2014-2015 May ISSUE 3 scene. THE JOURNAL OF THE INTERNATIONAL SCHOOLS THEATRE ASSOCIATION THIS ISSUE: What’s happening in schools? WHO’S WHO @ ISTA… CONTENTS Patron 1 Editorial Professor Jonothan Neelands, National Teaching Fellow, Chair of Drama and Theatre Education in the Institute of Education and Chair of Creative Education in the Warwick Business School (WBS) at the University of 2 Whole school productions Warwick. Board of trustees 4 Primary and primary/middle school Iain Stirling (chair), Scotland productions Formerly Superintendent, Advanced Learning Schools, Riyadh. Retired International School Head Jen Tickle (vice chair), Jamaica Head of Visual & Performing Arts and Theory of Knowledge at The Hillel Academy, Jamaica. 5 ISTA – a personal perspective Dinos Aristidou, England by Sophie Galton Freelance writer, director, consultant. Alan Hayes, Belgium Theatre teacher at the International School, Brussels. 6 Middle school productions Sherri Sutton, Switzerland Comic, director and chief examiner for IB DP Theatre. Theatre teacher at La Chataigneraie. Jess Thorpe, Scotland 13 Middle/high school productions Co Artistic Director of Glas(s) Performance and award winning young people’s company Junction 25. Visiting lecturer in the Arts in Social Justice at the Royal Conservatoire of Scotland. Honorary life members 20 ISTA – a personal perspective Dinos Aristidou, England by Timothy Reid Doug Bishop David Lightbody, Hong Kong 21 High school productions Ted Miltenberger, France Mike Pasternak, Switzerland Ian Pike, England 38 ISTA – a personal perspective Global patrons: schools/organisations by Catherine Rankin Alexander Pushkin School, Russia The American School of the Hague, The Netherlands International School of Brussels, Belgium 39 IB Theatre productions International School Hamburg, Germany Marymount International School, London, England St John’s International School, Belgium 41 Biographies Taipei American School International Thespian Society, Taiwan Victoria Shanghai Academy, Hong Kong Western International School of Shanghai, People’s Republic of China 47 At a quick glance… Cornwall, England offi ce – staff Business Director – Jo Parish Arts Administrators – Kathy Dunstan, Beth Lane, Tom Scott Perth, Australia offi ce – staff Chief Executive Offi cer – Sally Robertson Consultants Emmy Abrahamson, Sweden Debbie Kidd, England Ian Pike, England Kristen van Ginhoven, United States of America 2014-2015 May ISSUE 3 Edited by Emmy Abrahamson and Sally Robertson scene. THE JOURNAL OF THE INTERNATIONAL SCHOOLS THEATRE ASSOCIATION Front cover and artwork by Jo Doidge THIS ISSUE: What’s happening in schools? To submit material or comments for future issues please email Emmy Abrahamson on [email protected] © International Schools Theatre Association (ISTA) 2014-2015 ISTA and its editors accept no liability for the views, opinions and advice contained in this journal.The editors reserve the right to edit any materials submitted for publication. ISTA contact information: International Schools Theatre Association (ISTA), 3, Omega Offi ces, 14 Coinagehall Street, Helston TR13 8EB U.K. Tel: + 44 (0) 1326 560398 | Fax: +44 (0) 1326 561100 | offi [email protected] Editorial By Emmy Abrahamson Welcome to the biggest single issue of Scene. Ever. For months Sally problem but also “added an alternative spin on such a well-known musical”. and I have been taking deep breaths trying to prepare ourselves mentally for Michael Westberg at Jakarta Intercultural School writes about the frustration of the immense task of putting this issue together and now – not unlike two fi nding well-written, fun and interesting material for middle schoolers. “While slightly cross-eyed yet exhilarated parents – we are proud to present What’s there are a lot of productions out there targeting this age group, I often fi nd happening in schools? 2015. them lacking the depth or sparkle I’m looking for - and often can’t imagine In this issue both individual members of ISTA and member schools let living with the show for ten weeks without losing my enthusiasm for telling the us know about recent productions at their schools. Eight years ago in Scene story.” Thankfully he found three which he has shared with us in this issue. there was a similar focus and due to the overwhelmingly positive response Allyn Rathus at Whitby School writes about doing plays that “requires its we got for that one, we decided that it was time to catch up with schools actors to ask critical questions that risk their vulnerability”. Doing Oliver! her again. More than 60 schools have generously shared their productions with student-actors explored how we defi ne “right” and “wrong” and performing us and we have examples of almost 100 different school theatre productions. Urinetown gave them “the opportunity to gain a perspective of the impact felt These range from primary school to IB Theatre productions and from devised when human rights are restricted”. Hairspray is another interesting example. pieces based on Bruegel paintings to Disney’s The little mermaid. For those of Kevin Burns at Istanbul International Community School writes that choosing you who would like a quick perusal of the productions we have also created Hairspray was controversial as there were no “black” students in the cast an At a quick glance-section. yet how this also lead to a discussion of skin colour and how the splitting It’s been an honour and a joy to be in touch with so many ISTA teachers of identity can be transferred to other local and contemporary race issues. and seeing the excitement many schools have shown about sharing their Kelly Webber at the International School of Amsterdam is also a champion productions. Jo Riley at Munich International School called the experience of “productions that provide great platforms for continued conversation with of writing about her production of Shaun Tan’s The arrival “actually very the cast”. In her case, doing Love and information, the cast were invited to therapeutic” and many others wrote how much they look forward to this investigate how “plugged in” we are and how desensitised we have become – issue. A massive – massive – thank you to all the teachers who shared all very relevant and universal issues. their school productions and took the time to contribute. It is this sense of In this issue of Scene three member teachers were also asked to share their generosity and openness that makes the ISTA community so unique and personal perspective on ISTA. Timothy Reid writes about the immense effect unlike many other organisations. participating at the New York TaPS has on his student, Sophie Galton describes When reading this issue I hope that you will discover new plays and the immense rewards (even with the look of “ISTA exhaustion”) that come with playwrights, learn about different ways a production can be staged and – hosting an ISTA festival and Catherine Rankin how discussions with artists and most importantly – be inspired. Putting on a school theatre production is an teachers at ISTA events gave her “the belief in myself to apply for the curriculum immense task. The complaint most often echoed in the contributions is the review committee” and how ISTA has helped her develop professionally. lack of time students have for rehearsals due to other extracurricular activities Personally, one of the most interesting parts was reading what everyone such as sporting fi xtures, service project groups, student council etc. Not to would have done differently. There are some startling similarities which best mention balancing family responsibilities, homework, schedules, rehearsals can be summed up as: and struggling with adapting to middle/high school and/or a new school. Yet • keep cutting the script; theatre teachers are often asked to perform the magic trick of putting on a • schedule more rehearsals if you live in a tropical climate (or if you are spectacular production despite these and many other obstacles. doing Little shop of horrors); There’s often the issue of having little to none technical resources. Many • do more character work with the students; contributing teachers express the wish of having a larger theatre or even simply • frontload the audience especially if they mostly consist of non-English a dedicated arts space. But as they say: necessity is the mother of invention like speakers; e.g. Malina Patel at Pechersk School International who staged her production • never attempt to spray paint anything made of rubber. of A midsummer night’s dream outdoors in the playground as the school lacks a Then why go through this struggle (apart from it frequently being part of traditional performance facility. Or Catherine Rankin in her personal perspective your job description)? This slog, stress and frustration that comes with putting piece of ISTA, also lacking any facilities at the school where she was teaching on a school theatre production? Rachel Ollagnon at Sturgis Public Charter at the time, who describes how “the school hallways and canteens became a School East couldn’t have put it better. “The bond that develops when Boal inspired Invisible Theatre piece”. The same can go for props. For The Visit, working on a meaningful theatre production with a group of caring, talented Alan Hayes at the International School of Brussels asked the school community and hard-working students is diffi cult to put into words. As theatre teachers to donate leftover packages and boxes. Kevin Burns at Istanbul International and theatre lovers, I don’t think we can ask for much more.”