Polka Past: Where Theatre Begins

Polka Past Where Theatre Begins

This is our story

“Polka is a place of magic, wonder, and inspiration to any child’s imagination.”

The Sunday Times

Circus Parade (1979)

An exciting early Polka production in the late 1970s incorporating puppets, actors and music about two rival circuses travelling around Italy featuring the character Peter Petroff with his “Circus of Magic”.

Her Majesty Queen Elizabeth The Queen Mother opened Polka Theatre and attended a Gala Performance of “Circus Parade” on 20th November 1979.

Circus Parade poster, Polka Theatre (1979)

At Polka children enjoy a wide range of experiences designed to make theatre a natural part of their lives. Creative learning and participation are at the heart of Polka’s work, underpinning our aim of encouraging and empowering children’s personal development. Representing their views and opinions, providing them with opportunities to learn about theatre and involving them in the creation of our work, is central to our ethos.

Productions over the years have ranged in style from the powerful drama Stamping, Shouting and Singing Home by Lisa Evans; to family shows like To Dream Again by Toby Hulse and Child of the Divide by Sudha Bhuchar; and adaptations of wellloved stories like We’re Going on a Bear Hunt (adapted by Dan Jamieson, from the book by Michael Rosen).

“My grandparents Monica and Clifford Robinson lived in Wimbledon when they first moved to London about 40 years ago and actually donated money to the first development of the theatre. When I came along - with 10 other grandchildren! My grandparents brought us a couple of times down to Wimbledon even though they had moved to North London… sitting in the front row and being scared but not wanting to look away, I remember being bought an ice cream at the interval and by the end of the show I was still clutching it, uneaten and all melted!”

Zoe Robinson, Senior Producer

Polka Theatre (Exterior) 1979

Polka Theatre courtesy of Merton Council, London (1980s)

Set for Circus Parade show, Polka Theatre (1979)

Scenery workshop staff at Polka Theatre (1980s)

Holy Trinity Hall, Wimbledon (before it became Polka Theatre)

Polka is a producing theatre, maintaining an international reputation whilst serving local communities. Our productions have toured nationally and internationally. We nurture artistic talent through professional development programmes, and lead in the creation of innovative Early Years theatre (for 0–5 year-olds). As an active partner of the EU SmallSize network, Polka are collaborating with children’s theatres from 17 countries through taking part in the prestigious Creative Europe programme Mapping.

Inclusivity is and always has been an integral part of what we do. We were the first venue to pioneer Autism Friendly performances. We provide enabling, nurturing and safe environments to stimulate the minds and imaginations and fuel a sense of discovery and open play. We run free ticketing schemes, enabling children from deprived areas to experience live theatre for the first time, and a range of programmes that provide children with particular access needs a full opportunity to participate in our activities.

“Polka holds a unique place in the history of theatre for young audiences in the UK and internationally.”

Roger Fairman, Research Librarian & Repository Manager at Worcester University

Gorilla production, Adventure Theatre at Polka (July 2015)

Inclusive Workshop by Polka Workshop at a local school (1980s)

Rosie Blitz (1988 and revived in 1995)

A play exploring the experiences of WWII through a child’s eyes. This first showed at Polka Theatre in 1988 and was revived in the winter of 1995.

Written by Richard Pinner and directed by Vicky Ireland, billed as ‘The Vivid Adventures of a Second World War evacuee for eight-year-olds and over’, it starred a very young Keeley Hawes as Rosie in the 1988 performance.

Keeley Hawes in Rosie Blitz production at Polka Theatre (1988)

“For over forty years I have been working in a Palace of Wonder. The magic that dedicated people create in our two spaces is awesome and inspiring. To experience the sadness when one show closes and disappears in a matter of hours, leaving behind a bare empty space, is upsetting BUT then within a day or two a new show stands in front of us fresh and beautifully designed, which brings such joy to me”. That’s the magic that Polka brings to my heart.”

Roman Stefanski, Associate Director

Polka’s influence on the history of children’s theatre in the UK is clear. In 1967 there were two Theatre in Education groups, three children’s theatre companies and four puppet companies in the UK recognised by Equity, the Theatre Union. By comparison, in 1984 there were 25 Theatre in Education groups, 59 professional puppet companies and 67 young people’s and children’s theatre companies, which shows how Polka started way ahead of the trend.

Polka’s first performance was at The Swan Theatre in Worcester, and coincidentally Worcester University is where we still hold our archives. But despite filling venues around the country with innovative puppetry productions, touring to other theatres imposed restrictions: small casts and shows that had to fit every stage.

Regional theatres, many of whom had never staged any work for children except at Christmas, originally booked Polka out of curiosity, but were soon overwhelmed by the demand for seats. In 1967 and 1968 Polka broke attendance figures in 15 theatres! Gill had a policy of bringing skill, craft, and colour to Polka’s productions, and now he wanted to do the same to a building which could be a home for Polka’s work.

custom-built building. Children respond to intimacy, crooked corners and an informality in the layout of the building.”

Not surprisingly, finding a building that would be able to satisfy all these criteria was hard!

By 1971, following a successful Arts Council England (ACE) application (the first annual grant to any company working in the field of puppetry), Polka was attracting staggering audiences of 250,000 each year. A subsequent ACE ‘Housing the Arts’ fund also supported the original theatre conversion from 1976 – 1979.

Whilst dedication, talent and artistic flair have been fundamental to our journey, funding has also been essential to support our work throughout the years ensuring we are affordable and accessible to all. We thank all our supporters over the years for enabling us to continue this creative journey for children and families.

In 1976, Polka found the Holy Trinity Halls in Wimbledon, London. The vicar, Richard Lewis of Trinity Hall Church in Wimbledon, having seen an advertisement in the paper about their search, invited the Gills to see the premises.

Gill did his research – he visited 46 children’s theatres in Europe and was convinced that “a converted house or hall makes a much more comfortable and welcoming theatre for children than a

Built in 1926, the building incorporated four large halls – the Vicar wanted to sell it as it was overwhelmingly big for any modern parish. The crooked corners were there… Everything seemed perfect, except for the fact that the building was too small to house all of Richard’s ideas.

Above: Theatre designer Elizabeth Waghorn (one of the Polka founders) and a model theatre (1970s)

Alice in Wonderland production directed by Richard Gill at Polka Theatre (June to July 1988)

Polka Theatre founder Richard Gill & his puppets

Frankenstein (1988)

This show was written by Philip Pullman (adapted from Mary Shelley’s novel). The production featured actress Georgina Lamb. Phillip Pullman was mighty proud of this play and the script was even published in a booklet of plays.  The set was designed by Alex Bunn who gave a sparse but truly gothic look.  It didn’t pander to the younger audience and was set for age 8+, and children not of a nervous disposition.

Directed by Polka’s own Roman Stefanski, he said, “I had been working on and off with the Henson organisation and was able to borrow from them a latex severed hand which jerked and contracted sharply when we staged the two wires coming off an actual old Wimhurst static electricity generator that I was given from the Royal Academy off Piccadilly where I was allowed to explore their basement vaults of historical scientific artifacts.  Mind-blowing!!!”

Frankenstein production adapted by Philip Pullman and published by Oxford Playscripts

As luck would have it, very soon after they had visited the church halls, Richard and Liz Gill found out that the “house next door” (as it came to be known) was for sale. It was in a dreadful condition – no doors, no windows, only half a roof – but it was just what they needed. Polka managed to raise the money with less than three weeks to go and on 1st May 1977, they took possession of the building. Richard was responsible for making sure the building reflected the ethos of the Polka company and oversaw the creative work. Transforming his and Liz’s vision into reality was a big job, but architect John Hornby and designer Jennifer Wyatt, along with project supervisor Stephen Midlane (later Executive Director until 2018) made it happen.

The halls of Trinity Church were converted into the first UK theatre venue designed especially for children. Richard branded his vision as “a new adventure in theatre design”. Following a lengthy fundraising campaign, Polka’s dream of a permanent home for children’s theatre became a reality. The Polka Theatre playground of Richard’s dreams was built and featured the beloved Orlando the Cat play-structure.

A unique feature for the time, the theatre was designed to ensure that the building was fully accessible to any disabled visitors. In this, Richard took inspiration to work with his aunt, who was Lady Allen of Hurtwood, a promoter of child welfare. There were special lifts, ramps instead

of stairs, and the theatre seats were specifically designed to be removable to allow space for wheelchairs. With Lady Allen’s assistance, the playground was also specially designed to be as inclusive as possible.

When Polka Theatre officially opened its doors on 20th November 1979, it became the UK’s first theatre venue dedicated exclusively to children. This momentous event was marked by a Gala Performance attended by Her Majesty Queen Elizabeth The Queen Mother, who dedicated the building to Sir Charlie Chaplin.

The Queen Mother at Polka Theatre opening of Circus Parade production

(1979)

“I saw at least one of the Gills’ productions in the Church Hall before Polka was even built. The memory of seeing some magical mermaids stayed with me so when I had children of my own, I took them to Polka and I will never forget their excitement and joy. They are now all over 20, so hopefully will be bringing grandchildren before too long!”

Remember When project participant

Children sitting on Orlando the cat in the Polka Theatre garden (1980s)

With two performance spaces, a café, a playground, a toyshop and exhibition and gallery spaces, the venue was unique in its totally child-centred design. It quickly became a popular attraction both locally and London-wide, for the high production values of its ongoing programme of puppetry performances, and for the exceptional environment in which they were staged.

The building also housed the ‘Toymaker’s Guild of Great Britain’ toy exhibition and the “Puppets of the World” exhibition, which was particularly notable as Richard persuaded the Lanchester family to donate their world-famous collection of antique and international marionette puppets, then considered one of the three finest such collections in the world. Richard also had an extensive collection of puppets, which he loaned to the Theatre for the exhibition. These were both displayed long term in the foyer.

The London Borough of Merton began providing a small grant after this 1979 opening, and the then Greater London Council funded the company until its abolition in 1984, after which the London Boroughs Grants (later the Association of London Government) took over. Polka has had a long history of individual and corporate supporters in addition to public funders, and among the most notable

initial donors to support the venue were the Queen Mother, Lady Ellen Baker (widow of actor Sir Stanley Baker), Jan Pienkowski and Oona Chaplin (Charlie Chaplin’s widow).

Polka was fortunate to have help from Sainsbury’s with sponsorship from 1981 –1987, and other significant funders through the 1990s and 2000s included Derek Tullett (through his company Tullett & Tokyo) who sponsored the Christmas productions for 12 years and also provided the initial seed funding to undertake the capital project feasibility study, as well as the Tudor Trust and Clore Duffield Foundation.

From the beginning the annual programme consisted of seven productions created in-house. Importantly, Polka also provided a permanent London venue for touring children’s theatre companies from all over the UK and internationally.

Once established in its own space, the company quickly began to diversify, and the number of writers, directors, and puppeteers with whom the company worked grew.

Stephen Midlane worked alongside the Gills and all four Artistic Directors who would follow, as Administrative and Executive Director, overseeing the business planning and financial needs of the company from 1977 until his retirement in 2018. From 2009 onwards, he also worked with the architects and design team on the major redevelopment of the venue.

“As an audience member I was really struck the first time I took my then two-yearold daughter to see a show and ended up spending most of the afternoon playing, dressing up and eating in the garden. It was everything I could want from a venue – a great show, a café, a reading corner … such a great day out.”

David Duffy, Head of Production

Right: Original design for the train in the Polka Pantry by artist Jenifer Wyatt

Above: The popular Polka cafe train (1980s)

“I was fortunate enough to visit Polka regularly from an early age along with my two sisters. I can still remember the song from ‘The Last NooNoo’, the first time I saw fake blood being used on stage in a production of Roald Dahl’s ‘Boy’ and of course the fantastic playground. The love for theatre we gained through Polka has stuck with all of us into adulthood.”

Picture taken by my Mum, Patricia Bush, of me and ‘Orlando’ (August 1998)

Gabriella Bush, Polka40 project volunteer

Gabriella Bush on Orlando the cat in the Polka garden in the 1990s

In 1988, Vicky Ireland joined Polka as the company’s second Artistic Director. Under Ireland’s leadership, the company flourished as a centre of excellence. Productions, now predominantly actorbased and driven by quality scriptwriting, widened in both content and form. Wellknown composers like Neil Brand wrote and performed bespoke compositions for Polka throughout the 1980s and 1990s. In addition to staging classic children’s stories, Vicky Ireland produced historical and biographical dramas including Rosie Blitz (written by Richard Pinner), Dreams of Anne Frank (by Bernard Kops), Playing From the Heart (by Charles Way - based on the life of Evelyn Glennie); adaptations of contemporary children’s books included Alan Ahlberg’s Three Cheers for Mrs Butler, Michael Morpurgo’s Kensuke’s Kingdom, and Jacqueline Wilson’s Double Act.

Vicky was also responsible for devising work – one of the most remarkable of which was Off The Wall (directed by David Glass), a co-production with the David Glass Ensemble which took works of art by the likes of Rene Magritte, Henry Moore and Francis Bacon, and brought them to life spectacularly on stage.

The year 1988 also changed the formerly named Adventure Room into the Adventure Theatre - a designated performance space with seating, proper lighting, blackout, and a stage area. Even today this remains the only space in the UK dedicated exclusively to work for Early Years audiences. Polka also started doing tailored versions for babies and toddlers of the in-house productions seen in the Main Theatre.

Vicky Ireland with award Sammy’s Magic Garden (1989)

Lighting Technician at Polka Theatre (1990s)

(Top) Designer with set box, Polka Theatre (1980s)

(MIddle Left) Dreams of Anne Frank production, Main Stage at Polka Theatre (1992)

(Bottom Right) Hansel and Gretel production, Polka Theatre tour (1986-87)

The Adventures of Stardog (1991 – 1998)

A series of shows aimed at children aged 3-5 which took place in the Adventure Theatre. Written by Vicky Ireland, this production featured a BT-sponsored UK tour, and included integrated Makaton signing.

The show was originally commissioned by Polka Theatre, had a cast size of two actors, and a running time of 45 minutes.

The Adventures of Stardog, Poster designed by John Angus (1991)

Another ground-breaking and recurring event was The Word – Festival of Children’s Literature. This ran from 2000 – 2007 and involved authors attending to present and perform their work including Michael Morpurgo, Quentin Blake, Beverley Naidoo, Lauren Child, Terry Pratchett and Sandra Agard.

In 2002, Annie Wood was appointed as Polka’s third Artistic Director. Wood had worked extensively in children’s theatre in the UK and abroad for fifteen years before she joined Polka. Her productions of The Red Balloon and Martha had both received international acclaim, each touring North America, including a run on Broadway.

Wood’s first major commission for Polka was the ground-breaking installation performance piece, Best Behaviour, devised and directed by Mark Storor. Part theatre and part live art, the show took place in the theatre’s foyer, changing the nature of the audience’s relationship with the performers: the action happened in glass cabinets, on tables and chairs halfway up walls, and on ropes suspended from the ceiling.

2003 – 2004 saw Polka extend its target audience both downwards and upwards: the Adventure Theatre played host to recent developments in theatre for babies and toddlers, while the first ‘Polka Teens’ show went into production, Abi Bown’s poetic Hey There, Boy with the Bebop.

Meanwhile, a number of productions went out on the road: there were UK tours of The Selfish Giant (by Oscar Wilde), two productions written by Jacqueline Wilson; Double Act and Bad Girls (coproduced with Watershed Productions), Young Europe (Directed by John Retallack and Annie Wood and co-produced with Company of Angels) and an international tour of Martha’s Wild Goose Chase (written by Annie Wood, Jay Manley & Gill Robertson) to Bermuda and the US.

“Polka knows that young people matter. That’s why they matter. That’s why I’m with them”

Benjamin Zephaniah, Polka Patron

Dreams of Anne Frank (1992 and 1994)

Dreams of Anne Frank was commissioned by Polka Theatre in 1992 to commemorate the fiftieth anniversary of Anne Frank going into hiding. Bernard Kops used Anne’s diary to investigate the imagination and dreams of an adolescent girl who wanted so much to be a writer.

The playwright believed that it was important to make young people aware that there is still prejudice in the world, and that they have the power to change it for the better. Anne’s diary, and this play about her life, celebrates the spirit of creativity that thrives despite the hatred and the horror that humans continue to expose upon the world. This production was so well received that it toured internationally. It also won the 1993 Time Out magazine award for Best Children’s Production.

Dreams of Anne Frank production poster (1992)

“I remember visiting Polka many times in the 1980s - always a holiday treatmaking ‘sock puppets’ in half term workshops, celebrating my 8th birthday with a group of friends from school - for one girl it was her very first time going to the theatre! As well as the wonderful productions - I loved the magical toy display cabinets, the tiger climbing frame in the garden, rocking horses, the cafe with tables inside a train and the pocket money toys…There was also a visiting Polka puppeteer (a lady + her son) who performed at our home for my sister’s 9th birthday party!!”

Remember When project participant

With the arrival of Jonathan Lloyd in 2007 as Polka’s fourth Artistic Director, the age range of the programme adjusted to 0-11 years. Jonathan’s appointment led to an ambitious and entertaining mix of new plays, adaptations, and innovative work for Early Years audiences.

Shows included the premiere of Fevered Sleep’s Brilliant, Ghosts in the Gallery by Paul Sirett (a collaboration with the National Portrait Gallery), and Charlie and Lola’s Best Bestest Play (from an original idea by author Lauren Child and directed by Roman Stefanski) which was commissioned by BBC Worldwide and toured nationally, and then to Brazil, Singapore, Hong Kong and Australia (at the Sydney Opera House).

Polka has pioneered many developments for children with additional needs - not least their ‘Relaxed’ performances in 2007 - developed in consultation with the National Autistic Society. These performances are now widely replicated across the cultural sector.

Early Years musical workshop at Polka Theatre

(Right)

Polka Model Toy Shop (Below) Polka cafe

Mask making workshop at Polka Theatre

“My favourite time of year at Polka is the first day of reopening, after the dark period.

Weeks are spent repainting, replacing and renewing and all is quiet.  Then when the doors are opened and the foyer is full of children and there is a buzz in the building, it’s so exciting.  There is an energy in the foyer as the children wait for the theatre to open.  Then when the children are seated in the theatres for the respective shows, there are likely to be a few parents with babies and toddlers playing on the toys, reading a book, colouring in or imagining they are on a train in the cafe.

I have observed and enjoyed these different dynamics over the years as a member of staff and then as a parent.  It makes me smile to think of the joy and sense of achievement as my sons crawled across the foyer, especially picking up the pace to go down the corridor in the direction of the back door, the sense of freedom and adventure.”

Fran Chabrel, Community Engagement Manager

Pirate show at Polka Theatre

December 2013 brought Polka’s current Artistic Director Peter Glanville on board. Since Peter’s appointment Polka has delivered ambitious productions such as, Minotaur and Operation Magic Carpet, as well as exciting collaborations for example, Dot, Squiggle and Rest with the Royal Opera House.

Polka has won multiple awards, such as, the Eleanor Farjeon Award for Outstanding Service to the World of Children’s Books and an Off West End Award for Peter Pan in 2015.

My eldest son said what he remembers best about Polka:

“When I actually saw the REAL Michael Rosen sitting two rows of seats behind me and I got a photograph with him and asked him if he would like to come for tea at my house and he said yes!  And I’m going to be a writer.” Volunteer, Polka40 project

Engaging directly with children as part of the creative process has always been a key part of developing Polka’s work under Glanville’s Artistic Directorship, and an important element in our artistic contribution to the wider sector. Error 404 in spring 2015 encouraged Key Stage 2 children to explore major philosophical questions following creator Daniel Bye’s ‘philosopher in residence’ stint in primary schools in London and Stockton.

Lyn Gardner (The Guardian) said: “What makes Error 404 so fascinating is that it is extraordinarily complex within a deceptively simple format and that Bye doesn’t talk down to his young audience but encourages them to talk to him. It is genuinely interactive. The show doesn’t properly exist unless the audience engages.”

The production The Box of Photographs by Daniel Jamieson in 2016 was the culmination of a schools creative writing project that supported literacy development through creative writing workshops, a story competition, storytelling workshops and a visit to Polka. Polka partnered with the V&A Museum of Childhood in Bethnal Green, London giving children the opportunity to access Donne Buck’s photographic archive as inspiration for story writing.

Box of Photographs Production by Daniel Jamieson from the V&A Museum of Childhood archive (1950s) Photograph by Donne Buck

In 2016 Polka launched its first biennial Festival of Childhood, bringing together theatre-makers, artists, and the world’s leading childhood neuroscientists. Brain Waves presented an extraordinary programme of performances, presentations, talks, screenings and interactive workshops about how children and young people’s brains work.

I started working as an Usherette in 1988. I loved the atmosphere and the shows. One of my favourite shows was Beauty and the Beast and Sammy’s Magic Garden. I also met my husband who was an usher that same year. We have been married nearly 23 years and we owe that all to meeting there. Remember When project participant

Further productions included Depths of my Mind (choreographed by aerialist Lindsey Butcher), an aerial performance co-produced with Scarabeus Aerial Theatre, which took place at The Brit School, Croydon, and Shake, Rattle and Roll (directed by Sarah Argent), developed in partnership with Birkbeck BabyLAB. Two years later Polka’s next festival Techtopia was an exploration of the impact of technology on children. Together with a range of performances this included an interactive digital floor in the foyer and qcoded wallpaper in the café.

lead projects in the Theatre for Young Audiences (TYA) sector. Today, Polka continues to lead the way in producing innovative, high-quality, and often daring theatre that remains relevant to a new generation of young audiences. Since it first opened its doors, Polka has had more than 3.5 million visitors.

“When I ask my girls about Polka, they talk about hula hoop necklaces draped over the buffet at the Christmas VIP events and say the ice cream is really good (it’s lockdown – it’s all about the food!) They also remember being at the same show as Amanda Holden and being in the offices and costume attic! They loved meeting the Moomin puppets – that was a beautiful show!”

Peter Glanville also established PolkaLAB, a research programme which supports new work being led by Disabled Artists and Artists of Colour, responding to the lack of opportunities for these artists to creatively

Helen Hughes, Fundraising Manager

The Magic Paintbrush (1994 and 1997)

Written

by David KS Tse, it employed many Chinese Theatre techniques giving this production a unique flavour. The original East Asian cast included actor Kumiko Mendl.

This led to a new theatre company forming where with David Tse and others on the production of The Magic Paintbrush, they decided to start their own BEA touring company, with Tse as artistic director. They called the new company Yellow Earth (now renamed New Earth) named after Chen Kaige’s seminal 1984 Chinese film. The play was directed by Vicky Ireland.

The Magic Paintbrush poster (1994)

In 1999 Polka Theatre got involved in the award winning WebPlay initiative, an online project linking primary school children in London with their elementary school counterparts in Los Angeles, USA using theatre and playwriting as a framework for activity. The theatre wanted to explore the relationship between theatre and technology and see how it could combine the two to further its reach artistically, educationally and internationally.

In 2001, a group of young people aged between 6-13 years met and created the Polka Children’s Council. This group was specifically set up to ensure that children contribute directly to our creative processes of developing new theatre and to our operation as a children’s theatre venue. This group, now called Young Voices, continues to be our true voice of Polka!

Later that year, a free monthly storytelling event for families; World of Music and Stories, was set up and tickets were allocated to community organisations each month to invite families they were working with to attend.

“I can’t thank you enough for all the amazing life skills and memories you have given to children at Dundonald and across the borough.”

Headteacher, Dundonald Primary School

Playhouse, a partnership project, was born in 2004 and managed between Polka Theatre, Theatre Royal Plymouth, York Theatre Royal, Birmingham Rep and Bristol Old Vic. Each year, the theatres commission new plays designed to engage with school children as performers and their teachers as directors. Previous writers have included Mike Kenny, Joseph Coelho, Tanika Gupta, Nick Hennessey and Julia Donaldson.

“My partner went to primary school in Merton Borough (London). He was telling me a while ago that all the children used to look forward to Year 4 because that was when the class got to go to a Polka Theatre Workshop! He said of this memory:

“Every year we would see the older classes in assembly show the puppets they had made at the Polka workshop…going to the Polka to do that activity did feel like a rite of passage. My older brother did it… I remember my younger sister doing it… It was an exciting school trip that was a big part of reaching a certain age”

Eilish Whitear, Polka40 project volunteer

Polka Theatre summer school performance on Polka Stage.

Puppet Summer School production, Polka Theatre

Summer workshop at Polka Theatre

A Patchwork Quilt (1995)

Written by Michael Miller from the book by Valerie Flournoy. This production hosted an all black cast including the award-winning actress, Noma Dumezweni.

Music was created especially for the play by composer Neil Brand. It ran at Polka Theatre from February to April 1995.

A Patchwork Quilt production, set design by Gary Thorne, Polka Theatre (1995)

Polka’s work with schools responds to needs specified by teachers either led by PHSE and wellbeing needs or curriculum themes. In 2006 Polka was commissioned to create a road safety schools theatre tour and Arrive Alive & Around the Corner was born. This toured primary schools in the Merton Borough of London for 12 years.

2006 also saw the start of Freefalling, our tailored drama programme, provided freeof-charge to Merton Borough children aged 9-11 years old who are, or may be, at risk of social exclusion or who are experiencing difficulties at home or school. Polka’s Freefalling project was presented as a model of good practice in the House of Lords and continues today.

Polka then introduced the Arts Access programme; an offer of funded pre & post show workshops to all SEND schools and groups who attend Polka productions. This allows for a gentler introduction to the building and the performance.

Writing the World, a five-year creative writing project was inspired by the UK being the host country for the 2012 Olympics and was funded by London Councils. Children submitted stories inspired by China, India, Brazil, South Africa and the UK. The winning stories in each of the age categories were performed by actors on Polka’s stage and each year a writer, including Marcus Sedgewick and Floella Benjamin, was commissioned to write a short story that they read at the celebration event.

“Thank you for all that you have done for our children. Your programme has been life changing to our children.”

Deputy Head teacher, Merton Primary School

“I first visited Polka long before I had children, to see a show directed by someone I worked with.  It was the first piece of children’s theatre I had seen, and I was completely blown away. The show was every bit as good as anything I’d seen for adults and the young audience was completely transfixed and absorbed.

Once I had my own children, I often took them to Polka, with the train carriages and the orange cat firm favourites.   It was a regular fixture in family life and we still talk about the shows we enjoyed.  It’s a privilege to be playing a part in Polka’s future.”

Katy Manuel, Marketing Consultant, Polka

London Mayor Sadiq Khan with performers and participants at Polka Theatre

Polka has worked with a number of community groups over the years including the South London Refugee Association, various Children’s Centres in Merton, Merton Young Carers and families living in temporary accommodation. Our work includes annual projects often funded by BBC Children in Need, the most memorable being Stories with Dad which focused on Dads engaging with their children’s play. This later developed into Stories with Families and ran for 8 years.

“Since January 2020, Polka has been supporting literacy learning in local primary schools targeting low confidence children with our Write Here Write Now project, a creative writing programme.”

“It was a delight to see parents and children working together to complete the creative tasks. The storytelling was excellent and both adults and children were fully involved. Many of the parents had not experienced anything like this before.”  Community Partner

school production, Polka Theatre

World of Music and Stories, Foyer, Polka Theatre

Off The Wall (1997)

This was a play by David Glass. The production was both imaginative and innovative theatre. It was inspired by sculptures and paintings of artists as diverse as Bacon, Blake, Epstein, Gabo, Kandinsky, Magritte, Millais and Moore, as well as two pieces from The Study Gallery, Poole, and Bournemouth & Poole College of Further Education – Tony Cragg’s Trisome and Anthony Green’s The Red Hat.

The recreation of the chosen art works from Tate Modern, Tate Britain and the local galleries, as visual elements in a theatre piece was itself a work of art. One piece devised from Magritte’s Reckless Sleeper included David Glass himself high up in a box whilst elements of his dreams weaved and danced below – hat, bird, mirror, bow, candle and apple.

My first memory of Polka is coming to see David Glass’s Off the Wall in 1997, my first piece of children’s theatre. It was a fabulous piece of work, perfectly worked for its young audience, keeping them engaged, excited and hugely entertained as we all worked together to pull an enormous piece of silk over the entire auditorium. I was blown away, as were the children. It’s a piece of theatre that has stayed with me all these years and it was clear that it had an enormous impact on those kids - exactly what Polka is there to do. Remember When project participant

Playing From The Heart (1998)

Play written by Charles Way. This was the story of award-winning percussionist Evelyn Glennie. A play for older children about the Royal Academy of Music’s firstever deaf musician and the challenges faced to gain recognition as a performer.

This production held a poignancy for Artistic Director Vicky Ireland who said: “She came to the last show and we presented her with flowers on stage. It was a profoundly moving moment.” The show ran on the main stage at Polka from October to November 1998.

Playing From the Heart poster design by SPARC (1998)

This recent National Lottery Heritage Fund supported project has been made possible with help from Polka staff and a wonderful team of dedicated volunteers, who have contributed to every aspect of the project’s conception and delivery.

“To celebrate Polka Theatre’s exciting heritage, I have designed a selection of postcards as part of the Polka40 project. Learning about the theatre’s history through my designs has been incredibly enjoyable, and I hope the designs are a fun way for children to interact with Polka’s heritage as well.”

Kathryn Martin, illustrator and Polka40 project volunteer

With this project we have developed and shared Polka’s archive: a history of the UK’s first dedicated children’s theatre and its significant contribution to cultural practices. This offers a valuable collection for theatre practitioners, researchers and interested public alike. Polka Theatre’s archive is a record of the history of this unique theatre and its significant contribution to children’s theatre over the last 40 years.

“This is not just one of the best pieces of theatre I’ve seen this year, but one of the best pieces I’ve seen this century”.

(about Best Behaviour) The Guardian, Lyn Gardner, 21 October 2003

During 2019, and through Polka40, we also delivered a schools, community and performance project that all focused around the 40-year history of Polka and children’s theatre. This engagement programme involved 14 local primary schools and four SEND schools.

Polka40 Exhibition at Morden Park Hall (designed by Katie Lias). Photo taken by Ali Wright (2019)

A highlight of Polka40 included a childcentric exhibition at Morden Hall Park in London which then toured to four local libraries. This exhibition offered children, parents and grandparents the chance to explore and interact with props, costumes and other gems from our archive, learning more about theatre and Polka’s rich and creative past.

“The project was amazing! The freedom that the children had to develop the stories was great, and enabled them to feel ownership over the project. Thank you for the opportunity.”

Teacher at Merton Abbey Primary School, Polka40 participating school

“It was brilliant and really allowed the kids to flourish and be more confident in themselves and their abilities.”

Teacher, Malmesbury Primary School

Below) Charlotte’s Web production at Polka Theatre (2012)

(Left) Polka installation at Morden Hall Park, an exhibition for Polka40 project (designed by Katie Lias). Photo taken by Ali Wright (2019)

Polka Box office installation at Morden Hall Park, an exhibition for Polka40 project(designed by Katie Lias).

Photo taken by Ali Wright (2019)

Overall the exhibition hosted around 1,842 visitors at the full exhibition and 4,132 visitors during the library tour that ran from August 2019 - March 2020: A huge 5,974 visitors in total!

Pupil at Haslemere Primary School

The project also delivered a permanent exhibition in Polka’s new building, a digital exhibition of Polka40 archive materials/ living history and oral histories on Polka’s website. Four intergenerational community choirs were established to celebrate Polka’s 40th birthday and Re:Sound continues today as one joint Polka choir.

RE:Sound choir participant

During the project Polka worked with 30+ volunteers, an Archive Researcher, Heritage Project Manager and project partners to gain skills and ensure our heritage (Polka memories, objects and stories) is better looked after, managed, understood and shared into the future.

(Top) Double Act production, Polka Theatre (2018)

(Centre) Chester Tuffnut, Adventure Theatre at Polka (summer 2016)

(Bottom) Charlie and Lola production at Polka Theatre (2014)

“Polka is much more than a leading children’s theatre; it is a complete experience designed with children in mind.”

Peter Glanville, Artistic Director & Joint CEO, Polka Theatre

“I want to tell you that I had a really fun time with you and I loved the performance and it was epic”

“This has been a terrific initiative and in my view has enhanced the reputation of Polka.”

Best Behaviour (2003)

Created by visionary performance artist Mark Storor, this was Artistic Director Annie Wood’s first production for Polka Theatre and was a site-specific performance including some aerial performances. It took place in and around the foyer of the theatre and amongst the audience members.

Best Behaviour was later described as “one of the best pieces of theatre this century” in a five-star review in The Guardian newspaper. It ran from September to November 2003.

Child of the Divide (2006)

A play written by Sudha Bhuchar, adapted from the short story PALI by Bhisham Sahni and produced by Tamasha Theatre Company, it focuses on Summer 1947, at a time when 16 million people were on the move between India and the newly formed Pakistan.

Amid the upheaval young Pali’s fingers slip from his father’s hand, and his destiny changes forever.

Marking the 70th anniversary of the partition of India, Polka was delighted to premiere this compelling and timely play on 5th May 2006. The production revived for the 70 th anniversary of partition in 2017.

“Imaginative and educational” The Stage

Child of the Divide poster (2006)

“I loved taking my granddaughter Scarlett to the Polka Theatre. We started when she was young and sat on the floor or on my lap in the downstairs space and moved up as she got older.  She loved the magic of itnot just the shows, but the costumes and books and toys on the ground floor. Her school started taking her class to Polka, but I miss watching her face absorbed by live shows.”

Steffi Callan, Polka40 project volunteer

Polka Theatre

Artistic Directors

1967-1988: Richard Gill

1988-2002: Vicky Ireland

2002-2007: Annie Wood

2007-2013: Jonathan Lloyd

2013-Present: Peter Glanville

On our new Polka Past web pages you can explore our history, archive images, watch some film clips, memories of the theatre, read about our journey, watch and listen to a selection of oral history interviews from performers, composers, staff and visitors, and visit our photo gallery for a trip down memory lane.

‘“I have many fond memories of going to the Polka Theatre when I was a child in the 1980s. To live near enough for it to be a regular activity was wonderful. Now I’m a parent I’m pleased to be able to take my son there too. My fondest memory is of Elementary, Mr Holmes, which I went to see for a friend’s birthday in 1991. I remember it being absolutely spectacular’.”

Remember When project participant

Shake, Rattle and Roll production (part of Polka Brain Waves Festival) at Polka Theatre (October 2016)

Skitterbang Island (2010)

Skitterbang Island was first commissioned and produced at Polka in 2010 and brought together the expertise of Polka and Little Angel Theatre to create an exciting operatic adventure fo. Early Years audiences. The production was directed by Peter Glanville, then Artistic Director of Little Angel Theatre, and now Artistic Director of Polka Theatre. Skitterbang Island was aimed squarely at young children (aged 3-8) featuring colourful characters and sets, and an original opera score.

The story of a young girl and her uncle, a pair of jolly musical travellers, who become separated when their boat is hurled upon a rocky shoreline during a fierce storm. Alone for the first time in her life, the young girl wanders about lost and afraid, until she encounters a most peculiar beast with an obsession for collecting driftwood and scrap.

“My children and I have been visiting the Polka since they were very young. Around 2010 we went to see Skitterbang [Island]. This was such an enchanting opera. The children were mesmerised by the puppetry, immediately being immersed into the world of skitterbang. The actual puppet was a delight. As for the music, what a wonderful opportunity to introduce young children into the world of opera. Truly magical. We bought the CD and enjoyed listening to this music for many years. I would love to see again

Lena, Tom and James, audience members

Lullaby (2013)

Our first show for babies! Lullaby saw the show’s composer Natalie Raybould performing soothing songs to an intimate audience of 12 babies and their parents. “A piece that is in a beautiful cosy tent of cream neutral colours where 12 babies and their parents come and sit down on cushions. I’m going to sing with you and for you...If your baby sings all the way through, that’s brilliant - I’ll duet with her.”

Jo Belloli, who was Associate Producer enthused, “We’re convinced that there’s a real and connective justification for creating Lullaby for this very particular and special audience in the hope that it will touch, engage, delight and inspire.”

Lullaby, Polka Theatre (2013)

“Our theatre building is not just a place to see shows, but a safe and welcoming space for children to be creative and grow, and for families and teachers to explore children’s imaginations.

Our new home improvements include:

• An extended Adventure Theatre with increased capacity for Early Years audiences

• A centralised Creative Learning space offering an expanded participation programme

• A newly expanded destination café

• Significantly improved accessibility and facilities

I am constantly meeting people, now adults with children of their own, who vividly and warmly remember their childhood Polka experience. With our recent redevelopment we will continue to inspire children with exceptional theatre and creative activities for many years to come.”

Lynette Shanbury, Executive Director/ Joint CEO, Polka Theatre

• A new garden and improved outdoor play area

• Our first onsite rehearsal and community space

Reopening the venue in 2021 marks a significant moment in Polka’s history, and it ensures that we can continue to make astounding and extraordinary theatre and creative experiences for children for decades to come.

Top 5 Polka Productions (as voted by audiences in 2019)

1 - The Paper Dolls (2015)

2 - Gorilla (2013)

3 - How to Hide a Lion (2016)

4 - Three Cheers for Mrs Butler! (1993)

5 - Run! (2012)

New Polka theatre design (exterior)

designer Laura McEwen (2020)

Members of ITC Foster Wilson and some Polka Theatre at the beginning of the new build (2019) From Premier Construction Magazine

“What I’ve always loved about the Polka Theatre, since the moment I first walked in, is the atmosphere of delight that I found there. The cases of fabulous puppets in the foyer; all that love and knowledge of theatre history and make believe. It’s incomparable and irreplaceable and more or less inimitable. And the Polka’s commitment to new writing for children, to giving young audiences the very best of what theatre can do, is what makes it so outstandingly valuable.

Children don’t need cut-down versions, simplified versions, low calorie versions, of the sort of thing grown-ups like. They don’t need that kind of treatment. They deserve better than that. They need better than that.”

Philip Pullman, 2018

To Dream Again production by Toby Hulse, Main Stage at Polka Theatre and Theatre Clywd coproduction (March 2017)

James and the Giant Peach (2016)

This 2016 production visited children’s author Roald Dahl’s book to celebrate the writer’s centenary year. The show follows the adventures of James, Miss Spider, Miss LadyBird, Centipede, Earthworm and Old Grasshopper.

Adapted by David Wood for Polka Theatre, Roman Stefanski’s direction allowed the actors to have fun with their outrageous characters. The play contained original music by Olly Fox.

“My granny used to take my sister and me to the Polka when we were children in the 1980s. I remember these trips were very special treats which we looked forward to. Sometimes, we’d also be allowed cake whilst we sat in the cafe’s little train! I’m now the mother of three children and have brought them to Polka several times. They love the little train too!” Remember When project participant

James and The Giant Peach production, Polka Theatre (July 2016)

Omid Djalili, Patron of Polka Theatre with I Love Polka sign