Volume 66, Number 1, Summer 2016 WORD MATTERS

The Journal of The Society of Teachers of Speech and Drama Connecting teachers of communication, performance and life skills

CONTENTS Contents

Editorial Word Matters Pg 2 Lynne Collinson Editor Lynne Collinson [email protected] Advertising Manager Eric Bexon Articles [email protected] Pg 3 Creating An In-House Speech Festival Secretary Ann Jones Peter Lee [email protected] Reviews Editor Paul Bench Pg 7 The STSD: some benefits of becoming [email protected] a member Researchers Elizabeth Oakley Pg 8 Christopher Marlowe Needs You [email protected] Ken Pickering Enquiries to [email protected] Pg 10 Canterbury Marlowe Day Closing Date for Contributions to the Winter 2016 issue is October 31st 2016 and for the Pg 11 Surviving Actors Summer 2017 issue March 30th 2017 Lynne Collinson interviews Lianne Robertson Cost of adverts: Pg 12 Sweet Swan of Avon Full Page £135, Half Page £90. Elizabeth Oakley Word Matters is distributed to members of The Society of Teachers of Speech and Drama or Pg 16 To Swear or not to Swear can be ordered on a yearly subscription from: Lucy Cuthbertson Barbara Wentworth, [email protected] Annual Rates for non-members: Pg 19 Celebrating the Career of Rona Laurie UK £14 including postage. Overseas £21 including air mail. In Sterling, Stuart Morrison drawn on a London bank. Pg 22 Another String to Your Bow Cheques payable to STSD Lynne Collinson Online payment: www.stsd.org.uk Published by The Society of Teachers Pg 24 The Mousetrap of Speech and Drama William Ilkely 73 Berry Hill Road, Mansfield, Pg 26 Drama Arts Productions Notts., NG18 4RU Geoff Cresswell Reg. No. 38759673 Pg 28 On The Move with Vamos Printed by Cantate Communications 020 3651 1690 Rachael Savage www.cantatecommunications.com

Pg 30 The Big CCC The views expressed in this Journal are not necessarily those of the Editorial Board or of Alison Shan Price the STSD

Pg 33 The Society and the Association Cover image: Filming Al Arabya. One World of Speakers Clubs Actors’ Centre Mike Douse Facebook Page: The Society of Teachers of Speech and Drama Book Reviews Twitter @stsd_ Pg 34 Book Reviews

WORD MATTERS SUMMER 2016 1 WELCOME Welcome to Word Matters Summer 2016 Thou art a Moniment, without a tombe, Elizabeth Oakley’s fascinating article, Sweet Swan of And art alive still, while thy Booke doth live, Avon which describes the way the English have viewed And we have wits to read, and praise to give. Shakespeare throughout the ages, reminded me of the … bowlderised editions of Shakespeare’s plays we studied He was not of an age, but for all time! at school. What rich language we missed, what key And all the Muses still were in their prime, parts of plays such as “Othello” were altered. Recently, When like Apollo he came forth to warme someone on a drama teachers’ Facebook group posed Our eares, or like a Mercury to charme! this question: “Is it acceptable for my medal students Nature her selfe was proud of his designes, to swear in their Lamda acting examinations.” The And joy’d to weare the dressing of his lines! comments that followed were quite amusing. I was Which were so richly spun, and woven so fit, surprised at the number of teachers who cut the As, since, she will vouchsafe no other Wit. “offensive” language (sic) or even substituted “milder” The merry Greeke, tart Aristophanes, terms. In her article on teaching students to use bad Neat Terence, witty Plautus, now not language, Lucy Cuthbertson explores this issue in please; But antiquated, and deserted lye depth. If you have any comments on this subject, feel As they were not of Natures family. free to send them to [email protected] Yet must I not give Nature all: Thy Art, My gentle Shakespeare, must enjoy a part; Moving on to other types of theatre, you can read about touring in The Mousetrap, Vamos theatre Ben Jonson’s eulogy for Shakespeare on his death, company which uses full masks, a multi-cultural theatre in the preface to the first folio, remains one of the company, and Christopher Marlowe. best summations of the Bard’s talent and legacy. In this year, the 400th anniversary of his death, we are Finally, this year at least two members celebrate their fortunate to have our annual conference in Stratford. centenary, one of whom, Rona Laurie, has been a Not only that, but celebrations are ongoing throughout familiar figure at agms and conferences, and has taught the country, where nearly every town has recognised many of our members. Former student and friend of his work in some way. Thousands paraded through Rona, Stuart Morrison, gives us an insight into her life the streets of Stratford on April 23rd, where people and work on page 22. from the six Stratfords across the world gathered for a special reunion. One event that amused me was on a I hope this Summer issue Lufthansa flight from Birmingham to Frankfurt. The gives you plenty of food for flight attendant, Adam Sunderland, bravely performed thought. the inflight welcome and farewell in Shakespearean English, appropriately dressed in Elizabethan costume. Lynne Collinson From archeological talks and digs, to films and live broadcasts, there has been an embarrassment of Shakespearean riches.

Date for your Diary Our 2016 conference in Stratford is almost fully booked. Next year our conference will take place in the beautiful Lake District. It will be based in Ambleside from 17-20 August with accommodation on The University of Cumbria campus. The Conference will include a visit to The Wordsworth Museum and Dove Cottage in Grasmere with a workshop led by The Wordsworth Trust Education team with access to some of Wordsworth’s original manuscripts and documents. There will be a cruise round Derwentwater and a performance at The Theatre by the Lake in Keswick. Unmissable.

2 WORD MATTERS SUMMER 2016 CREATING AN IN-HOUSE SPEECH FESTIVAL Teacher Peter Lee tells us about Speech Festivals in his native Hong Kong Creating an In-house Speech Festival - Speech Gala in a Hong Kong Primary School

I am not sure how As the Speech Festival is held every year between truthful it was when two November and December, the school’s atmosphere retired British school for speech and drama is particularly rich in the first heads commented that school term. However, I noticed that as the Festival “there isn’t anything comes to an end, it became hard to keep the poetic like this in England” and dramatic environment in school – something had after watching a session to be done for the second term as well. In 2011, in my of the Speech Gala, a capacity as the English Subject Head, I spoke to the school-based speech consultant of my department at that time, Mr Simon and drama contest, held Tham, who advised that a school-based event similar earlier this year (Feb to the Festival should be created. Thus, a proposal 2016) in my serving was done over that Christmas and with the approval school in Hong Kong, of the School Head and Mr Tham, we had our first where English is a in-house Speech Festival in the second term of 2011, second language. But certainly, since the inaugural which was titled “Speech Gala 2011”. Speech Gala in 2011, we have been witnessing year after year the brightened faces of our children Rationales enjoying in the language and treating it as an art form on stage. If you have been teaching a language through drama yourself, you would probably have experienced the My last article for Word Matters states the importance positive transformation to the learners in the process. of training individual pupils for speech performances As an ESL teacher in a primary school for over a (Lee, 2015); this time, I should introduce the platform decade, it is more than certain to me that stressing school teachers could build on which budding on the artistic and performance values of this target performers could unleash their speech and drama language makes learning a lot more fun, solid and talent and learn from one another. vibrant than merely teaching the accurate usage of it for assessment purposes. As Kao and O’Neill (1998) A Brief History have said, “Through drama, teacher and students together enter the world of increasingly authentic Hong Kong has an old competition for speech and scenarios and creative dialogues.” This is particularly drama known as the Hong Kong Schools Speech useful for the more reticent ones as sooner or later Festival (organised by the Hong Kong Schools Music they will need to learn to speak in public. and Speech Association). This festival has been held for over 65 years and has been listed under The Further to the benefits of learning English through British and International Federation of Festivals for drama (which naturally covers speech in general), Music, Dance and Speech. My school is an active Wessels (1987) has a comprehensive summary in participant of this event which involves categories like that such learning leads to the acquisition of the verse-speaking, prose-reading and choral speaking. language meaningfully and interactively; learners get to master the vocabulary, pronunciation and

WORD MATTERS SUMMER 2016 3 CREATING AN IN-HOUSE SPEECH FESTIVAL

prosodic features of the language contextually; teachers teach them the pieces involved in all and the confidence in learning the language could categories of their level. And in the case of public be improved. I especially agree with the last point speaking, English teachers discuss with students above that students gain confidence in the process. according to the set topic and make it an assignment Very often, students do not know how good they for the whole class to prepare the script. are until they step onto the stage and speak with full emotions. Once they get used to the culture of Our regulations have it that all students must choose performing the language in front of people, a range to enter at least one category. For the preliminary of life quality will be learned efficiently as well, such round, English teachers will turn the classroom into as, as Boudreault (2010) puts it, self-acceptance and a contest stage and have each competitor perform acceptance of others, responsibility, problem solving, in their selected category. The teacher will be the pride in work, creativity and imagination. adjudicator and select a winner to be the finalist in My team and I share the same vision that the subject the Grand Finals to be conducted in the hall some of English ought to be learnt in a more lively and time later. stage-based manner. And therefore, it did not take me a lot of effort to persuade and motivate my team In the Grand Finals, we invite an external adjudicator to help build the first Speech Gala. And once the first who is an expert in the field of speech and drama event was smoothly held, the subsequent ones were performance and/or adjudication, together with a matter of fine-tuning and improvements. the School Head in some cases, to adjudicate the event. Three sessions are held – Primary One and Rules & Regulations Two, Three and Four, Five and Six. In the end, each category in each level produces one winner, and Speech Gala is a whole-school event, meaning at least one second and one third places plus the that every student is eligible, and in fact we make remaining merited performers. All finalists receive a it compulsory, to enter. For the latest categories, certificate and the winners get book coupons also. we have verse-speaking for Primary One and Two students; verse-speaking and prose-reading The detailed regulations and set pieces for each for Primary Three and Four students; and verse- division are put together into a booklet of which the speaking, duologue, and public speaking for Primary softcopy is sent to the relevant students and parents Five and Six students. every year. The event has been operating more or less like this for the past six years in this school. Teachers set the pieces, approved by the subject panelists beforehand. And during lessons, English

4 WORD MATTERS SUMMER 2016 CREATING AN IN-HOUSE SPEECH FESTIVAL

A Reflection – Six Years’ Effort adjudicator of Speech Gala 2013, had a similar experience as he said, “I had such a good time and It is often not easy to promote this endeavour to other left feeling thoroughly uplifted by I what I’d seen. schools as every time I present this project to visitors The boys were just wonderful and I cannot praise or an audience in the education field, they find that it them highly enough. They are so lucky to be in such involves too much work from the team and question if a warm, supportive and enriching environment…” that is cost efficient for teaching and learning. And for the most recent one, Speech Gala 2016, Ms Mary Ann Tear was left with this fond memory, I certainly agree that the Speech Gala is not a “I had a marvelous time – it was not only the talent one-size-for-all event that any school, primary or but the energy, enthusiasm, and commitment that I secondary, could simply duplicate. It takes a whole admired – down to a dedicated and caring staff team. team with passion in speech and drama to make it Hopefully I will be back!” happen. And you need to believe that learning the language through communicating with the audience All these positive notes point to the fact that it has on stage by means of verse-speaking, prose-reading been worth it creating such a whole-school in-house etc could benefit both parties tremendously in order speech and drama event. While people praise the to make the event convincing and meaningful. standard of performance in the Gala, my primary concern is the effort every English teacher puts in I personally am very fond of speech and drama, for encouraging and motivating students to love the as a hobby and profession, and thus the team I literary materials and to love performing through this recruit has more or less the same mindset. With our language. It is always the literary atmosphere that tradition of joining the Speech Festival every year, matters, particularly in the case of a second language it became natural that we lengthen the atmosphere when we do not often have the authentic linguistic to the second term through the Speech Gala. And environment outside school. everybody could experience the transformation of students this brings. It takes time to create an event like the Gala and it certainly takes more time to shape it into its present The changes, though not showing numerically state. I am thankful every year seeing the marvelous in students’ report, are seen by the impressed work from students, teachers, and adjudicators. adjudicators year after year. The adjudicator of It is another dimension of enjoyment from seeing Speech Gala 2012, Mr Simon Tham, commented, students achieving an A Grade in test papers. “I thoroughly enjoyed all the sessions and the standard of the presentations in all the categories Concluding Remarks left me pleasantly surprised and inspired to write comments…There was a carnival atmosphere This article reports a departmental endeavour in throughout, with the boys1 enjoying themselves a Hong Kong primary school to create a school- and at times even joining in to recite the lines with wide and school-based event similar to the Speech their classmate on the stage…” Dr Gary Harfitt, Festival, known as the Speech Gala. With six years 1 The school concerned is a boys’ school. of experience, the event has developed and been refined in terms of operation, rules and regulations. While finalists are under spotlight during the Grand Finals in the school hall, more importantly, the teaching and learning in the classrooms are the main course – everybody gets the nutrition from the pieces selected carefully for each level.

The event has been reported yearly by the department magazine and I, in the capacity of the subject leader, have been presenting the event to various parties over the years. But this is the first time I bring this effort to an international audience in the professional field of speech and drama, through Word Matters. I am more than happy to let morepeople know about our work because the festive

WORD MATTERS SUMMER 2016 5 CREATING AN IN-HOUSE SPEECH FESTIVAL

and dramatic atmosphere of language learning, in Author this case, English, should be spread and every child Dr LEE, Ho Cheung (Peter) in the world deserves to experience it. I am looking EdD (HKU), MA (UNSW), BA (Stirling), PGDE (HKU), forward to hearing about more schools doing similar ATCL, LLCM(TD), MSTSD activities to celebrate speech and drama for our budding actors and stage performers, as well as Ho Cheung LEE (Peter), EdD, resides in Hong Kong where he teaches and writes. He earned his doctorate future teachers and leaders. from The University of Hong Kong with a thesis on teaching reading. His poetry and short stories have References appeared in a number of international journals. In Boudreault, C (2010). The benefits of using drama in the addition to writing, he is fond of performing texts. He ESL/EFL classroom. The Internet TESL Journal, 16(1). completed his Trinity Guildhall Grade 8 Performing Text, Retrieved March 5, 2016, from http://iteslj.org/Articles/ for which he was awarded an Exhibition Award, followed Boudreault-Drama.html by his ATCL (Speech & Drama) and LLCM(TD) (Speech & Drama Teaching). Kao, S. & O’Neill, C. (1998). Words into worlds: learning a second language through process drama. Ablex He currently chairs the English Department of Ying Wa Publishing Corporation: London. Primary School; he is a Full International Member of the Society of Teachers of Speech and Drama (STSD), Lee, H. C. (2015). Language enhancement through as well as an Associate Member and Sub-committee speech and drama: a case of two examination Member (English Speech) of the Hong Kong Schools candidates. Word Matters, 65(2), 3-7. Music and Speech Association.

Wessels, C. (1987). Drama. Oxford, Oxford University More about him can be found at http://ho-cheung. Press. weebly.com

6 WORD MATTERS SUMMER 2016 THE STSD

The STSD: some benefits of becoming a member

Residential Summer Conferences are held each STSD... TEACHER INSURANCE SCHEME year in a different location chosen for its interest and by Gallagher Heath: The Society has recognised the facilities available. Members obtain a reduction in the need to provide Members with a cost effective fees. insurance scheme specifically designed for teachers of speech and drama plus schools/establishments with One-Day Conference held in association with the cover available through Gallagher Heath Insurance Society’s Annual Meeting and Luncheon. Services; telephone +44 (0)20 7560 3000, website www.gallagherheath.com . Cover for Public, Products Professional Development Day and Employers Liability is included as standard, with optional covers to include Accident for Principals, Regional Meetings, workshops and other Teachers and Employees, Property, Business functions organised locally by the Regional Interruption and Money. Cover can be tailored to meet Representatives. the requirements of teachers or schools and additional covers are available. Be sure you let them know you’re Free Copies of its internationally acclaimed a member of The STSD and you’ll need to give them Journal, Word Matters and Newsletter. These are your membership number. published two and three times respectively each year. Hospital and Medical Care Association (HMCA): Inclusion in a Register/Directory of Members, SPECIAL OFFER for Members: Are you paying which is circulated internationally as well as on line. too much for your present private medical plan? Why Members who give private tuition may advertise the not take a look at the HMCA plans and compare fact in the Register and on line in order to attract the benefits and subscriptions? You may transfer to enquiries from students. HMCA at any age and without a medical examination; there will be no break in protection and there is a 30 Various information sheets, including a Fees day money-back guarantee. Upon the conclusion of Guidance Leaflet, Address Lists and a Professional your first year’s membership of the Medical Plan you Etiquette leaflet. Information sheets/leaflets are will receive £50 worth of Marks & Spencer vouchers. obtainable from the Secretary or can be downloaded Check on the website at http://www.hmca.co.uk/stsd. from the Members Section. htm today, whilst this offer remains open. HMCA offer other types of insurance such as Travel. Personal Free advice on such matters as training and Accident and Vehicle Breakdown. possibilities for careers in Speech and Drama, for members and students. Discounts as a Corporate Member of NCA (National Campaign for the Arts); members are Advice on professional problems. The Society can entitled to use our membership card of the NCA for give help on various problems concerning terms of concessionary rates at various venues and events employment and a number of minor matters which may arise in the course of their work. However, it is Discounts at Samuel French’s Theatre Bookshop, unable to give ‘legal aid’ funding. London

Discounts at Nick Hern Books www.nickhernbooks. co.uk

WORD MATTERS SUMMER 2016 7 CHRISTOPHER MARLOW Christopher Marlowe needs you… and you need Christopher Marlowe

Ken Pickering

8 WORD MATTERS SUMMER 2016 CHRISTOPHER MARLOW

Rather like the STSD, the Marlowe point in their lives. Others, also coming to Marlowe and have been Society has had an intriguing and like me, because they regard the intoxicated by him. sometimes turbulent history. first production of Marlowe’s Founded in 1955, it fairly soon Tamburlaine as a turning point in the The most recent events to be became embroiled in the debate whole English theatre. Some are organised by the Society are the precipitated by Calvin Hoffman’s fascinated by Marlowe’s secret life ‘annual Marlowe lectures’ held in book The Man who was Shakespeare as a spy, some by his erotic poetry, London in November. Interestingly concerning Marlowe’s possible some by the mystery surrounding the first two lecturers are Hoffman survival after his apparent death his death and others because they prize winners: the first was Dr. in Deptford and his subsequent are determined to introduce the Ros Barber, the author of a prize- authorship of the plays we assign glorious plays of Marlowe into their winning novel in verse form, The to William Shakespeare. The work as teachers, drama students Marlowe Papers now running as King’s School Canterbury, where or as directors. As we promote a play and this year it will be Marlowe was educated, continues the work of Marlowe we, in turn, Professor Matt Steggle from to award an annual ‘Hoffman Prize’ are nourished by him and his Sheffield Hallam University who for scholarship surrounding the astonishingly relevant views of life will speak about his discoveries ‘authorship’ issue. The politics of and the universe. concerning a previously considered those early years have, to some ‘lost play’ by Marlowe. extent survived: claims and counter- One of the Society’s great claims still emanate from the achievements was the establishment News of membership of the Society Shakespeare industry, particularly of a memorial window to this and of its events and publications when individuals feel that their neglected and misrepresented is always available in its magazine carefully cultivated reputations genius in ‘Poets’ Corner’ in The Marigold and on the extensive are threatened but the Marlowe Westminster Abbey and a short website www.marlowe-society.org Society embraces all opinions and bi-annual ceremony celebrates this which has thousands of ‘hits’ every convictions, inevitably rising above a fact. Other events organised by month. We specialise in supporting petty level of activity. the Society include two ‘Marlowe each other in our teaching, research, Days’: one in London and one theatre-going and fascination Membership of the Society has in Canterbury (where there are with history. We work through included and continues to include also discussions about creating scholarship and laughter, sublime some of the giants of Elizabethan a ‘birthplace museum’). These verse and revolutionary theatre, Theatre scholarship: Park Honan, days offer a varied programme of music and dancing and the spiritual Richard Wilson, Lisa Hopkins, Roy talks, screenings, discussions and depths of being human. A warm Eriksen and Michael Frohnsdorff performances and provide a rich welcome awaits you! to name but a few and is now source of ideas for teachers, theatre attracting a new generation of practitioners and enthusiasts of all scholars in the field of what we kinds. In recent years the Society now term ‘Early Modern Drama’. has established vital links with the At the same time, the Society Marlowe Theatre in Canterbury includes such fine actors as Mark and with such progressive theatre Rylance and Julian Glover in its cast companies as Fourth Monkey and we all enjoy working under and Lazarus who have presented our patron, the great film-maker, impressive productions of Ken Pickering is Chair of the Marlowe Sir Christopher Miles. However, Marlowe’s plays in London and Society. He was Professor of Theatre membership is open to everyone: the South East. Student directors at Gonzaga University and is now some join because, like me, they from the Drama programme at the Hon. Professor of Drama at the think that an encounter with University of Kent have enriched University of Kent. Marlowe’s plays was a turning the number of younger people Contact him at [email protected]

WORD MATTERS SUMMER 2016 9 CANTERBURY MARLOWE DAY

Canterbury Marlowe Day Saturday May 28th 2016, 10am - 4.20pm

A celebration of Christopher Marlowe in the city of his birth and early education and of the Marlowe Society’s ownership of Holinshed’s Chronicles (1587), source book for Macbeth, King Lear, and Edward II, which will be on view.

Venue The Marlowe Studio, Marlowe Theatre, The Friars, Canterbury, Kent CT1 2AS Tickets are £15 for members, £18 for non-members and £10 for students. Visit marlowe-society.org for how to book.

Programme 10:00am - Marlowe Society Chairman Ken Pickering welcomes members, friends and guests in The Green Room, the Marlowe Theatre foyer coffee bar. Marlowe Memorial outside the theatre - the traditional wreath-laying ceremony. “O What a World of Profit and Delight”: Dr. Geoff Doel (Canterbury Christchurch University and University of Kent) discusses Marlowe’s sources. “Faustus: Remixed”: a new film by Charlie Dupré and Stephanie Robinson. “Hearts Pierced with Pity and Compassionate Bowels in Edward II”: a presentation by Dr. Anne-Sophie Refskou. Lunch Break “A brief history of the Canterbury Huguenots”: a talk by Anne Oakley (Pasteur and historian at The French Protestant Church of Canterbury) at the French Church, Canterbury Cathedral. “Bodies in the Crypt”: a documentary film by Gavin Carver for the University of Kent, charting Fourth Monkey’s production of The Massacre at Paris in the crypt of Canterbury Cathedral, part of the Marlowe450 celebrations. “Directors Discussion: History in Performance”: A frank and amusing discussion about directing history plays, with Paul Ainsworth (Learning and Participation Officer, Marlowe Theatre), Ricky Dukes (Director, Lazarus Theatre Company), Andrew Dawson (Creative Projects Director, Marlowe Theatre), and Sally Elkerton (The Canterbury Players), chaired by Dr. Joanna Labon (University of Kent, and Chairman of the Canterbury Christopher Marlowe Museum project). 4pm: Farewells.

www.marlowe-society.org www.marlowetheatre.com Tel. 01227 787787

10 WORD MATTERS SUMMER 2016 SURVIVING ACTORS Surviving Actors

In February some of our members attended the Surviving Actors event in London. This consisted of a number of stands where interested parties could exhibit their skills and products to actors and other people involved in the acting businesses. Book sellers, casting agents, teaching organisations and photographers were among the many exhibitors. There were workshops and open casting sessions throughout the weekend. It was a very rewarding experience and we encourage you to try to attend one of their events if you can.

Here follows an interview with founder Lianne Robertson, Managing Director Surviving Actors

Could you describe the aims of Surviving How do you organise the events and where Actors for our readers? are they located? Surviving Actors was set up by actors for actors to It takes a lot of work, we are a very small but help and encourage them in all areas of their life dedicated team. UK events take place in London as a professional actor. We run acting conventions and Manchester and US events in New York and (trade shows) throughout the year to help actors soon to be LA. develop and sustain their career and to create new opportunities for themselves. We do this by How did you get involved creating an environment where actors can meet in the New York event? industry professionals to help develop a career in It was an idea we had and acting. we also LOVE NYC so we thought why not. We took a How did the idea for SA start? Was it a research trip and from then collaborative process? onwards made contacts and Founder Felicity Jackson had the idea when thinking made it happen. April 2016 about jobs that actors can do while ‘resting’. will be the 3rd annual event Originally it was going to be a small jobs fair, but in NYC and after the event it grew arms and legs and became what Surviving this year we are travelling to Actors is today covering many different areas LA for our LA research trip. including those ‘in-between’ jobs. Tell me a little bit about the planning Member Helena What is the background of the founders? process? Duncan at Felicity Jackson originally trained as an actor at The It starts with finding a suitable venue, then I do Surviving Actors Courtyard and after graduating she set up both a lot of sales booking in exhibitors for the event, Surviving Actors and Casting Days, which both offer securing sponsors and advertising. After the sales services for actors in the UK. Shortly after setting part is done I can focus on booking fabulous guest up Surviving Actors Lianne Robertson joined the speakers for our seminars/workshops and finding team to assist Felicity in developing the events a good production company for the open casting. making them bigger and better each year. Lianne is Then it’s on to working closely with our designer a working actor and splits her time between acting to produce everything for the event showguide, and events management. In 2014 the event went after all that is done I go into a full on period of international under the name Actors Pro Expo in marketing the event, then finally event logistics New York. working with the venue and clients to make sure the day runs really smoothly and on the day I’m Have you any success stories? Heart around as project manager to ensure everything warming stories for actors? runs as it should. We have had many actors that have secured agents after attending, getting tips on ‘how to’ More information about Surviving Actors and applying them We have also had actors come here: back to us with lovely stories about being cast in various projects after networking at the event or Tel: 020 3318 2041 auditioning at the open castings we hold during www.survivingactors.com event day and getting the job. Tweet us - @survivingactors Tweet me - @LianneR_03

WORD MATTERS SUMMER 2016 11 SWEET SWAN OF AVON

Sweet Swan of Avon: Shakespeare and the English by regular contributor Elizabeth Oakley

12 WORD MATTERS SUMMER 2016 SWEET SWAN OF AVON

‘For the English to forget him {Shakespeare} might be to forget ourselves’ Ailsa Grant Ferguson

recent publicity poster advertising the from exile. A wholly new type of theatre which allowed Globe theatre and the Sam Wanamaker women to appear on stage replaced the outdoor and Playhouse reproduces the instantly indoor theatres for which Shakespeare had written. Arecognisable black and white engraving of the However, Shakespeare was not forgotten. The dramatist’s head and shoulders, but with a difference: flamboyant William Davenant (rumoured to be a vivid yellow hard hat of the type worn on building Shakespeare’s illegitimate son by John Aubrey in sites perches on Shakespeare’s bald domed head his Brief Lives) obtained a charter from the Lord at an irreverent angle. The image has always struck Chamberlain to reintroduce Shakespeare onto me as inspired: it is original, eye-catching and the English stage with the proviso that he was to expresses instantly the relationship the English ‘reform and make fit’ his plays for the new order. have with Shakespeare. The poster seems to be So began the extensive rewriting, cutting, adapting saying that even 400 years after his death we are still and altering of the original texts to produce constructing, working to understand him, but also it versions of Shakespeare’s plays which reflect the suggests that he is a living presence accompanying preoccupations, tastes and prejudices of a particular us as we do it, rather than a venerated dead author historical time. So it is that The Tempest became a we carefully conserve. Restoration comedy in which Caliban was a comic character and Miranda’s innocence is turned into The engraving that appears on the poster (probably a titillating naivety; and Nahum Tate’s King Lear the work of the engraver Martin Droeshout) is the brought back Cordelia to life and engineered happy frontispiece to the first collection of Shakespeare’s endings for virtuous characters. plays printed in 1623, known as the First Folio, and the portrait is very similar to the plaster bust placed in While the Restoration theatre embarked on its Holy Trinity Church Stratford not long after his death. reinvention of Shakespeare the playwright, the The memorial and engraving are the nearest we get academic world set off to ‘correct’ the original texts to an authentic likeness and are the images that in fine detail, such as altering metre and punctuation launched Shakespeare into the our national memory. to make the lines run more smoothly . Nicholas Other portraits have been put forward as candidates Rowe’s Complete Works of Willian Shakespeare over the years including the Chandos portrait – (1709) was the pioneer for a proliferation of similar indignantly rejected by a Victorian critic (J. Hain editions, heavy with textual notes, throughout the Friswell) on the grounds that it was hard to believe following century. Editors took pains to draw attention ‘our essentially English Shakespeare to have been to passages which they thought particularly fine, a dark, heavy man, with a foreign expression…and while Willian Dodd went even further and produced his ears tricked out with earrings’ – but there is no a popular anthology of snippets which he called consensus that any of portraits are of Shakespeare. Beauties of Shakespeare (1752). Admiring readers It is the engraving, so easily reproducible, that holds of the Beauties, not always knowing the plays at sway on souvenir merchandise, theatre programmes first hand, therefore had the freedom to apply the and academic publications. quotations completely out of context. The tendency of the English to appropriate Shakespeare’s words It is an accident of history that from 1642 until 1660 for whatever purpose they please – especially for Shakespeare’s plays dropped from public view. Given challenging or difficult moments, whether personal or the ban on play performances during the English Civil national – continues unabated to this day. Wars and Parliamentarian rule, the traditions of the At the same time as Shakespeare was rising in Elizabethan theatre had been all but obliterated by public consciousness as a writer of natural genius, the time Charles 11 – a keen theatre goer – returned curiosity about Shakespeare the ‘real’ man naturally

WORD MATTERS SUMMER 2016 13 SWEET SWAN OF AVON

led visitors to praise’? Unfortunately, that very English phenomenon Stratford where the – the WEATHER – ruined the occasion as torrential townspeople eagerly rain caused the Avon to burst its banks. nurtured the nascent Shakespeare tourist Although not everyone was impressed by Garrick’s industry through rhetoric and the scholarly world were conspicuously colourful tales of the absent, the Jubilee gave impetus to an uncritical poet’s exploits as a adulation of Shakespeare that reached its apogee Stratford lad and the in the nineteenth century when the English nation sale of fake souvenirs. seemed to elevate Shakespeare to a semi-divine The invitation to the status which George Bernard Shaw later scornfully actor David Garrick, termed ‘Bardolatry’. whose performances in Shakespeare One particular book, Shakespeare: His Mind and roles enraptured Art by Edward Dowden (1875), illustrates how far his audiences, to give a statue of Shakespeare to this reverential attitude to Shakespeare caught the adorn a new Stratford Town Hall in 1769 in return for popular imagination. By his persuasive narrative of the freedom of the town, gave him an opportunity Shakespeare’s emotional and artistic development, to enhance his own career by presenting the statue which fitted so well with the Victorian zeal for moral to the town during three days of special events in self-improvement, Dowden divided Shakespeare’s Shakespeare’s honour. life into four phases which showed a trajectory from darkness and suffering to a state of serenity The resulting Jubilee held in early September and enlightenment. They are: In the Workshop; In 1769 was the first major national event held in the World; Out of the Depths; On the Height. The Shakespeare’s honour and had two far reaching Tempest, generally considered to be Shakespeare’s consequences for his place in English cultural last play, is a key element in Dowden’s scheme: identity. First, the events programmed for the Prospero’s renunciation of his magic and departure Jubilee reinforced the idea that Shakespeare – who for Milan at the end of The Tempest represent conveniently died on St George’s day – was a true Shakespeare’s own farewell to his art and his Englishman whose life was grounded in a real market return to Stratford. Despite its romantic subjectivity, town in the heart of the English countryside: a place Dowden’s linking of Shakespeare’s life to his art that could be visited and where tangible memories remained persuasive far beyond Dowden’s time and of him could be found. Second, through Garrick’s continues to hold an appeal. charismatic performance as Shakespearian devotee, the Jubilee gave impetus for the cult of Shakespeare However, with the twentieth century came changes as an immortal bard whose words had an almost in perspective which returned Shakespeare to earth divine power. in more ways than one. A new historical approach to the Elizabethan theatre resulted in efforts to Ironically, though Shakespeare themed, the Jubilee recreate the authentic conditions of Shakespeare’s did not include performances of his plays but own theatre and it was felt that though there was spectacles, entertainments and shows were not a Shakespeare Memorial Theatre in Stratford, a lacking. Included were public processions to Holy Shakespeare Memorial National Theatre was needed Trinity church and Shakespeare’s birthplace in in London. Land was bought for the purpose on which his portrait was carried aloft; the ringing of the corner of Gower and Keppler Street but at the bells and firing of canon; concerts, breakfasts and outbreak of war in 1914 no building had begun and balls. The climax of the Jubilee was to be an ‘Ode it was clear that such a project could not go ahead to Shakespeare’, with musical accompaniment and in wartime. Nor could the ambitious international chorus, written and declaimed by Garrick in the conference be realised that Professor Israel Gollancz Rotunda specially erected at the riverside. In his of King’s College London was hoping to host for highly extravagant praise of the poet, Garrick invoked the tercentenary of Shakespeare’s death in 1916. ‘that demi-god/Who Avon’s flow’ry margin trod’ and As he sadly commented, ‘the dream of the world’s beseeched the ‘blest SPIRIT from above’ to look brotherhood to be demonstrated by its common and down with all his ‘gentleness and love’. How can united commemoration of Shakespeare…was rudely we delay, he asks, to ‘sing immortal Shakespeare’s shattered’.

14 WORD MATTERS SUMMER 2016 SWEET SWAN OF AVON

However, Gollancz did not give up and proposed theme: a Shakespeare that the English can all share. two other ideas which were more in keeping with the In Stratford, King Edward V1 School will join the sober mood of the time. His suggestions, in different birthplace and church as sites open to be visited ways, boosted efforts to keep up British morale in throughout the year while displays, exhibitions and wartime by reminding everyone what a great national tours will give opportunities to experience the RSC figure Shakespeare was and demonstrating how at work and learn more about Elizabethan life. In proud they should be of him. London rarely seen documents, ‘a paper trail’ of Shakespeare’s life in the city, have been on display First, the international conference due to meet in at Somerset House – incidentally the site of a former London was replaced by A Book of Homage to royal palace where Shakespeare’s plays were Shakespeare handsomely bound in white leather performed in his lifetime. which contained 166 contributions of verse and prose from Britain, her empire, wartime allies and neutral From having no theatre dedicated to Shakespeare countries. Though translated or summarized, all a hundred years ago, London now has two on foreign entries appeared in their original languages Bankside. The Globe, opened in 1997, is described and scripts, as if to emphasize ‘the ubiquity of the by the outgoing Artistic Director Dominic Dromgoole poet’s mighty influence’. as the theatrical space which brings audiences as close to the atmosphere of Shakespeare’s theatre Gollancz’s second – and more radical suggestion ‘as anyone has been able to achieve since he wrote’. – was that instead of a theatre, a building of more The indoor Sam Wanamaker Playhouse was opened practical use should be erected in Shakespeare’s in 2014 and its candlelit performances likewise seem name. His plan found favour and in August 1916 to create a feeling in its audiences of being in a a one-storey building in Tudor style, named The seventeenth-century theatre. The Playhouse began Shakespeare Hut, opened its doors as a respite its 2016 season with the four Shakespeare plays that and recovery centre for serving soldiers: here was are specially associated with his company’s indoor a Shakespeare at the heart of wartime England theatre and that also mark Shakespeare’s leaving and also its empire, for The Shakespeare Hut the London stage for retirement in Stratford. When became a shelter for ANZAC troops battered by the asked in a recent interview why he had chosen to gruelling eight-month long Gallipoli campaign. Run direct The Tempest as his last play before leaving his by the YMCA with volunteer help, its Shakespeare post, Dominic Dromgoole made what seems to be an connections were emphasized in the entertainments irresistible connection between Shakespeare’s and offered there. The actress Fabia Drake later recalled his own farewell to The Globe. how ‘400 war-weary men rallied to the cry of God for Harry, England and St George!’ in a special There is unlikely to be much ‘Bardolatry’ in the performance of extracts from Henry V in 1919. The next few months and there will be no David Garrick Hut was eventually demolished in 1924 and there was pulling on white gloves at the end of his long ‘Ode to even talk of re-erecting it in New Zealand. Shakespeare’, proclaiming ‘We shall never see his like again!’ The BBC 2 live emission of celebrations As we enter another centenary year of Shakespeare’s from Stratford on 23rd April, hosted by the death in 2016 it is interesting to reflect on how the distinguished Shakespearian actor David Tennant, is commemorations express English feelings about him perhaps our twentieth-first century equivalent. We are today, especially in also unlikely to hear much about the moral certainties Stratford and London in his plays that were once so consoling in centuries – the two towns past. Today, it is rather the questions he asks and where he is known does not solve- as neither can we – that draw us to to have lived. There him and why Shakespeare with us in his hard hat will, of course, be seems such an appropriate image. the conferences for experts in both places and plenty of his plays Also see online, Ailsa Grant Ferguson’s article ‘When to see, but a survey Wasteful War shall statues overturn: Forgetting the of planned events Shakespeare Hut’ shows that inclusivity is the common

WORD MATTERS SUMMER 2016 15 TO SWEAR OR NOT TO SWEAR

Lucy Cuthbertson’s article invites us to consider the challenging topic of obscene language in plays and the often discussed topic of whether it is permissable for us as Drama Teachers to allow or ban the use of certain words. To swear or not to swear: teaching students to use bad language Warning: this article contains words that some readers might find offensive…

The play Just by acclaimed writer Ali Smith features a female protagonist, Victoria, who throughout the action, swears quite frequently, but then she has just been wrongfully arrested for a murder. Who among us would not feel a bout of colourful language coming on should we find ourselves in a similar situation? I’m very familiar with this play. Written for the 2005 National Theatre Connections project, which commissions new writing aimed at young people of secondary school age, my school production of Just was chosen by the festival to play on the stage of the Oliver Theatre. We recently revived it and this in turn got me revisiting a preoccupation of mine: the place of swearing in school.

What is ‘bad’ language and what place does it have in education, specifically drama education? Should certain words be censored or banned for school-aged students? And if so what is the argument against them?

As a head of drama and school theatre director, I have been dealing with the issue of ‘language’ for many years. My choice of plays for teaching or directing regularly consists of work that deals with challenging issues. However, young people’s behaviour can be very contradictory. Students whom you hear swearing prolifically

16 WORD MATTERS SUMMER 2016 TO SWEAR OR NOT TO SWEAR out in the playground recoil with and where that is appropriate. The what they find offensive and have conservative horror when they hear discussions and activities that take a censorial approach regarding the students in a teacher-sanctioned text place in drama contribute to this area material delivered in drama lessons. lesson or school production say ‘fuck’. of their development in oracy and One teacher wrote ‘My Head made In the play Just, the protagonist says appreciation of different registers. it very clear to me when I became ‘fuck’ or derivatives of fuck about 20 We ask students to imaginatively Head of Department that he had zero times. ‘Are they allowed to swear?!?’ put themselves into the lives of other tolerance of swearing. I either cut or is the reaction from some in the people, to create believable characters change the language and some plays audience afterwards. and at this point I would argue are simply a no-go…it’s all about Drama lessons can offer students a that all language should be at their context and school isn’t the Royal sense of freedom compared to other disposal if they can justify it or if it is Court’. subjects. After setting up a task in present in a text. lesson, it is not uncommon for a However, I can’t help thinking that a student asking with wide, excited Would other drama teachers agree school which prohibits material that eyes, ‘Miss, can we swear?!!” and with me? I did a quick survey on the contains ‘bad language’ is missing the conversation normally goes subject of swearing in drama among an educational opportunity. It is something like this: fellow drama teachers via a couple of interesting to consider who decides Facebook groups. As with so much on what constitutes a swear word, Me: depends. about Drama teaching the responses where words sit in ‘the hierarchy of Student: on what and practice were extremely varied offence’ and at what point a word Me: the situation, is it right for the and invariably the context of the that was once offensive to many is character to swear? school had a significant influence. I now consigned to history. A school Student: definitely, they are very was especially interested in exactly may ban the use of texts with angry. which words were in and which were swearing and yet allow the teaching Me: what do you want to say? out: of Shakespeare: modern swearing Student: can we say... ‘shit’. ‘Never F word…Never C word… is not permitted but classical bad Me: shit? oh sure, shit’s fine. Never T word’ wrote one UK language is acceptable. I was shocked teacher. (T word = twat I presume). to hear the particularly suppressed Does that mean I am teaching Several mentioned using the age circumstances one UK teacher was students to say the word ‘shit’? That criteria set out by the film censorship working in where she ‘had to have a I am sanctioning it, encouraging it? boards as a guideline and many deep long conversation to be allowed No – no more than I’m encouraging teachers explained that the language for a student to use ‘whore’ in The violence if that features in their role- of a text chosen for study in lessons Crucible’. play. I’m judging the appropriateness might be more liberal compared to and whether the language and the script used for a whole school Banning something, in my opinion, content are believable, well judged, production if they were anticipating a achieves very little in educational effective, in the world of the drama family audience. terms. Language and the origins being created. The language they ‘Yr 7&8 – none at all. Yr 9 – very and use of language is a fascinating choose will be open to that kind of light swearing ok –i.e. “shit” and field of academic study which analysis along with everything else “bloody hell”. KS3 are doing includes the role of profanity and they bring to their work. Hairspray Jr in the summer. I will obscenity in society and how these be removing the word “spastic” change over time and differ within I support teaching students not responded another. cultures. Students already regulate to swear in the classroom as part An American teacher from a fairly their language; they instinctively of their general discourse and of conservative area explained that in his use different set of vocabulary and pulling them up if they forget. In school ‘Goddam is never allowed registers depending on circumstances. the same way, I challenge them if on stage or classroom. Formal It is quite common for a student to they use slang words. Or words that productions I edit. Only damn, get into trouble at school for use of are racist, sexist, ageist, homophobic hell, and shit are allowed.’ bad language who would never dream or degrade people with disabilities. of swearing in front of their parents. We are helping to develop educated, The English Dictionary defines sophisticated young people: not ‘bad language’ as ‘words that are One drama teacher commented: necessarily puritanical young adults considered offensive by most A lot of contemporary texts contain who never swear in their daily people’. It became clear that some swearing and zero tolerance on lives but adults who know when school leadership make the call on these cuts out a huge amount of

WORD MATTERS SUMMER 2016 17 TO SWEAR OR NOT TO SWEAR

the play were so restrained in their I’ll leave you with a response to the language given their circumstances. issue of bad language in her play This student refused to say it, she from Ali Smith herself, arguably the explained, because of her ‘religious contemporary writer most fascinated beliefs’. Yet the point of the play, the with language itself: offence was apartheid, not the word There was more than one school shit. The deputy head in charge of who wrote to me ringing alarm 6th form supported me but asked bells about the ‘use of language’ for clarification: ‘so are we saying, in Just, usually because parents policy wise, if you are not prepared were likely to complain if their to use swear words, then you can’t do children were going to be swearing A level drama?’. Yes, that was what I in a school play. More than once was saying. I was asked would it be okay to Just at Greenwich Theatre from substitute less offensive words for Corelli College Returning to the play Just – the word the ones in the script. I always ‘fuck’ in the dialogue is essential. The refused. The play is very much character of Victoria, an innocent about the deeply offensive nature young woman whose only crime is of the unjust things that happen that she is not ‘from around here’ is in our society, so the question murdered by the Townspeople, her of hypocrisies which arise over use of swear words being one excuse things like the use of ‘good’ and they give for their actions. Another ‘bad’ language (of course, there’s dead body lies on stage throughout no such thing as good and bad the play from a previous murder they language) is at the heart of all have clearly committed. Mrs Wright, the questions Just asks about leader of the Townspeople alerts what we find offensive, what we Victoria to her likely fate: don’t find offensive, and why. I feel it’s only just to warn you that Students from Corelli College, if you use language like that in photo by Adam Smith front of me again I will have you removed. fantastic work… I think it’s funny that we can get more precious The Townspeople concur with this about language than we do themes position: and story. It’s an interesting debate. Disgusting, using language. Ought To be put a stop to. Shot. It does seem far more acceptable in many schools for young people, in- When staging the production, I had role, to enact murder for example, one or two complaints about the than to utter a swear word. I have language. I received none about the been trying to analyse the psychology murders. Some schools were not behind this reaction. There must be able to stage this powerful play at Lucy Cuthbertson has been Head of something in the knowledge of the all. To my mind, there is something Drama & Lead Practitioner at Corelli murder being role-play versus the perverse in such a response, as if College (formerly Kidbrooke School) reality of a particular word actually we have become so desensitized to for 16 years. Twitter: @lucycuth8 coming out of the child’s mouth violence that we almost expect it which causes the moral panic. to see it portrayed in drama, whilst She is director of their award-winning still demonstrating a rather prudish, school company Kidbrooke Theatre I remember some years back I asked knee-jerk reaction to young people Company who will be performing Just a student to leave our A Level Drama handling language considered by Ali Smith at the Assembly Rooms, & Theatre Studies course. We were ‘unsuitable’. Schools or teachers Edinburgh Festival 15-21 Aug 2016. studying Athol Fugard’s The Island, who refused to do Just were entirely Twitter: @Kidbrooke TC. Facebook: set on South Africa’s notorious missing the point of the play – in Kidbrooke theatre company. Robben Island prison. One of the fact their response was almost more Just by Ali Smith (2005) is published characters says ‘shit’ at one point. aligned to the reactionary, murderous by Faber & Faber, exclusive to National The surprise is that the characters in Townspeople. Theatre.

18 WORD MATTERS SUMMER 2016 CELEBRATING THE CAREER OF RONA LAURIE Celebrating the Career of Professor Rona Laurie The mere mention of the name Rona Laurie within theatrical circles guarantees to raise a smile and generate the sharing of heart-felt memories. I know, just like them, that I’m going to smile all the way through writing a celebration of this tour de force of the speech and drama world. It is with great pride that I can say that I was one of professor Rona Laurie’s students at the Guildhall School of Music and Drama. Rona has shown her exceptional talent for teaching through the numbers of teachers and actors she has helped to train over the years. Many such as Alfred Molina, Rachel Weisz, Cats choreographer Gillian Lynne, Art Malik and Debbie Magee, went on to have successful careers as teachers, examiners and actors of international repute. I’m honouring her amazing career in this year of 2016 when she will turn one hundred years of age. Astonishingly, Rona continues to run a highly successful speech and drama studio in London’s West End whilst regularly visiting RADA to pass on her extensive knowledge and experience to future entrants into the acting profession. She was born in Derby to Alan, a doctor, and mother Alexandrina, who were both active members of the Derby Shakespeare Society where Rona began treading the boards at an early age. She recalls standing on the stage in Temperance Hall, Derby at ten years of age playing Moth in A Midsummer Night’s Dream and realising then that this was the place where she wanted to be and she ‘knew with complete certainty that

WORD MATTERS SUMMER 2016 19 CELEBRATING THE CAREER OF RONA LAURIE

atmosphere where errors could be dealt with smoothly, using her wonderful sense of humour, and made better with the minimum of fuss. I’ve spoken to many industry professionals who warmly remember their private lessons with Rona in her West End apartment and getting a ‘Rona fix’ which left them feeling on top of the world, simply by spending time with her enthusiasm and zest for life and the theatre. Whilst a student at RADA she was directed by Stella Patrick- Campbell in the role of Mrs Candour in Sheridan’s play ‘The School for Scandal’ which had been performed by Stella’s mother, the famed actress, Mrs Patrick-Campbell at Drury Lane in 1777. Rona remembers well that Stella expected all the students to know the stage business which was used in the original stage production and gave no leeway for any short-comings. the theatre was going to be her life’. entering in 1938 and going on to She certainly achieved this, having graduate with the Principals’ Medal Following graduation from RADA in notched up over ninety years drama in 1940. This incidentally makes her 1940 Rona began her stage career experience. the eldest surviving graduate of with a touring theatre company the course to date. At RADA she called the English Classical Players Rona became a student at Penrhos was taught by some of the leading which that season produced ‘As College, Colwyn Bay, where she had teachers of the time, including You Like It’, ‘The Tempest’ and ‘You an inspirational drama teacher who movement tutor Litz Pisk and voice Never Can Tell’. Of course, like all put her in for Guildhall School exams. tutor, Iris Warren. Fellow students theatre jobs the contract came to She remembers a visit to the school who studied on the course with an end and prompted a temporary from Guildhall examiner Daniel Rona included Hugh Griffith (Oliver), change of direction as she became Roberts and has never forgotten the Eleanor Summerfield (Scrooge, the ‘Head of Drama’ at the Arts impression that he made on her; she Dentist in the Chair), Elizabeth Educational School – a department incidentally became co-editor of the Sellars (The Barefoot Contessa, 55 which is still operational to this day 8th Guildhall Anthology with him in Days in Peking) and Alan Badel (who and is based in Chiswick, London. 1964. Her continued enthusiasm for stared as Romeo opposite Claire There Rona taught many talented the subject led her to being awarded Bloom’s Juliette at the Old Vic). In young students including John Gilpin the Licentiate Performers’ Diploma her book ‘The Actor’s Art and Craft’ the former principal dancer at the of the Royal Academy of Music in Rona recalls her first term at RADA, London Festival Ballet and Gillian Speech and Drama and the Teachers’ feeling as if she was on a see-saw Lynne who went on to become the Diploma of the Guildhall school of with experiences ranging from those choreographer of the Andrew Lloyd Music and Drama. Following Penrhos, causing agonising anxiety to those of Webber musical ‘Cats’. she studied at the University of rapture. Birmingham where she graduated After completing her three term with a BA(Hons) in English in 1939. She says that ‘it was one thing to contract at the school Rona returned Whilst there she was a member of rehearse a scene in my digs (to my to the theatre with a contract for the Dramatic Society (B.U.D.S.) and own satisfaction) but quite another ‘The Travelling Theatre’ then in weekly performed roles in ‘Much Ado About to perform it in front of my peers rep at Farnham. In her autobiography Nothing’, ‘Back to Methuselah’ and in class. I would stammer, forget Rona talks of her time with Farnham ‘The Merchant of Venice’. Another the lines, go crimson in the face Rep and how she considered the age member of the Society was the poet with embarrassment and end up of fifty to ‘be very old indeed’ so that Henry Reed who wrote the acclaimed near to tears’. I believe that these she ‘played these characters as if they poem ‘The Naming of Parts’. experiences had a great influence were ninety, with shaking voices and on her later teaching as she always arthritic movements’. She adds that Rona trained as an actress (the word had the knack of honing in on ‘the company could not afford to hire she always prefers to actor) at the what I needed to improve upon wigs so I used to sprinkle my hair with Royal Academy of Dramatic Art, whilst building a totally supportive white talcum powder. Unfortunately, if

20 WORD MATTERS SUMMER 2016 CELEBRATING THE CAREER OF RONA LAURIE anyone brushed against me or tapped Head of the Department of Drama in patron, for the work that she has done me on the shoulder a cloud of white Education in 1970 and subsequently for the world of Speech and Drama. dust was released and if I went out the post-graduate course in Rona has been a prolific author and in the rain it looked as if I had a bowl Elizabethan and Jacobean Theatre in over the years has been published as of porridge on my head’. This was 1972. Rona also ran the teachers’ a writer on drama education and as Rona’s only foray into the world of course in the evenings at Guildhall a playwright. Her publications include the weekly rep, but it was followed by for students working towards the three books on Choral Speaking, even greater experiences including a Licentiate Diploma in Speech and three Guildhall Anthologies (as co- tour of ‘Thark’ by Ben Travers (a play Drama teaching, which was the editor), A Hundred Speeches from from the Aldwych farces) with Ralph starting point for many teaching the Theatre (1966), Scenes and Ideas Lynn - an English actor who had a careers. Rona was also the Chief (1967), Festivals and Adjudication sixty-year career in theatre and film Examiner for the Guildhall spoken (1975), Children’s Plays from Beatrix and who is most remembered for his word examinations and examined Potter (1980), Auditioning (1985), comedy performances in the Aldwych both nationally and internationally Mrs Tiggy-Winkle and Friends (1986), farces. Rona went on to make her for many years, including visits to The Actor’s Art and Craft (1994) and West End debut with Lynn in the farce Edinburgh, Aberdeen, Manchester, her most recent publication which is ‘Tons of Money’ which was performed Liverpool, Cardiff and Hong Kong. autobiographical and called My War for two years at the Shaftsbury From 1984 to 1990 she was also Years in London (Diary of an Actress) Theatre following this with a stint at drama coach to the Opera School at (2010). the Duke of Yorks Theatre in ‘Is Your the Royal College of Music. Honeymoon Really Necessary?’ by My heartfelt thanks go to professor Rona is also an experienced director. Vivian Tidmarch, again with Lynn. Rona Laurie for her unreserved This began at Birmingham University enthusiasm, professionalism and sense Rona performed alongside some of as the director of Shakespeare’s of humour as well as passing on so the biggest names in the theatre of Much Ado About Nothing, followed much of her knowledge to me, as the time including Coral Browne, by a production of Everyman at the she did with many others, so that Athene Seyler and Jack Buchannan Guildhall and ‘Women in Twilight’ the important subject of speech and in a production of ‘The Last of Mrs by Sylvia Rayman for the Southall drama can continue to reign supreme. Cheyney‘ by Frederick Lonsdale at Theatre Touring Company which the Savoy. Rona remembers Seyler stared a young newcomer called fondly, saying that “Athene was very Arthur Lowe who went on to ‘Dad’s Stuart Morrison MA supportive. She once asked me into Army’ fame. When speaking of Lowe, MFA(RCSSD) PGCE her dressing room and told me about Rona’s impression was that “he was a FVCM(TD)(Hons) the technique of using the angles of very nice, modest and talented young FVCM(Hons) Cert the head. She took me by the chin actor”. Acting (GSM&D) and moved my head in different FRSA MSTSD. She is also a former Chairman of directions whilst asking me to look at After graduating the Guild of Drama Adjudicators, myself in the mirror to see the effect. in Performing Arts of which she is now an Honorary She taught me that standing three (Company Theatre) Stuart trained as Member. As an adjudicator for the a specialist voice teacher at the Royal quarters of the way on to an audience British and International Federation Central School of Speech and Drama has more impact than standing in of Festivals she travelled all over the where he was tutored by David Carey, profile to them”. United Kingdom and as far afield as Cicely Berry, Patsy Rodenburg, Edda Her agent suggested that Rona took Hong Kong, Zimbabwe and Canada. Sharpe and Barbara Houseman. He a break from juvenile roles until she Throughout the seventies and eighties followed this by training as a specialist was old enough to play leading parts. Rona gave master classes and recitals teacher of drama at the University of Leeds. He also studied with professor In those days there were distinct in Hong Kong, Singapore and Canada, Rona Laurie at the Guildhall School of categories for actors – juveniles, as well as lecturing on Voice, speech Music and Drama. As a voice teacher character parts and leads. In 1959 and Speaking Shakespeare’s Verse at he has taught upon the undergraduate the Guildhall School were looking Concordia University in Montreal and and post-graduate acting courses at for someone to lecture to the drama Sheridan College, Toronto in 1990. Mountview Theatre School, Central, students on dramatic literature. Rona Rona always valued her experience ALRA, East 15 Acting School and the secured the appointment and began as Chairperson of the Society of Arden School of Theatre as well as a long relationship with the School vocal coaching for Shakespeare’s Globe Teachers of Speech and Drama and which lasted for forty years. Initially Theatre Company and the National felt greatly honoured when awarded this was a part-time position of one Theatre. He is the Senior Examiner of the Fellowship of the Society. In 2010 hour a week which grew over time Speech and Drama for Victoria College Rona was also awarded the Honorary so that she was taking more classes of Music and Drama and a Council Fellowship Diploma of Victoria College with student actors and teachers, Member of the Society of Teachers of of Music and Drama, of which she is a eventually leading to her becoming Speech and Drama.

WORD MATTERS SUMMER 2016 21 ANOTHER STRING TO YOUR BOW Another string to your bow Our regular feature spotlighting other work Speech and Drama teachers undertake. This issue focuses on Stuart Morrison and Jeni Law

Stuart, What is your main area of work and how Jeni Law is based on the Isle of long do you spend on it? Wight

I am a full time, freelance ‘voice coach’ working variable Jeni, what is the main area of your hours and in different locations. Over the course of a work and how long do you spend week, I usually have approximately three days of teaching on it? contact hours with acting students on undergraduate degree and MA courses in drama schools. This is actually quite a tough question! I run after school I usually set myself a weekly prep day, as what I am teaching classes three afternoons a week and I also go into a local can be very specific and different from what I have taught school for one day a week. I coach children for LAMDA before. For example, I teach a lot of dialects in drama examinations, the local competition festival and we put on schools, however when it comes to doing voice support an end of year show to raise funds for a children’s charity on a production, I might have to work with the actors on every summer. By the time you add the preparation time a very specific dialect, which sometimes means that there etc I would say this takes up 60% of my working week. can be a blend of a couple of dialects to find the voice of a I then do other things to make up my income: I’m a specific character. This takes preparation time. Standards Verifier for BTEC Performing Arts qualifications, I also teach voice work privately from home one day a I’m an examiner for BTEC Performing Arts too, so June week, occasionally through skype. These students are is spent watching lots of lovely videos of performances working towards examinations, presentations, auditions or in contemporary dance, musical theatre, monologues, simply require vocal development. ballet… I love it! Then from time to time I get asked to do additional projects related to community arts on the Island. What aspect of theatre work are you also involved in? I’m currently working on a short project to introduce Shakespeare and his work to primary school children. I As a voice coach, I am sometimes invited to work for also run Island Celebrants. www.islandcelebrants.com theatre companies on a production. I might be required to ease the actors into a specific dialect or to work with What aspect of theatre/speech work are you a specific actor who has scenes in the play where voice involved in? has to be used in an extreme way. I ensure the production needs are fulfilled whilst making sure that the voice is being I’m a LAMDA girl really. My main work is with children used safely. and giving them the confidence to speak and communicate through speech and drama. With my Licentiate I moved How did you get involved in this? to teaching acting as part of a Further Education course. Adding on my dance experience I fitting neatly into the After graduating from University, I trained as a specialist Performing Arts lecturer role – but my favourite part of teacher of voice at the Royal Central School of Speech it all was always giving young people confidence through and Drama in London where I was awarded an MA and speech and drama. later on an MFA in voice studies. In my final term I was given work by Edda Sharpe (then Head of Voice) at East How did you get involved in celebrant work? 15 Acting Course, which gave me a springboard into this profession. After ten years of working in the FE sector ultimately heading up a Performing Arts department, I could take no Would you recommend it as an extra job for more! Funding cuts everywhere and I was working 25 speech and drama teachers? hours a day, 8 days a week but still it wasn’t enough. There comes a point where you have to think about the quality If they can get the work, then of course. I do think that of your life over the stability of regular work. So I made employers can be a bit blinkered and that there is a set myself unemployed and lived off an inheritance for a few training which they always look for eg MA Voice Studies at months whilst I regrouped. I knew I could develop after Royal Central. MA Voice Teaching at the Birmingham School school LAMDA classes but if I did 3-9pm every week day of Acting, Training Actors (Voice) at the Guildhall School. my family would never see me. So I needed to find another

22 WORD MATTERS SUMMER 2016 ANOTHER STRING TO YOUR BOW

form of income. A friend had just trained as a Duncan Knifton Photography funeral celebrant and suggested I look into it as a means of giving me a “during school time” income.

The sort of work I do and the training I received: I contact a couple of organisations and went off and did two days training into Wedding and Family Celebrancy. Training is not essential, however the two days gave me an absolute point where I could draw a line under being a Performance Lecturer and moving into a new work/life balance.

I considered funeral celebrancy but I was worried about picking up on the emotions too much and could not comprehend how I would cope with a they may still have some spiritual beliefs. Celebrants can child’s funeral ... so I decided to stick with the happy events. put in whatever you want and we can perform ceremonies I create and conduct ceremonies to celebrate marriage, wherever you want including woodlands, the beach or even renewal of vows, baby naming and adult renaming (usually a large back garden. ladies after getting divorced). Would you recommend it for other speech and Couples contact me and I meet them and have chat. We drama teachers? talk about their ideas and I go away and write them a ceremony. Every ceremony will have certain aspects which No – not if they are based on the Isle of Wight or nearby are the same – weddings and renewals always have vows or UK south coast and want to do weddings. It’s taken me pledges and an exchange of rings/gifts, a baby naming will two years to build the business so far and it’s still a slow always have godparents involved. However, each ceremony progress, so back off my area! Otherwise I would most is unique as it includes a little about their personal story definitely say YES. eg. love story or the arrival of baby. Couples can also write their own personal vows, if they want to. I meet A job where you write the script, choreograph the show with the couple several times, we have a rehearsal for their and rehearse with the bride and groom as stars of the ceremony if they want it so they know what will happen show ... how perfect. Plus, if you are able to draw the line and they can relax. I also suggest certain choreography between people and the performance, funeral celebrancy ideas for bridal entrance and confetti moments. The is actually in greater demand. Ask yourself two questions: beauty about using a celebrant to conduct a ceremony for when was the last time you went to a funeral led by a a wedding is that you are not restricted to times, places religious person and how engaging was the celebrant at the or scripts. Registrars cannot incorporate any spiritual last funeral you attended? There is one certainty in life and contents whilst many people are turning away from church that is death – and it’s a growing business.

WORD MATTERS SUMMER 2016 23 THE MOUSETRAP

THE MOUSETRAP 2014-2015 Hull based Actor William Ilkley recounts how he became part of the cast of The Mousetrap.

The silky smooth cappuccino production, all staring at me intently. The meeting ran slipped down beautifully on a to form, I cracked a couple of jokes, as is my wont and cold January morning back in I read through the two scenes with Ian Talbot proffering 2014. Finally I was fully awake suggestions on how I could alter the readings and after taking the ‘red-eye’ early characterisation. Before long I was shaking hands with morning train from Brough to the three panelists, heading back down the grand staircase Kings Cross, the Piccadilly Line and out onto the crisp streets of Covent Garden. And to Leicester Square and then into breathe… my favourite West End Pret A Manger café. Ironically the eye Some six days later I was enjoying a lunch catch up with line from my window seat gave me a bird’s eye view of the an actor pal in one of the Prinny (Princes) Avenue cafes stunning Agatha Christie sculpture across the road – an in the trendy part of Hull. I’d recounted the tale of the omen perhaps! meeting to him and we’d been discussing the pros and cons of I had 45 minutes to kill and a year’s job in the West End, breakfasted on a warm croissant when my mobile burst into and the aforementioned hot life on the table beside me. I drink and decided to have a final held it up for my pal to see the read through of the two scenes capitalised ident on the screen from THE MOUSETRAP that – AGENT. Our eyes locked had been forwarded to me from together in a rather knowing my agent, in readiness for the way and I pushed the accept call upcoming meeting. I’d decided button. And that was it; the start not to learn the scenes, but was of a two year adventure! The certainly very familiar with the offer was on the table. Within words. A short stroll later and a couple of days the contracts with a slight quickening of the arrived and were duly signed, heart, I found myself entering my wife and I booked a last the ornate foyer doors to St minute week away in the sun in Martin’s Theatre. I’d timed it Egypt and my flat for the first perfectly, just three minutes five months in Plaistow was very before my allotted appointment kindly arranged by some friends time. Within seconds, a young in Yorkshire, whose son was actor descended the grand heading off to work in Dubai for staircase from the circle bar – six months. obviously not competition for the part of Major Metcalf – and then I was being escorted By March 2014 I was once again entering St Martin’s upstairs to meet my esteemed interview panel. Theatre for the first cast gathering and read through, only this time my access to the theatre was through Stage I sat down politely in the single red and gold chair and Door. How many wonderful actors had done exactly was introduced to the three panellists sitting behind the this on their first day in the 42 preceding years? THE rather hurriedly pushed together line of bar tables. Sir MOUSETRAP actually opened in 1952 across the road in Stephen Waley-Cohen, Producer, Theatre Owner and The Ambassadors Theatre and played its first twenty years Managing Director of THE MOUSETRAP; Ian Talbot there before moving across to St Martin’s. When I started MBE, Director of the new cast-change production and early in 2014 it was in its 62nd year and the wooden clock finally Denise Silvey, In-House Producer of the West End counter in the foyer was at over 25,500 performances!

24 WORD MATTERS SUMMER 2016 THE MOUSETRAP

The uniqueness of THE MOUSETRAP was evident from By February 22nd 2015 I was on a flight to Asia for a that first day. We met together in the stage right wing and well-deserved holiday at the end of the West End run, but entered upstage right onto the set to have the first read was that to be the end of my MOUSETRAP adventure? through on the stage, on the set and using the actual set Certainly not! A couple of weeks before the end of the job furniture. Immediately I felt I had been transported back Denise Silvey chatted to me about THE MOUSETRAP in time to this period world of Monkswell Manor Guest UK NATIONAL TOUR and an offer was made to stay House. After lunch on that first day we were on set again with the show, this time on tour, throughout 2015. I am and the blocking process had begun. THE MOUSETRAP currently ten weeks away from finishing this tour. We have has just two weeks for rehearsals as each cast changes. All travelled the length and breadth of the country including eight characters change at the same time and one company Scotland and Wales, had many record breaking box-office finishes on a Saturday night and the new company opens weeks and played some amazing venues. on the next Monday night. That way the show is never interrupted. Ian Talbot was a delight to work with and So who would have thought, looking back to that cold the company were a joy; wonderful people and some very January morning back in 2014, that I would have been talented actors. By mid April 2014 our first night had starting out on a two-year project which would see me arrived and we were up and running. play the role of Major Metcalf over 600 times and that THE MOUSETRAP would become part of my life as an The contract in the West End ran for just over eleven actor for nearly two years! Happy happy memories and months, finishing on February 21st 2015. Our standard an absolute pleasure to have been a small part of such playing week was the usual eight shows with a matinee on theatrical history! Tuesday and Saturday. By the end of the contract I had performed 362 times; the foyer counter had risen very By the way, it was the *********** that did it !!!!! close to 26,000 and the neon red lights at the front of the theatre had moved to ‘Now In Its 63rd Year!’

It was in Egypt on the pre-job holiday with my wife that I had the conversation about how I should mark this particular job. I’d initially thought about writing a daily diary but the reality of the work involved in that hit home and over dinner one night we had the idea of taking a ‘photo a day’ and creating a photo diary to remember the project. The contract lasted 328 days in total so from the first to the last day I clicked away and selected one photo for each day which I posted to the open Facebook Group ‘MY YEAR IN THE MOUSETRAP’. The photos and captions are all still out there, so do search on Facebook Groups and check them out. I’ve included a short selection here with this article to whet your appetite!

WORD MATTERS SUMMER 2016 25 DRAMA ARTS PRODUCTIONS DRAMA ARTS PRODUCTIONS DEVELOPING A LIFELONG LOVE FOR THE ARTS

Geoff Cresswell talked to Word Matters about this company which was created in the 90s by Bill Ilkley, a well- respected actor – he’s currently in the UK National Tour of The Mousetrap. This means that they have extensive contacts within both the local and international theatre arts scenes. The company’s signature programme of creating tailor made Educational Arts Tours to some of the world’s foremost cultural centres has established an enviable reputation. This combines students participating in a series of challenging workshop activities led by established professional practitioners with experiencing a diverse range of quality theatre productions.

Geoff explains “ While London and Stratford remain of Makhampom’s core theatre passions, THEATRE IN our main destinations, more and more schools are COMMUNITIES CAMP, LIKAY (THAI POPULAR THEATRE developing exciting and challenging tours to Spain, Italy, FORM) or, DIALOGUE THEATRE CAMP and create a Greece, Cape Town, Mumbai, New York, Los Angeles cultural exchange programme with a local hill tribe. This and San Francisco and we are currently developing a can also be combined with our BANGKOK LIVE initiative unique Asian programme of work. which explores the vibrant Bangkok theatre and cultural arts scenes.” I was recently appointed International Development Director with Drama Arts Productions and am based Our aim is to offer students a programme of visits and in Thailand. Some of the new initiatives I’m working professional tuition which combines ‘Fun with Learning’ on include ARTIST IN RESIDENCE PROGRAMMES, and which is designed to enhance and complement the SMALLSCALE PROFESSIONAL THEATRE TOURS and work of drama/art/dance/ photography departments RESIDENTIAL WORKSHOPS. These are all part of our within schools. Each tour or course is individually new IN TOUCH PROGRAMME. This is designed to access structured in discussion with our drama/arts specialists arts education programmes to areas under resourced in and the overall programme is tailor-made to each such activities. I am particularly interested in developing groups’ specific requirements. initiatives for Asia and the Middle and Far East. Currently we have projects in Egypt, Abdu Dhabi, Thailand and Many International schools have limited access to quality Indonesia. This year our AIR programmes embrace, professional theatrical productions. So one of the core Meisner, Shakespeare, Lecoq, Artaud and Berkoff. components is evening visits to a diverse range of world class theatre. It’s usual for groups to see shows in a All of our projects are available to schools and variety of venues - from the large West End musical educational establishments throughout the UK. Our venues, to smaller venues such as The Bush, The residential workshop programme with Makhampom Gate, Southwark Playhouse, Menier Chocolate Factory, Theatre Company ‘PLAYING IN THE MOUNTAINS’ is The Tricycle, The Cockpit and of course a workshop, particularly popular. This unique cultural experience backstage tour and a production at The Globe is always brings students to Makhampom’s inspiring arts space in a big hit as you can see here: Northern Thailand. They spend four days exploring one

26 WORD MATTERS SUMMER 2016 DRAMA ARTS PRODUCTIONS

‘Thank you Bill… No words can express how amazing the trip was… In Ryan’s words it was awesome… He was an amazing host… All the students did not want to come home. Thank you again from us all at Hessle… Can’t wait for the next one x’ Sam Flanagan - leader of the Hessle High Trip to NYC

Thanks so much Bill. We all had an amazing week, the students loved it and didn’t want to leave. Sarah Grimshaw Harrow International Beijing.

The next day we were given a tour of Shakespeare’s to play, to enjoy, to learn, to collaborate, to improvise, to Globe International Centre and the award-winning Globe listen, to speak (especially English) and to share these Exhibition by a lively and well-informed guide who with other students once they are back home. These are brought Shakespeare’s magical world to life! We then experiences that students will remember for the rest of got a feel for history as we viewed a performance of The their lives. Tempest standing in front of the stage as ‘groundlings’. The performance was stunning, and by being so close The organisation process is extremely user friendly. We to the actors, we were drawn into their humorous work in partnership with teachers to keep administrative and hypnotic show. Nandini Chandrasekaran from St input to a minimum. Teachers responsibility mainly Christopher’s School, Bahrain revolves around organising the airfares, and necessary visas. Once we have decided on specific requirements, What makes DAPS trips particularly unique is its contacts in consultation with our clients we arrange the itinerary. within the professional theatre and artistic communities. Sample itineraries are available. We have organised All our course tutors are professionals - actors, directors, trips from anything between 2 to 10 nights. Generally a 5 choreographers, MD’s, photographers etc. who are day / 4 night stay works well. DAP’s representative, who currently professionally active in their specialist area will be the guide for the duration of the trip, meets each of work and who are also experienced in working with group at the airport and takes them via luxury coach to young people. We rigorously monitor the programmes the hotel and then the adventure begins. which we run and are constantly adapting the tour contents available to meet the changing needs of both teachers and students. For further information and advice contact:- Geoff Cresswell This allows us to create dynamic learning experiences International Development Director for students by organising workshops with well Drama Arts Productions respected practicing artists. Students experience fun Website: www.daprod.biz www.williamilkley.com and challenging experiences that introduce them to new skills and genres and develop their love for theatre. The This selection of flyers and photos illustrate the range and focus being to create, to have fun, to produce, to dance, diversity of the work of this very busy company.

WORD MATTERS SUMMER 2016 27 VAMOS: THE FULL MASK THEATRE COMPANY

Rachael Savage introduces us to the fascinating mask work of her theatre company, Vamos. On the Move with Vamos: the Full Mask Theatre Company

minds, often to sell-out audiences. (all ages/abilities, 8 - 102 years). Vamos We have tiny spy holes in the back of is establishing itself as the leading full our set (so that we can judge when mask theatre resource Nationwide. to enter the stage); we also use it to Vamos Theatre’s workshops provide look at our audience before the show students, from beginners to more starts and are always amazed by the advanced, with a unique experience diverse mix. of full mask and physical theatre. Workshops are highly participatory Vamos is an immense success story; and are run by experienced over the past 9 years, we have practitioners. created and extensively toured 6 Arts Council funded productions to public Vamos Theatre structures its and critical acclaim, strengthening workshop programme around its relationships with audiences across latest production. Sessions use touring circuits of over 100 U.K. elements from the show’s story venues. We’ve developed 9 CPD/ and characters to encourage an Vamos Theatre tours innovative full training programmes; created a high understanding of its main themes, mask theatre productions nationally profile Worcestershire Youth Theatre and provide a link between the young and internationally; delivers training (160 members in 8 years); carried out people’s workshop experience and and education workshops in a wide a plethora of workshops nationwide the performance. range of settings including schools, colleges, businesses, care homes, festivals, and conferences; and takes Walkabout theatre into the streets of Britain and beyond.

A Vamos Theatre full mask show is wordless, telling its story through physical communication, supported by strong visual design and an original soundtrack. Vamos makes accessible, humorous, human, and fearless work which showcases the best in full mask practice, and strives to increase the popularity of a genre which is under represented in the UK. Vamos is dedicated to creating work based on stories of real people, and its productions are rooted strongly in social research, with an emphasis of telling stories that need to be told. Vamos Theatre aims to do what great art should: it makes people think, laugh, cry, helps make sense of who they are in a complex world. Currently theatres struggle to sell tickets, but Vamos with its loyal supporters is bucking the trend, reaching people, touching hearts and

28 WORD MATTERS SUMMER 2016 VAMOS: THE FULL MASK THEATRE COMPANY

porary social history, novels, films and, of course, interviews. The women that have been generous enough to share their stories with me have had much in common: they’ve been brave, loving, intelligent, inspiring, spirited but often hurt women, with surprisingly simi- lar stories.

This production is a tribute to all the women whose lives have been affected by this part of history We have a variety of workshops for design, make, and paint their own (including those that have remained schools to offer: masks and are introduced to the silent). I called the show The Best Thing techniques of mask performance, because it was the phrase that was Mask Taster Sessions learning about focus, character, constantly thrown at young wom- Drawing from the current touring movement, and stillness. Pupils are en. “It’s the best thing for the baby, it’s production, Vamos Theatre offers then guided through the devising of the best thing for you; sign here”. a selection of taster sessions to a series of scenes with the aim of introduce participants to its full mask creating a short performance at the With many of my shows, the research theatre techniques. Session includes; end of the week. A special feature and writing forms an emotional jour- rules of the mask, hot seating, mask of our residencies is the chance to ney for me as the writer and director. performance, audience participation, work with a professional theatre As a teenager, I really wanted to go and non-verbal communication. musician, who provides a live musical into History and Politics, but my accompaniment. mum encouraged me to dedicate my Mask Devising Workshop/ life to theatre! During the course of Residency We also offer training for Teach- making a show I often ask myself why Participants work to devise mask ers- Primary and Secondary. I tackle such difficult social issues; scenes through structured exercises perhaps one day I’ll make a piece that and professional direction, culminating For more information see our website is fluffy….but I doubt it, as it’s not in a performance. This course is an www.vamostheatre.co.uk where my heart is. Our next show is ideal starting point for GCSE or or contact us on info@vamostheatre. about Post Traumatic Stress Disorder; ‘A’ level students creating work for co.uk or call us on 01905 312 921. as part of the research I’ll be posted exams. to an army barrack for a weeks’ inten- How do we devise? sive…wish me luck! Physical Theatre Taster The Best Thing is our current show Workshop touring the length and breadth of This session explores the rules the UK. The first seed of inspiration Rachael Savage: Director of how to devise in a group and for The Best Thing came from an article Rachael founded Vamos Theatre in 2006. As generates endless ideas for devising in The Guardian by Yvonne Roberts. its Artistic Director her role varies from writer, theatre through improvisation. The It told the stories of several unmar- director, actor to workshop leader, schools workshop investigates physical theatre ried mothers from the 1960s who’d consultant and university lecturer. She trained techniques and shares the methods had their babies taken away from at Royal Scottish Academy of Music and that Vamos Theatre uses in devising its them at birth, or shortly afterwards. Drama and has worked with a wide range of touring productions. The reasons for giving up their babies regional and touring UK theatre companies. varied: pressure from the church, from Mask Making Residency Week their parents, from society. Most sto- Photo Credits. The Best Thing by GRAEME BRAIDWOOD and alienpen Vamos Theatre’s Mask Making ries tell how the women felt they had Residency is a tailor-made no choice, no other option. introduction to mask for students over 8 years. Pupils and their teacher My research over the past two years has included relevant articles, contem-

WORD MATTERS SUMMER 2016 29 THE BIG CCC The Big CCC - Cross-Cultural Communication: the essence of Modern Theatre By Alison Shan Price Founder and CEO, One World Actors’ Centre

One World Actors Centre works in the Middle With prominent topics East to train actors and presents bilingual in the International productions in Arabic and English. We are news and two very currently preparing a production in Arabic and strong actresses (Eléni French. We were fortunate to be sponsored Price from UK and to perform at the Edinburgh Festival Fringe in Dr. Diana Sfeir from August to take the Kuwait National tour of ‘Antigone’ to UK as Lebanon) I chose ‘Antigone-an Arabian Tragedy’ which detailed the last hours in the life of a modern Arabic woman in an invasion given strength ‘Antigone’ by Jean by a Celtic woman under the Roman occupation of 2000 years Anouilh, a universal ago. Working closely with Arab linguists over the years it has favourite in times of been a fascinating journey bringing the two languages together. unrest. Jean Anouilh’s line ‘other Antigones have arisen’ gave me the germinal line. Two historical invasions of In a world where dissociation is rife, Cross Cultural countries, Celtic Britain (Roman) and Kuwait ( Iraqi), Communication is becoming the most important talent 2000 years apart set the scene for the productions. necessary for the survival of civilisation as we know it. Set change could be minimal, temple walls turned into bombed rubble. The Middle Eastern media does not It is the most common word we hear from audiences shelter viewers from graphic current news therefore attending our bilinguaI productions. To this end all we had much material to use for research and began to subject matter has to be carefully chosen and handled see how very similar both periods were. with sensitivity. Theatre has the power to link nations in a way nothing else can. Its fundamental function is not Stage 1: Forming The Creative Team merely to educate, inform or entertain but to create an No show in a language which is not the director’s native understanding between audience members and actors tongue should be attempted without theatre experts in order to communicate ideas and emotions to open in that language. I was lucky to be able to persuade minds, eyes, ears and hearts. Diana Sfeir, radio star and Speech expert Bassem al Othman from Kuwait and scholar Yousef Nayef from I have the good fortune to Egypt to give of their expertise in classical Arabic and have lived in UK and the script annotation. The script needed not only had to Middle East for the past 30 be translated but understandable to Arabic audiences. years. However, until One It had to be about current issues and yet respectful World Actors Centre, a multi- of colloquial sensitivities. We awaited the nail- biting cultural theatre company, was moment of being accepted by National Council of Arts invited to perform at Dar al and Letters and were told ‘we too study Sophocles at Athar al Islamiyyah Cultural University’. Centre, Kuwait, under the directorship of HH Sheikha Stage 2: Creating A Cast. Hussah al Sabah, as part of the This proved more difficult than we imagined because 20th Cultural Season in 2015, classical Arabic, as RP, is not commonly spoken and I did not fully realise its importance or potential. I was requires vocal training. In addition, there are, as in one of the disassociated. English, many different colloquial dialects which have to be eradicated first. Arabic speech is very musical The request was seemingly simple: to stage a Modern and heavily weighted on sounds impossible to replicate Arabic production; a daunting request for any English as an English speaker. In this, the Creative Team was director especially due to the austerity of the venue and indispensable. Direction was done through translators. high demands on actors to speak classical Arabic. Critics Luckily, I was proficient in the heightened emotional can be harsh. Our experience was in English language variation and physicality required in Arabic acting. theatre, therefore I agreed to do an Arabic show that Reviews were very favourable in both languages which could be presented alongside an English version. encouraged development.

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Stage 3 The Bilingual Process With Dr Diana Sfeir, a war/ boat child herself, and a During our rehearsal period we were privileged to wealth of advice from ‘war children’ across the Globe invite to Kuwait, Adam Darius, Father Of Expressive from.WW2 to present day, who were very willing to Mime and Emmy Award winner. During an Acting send their stories, we were joined by British composer Masterclass he combined both Antigones in a six -line Harriet Bushman who organises funding for war torn exercise. The resultant synergy, power and music and disaster area victims throughout the world. created by the two actresses, who can speak both languages, cemented the decision to take the bilingual ‘The Blue Box - Memories of the Children of War’ is ‘Antigone: An Arabian Tragedy’ to the Edinburgh Festival set in a beautiful village caught up in war and details Fringe under DAI Cultural Centre, sponsored by Al how it affects the adults in positive and negative Ghanim Industries and Crowne Plaza. ways. Child actors, all LAMDA examinations students, The real work began late into the night as chosen aged 7 to 12 years old, switch from English to Arabic members of both casts worked very closely together throughout their speeches and songs. Inspired by in workshop to create one team. For an international Emma’s stories each adult character is played by an audience, the chorus became dispassionate war actor who has had first hand experience with the correspondents whilst Ismene and The Guard crossed character’s circumstances, including top surgeon Dr. both time zones. Multimedia of original footage of Frank Cannizzo. Kuwait invasion and real ‘Antigones’ throughout the ages linked the action. I am forever beholden to the The World Premiere at the DAI Yarmouk Cultural cast who had their speeches shredded to one word at Centre Kuwait received a standing ovation and many times in the drive to produce a cohesive and dynamic people rushed out in tears. The theme chosen is not of piece of work. The production, to our delight received destruction or to shock but to show that to the end a 4 star-rating from Edinburgh Festival Fringe reviewer children play and hope for a better future. The final Broadway Baby and favourable reviews. words of our show are chosen by the children. For who better to discuss the stories of children, than those Stage 4: Moving to the International Stage who are children themselves? ‘Antigone: An Arabian Tragedy’ represented the common bravery of women through the ages to uphold family values in time of great danger. The production was celebrated in Kuwait and discussed in the International media coverage by Al Arabya TV.

It meant that the topic of our next bilingual production had to be chosen with great care. We received permission from the guardians of the work of a world famous poet to develop his work into a production but that was put to one side when one of our LAMDA Gold Medalists came forward with information about a book she had self published. Teenage Syrian-French Emma Abdullah had written a book of short stories about ordinary people in turmoil and entitled it ‘The Blue Box’ to raise money for refugees in the crisis. Upon reading the heartfelt stories, I knew we had found the inspiration for our next production.

WORD MATTERS SUMMER 2016 31 THE BIG CCC

Public praise for ‘The Blue Box-Memories of the Children of War’

I attended the deeply moving performance of Emma Abdullah’s ‘The Blue Box’ by Alison Shan Price and One World Actors Centre at the Dar Al Athar Al Islamiyah in Yarmouk #Kuwait last night. As a father, a diplomat and a human being, I could not help but be moved by the stories and perspectives of innocent children caught up in conflict and violence. The performance is scheduled to come to the #Edinburgh Fringe Festival this summer. Mathew Lodge HM Ambassador to Kuwait

Touching on the very fabric of our society. We question ourselves. Have we done enough? Can we do more? Praise for ‘Antigone - an Arabian Tragedy’ The innocence of youth as Emma wrote in her Blue Box stories, is very vividly played out every day by A morally and theatrically bold production thousands of children affected by war or conflict. Broadway Baby A compelling read and heart wrenching watching One World Actors Centre’s stage adaptation . Truly A fascinating range of techniques to allow for this inspirational. performance in two languages. The energy is formidable Ian Harbour, British Army and full of promise The Scotsman The Blue Box- children of war, Memories or Reality? Each scene showed us the misery of war and the representation of motherhood through love and fear was the element that made us realize what a war is . The children were remarkable and emotionally brave and as the representation of the reality of those kids who are innocent want to play but war is taking away all about childhood Al qabas newspaper for the Middle East

The Blue Box: Memories of the Children of War will be performed at the Edinburgh Festival Fringe 08-13 August at Greenside Nicholson Square: Edinburgh with ticket sales going to charity. Tickets can be booked by visiting www.edfringe.com.

32 WORD MATTERS SUMMER 2016 THE SOCIETY AND ASSOCIATION OF SPEAKERS CLUBS The Society and the Association of Speakers’ Clubs by Mike Douse

an audience and move them to laughter, tears and action, to evaluate others fairly and constructively, and to listen judiciously. Most importantly, they will have fun along the way.

Speech of the Year For many years, the ASC ran a popular Speaker of the Year event: the Society’s President Professor Gervase Phinn was SOY in 2004. We are now identifying Mike is a former Professor of Education the ‘Speech of the Year’ and this will interviews and participating in group and a member of the National be announced each December. Its discussions, and spoken communication Executive of the Association of Speakers objectives include encouraging our in relation to the entire gamut of school Clubs. He has participated keenly in the club members to identify effective subjects. recent discussions aimed at establishing speeches (irrespective of content) and to In these dynamic times of internet, good linkages between the STSD and recognise publicly those considered to 24/7 news and instant messaging, the the ASC. be the best. need to speak effectively – and to say There are Speakers Clubs all over Recent ASC initiatives include links something worthwhile in a way that Great Britain offering their members with the McGuire Programme, a move will be understood and responded to opportunities to become better speakers towards Speaking in Companies, and – is greater than ever. For those who and presenters in a welcoming and working with Rotary International in are nervous about speaking in public, mutually supportive environment. Each reviewing its Youth Speaks programme. or needing to speak in their work or club contributes to the proficiency There is an especial emphasis on elsewhere, or are simply seeking an and pleasure of its members and to the communication in schools: most of life enjoyable activity, Speakers Clubs have social life of its local community. is spoken but so much of education much to offer. The Association of Speakers Clubs is not. In many schools, ‘speech’ and However, we would like to know how coordinates and pursues the interests ‘speaking and debating’ are emphasised the ASC and its clubs may, in turn, of those clubs. It runs national contests for (a) those with difficulties, and (b) better understand and more practically in Speech, Topics and Evaluation and those keen to debate and enter contests support the work of the Society and stages seminars, training activities and – with the vast mass in the middle its members. Already, we are on one conferences at District and National frequently missing out. another’s websites and – as now – levels. Of course, the Society’s members exchanging articles in one another’s Members of the Society of Teachers of encompass ‘Drama’ alongside ‘Speech’. publications. Attendance at each other’s Speech and Drama are most welcome to In recent years, many of our clubs have conferences could be another obvious visit their nearest Speakers Club, details added ‘Debating’ to the emphasis upon step forward. of which may be found at: http://the- ‘Speaking’ and it could well be that We need to learn more about the asc.org.uk/clubs.html some thespian elements could invigorate situations we experience, the challenges Members enjoy gaining skills and our activities. On this – and on many we face and the aspirations that we confidence in: other matters – we would welcome your share. The more closely we work • speaking in public to small and large practical advice. together, the greater the mutual audiences; benefit and – hopefully – the better • expressing themselves effectively in Working Together the consequences for effective spoken conversations and group discussions; The possibility of working with the communication across our community. • making educational and professional Society and its members presentations; and in developing curricula • contributing effectively to meetings. – and possibly an accredited qualification Members are guided through a series – for young people in, of speeches with structured and for example, ‘Effective constructive evaluations from fellow Spoken Communication’ members, helping them to overcome could be considered. This their fears and become a competent might involve listening speaker. They will learn to listen as well as speaking skills, creatively, to speak off the cuff, to hold practical challenges such as

WORD MATTERS SUMMER 2016 33 BOOK REVIEWS

1606, William Shakespeare There were serious outbreaks of the captivate his imagination? He is no longer and the Year of Lear plague occurring and in July of that year to be seen acting on the stage. It was which had been full of so much creative a year in which he writes of the death By James Shapiro promise, the theatres were again closed and murder of kings. For the first time in as had been decreed if the average Macbeth and Lear he speaks of Britain Faber and Faber, 2015, ISBN 978 0 number of deaths exceeded thirty per and British preoccupations. 571 23578 0 week. There was hankering over the nostalgic Merely a few Since Elizabeth’s death, Shakespeare’s days of the old faded queen whose body months after writing seems to have diminished in would be disinterred from its grave in the panic and frequency, his prolific writing period Westminster Abbey and her bones piled terror of the was now behind him. He had been used on top of Mary, her half sister. There gunpowder to writing three or four plays a year was a mood of disillusion with the new plot in during the previous fractured Elizabethan Scottish monarch. November decade. He was the most experienced 1605, England There is much that is deeply absorbing dramatist in England now but fashions was a country in this substantial book. There is a in theatre were changing. In the January reeling from fascinating chapter on Equivocation, the a great courtly masque was staged with shock. Its king, Jesuit inspired recommended way to James attending at the Old Banqueting its parliament, avoid telling the complete truth under House at Whitehall Palace. The dramatic its leading courtiers would all have oath by withholding detail through presentation was resplendent with been annihilated, leaving the country ambiguity. To the authorities this was a superb costumes, extravagant staging, the devastated. This is the year 1606. fiendish method of Catholic recusants to finest music and choreographed dancing free their conscience from the serious Shakespeare’s Elizabethan years are over, and the enticing frisson of women sin of lying, a Popish ploy using mental the Tudor period is no more. As Shapiro performing instead of the shrieking reservation to conceal guilt. When explains, we as students and enthusiasts Cleopatras of adolescent boys. They Macbeth says, “I begin to doubt the of his dramatic work, and also historical were arrayed in lavish jewels in the most equivocation of the fiend that lies like biographers of the man, often mentally alluring costumes which Inigo Jones truth”, the audience would have readily crystalise Shakespeare as an Elizabethan designed. understood this meaning that runs as an writer when in fact there is still so much It was clear that Shakespeare must have undercurrent throughout the play. of him which is still yet to come in the attended this voluptuous occasion for Jacobean period. There is a similarly fascinating chapter we see its impression in The Tempest on Possession and the story of Anne These are unsettling times and in many some years later. And yet, unlike Ben Gunter who was apparently bewitched ways resemble and mirror much of our Jonson, who eagerly responded to the and when she was twenty-two years old own current fears and uncertainties with writing of such extravaganza which was was brought to see King James whilst terrorism, suspicion, plots and counter comparatively very handsomely paid he was avoiding the plague outbreak in plots that threaten our very existence. (some eight times the earnings of a Oxford. She had terrifying foaming fits In 1606 there are false and credible normal dramatist) Shakespeare eshewed like epilepsy, spouting pins from her lips rumours of the king’s assassination, the this temptation. There was with an and nasal cavities. James was fascinated gunpowder plotters are to be tried and enormous budget of which the Chorus by demonology and there were executed. As a result of this terrifyingly in the opening of Henry V would have investigations into who had caused this failed plot, the nation was in a grip of been astounded as he beseeched the demonic possession of the young woman. panic. audience to use their imaginations to envisage the “swelling scene” enacted Resonances of all this are obviously to be James of Scotland was now in his third before them. found in Macbeth but also King Lear. reigning year as king of England. He was desperately focussed on persuading Yet Shakespeare seems to have no This is a book which is full of Shapiro’s parliament to accept a union of both enthusiasm for these “insubstantial literary insights and highly illuminating countries. As with today and our pageants”. He would have no part in the investigation into the mind of the elusive European Union debating, there was an sycophantic and propagandist ingredients great dramatist during a profoundingly atmosphere of uncertainty about all this. of the new masque writing. It did not suit disturbing and eventful year in English It was the year when the Union Jack was his interests and ability. history. designed and flown and at the end of the Yet for all this, 1606 was a hugely creative Paul Bench (Reviews editor for year the shoots of the British Empire year for Shakespeare. It is the year in Word Matters) is an experienced voice emerge as ships leave London docks to which he wrote Lear and Macbeth and and performance consultant who has establish at Jamestown in America the subsequently Anthony and Cleopatra. specialised in Literary Theory. He is first permanent colony there. complementary health therapist and It is in the events of the year that Shakespeare would be 42 years old in a tutor for the Voicecare Network. Shapiro so persuasively seeks to enter the April of 1606, and life expectancy A widely travelled examiner, he is an the creative mind of Shakespeare. How was around 45 years in those days. adjudicator with The British International did they influence his responses and and Federation of Festivals.

34 WORD MATTERS SUMMER 2016 BOOK REVIEWS

Drama Menu – Theatre Games teaching in Dubai, United Arab Emirates. Mary: You were swindled again as you in Three Courses Emma holds the LSDE from LAMDA always are., because you insist on second and is a member of the STSD and DLT. hand bargains in everything. By Glyn Trefor-Jones Please see www.emmaquintin.com for The authors discuss imagery in so further information. Nick Hern Books, 2015, ISBN : 978 many different ways. Teachers could 1 84842 285 8 have such an interesting dialogue with their students if they seek out instances With over Dramatic Adventures in of topothesia or prosopographia. Think 158 engaging how focused they would be on textual exercises and Rhetoric: A Guide for Actors analysis: which is exactly how this guide one million By Giles Taylor and works. I found chapter seven, The Rule possible menu Philip Wilson of Three, a fascinating discourse on combinations what is academically called theTricolon. It Drama Menu Oberon Books 2015 ISBN 978 1 crops up all the time. Culturally we have is the A-Z 84943 491 1 musical trios, film trilogies and painted handbook tryptychs. We strive for Faith, Hope and for effective What I liked Charity, and of course, there’s “Do Re teaching; about this Mi” made famous by Julie Andrews in an essential book was the The Sound of Music. The authors set the resource for anyone teaching drama to way it made reader on a textual voyage: just think children of all ages. me examine my own use of what one can find when looking for Taking inspiration from a culinary menu, language, even tricontonic interbreeding. Glen Trefor-Jones divides the book into in everyday Their guide has an extensive of glossary 3 courses: Appetisers, Starters and Mains terms. There of rhetorical devices. But especially along with a Dessert section at the back are metaphors useful for teachers is the Index of as an additional treat! in the ordinary Playwrights and Plays Quoted. So if you way we This brilliant format, which offers a are ploughing through Oscar Wilde, communicate with one another. They rich and varied plethora of material, Alan Bennett or Steven Berkoff, they are are often vibrant, witty and imaginative. enables teachers to combine exercises easily found and their rhetorical devices Our language is metaphoric. Think how to create the perfect choice for their explored. marvellous an image is created when class, knowing each exercise will we talk about “ a storm in a tea cup”: it This could be a whole new way to be inspirational and engaging whilst mirrors life immediately. approach their texts and examine the maximizing the learning potential of way they have been crafted. Take yourself their “’actors in training”’, igniting energy We know exactly the full measure of and your students on a rhetorical and enthusiasm along the way. an incident “when the shit hits the fan”. adventure. These are pointers Taylor and Wilson Drama Menu offers fast paced and offer the reader when they illustrate Jeffrey Grenfell-Hill trained for the energetic warm up Appetisers, Starters the use of metaphor. And they examine theatre at The Bristol Old Vic Theatre that are designed to challenge and image making in detail and then go onto School and was chosen as student express students’ creative freedom with mixed metaphors. It is all such fun. I had director in his final year. An examiner for the Main Course acting as the main body no idea that one assigns the attribute Lamda since 1972 of the session oozing with creative ideas. of objects to humans that one is using Even the Desserts offer quick endings to chremargorphism. This is what Arthur lessons which require no preparation Escaped Alone miller uses in The Crucible when he time, along with menu options for tried By Caryl Churchill associates a wife with a brick: and tested classes ensuring 100% class effectiveness! Francis: My wife is the very brick and Nick Hern Books, 2015, ISBN 978 mortar of the church…. 1 84842 549 1 With catchy titles, clear numbering and individual exercise summaries Drama And then there is zoomorphism which In this play, Menu is an easily accessible, flexible and is to view or imagine someone or the “fourth creative resource useful for any dramatic something in terms of an animal. The wall” is rather platform. authors of the reader so many different more akin to ways of viewing and analysing play text. a peephole A must have for all teachers wanting to Why not get one’s students to look to in the fence, give their students the very best! look out for martyria from the Greek as a group Emma Quintin is an internationally meaning “proof”? To confirm something of ladies in recognised performer and teacher and from previous experience as in Eugene their seventies is currently actively performing and O’Neil’s Long day’s journey into Night are joined when we hear: by Mrs J in the garden of

WORD MATTERS SUMMER 2016 35 BOOK REVIEWS one of them. The ensuing stream of Although they are classed as Comic, general flow of the dialogue. In the generally unconnected conversation there are some, such as “Figurehead” second section called After, a single actor, covers everyday discussions on family, which have a more serious sub-text. who may or may not be the deceased, nostalgia, ailments and views on current There are no introductions to these describes a strange state of being which political and economic topics, where pieces, so character, age, setting and may be death. The final image is a mimed generalisations are often uneasily mood have to be deduced from the sequence of an old person repeatedly coexisting: text. Some of the pieces, like “Instant” getting dressed and undressed. The and “Drums”, seem to suggest a definite Evening Standard called it “provocative “You always get people hating their character and situation; others allow for and startling” and Time Out, “exquisitely neighbours. a more flexible approach. As a teacher atmospheric…that resonates far off, like Yes, the closer they are I would find the latter useful workshop the mad laughter of the cosmos.” Serbs and Croats, French and English… material, where students could learn Catholics and Protestants, Sunni and Shia I found it disturbing and confusing, but I from the different interpretations Arsenal and Tottenham… think it must play more effectively than that would emerge. For a successful Cain and Abel.” it reads. performance the actress will need a There is a seemingly placid veneer to good command of vocal skills and subtle Eleanor McLeod is a Lamda examiner, this, but Mrs J punctuates the dialogue use of body language to bring any of international festival adjudicator, with bizarre tales of apocalyptic dystopia. these pithy and pacey pieces to life. actress, teacher and writer, having We also learn what dark secrets each published books of poetry for children Forty entertaining scenes, contemporary of the women harbour – the murder of and collections of scenes for young in style and subject, that will appeal to a husband and an irrational fear of cats, performers older teenagers and adults. If you know for example. All shared over a cup of tea. Katy Wix as a performer, the challenge It is a short play and perhaps leaves us will be not to imagine her speaking each The Layers Between questioning much of the modern world. scene. By Celia Claase Caryl Churchill is now 77 and refuses to explain her work, preferring audiences Mia Ball is an exprienced teacher of Proverse Hong Kong , 2014, ISBN to respond as they will. There is no plot A Level Drama and Theatre Studies. 978 988 8228 15 7 that any of us approaching a certain age She is also an examiner for Lamda and may worryingly find something familiar an adjudicator with the British and In this volume of prose and verse, in it. I did. International Federation of Festivals Claase recognises the interrelationship of the physical and the metaphysical, the The Oberon Book Of Comic Here We Go seen and the unseen. She explores the themes of Fear, Isolation, Reattachment Monologues For Women By Caryl Churchill and Facets of Perception. Sometimes Volume 2 she takes her reader on a surrealistic Nick Hern Books, 2015, ISBN 978 journey which confronts our views of By Katy Wix 1 84842 5194 1 the world around us. Oberon Books 2015 ISBN: 978-1- This is an even Claase writes her Ode to Energy in 78319-923-5 shorter play. It prose and reminds us that the French is about dying. A new book scientist, Antoine Lavoisier, proved It opens at a of monologues “things’ can transform into “nothing”. In party after a is always his experiments he showed that in any funeral. The welcome, transformation not a single amount of dialogue is not especially if you matter is ever lost and neither is any assigned to any are a teacher amount of matter ever gained. Taking character in of Speech and this up, Claase explores the theme of particular as Drama. We Energy, Motion, Change, Information comments on are always and Consciousness. Arguing that we are the deceased looking for melded from all of these, she asserts are thrown into a form of conversation new material that we are “but specks of awareness and seemingly quite randomly. We pick to use with within this whole of consciousness.” up titbits about his colourful past and students. Here Katy Wix offers forty learn that he left behind an old ginger There is a lot to think about as the monologues, none long, and all written tomcat. reader moves from her prose to her by a performer for performance. poetic opus – which joins the surreal As Churchill leaves the number of actors That the author is a performer can be the spiritual, giving us her own personal and the age and gender open, it would seen in the writing, which is economical, reflections on her life in South Africa. provide a director with a fascinating task witty, with some clever twists and neat of assigning them. She provides a fact Jeffrey Grenfell-Hill endings. I could hear some of the about each person which she suggests pieces in my head as I read and could should be randomly inserted into the picture the character behind the words.

36 WORD MATTERS SUMMER 2016 Write free to FREEPOST VICTORIA COLLEGE EXAMS Email us at [email protected] (1800 523 162 from Ireland) Phone us free of charge on 08 0800 E X A M S (39267) Download a free copy of Speechpower! at www.vcmexams.com

SpeecSpeecSpeechpohpohpowww er!er!er! Syllabus of requirements for 9ictoria College Examinations in Communication through Speech and Drama

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