Learning & Development: Theatre - Curtain up!

Actors generally can depend on basic politeness from their audiences. Not so in children's theatre, says Toby Mitchell of London-based Tall Stories.

'When children are with you, they are 100 per cent with you. When they're against you, it's a different story,' he says. 'If adults don't like a show, they might say "that was interesting" at the end. But a child will say, probably during the performance, that he wants to go home.'

Tall Stories and other enduring theatre companies rarely have such problems, but it does demonstrate the difficulties of staging compelling theatre for the youngest age groups.

Imagination

Writers, performers and educators all agree that good theatre can still be a magical, life-enhancing experience for today's sophisticated, computer-literate generation.

Cilla Fisher, a co-founder of Fife-based The Singing Kettle, has 30 years' experience in the business. Since the troupe's early days touring Scottish schools, their blend of traditional music, fun, storytelling and audience participation has taken them worldwide.

She is confident that children remain as absorbed by live performance as they ever were. 'We introduce children to being part of an audience,, and to the experience of being in a theatre, the lights going down, the curtains coming up,' she says.

Elliot Rose, at London's Unicorn Theatre, purpose-built for young audiences, agrees. 'Theatre gives an experience that no other form of entertainment can provide, in terms of its immediacy, of storytelling and that feeling of being in that intimate space with performers.'

But early years consultant Linda Pound sounds a warning note. 'One of the problems is that if children have not had the opportunity for a lot of imaginative play, they cannot take on a lot of the conventions of theatre. There is a co-dependence which makes it probably harder for them.'

She recalls attending one production where swans were represented by white umbrellas. While some children were completely won over, others were bemused and challenged the symbolic concept.

There are concerns, too, about varying standards in an increasingly crowded market. Toby Mitchell says, 'People see that children's shows can make money. I hope they are creating shows of quality, not just for commercial success.'

He points to the upcoming pantomime season as a case in point. 'There is nothing better than a great panto, but a lot are lazy and indulgent, with jokes that exclude children.'

Iain Johnstone, co-creative director of Scotland's award-winning Wee Stories Theatre Company, has similar doubts. He thinks everything depends on the quality of the production.

'If it's all about imagination for both audience and performers, that's different,' he says. 'But I think there is too much naturalistic theatre and not enough theatrical theatre, because theatrical is a bit more time-consuming and more expensive, as opposed to a play off the shelf.'

The Unicorn produces a range of new commissioned pieces and more established work. Elliot Rose admits that it's easier to sell a well-known title. 'We balance that with a commitment to new writing. Teachers have a lot of justifying of cost, so we try to suggest curriculum links so that schools are taking less of a risk.'

Curriculum

Kathryn Solly, head of Chelsea Open Air Nursery School in London, is convinced of the centrality of the arts in children's development. She believes that the best productions will reveal themes that can be explored across the curriculum through role play, writing and other methods.

'We have been fortunate to have had several really good groups. It is a crucial part of the children's learning. It catches their imagination. They know the actors are adults acting, but it becomes almost magic. I firmly believe that if we lose things like this, we have lost a cornerstone of the early years curriculum in literacy and language.'

But for some schools, tighter budgets may incline them towards the safer choice - the touring company offering curriculum links, or a fits-all production for the whole school.

Toby Mitchell agrees that finances limit schools' options. 'It is a shame when schools cannot justify a theatre trip by simply saying it's theatre. But we would never choose to stage a show because of the curriculum. If the theme is strong enough, it will probably tie in with the curriculum anyway - for example, "The Gruffalo" about resourcefulness and friendship, and "Something Else" about victimisation, underdogs and the joy of playing' (see box).

Targeting particular age groups is a contentious area. Most difficult, Iain Johnstone says, is when schools disregard advice on age-appropriateness, and include children in Primary 1 to 4 for a show aimed at Primary 5 upwards.

At the Unicorn, shows are rated with a red, amber or green 'age-ometer'. Those shows produced for one-year-olds upwards are staged in the studio theatre, with cushions around a big central rug so babies can sit on the edges or crawl around and explore.

Even with the perfect production, children may react adversely. Entering a darkened, unknown space can be daunting. Kathryn Solly says that children may be 'spooked' by it.

Dot Wood, artistic director of Rochdale-based M6 Theatre Company, accepts that it may be asking a lot of a three-year-old to cope with the vastness and darkness of a proper theatre. M6 actors frequently perform within a nursery setting, rather having children travel to them.

But succeeding in such a challenging arena is clearly rewarding. As Iain Johnstone explains, 'Kids are honest. Young children vote with their inattention and toilet visits. And if we find that we lose them, we try to work out why it's happening, and slightly tweak it.'

Elliot Rose also thinks younger theatre-goers make a refreshing change. 'Their reaction is so honest and immediate. Once they get into primary school age, children are looking to see the reaction of their peers. But at this age it's immediate - they either enjoy it or they don't, and are equally vocal either way. You can't get away with anything.'

Cilla Fisher says that since touring schools in the 1970s, The Singing Kettle has honed techniques that enable them to control the biggest audiences. 'Rather than shouting and clapping, we arouse their curiosity - what's inside the singing kettle? Even if we've done a song and there's mayhem going on, we can go immediately to what's in the kettle, and everyone focuses.'

CASE STUDY: M6 THEATRE

You would think that if a play has only one word in it, children would have no difficulty recalling what that word is.

Not so, says Dot Wood, former teacher and now artistic director of M6 Theatre Company. Its current production, 'One Little Word' (on tour until 21 November) is for children aged three and up, and, tells the story of two playmates struggling over their ship's captaincy. It contains one single word.

But, as Ms Wood explains, it's clear from after-show discussions that children are convinced they've heard much more than that. 'There's something about having only one word that motivates the children's internal language. Sometimes you can bombard children with language. This is multi-layered, a very moving story, with magical, enchanting music that adds to the depth of emotion.

'Children connect with the characters and relationships. It matters to them when that relationship starts to go wrong, and they're so thrilled at the way the characters navigate those difficulties.'

During her teaching career, Ms Wood brought M6 into her school. 'I saw that magic work, when children made all sorts of personal and social leaps. It is a very powerful stimulus.'

More recently, M6 has developed a range of new early years projects, including dance, puppetry and storytelling. The company always provides teaching resources for follow-up work within the classroom - a music CD, photos of key moments in the play, or suggested activities to explore central themes.

M6 trials new pieces at a neighbouring primary school and welcomes the honest responses guaranteed from a roomful of children. As Ms Wood explains, 'You leave your ego behind and think about that child's journey.'

Next year's plans include 'The Street Where I Live', a storytelling project aimed at the early years, and 'Sunflowers and Sheds', a new touring stage production aimed at children aged four and upwards and that is about change, surprises and friendships on an allotment.

MORE INFORMATION
- Chelsea Theatre, London, www.chelseatheatre. org.uk
- Unicorn Theatre, London, www.unicorntheatre.com
- Tall Stories Theatre Company, www.tallstories.org.uk
- M6 Theatre Company, www.m6theatre.co.uk
- The Singing Kettle Theatre Company, www.singingkettle.com
- Wee Stories Theatre Company, www.weestoriestheatre.org

SOMETHING ELSE

'Something Else' by Kathryn Cave and Chris Riddell (Puffin) is a story about a strange creature who is excluded from activities because of the way he looks and behaves. Then an even stranger creature arrives.

Now this award-winning picture book is about to be staged at the Chelsea Theatre, London, by Tall Stories, the theatre company who produced 'The Gruffalo' and 'Room on the Broom'.

The production, suitable for children aged seven and under, runs from 1 to 23 December. Tickets cost £7. Tel: 0207 352 1967.