Archive for the ‘The Play House’ Category

Gary R
March 30th, 2010

Not so quiet…

You might have noticed it’s gone a bit quiet recently here on the blog. That’s because we’re working feverishly behind the scenes to create a new improved online experience.

About four months ago I blogged about our success with some Arts Council Digitial Content Development funding (Digital Potentials). The result of that R&D was a new bid to completely change the way we offer resources. No more pdfs hidden behind passwords. All our projects will have their own mini-websites with activities, free to access and use. Interactive resources created for each project. Routes through for teachers, young people and other clients. The ability to comment on resources, and submit your own to make the sites a real collaboration.

We’re happy to report the Arts Council shared our enthusiasm for this project, and have provided the rest of the funding we needed. We’re working with web design company Substrakt and social media consultant Pete Ashton, so over the next few months our resources will be changing, becoming more interactive, responsive and free to use. We’ve been trying out some of these ideas over at our pilot site at http://theplayhouse.schools.officelive.com, where you can find out about the layers of the rainforest, explore the history of Sarehole Mill, or listen to podcasts created by participants in The Home Children.

The plan is that over the years more and more project ‘micro-sites’ will be created to accompany our tours and projects, creating a rich resource of free-to-use activities and information.  After the initial launch the next step will be bringing online activities developed especially for Promethean and SmartBoard Interactive White Boards. We’d really like many of the activities to be suggested or submitted by teachers or students taking part in our projects.

Watch this space!

Deborah H
February 16th, 2010

Desperately seeking funding…

We’re often asked how we come up with our new projects, and, having just emerged from our busiest bid-writing period of the year, this seemed like a good time to reflect on that process.

I’d like to be able to say that we lock ourselves in a darkened room and let inspiration take its course but the reality is somewhat more protracted and perhaps less glamorous…

Many of our future projects, particularly our Language Alive! tours, start with small beginnings. A hurried conversation in a school staff room, a story we have enjoyed telling to our kids, a headline that has grabbed our attention or a building that we have driven past and always thought it would make a great location for a drama.

From here, the idea is fleshed out by visits to the library or museum, more conversations, some internet surfing, more staffroom chats and several cups of tea.

If the idea still has legs then it shifts up to the ‘serious contender’ category and we begin to consult in earnest, with our teachers’ group, other artists and educationalists and, where we can, children and young people. Schools get to let us know what they think about the various fledgling projects at this stage through our consultations. During this time the entire creative team at The Play House (a kingly group of 5) also come together and hold regular programme development meetings, and because we are tuned equally to the theatrical and educational potential, we pose questions about where the learning is, what kind of story we could tell and how we might tell it. 

If the idea comes through this stage, then it graduates to being ‘a serious contender desperately seeking funding’…

Here begins the process of matching funders’ criteria to the artistic and educational aspirations we might have for a new project.  If we are rewarded with a good fit, this results in myself and Gary spending days in a darkened room at a computer screen waiting for inspiration to help us through a 25 page funding bid (see, I told you it wasn’t glamorous).

A wait of anything between 6 weeks and 3 months usually ensues until we find out if our bid has been successful, which if it is, allows the real business of realising the project, to take place.  Four tea-powered weeks are then given over to playing, improvising, shaping ideas, testing strategies in schools, reflecting, changing our minds, playing some more, creating the set and costumes and filling endless sheets of paper with notes, before a new project comes to fruition ready for presentation at the teacher’s preview.  Following this and after some last minute tweaks we’re ready for schools.

The final and most important phase of a new project’s evolution is the bit where we get to ‘just add kids’ – this is where the real shaping of the work takes place.  Children’s responses in all their inventiveness, joyfulness, humanity (and occasionally strangeness) is what keeps our work continually on its toes and different every day, it is also what keeps us perpetually at the creative drawing board and is what excites many of us about the work that we do.

Occasionally, if we’re really lucky the whole process of generating ideas is kick started by being thrown a golden opportunity – a change in curriculum, a burning issue that affects children’s lives or an idea that a teacher has used with their class that has really inspired learning… If you are sitting on such a golden opportunity then please feel free to get in touch and talk to us about it. You never know, you may even get a cup of tea for your efforts!

Gemma S
January 26th, 2010

The Home Children… my journey so far

I have been a freelance Teacher/actor at The Play House for just over six years now and loved every second of it! But I have to say, it has been a particular privilege to have been given a rare opportunity to be part of such a lengthy and in depth project with all sorts of other practitioners on board.

The Home Children, with audio as a prominent feature throughout, looks at the migration of some of the poorest children from Birmingham to Canada in the early 1900s. Sir John Middlemore set up emigration homes here in Birmingham where children would be prepared for their new lives in Canada and then off they would go, leaving their old lives behind them, embarking on what were largely unpleasant experiences.

The rare opportunity, one of the things that has made this project so special so far for me, is that before even beginning our luxurious 4 week devising process we were able to develop 3 consecutive workshops that we then delivered at 5 schools over 3 weeks, confused? This is how it broke down….

Having had an initial visit to the Birmingham Archive to look at real artefacts relating to real home children experiences, myself, Simon Turner and Director Geoff Readman got to work on devising the workshops; workshop 1 looked at life in the slums of Birmingham in the early 1900s and the kinds of situations children were removed from, workshop 2 focussed on the journey from Birmingham to Canada and workshop 3 was about the home children’s’ lives in Canada.

Throughout each of the workshops we used projected images to evoke thought and discussion, audio vignettes to set context and various dramatic conventions including: hotseating, collective role, teacher in role, still images, thought tracking, conscience alley, marking out the space etc

It was just fantastic, we were able to develop great relationships with each of the classes, get a real grasp on what elements of the narrative the children most engaged with, and then tailor the next workshop based on what had come out of the previous. Just brilliant to re-visit each group 3 times, a real invested interest was had by all involved, and not to mention how valuable these sessions were in enhancing the devising of the programme…..VERY!…what a treat……

Heritage Lottery Fund

Gary R
December 14th, 2009

I must get out more often

Last Wednesday was one of those rare occasions that I was allowed out from behind my desk and off into the real world. We’d been invited to take part in a Networking Day staged by Birmingham City Council. The event was billed as an opportunity for arts organisations to meet extended schools co-ordinators and other school representatives.

I have to confess I’m not exactly the first person to volunteer for these sorts of events. They can be a bit dull, and often attended by people who have been told to attend by their boss rather than wanting to be there. However, with another big event that day (Tapestry was being presented to Directors of Children’s Services on the other side of town), the job fell to me and Gavin, our administrator.

And I have to say I was really glad it did. I might have cursed the weight of our display boards once or twice as we lugged them into the foyer of Symphony Hall, but once we were set up it was clear it was going to be more than worth it. The attendees – extended schools to begin with, schools later on – were interested and enthusiastic. We had the opportunity to present a workshop on using drama and storytelling to support children with English as an Additional Language which drew a small but eager group. I had the chance to talk to lots of different people about our work, about what they needed, and about how we could help them.

But there was more. In what we call in our evaluation reports an ‘additional outcome’, myself and Gavin also had the chance to network with other companies. It’s so rare that we all come together in one place, showing our wares and getting chance to chat, seeing some old faces but a good array of new ones too. I’m sure more than one partnership was brokered that day.

All in all a really good way to spend an afternoon. I should really try and get out more often. 

To find out more about our extended schools work, you can have a look at Gangs & community cohesion, Holiday projectsEnglish as an Additional Language. Also our theatre-in-education tour Tapestry (Preventing Violent Extremism)  which has been mounted in out-of-school settings

Cheryl S
December 2nd, 2009

Be quick, don’t waffle, and just write the darn thing….

This is my second attempt at writing a blog.  The first one, on reading it back, was too long and too relevant to that week at the beginning of November, therefore it would read as old news today.  Here I go again.

Note to self: be quick, don’t waffle, and just write the darn thing….

Here I am in the office awaiting the imminent last trip into school tomorrow with our newly devised and flawlessly written programme The Last Train, a participatory theatre-in-education piece that engages year 5 & 6 children.  I had the privilege of creating this key stage 2 programme as part of a fabulous team at The Play House;  John Flitcroft and I, who were the permanent staff involved, director Geoff Readman, writer & audio specialist Charlotte Goodwin, designers Dawn Allsopp with Emma Thompson and freelance teacher/actor Toni Midlane.

At the heart of this one and a half hour programme is the story of a 10 year old German Jewish girl Inge Gershon, from Berlin.  Prior to the beginning of the Second World War in 1938 a scheme called the Kindertransport was created to evacuate refugee children from cities across Europe. To escape the dreadful persecution at the hands of the Nazis, Inge’s family send her to a place of safety in England as part of the Kindertransport scheme.  The drama focuses on what life was like for families and particularly children at this time.  We see how the persecution or the Jewish people quickly changes a child’s life of normality to one full of fear and constraint.  Alongside Inges’ journey, the children see glimpses of a contemporary refugee who is seeking refuge in Birmingham today. 

The tour has been received incredibly well by children and teachers alike.  The themes and issues raised through the content of the drama are a useful stimulus for work around citizenship, history, religious education and PSHE.  The children after each session are bursting with a whole host of lines of enquiry from ‘What happened to Inge’? to ‘Why did Hitler hate the Jews’?  All of which can be followed up in the classroom through work with their teacher.

As the literal last train is about to leave the station, I will be sad not to be exploring the immensely stimulating material covered in this programme and will say a fond farewell to the whole host of characters I have had to portray. And what a pleasure it has been to work with Toni and her ever increasing pregnancy bump!.

I shall now look forward to a whistle stop whizz around the office doing all manner of ‘winding up before Christmas tasks’. Such as: writing a fine report for the afore mentioned The Last Train,  cleaning duties, set-auditing, attending new programme development days, eating mince pies, reading and planning for the new programme looming next term; Roll Up! Roll Up!, and washing up.  All to be completed in about 2 and a half days ‘cos I’m only a job share you know…

Happy Christmas to you all.

Cheryl Stott

p.s. New Year’s resolution number one – not to write any more blog entries unless threatened with my life.

Gary R
November 26th, 2009

Safety and the cyber-world

Cyber-bullying and online child protection is in the news at the moment with some social networking sites refusing to install the “panic button” recommended by the Child Exploitation and Online Protection (CEOP) Centre. Opinions on this decision has been mixed, with The Guardian (Just one click to prevent child abuse) applauding Bebo’s decision to install the button, but The Times (A life online: just delete the cyber-bullies) questioning whether the button could address other issues, such as cyberbullying, and putting the emphasis squarely on the shoulders of parents.

Safety in the cyber-world is an issue for us on two different levels. Earlier this year we ran a project with a local school looking specifically at cyberbullying. The school had experienced some disturbing instances of bullying through email and texting, and with them we developed a project to look at these issues. Initial research sessions with year six pupils had shown that many of the children were acutely aware of what cyberbullying actually entailed. However, when probed further it became apparent that the children did not really distinguish between cyberbullying and the more general types of physical bullying or intimidation that may take place in school or other settings. To address this the project utilised masks and mask work as a way of ‘distancing’ participants from one another and exploring the anonymity provided by email and text messages. From this a peer education performance was created, with participants delivering to the rest of the school.

But we’re also wrestling with online safety from a different perspective. You might have seen from my earlier blog post (Digital potentials), we’re in the process of looking at our resources, and how to make them interactive and participative. For the first time the activities and resources we develop to support our programmes could be open to anyone online, rather than just teachers. This is certainly possible, but is it desirable? What sort of activity is appropriate? What sort of activity isn’t?  What can we put in place to make surfing safer for children and young people?

But there’s also another question. In The Times report above it references a survey by the Anti Bullying Alliance that said over half of children they consulted thought their parents needed to learn how to deal with it. How do we get to grips with a world where our children are more at home than many of us?

Malcolm J
November 17th, 2009

We don’t just throw this together you know…

Tapestry is currently touring schools and is our participatory theatre programme that explores violent extremism. In the story Jason, Hassan and Nazia find themselves in a derelict shop, taking cover as a protest they are involved in becomes violent. Jason and Hassan are from opposing ends of the radical spectrum with Nazia caught in the middle. (You can read more about this in the previous blog entry “We just have to figure out how to weave the strands together”.)

As we continue to tour Tapestry a lot of the young people we meet are suggesting that Jason and Hassan stop fighting, become friends, talk to one another and other people. This is great and of course good advice, but I am left wondering how that can happen as there seems to be too great a divide between them.
Thinking about this, it occurs to me that they have already started to break down the barriers, they have begun to talk, and more, they begin to understand. During their enforced time in the closed down shop they begin to share their life experiences, they begin to “live life in the others shoes” [Pupil at King Edward VI Aston]. The complexity of the situation becomes apparent and challenges the simplistic rhetoric of Peter Jeffries and Dr Farooq.

During the programme Jason and Hassan are drawn into playing out moments from each other’s lives, and in taking on roles in each others stories they begin to gain insight. They are part of the stories as they are being told but are free to contribute from their own understanding of the world. Hassan, Jason and Nazia comment on the actions of others, question, advise and challenge, just as the young people participating in Tapestry can.

As a company we are committed to using participatory drama as a tool for learning because it allows young people, and adults for that matter, to wrangle with the complexities of the real world from the safety of the story whilst at the same time being part of it.

In the story of Tapestry it is drama that enables Hassan, Jason and Nazia to begin to see the other points of view, to know how it feels from the other side, to understand the complexity of the situation and begin to see the possibility of change. In just the same way as the young people participating in Tapestry the programme begin to see different points of view, understand the complexity of the situation and to begin to see the possibility of change.

Not only does the programme stand alongside the rest of our participatory theatre programmes, it also celebrates our way of working, with the characters in the story learning through drama.

The programme has become an advocate for our way of working.

Gary R
November 6th, 2009

Changes…

A couple of years ago we asked primary schools we regularly work with about their interest in a tour “looking at issues around sex and relationships for Key Stage 2”, and 57% of schools were quite or very interested. We’re currently looking again at developing this sort of project (funding permitting…) to go in next year’s offer to schools.

So this week’s discussions on sex and relationship education have been quite timely for us. The plans by Ed Balls to remove the opt out for parents for children over 15 has, predictably, had mixed press. The BBC reported broadly positive feedback, whilst the Daily Mail focussed on fines for parents and religious leaders saying parents would ‘vote with their feet’.

Of particular interest to us, in the light of us planning a Key Stage 2 project, is the report from the BBC that a third of those polled said the right should end at age 11, and 20% said there should be no opt out at all.

It’s clear that the schools we work with do have an interest in this sort of work. There will, of course, never be a consensus…

Gary R
November 3rd, 2009

Digital potentials

Today we’ve received some great news. We’ve been funded by the Arts Council England, West Midlands Digital Content Development Programme to conduct some research and development into… well… digital content.

So what does that mean?

What it means for us is a chance to look at how we engage with schools, young people, clients and funders, and to consult about how we make things better. We’re anticipating overhauling our resources & evaluation, and for the first time making them every bit as participatory as our programmes. There’ll be new ways to extend the legacy of our programmes, support teachers, and involve children and young people.

Well, that’s the theory.

We’re getting excited by the potential, but we’re only part of the equation. It would be easy for us (and me in particular) to get carried away with what we can do with new technology and online resources. But we really need to know what’s going on already, what’s useful, what’s not. What do you need?

We’ll be talking to children, young people, teachers, funders and practitioners about what they’d like to see, but whoever you are out there reading this blog – young person, teacher, practitioner, educationalist – we’ll need your perspective too.

One of the best bits about this funding, particularly in the current climate, is that they encourage you to experiment, and even fail, because that’s how we’ll learn.

Not that we’re planning to fail of course, but this really is a chance for us throw everything up in the air and see where it lands. Which is very exciting, but a little bit daunting too.

Just as it should be…

John F
October 28th, 2009

New kid on the blog

As a tribute both to Gary Roskell’s powers of persuasion and to the determination of the new boy to impress, I am writing this ‘blog’. I am more than a little technophobic and pretty useless too when it comes to the natural, chatty, ‘personal’ style these things seem to require.

I have now been a core member at The Play House for half a term and I’m just starting to realise the profound consequences of my new employment. For example, I haven’t had a job which requires me to work in an office since I was a Law Clerk in the Crown Prosecution Service (and that’s so long ago that when I worked there you hand wrote the barrister’s briefs – not as intimate as it sounds- and sent them to a ‘typing pool’).

Now, obviously, The Play House is nothing like the CPS: you don’t leave the office to go to a place where individuals are to be condemned to years of incarceration in a Government Institution (unless your view of education is horribly cynical); but I am, nevertheless, once again, partly an office worker.

So, what’s changed? (apart from the loss of a typing pool). When I worked for the CPS I was late almost every day, (they gave me an alarm clock when I left after my 9 months there). Well, I am pleased to report that I am now an excellent timekeeper. My boss doesn’t show me pictures of gruesome crimes as a way of inspiring me to greater prosecuting ambition (although there is a picture of Malcolm made up as The Joker which took me back).

There isn’t a big board telling everybody where everybody else is supposed to be – oh actually there is – but I haven’t yet walked in and learned from it that I am supposed to be in Warwick Crown Court 2 prosecuting in the Queen vs Burglar Bill 10 miles away at that very moment. And until now, Deborah hasn’t had a call from a Head Teacher asking why the new teacher/actor is wearing brown shoes and a tie with a square end and when he proposes to start dressing appropriately (or if she has she’s kept it quiet). In fact, thinking about it, there are loads of differences, not the least of which is that The Play House has an office I look forward to going to.

John