sign in sign up
<<
Home , David Lan, Dunraven School, Lansdowne School, Michael Tippett School, Mick Gordon (director), The Old Vic

Teaching, Participation and Research Annual Review 2006/07 From the plays we present to the ways we rehearse and the special events and activities we create to support our Teaching, shows, we involve young people and our local community in all aspects of our work, aiming to develop the skills, ambition and confidence of the Participation theatre-makers of the future. With the company based in The Cut once more, and in an award-winning and new building, we have even greater scope for experiment and the introduction of new ideas. And with three fully equipped new theatres, we have more Research opportunities than ever to work with young people and engage with the Our focus on young people and local community. residents in and , and on young directors

02/03 Our work is focused on three Key facts and figures Thank you so much. key areas: Over 1,740 young people took part in I found the project Teaching workshops and projects. The majority totally life enhancing Our work with schools and colleges were aged between 7 and 20 and were – workshops in schools and on stage from Lambeth and Southwark. and I can’t wait until – collaborative work with young the next one. children 89 free opportunities were provided – subsidised tickets for teachers, including free tickets, Two Boroughs Participant – comprehensive resource packs professional development workshops – work experience placements and access to theatre professionals. – career initiatives – teachers’ activities 3,286 residents took advantage of free tickets and other activities provided Participation through the Two Boroughs Project. Our work with young people outside school 2,429 young people, independently or – workshops developing theatre skills through school, saw a performance for free – parallel productions on our Funded Ticket Scheme, many – projects developing independent experiencing live theatre for the first time. theatre-going – opportunities to learn about careers 101 schools and organisations collaborated in theatre, including acting, directing with the during the course of and technical careers the year.

Research 74 schools and colleges benefited from Our work developing theatre practice Funded Tickets. – The Genesis Directors Project, which consists of: Over 500 young directors were supported – the Directors Network in their professional development. – directors’ workshops with theatre practitioners – exploration of process – directing full productions through the Direct Action scheme – assisting on productions – The Jerwood Directors Award – Two Boroughs Project, providing free or subsidised tickets for residents of Lambeth and Southwark

Our TPR activities are focused on three groups:

– Young people from South East , especially our home boroughs of Lambeth and Southwark – Young directors wishing to develop their craft – Residents of Lambeth and Southwark Teaching

Funded Ticket Scheme Teaching Support Access Onstage and Backstage We believe everyone should have To enhance young people’s understanding To develop young people’s understanding access to theatre no matter what and experience of Young Vic productions, of how we work and to introduce them their financial circumstances. Funded we provide teachers with the following to the range of career opportunities Tickets ensure our productions are support: available in theatre, we provide seen by the widest possible audience. – A Resource Pack to accompany access to stage and creative technical We distribute free or subsidised tickets productions containing extensive teams through: to local schools, groups, teachers and background material on the plays, – Backstage Pass, giving young people young people, focusing on those who information about the rehearsal the opportunity to shadow a member have never been to the theatre before. process, interviews with actors and of our technical crew during a To make sure their experience is complete, production teams, designs, drawings performance so they can see how we provide each participant with a and drama exercises lighting, sound and stage management free ice-cream! – Teachers’ Evenings and Forums contribute to the show where teachers are provided with – Post-Show discussions with directors For the third year running we have Funded Tickets, the opportunity to and cast extended our FTS with the support of meet with Young Vic staff and – Backstage Tours the DfES London Challenge Programme, complimentary refreshments. In this – On-stage workshops that give pupils which aims to raise attainment in way we obtain teachers’ feedback on a hands-on opportunity to explore London secondary schools. The extra our work and keep them informed of the lighting, sound, stage management funding has enabled hundreds more future projects and performing challenges of our young people to experience live theatre – In-school workshops that give teachers three auditoria for free, broadening students’ horizons access to artists and practitioners, and teachers’ expectations. enabling them to develop their own knowledge and creativity Tickets were distributed predominantly in Lambeth and Southwark but also in Croydon, Merton, Wandsworth, Lewisham, Bexley, Greenwich, Westminster and Hackney.

I thought The Enchanted Pig was fantastic, terrific, fabulous, exquisite and spectacular. Pupil, Ilderton

04/05 Projects Southwark Theatres’ Education Special Needs Training Rehearsal Projects Partnership (STEP) Festival November 2006 November 2006 – February 2007 July 2006 In order to extend our knowledge of Throughout the year we invite schools As part of this year’s STEP Festival we how to work creatively with teachers into the rehearsal room to help us ran a series of in-school workshops and students in special schools we ran develop the productions we are creating. exploring the craft of directing and training workshops for directors at Our Christmas show, The Enchanted Pig, the questions and challenges a director Turney Primary and . was based on Romanian folklore and might encounter when bringing a Led by experienced special needs was a terrifically vibrant family show to the stage. Working with two actors, animateur Tim Yealland, we worked in the tradition of Sleeping Beauty and the director looked at character objectives with a group of autistic and cerebral last year’s Tintin. As with all our shows and director choices in relation to spatial palsy children and a group with severe at Christmas we worked with a class narrative, entrances, exits and blocking. learning difficulties and emotional and of primary school students to explore behavioural difficulties. The directors the story, characters and themes of will work with special schools leading the play. First in school and then in workshops on our productions, as well rehearsals, the class fed back to the as devising projects based at the theatre director and actors at key stages in the on a range of activities, including design, production’s development. lighting, sound and costume. Our spring show, The Soldiers’ Fortune, also benefited from the involvement of a class of secondary school students. It was particularly useful to explore and test the accessibility of the language and complex social setting of the play.

The girls really enjoyed the workshop on generations. Their enthusiasm for drama has improved since the show, and they are already asking for another trip. Teacher, St Martin-in- the-Field School

Show Theatre Tickets Tobias and the Angel Main House 106 Love and Money The Maria 200 The Enchanted Pig Main House 1492 generations The Maria 191 The Soldiers’ Fortune Main House 387 The Big Brecht Fest The Maria / The Clare 53

Total FTS Tickets 2429 Fresh Direction Schools’ Theatre Festival for March 2007 Special Needs Schools The Young Vic is one of the foremost March 2007 theatres for young directors in the UK, The Young Vic Schools’ Theatre Festival and we are always seeking ways to is an opportunity for local Lambeth provide young people with opportunities and Southwark schools and colleges to to learn more about the craft of directing. present their work on our main stage For the third year the DfES London with all the facilities of a professional Challenge Programme supported this work. theatre at their disposal. The Teachers’ Forum for special needs schools The project was focused on two shows; suggested we pilot an additional STF the first half was based on The Soldiers’ exclusively for special needs schools Fortune and the second on The Big Brecht and colleges. Consequently, over a Fest. The schools could then choose month the Young Vic team, including a which of the contrasting plays they felt director, stage managers and lighting would complement their core teaching. designer, worked with the pupils and teachers in school and on stage to Three schools took part in The Soldiers’ adapt the performances to the main Fortune directing project and five stage at the Young Vic. in The Big Brecht Fest. The project explored the craft of directing over the A diverse range of 7 schools and colleges course of three in-school workshops took part and created a wonderfully per school plus a trip to the theatre. eclectic range of work. This ranged The theatre visit was scheduled after from devised pieces, to musical theatre, the second workshop so that the pupils’ to drumming and dance. response to the show could feed into the third workshop. The sessions explored essential directing skills and the groups then worked with professional actors on selected scenes from The Soldiers’ Fortune or Señora Carrar’s Rifles and put into practice what they had learnt.

We worked with a total of 588 students – 24 classes from 8 schools participating in 24 workshops.

06/07 Increased Opportunities for Teachers Work Experience To celebrate the opening of the new Owing to the conclusion of Walkabout theatre we organised tours and events and our return to The Cut we had limited to introduce the building and the opening opportunities to accommodate work season. The teachers’ response to the experience placements in years 10 and 11. building sparked lots of new ideas, However, we were able to work with initiatives and possibilities. The newly establishments to provide formed Forum for teachers in special more in-depth vocational placements. schools also instigated a new strand of work.

Our regular Teachers’ Forums also revealed an interest in practical workshops that directly involved young people in the delivery. Consequently we ran a session that involved the children’s chorus of Tobias and the Angel and included practical demonstrations of strategies and techniques to help children learn and perform music.

Many schools have rudimentary technical resources and limited access to practitioners with the appropriate expertise in lighting, sound and carpentry. We responded to this gap in provision by sending our production team to visit schools, providing an individual assessment of existing equipment and advice on how to maximise its potential. Participation

Having introduced young people to My life has taken on a completely different path theatre through their schools and than what I had initially planned and the catalyst colleges, we encourage them to pursue for this was Introduction to Directing with the their interest in theatre independently. Our participation projects take place Young Vic. Introduction to Directing Participant outside school time and provide opportunities for young people to take part in theatre visits, evening, weekend The project was absolutely brilliant, it was much or holiday workshops, and also in better than I could have imagined. I’ve learnt so productions. These activities cover much in so little time. acting, directing and technical theatre. Bigger Than Life Participant

08/09 Technical Training Apprenticeships Replay Introduction to Directing 18 – 25 year olds 14 – 18 year olds 18 – 25 year olds April 2006 April 2006 May – March 2006 This pioneering scheme was established To celebrate the wealth of work that Introduction to Directing provides in 2004 with talkbackTHAMES to took place during Walkabout, we created opportunities for young people who are encourage young adults, especially from a mini-festival that brought together currently under-represented in the industry Black and minority ethnic backgrounds, several strands developed over the to gain an insight into and understanding to consider a career as a theatre or previous two years. Four directors of theatre directing. The project has two television technician. Following the worked with a group, rehearsing and parts. First, an introduction that gives Taster workshops in September 2005 presenting extracts from A Raisin in participants a chance to learn skills the Direct Action production of Sean the Sun, and Tintin. and decide if directing is for them and, O’Casey’s Bedtime Story and The End The professional directors were assisted second, a more concentrated period of of the Beginning provided four by two placements from the Introduction development for those who want to placements in stage management, set to Directing project and were supported pursue directing further. building and lighting. technically by a placement from the Technical Training Apprenticeship scheme. This year the project was run first by The combination of small groups looking in partnership in depth at short scenes from our most with Talawa (led by Ben Thomas), then successful Walkabout productions, in the latter part of the year Indhu was coupled with participants from our two supported by Serdar Billis. The core vocational projects gaining professional skills and practice-based sessions are experience, made the project a perfect a combination of whole-group work, end to Walkabout. small-group exercises and discussion. In the final stage of the project the participants directed a short scene mentored by the lead directors. The project is also supported by the expertise of experienced actors, whose involvement provides an invaluable perspective to understanding the director’s craft.

At the completion of the project the participants are encouraged to join the Genesis Directors Project and we continue to offer mentoring, support and opportunities. Since completing Introduction to Directing, participants have taken part in the Young Vic Summer School for directors, assisted on the Almeida Young Writers’ Festival and on the Young Vic productions generations and Señora Carrar’s Rifles, and directed a short piece as part of 24 Hour Plays festival.

Over the year 20 young adults took part in the project. Brazilian Beats Bigger Than Life Summer Mix Tobias and the Angel 14 – 18 year olds 14 – 18 year olds 8 – 12 year olds May – June 2006 August 2006 April – October 2006 The aim of this project was to explore This was a week-long investigation of With the support of Thomson Financial Brazilian theatre practice and popular how to tell stories where words are not and the Paul Hamlyn Foundation, forms as part of the Young Vic’s central, focusing on the participants’ Tobias and the Angel was the opening growing interest in international improvisational and non-verbal skills. production of our newly refurbished initiatives, exchanges and productions. Director Paul Hunter explored the physical theatre. The production had three language of melodrama and worked community choruses – young people In collaboration with Brazilian director towards staging a silent melodrama aged between 8 and 12, an adult Joao Andre and English director entitled The Soldiers’ Return. unison chorus and a four-part chorus. Paul Heritage, new ways of working It provided an opportunity for us to were explored in a week-long project Pianist Alcyona Mick worked with the engage creatively with 100 members designed to bring together our work young people for the second half of the of the local community, helping us with young people (Participation) and week as the use of music in melodrama celebrate our return to The Cut. adults (Two Boroughs Project). The is an important one, not just in sessions explored Brazilian dance, underscoring the action but in sustaining Auditions were open to all but promotion storytelling and mask-making and the the actors’ physical and emotional of the project centred on our local two groups joined together to perform response to the material. The live music communities of Lambeth and Southwark. for family and friends on the final day. really challenged the participants to After a series of re-calls, 47 adults were explore the emotional life of the characters selected, along with 36 young people that they had created. aged between 8 and 12. In addition to these two community choruses, 55 adults from across London with experience of singing and reading music were drawn together to create the four-part chorus. Sixty percent of auditionees were new to the Young Vic.

The creative team included John Fulljames (director), David Charles-Abell (conductor), Alexander Lowde (designer) and Ben Wright (movement director). The project was a huge success, with excellent feedback from the participants, and the show itself was acclaimed by public and press alike.

I have learnt that opera is not always really posh – it was great fun. Participant, Tobias and the Angel

10/11 Centre Stage 2006 Technical Tasters Señora Carrar’s Rifles Parallel 18 – 25 year olds 14 – 20 year olds Production October – December 2006 January – February 2007 14 – 20 year olds In the past 11 years an increasing number The Technical Tasters encouraged young January – March 2007 of young people have wanted to take people to investigate the technical side Running parallel productions for young their interest in theatre a stage further of theatre through a series of Saturday people alongside our main programme and embark on a career in acting. Many workshops. The participants were of work has proved to be an extremely of these young people lack support and introduced to the roles undertaken by popular and successful way of developing information about the opportunities and those working backstage and given our participation work. We drew on choices available to them. Centre Stage the opportunity to take part in practical The Big Brecht Fest and produced a aims to help them make informed choices. exercises. The sessions explored lighting, fully resourced production of Señora sound, construction, stage management, Carrar’s Rifles in the Clare Theatre. With this in mind, we developed a special wardrobe and design, and led to a final The production developed the participants’ strand of work supported by Cadbury workshop where everything they had skills in voice, character development Schweppes Foundation. Each year it learnt was used to ‘tech’ a short scene and textual analysis and ensemble provides a small and dedicated group from The Enchanted Pig. The participants playing. Over the three nights an of young adults with three phases of were responsible for the lighting and audience of 105 attended, made up of development and support. The demand sound design, rigging and operating. participants’ family and friends, together is high and 70 young adults applied In stage management roles they also with invited guests. To conclude the for 15 places. The participants worked controlled the technical rehearsal, project, participants attended the with directors and additional specialist called the show and found/made props. professional production of Señora practitioners to develop skills in text, Carrar’s Rifles and met with the actors voice, classical theatre, physical theatre, and creative team to exchange ideas improvisation, musical theatre and and feedback. character development as well as developing monlogues for drama school auditions. Through visits to drama schools such as RADA and LAMDA, the participants get a sense of the particular focus of training available on various drama courses.

Each phase of the project concluded with a presentation of monologues in the Clare Theatre, demonstrating the range of skills acquired. Currently, seven of the participants are applying to drama school to undertake further actor training.

The Enchanted Pig Workshops 8 – 12 year olds December 2006 Led by directors Tom Wright and Yael Shavit, this series of Saturday morning workshops explored our Christmas production. The young people took key events from the story and initially developed silent tableaux into which they gradually fed dialogue, movement and gesture. The resulting scenes were presented to friends and family at the end of the week. The participants also had a chance to see The Enchanted Pig with their family at a mid-way point in the project. This way they could make their own discoveries about the story first and then see how the Young Vic had adapted it for the stage. Two Boroughs Project Research Two Boroughs is one of our most important projects. Established in 2000, it provides free access to all our shows and participatory activities to residents of Lambeth and Southwark, focusing particularly on first-time theatregoers. The project is generously supported by the Paul Hamlyn Foundation.

12/13 There are four main strands. Firstly, everyone in Lambeth and Southwark It’s really good of the Young Vic to give people can see a show for free and then like us (mental health users) a chance at acting and follow this up with discount and singing. I never thought that at my age I would pay-what-you-can ticket offers. We also have a group of informal ambassadors be able to try new things, and that my mental who help us contact hard-to-reach health would allow me to be interested in trying communities. Secondly, as well as developing work for specific groups, new things. I’ve learnt a lot of new skills and got we make ‘Open Access’ projects available a bit of confidence in performing before others. to all local residents, to come together and make theatre as well as friends. Two Boroughs Participant

In addition, project staff collaborate with groups supporting some of the most vulnerable and excluded people in society to create ‘Access Projects’, short and fun ‘taster’ sessions which, if the groups choose to further their involvement, lead on to ‘Specialised Projects’ custom-made for them. Finally, the programme includes a commitment to produce a community production each year, bringing together local people and professional actors. These productions offer local people with little or no experience a unique opportunity to learn and perform in a professional and fully resourced environment. Workshops and Projects Joy of Singing Joy of Singing Returns Backstage Workshops November – December 2006 February – April 2007 May 2007 In October the community opera Tobias This sequel to the Joy of Singing Consultation with members of the Two and the Angel involved over 100 local project was a chance to build on and Boroughs project identified a strong residents, and the Joy of Singing project draw from the musical elements of our interest in finding out more about the was designed to build on these Christmas show, The Enchanted Pig, technical side of theatre, together with relationships while also providing a and generations, a new play by Debbie a need to provide day-time workshops chance to develop skills. Six three-hour Tucker Green performed in the Maria targeted at unemployed, retired and sessions took place over three weeks, Theatre. Nine sessions were programmed homeless participants. The initial with each session split into three sections: over an eight-week period, with an skills-based workshops, led by the warm-up games, improvised songs and emphasis on a capella and call-and- Young Vic’s production department, rhythms, and existing songs in four-part response songs, taking inspiration from explored wardrobe, stage management, harmonies – a real challenge, but very the South African setting of generations. props making, sound and lighting. rewarding. The group was a mix of The sessions concluded with a performance Then, to give a practical focus to the members of the cast of Tobias and the in The Cut bar. Feedback indicated that project the participants put this knowledge Angel, people who had auditioned but the sessions were great fun and also into practice by helping to organise, been unsuccessful, participants from instilled a real sense of achievement. design and stage-manage the Open previous Open Access workshops and House Event linked to Vernon God Little. residents taking part in their first project. Over the three weeks songs were developed and rehearsed, then, in the final session, presented to friends and family.

The response to the project was extremely positive and there was a strong desire to continue the sessions in the New Year.

14/15 Participation

Creative Routes Waterloo Gingerbread Lambeth Mencap April – June 2006 November – December 2006 November – February 2007 Creative Routes is a survivor-led mental The Waterloo Gingerbread project is a Lambeth Mencap is a voluntary health support organisation that has been support organisation for single parents organisation and registered charity serving working with the Young Vic since 2003. and their families. Members of the the needs of people with learning To develop the relationship, they asked group have taken part in previous Open disabilities. Having worked with the us to work with them to create a piece Access projects and wanted to work on Young Vic on two previous short projects, that they could perform in other contexts, a project with the entire Gingerbread this more developed project provided particularly at festivals and events. group. The aim was to create a piece an opportunity to work with the group of devised theatre with both the parents over a much longer period of time and Over an intensive four-week period the and their children working together. also to develop a more ambitious group worked with a director, lighting performance. Being back in the building designer, musician and visual artist. The six-week practical storytelling also enabled the work to be supported As a starting point they worked on the project began in November, with by the Young Vic’s technical team and six different character archetypes weekly sessions taking place on Saturday to utilise the full capabilities of the outlined in Carol S Pearson’s The Hero mornings. The sessions focused on Clare Theatre. Within: Six Archetypes We Live By, music, movement and storytelling, the innocent, the orphan, the wanderer, with the African folktale Led by director Tim Yealland and the warrior, the martyr and the magician. of the Pool used as a starting point. trombonist Miguel Tantos, the word From this they wrote and devised short African music and songs were taught ‘enchanted’ was used as a starting point, scenes, songs and poems and dance to the group and the participants used in response to our production of The pieces. In addition, the final performance traditional African instruments. The Enchanted Pig. The creative sessions included existing texts that explored workshops concluded with an informal included warm-up games, improvisation, mental health issues such as ’s showing in the Clare Theatre, after movement exercises, the creation of Some Voices, Smelling a Rat by Mike which participants and audience were installations, songs and storytelling. Leigh, by given free tickets to see The Enchanted Pig. The sense of achievement was immense and ’s Top Girls. because the group essentially directed the flow of the sessions and the content Fulfilling the original aim, some of the of the piece themselves. It was a holistic participants performed the piece again process in which the participants and at Bonkersfest in June 2006. facilitators worked together to create ideas and moments, which were then developed and shaped by the director. Open House Community Events Productions The Open House events began in 2003. The Enchanted Pig Tobias and the Angel They provide an opportunity to open Romanian Evening April – October 2006 the doors of the Young Vic to members December 2006 With the support of Thomson Financial of the local community – those who The first Open House event was organised and the Paul Hamlyn Foundation, have already been involved and also in conjunction with The Enchanted Pig Tobias and the Angel was the opening those new to the theatre. The events and drew on the story’s Romanian folk production of our newly refurbished are intentionally fun, friendly and risk-free, tale origins. Romanian dance troupe theatre. The production had three with people free to engage in the evenings Martisorul demonstrated Romanian community choruses – young people as much or as little as they want. dance and taught the audience some aged between 8 and 12, an adult of the routines. A live folk band played unison chorus and a four-part chorus. The most important outcome is the during the evening and local residents It provided an opportunity for us to word-of-mouth which inevitably follows were provided with free food and drink. engage creatively with 100 members each event. It creates ambassadors for Over 100 residents of all ages attended of the local community, helping us the Young Vic, who go back to their the event in the Clare Theatre. celebrate our return to The Cut. communities and talk about Young Vic projects to people who, perhaps, we Vernon God Little Hoe Down Auditions were open to all but promotion might not be able to engage through June 2007 of the project centred on our local leaflets and outreach. And, by theming A Mexican Mariachi band performed communities of Lambeth and Southwark. the evenings with current productions, throughout the evening, alongside After a series of re-calls, 47 adults it connects the events to the building. line-dancing lessons and a performance were selected, along with 36 young Often, people who attend the events by local elders group Moving into Age. people aged between 8 and 12. In have been offered free and discounted Guests were given free Texan and addition to these two community choruses, tickets to the production. This not only Mexican food and drink, and were 55 adults from across London with breaks down barriers to coming to informed about upcoming projects and experience of singing and reading the theatre, but also gives the local events. A children’s activity area was music were drawn together to create community ownership of the theatre, available for younger guests. Thanks to the four-part chorus. Sixty percent of creating a place where local people are the extra space available in the Maria, auditionees were new to the Young Vic. welcomed and listened to. the event was even more successful than the previous one. The creative team included John Fulljames (director), David Charles-Abell (conductor), Alexander Lowde (designer) and Ben I feel really privileged to have taken Wright (movement director). The project part in such a critically successful was a huge success, with excellent community opera. I have learnt more feedback from the participants, and the show itself was acclaimed by public about singing and music generally, and press alike. Many who took part and it has reminded me what music wished to continue their relationship with the Young Vic and returned for the and live theatre can do for the wider Joy of Singing workshops. community. It has encouraged me to go to the theatre more often. Two Boroughs Participant Key facts and figures

Over 1230 local residents took part in workshops and projects.

2056 residents took advantage of free tickets through the Two Boroughs Project.

24 organisations collaborated with the Young Vic during the course of the year. 16/17 The Directors Programme The programme provides an eclectic and ambitious range of activities to support young and emerging directors. There are two crucial strands: the Jerwood Directors Award and the Genesis Directors Project.

This unique award was conceived with Raz Shaw, working with a team of five The Jerwood and is generously supported by the actors and five movement specialists, Jerwood Charitable Foundation. Its aim focused on ’ The Glass is to give directors an opportunity to Menagerie. His aim was to develop an Directors develop their craft in a well-supported, understanding of the language of movement risk-free environment. In 2005 we and to bring characters who are in the Award 2006 realigned the award to reflect the breadth world of the play, but not in the play of our commitment to the art of directing itself, into the rehearsal process. and the needs of directors. The subsequent Gregory Thompson, working on the award, therefore, was aimed at classic musical The Most Happy Fella experienced directors who, in the course will explore how to shape musical of their working lives, had identified theatre into a seamless theatrical particular areas of their craft or experience. He will work with a musical technique that they wished to explore. director and experiment with different Catherine Alexander spent five weeks ways to integrate songs into stories by working on Ionesco’s Amédée, or How playing with the transitional moments to Get Rid of It, unperformed in Britain from song to text. for half a century. The idea was to explore a rehearsal process in which a complex sound design was integrated into the actors’ work from the beginning of the rehearsal process.

It was probably the most useful learning experience I’ve ever had as a director; I learnt countless new skills and developed inspiring new ways of working. Catherine Alexander

The Jerwood Award has been the most invaluable experience of my career to date. Raz Shaw Genesis Directors Project

The Genesis Project is made possible by a substantial commitment from Networks I don’t know of any the Genesis Foundation to the Young The Young Directors Network other theatre that gives Vic’s work with directors. This unique Directing can be lonely – particularly as much as the Young project, launched in 2003, provides in the early stages of a career. To create Vic ... The amount of emerging directors with rare and a sense of community we established valuable skills acquisition as well as a the Young Directors Network, which now time, energy, attention range of other professional opportunities. has almost 550 members. A website and support that you’ve provides information on the Directors Direct Action Programme activities, on jobs and invested into me and my special ticket offers, and acts as a work, has convinced This series gives directors a chance to forum to exchange experience and create a more ambitious production than advice. Over the year, 45 independent me that you really do they have previously attempted – on a producers, writers and actors advertised care. As an artist, the larger scale, for a bigger audience, for directors on the site. with a larger cast, with more rehearsals. support has infused my The Director/Designer Network practice with confidence During ‘Walkabout’ we had no suitable This provides opportunities for young studio performance space of our own. directors and designers to meet informally, and also the willingness To allow Direct Action to continue we to form creative partnerships and to to take even greater entered into a partnership first with discuss and debate their work and the artistic risks. Theatre 503 in Battersea and then with work of other director/designer teams. the Union Theatre in Southwark. From Stacy Makishi, director 2004 to 2006 we co-produced five shows The Producers Network with Theatre 503 directed by Yael Shavit, This has been established in partnership Daniel Evans, Tom Wright, Joe Hill-Gibbins, with . This community and Veronica Wigg. At the Union of emerging producers is given a forum Tiffany Watt-Smith (recipient of a to discuss ideas, meet directors and make Jerwood Award in 2004) directed a new connections. double-bill of short plays by Sean O’Casey – Bedtime Story and The End of the Beginning. The show was ambitious Shorts in form and scope and brought together an impressive creative team including January – March 2007 designer and lighting designer Micha Twichen (both core members of the Shunt collective).

The production also provided four placements through our Technical Apprenticeship Scheme, which provides training in technical theatre for young adults from Black and minority ethnic backgrounds.

18/19 Shorts Research and

January – March 2007 Development Shorts: First Cut continued the successful Process Weeks Shorts series, posing the question Throughout the year we offer young ‘What is Political Theatre?’ Matthew directors a supportive environment in Dunster led the project and invited directors which to try out ideas, work with actors , Darragh McKeon and explore the process of theatre-making. and Clare Lizzimore to make a short This year 31 directors had the opportunity piece of work with professional actors. to expand their knowledge and practice. While process weeks need not lead to A preparatory week in January involved a performance, they consistently sessions with visiting practitioners such provide a springboard for ideas, further as director/performer Paul Hunter, directors research and, occasionally, for fully Emma Rice and and writer realised productions. . A two-week rehearsal period followed in March. In Rosie and Albie Intensive Workshops Carrie Cracknell explored how fear is Each year a small number of directors used as a method of control, Darragh are invited to spend up to four weeks McKeon explored the role of the writer looking at a play or an idea in detail. in society in The Blank Room and This year three directors explored an Clare Lizzimore’s You Hear of These eclectic range of ideas and starting Things looked at how communication points. Pete Harris explored possible defines what it means to be human. approaches to an adaptation of Alain Berliner’s 1997 film Ma Vie en Rose with the aim of creating a piece of community theatre with local residents in summer 2007. Sacha Wares explored Jung Chang’s autobiographical Wild Swans and Joe Hill-Gibbins continued his development of HR, a project exploring office life, by transforming the Maria into a working office space. Yellow Stages It was great to place myself in January – February 2007 Yellow Stages, launched in 2004 in such an exposed and raw place. collaboration with Yellow Earth Theatre It was a real challenge to lead Company, aims to encourage and develop East Asian Directors. After two successful the actors through a physically years, we consolidated our relationship demanding and unforgiving with former participants by inviting everyone who had taken part to engage process while I was so full of in a further phase of the project. uncertainty. What a fantastic The project provided a combination opportunity to try and really of skills-based workshops as well as push myself. opportunities to rehearse and present work. The project was led by Young Vic Carrie Cracknell, director Associate Director Matthew Dunster, supported by Yellow Earth’s artistic director David Tse. Two of the directors have gone on to work as assistant directors on Young Vic projects.

Introduction to Directing May – March 2006 Introduction to Directing provides opportunities for young people who are currently under-represented in the industry to gain an insight into and understanding of theatre directing.

The project is in two parts. First, an introduction that gives participants a chance to learn skills and decide if directing is for them; and, second, a more concentrated period of development for those who want to pursue directing further. This year the first part of the project was run by Indhu Rubasingham in partnership with Talawa (led by Ben Thomas), then Indhu was supported by Serdar Billis. In the final stage, participants rehearse and present a short scene mentored by the lead directors.

Since completing Introduction to Directing, participants have taken part in the Young Vic Summer School for directors, assisted on the Almeida Young Writers’ Festival and on the Young Vic productions generations and Señora Carrar’s Rifles, assisted on Wild Lunch and directed a short piece as part of the Old Vic 24 Hour Plays festival.

Over the year 20 directors took part in the project.

20/21 Skills

Skills Workshops We also supported a series of directors’ Through one-off sessions we provide skills workshops led by Genesis directors an extensive range of opportunities for for Genesis directors. These twice-monthly large numbers of directors. These include workshops covered topics such as workshops that provide an understanding Grotowski, text-based techniques, the of practice and process and also sessions role of the assistant director, puppetry that look at areas such as casting, press, and story-telling for young people, fundraising and producing. Commedia dell’Arte mask work and contact improvisation. However, we also offer more detailed and intensive projects for smaller groups I am a testament to the fact that the scheme of directors with whom we are interested in developing a relationship. These does work to cultivate and develop the next include regular fortnightly workshops generation of theatre practitioners. led by Matthew Dunster working on Gbolahan Obisesan, director areas such as space, story structure, writing and the problem of self-censorship. Paul Hunter (artistic director of Told The course influenced me as a director in every By An Idiot and recipient of a Jerwood Directors Award in 2005) ran a week-long way. It made me think about why I direct, what project looking at the role of the director is directing, what kind of director I am now and in the devising process. Joe Hill-Gibbins, who was set to direct Brecht’s A Respectable what I wish to become? Lisa Spirling, director Wedding as part of the Young Vic’s The Big Brecht Fest, conducted a two-week research and development project on the play. Sacha Wares ran a one-week workshop on how a director can identify the maximum range of choices inherent in a text. Associate director Indhu Rubasingham and writer April de Angelis explored the collaborative process between directors and writers. Finally, Alison Hodge ran workshops drawing on her first-hand experience of the Polish theatre Gardzienice’s core training practice. Assisting Directors’ Placements Free and Subsidised Tickets In the first season there were exceptional Most young directors work independently As part of our commitment to members opportunities for young directors to and have a limited understanding of of the Genesis Project, we regularly assist experienced directors and learn how theatres produce. Young Vic offer free/discounted tickets to our from their process. Aoife Smith worked placements aim to provide directors shows. This is a great opportunity for with Tiffany Watt-Smith on Bedtime with the opportunity to join the life of members of the network to get together Story and End of the Beginning at the Young Vic for six weeks – to observe socially, and to see as many Young Vic the Union Theatre, Ria Parry assisted directors, to initiate projects, to assist shows as possible. We provided the John Fulljames on Tobias and the Angel, the Teaching, Participation and Research chance to see The Enchanted Pig, Pia Furtardo assisted him (both at department and to engage with every The Soldiers’ Fortune, generations, the Young Vic and on tour) on The other department, from finance to A Respectable Wedding, The Jewish Enchanted Pig, Vik Sivalingam assisted production to development. Wife, Señora Carrar’s Rifles, How on The Soldiers’ Fortune Much is Your Iron? and Vernon God and Gbolahan Obisesan worked with Summer School Little. Other theatres also provided Sacha Wares on generations. Also, six The annual week-long Summer School ticket offers, enabling members to see directors assisted on Paines Plough is aimed at directors at a very early productions at the Globe, The Royal Court, and Graeae’s Wild Lunch, a series of stage of their professional development Lyric Hammersmith and . lunch-time readings in the Clare Theatre. (maximum 18 months’ experience). Participants in a series of Assistant directors also had the practical workshops and were encouraged opportunity to work with the TPR to consider the balance between their department devising workshops, events ideas and creative ambition on the one and activities for local schools, young hand, and the basic skills and people and residents. responsibilities of a director on the other. The workshops were led by leading industry practitioners including Young Vic Artistic Director David Lan, Associate Director and 22/23 freelance director Richard Wilson. Credits

The Young Vic relies on the generous This work would not have taken Johanna Primary School Southwark College support of many trusts, companies place without the enthusiasm and John Donne Primary School Spa School and individuals to continue our work commitment of these groups, John Fulljames St Anne’s RC Primary School on and off stage, year on year. organisations and individuals. John Ruskin Primary School St Francis Xavier College Joseph Lancaster Primary School St George’s C of E Primary School For their recent support, we thank Aaron McCusker Josh Giles-Burnette St James the Great Primary School Actors for Refugees Julian Primary School St John the Divine Primary School Major Supporters and Sponsors African Families Foundation Kate Webster St John’s Catholic Primary School Genesis Foundation Aftercare Team Kate Wild St Mark’s C of E Primary School Jerwood Foundation Akiya Henry Keeley Forsyth St Martin-in-the Field School Alcyona Mick Keith Palmer St Mary’s Catholic High School British Airways Alfred Salter Primary Kwong Loke St Mungos City Parochial Foundation Alison Hodge La Retraite School St Peter’s C of E Primary School Equitable Charitable Trust Allen Edwards Primary Lambeth St Thomas the Apostle School Esmée Fairbairn Foundation Anna Watson Lambeth Aftercare Team Steve Cree Goethe-Institut Anne Marie Lewis Thomas Wells Primary School ITV London Anne Tipton LAMDA Sunnyhill Primary School John Ellerman Foundation Annette Mees Langbourne Primary School Telferscot Primary School JPMorgan April de Angelis Thamesreach Project Pali International Battersea Technology College Lark Hall Primary School The Charter School Paul Hamlyn Foundation Ben Thomas Latch House Thomas Tallis School Peter Moores Foundation Ben Wright Latin American Disabled Peoples Project Tim Murray Quercus Charitable Trust Beths Grammar School Lee Crowley Tim Yealland talkbackTHAMES Bijan Shebani Lewisham College Tom Hackley Tara Ulemek Foundation Bishop Thomas Grant School Loughborough Primary School Tom Wright Thomson Financial Blackfriars Settlement Loughborough Tenants Association Tosin Olomowewe Tubney Trust Burntwood School Marilyn Groves Tuke School UBS Byron Watson Martin Constantine Turney Special School Wates Foundation ME group Mental Health Foundation Vernon Douglas Cardboard Citizens Michael Farroday Primary School Vicky Berry Corporate Supporters Caroline Leslie Michael Mills Vik Sivalingam 3i Caroline Reynolds Vikkie Gibson Arts & Business Central School of Speech and Drama Mick Gordon School Cadbury Schweppes Foundation Charterhouse in Southwark Miguel Tantos Waterloo Gingerbread E*TRADE Financial Clare Jowett Naomi Chapman Waterloo Timebank KPMG Foundation Creative Routes Westminster City School Metro Croydon College Natasha Vaughan Wimbledon College Old Mutual Daniel Goldman Nolufefe Mtshabe Woodmansterne Primary School Reed Elsevier Cares Norwood School Wyvil Primary School Taylor Wessing David Mullins Out and About Club Yael Shavit David Tse Paines Plough Yellow Earth Theatre Company The Directors’ Circle Dean Nolan Pascal Burgess Yes Project Big Cheeses Dennis Kelly Patricia Myers Zamile Gantana Bloomberg Deptford Green School Paul Heritage Ingenious Media Plc Paul Hunter Photography Land Securities Ed Hession Paxton Primary School Keith Pattison Effra Day Centre Peoples Excursion Oliver Martow Hot Shots Emma Rice Pete Harris BC Partners Fenstanton Primary Pia Furtado Design INTRO London Communications Agency Gbolahan Obisesan Plumstead Manor School www.introwebsite.com Royal Bank of Scotland Gemma Fairlie RADA Slaughter and May Geoff Coleman Reay Primary School Young Vic Company Symbian Geoff Horesfield Ria Parry Registered Office Geoffrey Chaucer Technology College Ricards Lodge School 66 The Cut Trust & Statutory Supporters Graeae Theatre Company Richard Howell London, SE1 8LZ Carlton Television Trust Grange Centre, Southwark College Richard Wilson www.youngvic.org Casey Trust Grant Gillespie Robert Maskell D’Oyly Carte Charitable Trust Guy Rhys Rosendale Primary School Company Registration Number Djanogly Foundation Guys Evelina Hospital School Ross Chatfield 1188209 () Fishmongers’ Company Hannah Gittos Rutlish School VAT Registration Number Help a London Child Harry Blake Sacha Wares 236 6733 48 Jack Goldhill Charitable Trust Herbert Morrison Primary Sacred Heart RC School Registered Charity Number John Thaw Foundation Highshore Special School Sadiki Mcleod 268876 Martin Bowley Charitable Trust Hitherfield Primary School Sarah Ozeke Newcomen Collett Foundation Hourbank SE1 United Peter Minet Trust Ilderton Primary School Serda Billis Royal Victoria Hall Foundation Indhu Rubasingham Simeilia Hodge-Dallaway Southwark Council Jason Rowe Simon Reeves Walcot Educational Foundation Joao Andre Simon Wilcox William Howell Fund Joe Hill-Gibbins Southfields Community College

Young Vic is supported by Directors Programme Young Vic Walkabout was supporters in association with For more information about the TPR Department work of the Teaching, Participation and Research department at the Sue Emmas Young Vic please contact Associate Artistic Director

Young Vic Alex Brierley 66 The Cut Schools and Colleges Co-ordinator London SE1 8LZ Jennie Sutton T + 44 (0) 20 7922 2800 Young Peoples Co-ordinator E [email protected] [email protected] Gabby Vautier [email protected] Audience Development Co-ordinator [email protected] Lyndsey Rice / Kate Schofield Assistant to the Associate Director