Ink Pellet - The Arts Magazine for Teachers - IP85 by Ink Pellet

Issue Issue? 85 February Date/month 2012

THE ARTS MAGAZINE FOR TEACHERS

DANIEL RADCLIFFE YOU’VE READ THE BOOK, SEEN THE PLAY, NOW TAKE YOUR GCSE CLASS TO WATCH IT ON THE BIG SCREEN

SCHOOL BOOKING DISCOUNTS AVAILABLE. CALL YOUR LOCAL CINEMA FOR DETAILS

FEAR HER CURSE

/thewomaninblackUK

12A

CONTAINS INTENSE SUPERNATURAL THREAT AND HORROR

Introducing the magic of ballet to children from the age of 3

3 April - 3 June London, Birmingham, York, Wimbledon, Crawley, Bromley, High Wycombe, Manchester

www.ballet.org.uk

ENB2 English National Ballet

Artwork by Mark Ruffle www.rufflebrothers.com. Registered charity 214005.

ENGLISH NATIONAL BALLET AND ENGLISH NATIONAL BALLET SCHOOL PRESENT

February

2012 Issue 85

Contents

6{ 11{ 13{ 15{ 18{ 20{ 22{ 23{ 24{ 26{ 28{ 31{ 34{

BIG INTERVIEW With stage and screen actor Will Ash A NEW TAKE Keith Gaines takes on ‘Mr Govey’ NEW ROMANTICS Robert Icke talks about his Romeo and Juliet GOOD SPORTS Louise Gilbin’s wonderful Olympic vision DICKENS NEWS We head to the BFI for a day of talks and discussion AWARD YOURSELF Why you should be investing in Arts Award GO ON, TELL THEM News for your less artistic colleagues SILVER SCREEN A round-up of films to watch out for LOOK ON THE BOARD The latest news from around the world of arts

DANIEL RADCLIFFE

FOR BOOK WORMS Four books for your students to enjoy

SCHOOL BOOKING DISCOUNTS AVAILABLE CALL YOUR LOCAL CINEMA FOR DETAILS

PLAYTME Four reviews of top plays WHAT’S ON Catch our listings and a round-up of dance news GUESS WHO’S COMING TO DINNER Jenny Sealy from Graeae Theatre Company

The Ink Well Press Ltd, Kettle Chambers, 21 Stone Street, Cranbrook, Kent TN17 3HF copyright © The Ink Well Press Ltd 2012, all rights reserved The views of the contributors are not necessarily those of The Ink Well Press Ltd! No part of Ink Pellet may be reproduced or used, in any form, without the prior permission of the publishers EDITOR: PUBLISHER: DESIGN TEAM:

Lesley Finlay Julie Simpson Anthony Boxall

FEAR HER CURSE

Rob Cursons PROOFREADER: ADVERTISING:

Dawn Hopley Joy Adams Michèle Williams

ADVERTISING ENQUIRIES: EMAIL:

tel. 01580 713993

/thewomaninblackUK

Lesley.finlay@inkwellpress.co.uk

12A

CONTAINS INTENSE SUPERNATURAL THREAT AND HORROR

www.inkpellet.co.uk

‘Wicked delivers a powerful message of tolerance and acceptance in a performance that students will never forget.’ Citizenship and PSHE Coordinator, Uplands Community College

Wicked

YoungW r

2012 E iters.com N NOW OPTRIES EN!

$&7,9( /($51,1* 21/,1( 5(6285&( .6 36+( _ 3/76 _ &,7,=(16+,3 _ +,6725< +80$1,7,(6 (1*/,6+ '5$0$ _ '(6,*1 7(&+12/2*< _ $57 '(6,*1 ,Q VXSSRUW RI WKH (YHU\ &KLOG 0DWWHUV DQG 3DWWHUQV RI )DPLO\ /LIH IUDPHZRUNV

Download free lesson plans and discover more at: WickedTheMusical.co.uk/education

APOLLO VICTORIA THEATRE • LONDON

AY PL R 1+ A FO 1 ES AG

I, CINNA (THE POET)

Welcome

TIM CROUCH

ow fast time flies! My goodness – it’s February already! The Ink Pellet, team headed to London for BETT 2012 where we bumped into the team from Shakespeare in Bits. They were looking forward to a well-deserved night on the town in lively Earl’s Court. Let’s hope it was a good one. As for their wonderful product, I showed it to the only 13-year-old boy I know, Angus Poulter, who was mightily impressed with it. Angus, by the way, makes his reviewing debut with a piece on Stalin’s Favourite. See page 28 for that and other reviews. It’s Romeo and Juliet time, and I enjoyed an insightful chat with Headlong Theatre Company’s director Robert Icke. Halfway through rehearsals, he was feeling really positive about the work which is pulling out the themes of coincidence and chance in its new touring production. You can read more on page 13. Our big interview this month is with Will Ash, one of Shakespeare’s Globe’s newly-appointed patrons for the Playing Shakespeare with Deutsche Bank season. Will was busy rehearsing for his role as George in Of Mice and Men but he had time to share with me stories of his childhood and first time on the Globe stage. Meanwhile I spent a happy Saturday at the British Film Institute for one of their Dickens On Screen events. It was a chance to indulge in some good, intellectual time out, which is just what Graeae Theatre’s artistic director Jenny Sealy plans for her dinner party on page 34. Elsewhere we have our usual eclectic and artistically arranged mix of features, news and views. We hope in this Year of the Dragon the bursar releases you some cash to spend on food for the heart and soul. And so we come to the quotation of the month. I guess we’re all reeling from the decision of Waterstone’s the bookseller to remove the apostrophe from its name, so I turn to my good friend Mr Dickens whose Sam Weller in the Pickwick Papers spoke for all those troubled with spellings: ‘Do you spell it with a ‘V’ or ‘W’?’ inquired the judge. ‘That depends on the taste and fancy of the speller, my Lord,’ replied Sam.’ Happy reading, and do keep in touch via the website, the twitter or the email!

A ROYAL SHAKESPEARE COMPANY PRODUCTION

4 PERFORMANCES ONLY 13 JUNE – 6 JULY 2012 THE STORY OF SHAKESPEARE’S JULIUS CAESAR TOLD THROUGH THE EYES OF A LOWLY POET. A PRODUCTION TO ENGAGE A YOUNG AUDIENCE TO THINK, WRITE AND CONSIDER THE RELATIONSHIPS BETWEEN WORDS AND ACTIONS. TICKETS £5 AGES 25 AND UNDER, £10 AGES 26 AND OVER. IN ADDITION TO THESE 4 PERFORMANCES I, CINNA WILL BE BROADCAST LIVE INTO SCHOOLS IN JULY 2012. TO FIND OUT MORE AND SIGN UP VISIT:

www.rsc.org.uk/CINNA

0844 800 1110

Lesley Finlay Project partner

Editor Lesley.finlay@inkwellpress.co.uk @InkPellet

www.inkpellet.co.uk

Where there’s a Will

IMAGE: William Ash as Jesus in The Globe Mysteries by Ellie Kurrtz

William Ash William Ash is making a name for himself as a screen and stage actor. LESLEY FINLAY caught up with him to talk about Waterloo Road and his new role as patron for Shakespeare’s Globe’s Playing Shakespeare season…

www.inkpellet.co.uk

he here ere is always someone in life th hat h att ccan ca tr ra that transform, help you cha han h ang n e direction, and time change agai gai ain itt iis a teacher. For actor again Willia illlliam i m Ash this h transformer came in hi William the shape o of h his English teacher, Colin w set many a young actor on Snell, who the road to the stage and screen. William recalls: ‘Colin is retired now and was brilliant. He used to do our school plays but he also set up a theatre group with some ex students out of school and I started taking part in them. But they weren’t typical plays like Bugsy Malone or Oklahoma! – he did quite dark stuff like Amadeus. Our head teacher must have been quite liberal. We did Bent outside of school which I was in. Colin was brilliant, an amazing teacher. A lot of people from my school, a comprehensive, ended up being actors because of him. ‘He moved to a school in Blackpool called Arnold Senior School and he was a drama teacher there. It was funny: when he went to that school no one had ever gone to drama school and after his first year he had about three people who went. Jonas Armstrong who plays Robin Hood was one of those three. 6

It’s interesting having that influence. He opened up something bigger; it was about expressing yourself, trying to get better at it, trying to push yourself and explore what makes a human being what they are. He was a massive influence on tons of us who went to that school.’ Now a recently-appointed Globe Patron for the Playing Shakespeare with Deutsche Bank season, acting was not William’s first choice of career. There was no showbiz background in his family, which moved to Oldham when he was young. William’s father was an engineer who worked in the same place all his life and his mother worked for the police as a civilian – and as a secretary quite a while before that. He recalls: ‘My dad played a lot of football and played semi professionally and that is what I wanted to do, be a footballer, until I was 16/17. I have a sister and she teaches psychology and sociology in Oldham so she watches Waterloo Road and tells me where I’m going wrong.’ As a boy in a Manchester United-obsessed family, William wanted a career in football. But he candidly says: ‘I think I was deluded that I could make

there’s a play…

it as a footballer when I look at it! I broke my leg playing football when I was 15 and couldn’t play for a year so the acting took over.’ William had started acting when he was eight as a member of the councilrun Oldham Theatre Workshop, which became a talent pool for Granada Television at the time. Children’s drama was popular and young William won a role in the respected Children’s Ward programme, which was written by Paul Abbott and Kay Mellor – both now highlyrespected screenwriters. The football career was off the agenda after he broke his leg. But he had to do something. He says: ‘Still at that stage I didn’t know I wanted to be an actor and decided to take a year off – I applied to do sociology at Nottingham – but then chose to knock it on the head. I was really lazy – I only applied to two drama schools. I was accepted by Bretton Hall – Manchester Met knocked me back. ‘I got an agent in London – I already had one through Oldham Theatre Workshop and ended up working during the year out – TV stuff – so I just carried on working. I’d done a programme called

the Bare Necessities – it was The Full Monty before it came out – about a group of miners who all became strippers.’ William has had a busy and varied career since then – playing in popular television dramas Where The Heart Is, Clocking Off and Waterloo Road. He says: ‘Some teachers I’ve met have said Waterloo Road is just like this and I was shocked – it can’t be! I phoned my sister one day while she was at school and she answered the phone. I said, ‘you’re not in a class, are you? And she replied, ‘No Will, I wouldn’t answer the phone in class – this is not Waterloo Road!’ William’s lack of formal training has been an advantage in many ways. He says: ‘I did make a conscious decision to try to do as much theatre as I could – to learn the knowledge of theatre that you get when you go to drama school. I made a big effort to read up, do loads of plays and learn on the job. I’m quite proud in a way that I didn’t do formal training because I look at things in a different way to people who have trained. Everybody knows as much or as little as each other! ‘For example, when I was at Shakespeare’s Globe doing The Globe 7

big interview www.inkpellet.co.uk

Equibero vidia vendae et quam dolorporpos aute vent eossuscit harum,Onseque que ipidi dolupti squiducidion nos eos aditam entiant laborem essimin cust...

IMAGE: By Ellie Kurrtz Mysteries last summer, it was all verse speaking and I was terrified. I didn’t understand a lot of the text and was quite worried about it. And I realised that everyone was in the same boat in terms of knowing the text. You learn it together.’ William, who was in between rehearsals for a fourweek run at the Edinburgh Lyceum as George in Of Mice and Men, is relishing his role as a Globe patron, which he hopes will inspire young people to enjoy Shakespeare. He says: ‘The Globe is a fantastic place – makes you feel like a rock star when you’re on stage! It’s totally unique, very special especially when it’s full and the interaction you get with the audience is unique. ‘I hope my connection with Waterloo Road can help – for all the young people who watch it. I remember watching Shakespeare when I was a teenager and I saw some really good productions and some others that were rubbish. You hope that the first Shakespeare young people see is brilliant because it can be really intimidating, especially when it’s on the page and you have to stand up and read it in class – that can be awful! When Shakespeare is done well it’s fantastic.’ As for an actor’s life, William is realistic. He says: ‘It’s such a powerless profession being an actor because you rely on people to generate work for you. You can’t act on your own. You’ve got to turn your hand at other things – I had to, I couldn’t sit in the house waiting for the phone to ring. The last two years have been brilliant because I’ve had something to do when I’ve not been acting. ‘We’ve been commissioned to write a comedy for Radio 4. That’s advice I’d give to any young person – do something else too! People used to say that to me and I thought they meant be a plumber!’ William is a patron of Globe Education’s Playing Shakespeare with Deutsche Bank project, which is giving 14,000 teenagers free tickets to a specially-commissioned production of A Midsummer Night’s Dream at Shakespeare’s Globe. www.playingshakespeare.org The season runs for two weeks from February 27 to March 8. IP

RADA SHAKESPEARE CERTIFICATES (14+) An examination to complement GCSE and A-Level studies of English and Drama, allowing students a deeper understanding of performance and text.

RADA FOR SCHOOLS

TEACHER PROFESSIONAL DEVELOPMENT PROGRAMME

A few of my favourite things

Intensive sessions for teachers of A-Level and BTEC Drama and Theatre Studies.

TELEVISION: My favourite comedy is Human Remains with Rob Brydon and Julia Davies - absolute genius! My favourite drama would be The Wire FILM: Godfather II

For more information please contact laura@radaenterprises.org www.rada.ac.uk

BOOK: Jack Kerouac’s On the Road MUSIC: Stone Roses’ first album SHAKESPEARE: I like Macbeth.

www.inkpellet.co.uk

‘CALLOW AND SHAKESPEARE: A BRILLIANT COMBINATION’ THE TIMES NO 1 CRITIC’S CHOICE

A NEW PLAY BY

DIRECTOR

‘THE AUDIENCE WERE ON THEIR FEET APPLAUDING THIS SINGULAR TRIUMPH’

Schools 8+

£1M7on.-5Fri0

FROM 8 – Matinees 31 MARCH Thurs 2.30pm

STRICTLY LIMITED RUN

DAILY EXPRESS

0844 871 7644 WHITEHALL, LONDON SW1

67 &(1785< :5,7(56 63($. 72 7+(

.,1* -$0(6 %,%/( “I would also like to see it used in schools alongside the section of the KJB which inspired whichever piece a teacher is reading with students. It could add real depth to an English, history, media studies, drama or almost any other lesson. What joy.” – The Stage The King James Bible is a foundation stone of the English language and in 2011 celebrated its 400 year anniversary. Sixty-Six Books: 21st-Century Writers Speak to the King James Bible, is a fresh interpretation of the King James Bible, bringing together a formidable and inspiring line-up of writing talent, to produce a new version of the King James Bible for the twentyﬁrst century. Sixty-Six Books was originally performed at the Bush Theatre & Westminster Abbey in 2011.

£14.99 / ISBN: 9781849432276

Contributors include: Carol Ann Duffy, Jeanette Winterson, Stella Duffy, David Eldridge, Rowan Williams, Tim Rice, Kate Mosse, Billy Bragg, Andrew Motion, Wole Soyinka, Michael Rosen and many more.

“Whether on stage or page, this is a mighty work…. good read and in terms of play script pricing, excellent value for money.” – British Theatre Guide

www.oberonbooks.com

Keith Gaines Head wanted (no education experience necessary)

usy, syyy, bu busy, u b busy! Michael Gove, E Edu Ed duc ucca S Education Secretary, has spent JJanuary Janua Jan nuaa y telling us his New Years’ re reso essolu ut resolutions. And what a long list Fii off, fff G it is! First Goveyy announced he would l that h shield incompetent staff scrap rules and allow them to be dismissed within just one term. In an interview with the Daily Mail, Mr Gove said he wanted parents to go into classrooms to assess how well children are being taught. Nothing to fear there, of course. He could be really radical and allow teachers to carry our reciprocal observational visits to pupil’s homes to judge how well parents are performing, grade them accordingly, and publish the scores in the school newsletter. Govey wants to introduce a yearly assessment, with swift dismissal for failing teachers. ‘The whole procedure should now be telescoped into just a term – eight to nine weeks.’ I have to say I agree with him – up to a point. Govey asked, ‘Why is it that we tolerate underperforming teachers in the classroom?’ The answer is that it is extremely difficult and time-consuming to take action against a failing teacher. One recent case, of a local teacher who the head and governors considered was not able to do the job, showed clearly the difficulties of dismissal. Following three thick files of policies, procedures and guidance, and with the local authority’s human resources department giving constant advice and checking every action, the process, from the first warning, took over two and a half years, during most of which time the teacher was on periodic sick leave. The matter ended with the teacher’s resignation, so this case was never recorded as a teacher dismissal. It was, according to those involved, a long and stressful experience for all concerned. But the exhaustive procedures involving training, monitoring and assessment have been developed over the years to support teachers who, with additional training and support, could be more

successful and also to protect teachers who are unfairly accused. Make no mistake – the number of successful cases where a teacher has sued for unfair or constructive dismissal shows all too clearly that not every headteacher is a glowing exemplar of fairness, justice and consideration. I fear Govey’s fast-track sackings will, at best, create masses of work for the teaching unions and their lawyers. Two days later, Govey announced that around 4,500 vocational courses would no longer count as GCSE equivalents in school league tables. For example, an NVQ in hairdressing, currently worth the equivalent of five GCSEs at the highest level, would no longer count for anything in league-table scores. It seems clear that Govey wants a much more academic curriculum for all. He has said publicly that he wants all schools to be good and who could argue with that? The problem is that in OFSTED-speak and DES-speak, ‘good’ means ‘higher than average’. When Govey appeared before the Parliamentary Education Committee on January 31, to answer questions sent in via twitter, the chairman put this very point to Govey and asked how all schools being ‘good’ (higher than average) was mathematically possible? Govey relied, ‘It’s average for… um... by getting better all the time.’ The chairman asked if Govey was better at literacy than numeracy. Anyway – at our small rural primary school, we school governors have to find a new headteacher. We’ve just started the process and last Monday we had a meeting to try to thrash out what particular qualities and talents we were looking for. We were, of course, looking for someone who would make the school ‘good’ i.e. ‘better than average’ for the benefit of the pupils and also to keep OFSTED and Govey off our backs. We had a productive discussion, helped by our local authority link adviser and we ended up with a list of abilities and characteristics which we

felt would be desirable in a successful candidate. The only problem was, our vision of the headteacher we were looking for sounded like a combination of Superman, Mother Theresa, David Attenborough and Richard Branson. So if any readers reckon they fit this profile, and fancy a primary headship in September, drop me a line. Anyone can apply because you no longer need the national training qualification for a headship. You probably didn’t notice among all the end-of-term chaos, and amongst all his other pronouncements, but, just before Christmas, Govey quietly abolished the requirement that any candidate for a Headteacher post had to have successfully completed this training. I’m not even sure you need to be a qualified teacher any more to apply for a headship. I can’t keep up with all of Govey’s rulings, but I’m sure he said somewhere that ex-military personnel would make excellent teachers. My favourite twitter question for Govey (which I don’t think was put to him) was, ‘What makes you so certain that soldiers who are trained to kill and obey orders without question will make good teachers?’ I’m sure he knows best so any readers who are ex-SAS, ex-SBS or former paras are welcome to apply. Relevant experience will be essential, preferably in Afghanistan or Iraq. IP

Keith Gaines is a freelance writer. He is a former Head of Special Needs in a large comprehensive school and Chair of Governors of a primary school.

www.inkpellet.co.uk

7+( :(67 (1' +,7 5(9,9$/ /$67 )(: :((.6 7285,1* 2XW RI -RLQW &KLFKHVWHU )HVWLYDO 7KHDWUH SUHVHQW WKH KLW :HVW (QG SURGXFWLRQ

E\ &$5</ &+85&+,// GLUHFWHG E\ 0$; 67$))25' &/$5.

Â?Â?Â?Â?Â?

Â´6LPSOH FU\SWLF VDG DQG KLODULRXVÂľ 7LPH 2XW

Â?Â?Â?Â?Â?

Â´7KHDWULFDO KLVWRU\ *HQLXVÂľ

RELEASE YOUR POTENTIAL WITH THE LONDON SCHOOL OF FILM, MEDIA & PERFORMANCE â&#x20AC;&#x201C; â&#x20AC;&#x201C; â&#x20AC;&#x201C; â&#x20AC;&#x201C; â&#x20AC;&#x201C; â&#x20AC;&#x201C;

'DLO\ 0DLO

Acting Foundation Course BA (Hons) Acting & Global Theatre BA (Hons) Creative Industries BA (Hons) Film,TV & Digital Media Production BA (Hons) Screenwriting & Producing MA Writing for Screen & Stage

NOW ACCEPTING APPLICATIONS FOR SEPTEMBER 2012 SCHOLARSHIPS AVAILABLE

Tel +44 (0)20 7487 7505 Email lsfmp@regents.ac.uk Web regents.ac.uk/lsfmp

)HE ,36:,&+ 1HZ :ROVH\ 7KHDWUH )HE 0DU /(('6 :HVW <RUNVKLUH 3OD\KRXVH 0DU (;(7(5 1RUWKFRWW 7KHDWUH

ZZZ RXWRIMRLQW FR XN

ROBERT ICKE, Headlong theatre company’s associate

Director’s notes

director, took a break in rehearsals to talk to Lesley Finlay about his approach to Shakespeare’s Romeo and Juliet. Here he gives a revealing insight to the director’s art...

In rehearsal: actors work with the director to develop a germ of an idea…

n off the interesting ne nt things aab bo ou u Ro o about Romeo and Juliet is th hat yyou’re o that dealing with a pla layy th tthat h everyone feels they play now. ow ow. T The most stt famous example of that know. W is the line ‘Wherefore art thou, Romeo?’ o which m most people think means ‘Where are you?’ but of course it means ‘Why are you?’ What Juliet is saying is, why do you have to be called Romeo? Why did you have to be a Montague? It’s a play that is structured around opposites, contradictions, contrasts and antitheses at every level: it starts off with the word ‘two’; you have Montague versus Capulet; you have Romeo and Juliet; Romeo has two father figures – Montague and Friar Lawrence; Juliet has two mother figures – Nurse and Lady Capulet. There are scenes which pair with each other, for example there are two scenes where Nurse comes in with news – the first time is really good news where Juliet is going to get married, then it’s the really bad news that Tybalt is dead. The plot throughout the play is actually really flimsy. I got drawn to the idea that if Romeo turned up ten minutes late it would have all been fine

and Juliet would have been awake. It’s not like Macbeth where he kills the king and pays the consequences of that. From about Act II you’re fairly clear that Macbeth is screwed and on his way down. Romeo and Juliet is not like that – even down to the fact when the Montague boys go to the party where Romeo meets Juliet, it’s to make a comparison – to go and look at other girls, to ‘weigh in the scales of your eyes’. They only go because Capulet has happened to give the list of invites to someone who cannot read! Culturally, we see the play through the Prologue that it’s about fate and they’re screwed from the start but if you really look at the play it’s as interested in coincidence. Shakespeare always looked at both sides of the coin – which is the amazing thing about him. One of the things we’re playing with is to highlight the moments where the action could have gone differently. So what would have happened if Capulet had given the invitations to the Nurse? She would just leave the stage. Then we go back and play the scene again and hand the invitations to Peter, who cannot read. Hopefully we’re showing how

fragile it is, and that happens over and over again in the play. The coincidences are interesting – and you see the key moments in everybody’s lives are resting on a whole load of coincidences. The cast has completely extended this idea. For example, the scene where Juliet has taken the potion and everyone thinks she is dead is a difficult, weird scene to pull off. One of the actors said that it was a weird scene, that the writing is weird really formal and strange. We discussed this and others said they didn’t feel like they were playing the same characters, it was almost as if they were seeing it from her point of view. So we thought maybe we could do it from her point of view so this scene is really dreamy, and really strange and in slow motion. And that led to a whole host of inventions! It’s a good example of where a problem opened up a road to a potential staging. Romeo and Juliet is a co-production between Headlong Theatre, Nuffield Theatre, Southampton and Nottingham Playhouse in association with Hull Truck Theatre. Romeo and Juliet is on tour until April 7. For tour details and education pack visit www.headlongtheatre.co.uk IP

www.inkpellet.co.uk

DISCOVER DANCE MONDAY 27 - TUESDAY 28 FEBRUARY

DANCE TOURING PARTNERSHIP PRESENTS BLANCA LI DANCE COMPANY

ELEKTRO KIF

A dazzling mix of urban streetdance electro, breaking, disco, vogue, popping and locking with some theatre, contemporary dance and an amazing soundtrack. Funny, fast, colourful and anarchic - you’ve never seen anything like this before!

POST-SHOW TALK MONDAY 27 FEBRUARY TICKETS: £16, SCHOOLS £10 (DISCOUNTS AVAILABLE) WORKSHOP EMAIL learning@lighthousepoole.co.uk FRIDAY 16 - SATURDAY 17 MARCH

BALLETBOYZ theTALENT Eight remarkable dancers star in this explosive feast of exhilarating live dance. Cheekily original and innovative, BalletBoyz cleverly fuse energetic and graceful dance with stunning music and film. the TALENT has a mixed programme including Russell Maliphant’s mesmerising Torsion, Paul Roberts haunting Alpha and the critically acclaimed Void by Jarek Cemerek.

FREE POST-SHOW TALK FRIDAY 16 MARCH TICKETS: £16.50, SCHOOLS £10 (DISCOUNTS AVAILABLE) WORKSHOP EMAIL katherine@balletboyz.com FRIDAY 27 - SATURDAY 28 APRIL

RICHARD ALSTON DANCE COMPANY Movement and music are fused into a unique and profound synthesis in the work of Richard Alston Dance Company. For his company’s eagerly awaited return, Richard Alston has chosen a diverse collection of composers – every step he makes lives and breathes the spirit of the music he chooses.

MEET RICHARD ALSTON - FREE PRE-PERFORMANCE TALK FRIDAY 27 APRIL 6.30PM (PRE-BOOKING ESSENTIAL) TICKETS: £15, SCHOOLS £8 (DISCOUNTS AVAILABLE) WORKSHOP EMAIL katherine.rothman@theplace.org.uk

TUESDAY 8 - WEDNESDAY 9 MAY

BIRMINGHAM ROYAL BALLET A breathtaking programme of world-famous classics. TAKE FIVE lighthearted, laid-back, elegant ballet set to the iconic music of Dave Brubeck. BITESIZED BALLET the White Swan pas de deux, followed with an excerpt from Frederick Ashton’s The Two Pigeons. THE GRAND TOUR A funny take on eccentric celebrities of the 1920s, accompanied by orchestral renditions of Noël Coward songs.

TICKETS: £20, £21, £23, SCHOOLS £10 (DISCOUNTS AVAILABLE)

TUESDAY 15 - WEDNESDAY 16 MAY

NEW ADVENTURES PRESENTS MATTHEW BOURNE’S EARLY ADVENTURES Britain’s favourite choreographer presents a triple bill of early works. SPITFIRE Set in the world of men’s underwear advertising. TOWN AND COUNTRY Olivier-nominated, witty, ironic, moving and heartfelt - it explores national character from a bygone era. THE INFERNAL GALOP This is France as seen by the uptight English imagination, climaxing in the Can-Can!

MEET MATTHEW BOURNE - POST-SHOW Q&A TUESDAY 15 MAY TICKETS: £20, SCHOOLS £10 (DISCOUNTS AVAILABLE)

0844 406 8666 www.lighthousepoole.co.uk

Stellar cast Sculptor Louise Giblin has made a series of striking works featuring bodies of five Olympic champions. LESLEY FINLAY donned her go-faster shorts to find out more….

IMAGE: Darren Leach in clay

he London 2012 Olympics and Paralympics are inspiring artists, musicians and performers to create some powerful artworks. The creative festivities have taken a while to catch on but the works are set to contribute to the allimportant legacy of the Games. One woman making her own contribution to this pool of art and raising money along the way is sculptor Louise Giblin who has created striking works of five British sporting heroes for an exhibition called Body Casting Olympians. The models were gymnast Beth Tweddle MBE, hurdler Kriss Akabusi MBE, Dame Kelly Holmes, Sally Gunnell OBE and visually-impaired Paralympian swimmer Darren Leach. They modelled for Louise last year and the resulting Olympian Series sculptures, sketches, photographs and bronze cast designs will be launched in May 2012 at the Mall Galleries’ East Gallery, two days after the Olympic torch relay begins. The pieces look like Roman body armour – strong, eye-catching and oddly inspiring – highlighting the real finesse

www.inkpellet.co.uk

‘I’m impressed by people who commit to goals with determination as this makes them powerful; these Olympians are awe-inspiring both

IMAGE: Sally Gunnell OBE Body Cast

IMAGE: Kriss Akabusi MBE aluminium resin

physically and mentally...’

www.inkpellet.co.uk

and power of the body. The back of the sculptures shows the torsos stripped and stylised while the fronts are detailed reliefs of the Union Flag with the site of the greatest achievement chosen by the five subjects. Using a special technique developed for body casting subjects and applying designs to the surface of the resulting clay torso, Louise creates a unique sculpture. Each may be reproduced up to 12 times in cold cast metals or bronze, for the limited edition series. Louise, an associate of the Royal British Society of Sculptors (ARBS), explains: ‘We wear achievements and things we value as armour to avoid personal scrutiny, hence my sculptures often appear to be wearing armour. I’m impressed by people who commit to goals with determination as this makes them powerful; these Olympians are awe-inspiring both physically and mentally. London 2012 is an opportunity for me to work with extraordinary people, celebrate British success and to help raise money for a great cause.’ Born in Woking in 1963, Louise studied 3D Design then BA Sculpture at Brighton Polytechnic under tutelage of Antony Gormley (sculptor of ‘Angel of the North’) and Peter RandallPage, and MA History and Theory of Modern Art at Chelsea College of Art. She now lives and works on the Kent/ East Sussex border. Her work is produced using plaster impregnated body and head casts from which she creates a clay positive. This is carved for 5-8 weeks prior to firing in a kiln. The work is primed and then moulded using silicone,

resin and fibre glass. This mould is used to make a wax copy for bronze casting or a cold cast metal copy using powdered precious metals and resin. It was no easy task for her models. Kriss Akabusi, who will be speaking at the launch in May, is going to have his image cast in bronze. He found his experience involved a little more sacrifice. He said: ‘Having my chest shaved as smooth as a baby’s bottom and being stuck in a cast for an hour or so, are a small price to pay to have my body image preserved for time and eternity – so I’m very excited to see the finished article.’ The exhibition is launched on May 22 and will raise funds for the brain injury charity, Headfirst, of which singer Cheryl Baker is a patron. Beth Tweddle plans to sell her torso to raise further money for Headfirst. She says: “It was an amazing experience with some funny memories, these and photos of the finished piece will be treasured forever. I like the fact that my achievements can make a real contribution towards this worthwhile charity.’ Louise is now recruiting models for her Living Legend Series 2014. She commenced December 2011 by head casting former Cabinet Minister and broadcaster Michael Portillo. In the spring she will be casting friend, entertainer and Headfirst patron, Cheryl Baker who worked with Kriss Akabusi on TV’s ‘Record Breakers’. Body casting Olympians will show at Mall Galleries, London May 21-26 and the Olympian Series, Saffron Fine Art, Battle from May 21 until June 2. For more details about Louise’s work, IP please visit www.louisegiblin.co.uk.

The works of

Charles Dickens are a screen writer’s dream – with copious character notes, wonderful storylines and dramatic tales. LESLEY FINLAY attended a series of talks that explored this side of the writer...

f Charles Dickens were alive today, there is no doubt he would be writing for television. This was the over-riding theory on the table at the Adapting Dickens: A Television History event at the British Film Institute in London last month. The day, part of the BFI’s Dickens on Screen season, looked at visual depictions of the writers’ novels through talks, panel discussions and film. It was a day for ‘Dickensians’, directors and die-hard fans – rewarding, inspiring and invigorating. First up was the articulate and passionate dramatist Michael Eaton, who gave us a whistle-stop history of film and television adaptations. It came as no surprise to learn that Dickens’s novels were adapted into plays during the writer’s lifetime or that once moving images were possible his works – melodramatic and moving as they are

www.inkpellet.co.uk

– would become ripe subjects for the earliest experiments in film. One of the unintended highlights of Eaton’s talk was when he read the first two paragraphs of Bleak House, to illustrate that however good the film or television actor’s work, he or she will never be able to recreate the wonder and beauty of the words. But it was his history of the series – the so-called ‘tea-time’ adaptations as well as the Schools’ Programme – that was so interesting. Filmed on a shoestring, mostly inside, these programmes became the introduction to Dickens for a generation of youngsters. The long runs (for example, 30 minute episodes over 13 weeks) gave time for the stories and characters to be explored – unlike the short, sharp adaptations we have recently. The second session of the day opened with a showing of The Late Show programme Who Framed Charles Dickens first broadcast in 1994. A discussion was chaired by Mark Lawson from the BBC, with panellists Diarmuid Lawrence (who directed the recent The Mystery of Edwin Drood), actor Sir Tom Courtenay who played William Dorrit in the BBC version of Little Dorrit, Sara Phelps (who adapted Oliver Twist and Great Expectations for the BBC) and Kate Harwood, BBC controller of Series and Serials Drama Production. The panel explored the episodic nature of Dickens’s writing and how his talent for description, unwittingly provides actors down the ages with detailed character notes. They highlighted the challenges too of not making versions of earlier adaptations. Phelps confided that she

had to avoid watching David Lean’s Great Expectations so that it would not colour her own version shown on the BBC at Christmas. The day ended with a discussion on the tea–time dramas with script editor and producer Betty Willingale, writer Terrance Dicks and the actor Clive Swift, who starred in the Pickwick Papers and Dombey & Son back in the 1960s. This was a whimsical look back at the old days and how the tea–time Dickens ticked the Reithian values box to Educate, Inform and Entertain, although it was observed that the adaptations were not always cosy and did not shy away from the harder themes. Sikes’s murder of Nancy in both the 1960s and 1980s versions were particularly gruesome and even prompted questions in the house from shocked MPs. There was strong consensus in the room for film-makers to produce longer versions so that the minor characters could be explored – one of the particular strengths of Dickens’s works. But, as it all comes down to cost, we may never see the like again. So while we may argue over the qualities of this or that production, ultimately we must heed Michael Eaton’s wise words: ‘Don’t take television adaptations by themselves – go back to the book.’ The Dickens on Screen season runs until March 22 with showings of most of the television and film works of the writer’s books. There is a small exhibition of vintage posters, costume designs and photographs on show at the BFI. For further details visit IP www.bfi.org.uk.

Images: Two views of film versions Great Expectations.

Screen writer’s dream

A unique centre for creative opportunities r BA English r BA Creative Writing r BA English with Creative Writing r BA Theatre r BA Music r BA Sonic Arts r BMus Musical Composition r BMus Musical Performance See our website for details of our joint honours combinations

r NEW MA English Literature r MA Contemporary Performance Making MPhil and PhD programmes are also available. Undergraduate: artsug.enquiries@brunel.ac.uk Postgraduate: pg-arts-admissions@brunel.ac.uk Now accepting applications for 2012 entry

www.brunel.ac.uk/arts

The art of achievement Arts Award is a great qualification – simple for you to administer and straightforward for

IMAGE: Students at work at St Mark’s Cof E Academy Image Paul Maven

students. JODIE ABRAHAMS, Arts Award’s schools support officer, explain why...

ne of the questions schools ask me most is ‘how can we make Arts Award fit with what we’re already doing?’ Happily, there are lots of examples to draw on. Arts Award’s flexible framework means schools run it within the curriculum, through enrichment, extra-curricular projects and targeted intervention programmes. I’ve seen Arts Award’s popularity grow and grow in schools, despite recent changes in the arts education landscape. Of the 3,400 organisations delivering Arts Award to young people, over a third are schools, post-16 colleges and pupil referral units. In recognition of Arts Award’s growing impact, it is now part of the criteria for schools and other organisations to achieve Artsmark status: www.artsaward.org.uk/artsmark. I believe there are three main concepts at the heart of Arts Award’s appeal. Firstly, it’s not just Arts Award’s status as a national qualification that appeals to schools (Bronze, Silver and Gold are accredited at levels 1, 2 and 3 on the

Qualifications and Credit Framework and Gold carries 35 UCAS points); it’s also the opportunity it gives students to develop their knowledge and skills without the pressure of a formal exam. Indeed, many schools who deliver Arts Award find that students’ sense of ownership of their projects inspires more independent learning. Michael Humphrey, Head of Music at Hendon School in London, described it as ‘a privilege to watch pupils take the initiative and immerse themselves in their own creative projects’. Arts Award can also provide a structure for cross-curricular and enrichment projects. I’ve recently talked to schools who are building Media, ICT and Humanities into their Arts Award programmes, while the Shakespeare Challenge – an approach to the Bronze Award developed in partnership with the Royal Shakespeare Company – is used for creative exploration of Shakespeare’s language in English and Drama. As well as the proven benefits for students, teachers tell me they also value what Arts Award brings to their own

practice. Liane Shaw, Arts Award adviser at Havant Academy in Hampshire, feels that running the award keeps her passionate about her subject. She says: ‘Seeing what the students can achieve inspires you to be creative yourself.’ The creative approach to teaching and learning that Arts Award encourages, also appeals to those who may not think of themselves as artistic. I was particularly inspired by a student at The Trafalgar School at Downton in Wiltshire, who used the pattern of his tennis ball hitting a canvas to create a piece of abstract art. With 2012 kicking off with some exciting developments, now is a great time to get started with Arts Award. In April, Trinity College London, which manages Arts Award in association with Arts Council England, will launch two new levels for students in Key Stage 2 and above, Arts Award Discover and Arts Award Explore. And during the Olympic year, young people will be able to take pecial Arts Award progr gram ammes, part in special programmes, g one created d ffor or including d Shakespeare Shakespear aree the World Festival. IP

Further reading To find out more about the new Arts Award levels visit www.artsaward.org.uk/7plus. For details of how you can benefit from the World Shakespeare Festival, www.artsaward.org.uk/wsf. About the Olympics: www.artsaward.org.uk/2012w And if you’d just like to get going, visit www.artsaward.org.uk/schools or call Jodie on 020 7820 6177 to discuss how it could work for you. www.inkpellet.co.uk

PASS IT ON

Tell your colleagues about these little gems that would otherwise se pass them by…

e hear from former Ink Pelletian Laura Woodland who is in the West Country working on Somerfest, a folk festival for young people by young people. The event runs from April 2 and ends with an all-day shindig on April 7th. There are workshops and events to excite and inspire all week. At the helm is artistic director Will Lang, who has brought together dancers, singers and music. There will also be a silent ceidlh and open mic session. Somerfest takes place at Halsway Manor. Seek more details by following the links at www.halsburymanor.co.uk.

istory students will know that Joan of Arc was born 600 years ago, so watch out for connections in our press, art galleries and theatres. The Rose Bankside, the company will be performing George Bernard Shaw’s Saint Joan later this year – we’ll let you know when!

he Cultural Olympiad brings with it great opportunities to explore the arts in all its forms while learning about sport, London, the universe and… errr… everything. The BBC is leading the way with programmes on TV and radio, backed up with more information online than you ever thought possible. One to watch includes a series of films made in conjunction with Film Four. The Swimmer is a poetic journey through the waterways and coastline of the British Isles, following a lone swimmer through lakes, rivers and coves. Watch out too, for Music Nation, involving the National Orchestra of Wales which will be working with young singers performing a new commission for Music Nation by composer Karl Jenkins. IP

he Museum of Science & Industry in Manchester, is featuring an exhibition of exceptionally small things with its Giants of the Infinitesimal: An Interactive Experience of the Nano-World. This interactive exhibition presents cutting-edge nanoscience research. Have a go on large-scale models to find out how scientists create completely new atomic structures and learn about amazing nanomachines. The exhibition is a unique collaboration between artists and scientists and runs to March 31. Find more details at www.mosi.org.uk.

The Rite Project, Birmingham

get recognition Discover

Explore

Bronze

Silver

Gold

Use Arts Award’s ﬂexible framework to accredit young people’s creative development through clubs or performances, in schools or community settings. Choose from three well-established qualiﬁcations for ages 11–25, or two new levels for age 7 upwards. ‘Arts Award is an excellent example of personalised learning at its best.’ Ben Cole, Head of Dance, Hendon School Train to get started this spring with courses available across the country, or bring a trainer into your setting. Book online www.artsaward.org.uk/training 020 7820 6178

www.inkpellet.co.uk

enquiries@artsaward.org.uk

Moving movies

t seems that cinema is going through some kind of resurgence. Classics are being dusted down and re-filmed, and thanks to the wondrous nature of new technology theatre can even be streamed to your local movie house. I went to see The Kitchen by Arnold Wesker, part of the NT Live programme. It was an odd but exhilarating experience. I don’t know about you but I still get a buzz of excitement before curtain up – even now when it’s part of my job. The same was true as I sat in Ashford’s Cineworld last autumn waiting with anticipation among a mixed audience. The play and the players were brilliant – but I was disappointed to discover that the camera was not static, focussed on the stage but followed the actors, film-style. Still, if you can get over this minor irritation, the programme gives everybody the chance to see brilliant work locally. I’m not sure it’s any cheaper than a theatre ticket these days (I paid £12.50 for my seat at Cineworld) but it’s a great experience, nevertheless. I was bugged by a surprising concern – do you clap at the end? Answers on a postcard please! Coming up in the season is Lenny Henry in The Comedy of Errors in March.

Film versions have become good talking points in classrooms and now NT Live and other live streams from theatres allows students to experience the performance locally. LESLEY FINLAY enjoyed her first experience of live theatre in the cinema as she explains in her round-up of releases… This is the second Shakespeare the popular comedian has tackled, with much acclaim, and the play is a real delight. On March 29, it is the turn of She Stoops To Conquer, starring among others, former Coronation Street’s favourite Katherine Kelly. In mainstream theatre there is plenty to watch out for. Having seen the trailers on the telly box, The Woman in Black looks like it will be a bit of thriller. Daniel Radcliffe seems to be effortlessly making the transition from child star to adult actor and is one to watch as he takes on the role of Arthur Kipps in Susan Hill’s perennial, adapted for the screen by Jane Goldman. Watch out for the interesting debate on whether the film stays true to the stage version! War Horse has been the subject of

this debate – as we all know, Michael Morpurgo’s wonderful tale has been given the full Steven Spielberg treatment. But isn’t it good to have a proper, classic, sweeping weepie in the cinemas, knowing full well that the novel is naturally told in a more prosaic way? I’ll leave you to ponder that one. Other releases planned this year are Streetdance 2, ready for the summer hols, a new version of Leo Tolstoy’s Anna Karenina starring Keira Knightley and Jude Law in a Tom Stoppard adaptation due out in September plus Ang Lee’s adaptation of Yann Martel’s Life of Pi is going to be filmed in 3D. That’s one to look forward to at Christmas. And don’t forget to book Richard II (dir Rupert Goold) and Great Expectations (dir Mike IP Newell) coming up soon.

Stills from The Kitchen: a great play that was part of the NT Live autumn season. Image by Marc Brenner

www.inkpellet.co.uk

No t i c eboa r d A round-up of news and views from the world of the arts

ooking ahead to summer, the Cape Town Opera will be ou o touring its acclaimed version of the Gershwin classic Porgy aand n nd d Be B es Relocated to Soweto, the company’s gifted singers Bess. l b will bring such classics as Summertime, It Ain’t Necessarily So and I Loves You Porgy to a new generation. Written in 1935, the love story of Porgy and Bess is modernised as the pair seek happiness amid the poverty and hardship in the ravaged Cape Town township. The company also makes its debut European performances of the Mandela Trilogy at Wales Millennium Centre, a musical tribute to the life of the former South African leader. Theatres welcoming the Cape Town Opera are Birmingham, Edinburgh, Cardiff, Canterbury and Southampton and tthe London Coliseum. Visit their websites for more details.

nk kP Pellet reader and Head of English, Neil Bowen, h has lla launched an online literature forum called peripeteia. Th The T he ai aim of the project is to promote literary discussion aim t between students, teachers, academics and writers from different institutions. The site now has about 200 members, including academics and students from India, the USA, Algeria and Scotland. Every month Neil, who teaches at Wells Cathedral School, runs online seminars run by distinguished academics. These include Frankenstein, convened by Dr Mariadele Boccardi of UWE. As new members join, the seminar programme is expanding. The current programme or this academic year can be found at peripeteia.webs.com. for Brill r Brilliant idea!

hee academy h c of Children’s Writers is organising it’s 27th an nn n n annual Write A Story for Children competition. This is now re e og recognised as one of the most prestigious for unpublished writers. The top prize is £2,000. Entries may be no longer than 2,000 words. Closing date is March 31st. For further details, check out the website www.childrens-writers.co.uk, and dust down that manuscript!

orr se o serious art lovers (or those with great iimaginations) im maag the Eykyn Maclean in London is hosting c lll a collection of Cy Twombly works from the Sonnabend ollection(www.eykynmaclean.com). I love the Bacchus pieces in Tate Modern. Just don’t get this era of his work at all. Sorry. IP

020 7565 5000 www.royalcourttheatre.com Sloane Square

www.inkpellet.co.uk

Victoria

HULL TRUCK Theatre Presents...

DNA

Starring James Alexandrou (EastEnders)

‘Punchy without being preachy; tackles moral issues without moralising - Dennis Kelly offers a witty take on the dark side of group mentality’ The Independent

A compelling thriller by award winning writer Dennis Kelly. Directed and designed by Anthony Banks (National Theatre). A group of teenagers do something bad, really bad, then panic and cover the whole thing up. But when they find that the cover-up unites them and brings harmony to their otherwise fractious lives, where’s the incentive to put things right?

A core set-text on the GCSE English syllabus

Thu 8 – Sat 10 March

Tue 17 – Sat 28 April

www.fairfield.co.uk Box Office 020 8688 9291

www.unicorntheatre.com Box Office 020 7645 0560

Ashcroft Theatre, Fairfield Halls, Park Lane, Croydon CR9 1DG

Unicorn Theatre 147 Tooley Street London SE1 2HZ

5 mins walk from East Croydon Station

5 mins walk from London Bridge Station

Tickets £10 (with 1 free for every 10 purchased)

Wolf Blood by N M Browne Published by Bloomsbury

Review by Paul Caden ISBN: 978-1408812556

Trista, a tribal warrior woman with the gift of future sight, has been taken as a slave after a battle by a rival tribe. While escaping from her captors, she runs into Morcant, a halfBrit, half-Roman soldier with his own special skill; he can turn into a wolf. Trista can see his wolf spirit and he slowly begins to accept his fate as a shape shifter with her help and begins to rebel against his former Roman comrades. Trista, meanwhile, has a quest of her own. She has been tasked, against her will,

Street of Tall People by Alan Gibbons Published by Five Leaves Publishing

Review by Julia Pirie ISBN: 978-1907869235

This edition of Alan Gibbons’ 1995 book is timely. A new generation of potential readers is now ready to be introduced to Gibbons’ hardhitting, realistic story-telling. The relatively compact tale, told in brisk but effective prose and divided into shortish chapters, should appeal to KS3. It is 1936 and the scene is set in London’s East End. Two 12-year-olds, Jimmy Priest and Benny Silver, meet in the boxing ring; they would like to become friends. Their

Stage Lighting: The Technicians’ Guide by Skip Mort

Review by Anna Davies ISBN 9781408123577

Skip Mort trained at the Bristol Old Vic Theatre School and has had a range of jobs in the lighting business ranging from designer to college lecturer. Stage Lighting is the conclusion of a six-year project which began with the development of three interactive lighting workshops on DVD designed for use in schools. The book is a starting point for students but can also be used as a guide for more experienced technicians. Split into three parts; part one, ‘Lighting Technician’ explains all about the different types

to deliver a message to the Chief of the British tribes that could turn the tide against the invading Romans and shape the future of Britain… This is a classic love triangle tale with a twist. The narrative alternates between Trista and Morcant, with the added interest of Morcant’s version providing the perspective of a wolf. Trista is a believable character, with all the nuances and character traits expected of a tribal warrior plus the appropriate language! Morcant is the lesser character in this story, but his contribution to the flow of the plot, and his interventions at significant

points in the story are well thought out. The sub-plot of his struggles with his shape-shifter identity and his relationship conflicts between Trista and the she-wolf are intriguing. Overall, this is a believable story, even though there are fantasy elements. The author has done her research into Celtic Britain, tribal and Roman battle tactics, and the language of the time. The book is aimed at older teens due to the complex interweaving of the plot dynamics, the graphic descriptions of battle, and the gritty dialogue! All in all, a good read!

story takes place in the lead up to the Battle of Cable Street when Oswald Mosley threatened to parade his fascist supporters through this area of London, home to many families, including the eponymous ‘Tall People’, the Jews. These are Benny’s people. Jimmy is a Gentile a yok, a non- Jew. Struggling to become friends, the boys become caught in the crossfire of opposing ideologies. Their friendship is constantly tested by the dangerous times in which they live. Through a supporting cast of characters, Gibbons offers other points of view: Yaro, Benny’s slightly older

friend, thinks all Gentiles are Jew-baiters and Eddie Searle, who’s dating Jimmy’s widowed mum, is a paid-up Blackshirt. However The Street of Tall People is no mere history lesson. Jimmy and Benny are well-rounded characters your students will relate to. Jimmy’s efforts to come to terms with his father’s death, his mother’s perceived ‘infidelity’ and his own low self-esteem are for all time. Recognisable too are grammar-school scholar Benny’s boyhood dreams for a future far away from the limited horizons of the East End. The book ends with a toast – lechayim, to life. Read it, re-read it. It’s worth it!

of lantern, what they do and how to use them. Some of the terms are difficult, but Mort’s explanations are detailed and it is mainly applicable to students who specifically want to learn the technical process behind rigging lanterns. On the other hand, part two, ‘Lighting Designer’, is appropriate for all types of performing arts students. It focuses on how lighting affects the audience and how lighting different parts of the performers or the stage can manipulate how the audience feel, whether this is using colours or gobos. Part three ‘Resources’ is basically a glossary but also provides information on suppliers. One of my favourite things

about this part is the notes section which gets you to list contacts you have made, educating students that who you know is also valuable. The book is easy to read and the pictures are extremely helpful, you don’t have to visualise what each piece of lighting equipment looks like. There are also tip boxes which are interesting and informative and the accompanying DVD would be useful to be shown in class as a demonstration. Stage Lighting has definitely improved my knowledge of the subject and I think it would be a great reference book for students.

Book Reviews The Weight of Water by Sarah Crossan Published by Bloomsbury

Review by Lesley Finlay ISBN: 978-1907869235

NEW S E TITL o f r 2 201

Can a book written in verse be deemed a novel? I’m really not sure … but more of that later. What is certain is that Sarah Crossan’s debut piece is a brilliant, realistic, heartbreaking but ultimately lifeaffirming tale. It tells the story of Kasienka, a young Polish girl who has joined her mother in England after her father, Tata, leaves the comfortable home in Poland to seek a new life here. Given an English moniker Cassie (because the teacher Mrs Warren mishears her), our young narrator leads

us through the tough, recognisable life of strangers in a strange land. Kasienka is placed in Year 7 even though, as she writes ‘I have budding breasts/And monthly bleeds’ and ‘I don’t read well/In English. That’s all I can’t do.’ But it turns out this is the least of her troubles, as we see the less savoury aspects of British life – happy slapping, racism and bullying. What redeems Kasienka’s miserable life is her swimming and a blossoming love affair. The twist in the tale is that Tata is found – with a new family – and this has a surprising effect on Kasienka. Crossan, who is a Dublinborn former teacher, uses blank verse throughout in

Kasienka’s voice – it is spare yet lyrical in parts. The desperation and heartbreak of Kasienka’s mother is particularly moving. However I am going to put on my pedant head and say this should not be described as a novel, which, according to Bloomsbury’s own dictionary says a novel is ‘a fictional prose work with a relatively long and often complex plot….’. It is, on the other hand, novel in the sense of being ‘new, original and particularly interesting’. So away with the nit-picking, Finlay! Crossan has created a character whose experiences will resonate with its readers. IP Give it a go!

WKHUH¶V D QHZ 5HDGHU IRU \RX

/RYH WR ZZZ PDFPLOODQHQJOLVK FRP UHDGHUV

www.inkpellet.co.uk

Romeo and Juliet, Shakespeare 4 Kidz

Review by Lesley Finlay

Bright, brash, colourful and loud – there’s no compromise in showbiz techniques when Shakespeare 4 Kidz rolls in to town. The young audience loved it – they laughed, they screamed, they cheered and they even jeered as the cast re-rold the original love story of Romeo and Juliet. The S4K approach works marvels in comedy – the company’s A Midsummer Night’s Dream was wonderful. But how does it work with the classic tragedy? Well, it offers a couple of

uncomfortable moments. The audience – including my young companion, laughed and laughed at the death throes of the Louie Spencestyle Mercutio (Noel Andrew Harron) but were thankfully, respectfully silent – and saddened – when they realised he was dead. Romeo’s death did not work so well. That’s the trouble with doing tragedy as comedy – sometimes you have to be prepared for laughs in the wrong places. Having said that, S4K tells the story faithfully,

introducing characters and themes that promote an excellent foundation to the further study. You know the story and you know the characters – and that is what makes this company’s work so valuable. With original songs in Fifties style, the production succeeded in highlighting the continued relevance of youth violence, youth/parent battles as well as the fragility of life. All good fun – watch out for the film version of Romeo and Juliet later in the year.

The Trial: Steven Berkoff, Wolverhampton Arena Theatre

Review by Stephen Guy

On a cold January evening I ventured out in sub-zero temperatures to watch Berkoff’s The Trial, a Blackeyed Theatre Company production. I was rewarded with an exceptional night’s entertainment. The Trial was filled with action, comedy and slick dialogue. The lead character was brilliantly portrayed, with the remaining four cast members marvellously slipping in and out of various personas with clarity and ease, weaving together the tale of a man

frustrated in his attempts to clear his name for a crime he had no knowledge of, against a bureaucratic legal system. In this quick-fire production, scenes were carried forward with narration and music from the actors which were supported by the set, (a simple collection of frames), clearly defined scenes and crafted dramatic imagery which captured the audience’s attention. Humour was rife in the first half of the play reflecting the absurdity of the situation

the character was in, and continued in part through the second half when it became a darker more sombre tale. The play danced with people’s emotions, laughter at the superb comic delivery of lines, mime and slapstick in such scenes as the meeting with the lawyer, Huld and the painter Titorelli and silent sadness at Joseph’s failure to be acquitted and his untimely death. This is a play worthy of watching - a trial to watch it was not, a performance to remember it was!

The Winter’s Tale, Propeller, Sheffield Lyceum

Review by Holly and Stella Whitehead

www.inkpellet.co.uk

This unorthodox production of Shakespeare’s The Winter’s Tale was exciting and unforgettable from start to finish. Propeller combines an all-male cast with a modern take on the play brilliantly. The first act opened by engaging all the audience’s senses with full length mirrors to three sides of the stage, a changing moon above, the sands of time trickling down the front and a smell of cigars in the air. The actors dressed in smart suits and plain crowns making for a sharp, striking start to the play. Robert Hands played an excellent Leontes, portraying a confused character about

to destroy everything in his life. Richard Dempsey was a sensitive, unassuming Hermione. Although the boys made no great attempt to look like girls (instead just boys dressed as girls), they were immediately accepted in their female roles. The second act opened in complete contrast to the first and, at first, a feeling of ….. What an earth is going on??!! The stage was now set as a rock gig and the actors as rock stars. As the act moved on, the audience relaxed into it and there were lots of laughs and audience interaction. The stage reflected the contrast 28

between the king’s court and the wilds of rural Bohemia. All was fun and happiness as daughter Perdita (played by Ben Allen) grew into a young woman in love. Yes, he made a lovely female – sweet and girly! Tony Bell played a brilliant part as a loveable con man, Autolycus. He interacted with the audience and earned their admiration with lots of crazy stuff which was pure ‘laugh out loud’. With this performance you will see it, hear it, smell it and feel it. On a final note, although some actors were mentioned individually, the whole cast was brilliant.

Theatre Reviews

Stalinâ&#x20AC;&#x2122;s Favourite â&#x20AC;&#x201C; Unicorn Theatre

Review by Lesley Finlay, with help from Angus Poulter, 13

Rupert Wickhamâ&#x20AC;&#x2122;s incredible work Stalinâ&#x20AC;&#x2122;s Favourite is the story of Konstantin Simonov, the celebrated Russian writer who became wracked with guilt by his life as one of the dictatorâ&#x20AC;&#x2122;s favoured inner circle. Adapted from The Whisperers by Orlando Figes, Wickham presents the story, in monologue, cleverly mixing excellent attention to historical detail with Simonovâ&#x20AC;&#x2122;s own story. His collaboration was not for fighting but for â&#x20AC;&#x2DC;writing about fightingâ&#x20AC;&#x2122; supporting the regime by accepting it and sacking his Jewish employees when it was â&#x20AC;&#x2DC;their turnâ&#x20AC;&#x2122; to be persecuted. Wickhamâ&#x20AC;&#x2122;s wonderfully still, understated portrayal of an old man, is a masterclass in actor concentration and

character portrayal. The principally young audience, the target demographic of Wickhamâ&#x20AC;&#x2122;s company Theatre Unlimited, listened well â&#x20AC;&#x201C; silent at the shocking tales of atrocities, laughing out loud at more adult themes, for example Simonovâ&#x20AC;&#x2122;s memories of his wife Valerieâ&#x20AC;Ś Here, 13-year-old Angus Poulter gives his verdict: I didnâ&#x20AC;&#x2122;t know anything about the history of Stalin before I saw this play but now I know a lot more. I was surprised to read in the programme that in 2008 he was voted the third greatest ever Russian because this play showed he committed many atrocities and made some really bad decisions. Stalinâ&#x20AC;&#x2122;s Favourite was very informative. I think it would

-YLUJOÂťZ ;OLH[YL )VVRZOVW

Box ofďŹ ce 01962 840440 theatreroyalwinchester.co.uk supported by

Schools:

ÂŁ11

be useful for students to know something of the history before they go â&#x20AC;&#x201C; if only to understand some of the jokes, like the one about what USSR stands for. The most memorable parts of the story were the deaths of Simonovâ&#x20AC;&#x2122;s aunts, the building of the canal with hand tools and the persecution of the original leaders of the revolution. The acting was very good. Rupert Wickham, who wrote the play, told the story, addressing the audience and he was able to change the tone of his voice really well to show his emotions â&#x20AC;&#x201C; anger, guilt and sadness. Stalinâ&#x20AC;&#x2122;s Favourite is on tour with Defying Hitler. For details visit www.theatreunlimited.org. IP

Schools:

ÂŁ12

-P[aYV` :[ 3VUKVU > ; 19 6WLU 4VU >LK HUK -YP ;O\YZ :H[

Waiting for Godot Kafkaâ&#x20AC;&#x2122;s Monkey Tues 27 to Sat 31 March at 8.00pm, matinee (Thurs) 1.30pm, preshow discussion (Wed) 6.00pm By Samuel Beckett Presented by Talawa Theatre Company and West Yorkshire Playhouse Ian Brown directs an all-black cast in Beckettâ&#x20AC;&#x2122;s poetic masterpiece.

;LS! c -H_! ,THPS! [OLH[YL'ZHT\LSMYLUJO SVUKVU JV \R

Wed 25 to Sat 28 April at 8.00pm, preshow discussion (Wed) 6.00pm, post show Q & A (Fri) with Kathryn Hunter A Young Vic Production Based on A Report to an Academy by Franz Kafka

Â&#x2039; 7SH`Z Â&#x2039; 4\ZPJHSZ Â&#x2039; ;LJOUPJHS )VVRZ Â&#x2039; Â&#x2039; -YLL ;OLH[YL )VVRZ 3PZ[Z Â&#x2039; Â&#x2039; (\KP[PVU 4H[LYPHS Â&#x2039; (JJLU[ *+Z Â&#x2039; HUK T\JO TVYL

â&#x20AC;&#x153;Superbâ&#x20AC;ŚKathryn Hunter is extraordinary,â&#x20AC;? Time Out

^^^ ZHT\LSMYLUJO SVUKVU JV \R 29

www.inkpellet.co.uk

’S P AP R K

T S LA

2 1 – 6 r 1 Ap / £ 5 20 s £ nc E P co A T

K .” on AS isi AL ec pr F e O at D lic ka N de las KI ith A w of A d d se in es K bl A is on g in ph rit ra w leg he Te “T he T

th ack k tie -b 7 .u en -to ce 87 rg tw ck fﬁ 7 .o O 7 vic of ba x 98 ld ts d Bo 7 lo 1 o an e 01 rist gi rm o rfo b tw e y re p s b at ay e pl th o ry Tw ntu ce ” e. c e pi r te as m

by win ed od ct G ire n D mo Si

e ur t ia in pe m , Ta ss st e a cil L er p’s m p t’s Kra t e ck n on e l B ia ue uard am G “S he T

ay M

What’s on sponsoredd by London

Palace Theatre Feb 4– Sept 29 Singin’ in the Rain Based on the legendary MGM movie, this is the story of the first Hollywood movie musical, when the silver screen found its voice and left silent movies, and some of its stars, behind. Packed full of all the charm, romance, comedy and tinsel town glamour of one of the world’s best loved films, Jonathan Church’s brand new production features a glorious score including Good Morning, Make ‘em Laugh, Moses Supposes and the classic Singin’ in the Rain. With stylish, soaring choreography from Andrew Wright and Simon Higlett’s sumptuous set design, Singin’ in the Rain will shower you with everything you could ever want in a hit West End musical! Call Encore Tickets to Book: 020 7492 1525

Apollo Victoria Theatre Wicked Box office: 020 7492 1507 Arcola Theatre To Mar 17 The Pitchfork Disney Box office: 020 7503 1646 Barbican To Mar 10 Tis Pity She’s A Whore (Cheek by Jowl) May 12-June 2 Cymbeline May 4-13 Einstein on the Beach (opera) Box office: 020 7638 8891 Cambridge Theatre Matilda The Musical Box office: 020 7492 1507 Gate Theatre Apr 9-21 Forest Fringe Box office: 020 7229 0706 London Coliseum Mar 4 Russian Ballet Icons Gala: Anna Pavlova Mar 13/14 Spring passions Mar 22-Apr 1 Beyond Ballets Russes Apr 3/4 Anna Karenina May 8-June 2 Madam Butterfly Box office: 0871 911 0200 London Palladium The Wizard of Oz Box office: 020 7492 1507 Lyceum Theatre The Lion King Box office: 020 7492 1507 National Theatre She Stoops to Conquer To Mar 6 Travelling Light To Apr 1 The Comedy of Errors Box office: 020 7452 3000

New London Theatre Booking until Feb16 2013 War Horse At the outbreak of World War One, Joey, young Albert’s beloved horse, is sold to the cavalry and shipped to France. He’s soon caught up in enemy fire, and fate takes him on an extraordinary odyssey, serving on both sides before finding himself alone in no man’s land. Albert cannot forget Joey and, still not old enough to enlist, he embarks on a treacherous mission to find him and bring him home. Based on War Horse, the celebrated novel by Michael Morpurgo, actors working with magnificent, life-sized puppets by the internationally renowned Handspring Puppet Company lead us on a gripping journey through history. Call Encore Tickets to Book: 020 7492 1525

Novello Theatre Crazy For You Box office: 020 7492 1507 Polka Theatre To Apr 20 Twist of Gold Box office: 020 8543 4888 Phoenix Theatre Booking until Nov 24 Blood Brothers Written by Willy Russell, the legendary BLOOD BROTHERS tells the captivating and moving tale of twins who, separated at birth, grow up on opposite sides of the tracks, only to meet again with tragic consequences. The incredible score includes Bright New Day, Marilyn Monroe and the emotionally charged hit Tell Me It’s Not True. Few musicals

have received quite such acclaim as the multi-award winning BLOOD BROTHERS, which, having opened in 1988 to tremendous acclaim, continues to enjoy standing ovations at every devastating performance. Call Encore Tickets to Book: 020 7492 1525 Rose Theatre Kingston To Mar 17 The Lady from the Sea Mar 20-24 The Winter’s Tale/ Henry V (Propeller) Box office: 0871 230 1552 Roundhouse Theatre May 18-23 Two Roses for Richard III Box office: 0844 482 8008 Royal Academy of Arts To Apr 9 David Hockney: A Bigger Picture Box office: 0844 209 0051 Tate Britain Migrations Picasso and Modern British Art Modern Alighiero Boetti From Apr 4 Damien Hirst Liverpool Artist Rooms: Martin Creed Charline von Heyl St Ives Simon Fujiwara Info: 020 7887 8888 The Harold Pinter Theatre (formerly The Comedy Theatre) To Apr 14 Absent Friends Box office: 020 7492 1507 The Old Vic From Mar 17 The Duchess of Malfi Box office: 020 7492 1507

0207 492 1507 31

www.inkpellet.co.uk

What’son onsponsored sponsoredd by What’s by

Theatre Royal Drury Lane Booking until Nov 21 Shrek the Musical Join Shrek, our unlikely hero, and his loyal steed Donkey as they set off on a quest to rescue the beautiful (if slightly temperamental) Princess Fiona from her tower, guarded by a fire breathing love-sick dragon. Add the diminutive Lord Farquaad, a gang of fairytale misfits, and a biscuit with attitude, and you’ve got this year’s must see new musical comedy – SHREK THE MUSICAL! Call Encore Tickets to Book: 020 7492 1525

Midlands Belgrade Theatre, Coventry Mar 6-10 Joseph and the Amazing Technicolor Dreamcoat Mar 31-Apr 14 The Father Apr 24-28 Equus Box office: 024 7655 3055 Birmingham Hippodrome Feb 22-Mar 2 Birmingham Royal Ballet May 1-5 The King and I Box office: 0870 730123

Birmingham Repertory Theatre To Mar 3 Gravity Mar 13-17 Waiting for Godot Box office: 0121 236 4455

Leeds Grand Theatre Mar 13-17 Chess Apr 3-14 Sister Act Nov 6-Dec 8 Oliver! Box office: 0870 1222815

Grand Theatre, Wolverhampton Mar 6-10 The Diary of Anne Frank Mar 27-31 The King and I Box office: 01902 429212

The Journal Tyne Theatre Mar 6/7 Chinese State Circus Mar 14: The Sleeping Beauty Apr 16/17 English Youth Ballet: Swan Lake Box office: 0844 493 9999

The Drum Mar 15 Film: Khuda Kay Kile (In the Name of God) Box office 0121 333 2444

The Lowry Mar 13-17 Travelling Light Mar 14 Balletboyz Mar 22/23 Defying Hitler Apr 17-21 Love’s Labour’s Lost Box office: 0843 208 6000

Warwick Arts Centre To Mar 10 The Indiscipline of Painting (exhibition) May 9/12 Barber of Seville Box office: 024 7652 4524

Sheffield Theatres Mar 1-24 Benefactors Mar 13-17 The Sound of Music Mar 23 An Audience with Michael Frayn Apr 24-28 An Inspector Calls Box office: 0114 249 6060

North Bolton Little Theatre Mar 17-24 Much Ado About Nothing Jun 8-16 Ladies Day Box office: 01204 334400

The Northern Stage Mar 14/15 Riot Mar 20-24 Mogadishu May 22-26 Mary Shelley Box office: 01912 305151

Gala Theatre, Durham Mar 11 Fascinating Aida Apr 25 Fever Pitch Box office: 01913 324041

Theatre by the Lake, Keswick Mar 2-Apr 21 The History Boys Mar 19-21 Roll Out the Beryl Box office: 017687 74411

Derby Theatre Apr 30-May 5 Yes, Prime Minister May 8-12 Equus Box office: 01332 255800

Theatre Royal Newcastle Feb 22-Mar 3 The Taming of the Shrew Mar 12-17 The King’s Speech Apr 24-28 The Winter’s Tale Box office: 08448 112121

Grand Theatre, Blackpool Mar 6 La Boheme Mar 19 Giselle Mar 27-31 Anne Boleyn Apr 16-21 The Diary of Anne Frank Box office: 01253 743252

Wakefield Theatre Royal Feb 28 1, Bertolt Brecht Box office: 01924 211311

West Yorkshire Playhouse Feb 28-Mar 10 Top Girls Mar 20-24 Swallows and Amazons Mar 16-Apr 7 Mary Shelley Box office: 0113 213 7700

Central Southern Cambridge Arts Theatre Mar 6-10 Romeo and Juliet (Headlong) Mar 15-17 Anne Boleyn (ETT/Globe) Apr 23-28 Yes, Prime Minister May 15-19 Henry V Box office: 01223 503333 Creation Theatre Company Mar 5-25 Hamlet Box office 01865 766266 Ipswich Regent Feb 23-25 Russian State Ballet Apr 2-7 Chicago The Musical Box office: 01473 433100 Lighthouse Poole Apr 11-14 The Secret Garden Box office: 0844 406 8666 Milton Keynes Theatre Mar 6-10 The Taming of the Shrew Mar 12-17 Long Day’s Journey Into Night Mar 20-23 La Traviata May 1-26 Dirty Dancing Box office: 0844 847 7652 Oxford Playhouse Mar 19-24 Star Quality Box office: 01865 305305 Pegasus Theatre, Oxford Apr 20/21 Jamuna Box office: 01865 812150 Royal and Derngate, Feb 28-Mar 3 Mogadishu Mar 14-19 Moscow City Ballet Mar 28 Titus Andronicus Box office: 01604 624811

0207 492 1507 www.inkpellet.co.uk

All details correct at time of going to press but readers are advised to check details with venues before making a special journey

www.encoretickets.co.uk The Theatre Chipping Norton Mar 7 The Trial Mar 12-14 Our Country’s Good Box office: 01608 642350

South East Gulbenkian Theatre Mar 16 The Table Box office: 01227 769075 Hazlitt Theatre, Maidstone Mar 25 Sense and Sensibility Box office: 01622 758 611 The Hawth, Crawley Feb 27-29 Moscow City Ballet Mar 26-31 Grease Box office: 01293 553636 Mayflower Theatre Feb 21-Mar 3 Sister Act Mar 20-24 The King and I Apr 3-28 Dirty Dancing Box office: 02380 711811 Orchard Theatre Dartford Mar 23/24 English Youth Ballet Mar 25 La Traviata (Ellen Kent) Mar 30-Apr 5 Calendar Girls Box office: 01322 220000 Theatre Royal, Brighton Feb 27-Mar 3 The King’s Speech Apr 30-May 5 Steel Magnolias Box office: 01273 764415 Worthing Theatres Mar 13-17 On Golden Pond Mar 23/24 The Trial Apr 30-May 5 Save the Last Dance For Me Box office: 01903 206206

South West

Bradon Forest Theatre Mar 1 Discombobulated Box office: 01793 773981 Theatre Royal, Bath Feb 28-Mar 3 The Wizard of Oz Mar 19-24 Long Day’s Journey Into Night Mar 27-31 The Taming of the Shrew Apr 23-28 Abigail’s Party Box office: 01225 448844 Theatre Royal, Plymouth Feb 27-Mar 31 The Phantom of the Opera Mar 13-17 Gravity Apr 16-21 On Golden Pond www.theatreroyal.com Tobacco Factory, Bristol To Mar 24 King Lear Mar 29-May 5 The Cherry Orchard Box office: 0117 9020344

Wales Borough Theatre, Abergavenny Mar 22-24 How To Succeed In Business Without Really Trying Box office: 01873 850805 Grand Theatre, Swansea Feb 20 Of Mice and Men Mar 7/8 The History Boys Box office: 01792 475715 New Theatre, Cardiff Mar 13-17 The King and I Mar 20-24 As You Like It Mar 27-31 An Inspector Calls May 1-5 Henry V Box office: 02920 878889 IP

Barnfield Theatre, Exeter Apr 17-21 Stepping Out Box office: 01392 270891

www.inkpellet.co.uk

Guess Who’s

Coming to

Dinner

y first choice would be Dr Tom Shakespeare. He is a geneticist, sociologist and a Disability Rights Campaigner. He is a wonderful storyteller and I adore him. I know a wealth of wonderful women called Jenny so I would like to have a Jenny party soon. I met Jenni Murray when we shared a panel Women to Watch and I really wanted to get to know her better. She is so up front and out there. The actress Marlee Matlin is my next choice. In The West Wing she plays one of the best deaf characters that has ever been written. She is an amazing actress who uses both sign language and her deaf voice, both with equal pride. I would have to invite Alison Lapper. She is obviously famous for being the muse for Marc Quinn’s sculpture for the Fourth Plinth, but she is an amazing artist in her own right and also a strong advocate for Disability Rights Next up would have to be the writer Armistead Maupin. Whenever I am feeling down or ill, I take to my bed and re-read all my books by him.

Jenny Sealey NBE is the artistic director of Graeae Theatre Company and the newly appointed co-director of the London 2012 Paralympics Opening Ceremony. She is currently directing the UK tour of Reasons To Be Cheerful and in between all this she managed to slot in time to plan her dinner party with a difference… I feel like I know Michael Mouse and Mrs Madrigal inside out, so I would love to met the man who created them. A dinner party would not be complete without Mr Ian Dury. He was a Graeae patron and I would love to hear the stories of old Graeae days. He wrote Spasticus Autisticus, the all-time disability anthem and was someone not afraid to tell it as it is. Next would be Doreen Lawrence, the mother of Stephen. I saw her talk at a RIBA award event. Her presence, strength and emotional resonance was, and still is, extraordinary, and John Thaw who I fell in love with as Morse.

I have books about him but have never read them as I dream of meeting the man himself. Also present would be sign language interpreters Jeni Draper for me and Zane Hema (who does American Sign language for Marlee) and access worker Pickles Norman (who is our access and audio describer in Reasons To Be Cheerful). We would eat fine Italian food, crisp, dry white wine or red if people prefer. We would eat out. Somewhere like Zucca in Bermondsey (I have not yet been but people recommend it). I am a truly lousy cook! IP

Further watching Reasons To Be Cheerful is on tour around the UK. For more information and to purchase tickets visit www.reasonstobecheerfulthemusical.co.uk. To accompany the tour, Graeae is offering a dynamic workshop programme to groups that visit the show. There will be three workshop options suitable for ages 14 plus: ‘Creative Access’, ‘Song Writing’ and ‘PSHE and Citizenship’. The workshops give participants an opportunity to engage with Graeae’s unique creative approach and explore accessible ways of telling stories via song-writing, signed song and musical theatre. Get in touch to find out more… Nadine Renton, Training and Learning Projects Co-ordinator Tel: 020 7613 6900

www.inkpellet.co.uk

Toi Whakaari: New Zealand Drama School, Dead Friend, directed by Andrew Foster, photo by Michael Parrott.

Light to make you look. Inventing new solutions, creating new technologies Philips entertainment has united the leading brands of Vari-Lite, Strand and Selecon bring light to life in theatres, schools, studios, museums and galleries around the world. An unrivalled history of innovation in lighting technology means Philips entertainment can deliver versatile, intuitive, energy efficient lighting solutions to projects everywhere. Lighting professionals and designers can respond creatively and effectively to every challenge with better designed, dimming, control and high performance LED and conventional luminaires from Philips entertainment. To learn more about how Philips entertainment can help you create unique and engaging experiences for your audience or visitors: vari-lite.com, strandlighting.com and seleconlight.com

SAVE U P TO

£35

PER TIC KET*

SPECIAL EDUCATION RATE AVAILABLE FOR GROUPS OF 10 OR MORE Tuesday to Thursday evenings & Wednesday matinees during term time

Tickets £25 or £23 PLUS teacher goes free* Call 020 7845 0949 or email group.sales.uk@disney.com

LYCEUM THEATRE, LONDON * Terms and conditions: Offer valid for term-time Tuesday - Thursday evenings and Wednesday matinees for student groups of 10 or more, until 6 January 2013. One free teacher ticket per 10 paid tickets. Offer may end without notice. ALL SALES FINAL. No exchanges or refunds. Not all seats subject to offer. Additional blackout dates and other restrictions may apply. Dates, times, prices and cast subject to change without notice. ‘Free’ tickets must be for the same performance attended by group. Photo of Tsidii Le Loka from the Original Broadway Company by Kenneth Van Sickle. © Disney.