as being a puppeteer. An issue we faced with the puppets, was that they kept breaking between performances, so I made it my responsibility to check them before shows, as well as separating them into piles just before we went on stage with them, so it was easier for everyone to find their puppets. This really helped, as it meant if one needed fixing, we knew and had enough time to fix it. Shadow puppetry is an important device to use in this genre, as it communicates the story in a simple way that some children will understand better than dialogue due to it being visual. 

Something unique to our project, was how as a company we took a script originally written for four people and adapted it to fit a cast of 20. This meant we had to devise all ensemble sections ourselves and collaborate as a cast for this to work. We would busk through sections of the script, often originally improvising the ensemble sections. When we devised the dog section in the introduction to the princess scene, me, and Finley (who played the dogs) repetitively tried out different ways to enter and exit the stage, as these animals. Another section of ensemble work not included in the script, was the section where everyone in the palace falls asleep. We took a lot of time devising and experimenting with this section, and our biggest issue with it was how to incorporate the boxes into it, as we knew we wanted to deconstruct our original set here. Having an ensemble like we did is crucial for this genre, as it allows you to create tableaux, physical theatre, and so many interesting images that spark imagination in younger audiences.

In the process of devising Sleeping Beauty, I ensured that I took on feedback from our director to improve my performance. She encouraged me to exaggerate my character, and to give her a stronger accent, making her sound posher so that the children would understand I was playing a Queen. Most characters in children theatre productions, will be stereotypical of something recognisable to them, so the performance is easier to comprehend, for example the royals and the nannas. It was important that I implemented this piece of feedback into my acting, as children respond better to energetic, charismatic characters, as they are more amusing compared to someone being naturalistic. This is one of the biggest differences between children’s theatre and straight acting, as children wouldn’t appreciate a truthful character, it would be no fun to them. Whereas when your target market is adults, depending on the production you often act realistically, but children’s theatre isn’t about truth. It contains magic, and fantasy, and its purpose is to inspire children creatively, which you can only achieve by engaging them in your performance. 

Our first show was a performance to a Special Educational Needs primary school. The whole way through devising the show, we were aware that this was going to be one of our audiences, and for that reason we knew we were going to have to adapt a lot so that the children felt comfortable. Many children theatre companies specialise is performing to children with disabilities, so from research we learnt what we needed to change. When it came to this show, we made our production as relaxed as possible, removing loud noises, and lowering our voices so we weren’t shouting, as we didn’t want to distress anyone who had sensory issues. I learnt to tone down my character, and general performance, as well as becoming aware of my audience so I could work out who was comfortable with audience interaction (holding the baby). The experience of performing to SEN children was very useful, the knowledge I gained from this has made me adaptable to doing it again in the future. 

My character of the Queen developed a lot from our first rehearsal to the actual performances. I became more confident through the process, and more secure in my acting skills. I am proud of my performance in Sleeping Beauty, and I believe that I portrayed the Queen accurately. Something that I was worried about after hearing the casting, was whether I was going to be able to deliver the comedy in my character. I achieved this from the project I believe, and it has made me feel like I have a more diverse range as an actor than I was originally aware of. Making your children’s theatre shows funny is very important for the genre, as your target market is children from ages 4-12, so your production must be fun and entertaining for them to enjoy it and not get bored. I achieved making my performance entertaining, specifically through exaggerating my facial expressions. For example, in the shower scene, I learnt to respond to the frog appearing, making my face charismatic by widening my eyes and mouth, showing my shock. Another place in the script I was specifically charismatic, was when the King kept saying the wrong answer to me asking him what he wanted. I would sit down on the thrown here, showing exhausting by relaxing my posture slightly, and frustration by briefly closing my eyes and clenching my jaw. Mine and Zac’s reactions to each other in this section, always received a positive reaction from the audience, with them laughing. 

An issue we faced in the actual performances, was to do with the audience interaction when Zac asked the children what they wanted most in the world. In rehearsals, we had predicted that the audience member he selected would respond with something they wanted, so in rehearsals we would respond to whatever they said by implementing it into the dialogue, we would then get back onto the script. However, in most of the shows, the audience would respond to his question with what they thought was the correct answer: a baby. This initially caused an issue, as we didn’t anticipate this, so it threw us off in the sense that it meant I had to change my response to Zac’s reaction and cut a section of the scripted dialogue out to get to the part where the queen tells the King about her pregnancy. This same thing happened for most of the shows, so we found ways to adapt to it as it became something I expected. I learnt from this experience, how to improvise in live theatre, compared to just rehearsals. Improvisation is a crucial skill for children’s theatre, as they are often going to shout out or try to join in, so you need to have ways to be in control by improvising. Learning how to problem solve like that so quickly, is a skill that will benefit me in any future projects, particularly involving audience interaction, as it has made me more adaptable. 

In conclusion, I have learnt a lot about myself as a performer, and the genre of Theatre for Children from my time on this project. I believe that I could go into this style of theatre as a career if I got the opportunity, and I have learnt how to be more adaptable as a performer, particularly when the performance goes wrong on-stage. I became more focused and committed, which this type of theatre forces you to do, as you have to constantly be aware as your show will never be exactly the same each performance, as some children will be quite, some louder and you never know how they are going to respond to you interacting with them. I became prepared to improvise, and not afraid when we went off-script when things didn’t go to plan. 

 

Bibliography

Relaxed performancesMousetrap Theatre Projects. Available at: https://www.mousetrap.org.uk/relaxed

Children and music: Benefits of Music in Child Development (2022) Bright Horizons | Children and Music: Benefits of Music in Child Development | Bright Horizons®. Available at: https://www.brighthorizons.com/resources/Article/music-and-children-rhythm-meets-child-development

Dani.clinton (2022) Why is music so important in a child’s development?The Mead School. Available at: https://www.meadschool.co.uk/news/why-is-music-so-important-in-a-childs-development/

Sun, Moon, and Talia (2020) Fairytale Wiki. Available at: https://fairytale.fandom.com/wiki/Sun,_Moon,_and_Talia

Oseba, O. (2013) Was brynhild the real sleeping beaty?Really Cool Blog. Available at: https://reallycoolblog4you.blogspot.com/2013/12/was-brynhild-real-sleeping-beaty.html

Wand, H. (2020) Sleeping beauty originsFairy Tale Central. Available at: https://thefairytalecentral.com/sleeping-beauty-origins/

The Old Market (2019) The roots of… sleeping beauty – the old market, Brighton and HoveThe Old Market. The Old Market. Available at: https://www.theoldmarket.com/news/roots-of-sleeping-beauty

Sleeping beauty (2011) Disney Wiki. Available at: https://disney.fandom.com/wiki/Sleeping_Beauty

Arts Council englandGOV.UK. Available at: https://www.gov.uk/government/organisations/arts-council-england

How does national lottery project grants work? (2022) Arts Council England. Available at: https://www.artscouncil.org.uk/news/how-does-national-lottery-project-grants-work

Our schools’ partnership programme funded (2022) The Unicorn Theatre. Available at: https://www.unicorntheatre.com/news/our-schools-partnership-programme-funded

About Arts Council EnglandArts Council England Delivery Plan. Available at: https://www.artscouncil.org.uk/sites/default/files/download-file/Arts%20Council%20England_Delivery%20Plan_21-24.pdf. 

National Lottery Good Causes (no date) Arts Council england – distributors – fundingNational Lottery Good Causes. Available at: https://www.lotterygoodcauses.org.uk/funding/distributors/arts-council-england

How we invest public money (2022) Arts Council England. Available at: https://www.artscouncil.org.uk/how-we-invest-public-money-0

Arts Council National Lottery: Project Grants (2019) Funding for All. Available at: https://www.fundingforall.org.uk/funds/arts-council-national-lottery-project-grants/

Backstage trust (2020) Funding for All. Available at: https://www.fundingforall.org.uk/funds/backstage-trust/

Small grants programme supported by the Linbury Trust (no date) Theatres Trust. Available at: http://www.theatrestrust.org.uk/smallgrants

Cash, J. (2020) Magical realism in the theatreThe Drama Teacher. Available at: https://thedramateacher.com/magical-realism-in-the-theatre/

Meryns-Drama-Logblog (2012) Children’s theatre reportTumblr. Available at: https://meryns-drama-logblog.tumblr.com/post/39038063372/childrens-theatre-report

Taylor, D. (2017) Why do kids need theatre?Orlando REP. Available at: https://www.orlandorep.com/kids-need-theatre/

Bowie-Sell, D. (2017) 5 things you need to make the Perfect Theatre Show for KidsWhatsOnStage. Available at: https://www.whatsonstage.com/london-theatre/news/5-things-perfect-kids-show-scamp-theatre_43346.html

Thompson , C. 7 storytelling tips to successfully engage a younger audienceAvidly. Available at: https://www.avidlyagency.com/blog/en-gb/blog/insights/storytelling-tips-to-successfully-engage-a-younger-audience

Chirico, L. (2018) My latest children’s Theatre Do’s and don’tsOnStage Blog. OnStage Blog. Available at: https://www.onstageblog.com/columns/2018/2/2/my-latest-childrens-theatre-dos-and-dont

Crumlin, J. (2021) How to play status as an actor: Advice for actorsStageMilk. Available at: https://www.stagemilk.com/acting-status/

Muñoz, P. and Mueller , J. (2022) 11 ways to speak the RP English accentwikiHow. wikiHow. Available at: https://www.wikihow.com/Speak-the-RP-English-Accent

Hishon, K. (2019) The importance of ensemble thinkingThe Theatrefolk Blog. Available at: https://www.theatrefolk.com/blog/the-importance-of-ensemble-thinking/

Creating my Character

In our production of Sleeping Beauty, I was double cast as the Queen. The Queen is Briar Rose’s mother, and is married to the King. She dies shortly after the birth of her daughter, so is only in the beginning of our show. Because of this, when I’m finished playing the Queen, instead of me being backstage, I join the ensemble as a dog who I play for the rest of the production.

The Queen

The Queen is a double cast role, and it is my main role in the play. My interpretation of the Queen is that she is very caring towards her husband and child. I also believe she is strong, and wants to protect her family at all costs which we see in the curse scene.

She is from royalty, which means she has a high status and she is aware of it. When playing her, this changed a lot of her physicality. Typically, when playing a high status character their posture is upright and contained. She moves with dignity and power, always standing tall. She has status from her wealth and importance, but even in the security she has in herself. In the curse scene, she looses this security, as her daughter is threatened, so she looses that status. This quote says that status “referring to the character’s perceived and given amount of power in their relationships.”(Crumlin, 2021) (1) so in this scene, she feels threatened by Sandra, and her status is gone as a result of Sandra having the power in the situation and their relationship, there is nothing the Queen can do to change the situation. She becomes hopeless immediately, so at this point I would release my tight posture, and become very relaxed in my body, showing how the characters priorities had changed from presenting as royal to wanting to save her child.

A part of playing a royal, is changing your accent.

(2)Muñoz, P. and Mueller , J. (2022) 11 ways to speak the RP English accentwikiHow. wikiHow. Available at: https://www.wikihow.com/Speak-the-RP-English-Accent

This website in particular, has helped me to achieve a Received Pronunciation (RP) accent, which is considered posh and royal sounding. An RP accent is a British, old sounding accent not heard commonly, but it is considered very upper class sounding. Something I found helpful from this website, was “Add a “y” sound before a long “u” “. For most English accents, we ignore this, so this was an alteration I had to make to play the character. It’s not a specific thing I would have known about, so this really helped.

So that I was looking at the theory of an RP accent and hearing one, I watched the Crown and mimicked their accents. I found this very helpful, not just for the accents, but watching how actors played royal characters. I learnt to be very composed in my character from this research, as the actress Claire Foy (who played Queen Elizabeth II) doesn’t tend to show emotion unless her character is vulnerable. However, this wouldn’t be appropriate for children’s theatre, as everything needs to be shown and there is minimal subtext so the children understand, so I embodied this level of composure through my physicality like previously mentioned.

Her Relationships

The Queens relationship with the King, is a very loving one. They have been married for a while and all they have wanted is a child. They has minor moments of conflict between them, when the King didn’t want the nannas and when he wanted to destroy all the spinning wheels, however there was never anything detrimental that impacted their relationship. Me and Zac made our scenes fun and energetic, adding comedy to the dynamic between us, particularly in the one when she tells him about the baby. We bounced off each others energy in this scene, which always made the audience laugh. The Queen’s relationship with the nannas, was also very positive. She wanted them to look after her child, and clearly trusted and thought highly of them. I portrayed this in the Everybody needs a Nanna song, where I was enthused by there energy and I chose to join in with their song showing I was convinced by them. The final major relationship the Queen had, was with her daughter. As there was no scenes with me and the actual princess in, I had to work hard to show how much she cared about her child. In the lullaby, I made sure to interact with the baby doll I was holding, and hold her close. I also think I showed the Queen’s maternal instinct in the curse scene, with how I held my child closer after the curse, and I was reluctant to give her to the nannas.

This was the position I often held the doll in, to make it as realistic as I could.

Ensemble

The ensemble is a huge part of Children’s Theatre. Without an ensemble, scenes would look empty and you would miss out on opportunities to include some amazing images/tableaux’s with your ensemble.

” In an atmosphere that focuses on ensemble thinking, everyone is focused on a common goal, which is to present the best production possible. This singular focus guides the overall production process. For example, if something goes wrong – which it inevitably will – with ensemble thinking, students are more focused on solving problems as a team rather than worrying about how something might affect them personally.” 

(Hishon, 2019) (3)

Kerry Hishon in this article stresses the vitality of having an ensemble mindset, and being collaborative. For Sleeping Beauty, we worked as a company to achieve this production, and we problem solved together, shown through many examples in my blogs.

Our ensemble were split into four groups: the cooks, maids, guards and dogs, all fitting in with the correct setting in our production. The idea was that we were collectively the staff that worked at the palace. We had huge roles as an ensemble in this production, and used devices such as shadow puppetry, physical theatre, tableaux and improvisation.

It is so important in an ensemble for children’s theatre to be collaborative and creative. We ended up devising most of our sections on our own, and we had to be imaginative to achieve what we did. We worked as a team to to create everything we did, and played around with many ideas before getting the final result.

Dog

The dog was a part I played in this production when I was apart of the ensemble, and it was something I struggled with massively. Because of this, I tried out the animal exercise, which is an exercise used by actors to develop their characters. This involves an actor studying a specific animal, with the goal to become as similar to it as possible.

For this, I asked myself a set of questions about how dogs exist (physically, and mentally).

  • How is your animal shaped? Think about the curve in its back. How does that effect the way it moves?
  • Does your animal have fins, hooves, paws, or hands?
  • Does your animal have a tail?
  • Does your animal have fur, feathers, scales? Is its skin smooth, bumpy, hot or cold? Think about how its skin feels.
  • What is the shape of your animals ears? How about its nose? Does it have a snout? What about its mouth? Do the shape of its nose and mouth making eating and drinking easier or more difficult? Where are its eyes located? Do they face front or are they farther on the sides of its face?
  • What are you (the animal) thinking as you move from one place to another?
  • Why did you (the animal) just stop still and look intently into the distance?
  • What are you (the animal) thinking?

Because for the dogs we weren’t going to be crawling around on the stage, I had to humanise this. I observed my own pet dog in response to these questions, and noticed how she would often run when moving, or started chasing her tail. When creating the physicality of my character, I held my hands to my chest to resemble the animals paws, and I hunched my back slightly so I wasn’t as tall. At different points in the production, I thought about these questions for the animal exercise, and recreated how dogs like to chase their tail, and run about. I also made my face very expressive, as I wasn’t playing a human, so I shouldn’t look like I was thinking cohesively.

In the scene where me and Finley are playing the dogs and would run to the princess, we would bark at her.

So that it could sound as realistic as possible, I took tips from this YouTube video. This did help me a lot, as it explained the technical side to the sound. I obviously felt silly doing it, but I think that in the performances, this really helped to show my character.

When me and Katie were playing the dogs, we would often stick our tongues out, recreating how the animals face often looks. In the end, I found this character vey fun to play, as I could be wild in my actions, and spontaneous. The purpose of us putting human dogs in our show, was to make it amusing for the children and they loved it!

References

(1)Crumlin, J. (2021) How to play status as an actor: Advice for actorsStageMilk. Available at: https://www.stagemilk.com/acting-status/

(2) Muñoz, P. and Mueller , J. (2022) 11 ways to speak the RP English accentwikiHow. wikiHow. Available at: https://www.wikihow.com/Speak-the-RP-English-Accent

(3) Hishon, K. (2019) The importance of ensemble thinkingThe Theatrefolk Blog. Available at: https://www.theatrefolk.com/blog/the-importance-of-ensemble-thinking/

Theatre for Children

Theatre is a unique, and immersive experience that can benefit all ages. It teaches children how to think creatively, and strengthens their imaginations. That’s why children’s theatre is so important, and more communities are starting to recognise how important theatre is to children’s development. It can help strengthen communication skills, using music, dance, acting etc to communicate a story. This therefore helps children to communicate in multiple different ways.

Performing in Theatre for children, might look easy and fun, but it is one of the most difficult genres of theatre to execute. It is physically and mentally draining doing any show twice a day for weeks, but when performing in an interactive show marketed at children, you need unwavering amounts of energy. It can be unpredictable how children may react in a performance setting. Some might try to join in and some will definitely shout out as I have found from this project. You need to be charismatic as a performer, and bring energy to the performance that makes the children want to watch you. Improvisation is a key part of this style of theatre, and is a mandatory skill if your show contains audience interaction. You have no clue how kids are going to respond to your questions, and it could possibly change aspects of the show. So as an actor, you need to be adaptable and able to bring the show back onto its course, improvising if necessary.

Our production involved a lot of magic realism.

“Importantly, in magical realism the fantastical and supernatural exist in a realistic setting and are accepted by other characters as normal. They coexist in a realistic world that would ordinarily make them irreconcilable.”

(Cash, 2020) (1)

In our production, we incorporated magical fairies (the nannas) into a normal, human world ruled by the King and Queen. Like this quote says, the magic in our play was accepted by everyone, and never questioned or explained. Magic heavily impacts children, as they grow up in a world believing in things like Santa Clause, the easter Bunny etc. Incorporating themes of magic into our play, helps children as it triggers the idea to look at a problem and have creative solutions for it. It defies expectations, so we are encouraging children to have original ideas and be imaginative with our performance.

Here is a list of recommend devices to include in a Children’s Theatre production that I found from this link:

(2)Meryns-Drama-Logblog (2012) Children’s theatre reportTumblr. Available at: https://meryns-drama-logblog.tumblr.com/post/39038063372/childrens-theatre-report

– tableaux or a freeze frame
– repetition 
– chorus
– mime
– direct address
– puppets 
– exaggeration
– slow motion
– dynamics 
– dance
– fast forward
– flashbacks
– reverse/rewinding
– unison
– singing
– narrating 
– audience participation
– split scene/cross cutting 
– slapstick/ physical theatre

We used all of these in our production of Sleeping Beauty at some point. These devices are particularly important, as they are all engaging devices for children, as they stimulate their imagination and creativity. I think that our use of shadow puppetry, singing, and dance were there most effective devices we used. All of these are different medias to tell a story compared to just narrating, and we used each of them effectively.

A common misconception when creating a show directed at children, is actors often feel the need to actually act like a child to communicate with their audience. This will only patronise them, so you mustn’t talk down to your audience as that won’t interest them. Louise Callow, co-founder of Scamp Theatre says: “You are under more pressure with kids theatre than you are with theatre for adults. If you get it wrong, then they may not want to go again”. You have the responsibility as a performer, to engage the children in a meaningful way that encourages a love for theatre, if you don’t bring energy or commitment, they may remember the experience as miserable and associate negative connotations with performing.

A basic necessity to devising a children’s theatre show, is giving the younger audiences a hero/heroine. They need to see something in this story that they want to succeed, as well as teaching them good morals. That’s why themes for children’s theatre often relate to magic or fairytales, because it excites them and typically gives them a contrast between right and wrong.

Theatre for children can also be used to educate them. The Theatre in Education (TIE) movement was first created in 1965, as a way to use theatre and drama to create a range of learning opportunities for young people. TIE is something still being used in schools today, to send a clear moral or social message to young audiences. TIE performances use all the same technical devices as other children theatre productions, but typically they are performed by a smaller cast. Obviously this wasn’t the case with our performance, however theatre companies often travel to the schools themselves opposed to have them come to their venue. This also means that the actors won’t know the area they are performing in until they arrive, so they have to be very adaptable and prepared to change their blocking depending on the space.

In conclusion, I have learnt lots about the purpose of theatre for young audiences through my research in this project, that definitely benefited me when it came to performing. I believe that our show would have been very different given we hadn’t gone into every show full of energy and prepared to improvise. If we hadn’t been adaptable as performers, then we might not have received such wonderful responses from audiences.

References

(1)Cash, J. (2020) Magical realism in the theatreThe Drama Teacher. Available at: https://thedramateacher.com/magical-realism-in-the-theatre/

(2)Meryns-Drama-Logblog (2012) Children’s theatre reportTumblr. Available at: https://meryns-drama-logblog.tumblr.com/post/39038063372/childrens-theatre-report

Taylor, D. (2017) Why do kids need theatre?Orlando REP. Available at: https://www.orlandorep.com/kids-need-theatre/

Bowie-Sell, D. (2017) 5 things you need to make the Perfect Theatre Show for KidsWhatsOnStage. Available at: https://www.whatsonstage.com/london-theatre/news/5-things-perfect-kids-show-scamp-theatre_43346.html

Thompson , C. 7 storytelling tips to successfully engage a younger audienceAvidly. Available at: https://www.avidlyagency.com/blog/en-gb/blog/insights/storytelling-tips-to-successfully-engage-a-younger-audience

Chirico, L. (2018) My latest children’s Theatre Do’s and don’tsOnStage Blog. OnStage Blog. Available at: https://www.onstageblog.com/columns/2018/2/2/my-latest-childrens-theatre-dos-and-donts

How is the Arts Funded?

Most theatre companies receive their funding though the Arts Council England, however, there are lots of ways for theatre companies to get grants.

Arts Council England

“Arts Council England champions, develops and invests in artistic and cultural experiences to enrich people’s lives. It supports a range of activities across the arts, museums and libraries – from theatre to digital art – reading to dance, music to literature, and crafts to collections.”

Arts Council englandGOV.UK.

The Arts Council England (ACE) are a huge part of how arts projects receive their funding. They are run by an Executive Board as well as National and Area councils. They put roughly £407 million per year into over 800 organisations, museums, libraries, theatre and other arts organisations. They receive their funding from the British government and the National Lottery to support arts and culture across England, as well as being a charity. From the National Lottery, they receive £97.3 million per year in Arts Council National Lottery Project Grants, and they were established as a distributor of the National Lottery funds in 1993. Arts Council England makes grants of all sizes to all sorts of projects. They could donate a few hundred pounds to a creative workshop, or several million to the National Theatre in London.

The ACE understand the importance that arts and culture has on us, and is vital for our creativity. It allows self-expression in everyone, and develops skills that fuel the success of the UK’s creative industries.

National Lottery

The National Lottery offer grants across a board of industries, including creative arts.

“National Lottery Project Grants is about bringing creativity and culture to the public. It supports projects that focus on: Combined Arts including festivals and carnivals, Dance, Libraries, Literature, Museums, Music, Theatre or Visual Arts.” 

How does national lottery project grants work? (2022) Arts Council England. (2)

The funding that they give annually to the ACE, is to “bring creativity and culture to the public.” These grants usually range from £1,000 to £100,000 depending on the project.

Trusts, Grants, and Foundations

A trust is a specific legal entity, that gives you a grant, whereas a Foundation can be a Trust or a Company limited by guarantee. Both are for charitable purposes, and give out grants for specific things. There are lots of trusts and foundations that give out grants for theatre projects, such as the Backstage Trust.

This trust is specifically for the performing arts, mainly theatre. They mainly assist in live art projects involving disadvantaged children and young people, as well as offering financial consultant advice. Last year, they donated over £4 million to different projects in the arts across England and Whales.

Another way that theatre’s can receive grants, is through The Theatres Trust’s Theatre Reopening Fund. The goal of this trust is to awards grants of up to £5000 to help theatres across the UK to reopen and make adaptions to their theatre due to the ongoing fall out of Covid 19. This grant was created to keep the arts alive, in communities and theatres that were threatened financially in the lockdowns. The Theatre’s Trust, also runs a Small Grants Program, funded by the Linbury Trust. Their goal is to make a big impact to a theatre’s resilience, sustainability, accessibility or improving the diversity of audiences. They offer up to £5ooo to select theatres so that they can be “viable and thrive in the future.”

Unicorn Theatre Company

Unicorn Theatre Company, is a theatre company catering all their productions towards children and younger audiences. As they are a well know theatre company, they receive a lot of funding for their projects. They receive their funding from The Portal Trust swell as the Garfield Weston Foundation, both of these awarded them a grant of £90,000 to support their Schools’ Partnership Programme.

The Portal Trust is proud to be a long-term supporter of its work in London schools, as they continue to play a key role in promoting innovation in teaching and developing the aspirations of young Londoners.

Richard Foley, CEO of The Portal Trust

Because Unicorn Theatre Company’s aim is to deliver a programme that addresses the substantial imbalance of the arts in schools, enriches children’s engagement with the arts, and supports their education and wellbeing, they receive funding from The Portal Trust. They are using theatre to educate children on real life issues, and as their work is very meaningful and inspiring, they receive a lot of funding. They do have the advantage of being a mainstream children’s theatre company, so others that have the same intention but are smaller, won’t receive such generous donations.

References

(1)Arts Council englandGOV.UK. Available at: https://www.gov.uk/government/organisations/arts-council-england

(2)How does national lottery project grants work? (2022) Arts Council England. Available at: https://www.artscouncil.org.uk/news/how-does-national-lottery-project-grants-work

(3)Our schools’ partnership programme funded (2022) The Unicorn Theatre. Available at: https://www.unicorntheatre.com/news/our-schools-partnership-programme-funded

About Arts Council EnglandArts Council England Delivery Plan. Available at: https://www.artscouncil.org.uk/sites/default/files/download-file/Arts%20Council%20England_Delivery%20Plan_21-24.pdf. 

National Lottery Good Causes (no date) Arts Council england – distributors – fundingNational Lottery Good Causes. Available at: https://www.lotterygoodcauses.org.uk/funding/distributors/arts-council-england

How we invest public money (2022) Arts Council England. Available at: https://www.artscouncil.org.uk/how-we-invest-public-money-0

Arts Council National Lottery: Project Grants (2019) Funding for All. Available at: https://www.fundingforall.org.uk/funds/arts-council-national-lottery-project-grants/

Backstage trust (2020) Funding for All. Available at: https://www.fundingforall.org.uk/funds/backstage-trust/

Small grants programme supported by the Linbury Trust (no date) Theatres Trust. Available at: http://www.theatrestrust.org.uk/smallgrants

Origins of Sleeping Beauty

The story of Sleeping Beauty that we are all familiar with modern day, has been created over centuries from adaptations. We have seen this story and versions of it in books, poems, films and it continues to evolve. The story that it originates from, is Perceforest, a medieval courtly romance story. This medieval tale isn’t strictly Sleeping Beauty, but does include some of the earliest possible influences of the story. In it, “a princess named Zellandine falls in love with a man named Troylus. Her father sends him to perform tasks to prove himself worthy of her, and while he is gone, Zellandine falls into an enchanted sleep. Troylus finds her and impregnates her in her sleep; when their child is born, the child draws from her finger the flax that caused her sleep. She realizes from the ring Troylus left her that he was the father, and Troylus later returns to marry her.” (Jack Zipes, The Great Fairy Tale Tradition).

As you can see, this is a very early influence of the fairytale we have come to know, but there is the similarity of a woman falling asleep due to the influence of a strange intersection with an object, who gets awoken by a man who rescues her. This follows off the trope of a damsel in distress who needs saving by a man, and has been done many times before and after Sleeping Beauty.

In 1634, Giambattista an Italian poet wrote a story called The Sun, the Moon, and Talia. It was published in his “Pentamerone” collection of fairy tales, which also includes the first known version of Cinderella and Rapunzel, and including a version of Puss in Boots. This story that inspired the one come to be known as Sleeping Beauty, follows Talia, a great lord’s daughter, who gets her horoscope cast by wise men who tells her father that she will become endangered by a splinter of flax. Like the King does with the spinning wheels in Sleeping Beauty, Talia’s father bans flax from ever being bought onto his property. Years later, Talia comes across an old woman spinning flax on a spindle and she asks if she can have a go, catching a splinter of flax under her finger nail and dropping to the ground supposedly dead.

The Sun, the Moon, and Talia cover

Up until this point, you can clearly see similarities between the story Sleeping Beauty and this one, but after this point in the original 1634 story, you will see a lot for differences. The Sun, the Moon, and Talia has been directly inspired by Perceforest, in the use of the flax causing the woman to fall asleep so it is undeniable that these stories had a direct influence on Sleeping Beauty.

“Some time later, a king, hunting in nearby woods, follows his falcon into the house. He finds Talia, overcome by her beauty, he tries unsuccessfully to wake her, and then rapes her in her sleep. Afterwards, he leaves the girl on the bed and returns to his own city. Still deep in sleep, she gives birth to twins (a boy and a girl). One day, the girl cannot find her mother’s breast; and instead she begins to suck on Talia’s finger and draws the flax splinter out. Talia awakens immediately. She names them “Sun” and “Moon” and lives with them in the house.

The king returns and finds Talia is awake – and a mother of twins. However, he is already married. He calls out the names of Talia, Sun and Moon in his sleep, and his wife, the queen, hears him. She forces the king’s secretary to tell her everything, and then, using a forged message, has Talia’s children brought to court. She orders the cook to kill the children and serve them to the king. But the cook hides them, and cooks two lambs instead. The queen taunts the king while he eats.

Then the queen has Talia brought to court. She commands that a huge fire be lit in the courtyard, and that Talia be thrown into the flames. Talia asks to take off her fine garments first. The queen agrees. Talia undresses and utters screams of grief with each piece of clothing. The king hears Talia’s screams. His wife tells him that Talia would be burned and that he had unknowingly eaten his own children. The king commands that his wife, his secretary, and the cook be thrown into the fire instead. The cook explains how he had saved Sun and Moon. The king and Talia marry; and the cook is rewarded with the title of royal chamberlain.” (Sun, Moon, and Talia, 2020, Fairytale Wiki). (1)

After reading the summary of the story The Sun, the Moon, and Talia, you can see where the inspiration for Sleeping Beauty came from, however after the first half, the similarities end. This original story is very dark, and isn’t something you would publicise in today’s society due to the themes of rape, adultery and cannibalism.

This fairytale was retold by Charles Perrault in 1697, as the Sleeping Beauty, and then by the Grimm Brothers in 1812 as Little Briar Rose. Perrault’s version of Sleeping Beauty is an adaptation of Basile’s, and replaced the flax with the spinning wheel, which has become an iconic symbol of the story. Perrault also removed the rape from the story, making it much less dark and ominous, however, he does include the second half of the story that revolves around the princess’s children and the threat of cannibalism.

Sleeping Beauty (like most fairytales) can also be connected to myths and legends from the medieval times. The character Brunhild, is a figure of Norse Mythology, and her story is very similar to the one present in Sleeping Beauty.

Image of Brunhild

“Brynhild is daughter of Budli, Swedish king. She was chosen to decide the fight between two other kings: Agnar and Hjalmgunnar. While Odin, the main Norse god, preferred Hjalmgunnar, she gave a win to Agnar. Odin wasn’t happy with her decision and imprisoned her in a castle where she must sleep surrounded with fire. She will stay there until a hero rescues her. We can say she was punished for thinking with her own head. From the position of the judge she is demoted to the position of the prisoner.” (Oseba, 2013). (2)

Brunhild usually appears as a warrior, queen, shieldmaiden, or Valkyrie. Her story (as above) involves her being imprisoned asleep and she can’t awake until she is rescued by a hero. It is obvious from this, that Brunhild was used as a basis for the princess in Sleeping Beauty, and the history from the Brunhild tale is very important, as without it, we might not have received the version of Sleeping Beauty we know today.

The Grimm Brothers nearly rejected Sleeping Beauty, worried that the story was too French for their collecting, however, after discovering the legend of Brunhild (which has a German history) they decided to adapt the story for their collection which came out in 1812. This also explains how their adaptation is missing a lot from the second half of the story from its previous adaptations, as it was considered to have no German precedent.

Disney’s Sleeping Beauty

This brings us onto one of the most notable adaptations of the story today, Disney’s movie Sleeping Beauty. This film was made in 1959 set in the 14th century in France, and was an animated movie produced by Walt Disney and was actually the last animated film he created in his lifetime based on a fairytale. The major difference between this and previous famous adaptations, was that Disney took the original story but made it family friendly, and marketed towards children. They gave it a happy ending, discarding the second half of Perrault’s version, ensuring the development of a more convincing romantic relationship between the princess and the prince. They also added the villain, Maleficent, who today is highly connected to the story and Disney also went on to make two separate movies about the villain.

The script we adapted for our performance of Sleeping Beauty, was written by Mike Kenny as was originally intended for just four people. However, as our cast contains over twenty actors, we had to alter and split the parts up. Something very unique about our production that I have never seen done before, is we took out the fairies that protect the Princess, and instead had nannas. These nannas like the fairies, are magical, and one of them (Sandra) acts as the villain of the story, cursing the princess. This was the biggest change we made from the known story, but we also added a frog, a butler and several members of the palace staff. The setting of our story was unclear, it was based around the idea of a kingdom ruled by a King, like Disney’s version, however it included modern adaptations such as the guard had a phone.

References

(1)Sun, Moon, and Talia (2020) Fairytale Wiki. Available at: https://fairytale.fandom.com/wiki/Sun,_Moon,_and_Talia

(2)Oseba, O. (2013) Was brynhild the real sleeping beaty?Really Cool Blog. Available at: https://reallycoolblog4you.blogspot.com/2013/12/was-brynhild-real-sleeping-beaty.html

Wand, H. (2020) Sleeping beauty originsFairy Tale Central. Available at: https://thefairytalecentral.com/sleeping-beauty-origins/

The Old Market (2019) The roots of… sleeping beauty – the old market, Brighton and HoveThe Old Market. The Old Market. Available at: https://www.theoldmarket.com/news/roots-of-sleeping-beauty

Sleeping beauty (2011) Disney Wiki. Available at: https://disney.fandom.com/wiki/Sleeping_Beauty

Music

one of the key parts in our children’s theatre project, was the music. As a class, we had to compose and produce all the music ourself, however, not many of us were musical. Jess ended up writing all the composition music, whereas me, Storm, Katie and Amy all took part in the percussion. Most of the music we ended up using in the final show was pre-recorded by Jess, however, we still had some live percussion.

Why is Music Important in Children’s Theatre?

The reason we included so much music in this project, is partly because it sounds good and enhances our performance. The production would sound empty without any music, and it emphasises the moments in the production, playing on the moods of the scenes, another way to communicate to the audience how they should feel. For example, in the Kings speech after the curse scene, Jess composed a dramatic piece of music, signifying the importance of this scene and the importance of what has just happened. A second reason that music is so important specifically in children’s theatre, is that it can actually accelerate brain development in children. A 2016 study at the University of Southern California’s Brain and Creativity Institute found this out (1), and that music strengthens areas of language acquisition and reading skills if it is experienced frequently in childhood.

“The auditory system is stimulated by music. This system is also engaged in general sound processing fundamental to language development, reading skills and successful communication.”

Assal Habibi, lead author of Developmental Cognitive Neuroscience 2016, to USC News (2)

Percussion

As most of us working on the project didn’t have an advanced skill in playing music, most of what we did was on percussion instruments.

(1) Tambourine, (2) Box Drum, (3) Vibraslap, (4) Guiro, (5) Maracas, (6) Hand Drum

These are the main percussion instruments I ended up using in the performances. Here is the list of everything I ended up playing on percussion in the performances:

  • Hand Drum in opening track (when Storm was Queen), Maracas in opening track (when I was Queen)
  • Hand Drum in drumroll (when Storm was Queen), Maracas in drumroll (when I was Queen)
  • Vibraslap on “earth spun around them” (when Storm was Queen)
  • Guiro in shower scene (when Storm was Queen)
  • Hand Drum in Everybody Needs a Nanna (when Storm was Queen)
  • Hand Drum in invitation scene (when Storm was Queen)
  • Guiro and then Vibraslap in Princess tries to escape sequence

From this project, I improved my musical skills a lot. I often played the percussion on an offbeat rhythm, to make it sound more interesting and energetic. I really enjoyed being a part of the percussion and working collaboratively to figure out what percussion to use where to achieve a desired sound. In the shower scene, one rehearsal I decided to experiment and add in the guiro over Jess’s composition, and we realised it sounded like a frog croaking so instantly we added it in. I learnt how to adjust the percussive instruments to the time signature of the compositions, so that they fitted in with the accompaniment, and I would now feel confident taking on more musical responsibility the next time I have the opportunity to. Music is so important for theatre productions, so this is a very useful skill.

The Songs and Singing

In our performance, we had several songs, two of them were group numbers that everyone was involved in. Everybody Needs a Nanna takes place after the Queen tells the King she wants the nannas to look after their daughter, and half way through it everyone who wasn’t onstage runs on and joins in. When Storm is playing the Queen, it is my responsibility to use the hand drum offbeat in this song, this is important as it keeps the performers and other people on percussion in time. The second group number is the finale song, which everyone but Jess is on stage for. This is all pre-recorded, so there is no percussion playing over it, and we can all be involved by singing on stage.

As I play the Queen, I had to sing a lullaby after the Princess had been born. I did struggle at first with this, because in rehearsals we had always practiced with Jess playing the accompaniment on the ukulele, and me singing over it. However, for the actual performances Jess had composed a backing track, and the first time I tried it was in the dress rehearsal. Here, it didn’t go very well as I wasn’t expecting the backing track introduction to be so long, so I came in too early. I also didn’t feel confident with the lullaby for a while, as I can feel self conscious when singing alone, however, I adjusted to singing alone in rehearsals, so when it came to the performances I felt a lot more confident. In the dress run, I was told that I needed to sing louder and project my voice because I was too quiet. Once I had changed this, I was told my lullaby was much better. I feel proud that I have achieved singing on a stage alone, as this has always been something I’m insecure about, so I now know I am capable of this.

References

(1)Children and music: Benefits of Music in Child Development (2022) Bright Horizons | Children and Music: Benefits of Music in Child Development | Bright Horizons®. Available at: https://www.brighthorizons.com/resources/Article/music-and-children-rhythm-meets-child-development

(2)Dani.clinton (2022) Why is music so important in a child’s development?The Mead School. Available at: https://www.meadschool.co.uk/news/why-is-music-so-important-in-a-childs-development/

21st November

This was our tech day. We did a cue to cue today, which is always a tiring and intense day for a production. In a cue to cue, you got through each lighting, sound, and set cue, and you often stop and start the scenes.

Today, I found out that the Queen’s entrance when she is introduced has changed. Instead of walking on and greeting people, I now enter when I hear the Queen’s fanfare, and wait four counts before signalling to the sound technician to cut the sound. This is comedic because the King’s fanfare continues for a long time, so my entrance is ironic.

Something we haven’t been sure about up until now, is how the shower scene was going to look. Today we got the curtain for it, and our director thinks it’s better that instead of the scene happening centre stage, we set it on a diagonal in the upper left vom. The reason for this, is everyone will be able to see it, and it makes it easier to bring the shower on and off stage as well as it’s easier for me to exit.

These were the only notable changes made for me today, the rest of the day for me was just going over blocking, and making sure everyone was in the right place. For example, in the curse scene, when Evan’s spells finished, the lights flash blue and red. I have a red spotlight on me then, and because this needs to be in a fixed position, I need to be stood in the same place each time.

However, what we did get to see today was the set in action. Seeing the lights over the set with the projection mapping too made the whole production look incredible. You can really see the story in a visual way now. I really like how the hedge looks with the branches and projections, and the red light over the spinning wheel portrays the atmosphere (dangerous).

The castle

Before today, we hadn’t see the castle with the projection mapping on. This completely transforms the set, and it looks incredible. It clearly establishes the scene, as well as the fairytale like setting.

The percussion/music area

We also got to see where we’d be playing our music from. I really like this area, as its on-stage so we will be visible. I think this will make the music more noticeable, and there the experience will be more immersive for the audience.

The Shadow Puppetry board

This is the board that we present our shadow puppetry from. We all sit behind it with our puppets and a light. Once we turn the light on, our puppets get displayed on the board and you can see them. I was worried that you weren’t going to be able to see it, but it works really well!

Overall, tech day went a bit slow, but that’s always expected as you are always going to run into problems with lighting and sound. It was really nice to see the set today, as it’s going to make our production even better.

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